The Motion Picture Director (1925-1926)

MOTION PICTURE

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Beginning a Neiv Series WHY HOLLYWOOD? By EDWIN CAREWE Also Two Notable Serials THUNDERING SILENCE THE NIGHT BRIDE By H. H. Van Loan By Frederic Chapin At The Director’s Service! A new, fast-moving, Portable Unit of tremendous power — completely self-contained — for broad SOUND- CASTING, makes its bid for Movie Fame in this issue of The Director. Now you can sway that “seething mob” with absolute comfort to yourself and your staff.

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MOTION PICTURE Volume Two September Number Three 19 2 5

Dedicated to the Creation of a Better Understanding Between Those Who Make and Those Who See Motion Pictures

OLKS, meet the “new” by and for the people of that Director; new in dress industry, and yet possessing F neither the limitations of the and in its increased num- CONTENTS ber of pages, and new in its strictly class or trade publica- added features of interest and Page tion, nor the diverified appeal entertainment value, but, in of the so-called “fan” maga- IN THE DIRECTOR’S CHAIR 5 spirit of helpfulness and sincere zines. George L. Sargent concern for the best interests Insofar as it may be possible 8 of the industry of which it is A TALE OF TEMPERAMENT The Director will endeavor a part, the same Director you George Landy to steer a middle course between these two have known in the past. CAMERA STUDIES OF SCREEN groups and cordially In the development of the solicits the co-operation of all 9 PERSONALITIES are “new” Director it is our pur- who actively concerned with pose, as we enter upon the WHY HOLLYWOOD? (A Series) 17 the making of motion pictures. Edwin Carewe second year of our usefulness, N THE make-up of the to make such additions as will CAN THEY COME BACK? 18 I “new” Director many of serve to render our publica- Bertram A. Holiday the old features have been re- tion of greater interest to our tained and in this issue appear RUBAIYAT OF A STAR 20 readers, and to take away noth- succeeding chapters of the two ing which has contributed in THE BARNSTORMERS (A Series) 21 serials begun in earlier num- the past to the development of Frank Cooley bers, H. H. Van Loan’s the foundation upon which this Thundering “B.B.”—THE MAN ON THE COVER 23 Silence and Fred- publication is predicated: The eric Chapin’s The Night Bride. Serial) 25 creation of a better understand- THUNDERING SILENCE (A Frank Cooley’s fascinating H. Loan ing between those who make H. Van episodical recital of his exper- and those who see motion pic- EDIT THE COPY.. 27 iences as The Barnstormer also tures. Reginald Barker continues as a distinctive feature. Old-time troupers in the N THE furtherance of this THE NIGHT BRIDE (A Serial) 28 profession will thoroughly en- I purpose, the “new” Direc- Frederic Chapin joy Mr. Cooley’s intimate actor will henceforth be con- WHY A SCENARIO? 30 count of those barnstorming ducted as a semi-technical pub- Bradley King days when railroad fares to the lication of genuine interest to next 32 town and hotel bills were all studio folk, and as a semi- THE MOTION PICTURE INDUSTRY so often items of large impor- fan publication appealing to the Traverse Vale tance, and will live again host of men and women 35 ANGLE SHOTS those “good old days” of the throughout the country who are SOLD OUT 36 show business. seriously and sincerely con- Robert M. Finch cerned with knowing more in- ITH this issue is begun timately about the making of RANDOM THOUGHTS 37 W a series of articles under the pictures they see. A1 Rogell the general heading Why Hol- It is the sincere lywood in which will be pre- belief of the ART AND THE DRAMA 39 management sented the views of eminent of The Director Clara Phileo Schecter that there is a distinct field for directors, producers and players a publication of this type, a NEW PICTURES IN THE MAKING 53 concerning the reasons why should be magazine, edited and published BOOK REVIEWS 54 Hollywood is and in the film capital of the mo- considered the logical center of tion picture industry, conducted motion picture production.

Published Monthly the George L. Sargent by J. Stuart Blackton Editor DIRECTOR PUBLISHING CORP. President Bernard A. Holway 1925 Wilcox Avenue Managing Editor Roy Clements HOLLYWOOD, CALIFORNIA Vice-President Richmond Wharton Business Manager Frank Cooley Tim Crowley Entered as second class matter, May 29, Secretary- Treasurer Advertising Manager 1924, at the postoffice in Los Angeles, California, under the act of March 3, 1879. Subscription Price: $2.50 Yearly PRINTED IN U.S.A. Single Copies: Twenty-five Cents

-M September

In introducing this series The Director is actuated by the sincere belief that here is a subject of general interest, the discussion of which may do much to clarify existing conceptions. The views expressed are the views of the authors and do not necessarily represent the views of The Director.

DISTINCTIVELY new depart- A ment inaugaurated with this number is the section devoted to Camera Studies of Screen Personalities. Here will be presented each month interesting photographs of the great and near great, of men and women of the screen who are achieving success in their respective avenues of endeavor. Portrait galleries of stars have always been considered an inseparable adjunct to fan publications, but in its Camera Studies The Director is more concerned with presenting people who have a genuine claim to screen recognition, irrespective of the parts they play.

UITE in line with the purpose of O The Director to be of interest and value to those who see pictures, as well as to those who make them, is the new department which makes its bow with this issue and to which has been given the heading The Directory. This is a service intended to afford to the vast army of interested men and women, who are sincerely desirous of knowing more about the making of pictures, authoritative information on specific subjects of a technical or semi-technical nature; a place to which legitimate questions pertaining to the production of films may be brought and receive an answer predicated on first-hand knowledge and information.

The Directory is intended to be, quite frankly, an “Ask the Director” department. Letters from readers asking ques- POSITIVELY LOS ANGELES’ tions on subjects pertaining to the making of pictures will be published together with FINEST RESTAURANT the answer to those questions by the director, technician, camera man or other authority best qualified to render a concrete answer. As a matter of general policy questions, the answer to which might — Appointments of Elegance tend to destroy screen illusions and hence mitigate against the entertainment qualities —Service without a Flaw of film presentations, will be answered in —Unequalled, Unparalled Cuisine private correspondence rather than through the columns of this magazine.

This department is not to be confused with the questions and answers department conducted by so-called “fan” magazines in Sunday Night Symphony Concerts which questions pertaining to the personalities of screen players are featured. Only MAXIE AMSTERDAM and such questions which deal with the business his HUNGARIAN SEXTETTE of making motion pictures will be considered eligible. In adopting this stand The Director has no quarrel with the DREXEL 4764 DREXEL 4763 questions and answers departments of other publications rendering information concerning the individual likes and dislikes

(Continued on Page 56) —

1925 director 3

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(After January 1st at 645 S. Flower St.) Volume II, Number 3 September, 1925

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“Sex Appeal” their paces, when we know darn well that the circus in question boasts but a dozen. of us seem ever to get further and fur- OST The fault rests entirely with that small group of ther away from the fact that while motion men and women who occupy the commanding posi- M pictures serve the public as entertainment, tion of being able arbitrarily to purchase this book they never under any circumstances cease to be edu- or play—or that. cational. We have pointed out in these columns in an We are not prepared to say whether the great earlier issue the reasons for this. It is for the most flood of semi-salacious films that have been produced part a matter of photography, as years ago this truth in the past year and are still embossing our screens gave rise to the phrase, “in your mind’s eye.” The antedated the greater flood of pernicious and porno- great majority of people recall a scene of their child- graphic plays, novels and stories to be had now for hood or early life far more vividly and in greater the asking. But certain it is that never have our detail than they can remember a melody that was news-stands been so littered with as many vicious popular in those days. How many of you can fail and inane products of modern decadence — if we to remember the appearance of a printed page in a may call it that—as they are now. These stories, for favorite book of your youth, or the precise location the most part, are untrue to life in their depiction of of a quotation that comes to your mind? Do you the very scenes they attempt to describe. Their remember the picture of “Jack Spratt” who could dialogue is dull, rarely clever, and almost verges on eat no fat, as it appeared in nursery rhymes? the obscene. If the picture is not drawn with suffi- Following this line of thought, you must agree cient clarity by means of subtle suggestion and inu- that it is simple enough to withdraw from the hands endo, such methods of the experienced writer are of an immature child a book or magazine that you thrown to the winds as inexperience hastens to pen deem unworthy of his probable understanding; a portrait with the most apparent awkwardness as while, on the other hand, it may be added that you he dashes his red ink all over an already dirty page. cannot remove an unpalatable motion picture from And don’t you believe that these stories are not the screen of the neighborhood theatre to which you being bought. We know of one famous author whose and your family are lured by certain insidious but name is a household word in all English-speaking personality iden- necessary forms of publicity. countries who submerges his and tity at least twice a month under a nom de plume, The inference must not be taken that the fault lies simply because one side of his mind has to get rid necessarily with the publicity in this instance, man of all the filth to which his brain is unfortunately because it is up to him to do his bit toward filling addicted, and with a rare chuckle he cleverly jots the theatre by which he is employed. Nor must we down a sex story of certain appeal and forwards it criticize the inexact billboards for their enticing to Dirty Stories. This man would himself be ostra- views of ladies’ boudoirs at close range any more cized from the decent society with which he asso- than we should criticize the circus posters for pic- ciates, and his best sellers, which have found their turing a mob of a hundred lions prancing through way into our libraries and homes, would be burned —

I X MOTION WfTMU 6 director September

in our furnaces and fireplaces, if he so much as can author, directed by an American director, and dared to tinge them with that side of him that is acted by American artists, because of its indecency? Mr. Hyde. One of this author’s books that you That is exactly what has occurred! Thus, in appar- have read and enjoyed was picturized not so long ently raising the standard of American imagination ago and was enormously successful as a picture. At in pandering to an extraordinarily fickle public, we another theatre in our city for a small admission fee, cause our foreign market to rise in arms and stand we could witness on the screen perhaps the most dis- aghast at our present assaults on good taste, good gusting exhibition of subtle indecency we have ever manners, and consistently honest thought, for which seen—both written, mind you, by the same man! we are supposed to be representative examples.

The story of how one producer purchased a cer- We like to argue that the future security of mo- tain well-known novel is interesting. Passing tion pictures rests upon the hold we can impress up- through two Pullman cars on his way to the diner on the heart of the great American family. If this on the train on which he was traveling, he chanced is true—and our newspapers, our women’s clubs, to observe that seven people held copies of this and our pulpits are beginning to insist that it is novel. Upon arriving at his destination, he was why do we, who are purveyors to the screen, still in- amazed to find two gentlemen seated in the lobby sist upon injecting these forms of indecency, be they of the hotel, their noses buried in the pages of the obvious or subtle, into the very homes whose fam- same book. He approached the book-stand to pur- ilies we are seeking to lure into our theatres that we chase a copy, but the clerk added further to his may thrive? We have never seen a father yet who amazement by saying that she had just sold the last chuckled over the fact that his young daughters read one and that she had disposed of more than a hun- shady literature or indulged in illicit enterprises, dred in two days, but that she was expecting more and it is absurd to declare now that one can with the tomorrow. Mr. Producer immediately entered a gilt of subtlety disguise the unsightly appearance of telephone booth and advised his office in New York a dump. to place a large option on the motion picture rights The scourge of this newly coined phrase “sex ap- of this, if please, with- of said masterpiece. All you peal,” is certainly going to metamorphose itself into out having read the book! It so happened that in a most deadly form of boomerang, if we don’t mend this instance the picture he finally succeeded in pre- our ways. All the beautiful love stories of our pres- senting to his public contained few of the elements ent society don’t necessarily have to include untrue above mentioned that could have aroused unfavor- and wildly imaginative pictures of modern brothels able criticism. But suppose it had been otherwise! to supply the necessary conflict for the drama any than all the beautiful love stories of the past The funny part of all this is that we in the picture more business go right straight ahead buying up the rights have had to depend upon junk-heap settings for to these unnecessary riots of indecency and translate their beauty. them to the screen with a fair degree of accuracy Don’t forget that the public has not yet gotten and then squawk our foolish heads off about censor- over the fallacy of “seeing is believing.” ship. This monumental paradox is only one of the few things that is “what is the matter with the The “New” Director • Off movies f NTO the life of every enterprise there comes a time when expansion becomes inevitable, when Another angle of this unfortunate condition is I this: Foreign countries, whose trade we covet and it seems that the activity of the past should be have hitherto successfully established, have through broadened in scope and limiting barriers leveled to their representatives rejected many of our recent permit a wider range of usefulness and service.

films of the type we are considering, in quite the So it has been with The DIRECTOR. same manner as they have rejected some of those After a successful year of activity as the official luscious examples of scarlet debauchery that have publication of the Motion Picture Directors’ Asso- more recently adorned the Broadway stage. It cer- ciation, during which we have received the loyal tainly is a laugh when you stop to consider that any and whole-hearted support of the industry of which European country will turn down an American- we are a part, the time has come when expansion made product because of its indecency! We, who seems to be the logical move. Having firmly estab- are supposed to sit on the top of the world as far as lished ourselves in the field of local activity, we are morals, education, and the integrity of the great now entering upon that broader field of national ser- American family are concerned, are confronted with vice in the furtherance of the premise upon which the caricature of a European thumbing his nose at The DIRECTOR was originally founded: the creation us because of our alleged laxity of morals! And that of a closer understanding between those who make is precisely what we get for teaching untruths about and those who see motion pictures. ourselves. It serves us right! Can you imagine a French Board of Censors insisting that certain cuts With this issue, The DIRECTOR emerges as a semi- be made in an American film, written by an Ameri- technical, semi-national publication of direct inter- 1925 director 7

est to everyone concerned, however remotely, with We of the editorial staff of The Director are making, exhibiting or seeing motion pictures. sincerely desirous of being of genuine service to our readers. You can help us by writing us frankly In taking such a step it is only fitting that, with about the things you like and the things you don’t the increased scope of its activity, its greater diver- like. sity of interest and its wider range of appeal, we should appear in a wholly new dress, both as to You can help us, too, by writing us about the pic- cover and as to make-up of editorial and text pages tures you see and about the impressions you receive and to treatment of illustrations. from those pictures. This interchange of ideas between those who see and those who make motion In this in seeming metamorphosis which The pictures is always of value and in no way can we be DIRECTOR emerges from the classification of official of any greater service both to the industry as a whole publication of the Motion Picture Directors’ Asso- and to our readers, than by functioning as the me- ciation to that of an independent, national maga- dium for such an exchange of ideas. zine, its identity has not been lost, nor even sub- merged. It has been a case of addition rather than of Undoubtedly there are many matters of a semi- subtraction, and to the directorial phases of the old technical nature involved in the making of films DIRECTOR have been added features of wider inter- concerning which many of our readers, particularly those living points the est and, we hope, of greater value and service to our at remote from center of film readers. In planning the new dress of the publica- production, are interested. Write us about these matters, send us your questions and let us procure tion it has seemed only fitting that we should retain visible evidence of that identity which has been so the answers from the men and women actively en- distinctly ours during the past year, and so on the gaged in motion picture production who are best cover of this and subsequent issues will appear por- qualified to give first-hand, authoritative informa- traits of motion picture directors who are making tion. films and film history. It may be that there will be some questions touching on matters which are of such a technical nature In the development of our plans for expansion that detailed answers will not be practical in these considerable thought has been given, as there must columns. When possible these questions will be an- be in any business enterprise, to the matter of circu- swered directly to the inquirer rather than through lation and advertising. In order that we may more the magazine. Similarly, questions touching on sub- genuinely serve our advertisers, the make-up of our jects, the answers to which might tend to destroy the pages has been changed from the two-column layout illusion created in the presentation of the subject of last year, to a three-column layout. With this re- involved, will be answered direct. But there are apportionment of space there has been a propor- many questions which may be frankly discussed in tionate reduction in advertising rates and an adver- the pages of The DIRECTOR without either divulg- tising service department instituted with a view to ing what may be considered trade secrets or destroy- making The Director more effective as a merchan- ing the effect of an illusion by letting you see how dising medium to our advertisers. the wheels go round, and what makes them go.

With the co-operation of our advertisers it is the As we get under way in our second year we are purpose of the management to make the advertising earnestly striving to create a bigger and better mag- pages of The DIRECTOR show windows for the dis- azine in every respect. In this we have been encour- play of merchandise of direct interest and value to aged by the success which has attended our efforts our readers. As advertising has become the life- of the past, by the loyal support which has been blood of business activity, so is it vital to the success accorded The Director during the first year of its of a magazine as a business enterprise; and we urge existence. We like to feel that our magazine your that our readers “window shop” in the pages of The — magazine, in matter of fact—is an integral part of Director and heed the messages of the merchants the motion picture industry and represents in every and business houses there displayed. way the highest ideals of that industry. We are imbued with the thought that we, who are, so to No magazine belongs to its publishers alone, but speak, on the inside and in close daily contact with to its readers, and, while we may plan and strive to the create in The DIRECTOR a magazine in which you the activities and problems of cinema world, are will be thoroughly interested and which you will in a position to be of genuine service to those who find thoroughly entertaining, we shall succeed only make and those who see motion pictures. With your to the extent in which we have your co-operation co-operation we shall endeavor to live up to the and support. In no way can you give us this co-oper- responsibilities of that position and with each suc- cessive issue continue to give you a bigger and better ation more effectually than by writing us frankly magazine. concerning the magazine, its departments and its editorial content. Salute! — —

8 ®i rector September

A Tale of Temperament (Told by Harry O. Hoyt to George Landy)

was a film director, On the set he halted me. “You’ve heard a lot about temperament; “I’ve met it oft,” said he.

I’VE written, produced and shot ’em Since nineteen hundred and ten; I’ve handled exotic actresses And stars, more devils than men. X'VE even made animal pictures, They’re called ‘the director’s curse’; But for hundred per cent, rip-roaring galoots, For touchiness, trouble and worse,

‘The Lost World’ taught me a lesson In temperamental folks, That made all my other experiences Look like a lot of jokes. — it wasn’t the brontosaurus, The ‘croc’ or even the monk, It wasn’t the human actors, Or the sets filled with tropical junk

It was all of the various experts; We had ’em of every sort. And each man held his opinion Impregnable as a fort.

job was to keep ’em together And believe me, boy, it was some task It’s a good thing I’m not a drinking man, Or I sure would have needed my flask.

these men were wonderful experts And really artistic, too, They each knew their jobs—but Oh, ye gods! What a temperamental crew!

Yet when the picture was over, All finished and in the box, The love feast we all had together Made up for the troubles and knocks.”

\' V 1 ' /'/ ©irector

HERE’S a distinctiveness about Eric Mayne which makes him a notable figure wherever he T appears, whether it is on the screen or strolling along Hollywood Boulevard. 10 ©i rector September

NEW CAMERA STUDY of Lucille Lee Stewart in which the Stewart family resemblance is A portrayed to an unusual degree. After a rest period following her work with Weber and Fields in “Friendly Enemies,” Miss Stewart is again free lancing. y. i K*s Mt M «i 1925 director 11

HE AMERICAN FATHER” is the title often applied to George Irving, since his particularly T perfect parental performance in Lasky’s “The Goose Hangs High.” After many years as a Broad- way player, and director of some forty features, Mr. Irving is now enjoying his successful return to the acting profession. 12 ©i rector September

HEN Claude Gillingwater left the dramatic stage for the greater possibilities of the screen, W the silver sheet gained a character actor of brilliance and power. WtCTION finiHI 192 5 director 13

A M I GLAD TO BE BACK in Hollywood?” asks Francis X. Bushman, and answers his own question with another by saying, “Just ask me!” Bushman is not only back in Hollywood, but he is back on the screen to stay. 14 'director September k ~\ MOTION 1925 director 15 J X MOTION NllIM 16 ©irector September

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AVING achieved an outstanding success in “The Gold Rush,” Mack Swain definitely announces H his entry in the free lance field as character comedian in dramatic productions and has just finished such a role in Valentino’s “The Lone Eagle.” —!

1925 director 17 Why Hollywood? By Edwin Carewe

TT7HY Hollywood, indeed? years as director and producer, it is the stands out as dominantly as anything else \\ That is a question which is being variety of locational opportunities that as the reason why I prefer to produce pic- asked by various and sundry tures in Hollywood. persons in many parts of the country. It has been my experience to learn, Why should Hollywood necessarily at an expense that I now shudder to be hailed as the Film Capital of the think about, that Hollywood holds for World? Why isn’t Oshkosh or some the producer more of the requirements other place equally as well suited to and accessories which are so necessary motion picture production? to this business, than either New Why, asks Florida, is there all this York, Florida or Europe, the three hullabaloo about Hollywood when we centers which, in the minds of many, have the same climatic facilities and are entitled to be termed “legitimate many features which are so distinctly production centers.” more advantageous? It took me two and a half years to Why, asks Detroit, can’t pictures be learn that New York couldn’t hold a made here just as well as automobiles? candle to Hollywood for “locational And forthwith come reports reading atmosphere,” studio facilities, equipage something like this: and convenience.

“Hollywood is Doomed ! Film The time concerned in gaining this scouts representing certain big produc- wisdom regarding Florida was consid- tion companies are reported to be con- erably less. I spent a year and a half sidering local sites for big studio in- there, and, I am thankful to say, an vestments,” and so forth ad infinitum. even shorter space of time in Europe; But still the cameras grind in Hol- but in each instance long enough to lywood. acquire at first hand sufficient facts and There are a great many arguments figures to justify, to me at least, the which may be advanced why Holly- conclusion that Hollywood is the logi- wood is likely to remain the logical cal Film Capital of the World. center of motion picture production activity for many years to come, if EW YORK’S greatest asset to there is any need for arguments on THERE’S A TOUCH OF OLD SPANISH INFLUENCES the motion picture industry such a subject. AT SAN JUAN CAPISTRANO. lies in the fact that it is its However, a financial center frank discussion the money capi- very often will tal, if you please, clarify a clouded —and, of course, situation and so, motion pictures in treating with cannot be made this subject, I am without that very going to state important ele- frankly my own ment. experience and Outside the deductions that I financial end, have been led to however, New draw from that York offers com- experience. paratively little. The truth The most one about Hollywood can claim for it as a motion pic- is “New York ture production Atmosphere.”

center, as I see And even this is it, may be ex- possible in Hol- pressed in the lywood at less phrase, “location- expense than it al atmosphere.” requires to go There are East and get it. many other fea- A moderate ex- tures which enter penditure, a crew of capable in the equation, carpenters, and lo of course, but as New York, or I review my ex- WINTER SCENES WITH REAL SNOW MAY BE FILMED THE ENTIRE YEAR AROUND IN THE HIGH SIERRAS, WHILE FURTHER TO THE NORTH IS ITS any portion of it, perience of the ALASKA WITH UNLIMITED PICTURE POSSIBILITIES. ( Continued on past thirteen Page 48) 18 f)i rector September Can They Come Back?

By Bertram A. Holiday

CHARLES RAY IN BATTERED STRAW HAT AND FARMER BOOTS IS A MUCH MORE FAMILIAR FIGURE.

period of retirement and appear in a story by Douglas Z. Doty, in which she will present a “refinement” of her former roles. And Charles Ray, who, temporarily at least, abandoned his characterizations of awkward, bashful, self- conscious adolescence to create in Miles Standish a film classic which would perpetuate his name

in screendom’s hall of fame, is to N the viewpoint of some critics, “a star on the silver sheet. In fact, this seems to return in the type of plays which brought I is always a star.” According to their be an open season for comebacks. him such success in former years. slant on the subject, stardom is unaf- During the fall and early winter a num- And then there is Dorothy Phillips, fected by the consistency and regularity of ber of screen notables who have been in whose retirement, since the death of Allen a star’s appearance on the screen ; that once retirement to a greater or lesser degree are Holubar, is to be broken this fall by her a star has become thoroughly established scheduled once more to appear on the return to stardom. Likewise Kathryn Mc- in the hearts of film followers he or she American screen in an endeavor to recap- Donald has announced that she, too, is dwells there eternally. ture that popularity of former days which about to come back to a screen career, and On the other hand, advertising men stri- made their names household words the Bill Hart has broken his screen silence of dently claim that there is nothing so short length and breadth of the continent. eighteen months to reappear under the as the memory of the public; that the For instance, in the forthcoming produc- banner of United Artists. While Nazi- fickleness of the human mind is such that tion of Ben Hur, scheduled for release in mova, whose retirement after her experi- only by keeping everlastingly at it, may December, comes Francis X. Bushman in ence with Salome, was broken last year, popularity be retained. an heroic effort to re-establish himself in is preparing plans for the production of a All of which bears more or less directly the hearts of his followers. series of dramatic features more nearly in on the efforts of certain well-known screen Then there is the announcement that tune with her earlier activities than the luminaries to stage an effective comeback Theda Bara is about to break her long spectacular productions of recent years. 1925 Director 19

Can they come back? advance reports from the rushes may be quite different from those found in the given comeback of Francis Bushman and Theda The answer is on the laps of whatever any credence. gods there be who guide the destinies of Undoubtedly Miss Bara has been wise Bara. that he withdrew for a time film favoritism. in this decision, for, having so definitely Other than created a role which has become distinc- from the regularity of his contributions to Anyway, the results are going to be in- tively her own, one is inclined to question screen entertainment, and devoted consid- teresting to watch. In some instances it the popularity of her return to the screen erable time to the gratification of cherished would seem that the campaigns for rein- ambitions as represented by the creation of statement have been planned with an un- in any other type of play. The success of her return depends to a certain degree upon Miles Stan dish, he can hardly be said to usual amount of carefulness—or has it been the hold which she still has on her former have been away from the screen, but only just sheer luck that things have broken in following, as well as upon the element of to have undergone a temporary retirement what seems to be a favorable manner? curiosity which inevitably attend such a from those characterizations which have comeback. been so typical of him in the past and in OR instance: Bushman has perhaps Incidentally, it is going to be interesting been away from the screen for as long, F to see how both exchange and exhibitor if not longer, than any of those men- will present her to the public; whether tioned. In his return he has taken advan- they will extrav- tage of an exceptional opportunity—one agantly herald that offers many possibilities for an ef- — her return as fective comeback in Metro-Goldwyn- “the greatest por- Mayer’s lavish production of Ben Hur. In trayer of vam- the heroic guise of Messala, he has shrewd- pire roles the ly essayed his return not as the popular — screen has ever hero of former days, but as a heavy of such known,’’ or romantic interest as to possess all the charm whether they of an heroic lead with a mighty good — will grasp the chance of not sacrificing an iota of his possibilities of the former hold on film favoritism and yet ap- subtle differentia- pearing in a totally different role. tions introduced In such a vehicle as Ben Hur, with all in An Unchas- the advertising and exploitation which that tened W o m a n production must inevitably receive, it and bill her in would be strange indeed if he did not stage her new type of an effective comeback. characterizations.

ISS BARA’S return, however, is HE re- much more courageous; for, while turn of she has in Douglas Doty’s story, T M Charles An Unchastened Woman, a splendid ve- Ray, on the hicle, well suited to her capabilities as an other hand, actress and particularly to the subtle presen t s changes she is making in the characteriza- angles of tions which she will portray, her return to considerable the screen is, of course, lacking in the tre- int e r e s t , mendous possibilities attendant upon such a production as Ben Hur. However, the fact that she is returning in characterizations, “just the same only different,” will in all probability engender a good bit of curiosity on the part of the theatre-going public.

Her announcement of a “refinement” in the interpretation of her character studies as contrasted with her portrayals of the past, contains an element of interest and a certain degree of promise. With her first appearance on the American screen, Theda Bara created a vogue for the so-called vam- pire stories—a vogue which may or may not be played out, but in which she certainly has had many imitators. The significant thing about her return to the screen in An Unchastened Woman, then, would lie in the fact that, while she is making no attempt abruptly to depart from the character type in which she has become universally known, in her new role she is attempting to introduce subtle differentiations which will lift her characterizations upon a slightly different plane, FROM HER RETIREMENT OF SOME FIVE YEARS THEDA BARA EMERGES IN A and one no less intriguing than the old, if REFINEMENT OF HER FORMER ROLES—THE SAME, YET SUBTLY DIFFERENT. ,

20 ©irector September brought up on the farm or in the atmos- RUBAIYAT OF A STAR phere of the small town. In these depic- tions he has established a distinctive type of Anonymous

characterization which is wholly Ray, and Sleep! For the sun who scattered into which few, if any, screen artists have flight, equaled. The Stars — and such — who frolicked His return, then, to the type of plays through the night. which have made him so successful in the Drives darkness from the world—all par- past possesses many interesting possibilities. ties end He has hardly been away long enough for When Hollywood is touched with dawn's first light! the fickleness of the American public to have done its damage. The vogue which he established prior to his withdrawal to Come, empty adulation s cup, the fire

Hope is . . . winds make Miles Standish may have passed, but of warm. When of time mount higher. it is much more likely that it is but dor- The birds of Paradise fly south, to some mant for there has been but little if any new set, serious attempt on the part of his con- And leaves us cold, with nothing but temporaries to meet the demand for that desire! type of entertainment.

And yet there is an insistent and very Whether at Long Beach, or at Paris, Mo., real demand on the part of the greater part W e, zvho know not upon which road we of the theatre-going public for the clean, go; wholesome pictures which are so completely Must realize that fame passes as the rose. exemplified in Charles Ray productions. In That withers in the cold of sudden snow. many ways Charles Ray represents the

highest ideals of the screen—ideals that Each season brings its beauties new, you hold old friends and make new ones for say— the films. And shelves the lot that blossomed yester-

According to Harry Carr in the Los day? the Angeles Tunes Preview, Some Pun kins, Next year same publicity we knew the opening gun in the Ray campaign to Will start some fresh young comet on her way. stage a definite and successful comeback, is in many respects the best thing that Ray has ever done, not excepting any of his for- What if the play we’re working on shall mer successes. die In two months' time ? What if the dust And in the same issue he quotes Ernst will Lubitsch as having expressed “a hankering fly When the director meets his boss? Myself, to do a picture with Charles Ray,” and to 1 may be through for good by next July! have said that “he has a German play called The Simpleton which he desires to adapt for Ray’s use.” The Public gives applause — and having said All of which is extremely interesting at Its say, moves on .. . the Public must this time. What the combination of be fed Charles Ray and Ernst Lubitsch might With pretty pictures and with interviews, bring forth offers food for interesting spec- Or else its love for us will soon be dead.

ulation ; but contractual difficulties would seem to stand in the way of such a develop- I sometimes think that every Star, well ment being brought about. cast, appearance in the Whether Ray’s Leaves just one thing, one little note, to Metro-Goldwyn-Mayer production, A Lit- last— tle in production Bit of Broadway now at The Pickford curls, the Fairbanks smile, studios, the Culver City will affect the the feet comeback he is staging as the ideal inter- Of Chaplin will live on when years have preter of American boyhood, remains to be passed. AS MESSALA BUSHMAN RETURNS TO seen. THE SCREEN IN HEROIC GUISE. In his way, Charles Ray has developed And me—when I have gone beyond the which he built up a tremendous following. screen characterizations as distinctly indi- pale, vidual to himself as those created by Chap- Taking my share ( God willing!) the No one, least of all Charles Ray himself, of lin and Fairbanks. Is he yet destined to will deny that his venture into the classic kale— become the uncrowned king of American depiction of Miles Standish was a mistake, Perhaps they will remember how I danced, youth as depicted on the screen, and to take and to Ray a costly mistake. Nor did his And that I looked so innocent and frail. his place with those other “immortals” of one picture with Thomas H. Ince, just the silver sheet whose individuality of con- before Mr. Ince’s death, really provide a And, as the light shines on the silver sheet. ception has lifted them to planes of dis- suitable vehicle for his peculiar ability. For And music syncopates for some new feet, tinctiveness wholly their own? Charles Ray is essentially the interpreter Hands will still clap, but there will be no of American boyhood—of the bashful, Time and the verdict of the theatre- sound blundering, awkward, self-conscious boy, going public alone will tell. Of Jazz to penetrate my last retreat. f MOTION Mi 1 1 Rf 1925 ©irector 21

SCENE FROM “THE MOUTH OF THE CANON” BY HARRY COTTRELL, AS PUT ON BY THE COMPANY IN 1902. HARRY POLLARD, THE DIRECTOR, IS THE CHAP ON THE FLOOR, FRANK COOLEY IS THE MAN WITH THE MUSTACHE AND THE GUN IN HIS HAND. The Barnstormer By Frank Cooley

Part II I was not convinced and went “room- candy, others equipped with different kinds AFTER a poor week in Nogales, we hunting” alone, finding one over the drug of catch penny devices. r~\ started for La Colorado. The round store, furnished with two canvas cots, four Our audience was a little larger that trip cost me $86, which about sheets and one pillow, and that was all. night but not much; all seemed to have cleaned me, so I borrowed $35 from Mr. I found a coal oil can which served as a been drinking, more or less. Quiros car- Marsh, the Nogales manager. I knew I water pitcher. The druggist loaned me a ried out the little trombone player during wouldn’t need it if we did any business at tin wash-basin, and I found a small mirror the second act, drunk as a lord and asleep. all in Mexico, but wanted to make sure in the wardrobe trunk that was not in the- The Mexicans were not satisfied and rewe would not have to linger too long with atrical use. The room was clean, however, fused to leave after the performance and the Mexicans. and had a board floor, while upstairs the demanded more singing and dancing. found awful. I had writ- members of the company found accommo- We Mexico There seemed nothing to do but accommo- ten Mr. Quiros, the La Colorado man- dations at the hotel, where the proprietor, date them. This so pleased them that a ager, requesting him to engage a room for by placing two and three in a room, was delegation waited on us after the show and my daughter, wife and myself. He met finally able to lodge them. invited us all to have a drink. me on our arrival and conducted me to our We found the theatre flooded so we Friday night the entire orchestra was room. The floor was good old earth, the couldn’t show that night, but the follow- drunk and Mrs. Cooley played the piano windows wide open, with a crowd of Mex- ing night promised big business as Thurs- for which Quiros paid her ten dollars, ican children peering through flies by the day was pay day in the mines for the Mex- ; I around millions, and a half-grown Plymouth Rock icans, and Quiros promised their money Mex. had a canvas hung the rooster with about seven feathers and a would soon be ours. The town boasted of piano so she could slip out while the show very red skin, scratching the earth in the no street lamps and ordinarily real dark- was on and play without being seen, but center of the room. I complained to Qui- ness came with night, but Thursday I forgot to cover from the piano to the

ros, who was surprised, and said it was booths, lighted by torches, were in evidence floor, so when she was playing, the Mexi- the very best to be had in town. everywhere, some selling sweet cakes and cans on that side of the house paid very T’N Mono** wntw ?1 ©irector September little attention to the performance but to flush the gulch where they allowed all at twenty minutes of nine not a soul in pointed to her dress and speculated as to their sewage to accumulate. The water the house. I was “made up” with a long which actress was the musician. Every spout was long overdue and as a result coat on and “tending door,” pretty well time she changed her dress a new discus- there were over one hundred and fifty disgusted. About nine o’clock I noticed sion started. cases of typhoid fever. We had to cross lights in different directions bobbing about Saturday night was the poorest of the the gulch by way of a bridge to reach the but all coming nearer. Suddenly families week and the whole town seemed to be theatre and of five and more began to drunk. We were to leave for the U.S. the smell was appear out of the darkness late Sunday afternoon so we decided to something aw- and make their way to the give a matinee at one o’clock, a vaudeville ful. Before door. Business at once be- program. I was down for a six-round go the first week came brisk and by the time with two of the boys, I continuous, the was finished I had to make my appear- boys alternating, so they would have a several of the ance on the stage, I had three-minute rest between rounds. The company com- ninety-eight dollars in my wife and self were invited to have lunch- plained of pocket. This was the larg- eon with the superintendent of the big sickness — my est amount we had ever Rothschild’s copper mine, where things little daughter played to and Joe probably were so pleasant that the matinee was well was one and, got a few dollars for him- under way when we got there. The box- from a chub- self, as he took the door ing idea had evidently caught on, as the by little girl, when I left. place was well filled. Joe was on the door. was fast be- We started for Tucson I guess the boxing pleased better than the coming a very next morning feeling pretty show, though the twenty-eight dollars he thin one; good. There Mowrey met turned over to me was about one-third while my wife us at the train decked out of what I judged the house in a new hat, shirt, trousers to be. I said nothing, but and shoes. We opened to thought a lot. sixty-two dollars—it seemed Matinee over, we hurried that we just couldn’t get out to the depot accompanied by of the sixty-dollar class for several of the boys from the an opener and Mowrey had mine, who really hated to see drawn twenty dollars in us go. While waiting for the spite of my warning and his train, which was a little late, own promises. After de- I heard one of the actors ac- ducting what he had drawn I received cuse Joe of holding out on twenty dollars for my share. He also had the matinee. The same accumulated a very nice bill at the hotel, thought was working in my so it took almost two night’s receipts for mind too, so when Joe threat- him alone. We needed money badly and ened to punch the boy’s nose as there was no great value in Mowrey’s I immediately remarked that work, I let him go, this time for good. if there was to be any punch- He returned to Phoenix. ing done I was in on it. We were billed to play Sapho in Tucson Joe stuck out his jaw and and started rehearsal. My leading lady “struck” remarked : “The you for money to buy clothes for the will!” part of Sapho; money I didn’t have, so I The temptation was too cast her for the aunt and put Mrs. Cooley great. I put him down six in Sapho. This was the wife’s first long times before the boys from part and scared her considerably but she the mine caught me, begging FRANK COOLEY, THEN AND NOW. “got by” in very good shape. Joe, who me to stop, declaring that I attended to the newspapers, was quite par- would be arrested and locked tial to our leading lady and on our first in an old abandoned tunnel, the town’s could barely leave her room. performance of Sapho, which, by the way, best jail, if I didn’t. While they held me The boys were drinking— I had to take was the best first performance we ever Joe drove two hard rights to my face be- charge of one, put him to bed, took away gave, he wrote a very sarcastic notice about fore he could be stopped. his pants and locked him in his room, but Mrs. C. “biting off more than she could 1 he train came along and we said good a little later I caught him going down- chew.” This was too much, as I figured by to El Colorado and a lot of good scouts. stairs clad in a shirt and shoes. I suc- she had saved the day, for Sapho gave us I for one was glad to be on the way to ceeded in getting him back in his room but by far the biggest house of our stay and later the U.S., though I learned later that there had to watch him for the rest of the day. proved our banner drawing card al- was at least one place worse than Mexico, Bisbee didn’t do much for us financially; ways. Joe was sent to console Mowrey in probably responsible, as far as I was concerned, in our own the terrific heat was Phoenix, and luck began to smile on us at country; yes, in the must boasted Cali- as the show was now in good working last. there ten nights, then fornia, too. We stopped a while at No- order. We were At the end of our Tucson stay, I again gales, long enough for me to fire Joe—and started for Tucson. We had to wait over had a bank roll of one hundred and sixty hire him again to show —pay Mr. Marsh his thirty- one night at Benson and concluded dollars after all bills were paid and the five that I had not needed, and then pro- there. company was allowed to draw a little. Our ceed to Bisbee. We rented the town hall for five dol- next stand was Phoenix where we were to We found a town of about five thousand lars. There was no stage, so we arranged play a return date of one week. As most people, no sewers and no drinking water. our scenery on the floor, borrowed some of the company assembled in the office of 1 he town was built over a gulch and they lamps for footlights, placing a cracker box the Reed Hotel, Tucson, about to start depended on water spouts in the mountains in front of each lamp. A lot of work and (Continued on Page 44) 1925 ©irector 23

N this “infant industry” of ours to say I that a player, director or writer served _ his apprenticeship or gained his early film experience with the old Biograph company is synonymous with saying that that individual is a charter member of the Old-timers’ Club, and ha6 in truth grown up with the industry.

For it has been from the prop rooms, the camera stands and the rank and file of the old Biograph Company, one of the pioneer production units of the defunct General Film Company, that many of our most notable film luminaries have come. It was from that organization that the screen world received its David Wark Griffith, its Mary Pickford, its Norma Talmadge, its Blanche Sweet, and a host of the bright lights of the silver sheet.

And it was from that old organization that William Beaudine—better and more universally known in the motion picture world as “Bill” Beaudine—emerged to begin his steady climb up the ladder of fame and success.

The story of his career is reminiscent of one of Horatio G. Alger’s yarns of the newsboy who became president; for “Bill” Beaudine began, not, as so many directors have begun, as an actor before the camera, but in the much less conspicuous position of assistant property man—perhaps it might be phrased, with more literal application of truth, as assistant property boy. Both the industry and “Bill” Beaudine were young in those days. And despite the imposing array of old- time production units with which he has been associated, and the long and varied experience he has had in the motion picture industry, no one can dub William Beau- And it is a matter of justifiable pride on Apples, Eve, Watch Your Step, and All “Bill” Beaudine’s part that he has not Jazzed dine an old man and get away with it. Up. Not when the birth records of the City of only grown up with the industry but has Forsaking straight comedy for drama New York show him to have been born in grown up with Mickey Neilan. and comedy drama, he made, among his that city in 1892; from which mental arith- Events moved rapidly in those old days early dramatic productions Penrod and metic deduces the fact that he is—well, and the opportunities for advancement Sam, for First National, later making A one of the youngest directors in the game were much more frequent than they are Self-made Failure for the same organiza- as well as one of the biggest. today. He had not been on the Coast for tion. Two years ago he Avas signed on a In the lowly position of assistant prop- so very long before an opportunity came long-term contract by Warner Brothers, erty boy “Bill” Beaudine had plenty of for him to wield the director’s megaphone for whom he has already produced The opportunity for using his eyes and the on his own on the Triangle lot. Narrow Street, Wandering Husbands, events of the past few years afford ample That was some nine years ago and for Daring Youth, The Broadway Butterfly, indication that he did so. But that didn’t several years “Bill” Beaudine confined his Cornered and Boy of Mine. keep him from being a bang-up good assis- directorial activities to mirth-makers, wind- When Mary Pickford decided to make tant property boy as he must have been to ing up his comedy direction at the Christie Little Annie Rooney she picked out “Bill” have impelled Mickey Neilan to bring him studios where he produced, among others, Beaudine as the logical man to direct and, out to the Coast with him as his assistant. Rustic Romeo, Mixed Drinks, Pass the through the courtesy of Warner Brothers, 24 ©irector September

MISS PICKFORD MEETS WILLIAM BEAUDINE, JR., AS THE YOUNG MAN WHO WILL BE HER DIRECTOR IS YEARS FROM NOW. arrangements were made whereby he was it has become a hobby in which he in- color process will be used has not yet been loaned to the Mary Pickford Company for dulges whenever opportunity permits. determined. Preliminary experiments in that picture and was retained for Scraps, And then there is the solid, substantial this respect, according to statements from which is now entering production. Upon citizen side—the phase of William Beau- the Fairbanks lot, have not proved con- the completion of these two pictures he is dine’s daily life which is less known, his clusive and further experimenting is still scheduled to return to Brothers. Warner interest in civic affairs, his activity in pro- under way. That at least a part of the From the day when Mickey Neilan took moting the best interests of Hollywood. production will be in color seems certain, him under his wing “Bill” Beaudine’s rise William Beaudine has made money in however. to the top of the ladder has been steady and pictures and has invested that money in The probabilities of color photography sure. Today he is sitting on the world, Hollywood. All his interests are here. In ranking being used has presented new problems in among the foremost motion pic- addition to real estate investments he is the selection of the cast, particularly in ture directors in the business, president of identified with several Hollywood business the the Motion Picture Directors’ Association, firms and keeps closely in touch with their selection of the leading woman. Some- and recognized as one of the dominant fig- activities. thing like one thousand applicants were ures of the industry. Such a man is William Beaudine, the considered for the part. Not only was But there are other sides to William man who appears on the cover of this issue there the peculiar fitness for the role, of Beaudine than just being a bang-up good The Director, and, incidentally, the which Doug has insisted upon, to be con- first director whose picture has director and leading light of the film so appeared. sidered, but also the applicant’s ability to world. register in color as well as in black and in In the radio world he is almost equally white. Consequently, addition to the as well known and there are hosts of radio To Use Technicolor Process usual screen test, there was a color test to which the girls who had qualified on fans throughout the country who know LANS of the Douglas Fairbanks Com- as “B.B.” previous tests were subjected. him and as announcer for KFI P panj' to produce The Black Pirate in and for KFWB. Radio has in fact be- colors are being watched with much in- Final selection brought Billy Dove the come more than a keen delight with him; terest. Just how extensively the techni- coveted honor. JpV Mt»TX*r» PM 1 l"U 1925 director 25

parted at the steamer, and he is wondering what has happened to her when he receives a message, apparently from Mrs. John Morgan, urging him to come to the Mor- gan residence at once. Deeply mystified, Thundering Chapin starts for the Morgan home. Chapter IX

WENTY minutes later, Chapin dismissed his taxi in front of the T residence on South Hobart Morgan Silence Boulevard and briskly made his way up the stone steps to the front entrance. As A Novel by H. H. Van Loan he rang the bell he glanced a little nervously towards the street, for he realized he was taking a desperate chance in coming back here. The neighborhood seemed What Has Gone Before among her passengers is Claudia Carlstedt. for an deserted, for it was late ; and except She is overcome as she reads a wireless OR two years Howard Chapin, an occasional light along the street, the entire bulletin announcing the death of Morgan. ex-convict, has been taking the place boulevard seemed divested of life. But F When the steamer docks, a derelict boards of John Morgan, Los Angeles banker he recalled there never seemed to be much the ship and goes to her cabin. She opens and clubman, in the business and social activity here. The residents were wealthy the door and as she stares in amazement w’orld. At midnight, April 8, the strange and the majority of them divided their at the man she exclaims, “John!” With pact expires. Morgan appears at the ap- time between Del Monte, Coronado and that exclamation she throws herself into pointed hour in the role of a derelict and Palm Beach, and when not at one of these the man’s arms. Claudia faints and the informs Chapin that he has no desire to fashionable resorts they could be found on man places her on a divan and revives her. return to his former existence. During the sands at Biarritz, Deauville or Monte She is confused and bewildered, for she his wanderings he has found the woman he Carlo. These beautiful homes were hardly believes the man is John Morgan. The loves and he is going to return to her. more than mere addresses for the reception stranger informs her that Morgan is really Chapin learns that Mrs. Morgan, who has of mail. dead and that he was murdered the night been on a world voyage, is returning the These thoughts flashed through his mind before. next day. is He shown her photograph by as he waited for some response to the bell. Morgan, and for the first time in his life He warns her that she must not go to But none came. He rang again and waited. the residence, and she asks his admiration is aroused for one of the Morgan when After a reasonable wait, he tried the door opposite sex. him for an explanation he calmly tells her He now realizes the futility and found it unlocked. Chapin was a for a that he is Howard Chaoin. He adds that continuance of the deception. He little surprised at this, and he pondered a cannot go on with it; he will not deceive they must not be seen leaving the steamer moment and then he slowly opened the together, gives where her. and her an address door and entered. He paused just inside he instructs her to go immediately and Chapin has paid every debt left by Moi- the threshold, and after closing the door, where he will join her presently. Thev gan when the latter went away, and has leaned against it and gazed around the are impressed with each other and each accumulated $150,000 in cash. Morgan spacious hallway with considerably curi- is wondering what role the other is playing learns where the money is hidden and takes osity. It was quite; in fact, absolute si- in this baffling mystery. it. Chapin wants to know what is going lence reigned. A slight chill sped down to happen to Mrs. Morgan, whereupon Later, a Japanese gardener finds the his spine for an instant, but he was able Morgan informs him that his life is in- body of a slain man along the Ventura to rid himself of it almost immediately sured for $200,000 and that Morgan is highway, which is identified by Detective and to supplant it with a feeling of secur- better off dead than alive. John Morgan Aulbert as the crook, “Spider” Kelly. ity. Then he moved slowly away from is going to die that night. And, Chapin Meanwhile, The Examiner staff is won- the door and walked towards the center is Morgan! Thereupon, Morgan com- dering what has happened to Spencer, who of the hallway. To his right was a large pels Chapin to take a revolver and retire has strangely dropped out of sight. At entrance leading into the library. The door to the den, for the purpose of committing the same time, “Big Red” McMahon’s was open and he was conscious of an un the suicide of Morgan. gang have learned of Kelly’s death and comfortable feeling as he glanced into the Meantime “Big Red” McMahon and they believe their chief has carried out his darkened room. He turned and looked his gang of crooks are worried over the threat to kill Kelly. But, at the moment, towards the room opposite. It was the prolonged absence of “Spider” Kelly, who “Big Red” enters, and much to the surprise drawing room and he discovered it to be the has gone out to “pull a job.” A little later of all, denies any knowledge of the crime. flooded with light. He stepped to the police are called to the Morgan resi- Just then Detective Aulbert enters and doorway and looked inside. The room dence to investigate the financier’s death, asks “Big Red” the name of the man who was apparently deserted, and he strolled a and decide it is a clear case of suicide. killed the “Spider.” “Big Red” professes across the threshold and paused near However, Herbert Spencer, a police re- ignorance, and Aulbert is inclined to be- table in the center and lighted a cigarette. porter on The Examiner, does not agree lieve him and is about to leave, when the Then, as he took a deep draught he stud- with the police theory. The Examiner door suddenly opens and there, to the great ied his surroundings more closely and took “scoops” the other papers and Spencer goes surprise of the gang, stands “Spider” Kelly a mental inventory of the place. Every- out to make a thorough investigation. “Big on the threshold. thing seemed to be the same as when he

Red” and his gang are surprised upon In the meantime, Spencer is being held had left it, from the big velvet drapes learning of the death of Morgan, and they a prisoner in a shack on the outskirts of which hung before the French windows to are of the opinion that “Spider” Kelly San Pedro. He overpowers the sentry and the heavy Italian tapestry which adorned double-crossed them and made a getaway makes his escape and dashes towards Los the south wall. There was an atmosphere with the fortune. Angeles. of precision and neatness about the room Meantime, The Empress of India is ap- Chapin learns that Claudia did not go which had been established years before by proaching San Pedro from the Orient and to the address he had given her when they Morgan and maintained by Chapin during : : : ; :

T MOTto* nruu 26 ‘director September the time he had portrayed his unique role. seen. She was voluptuous . . . divine! and when they do, all of us will be in During his brief absence nothing had been She was one of those women for which great danger.” changed the room seemed to have been ; men would make tremendous sacrifice. Un- Her countenance took on a challenging ignored. doubtedly there were men who would en- look as she frowned a little and said He strolled over to the mantelpiece, on dure great adversity to live for her, and “Others may have fears, but I have which rested a clock of Italian marble. It others would willingly throw their lives none. I w^as not here when the crime was was a beautiful piece of workmanship with at her feet, for her to trample on. And committed. I was aboard The Empress of a face of solid gold. He discovered it was yet, while hers was apparently a cold, India, at sea.” Then, after a slight pause, going, and its hands registered the time as worldly beauty, Chapin seemed to discover she stared at him and added: “I can prove being exactly a half hour past midnight. behind it a peculiar charm and refinement that, Mr. Chapin.” He glanced at his watch and it agreed which, combined with a most bewitching He slowly nodded. She spoke the truth. with the clock. As he calmly put his watch personality, that succeeded in securing his The police would never entertain any sus- back into his pocket he smiled. Strange interest. picions of her being directly connected with that he hadn’t noticed that clock before. Claudia knew he was pleased with her. the crime. Of this much he was certain. It was the only thing that broke the in- She saw it in his eyes as she approached, But one she would tense word from him and silence and its tick-tick-tick-tick and pausing a few feet from where he have to do considerable explaining to both seemed thunderous now. It also reminded stood, extended one hand. She was fur- the police and the press, and the explana- him that someone must have been here ther convinced as she felt a slight trem- tion would be followed by a certain since he left, it for had been one of Rick- bling of his hand as he grasped hers and amount of embarrassment and undoubt- ett’s duties to wind that clock every morn- held it for a moment. It was her busi- edly destroy her plans. She waited for ing precisely at eight. This also recalled ness to study these things, for she had been him to speak again, and he transferred his to him that he not had seen Ricketts. The endowed with nature’s greatest gift to gaze from the Chinese rug to her. She old butler had always been so patient and woman beauty. And from that day when — was lying at full length now her legs loyal. Hours had nothing ; meant to him, she had first discovered how generous na- crossed. There an opening in her he could was and not be bribed into shirking a ture had been to her, she had not over- dress on one side, from the knee down single item of the day’s routine, which usu- looked the enormity of the gift as an asset. and it disclosed a goodly portion of one ally started at seven in the morning and Naturally, for such a woman, life is little of her legs encased in a black chiffon stock- continued until such hour as Chapin was more than a series of romances and adven- ing, and he noticed that it was exceed- ready to retire. tures, with each one more interesting than ingly well-formed. He also noted that It was quite evident that Ricketts was the last. her feet wr ere small, almost tiny, and that not a member of the household any longer, And so, with a faint suggestion of a she was wearing very pretty shoes of black or the door would have been locked and smile, she looked up at Chapin and said patent leather. She watched him as he he would have thrust his head into the “I’m sorry I kept you waiting.” Then, took a cigarette case from his pocket and room at least a half dozen times to make after glancing at the clock, she added: “I shook her head as he offered her one, certain the guest was comfortable. For hardly realized it was so late.” after which he took one himself and lighted Ricketts worried about every guest, once But Chapin dismissed any attempt at it. Inhaling deeply he leaned back in his he had crossed the Morgan threshold, and apology as he raised a protesting hand and chair and proceeded to study her for a Ricketts never rested until he had left. remarked moment, after which he said Peculiar old codger was Ricketts.

“My life seems to have suddenly been “Let’s stop this skirmishing. . .Why did According to the newspapers, the poor divested of any routine, and hours mean you come here?” old butler had received quite a grilling at very little to me at present.” She smiled, and then with a cute little the hands of the police. From the pub- She nodded prettily and then motioned twist of her head she answered him, say- lished accounts, it looked as though they

him to sit again, after which she ing; musn’t be so stupid. . .Can’t might have even been a little suspicious of down “You sank the divan near him and you guess?” Ricketts. But one look at Ricketts’ honest down on Put- old face would convince even the most leaned back among the silken pillows. Chapin pondered. She was devilishly head, she stud- casual observer that he was the personi- ting her hands behind her fascinating. “I presume you believe there ied silently for a Chapin fication of goodness. However, the police him moment. is a possibility of your getting that $200,- suspect everybody. was conscious of her scrutiny although he 000 insurance money.” pretended to be toying with a book-end as Chapin had dropped into a big easy “You are clever,” she said, grinning. his arm rested on the table. Finally he chair as he pondered over these things and “You may go to the head of the class.” looked at her and said : waited, as his gaze studied the floor. But this was no time for joking, and he didn’t keep the appointment, as Suddenly he became aware of another “You ignored the playful remark as he asked we had arranged.” presence, and as he slowly lifted his eyes her sternly. “Do you still insist that you and looked toward the entrance he discov- Claudia kept her gaze fixed on him as are Mrs. John Morgan?” she shook her head and answered ered Claudia standing on the threshold of She nodded. Then she suddenly raised

“I couldn’t . . . After serious consid- the drawing room. He was momentarily herself to a sitting position, and placing eration, I made other plans.” startled as he beheld her tall, majestic her pretty feet on the floor, she rested her figure and then he rose and bowed slightly He nodded thoughtfully for a moment, arms on her knees, and looking him straight as he calmly faced her and waited for her after which he met her gaze again. “Do in the eyes, said ; to speak. you think you have acted wisely in coming “What did you do with the $150,000 She was radiantly beautiful, in a cling- here ?” which was in this room the night John but ing black velvet gown which emphasized Claudia nodded and smiled faintly, Morgan returned?” her perfectly molded form and accentu- preferred to let him continue. She had This question surprised him. How had ated her sensuousness. If she had labored not long to wait, for Chapin leaned for- she learned of this money? He was posi- a considerable time over her toilette in ward and with considerable sternness, re- tive that nobody, except Morgan and him- order to arouse his deepest admiration, her minded her wr ith graveness: “You are run- self, knew of its existence. He was still efforts had not been in vain, for as he ning a great risk. The police are not mystified as he evaded an answer. “Is that feasted his eyes upon her he realized again going to close this case immediately. It’s why you have sent for me?” he inquired. at this, their second meeting, that she was merely a question of hours before they the most exquisite creature he had ever learn that John Morgan was murdered, (Continued on Page 4-2) 19 2 5 ®irector 27

Edit the Copy not the Type

An Interview with Reginald Barker

HE efficiency slogan of all the written production with the thought .veil-conducted newspaper that it will be remedied before the scene is T scripts. it is an inncomplete offices, “Edit it in Copy, Sometimes not in Type”, should have its portion that is passed over in reviewing counterpart in motion picture reached, and sometimes it is simple lack studios: “Do Your Editing to of clarity in expression. Whatever the the Scenario not in the Cutting ailment it always means delay and con- Room,” acording to Reginald sequent increased expenses. Barker. “Nowhere else is time such a matter of Mr. Barker maintains that just as wise newspaper wishes to save needless type com- moment as in a modern metropolitan news- newspaper publishers who wish to hold position, so should it be a hundred times paper plant and publishers constantly are down expenses placard their editorial rooms as great a saving to make the script letter watching operations to cut down unneces- with notices advising department heads to perfect before dozens of days and thous- sary corrections that may delay editions. trim news stories to the proper length ands of dollars have been spent taking In these days of rapid methods of pro- and phraseology before they go to the lino- scenes that will be eliminated afterwards. duction calling for day and night opera- type machines, so should producers urge “While perhaps this is not an altogether tions in the studios, anything that will their directors to follow the same general new thought, having your guns loaded with eliminate useless delay or shorten operations policy in film production. the sort of ammunition that will enable is worthy of serious consideration. This idea has become such an obsession you to score a hit with the exhibitor and “In my own experience I have found with Mr. Barker that sometimes less pains- his public seems to me like worthwhile that insisting on perfected manuscripts, taking and less foresighted persons refer preparedness, and it has become a hobby even if it is necessary to call in the screen to him as “The story bug” because he in- of mine. I have had many an argument writers to iron out the rough spots, is sists on having the scenario perfected to with producers who were anxious to get conducive to eliminating a great deal of the most minute detail before he starts started shooting with a poorly constructed confusion with attendant exasperation on shooting. script, but when I won the point I think, the part of players and studio officials on “With the typewriter and pencil, it is in most instances, my employers agreed the set. much simpler and cheaper to edit the that the slight delay in perfecting the “In earlier days in the industry, a sce- script than to perform the same operation scenario had been well worth while. nario was little more than a sketchy out- on the negative with the cutting room “Much of unnecessary expense is entailed line of the plot, and the director was ex- scissors,” stated Mr. Barker. “Just as a by delays in production through imperfect pected to use his own judgment in follow- — ”

28 Director September ing the screen writer’s leads in filming the prescribed order determined before shoot- advances made in the picture industry in picture. efficiency ing is started, were the director inclined of operations, for nowhere else “But modern methods of production de- can be learned so effectively the value of so to do. mand that the director use his utmost succinctness and clarity of expression, and “The very fact that the majority of efforts in producing the effects required it is my belief that their percepts have an in the picture and time limitations alone screen writers graduated from the news- extensive application to production activi- will will not permit deviation from the paper school has contributed greatly to the ties in motion pictures.”

YNTHIA, passing tbe Ogre’s Castle “He is a wonderful man,” she breathed, in her car observed it to be tenanted. in genuine relief. “Then we have nothing Young Warrington, coming down THE to worry over.” the driveway was about to pass her with Minerva shook her head impatiently. no sign of greeting when she introduced “I am glad you appreciate him,” she said. herself in a neighborly way but he barely “As you are no doubt aware, he has been acknowledged her courtesy and passed on NIGHT a real friend to us for some time. Can with a curt word in return. you imagine any particular reason why he Cynthia rode home with flaming cheeks should take such an interest in us?” and mentally promised herself that she Cynthia glanced away in doubt. BRIDE likes I said, finally. would leave this young Ogre, as she called “He us, suppose,” she him—strictly alone. “Possibly,” her mother observed, dryly. Novel Then Stanley bought Cal Dobbin’s A “But Addison’s motive was something newspaper—paid off the mortgage held by other than that.” She hesitated, then took Addison Walsh and started in to write By Frederic Chapin the plunge. “He loves you, my dear child vitriolic articles about Walsh and his vari- —he desires to marry you.” ous money-making To her great surprise her daughter took schemes. ( Continued from the July issue) Then came Cynthia’s birthday fete the information casually. the performance of a Greek tragedy on the “I was afraid of that,” said Cynthia. lawn at night—she to portray the role of “Of course, I admire and respect him. He a slave girl. Cynthia secretly sent Stan- —was all it said. No signature, except is a friend worth having, but I’m sorry ley an invitation, knowing he would not on the cheque. he has fallen in love with me. Men of his take things accept, but like the angler for trout—she Could any woman fail to respond to age such seriously.” was willing to try an enticing bait. such an appeal? Minerva gave her daughter a queerish The performance was a huge success Cynthia was just leaving for the Coun- look. She began to realize she had reached ^ and Cynthia played her part well. To thun- try Club when her mother summoned her the first barrier in her coup de main. takes it seriously,” she ders of applause, she hastened towards the into the library. Observing Minerva close “Addison so re- iterated warningly, “That in the event of house to change her costume when she the doors carefully she smiled. “Some your refusal to marry him, he might be bumped into none other than the young morsel of gossip,” she thought. But her tempted to act merely as your father’s Ogre, himself. In his knickerbockers, he mother had other matters on her mind. creditor, instead of a life long friend. had been a secret observer from behind the Silently she handed the letter and cheque Cynthia looked up sharply. hedge. In much embarrassment, he tried to her daughter. Cynthia read it, noted “Mother,” she cried. “You don’t mean to explain his presence there as searching the amount of the cheque and looked up that he makes me a condition?” for his dog which had wandered away. quickly; but something in her mother’s — — — She could never believe any man would Then Hector’s bark was heard as he saluted expression stilled the words of protest hov- be so base. the moon, securely chained to his kennel. ering on her lips. “He has made no condition by word of With a well-acted sigh of relief to know “You will admit, my dear,” Minerva mouth,” her mother said. “But he has im- his dog had returned home—he left her, said, solemnly, almost reverently, “that Ad- glad plied them. Your father, poor, dear soul to get away. But he knew—that she dison Walsh is a man among men.” —is on the verge of a nervous breakdown. knew—he was a fraud and had come there “Whv—ves, mother,” agreed Cynthia. to I have noticed it of late. We have been see her and the sound of her laughter “He is indeed—but we can’t accept this selfish to let him worry and slave for us, wafted towards him as he reached the money from him. Father will pay these — without trying to help him in some way. roadway—and he mentally kicked himself bills. If he had only sent a box of roses With Addison our friend, the reorganiza- for being a silly fool—but the memory of Minerva almost sniffed aloud. Roses, tion will take place; then your father can a slave girl, in flimsy costume, held his instead of money, and at a time like this. retire and get a well-earned rest. If Ad- arms for a brief second as they met so “When I arranged for your birthday dison refuses to aid us, I firmly believe the suddenly near the hedge was not an un- affair,” she explained, “I knew it would be loss of your father’s business will kill him.” pleasant thing to think about. costly. But it was too late for me to Cynthia’s heart contracted. Now go on with the story. abandon my plans—even after I had “But, mother,” she remonstrated. “I learned that your father’s business affairs couldn’t think of marrying him, I don’t were in a precarious condition.” “You mean ?” love him.” She stood up and crossed the room, as HE fate of the house of Stockton “Just this. Your father today—is prac- if to escape from such an odious thought. rested in Minerva’s hands and she tically bankrupt.” T Minerva knew better than to carry the knew it. Her next move would be Cynthia’s face blanched. fight to this strong-minded daughter of to settle matters with Cynthia. A letter “He has had to borrow huge sums to tide hers. She must win by sympathy. from Walsh brought her to this decision. over a period of depression,” her mother assumed an abject, broken spirited The letter enclosed a cheque covering continued, “Addison Walsh came to his She attitude that touched Cynthia deeply. She the bills for the birthday fete. It footed rescue—freely and generously. He plans a mother. up to a tidy sum. reorganization that will probably save us returned and confronted her My contribution to Cynthia’s birthday, from ruin and disgrace.” “I don’t believe,” she said defiantly, as if with sincere wishes for her future happiness The color returned to Cynthia’s cheeks. to still her own doubts, “That Addison —

1925 ©irector 29 would make of his friendship for you and “Not one false move or word,” thought know half the time what all that jibberish father, a matter of barter and sale for me. Walsh in his car. means.” But we can easily find out.” “What a friend,” sighed Minerva. Cal took a longshoreman’s chew of Navy She picked up the telephone, called “Cheer up, mumsey,” Cynthia cried Plug and turned indignantly. Walsh’s number, talked with him a mo- joyously. “Everything will come out all “For your information, son,” he shot ment and hung up the receiver. right. And if he keeps on being so kind at him, “the quotation recently delivered, “He’ll be here in ten minutes,” she said, —who knows?” with all the sang-froid of a Brutus, boiled and went to the window to wait. She glanced down at the slip of paper down to words of few syllables, means: Minerva’s heart was thumping with fear in her hand. Those bills would have to “Let justice be done, though the heavens —fear that Walsh would openly declare be paid in some other way. Going to the fall.” himself—fear that Cynthia would prove writing desk, she addressed an envelope, “Well—something’s going to fall before untractable. placed the checque inside, moistened the long,” observed, Bill significantly, “and A request from Cynthia was a command gum with her pretty, red tongue, and me thinks it will be little Addy, dropping to Walsh. dropped it into the basket for outgoing in and upon us.” He breezed in shortly with a smile of mail. Stanley chucked. as he greeting, that faded instantly saw Minerva’s heart sank as she observed “It’s funny how I hate that man,” he their faces. Instinctively he was warned this, but she dared make no protest. said. “But he seems to be able to pick and forewarned was forearmed. The telephone rang—imperiously—omi- and choose his wives.” In a sympathetic manner, he inquired nously. Cynthia answered it, the message “Yeah,” said Bill without looking up. just how he could be of service. sending the blood from her cheeks. Slowly “With the Stockton ship sinking, and Minerva silently waived him to a chair. she placed the instrument on the table. Walsh the only life-boat in sight, what’s With a directness of purpose, Cynthia “Father is ill,” she told her mother in a a poor girl going to do?” handed him his checque. He took it frightened manner. “They are bringing Stanley polished his goggles. gingerly, as if it were something to which him home. must get the doctor here, We “Women are all alike,” said that young he had no right. He looked up ques- at once.” synic bitterly. “They’re flighty, silly and tionly. She called a number, while Minerva mercenary. To think of a beautiful girl “It was most generous of you Addison,” stood by, irresolute and helpless. like Miss Stockton, selling herself to an she said. It was the first time she had During the weeks it took John Stockton old galliwampus like Walsh, it’s disgust- addressed him by his first name, and his to recover his health—he had had a slight ing. I hate ’em all of ’em everyone heart stirred within him. “I’m sorry,” she — — stroke—Addison Walsh stepped into the of ’em.” continued, “we can’t accept. I have just breach, took over the factories and injected Cal and Bill looked at each other signi- learned how matters stand between you and new life into the business. His nightly ficantly. Of late they had been able to get father. Mother has also told me—of your reports of progress, his optimistic discus- the lowdown on their boss. Evidently he desire—to—marry me. I respect and ad- sions of the reorganization that was taking had been crossed in love. Well, who mire you in many ways—but I don’t love place, his tender solicitude for Cynthia’s hadn’t? you. I sent for you—to ask—if all you father, his cheerfulness and kindness; placed have done for us, and all you plan to do Stanley grunted. He was unconsciously him firmly within the sacred portals of the regarding father’s financial affairs, is con- visioning Cynthia in Walsh’s arms, and he Stockton menage, as one of the family. ditional upon my acceptance of your almost shuddered. Touching a match to Slowly, but surely—and Minerva saw his pipe, he plunged into the before proposal. I presume we may call it that.” work it with secret joy, Addison Walsh was him. Walsh was on his feet with a gesture of gradually weaving his way into Cynthia’s On Cynthia’s finger glittered a white protest. heart. diamond that fairly scintillated sparks of “Cynthia,” he cried reproachfully. “How fire. It was just a week since she had could you imagine such a thing?” He was ELL—well—well,” ejaculated shyly lowered her head and allowed Ad- a clever actor. “I admit I do love you, Cal Dobbins one fine day, as dison Walsh to kiss her—on the cheek. and I did take your mother into my con- \\ Warrington, Jr., entered the fidence. She was kind enough to hope Walsh knew that he must not be too office of his newspaper. “The buzzard has that my love might be reciprocated. But precipitate, even though the prize was al- swooped down and captured the dove.” what I have done, and may do for you or most within his grasp. He was artful in your father, has no bearing on this subject, He handed him a copy of the paper, and love, as in finance, and he was willing to pointed to a notice of Cynthia’s engage- whatsoever. I can’t help loving you climb the ladder of romance step by step. ment. Stanley glanced at it casually and who could?—but I haven’t spoken of it to Minerva and her husband were at a tossed it aside. his desk was an article you, and I never will, until you give me On neighboring mountain resort, which left that held his attention. It dealt with a that right.” Cynthia on Walsh’s hands. He made the new issue of municipal bonds. Walsh had He turned and walked away with the most of such a glorious opportunity. taken the entire lot, and the county had manner of one hurt. It was artistry in Flowers, gifts, motor rides, and theater been mulcted out of a large sum of money. the superlative degree. Minerva’s expres- parties kept her in a whirl of excitement. whole deal of skullduggery The smacked gratefully glad feel sion was of unconcealed surprise. She did She was passive ; to and Stanley called a spade, a spade. not understand the sudden change of that her mother was happy, and her father’s technique but a quick glance from him He tossed it over for Cal to read. At health improving. A placid sun of con- warned her to say nothing, and let matters the closing line, that worthy individual’s tentment shone down upon her. mouth puckered in a long, drawn whistle. take their course. She understood. And all because of the magic touch of Said Cynthia to her mother triumphantly, “To arms,” he shouted in mock dra- this paragon of men. “I told you so.” To Walsh she said matics. “Soon the cohorts of our foe The Ogre’s castle had been swept from cordially as she gave him he hand, will sweep down upon us. “Fiat justicia, her memory. As for Stanley Warrington, ruat caelum.” he had been tossed into the discard of her “Addison, I am grateful.” Her voice thoughts. was tremulous. “I don’t believe I can find “Look out for that blue-nosed revolver,” the right words to express myself.” warned Bill, the practical, looking up from Walsh was cracking his egg at the break- “Don’t try,” he said tenderly—and was his job of indicting some snappy headlines. fast table, when Delia, his housekeeper, gone. “Say,” he called suspiciously. “What was whose visage reflected the souring process In her hand reposed the folded checque. that, Latin? I don’t believe you fellows (Continued, on Page 51) —

30 ©irector September WHY A SCENARIO? By Bradley King

^LL of us have at one time or another think in pictures I did, though I had been experience, this is practically impossible, r\ been classified as amateurs. In all naturally schooled to think in words as a unless he will spend much time reviewing * "* walks of life there must be a be- short-story writer. But that little thought films and then learning a system of mental ginning point and here unfortunately, is was a great help to me, for visual inter- editing. This however, is at best a very where so many aspirants fail. They do pretation of any situation is far more com- difficult and unsatisfactory procedure and begin but seek to accomplish pelling to me than any other form. It is one which requires a very good natural not want to ; without even establishing a fundamental exactly the difference between seeing a sense of continuity as photographed, as well foundation. horrible accident and hearing about it from as a great deal of time and patience. Unlike many other professions, photo- another. The actual sight may nauseate To be able to dovetail your scenes until play writing does not offer an opportunity you or leave a life-long imprint on your they are as near perfect production form as to “apprentice” ones self at the start, in memory, whereas hearing it from some- possible for the director, is a qualification the general accepted meaning of this term. one else, you will soon forget all about it every novice should strive to attain. Pro- Yet, screen authorship is the one vocation and experience no sense of repulsion. ducers, too, are realizing the advantages where such a privilege is needed most and Since I have been writing, however, I of this method of script writing and are would be greatly worthwhile. have elaborated that thought to this: demanding it, wherever possible, from

There is, however, the opportunity for “Think in a series of pictures." That is, do their writers. the new writer to gain an invaluable train- not plan the particular scene which is be- F course, the writer in Hollywood ing from two other scources. One is news- ing written by visualizing it alone; but go or New York will find it easy to paper work. Here the writer gets under back and retrace what you have written O confer with the director who will .the outer surface of life and is constantly previously, connecting the scene under con- produce his story, after acceptance. This called upon to handle those situations sideration with all its predecessors as well is a method I have religiously followed which form the nucleus of photoplay plots. as those which will follow. I have found from the very first draft of my first sce- The news writer also receives editorial this a great help as well as a labor saving nario. After completing a rough “idea supervision as well as drastic training in device in that it decreases many corrections outline” of scenes I always go to the di- the art of “boiling down.” This ability later on and results in a script which rector and get his viewpoints and intended to condense will prove invaluable. The “hangs together” in closer dramatic se- treatment of the story. My first draft is other field I have reference to is that of quence. then revised accordingly, for what is the short-story writing. This furnishes an ex- When I say “Think in Pictures”, I mean -use of writing a script which is not in cellent opportunity for the photoplay no- of course, Think action. The art and harmony with the director’s ideas? Two vice, I believe, for there are many points technical directors will worry about the heads are always better than one and the of similarity between the short-story and details of setting, etc., and the scenario sooner writers realize this and get their the motion picture plot. The peculiar writer need not worry about these matters “swell-heads” healed, the better off the construction of the short-story parallels in except to describe them in a general way. whole industry is going to be. The direc- many ways that of the motion picture, for It helps the director, naturally, if he can tor is the one who will eventually develop while the actual method of expression is get the visualization of the sets as mentally the story for the screen, and it behooves greatly different the fundamentals of the pictured by the author, and often gives him the script writer to consider his angles as two are very similar. For instance, in the an idea which he can inject into the script, being mighty important, before completing short story the writer learns the value of such as novel lighting effects and even the scenario. such things as comedy relief, of contrasting unusual action. Given a continuity that As for the market for original stories. light and shade, of building to a crisis and is replete with good action however, and This talk about there being no market leaving it before it drops, as he is limited the setting will be mostly a matter of or there being an unusually good market usually to words and many similar tricks choice. is simply material for some poor press agent of drama which are used by scenario writers Thinking in a series of pictures means who hasn’t the gumption to think up some- as well. (I do not speak of the classical much more than just mentally reviewing thing more original, and desires to hand short story but refer more to the magazine the scenes as written and those which are his boss the necessary press clippings re- fiction of today.) to follow. To explain further. By a gardless of their contents. There will al- But to the author who adopts this method series of pictures I refer to complete ways be a good demand for usable original of beginning, there is a word of warning. thoughts sequences. While it is far more — scenarios. Mr. Producer realizes fully Short-story writers must of necessity think tedious and difficult a task to match a well the value of an original story written in words and phrases, whereas the writer sequence of scenes, one with the other in expressly for the screen, in comparison with of scenarios thinks in pictures. If the perfect dramatic continuity, it has proven the adapted novel or play. He is only author will endeavor to accompany every far more successful than the old-fashioned too glad to get them. I spent over two written paragraph of action in his short method of writing a number of discon- months trying to get an assignment to do story with a brief imaginative picturization nected scenes and then matching them to- an adaptation and for that length of time of the situation involved he will find him- gether, or leaving it entirely to the di- — was consistently bombarded with assign- self, after a while, unconciously getting into rector or film cutter to worry about. While ments to write original stories round box- the habit of thinking photographically. it is utterly impossible and foolish to expect office titles. Which only goes to prove Thus when the time comes for the change a continuity to be scene perfect, so that it that the trouble is not with the demand from short-stories to scenarios he has all can be photographed exactly as written, for originals, but with the supply. ready prepared his mind to function ac- this should be the goal for which the sce- cordingly. narist strives. Writers are becoming HE day has arrived when the director I recall when I first started writing for more and more adept in the art of “cut- is more than just a man with a the that first as they write. for T megaphone, wildly shouting directions screen my instruction was: ting” their story But “Don’t forget to think in pictures”, And the amateur who has had no actual studio to actors. This new type of artisan who — !

W. MOTION »KTMU 1925 director 31 has invaded the industry is a thinker. He used. The old method of putting scenarios President’s after only five years of study, is a capable judge of story values as well to one side and making the story over in that he can in this profession? Think it as dramatic situations, and usually he is a his own way has gone for the director. over. Think of your doctor and lawyer specialist in treatment. This after all is Producers cannot see paying $10,000 for and dentist. And then just for fun, ask the most important factor in the produc- a continuity only to have the director use them how long they’ve been establishing tion of photoplays, because “there is noth- it for memorandum. The continuity to- themselves ing new under the sun” in reference to day is paid for and well worth the price, There are a thousand and one reasons original plots, except originality of treat- — and Mr. Producer sees that the director why producers keep printing supplies of re- ment. director’s viewpoint on your Get a thinks so too. The present day director jection slips. Stories are not the easiest story but try and get a new treatment of knows the story by heart and follows the things to select. The producer’s rejection your story yourself and don’t leave all the script because it is written for him. It slip may in no way be a reflection upon .thinking up to the man who wields the may flatter the director to think this but the merits of your story, on the other megaphone or doesn’t according to his press he has sense enough not to forget that a hand it may. agents’ particular fancy. continuity today is a technical work, done You can best answer this question. Re- story is written a certain Every with by a skilled artisan, and worthy of every jection may result from an internal studio effect in mind. First decide what effect consideration. It is like the mile-posts condition. For instance, while your story you want to drive home and then keep- to the traveler or the compass and charts is very fine from a dramatic viewpoint, it ing this point in mind, make every scene, to a navigator—and as necessary. may have nothing within reach of the every touch, build up and emphasize this And, remember that scenario writers particular producer to whom it is sub- particular effect. You wouldn’t hit a are not born, they are made. And they mitted. It may call for a budget of ex- bull’s eye with your eyes closed, you’d look aren’t made overnight either! Just keep in penditure far in excess of his plans, it may where you’re aiming. Scenario writing is mind that there are writers who have spent be that his contract players are not suited to a great extent, mental marksmanship, so years in training their minds for this type to the story, or a hundred follow this same principle in your screen and one similar of work. So, don’t be discouraged or im- reasons, none of which reflect work. Know what you’re aiming at and upon the ability of the writer then don’t wobble. Remember always patient if your first or your twentieth or the quality of his story. that you are writing your scenario for the manuscript does not immediately find a director. The technical director, title edi- market. It is probable that it won’t. Per- Do not make the mistake of treating tor, members of the cast, etc., though they haps it may but you will be fortunate in- your work too lightly. Scenario writing are all supplied with copies of your script, deed in marketing your early efforts so is not suitable as a sideline. Remember and, no doubt, find good use for it, could promptly. But keep at it and study that it is a business as well as anything else. do without it, if the director has his copy study—study ! Five years of anyone’s life Always strive to have your manu- and it was written for him exclusively. preparing for scenario writing is none too script appear business like and neat.

But to the director it is a chart. He must much and well worth the effort if one suc- And above all else, don’t forget that lit- have it, whether he uses it merely to check ceeds. Where else can a man or woman tle thought: “Think in a Series of pic- his progress or as it was intended to be receive a remuneration far in excess of the tures !”

As a change off from directing plays the directors sometimes do some playing themselves, as witness this flashlight taken during the enactment of John Ford’s soiree, “A Jubilee of the Plains,” staged at the clubhouse of the Motion Picture Directors’ Association. Being himself a past master in the direction of Western productions, John Ford introduced some Western atmosphere reminiscent of “The Iron Horse” and suggestive of his new picture, “Three Bad Men,” which he is now directing on location at Jackson Hole, Wyoming, which accounts for the presence of the husky looking pioneers and the “friendly In- dian.” John Ford, by the way, is the gentleman with the five-gallon hat at the right of the Indian, while to the left crouches Bill Beaudine, president of the M.P.D.A. Photo by Milligan, direction by Ham Beall. — — ))

32 ©irector September THE MOTION PICTURE

ocale—Hollywood, California. Jim Time—The Present. That’s the trouble with the Big L^ The Scene—The Clubhouse of INDUSTRY Fellers—they grab everything. The Motion Picture Directors Associ- Wally ation. An Intimate Travesty (A pleasant-faced Director with a per- CAST petual smile—a favorite with all his confreres, and who has had a preview his Human Beings By Travers Vale of The Members. latest picture the previous night.) Say, Boys, did you see my picture, last The Actor. night? The Independent Producer. Everyone The Cutter. Note by the Author.— This skit (Brightly—as if they had enjoyed it) His Body Guard. is written in a spirit merriment— of Yes. Yes. Knowledge. with malice to none—with the hope, Fred Scarehead. possibly, that it will serve to bring (Comes over to him enthusiastically and Scene—The Lounging Room of The home to all of us, in The Industry, slaps him on the shoulder) Motion Picture Directors Association. Great picture, Wally. I I didn’t quite faults that will be remedied. Re- — It is a large and comfortable room, with like the story, but it was a great Picture. numerous easy chairs and lounges. In the member, none of us are perfect. The camera-work was not quite as good corner is a round table at which five of as Who was it that played the lead- the Directors are playing a game of Hearts. ing part? I didn’t think he was quite the At one end of the room a large wfindow Type. looks out upon the Avenue. the walls On Sometimes they do broadcast some thing Joe of the room are framed “mottoes.” Prom- we can use. ( Chimes in with— inently displayed is “The Brotherhood of Joe I think it was a mistake not to keep up Man,” “Fraternity Above All,” “Let (Continuing Fred's enthusiasm) the suspense. You see, in the middle of There Be Light.” That’s the wonderful part of this Asso- the first reel everyone knew that the wife The room is comfortably crowded with ciation—the abuses we’ve eliminated. Why, was going to leave the husband members of the Association. As the cur- I remember way back in the early days we Wally tain rises they are singing the Club Song: considered our fellow-directors our per- That’s what The Producer wanted. I’m a Member of The M. P. D. A. sonal enemies, but thank God He said, “It always happens that way in And I know that you’ll believe me when Roy Hollywood, and besides that’s up to The I say Scenario Department.” (In the midst of a heated argument at the direction That my method of "Heart" table) Joe Is the acme perfection; of That’s the rottenest play I ever saw. It’s a great Picture, though. Some of I’m an Artist with a Capital “A.” Couldn’t you hold the Queen of Spades a the Sets might have been better. I’m a Member The P. D. A., of M. little while longer? Wally And I love to show my power in every Paul I kicked about them but The Producer way. said, “That Razinsky and Polotskey and (Who rises angrily) When the Star gets temperamental, all the other Foreign Directors had ‘Shot’ Parental— And take it myself? It’s every man for I remark in tones them, and that if they were good enough himself. ” Just remember—I’m a Member, for them Joe I’m a Member of The M. P. D. A. George all the And now you see—everyone is a friend. (Applause from Members) (Who has been in a comatose state the Look at the Industry—how it has pro- Fred entire evening, slowly and gressed. Why I remember in the early Spirit of Fraternal- solemnly expounds Isn’t it great—The days — ism that permeates the atmosphere? Al I’ve got an idea. Fred Al That guy must have come over in The (Earnestly to the conclave) {A newly-initiated member who has Mayflower. Silence, Boys. At last George has an only been admitted to the organiza- Joe idea. Project it. tion the day previously the Star- —when the Industry was still in its in- Director of a Comedy Company who fancy George It’s about Foreign specializes in animals, and who is Jim what Wally said The having a couple of days' vacation (Thoughtfully) Directors. Oh, it’s a great idea! You know, Boys, I’m 100 per cent American. owing to the indisposition of "Peter That would make a great title, “Still the Great," the diagnosis being in Its Infancy." Everybody "Distemper.") Al (Shouts) he talking about ? Some of these are. Yes. Yes. What’s Been used before. All the Film Mag- You bet you highbrow Directors make me sick. What nates use it in their speeches at the dinners George did he mean by permeate? they give to their Publicity Men. They Born, raised and educated in Topango Jim do say that Hays used it on one occasion, Canyon. Never left the country until I There’s an Encyclopaedia in the next and that the Producers’ Association claims went “Over There.” Was one of the theatrical room. Maybe it’s a new “gag.” Just as that they have it copyrighted. No, it’s first to enlist. Went into the well to listen in on some of these ducks. cold turkey for our stuff. game when I was a kid, and when the ' ) ) ! )! ) l

f MOTION ncrviu 1925 director 33

pictures came I started with them. From electric lights on every theatre at the same Harold acting I was promoted to directing—made time, but in a different picture. (Continuing his pathetic recital) over a hundred pictures—but since the Al He received his wonderful distribution has it framed in the bath- armistice I’ve practically done nothing. (Pointing to his strange costume contract. He great All my years of experience count for noth- But why the “get-up?” room now. His first picture was a ing. Instead of its being an asset, as in success. The production cost was only " The Actor all other Professions, it’s a liability. New twenty-five thousand dollars, and it grossed (Indicating from his waist to his feet) Blood ” New Ideas' is the cry! Now nearly half-a-million. It has been released From here down— I belong to the Holly- for my idea. Let me picture it to you. I two years and five years from now he has woodland Studios. From here to here supposed to go to Europe suddenly hopes of getting back his cost of produc- am — (indicating the baseball sweater). Wool- one day the news is flashed that Rabbi tion. worth Brothers. The coat is working in Sholem Ben Cohinsky, the eminent Direc- Al a society picture with Silverfish. This side tor from Jerusalem, is on his way over to What’s become of the half-a-million? of the face, at two o’clock (indicating the New York. Do I go to Europe? No! Harold half-shaven effect) is working with the I grow a beard, engage a Press Representa- Eaten up by the Overhead. The Presi- Famous Artists, while the other side is tive, skip to York and sneak over to dent Seventeen Vice-Presidents of New under contract with The Half a Century and the Ellis Island. my arrival at The the Distributing have to have On Comedies. I’m a very busy man. Company Battery I am deluged with offers by the some salary. Jim Potentates of The Industry, and if I can Jim What do you do with your spare time? only manage to waste a couple of millions Sure—you can’t expect them to work The Actor on my first picture—there you are. for nothing. Al Make a few personal appearances—and Harold pay Alimony. Talking of alimony, wives That guy’s got the right dope. He mortgaged his Ford and started on are getting pretty scarce around this Asso- (At the “Heart table" another row is in his second picture, and now he walks to ciation. I thought that was a privilege of progress The Club. Roy the Actors. Al Al (Throwing his cards down angrily) How much did the Director get? Not satisfied with hogging all the parts The Queen of Spades again ! ! Harold he wants the women. Paul A percentage of the profits. (Through the door enters a tattered (Angrily rising Exzema Tramp, who shuffles slowly in. He is Well what did you want me to do with The profits (Laughing hysterically.) known to the Fraternity as “Exzema.” — it? Eat it? Ha! Ha! Ha! (A strange nondescript person enters the Roy Jim door. He is an Actor. He is dressed in (The President of the Club looks at him That’s what he got. a marvelous fashion. White flannel trous- with reverence. He rises solemnly (Exzema staggers towards the door.) ers and shoes. IVears a baseball sweater, to his feet) Harold partly concealed by an evening dress coat. Out of respect, Boys out of respect ; (Pityingly) On his head is a French military cap. He (The entire assemblage rises except Al, Where are you going, old fellow? is clean-shaven on one side of the face and who is staring at the nondescript creature. Exzema wears a half beard and a half moustache They all salute him proudly.) the Museum, to be with the other on the other. He staggers through the To Jim extinct animals. door and sinks in the chair which is sub- (Dragging to his Al feet) (He slowly goes out the door. The serviently offered him. All the Directors On your feet! On your feet! Music stops and all sit down. The Toot look at him with reverence. One offers Al an automobile horn is heard outside. A him a drink. Two other prominent Di- of Who is that? Mack Sennett? goes to the window and looks out.) rectors fan him. He is evidently of great importance.) Roy Al Jim Brother Al, as you only joined yester- Some class to that car. A new Rolls- day, the Secretary will enlighten you. Who the hell’s him? Royce. Must be a top-notch Director. The Actor Harold Jim (The Secretary indicating Exzema) That’s the President of (Rises and is plainly astounded that he No. The As- sassinated Exhibitors’ should be unknown to any person. That—that is the last of the Independ- Distributing Com- He strides towards Jim) ent Producers. (He tells the Leader of pany. They had Forty Independent Pro- their year. What? Do you mean to say you are in the Orchestra) A little plaintive music ductions on Program last None the picture business and you don’t know please. (The Orchestra plays “Hearts and of the Forty have got their production cost me? Flowers.") Three years ago he was happy back yet, and that is his sixth car. Jim on his little farm in Idaho. He had read Al (With abject apology) Sears and Roebuck’s catalogue and heard Who is that stout, swell-looking guy Well, I’ve been out of town for a week. of the fortunes to be made in Independent with him? Al Production in Hollywood. He sold his Jim (Reverently) Cow, cranked his Ford, and soon arrived The President of The Hollywoodland You ain’t Valentino? through Cahuenga Pass. Was there a Company, one of the biggest Producing The Actor Band to meet him? No. If he’d arrived companies in America, but he’s a good fel- No. He only plays in one picture at a on the Santa Fe, it would have been dif- low. Has a large family, and every time time. I’m in demand. I play in five. ferent. a new baby is born he makes him a Direc- They must have me. Directors wait for Al tor. me. Studios stop for me. Producers beg Why would it have been different? (The Telephone rings and Harold takes for me. Distributors clamor for me. Jim off the receiver.) Exhibitors pray for me. Walk along Don’t show your ignorance. All the Harold Broadway and you’ll find my name in successful ones arrive by train. Eh? I don’t quite catch the name. ! — ! — —

I- MOTTO*. MCTVU 34 director September

Whom do you want? Eh? Barbara beware! (And he stalks out majestically Knowledge wants him with his guard.) We’ll have to put in a couple of titles (A crowd of Directors start for the door The Director to cover it. It’s up to the scenario staff. at the mention her name.) of (Staggers to his feet and with an The Head of the Scenario Department Stop agonizing cry) says we can call it a “Curiosity Shop.” The (As he shouts “Stop” all the men pause. Efficiency Department wants to turn it My God ! What will Sid Grauman speaks in the phone.) He say when he sees that Picture? into “A Dream.” The Technical Depart- No. This is not a Barbers. It’s the Al ment puts the blame on the Property De- M.P.D.A. (To Jim) partment, and suggests we cut out the en- (Hangs up receiver. To the Boys.) tire scene and put it in a “Fight” picture. Put me wise! Put me wise! Who is A mistake, Boys. The Production Manager says it Sid Grauman? would be okay in “Revolutionary” picture, (All the men return disconsolately to Jim a but the their seats. freckle-faced boy about Studio Manager says it’s the bunk. The A And you a Director? And you ask, twelve years old enters the door. He is Camera Department said the photography “Who is Sid”? Why, he’s the biggest escorted in by a bodyguard eight police- was good, so they were not to blame. The of showman in the business. He runs the men with drawn clubs. The boy approaches Electrical Department said, “How the “Gippum Theatre” in Hollywood—the a Director.) Hell were they to know that electric lights well-known one they found in King Tut’s Tomb. He’s were not invented in 1865?” The only The Boy got P. T. Barnum backed off the map way, in my opinion, is to start a new Dis- Ive ’’Cut” your picture. always plays to crowded houses. If he has tributing Company and release the picture Al any empty seats he fills ’em up with wax through it. Is he a “cutter”? figgers. Give Sid a rotten picture, and Joe Jim he’ll prologue it to success. Don’t ever Why not put it in the can? Yep. tell nobody you don’t know Sid. Knowledge Al (There is a yell of delight at the Cans are all filled. We tried to sell it But why the bodyguard ? “Heart” table.) to The Seidlitz News W eekly, but Joe Jim Roy said we’d be infringing on too many of the He needs it. Hush. That saves us twenty-five cents The — other productions. Queen. Boy The Director Paul (In a positive manner to the prominent What did the Financial Man say? Director) (A ngrily) Knowledge If we were not in The Club I’ve cut out that sequence in the Royal It took a long time to get the straight- All at the Table Palace, and changed the location from Vi- jacket on him. The Doctor at the sana Rats enna to Timbuctoo. I’ve cut out the lead- torium told me he never would be the ing altogether. Joe woman same. Of course, if Griffith, or some of As I was saying the Fraternal Spirit The Director — those big Foreign Directors had made the Why? The Director picture, the Boss would have said they had (Still over his Boy moaning unhappy lot) an object in doing it that way—that it was I don’t like the way she bobs her hair. And they cut her out of every scene. the psychology of co-ordination, in a con- The Director (At this moment “Knowledge” enters. crete way, only understandable by high That isn’t the real reason. I’m not go- He is dressed in academical robes—wears mentality, engendered by intellectuality ing to have all my pictures ruined by you. horn-rimmed glasses—evidently a person- that emanated from their superhuman tem- Boy age of profound wisdom—he greets the peramentality. assemblage.) Ruined? If it wasn’t for me all your Al Knowledge stuff would be in the can. You Directors That guy uses the needle. Hello, Boys! stall around—shoot a couple of hundred ScAREHEAD Everybody thousand feet and make Eastman rich, and (Now enters the door. He has an eye- Hello, Knowledge! then it’s up to me to get your “Master- shade on. He is coatless—a Typical City pieces” over. You come to a big dramatic Jim Editor. Jovially he greets the crowd.) situation and then get stuck—and then (Replying to Al’s puzzled look of Hello, Boys! What’s the latest news? you “Fade-out.” If it wasn’t for me and inquiry) (All the Directors turn away from him the title-writers the most of you would be Head of The Research Department at with disgust and do not reply to his greet- in the soup. The Half-a-Century Comedies. What ing.) The Director that guy doesn’t know Al Can’t you let a flash of the leading lady (To The Director whom The Boy had He seems mighty popular with the stay in? criticized) crowd. Who is he? Boy I looked up the data on that set. You’ve Jim And her insulting the Boss like she did got seven different periods of furniture in He’s the Editor of The Yellow Journal. the other night? Not a chance. it. The cuspidors are all wrong—they’re Al plain the electric The Director too —and lights were not Then why does he ask us for the news? yet invented. (Sinks to his knees appealingly) He is supposed to give it to us, ain’t he? The Director On my bended knees I implore Jim But the picture’s released. Why didn’t Boy No! You poor simp! That’s why he’s you tell me before? (IVith a look of utter disgust at him—he anan Editor. In order not to show his turns to his guard) Knowledge ignorance, if an extra man or some poor didn’t wait until I Fall in. (The Police line up and they Why you found out? mechanic gets into trouble around the stu- Do you expect The Research Department march to the door—the Boy turns.) And dio, he runs big headlines in his paper to know these things? let me tell you another thing: The Amal- “Prominent Director Is Arrested gamated Cutters’ Association have got The Director So-and-So, the Famous Director, Is Under their scissors out—so beware—beware Well, what are we going to do about it? (Continued on Page 55) > X MOTION ri

ALKING about the fickleness of the where he was an honored guest at the erb rawlinson, who has just T fan public, an amusing incident is re- festivities. H started production for Rayart on a lated as having occured at the recent Incidentally Silver King made the trip new serial titled The Flame Fighter, in Greater Movie Season demonstration in from Hollywood to San Francisco in a which Brenda Lane and Dorothy Donald San Francisco specially constructed auto trailer designed are being fea- in which Lew by Fred Thomson, in eleven hours and tured, is report- Cody and thirty-five minutes. One of the fastest ed to have been Fred Thom- trips on record. The S.P.’s crack train the off-scene hero of son were fea- to San Francisco, the Lark, makes it thir- an encounter tured. Accord- teen hours and twenty-five minutes. with Strongheart ing to the yarn * * * on the grass plot as it came back in front of the from the Bay 4fT)USY AS A BEE” developed a dif- F.B.O. studios. City Lew IJ ferent slant from that customarily According to the

Cody was given it the other day at the Educational story as it trick- heading t o- lot where A1 St. John was shooting scenes led forth from ward the St. Francis Hotel, where, follow- were moving F.B.O. Herb on his next picture. Things , and Gaston Glass were en- ing the parade, a banquet and similar do- along swimmingly when a swarm of bees gaged in a “friendly duel” while nearby ings were to be held in honor of the visit- descended on the lot and put a stop to all Paul Powell was rehearsing Strongheart ing celebrities. On the way to the hotel activity, not only there but on the Pickford- for the early sequences in North Star for Lew conceived the idea of adopting a mas- Fairbanks lot adjoining. Howard Estabrook. It has been said cot and spotted a street urchin in the * * * that German police dogs have been trained motley crowd on the sidelines. With that to attack anyone holding a weapon, and ITY the poor impetuosity which is so characteristic of that an actor in such an attitude is a pet studio worker him, he made a dive into the crowd and P aversion. Be that as it may, just as Herb the “broiling” made the kid his mascot. Everything was under was raising his weapon Strongheart saw sun. His jake until they arrived at the St. Francis California him. Forgetting all about the scene he and things were proceeding very much to lot is a hard one, was rehearsing he made a leap for Rawlin- Lew’s liking. But at the hotel the kid particularly at the son. The quick intervention of Strong- spied Fred Thomson talking with a group Pickford - Fairbanks heart’s trainer is said to have been all that of visitors. studio where it is re- saved Herb from a severe mauling. “There’s the guy I wanter see!” the kid ported that iced or- * * * is reported to have exclaimed leaving Lew ange-juice is served every afternoon at ALL OF WHICH is sufficiently excit- flat and bolting to the side of Fred Thom- three. According to said reports the cus- jTjL ing, even when it is outside of the son with a “mit me” expression. Fred tom was introduced by Mary during the day’s activity, but the prize source of dis- •accepted the nomination and Lew had the “unusual” days in has seen July and no gruntlement is to go through a genuine fun of seeing his mascot entertained as fit to discontinue it. mauling scene with a full-grown leopard Fred’s guest. And speaking of the Pickford-Fairbanks as thrilling sequence in jungle picture, * * # a a lot,—wonder if the vogue for sideburns in- and then to have the producing company AND speaking of Fred Thomson, his troduced by Doug’s shooting of Don Q. quit production. That is what happened l\ Silver King is reputed to have been has terminated yet? Even the bootblack to Dorothy Donald at the old Selig studio the first equine guest to put up at the St. officiating at the stand just outside the recently where early sequences were being Francis in San Francisco. It was during gates, acquired a beautiful set of down- filed in Jungle Fables. Realism reached the same Greater Movie Season demonstra- growing sideburns, while they were shoot- a point a bit too acute for comfort, but tion and Silver King had been transported ing that production. It was quite a com- it was all in the day’s work, until pro- to the northern city for that event. Fol- mon sight to see musicians and cameramen duction was indefinitely suspended. Now lowing the parade a section of the St. with more hair growing down the sides Dorothy has only her scars and a couple Francis grill was divided off and a stall of their cheeks than often appeared on their of stills to show for the gruelling moments made for the horse before the fireplace heads. she spent wrestling with the leopard. Tj \ MOTWX W»HW 36 director September

hat old vaudeville gag five reels, Swell Hogan is said to be a sometimes affect. But when the messen- of kidding the show has been materi- classic in characterization and real T a gem. ger whispered “It’s the stork” it is said ally improved on the M.G.M. lot where The story is simple but well told ; suspense that he shouted “Dismiss” to the company the big ’uns at the Culver City studio are carefully developed, the plot a simple and raced away to see the “bird” who had reported t o character study of the homespun type. Rose arrived at his home. have a myster- Doner, of the Lady Be Good Company ious two-reeler makes her first screen appearance as the “SOLD OUT” which none dancer in Swell Hogan’s cafe and is re- but the initiate ported as doing exceptional work. Her By Robert M. Finch have been per- rendition of the Charleston is said to be This is no lilt with a sexual tilt for a screen mitted to pre- the best that has ever been executed on play up to date. view. Accord- the screen. It's only a tale of a publicist pale who ing to reports, Swell Hogan was produced at the Wal- tempted the hands of fate. however, certain of the directors and play- dorf studios and Graves has a “swell” pic- Of each manuscript rare, from the editor's ers concocted the idea of making a bur- ture but no release. chair , he heard with smiling grace: lesque reel on their confreres, each im- Anyway he still has two more pictures “Your story is good, be it understood ; I’m personating the mannerisms and character- to make for Mack Sennett. sorry we haven’t the space." istics of some other player or director. One * * * all dug days in the scene said to show the directors on the HILE he doesn’t seem to be making He for Kliegl haze where lot pawing around in a mud-hole and is men make reel on reel, Wmuch fuss about it li’l ol’ Dan Cupid 'Til he a tale to turn titled “Looking for the end of Von Stern- apparently has been busy around Holly- found men pale with berg’s Finally Louis is its human-interest appeal. picture.” Mayer wood studios. Hardly had the news of the star did beg, with broken leg, shown driving on scene in a dilapidated weddings at the How a to go on with the — flivver, carrying an umbrella to keep off Fox Studios scene apace “Your yarn’s editor’s the “rain.” He directs the search but been sprung a pip," was the quip; “It’s too bad haven’t whether ending was found has not been than Arthur E. we the space." disclosed. Milford, film For year on year, with many a tear, he Mae Murray is reported to have been editor for Em- struggled to please the fates. considerably muffed over the clever imper- bassy Pictures, Until, one day, he passed away, and was sonation of her in this film and it is said, silently stole led to the pearly gates. refuses to permit the subject to be brought away to the lit- Saint Peter alone, from his mighty throne, up in her presence. tle church looked down with a pitying face, * * * around the corner, where Rev. Neal Dodd " You can’t enter here," said Heaven’s seer; officiates, and was wedded to Miss Doro- TUDIO FOLK throughout Holly- “you see, we haven’t the space." thy Hunter. Eleanor Hunter, sister of wood, and particularly the old-timers, S the bride, was maid of honor, and Arthur are sincerely mourning the passing of Jenny To the realms below, where hell-fires glow, Huffsmith was best man. The couple Lee, one of the real old-timers of the films, the publicist tumbled down. spent a brief honeymoon at San Diego who died at her Hollywood home, Wed- On every grate, within the gate, was a and are now parked at the Marathon apart- nesday, August 5th. Miss Lee, who, in P-A he knew in town. ments. Arthur Milford is reputed to be private life, was known as Mrs. William The Devil hissed to the publicist, as he one of the best film cutters in the business Courtright, was active in theatrical life looked in vain for a place, and has a wide circle of friends in the for more than sixty years. She began her “The Hell of it here, it doth appear, is picture colony. He now makes head- career at the age of 14 and has since played that we haven’t the space." quarters on the F.B.O. lot. many emotional parts on the legitimate stage and screen. She came into promi- Mac Swain As Dramatic nence as a character actress of genuine HERE’S a brand new director in Hollywood. ability in the role of the Southern mother T Anyway there’s consider- Comedian able likelihood that the in Birth a Nation. new arrival at the The of HE announcement that Mack Swain home of Edward Laemmle may ultimately * * * has definitely forsaken straight com- become a wielder T edy for character comedian roles in HAT OLD ADAGE about those of the megaphone dramatic productions, and that he will free who came to scoff and remained—at on the Universal T lance in the future, offers food for some in- least to respect, has had further exemplifi- lot. In the mean- teresting speculation. Mack Swain has cation recently at The Writers where was time it is report- been so long identified with out and out previewed ed that a mega- comedy that for the moment the idea is Ralph Graves’ phone is entirely somewhat startling. His work in The first picture, unnecessary and Gold Rush, however indicates the possi- Swell Hogan. that the new arrival has no difficulty in bilities that lie in that field. In Valen- Those who being heard. Press agents at Universal tino’s new production The Lone Eagle, had seen the City hailed the event as the source of new he further demonstrates the opportunities early rushes story breaks and sprang one that had that that lie in comedy relief in his work as were extreme- new twist all P.A.’s are reported to be the keeper of the post house. And after ly skeptical of looking for. According to the yarn as it all comedy and drama are often so near results and went to the preview frankly broke in the Hollywood papers Edward akin that but a fine line divides them. As expecting to be bored. According to re- Laemmle was working on the lot when character comedian Mack Swain certainly ports, however, Swell is not only word reached him that there was a “bird Hogan offers interesting possibilities. an interesting example of what a comedian in the office to see him.” “Who is he can do when he turns his attention to dra- and what does he want??” E. L. is re- “Obey that impulse,” says “Life.” Not matic direction, but also what can be ac- ported to have asked in that don’t-bother- bad advice that, either. Why not try it with complished in the cutting room. Cut to me-when-I’m-busy manner that directors THE DIRECTOR as well? ——

f MOTMM HCTIIM 1925 director 37 RANDOM THOUGHTS By Al Rogell

N invitation to write an article for factor will always depart from instruc- Director is, to tions, The magazine my (Editor's Note: Al Rogell, despite his but at least we can know that we AL mind, such a welcome opportunity youth, enjoys one of the most com- have set the proper speeds for the different prehensive backgrounds in the film that I am assuming the privilege of dilat- parts of the picture—then, if the operator world. His experience includes service ing on several aspects of picture-making, varies from these instructions, the responsi- in every department of the studio—prop- rather than limiting myself to one particu- erty boy, laboratory man, assistant cam- bility is his, not ours. Fortunately, the lar subject. They are all related, however, era man, cinematographer, author, adap- vast majority of projectionists are consci- tor, producer and salesman of his own because they all appertain to the making of entious artisans who will co-operate for pictures. He is now in Deadwood City, the movies the vineyard in which are the best results if — we shooting two of his own stories for Uni- given definite instructions all laboring with heart and soul, so that versal.) of this nature. the fruit thereof may be not only pleasing but also worth while. F MOTION pictures are closely re- Why are directors not conceded to have lated to all the earlier expressive arts the same versatility which the producers can we work out some kind of I OW —as we all unanimously agree have finally grudgingly granted to the ac- universal regulation of picture pro- would it not be wise for us to follow a H varies so at tors? They at last have finally been freed jection which much practice of the choreographic ballet? The from the check-rein which has heretofore present? dancers tell a story swiftly in pantomime, held them always to a certain type of per- Any director worth his salt is familiar but at frequent intervals there is a tableau formance but the producers, who are our with the problems of the theatre projec- —what might almost be called a “still” bosses as well as their’s, too seldom see tionist and he shoots his picture with those picture. These tableux not only rest the that any good director can make more than problems in mind, along with many other mind of the audience for a moment—they one type of pictures and make them well. factors which guide him in his work. We also add tremendously to the effect of There are, of course, exceptions to this all agree that one of the most important beauty as expressed in the entire ballet as to all other rules ordinarily, a man who technical points before us is the matter of ; pantomime. makes a few successful Westerns is due tempo timing of our action and determin- — It seems to me that we who make mo- to “horse-operas” for the rest of his career ing length of sequences and individual tion pictures can get an important sugges- —at least with the particular studio where scenes to work out dramatic effects by action from this ballet practice. Among its he registered his success. Sometimes a celeration or retarding. We shoot a story other functions, the screen serves to fulfill man who makes comedies on one lot may, with these things in mind—then some semi- the audience-desire for beauty generically at the expiration of his contract, succeed in amateur projectionist in a semi-amateur and the occasional tableau in the midst of “selling the idea” to another producer that theatre varies the speed of his machine and action will achieve the same results on the he can make dramas and he may even be our picture is ruined. At a recent meeting screen as on the ballet stage. is given the chance ; but this still a rarity of the Society of Motion Picture Engineers, Of course, it must always be borne in in our industry. And yet, the experience its standards committee advocated a uni- mind that motion pictures must move. In of the last year or two shows a number of versal set speed for projection of 80 feet other words, a film should not be merely successful demonstrations of directorial per minute. As a matter of fact, most a succession of beautiful tableaux; but, versatility which have seemingly surprised theatres show pictures at a speed of 85 to judiciously interspersed, they will contri- everybody but the directors concerned. 90 feet per minute—in these days of long bute a decided addition to our movies. As a matter of fact, a director can give shows with ten or eleven reels of film and more to each type of picture if he is per- various entertainment acts. If the house I have been in pictures, mitted to vary those types. Keep a man manager or the theatre operator, or both, INCE I have heard many long debates regarding on Westerns and he will fall into a certain have a social engagement after the show, S the most advantageous method of re- automatic routine ; the same is true if you they will often set this speed up a couple keep him on slapstick comedies, melodra- of notches and more havoc ensues. hearsing actors in front of the camera. mas or society stories. The temptation to Let us take an idea from the music There is one school of directors who tell their people just of slip into the rut is too strong for human rolls, where the men who produce the mu- enough the action and the story to carry them through a particu- beings—even those who sit behind the cam- sic, and who may be compared to the di- era and talk through megaphones. Let the rectors of the films, give definite instruc- lar set-up. Then, there is the other group man who has been making Westerns do a tions regarding the speed with which the who go over the entire story with their straight society story and you will be sur- roll should be turned. These numbers are players and who — if unrestrained by the prised at the virility he gives to it while marked along the side of the roll and the present policies of production regulation recognizing the necessity for the lighter wise man who plays a roll through his would rehearse through it and then re- touch. Let the director of society stories player-piano follows the timing set down rehearse it, seequence by sequence. To do an occasional Western and he will add by the artist who originally registered his me, the compromise method seems the best the finesse he has acquired. Let the com- expression on this same roll. from every point of view. After your edy man direct a melodrama and he will When we shoot a scene, we know the actors have read the script, which the di- naturally insert bits of “business” which speed at which it should be projected for rector has approved before shooting, it will speed up the action between climactic the maximum artistic effect. Let us, there- seems to me it is necessary only to re- points. And so on, down through the list fore, indicate these changing speeds to the hearse sequences as units, with additional of the various types into which pictures projectionist—who corresponds to the man directorial helps to the players on the in- have become more or less rigidly classified. at the player-piano. In an inconspicuous dividual scenes. This is a compromise In other words, change the director’s diet corner of the little cards can be printed method which escapes the bugaboo of the occasionally and the result will be healthier the speed in feet-per-minute at which the ever-mounting overhead and, at the same pictures, which means more real artistry ensuing action should be projected until a time, presents the story to the players in and better box office reports. change is desired. Of course, the human portions large enough to give them the ad- -

38 ©irector September

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r MOTION PlfllTU 1925 director 39 vantage of perspective. And it is only but it also gives the director and the play- out two good pictures with a given group with this advantage, that the actors can ers an opportunity to reveal their versa- of players, rather than just one. Granted give their work the best artistry and in- tility, which must benefit the pictures as that it is harder—the main thing we want telligence they possess. well as the individuals. It provides, in a is opportunity—and so the creative director There is a seemingly increasing prac- measure, the same opportunities which were hails with delight this increasing practice tice for companies, especially on location, present in the early days of the motion of the studios. In shifting from one pro- to make twin pictures — to my mind, picture stock companies, when the leading duction to the other, it freshens his mind this is an excellent idea. It possesses players in a picture of one day would have and the minds of his players and brings not only the advantages of economy just bits in a picture shot the following out the most in everybody, which must which immediately suggest themselves, day. It gives the director a chance to turn inevitably result in a higher standard of art. ART AND THE DRAMA By Clara Phileo Shecter

us! OME of our greatest men and scholars literary art the world has even seen. “magic screen” has made known to of science of profound academic achievement The Greek drama was renowned for its What marvelous achievements S think that a have acknowledged to us, from time choice of themes, and the grandeur of its and art it brings to us! To view to time, that the drama has been a great form, diction, and atmosphere. Or, we click of the camera brings to our glorious factor and contribution to the history of might turn to its wonderful unity, a unity beautiful Venice, scenes from mankind. That the drama has aided our which was not material or mechanical, but Florence, the gigantic Alps, the dashing cultural progress in the forward stride of the result of the fundamental principles of waves, the planets, the whole universe to the civilization is a recognized and established beauty, which aim at the glorification of behold and to admire, and, in addition, emotion! fact. Today the drama is a positive and mankind. portrayal of human feeling and fraction of a assured educational institution, and is con- And so we have, with the glowing For a paltry sum—the comfort- sidered an integral part of our cultural achievements of Greece, the inception of dollar—we find ourselves seated needs. the true Drama as a significant portion of ably in a gorgeous amphitheatre, viewing Art, Beauty. In just a brief survey of our early civili- her Art. The Drama is like a vast foun- the treasures of the universe, of science zation we find that Greece was not only tain from it flow the great knowledge and This wonderful achievement to the centre, but the cradle of our civiliza- teaching that inspired and enlightened the makes it beyond human comprehension that tion. It was Greece and Greece only world. It was the drama which was the conceive the vastness and the beauty which, because of her supreme appreciation great teacher that enabled Greece to pre- the “silver screen” has to offer. The im- of the “beautiful,” later became the foun- sent a subtle artistic form with a supreme mortal camera and the skill of the human art tain and origin of all subsequent European intellect. hand and mind bring literature and Art. It was this love of the beautiful within the reach of the poor and the rich. The Prolific Age that gave birth to finer morality, and true Those of us who love travel, and desire places with view to study civilization. During the Golden Century—the age of the knowledge of locales and people, but lack According to the Greek philosophy, be- learning and power—in Athens, the num- of customs, are now able to find fore one could be considered a gentleman ber of dramas, the highest literary pro- the material means, satisfaction by frequenting it was necessary to be beautiful. But the duction ever conceived by the mind of some source of picture theatre, where we have Greek term, Beauty, had a wider signific- man, was, at a low estimate, at least four the motion to view the drama and the ance, it implied beauty of the soul as well thousand. The free population of Athens an opportunity of the day, thus giving as material beauty. Socrates himself, one was only about that of Toledo, which has spectacular events an avenue for study and obser- of the ablest minds that the world has a population of a little over a quarter of all people of our motion picture pres- known, went so far as to say that the man a million people. The Greek drama was vation. Some are produced at a cost of thous- who is good must also be beautiful. Yet, said to be superior even to the Elizabethan entations dollars; some of the productions property and wealth signified little the drama, both in quality and in presentation. ands of Athenians. A man’s personal worth was closely approach the seven figure mark, and In common parlance, how does the drama the true determining factor, and they yet the rich and the poor alike are able serve as a factor in our cultural develop- Art. summed it up in their phrase, “both good to enjoy this beautiful luxury of ment? The drama caters to the objective: and beautiful” ( kalos K'agathos ) it expresses human emotion. By a true presentation of characters, we visualize all Holborn’s Theory that is beautiful in contrast to the sordid HOlly 3678 Stoughton Holborn, one of our foremost and thwarted emotions. It is the drama lecturers on Art and Archaeology, a mas- that is the great teacher of man’s relation- ter identified with Oxford and Cambridge, ship to his environment. Man must have in his treatise, The Need For Art In Life, an environment that is beautiful in which tells us that is was the love of the beauti- to grow. The drama always was consid- EARL A. EVERETT ful that inspired the astounding achieve- ered the teacher of a morality, therefore we ATTORNEY AT LAW ments of the Greek. It was they who should strive to maintain the Greek con- General Practice crystallized our law, our moral ethics, lit- ception of “beauty,” for the loss of the erature, drama and art. artistic may cause damage to our whole And thus we find that the drama was nature. Z. Bldg. first conceived in the Greek Art, which is Now the new drama—the silent drama 204 A. Taft the point of the present discussion. It is —does it reflect the spirit of art? Does Santa Monica Bl

Slow Motion seaworthy and all but one were propelled by their own power HY wouldn’t a comedy and averaged seven miles an done entirely in slow The Directory hour. However, when the W motion be a scream?” ships were used in action, they asks a reader of The Direc- A source of authentic were actually rowed and sail- tor in an inquiry concerning concerning ing and no motive power was how slow motion effects are information used. The Sea Hawk fleet obtained, and adds, “Just shut the making of sp- represents the most pretentious your eyes and imagine one of ^ motion picture ship-building * Pictures * Lloyd Hamilton’s comedies in Motion program ever undertaken, and slow motion.” incidentally required a greater

question, parenthetic to the alone is The being have been taken or exposed at briefer in- expense in their construction than question main concerning slow motion, no tervals give a more detailed record of the necessary for the entire usual super-pro- attempt has been to answer it here, made movements of the character or object pho- duction. but it may afford room for interesting tographed. The result is that where nor- Frank Lloyd speculation and shall be glad to hear we mally the audience would observe the com- further on the possibilities that may be pleted action as a whole and as a single contained in that query or the objections act, by taking and showing a much greater which may exist rendering it impractical. number of pictures of that action, each The original question together with the While the expedient of using a minia- separate and detailed step leading up to answer by Foster Goss, of the American ture ship is cometimes employed when the the completed act is revealed. Society of Cinematographers, follows: script calls for the destruction of the ship, While slow motion may be obtained in in most instances actual vessels are used. Editor, The Director: varying degrees and incidental effects made Sometimes by building the necessary super- Please tell me how slow motion is ob- simply tained. Is that done by slowing up the without changing cameras, by structure relatively modern ships, 'small camera or by some special machine; or is speeding up the camera, enough to slow schooners, etc., may be converted into it accomplished by projecting the picture down the action at that particular point, semblances of antique vessels. The par- faster? the extreme slow motion effects are usu- Why wouldn’t a comedy done entirely in ticular problem involved, the importance slow motion be a scream? Something short ally otbained by the use of a special high of the ship in the picture, whether it is and foolish. Just shut your eyes and im- speed attachment permitting acceleration to used for close shots or always at a distance agine one of Lloyd Hamilton’s comedies in many times normal taking speed. all enter into such an equation. slow motion. Mrs. E. A. G. . Going to the opposite extreme, the rapid- To be specific with respect to the A nswer by Foster Goss fire action which characterizes comedies, question asked, the galleys used in The The standard normal speed of taking chase scenes, etc., is created by slowing Sea Hawk were actually built and neces- motion pictures, as recognized by the dozen the taking speed with the result that sarily so, for a great deal of the action of American Society of Cinematographers, is fewer images are registered and the speed that picture evolved around them. Sim- 60 feet per minute that is, one foot per — of the action is seemingly greatly acceler- ilarly in the production of Ben Hur Ro- second. In turn, each foot of film con- ated, when the picture is projected at the man galleys were actually constructed in tains sixteen “frames,” each “frame” being normal rate of 80 feet per minute. Italy for the important sequences when an individual picture, which means that Foster Goss, Ben Hur makes his spectacular rise from sixteen images are registered on a continu- American Society of his lot as galley slave to one of high Ro- ous strip of film every second. This is Cinematographers man rank. When Charles Ray produced considered normal taking speed. Miles Standish he built at considerable The standard projection speed recog- expense an exact replica of the Mayflower nized by the A.S.C. is 80 feet per minute. Old Ships —above the water line. Inasmuch as the is the recently in This standard adopted craft was built on the studio lot and never place of the former standard of 60 feet ROM a letter touching on several entered the water, details below the water has ill per minute which become adapted matters, pertinent to the magazine but line were not necessary, of course, and to the continued improvement in projec- F having no direct bearing to this de- when water was necessary the space around tion mechanisms. After a great deal of partment, has been taken the following the ship was flooded. But the interesting experimenting, the 60-80 ratio has been have been question the answers to which detail here is the fact that the ship was finally determined upon as being the ideal by a research prepared by Frank Lloyd and built, complete in every detail as to super- basis for taking and projecting motion pic- motion man who is in truth a rara avis in structure and rigging. tures. pictures—a man who shrinks from publici- The matter of getting “proper specifica- All of which may seem more or less ty; and requests that his name not be used. tions” for the construction of such ships question but helps in es- irrelevant to the How do they obtain the old galleys and falls into the province of the research de- tablishing a definite premise by which the ancient ships such as were used in The or either that conducted by the basic principles involved in slow motion Sea Hawk, etc.? Do they make them partment, are they “faked,” and where do they get may be the more readily understood. studio where the production is being made, the proper specifications? or by one of the independent research bu- Contrary to what the popular concep- Answer by Frank Lloyd reaus which make it a business of collect- tion may be, slow motion pictures are made ing specific information on all sorts of sub- not by slowing down the normal rate of To obtain the four ships necessary for jects. Research is an important feature taking speed, but, actually, by increasing this picture, we bought four hulls ranging of motion picture production today, an im- that speed. The increase of speed in ex- from 95 feet in length to 285 feet. These portance which is largely attributable to cess of 60 feet per minute is in direct were brought to San Pedro, stripped and fact that the American audience is be- proportion to the degree of slow motion rebuilt to resemble sixteenth century Eng- the thoroughly educated by the real- desired, with the result that when the lish, Spanish and Moorish vessels. The coming so motion pictures as to demand a picture taken at this accelerated speed is ships were reconstructed by crews working ism of of accuracy and authen- projected at the normal rate of 80 feet three shifts a day for ninety days, at an reasonable degree per minute the series of “frames” which expense of $285,000. Each ship was made ticity. 1925 ©irector 41

“The Lost World”

ERE’S a query regarding The Lost World, and one that brings up an H interesting point. In procuring the effects on the prehistoric plateau it is quite obvious that certain “tricks of the trade” had to be employed, so obvious that to afford a brief and general explanation of those tricks adds to the interest rather than detracting from the naturalness of the illusion. Hence such a question may be deemed to have a logical place in this department and the answer by Harry O. Hoyt, who directed the production, is given in a short and sketchy summary of the general principals involved. Editor The Director: Won’t someone please explain in a

general way how it was possible to create such realistic effects in The Lost World, particularly the scenes on the prehistoric plateau where animals which we all know have been extinct for thousands of years were made to appear in lifelife naturalness? How do they do it? G. E. I , St. Paul, Minn. Answer by Mr. Hoyt

To tell in a couple of hundred words how we made The Lost World is an even harder task than confronted us in making the picture. In short, it was an extension of the animated cartoon idea, except that, instead of animating drawings, we animated figures. This process naturally called for multiple exposure and in some cases we Individuality had as high as nine exposures on the same piece of film. The matter of timing was

. . . . that distinctive touch which stamps a home tremendously important—as, for example, in the fire scenes, we had to animate the with the personality of its occupant . . . that little animals and then animate the fire, so that touch of artistry, subtle, intangible, yet so reflective the speed with which the smoke rose would of the characteristics of the owner . . . just the not be too fast for the movement of the right blending of colors ... a drape here, a piece animals, and both of these in turn had to of period furniture there ... a picture hung with be co-ordinated in time with the move- seeming irrevelence, yet in such a manner that it just ments of the human beings on still another exposure. fits into the scheme ... an inconspicuous piece of The entire picture was made on the bric-a-brac or ornament that adds a distinctive note United Studio lot. The animals were ab- . . . such is interior decorating the Behannesey way, solutely correct from a scientific basis, in which expert knowledge and experience are from data furnished to us by the American blended with artistry; as, for example, the individu- Museum of Natural History and the Brit- ality which has been injected into the decorating of ish Museum. To make the movements of the prehis- such homes as those of toric animals seem less grotesque, we in- Mabel Normand Jack Dempsey troduced modern pets and wild animals Mayor Cryer Viola Dana into the picture before we came to the Eisen prehistoric plateau, thus securing not only Lew Cody Percy an animal unity for the whole picture, but Vic Schertzinger also shooting close-ups of the movements of familiar animals, revealing their jerky nature, so that when the animated mon- Behannesey’s Art Studio sters moved, their actions seemed more Interior Decorators Individuality natural because of the preceding demon- of stration. Harry O. Hoyt HOlly 3936 Hollywood1122 North Western Avenue There are lots of ways in which you can spend $2.50 to much less advantage than in a year’s subscription to THE DIRECTOR. : ; —:

T~X wno» wmw 42 director September

THUNDERING SILENCE was supposed to have been negotiated by terested, and I fear they would not be It very lenient with you.” She rose and clamlv (Continued from Page 26) the man whose name you were using. was a perfectly amicable arrangement. You faced him with a challenging look.

both agreed to it, and it is assumed that He was silent for a moment. Then he "I have learned of its existence,” she re- you were in your right mind when you stood up and studied her with an amused plied, “but it has disappeared. And, I am expression. He admitted to himself that positive the police didn’t find it.” made the agreement.” he was puzzled. It the baffling Chapin nodded thoughtfully and then He realized she was speaking the truth, was most mystery of which he had any knowledge, he looked at her and said “The money and it didn’t please him a great deal. The ; and it had few equals even in fiction. was in a tin-box, under Morgan’s arm, more he pondered over this entire business He the that it was positive that this beautiful creature when I left the room.” more convinced he became had was not Mrs. John Morgan. That much Claudia leaned forward with interest. been a foolish game for him to play. He hadn’t benefited the deal, and just evidence was in his possession. To con- “But, when I came back into the room, much by vince others, would be more difficult, for the box had disappeared.” at present, it looked as though he stood a Claudia Carlstedt and Mrs. John Morgan She studied the floor a moment and fairly good chance of getting into trouble were exactly alike. In fact, so closely did frowned. His explanation was simple, but before it was all cleared up. Finally he looked at her and said they resemble each other that they might it was too simple to ring true. She didn’t intend doing?” easily be taken for twins. believe him, and she let him know it as “What do you “How long have you been here?” he she said She had her answer ready, and smiled as asked abruptly. “You’d have some difficulty in making she calmly replied; “I intend to remain “I came here early this evening.” the police believe that.” here, as Mrs. John Morgan—wind up his “And the servants? .... Ricketts and “It’s true, nevertheless,” he insisted. affairs—take care of all the little details — dispose the collect the Wenzel the chauffeur?” “Furthermore, I would have been entitled of estate— $200,000 from my deceased husband’s insurance pol- “They left soon after I arrived.” And too keep it—perfectly justified. It was icy and then say au revoir.” then, as she noted his curious glance. “Ser- my money, or at least money that I had — vants can always be purchased.” earned. I’d worked damned hard for Chapin smiled at the irony of it all. He “But they usually put a price on their every cent of it.” couldn’t help it. He realized that Clau- secrecy, too,” he reminded her. She listened and smiled as she shrugged dia Carlstedt was a very clever woman, She smiled. “You do not seem to realize her pretty shoulders. “You were an im- in fact he had underestimated her shrewd- that I am not seeking privacy. I came postor,” she reminded him, bluntly. “It ness. She was playing a very daring game here as Mrs. John Morgan, and the serv- might be well to keep that in mind, Mr. and he could not help but admire her ants received me as the head of this house- Chapin. The law would take that into bravery. The stakes were worth it, but the danger in case she failed was indeed hold. The deception is quite as complete consideration. Perhaps you did make it, great. Her chances of success were not as your masquerade.” Then, as she glanced but you made it for John Morgan. The to be discounted. one individual aside reminiscently; “Why, poor old Rick- world knew you as John Morgan and Only etts was so pleased to see me that he fell every business transaction handled by you stood between this woman and her goal. There was only one who could prevent over a cloisonne vase. And, when I in- her from carrying out her plans without formed him that his services would not be fear of being detected by the police. And required here any longer, he was unable that one person was Howard Chapin. It to control his grief. However, I was might be well to remind her of that before able quickly to dry his tears with some she started. handsomely-engraved gold notes, which will secure him against poverty for the re- GOERZ that these “I presume you are aware mainder of his days.” plans can be considerably altered?” He Chapin paced the floor, and pondered. said this quite confidently. Film Raw Stock This woman was no amateur. It was plain “Oh, don’t be so silly: of course I do.” that she had deliberately planned every- And her smile was quite tantalizing. thing before the Empress of India arrived But Chapin appeared to ignore it, and at San Pedro. She had carefully plotted NEGATIVE after a momentary hesitation, he met her this whole business before she booked pas- gaze with a grave countenance as he re- POSITIVE sage on the steamer at Manila. marked “One word from me to the police, ; “You’re evidently playing this very dan- would have an unpleasant effect, I’m sure.” PANCHROMATIC gerous game—alone,” he mused. She threw back her head and laughed “Perhaps.” heartily. But, you’re not so stupid, I be- Then, after a considerable pause, during lieve.” she became serious. ’’Pris- Then which time she made a careful study of ons are such disagreeable places.” the man who had stopped abruptly in Again she was right. Both Morgan and front of her, she spoke. “I hope to carry he had broken the law by entering into out this entire scheme successfully, pro- such a strange pact. Morgan was safe viding I can count on your silence.” Sole Distributors he was beyond the reach of earthly punish- He nodded curiously. but Chapin was a living ment; Howard “How much will that secrecy cost me?” personage, and at the present moment, in she added, in a business-like manner. very good health. However, he was not FISH-SCHURMAN Chapin was silent a moment as he to let her hold all the good cards. going glanced aside. She stood motionless, CORPORATION There was no reason why he shouldn’t looking into his eyes and waiting for his do a little bluffing, for she had been doing WEST COAST OFFICE reply. Then he came a step nearer her, quite a little of it since he came in. 6331 Santa Monica Blvd. and staring straight into her upturned “Suppose I decide to run all risks and countenance, said; “It will cost you more Los Angeles California accept whatever punishment which might than you would be willing to pay.” result therefrom?” he asked her. “I will make any reasonable sacrifice,” Telephone GRanite 5451 “I should then feel very sorry for you,” she informed him. she replied sternly. “There are others in- (To be continued in the October Number) :

J MOTION *K TORI 1925 director 43

.(9 — Weft 2ft 2ft ®e We 2ft we2ft 2ft 2ft — it’s just a matter of business and horse-sensei ©? We 2ft 2ft @5? We mm 2ft 2ft 2ft —if you have the goods, you’ll get to the top; but it takes 2ft% We 2ft 2ft R© a long time without publicity and this time means money s>i© 2ft 2ft .Jh© We We and effort to you / 2ft 2ft We we 2ft 2ft ste-j© ©? W5? 2ft 2ft «§» ‘sS —the right kind of publicity will bring you up speedily 4Si® Silt© ©? i©i® and surely/ 2ft 2ft >©d8 we w ^ 2ft 2ft 5) °e3 We we “J© —for example we we2ft we2ft 2ft 2ft ©? rag 2ft 2ft Director X made $37,500 last year. @5? ©? 2ft 2ft i@-S§ Publicity brought him a year’s contract ©? ©? 2ft 2ft T>S- -© f ©? ®e at $125,000—and with a more important producer# 2ft 2ft 'll ©?©? We2ft We2ft i©f§ We2ft We2ft ‘Kg,*® Scenarist Y averaged $500 a week last year. 2ft©? SftWe Publicity made him a director we 2ft ©? ®e 2ft and his salary is $1,000 per week/ 2ft©? We 2ft

^e 2ft we Actor Z wanted to come back to the screen. We We2ft We2ft on four pictures got 2ft 2ft Publicity ©? ©? 2ft 2ft him a stellar unit at a big studio/ ©? ©?

we2ft We2ft -you can easily learn who they are and what it cost them, 2ft 2ft

(sft 2ft because their campaigns were conducted by yours truly/ ©? ©? 2ft 2ft We We 2ft 2ft We We 2ft, 2ft. —let’s talk it over# We We ©?2ft 2ft 2ft We We ©?2ft ©?2ft 2ft 2ft We ©? We2ft We2ft 2ft

We2ft We2ft 2 GEORGE LANDY weft We2ft 2ft 2ft PUBLICITY—EXPLOITATION ©? ©? ©?2ft ©?2ft We2ft 2ftwe 6683 Sunset Boulevard [Suite 3] HEmpstead 2893 We2ft we2ft ©?©?2ft 2ft We2ft We2ft '2ft>K©?2ft —

¥ MOTION MTTVU 44 director September

THE BARNSTORMER dollars at the end of each day. This pleased them so much that Al declared (Continued from Page 22) he didn’t give a how much dessert the women for ordered. We certainly lived well that the depot, Mr. Reed, the proprietor, you right out if they had. These fellows week. advised us to wait and ride down in the are so used to preying on one-lungers that On Thursday Mowrey hailed me from hotel bus. they don’t seem to realize that there are across the street. He smiled all over as He was so insistent that eight of us men who have the nerve to demand honest he yelled, “Good bye, Frank; I’m going waited and rode in his old bus, although treatment.” to Los Angeles on the hog train,” and the station was only a few blocks away. I was grateful but careful to say noth- laughed heartily at his own joke. I didn’t On reaching the station, the driver de- ing that would prompt the marshal, who understand what he was driving at and manded two dollars. was watching me with an ugly scowl, to asked him to explain. “I ride on top of I indignantly refused, informing him make any move that might make me miss the cars,” he said, “and have a long pole that, as we didn’t pay going up, we would the train. I was mightily relieved when with which I poke the cows if they try to not pay coming down. He replied: “We we finally started. lay down. I get to Los Angeles and get don’t charge going up,” and to my protest Going back to Phoenix was like going two dollars a day besides.” that there was no sign in his bus reading home. The people welcomed us and we I kind of envied him as I was not sure “fare twenty-five cents,” he declared: made a little money on the week, using how we were going to get there. As a “Well, we don’t have to put up any East Lynn and Sapho three nights each. matter of fact he made the trip O.K., and sign and I want two dollars quick!” Our new advance, man, named Edgar Rice, landed with money in his pocket, but if I advised him to “go to and get it.” an ex-soldier just back from the Philip- he had stayed with me and behaved him- He left me but immediately returned pines, had cut the Mills hotel on account of self he would have cut in on quite a bit of with Reed, the hotel man, who started to increase in rates and engaged rooms in pri- money in the next few years. But just at upbraid me as an evader of just bills. I vate homes, arranging for us to board at that time I was trying to figure a way held to my opinion that the charge was “Coffee Al’s,” the best restaurant in town, home. unjust and they both withdrew, but as I excellent and very expensive. A1 must have The week in Phoenix was fair—in com- was watching the baggage go on the train, been feeling very liberal when he allowed parison to other weeks—a little over three a man stepped up to me saying, “Your my advance man to persuade him to agree hundred dollars, all mine, as rent and name Frank Cooley?” to board eleven actors three meals a day for lights were furnished by the street car On my admitting it was, he stated, a dollar apiece and no restriction on or- "1 company. They did not give me the his man”—indicating the bus driver dering. “has a twenty dollars bonus, however, and I still bill against you for two dollars and At the very first meal one actor ate over owed a balance on the tickets they had you will have to pay it or you don’t leave a dollar and a quarter’s worth. The wait- town. ’ furnished to bring us from San Francisco To my declaration that I \vould ers would give us their check which we pay nothing, which I now paid. The railroad fare from he informed me that I was did not have to present, and we would Phoenix to Angeles amounted to two under arrest. Los walk out leisurely very leisurely, as we — hundred and twenty-five dollar's. The I called to my wife, who was on the were too full for speed. Wednesday even- Santa Fe agreed to allow me to buy the train. She opened the car window and I ing as I coming out of the restaurant, was tickets on the installment plan, fifty dol- handed her the bank roll with instructions dinner, I noticed after a very excellent A1 lars down at Phoenix, fifty at Prescott, our to take the company back to Phoenix, put and his partner in earnest conversation. next stop, fifty at Jerome, fifty at Needles them up at the Mills hotel and await de- As about all the company were in gorging and twenty-five at San Bernardino. I had \ elopments as I intended to see the thing themselves at the time, I easilv surmised to let my advance man have money as we through. The marshal then put me in the we were the subject of the consultation and would not see him again until we reached same hotel bus and we started to jail. so asked the partners what the trouble San Bernardino as the intervening towns Suddenly he turned savagely on me with was. They denied there was anv trouble, were to be one and two-night stands, so \ ou’re a of a man ; why don’t you at first, but I was persistent and jokinglv after paying all bills and fifty on the ticket, pay your bills?” I replied that I tried to accused them of being afraid they would I had about sixty dollars in my pocket. when they were legitimate. “Well,” he not get their money. bill would be My boarded the train for Prescott said, “this man pays a license As we and is en- sixtv-six dollars at the end of the week. stood by evidently hoping I would titled to the protection of the law.” Joe This brought a replv. “I want to be a along, but all That gave me a great weaken and take him we opening and I good fellow,” said Al. “but some of your figured that he and Mowrey had jinxed us dramatically replied, “I am a citizen of women order three kinds of dessert. I so he was left in Phoenix. A few weeks the United States and am also entitled to wouldn’t kick if they ate they what or- struck caught on the protection of the law. later a circus town. Joe You think you’re dered but they only nibble at the second he also reached Los Angeles long be- right, I think I’m right, and so we will see and third dessert, just enough to make us fore we did. this thing through. If you I’ll win have throw them out. Now pineapple, for in- to take the consequences; We reached Prescott O.K. and on the if I win I’ll stance, comes a long wav and freights are own this horse way to the hotel I looked around, as was and rig. Now shut up, as I high.” have nothing more to say.” my habit, to see what kind of a showing I assured him it would be quite satis- We drove in silence our advance man had given us. I saw one for a few blocks, factory to restrict everyone to one dessert then the marshal whispered half sheet litho tacked on a fence, that to the driver, and inquired if that was all that was wor- who turned his horse was all—not very encouraging. Almost around and using his rying him. He reached behind his safe whip, got us back the entire town had recently burned down. to the station in time for and brought to view a fairlv good silver- me to catch About the first thing we saw was two solid the train, without another handled umbrella, saying, “Well, while we word being spoken. blocks of tents and every one a saloon, are talking, I might mention that I had a I had foot but the theatre and one hotel and a few my on the train step when a company boarding here last year and the little man ran stores were still standing. up to me all out of breath, manager, a man by the name of Marsten, grasped my hand, at the hotel saying: “That’s the way gave me a hard luck story and this um- As soon as we were settled to do it without seat sale. It was ; a warrant they had no brella for a seventy-five dollar board bill.” I looked up the reserved right to arrest clerk’s statement you, but they might have I eased their fears by paying them thirty- practically nil and the done it anyway. I was running right along three dollars for Monday, Tuesday and that the people were not much on reserv- after you, however, and would have had Wednesday, and promised to pay eleven ing their seats in advance, brought me I

1925 ^director small comfort. As the actors had drawn was used to, but as soon as the door was some on the train, the bank roll was now shut I hurried to the dressing room where just thirty-five dollars. my wife was waiting for me and nearly The town showed no signs of life, sa- scared her to death with my bunch of gold. loons deserted, stores empty and hardly I guess she thought I had held up a bank. anyone on the streets, and I had to pay We went home feeling mighty good that fifty dollars on the railroad tickets before night and the next day I paid a hundred we could get on the train. dollars on the railroad tickets, sent fifty This was the first time I really felt to Francis and Valentine, the printers— Willidm whipped. I went back to the hotel and owed them over a hundred—and divided stayed there until show time, relying on the balance between the actors. the boys to get things ready. Even then I The second night we played Sapho to didn’t go near the front door nor take the three hundred and eighty-eight dollars. trouble to get acquainted with the man- The manager was so pleased that he coaxed ager; told one of the boys to go on the me to stay another night, really against my Horsley door and let it go at that. I put on my judgment, as we were due in Jerome, but makeup and drifted up on the stage and, as I had failed to get Flagstaff for Thurs- as was the custom, just before the start of day and we were due to lose two days, I the first act, I looked through the peep hole allowed the fact that if I could change in the curtain, more from habit than any- Jerome to Thursday, put Wednesday in thing else, and was startled to see a full Prescott, I would lose only one day, per- film house—a full house just as I was ready to suaded me to agree. I called up Jerome tell the actors they would have to tele- and the manager consented to the change graph home for money to get out of town. but with very poor grace. I ought to have I called my wife and allowed her to feast called the change off right there, but her eyes on the sight. didn’t. Right away we began to speculate on We played The Story of Inex for our Laboratories the amount of money out there. I thought third night in Prescott and as we had no around one hundred and fifty dollars; the real way of reaching the public with the missus thought ninety-five would be nearer news of our longer stay, the receipts to it. We had been charging twenty-five, dropped to fifty-five dollars and the man- fifty and seventy-five everywhere except ager squealed like a hurt child; wanted Phoenix but I hadn’t taken the trouble to me to let him take his expenses out and Inc. inquire what the prices were here. give me what would be left, about ten The actors were all on their toes as this dollars. I couldn’t see it and demanded was the first crowded house w’e had seen. my full percentage, which I finally re- As a result the show went very well and ceived. The next morning we were on the people were pleased. our way to Jerome. I had paid the balance on the railroad tickets, give*! the The show over, I went out to the box actors a little more still in office, made myself known to the manager and had money my pocket. and told him I was ready to settle up. On 6060 the manager’s desk, I noticed a stack of I found the manager anything but cor- twenty-dollar pieces with some silver near dial in Jerome. In fact, he would hardly and a smaller pile of money a little further speak to me at first and threatened not to I the night’s play the show at all said there a over. assumed this pile was ; had been receipts; paid no attention to the other pile two hundred and fifty dollar advance sale Sunset as I thought the stack of twenties was a the day before and that we would have brass paper weight. So when the manager played to over four hundred dollars, but gave me a statement and pointed to what I now the people were sore and we wouldn’t had taken to be a brass paper weight, with do any business. He was partially right, Boulevard “There’s yours; count it and see if it is for we only did eighty-seven dollars. How- correct,” I had hard work to keep from ever, I didn’t feel so bad I had my ticket ; shouting. clear to Los Angeles and two hundred dol-

I noticed by the statement that our lars in my pocket. prices were fifty, seventy-five and one dol- We had to lose Friday night in getting lar, higher than we had ever played to, to Needles, our next stand. The rainy Hollywood and the gross receipts for that night, three season had set in and already there was a hundred and sixty-six dollars and forty report out that the Santa Fe trains would cents. My share was sixty-six and two- soon be stalled. This made me a little thirds per cent of this. That was the first apprehensive as Mrs. Kiplinger, manager (alii. time I had ever played on such terms nor of the San Bernardino Opera House, had have I ever since—or two hundred and refused to play me on a percentage basis forty-four dollars and twenty-five cents. I and I had contracted to pay her one hun- controlled myself with much effort, signed dred and seventy-five dollars rent for her the house statement with a trembling hand, theatre for one week, newspapers, bill post- put the money in my pocket, and making ing, etc., extra. To lose one or two nights Holly m some foolish remark about Sapho probably would be a heart breaker, and when we doing better on the next night, said good reached Needles we found conditions very evening to him. bad; no billing at all, the town small and I walked out of his office with much no life, although there was plenty for me dignity as if a good house was only what I before I got out. I conceived the idea of :

JPV Mfv-no*. HlTMU 46 director September cancelling, if possible, and thereby making teeth were showing and blood running all I was whipped, alone in a rotten town sure of reaching San Bernardino in good over his broad white shirt front. with a mob at my heels that still threat- time and starting some publicity that I As he reached his feet, I swung my left ened violence. Dr. Booth was right ahead. felt sure we would need. I proceeded at hard for his chin, but the hotel man, who I called to him to let me off so that I once to find Dr. Booth, the manager. was a witness to the whole proceeding, might catch my train which was gathering Someone directed me to the Needle's Eye, pushed me back by the shoulder just far way very slowly on account of its great a newspaper owned and edited by Dr. enough for me to miss. length, but he answered only with a curse Booth, who, besides being opera house I was at once surrounded by a mob that and made a vicious swing at me that I was manager and newspaper editor, was the evidently had not seen the first blows lucky enough to catch with the palm of my leading physician and leading attorney of struck, had seen only the doctor pick him- right hand. The officers had hold of me on the town. self up from the ground with a cut lip either side and the doctor was going to try I met my wife and two of the girls of and bleeding. They backed me up against again, when the finest looking young man I the company talking to a distinguished the train and called me everything they have ever seen stepped in between us and looking man of, I judged, about thirty- could think of, the leadership being as- started Booth off with “Go home, Doc!” five years of age and weighing around a sumed by a man named Corning, who op- and to the officers, “This man is under ar- hundred and eighty pounds. My wife in- erated a smelter in Needles and lived in rest and entitled to your protection.” To troduced him to me as Dr. Booth. I im- Los Angeles. He was closely seconded by which they replied, “Well, he’s getting it.” mediately asked him what he thought of a “rat” in overalls. “But in a poor way,” said the man, our prospects for the night. He replied, Corning drove me against the side of whom I afterwards learned was named “Not very bright.” the train with a swing on my left jaw and Prince, a graduate of Yale and an athlete. I then inquired if he advised me to stay I was about to get mine a-plenty, with the He sure was rightly named. and show, or cancel and go on to San mob yelling, “String the up!” when Well, they put me in their jail, after Bernardino, to which he replied, “You’ll Hamilton Armour, an English actor, since relieving me of my bank roll, and some do nothing here, so I would like to see dead of lung trouble, the only one of all jail—one room made out of boiler iron, you go on.” I thanked him and hurried the huskies I had working for me who had rather large as I remember it with no win- to the train and stopped the unloading of the nerve to try to help me, jumped off dows, but rivet holes everywhere. The our baggage. This accomplished, I the train, and to my side with “Hold on, marshal brought me a bucket of ice water rounded the company, informed them you’re not acting like Americans. it at least in up men ; — was a hundred and twenty we were going on and saw them all on I’ve always understood that Americans be- there—and then I was left alone. I never the train. lieved in fair play. If you must have a felt so rotten in all my life. I was about to get on myself when Dr. fight, just step back a little, form a ring I had been in a couple of hours, when

Booth stepped up and asked how much I and pick out your best man; I’m sure he’ll I heard steps approaching. I thought it would be willing to stay and show for. take on any one of you.” was the marshal, but the steps suddenly I replied, “Forty dollars my share.” He I was desperate and figured a fair lick- stopped. My nerves were on edge anyway said, “You wouldn’t get it.” ing would be a cheap way out of it, espe- and I imagined some one was slipping up I agreed with him and again started to cially as I had heard the cries of, “Get a to take a shot at me. I looked around for board the train when he again stopped me rope, let’s lynch the !” So I volun- some place to hide but the rivet holes with, “Very bad judgment has been dis- teered to go any two and asked for Corn- seemed to command every section of the played in this matter.” Again I agreed ing and the “rat.” The latter had been cell, so I sat on an oil can near the side with him but he seemed to be peeved and prancing around waving his fists looking wall and waited. with, I mean you!” at with- Presently voice within inches detained me “By , for a chance to take a punch me a a few Once more I declared him to be right. out any danger of a return. Armour suc- of my ear said, “Hello.” I replied “Hello” “Furthermore,” he remarked, “I don’t ceeded in holding them off for a little but and my visitor remarked, “You’re in a think you have acted like a gentleman.” they wouldn’t agree to a fight but wanted pretty bad mess”—to which I agreed.

I naturally inquired in what way. my destruction. “Do you belong to any secret order,

“Well, I heard you were going to slip At this moment the white-haired con- Elks or Masons?" he asked. At that time by us and not stop at all.” ductor of our train broke through the I did not and so told him. I replied, “Oh, I’m not accountable for crowd and grabbed me by the arm, with “That’s too bad,” he said. “You had rumors and the best answer to that is, I’m “Here, you get on that train!” I was better ask for a change of venue as you here and would have played even at a loss hustled into the car and sat down by my would never get a fair trial in this town. if you hadn’t given me permission to can- wife and prayed for the train to start. Only today Dr. Booth received two hun- cel.” Just then I heard a rasping old voice cry, dred and twenty dollars for defending and Now he became nasty: “You haven’t “You go in there, arrest him and bring obtaining an acquittal for a prostitute who !” acted like a gentleman anyhow.” him out, or I’ll go in and kill the was on trial for selling liquor without a

I came right back: “I don’t see any I wasn’t through yet. license and yet I know there was hardly a medals dangling from your chest proclaim- A tall, dark man with a drooping black man on that jury who had not had a drink ing you to be such a gentleman either.” moustache came into the car followed by in her house. “Do you mean to insinuate that I’m not a smaller man. They came down the “He was showing his friends a good a gentleman?”— aisle looking over the passengers, trying to time on that money today and after he “No, but ” And that’s as far as I locate the man who hit Booth. I did the gave you permission to cancel, his crowd got for the doctor swung one from the best acting of my life, looking around with persuaded him to make you stay and show hip. innocent curiosity, as if to see what was as they wanted to see Sapho. When he

It was so unexpected that it look me going on. failed to get you to stay, he evidently full in the face a little to the left of my I would have gotten away with it, too, thought he could knock you down and that big nose, luckily, and started his left to as they walked right by me, if the old stiff you would crawl on the train without a follow, but I was fortunate enough to stop who had threatened to kill me hadn’t en- fight and he would receive the plaudits of him with my own left, a quick, straight tered the car just then and point me out his friends. jab; then stepped in and caught him with with, “There’s the ; arrest him!” “You can thank your good fortune that a stiff right in the mouth. He went under The officers turned, picked me out of the no one pulled a gun as that would have the train, staggered to his feet. His lower seat and hustled me from the train just as started things a-plenty. You would un- lip was split, vertically, so badly that his it started to pull out for San Bernardino. doubtedly have been shot and the Murphy- I X MOTION nmw 1925 director 47

VIOLA DANA

CciinorA Croations

1741 North Cahuenga Avenue HOLLYWOOD, CALIF. GRanite 1559 —

48 ©irector September

Monahan crowd would have stepped in, as nights and one matinee. Mrs. Kiplinger they have all was not in the best of she Regular Dinner, 75c been waiting day for Booth humor as figured and his friends to give them an opening. out where she lost over three hundred dol- Steak Dinner, $1.00 “Now I’ll go up town and see what I lars by not playing me on the regular 60- can do for you, but I want you to prom- 40 basis for shows of my kind. Maryland Chicken Dinner , $1.00 ise that if you recognize my voice when We were due in Riverside the following you get out, don’t let on you know me, as week but President McKinley died just I am so situated here that I can’t afford to then and Frank Miller, the manager, can- take your part openly.” celed and draped his theatre in mourning. He left me and an hour later the mar- We put the week in in Ontario and Colton ..The shal opened the door and took me out. He to indifferent business. did not set me free, but escorted me to a We were to show in Redlands after Col- Chinese restaurant in a small side street Sunset ton and as the soldier advance man was and I had something to eat—which I paid quitting, I pressed one of the actors into for. From there we went to the hotel, by service sending him to Santa Ana Sunday ’’ the back way. I was locked in a room “Perfection in Home Cooking morning to do the billing for a three-night with the marshal and a deputy outside the stand to follow Redlands while I would door, seated with big Colt revolvers in bill Pomona, where we were due after their laps. They were probably having a Santa Ana. We both had to be in Red- lot of fun with the “actor” but from the lands for the show Monday night. I fin- talk I had overheard in the restaurant, I ished in Pomona without trouble but the figured the marshals feared the Booth actor advance man got drunk, failed to crowd might come after me during the reach Redlands in time to show and some- night and of course I was not tickled to one had to read his part. I thought this death with the idea. I looked out of the would kill the week, but it didn’t; in fact, window and calculated my chances of we did more business than the following making a getaway by means of that exit 6751 Sunset Boulevard year with a better show and better plays. in case things got warm. Santa Ana and Pomona also showed a Sunday morning came, however, with- little profit. Then we played John C. out event and later in the day I was in- HEmpstead 5301 Near Highland Ave. Fisher’s theatre in San Diego for a week, formed that Dr. Booth was willing to let opening in The Butterflies, John Drew’s me go providing I paid the advertising bill successful comedy, to a good house and Have Dinner Before Going to the of one dollar and fifty cents. That was pleasing the people. One of the papers Bowl or Theatre easy, so about four o’clock I was given headed their review of the show next morn- my bank roll, I paid the one-fifty and one ing with The Butterflies as Played dollar to the hotel and was then conducted by John Drew—Only Different—and out of town by the back way, put on board attempted to be humorous, but we did the caboose of a long freight train and over twelve hundred on the week and ordered to get into a berth and cover up pleased particularly well in Sapho. Frank Immortalize with blankets. After what seemed to me Bacon had been there with his show play- an awful long wait, the train finally that wonderful ing Sapho and charging more money, but dog started but I didn’t come from under until according to the papers, we gave the best we were at least twenty miles out of town. of yours! performance. I was paying salaries now four- I reached San Bernardino about and things looked good. thirty Monday afternoon, had time to (To be Continued shave, take a bath and get something to eat ) before going to the show house. The rest of my people had reached town Sunday morning, and theirs was the last passenger WHY HOLLYWOOD? train to get through for several days, and (Continued from Page 17) if we had played Needles the entire company would have had to travel by freight can be transplanted to the Pacific Coast. and arrived in San Bernardino late Mon- It is being done constantly. Recently, day afternoon the same as I did. As it for instance, on the United lot was cre- was the boys had had time to get out and ated an exact counterpart of Gramercy do some advertising, painting sidewalks, Square, not as it is today, but as it was soaping signs on saloon mirrors and hang- in the period in which the story was laid. ing long banners in prominent places. True enough, there are mammoth stu- What a difference that night ! The house dios in and around New York, humming was crowded and the audience enthusias- with production activity, equipped with all tic. They even demanded a curtain speech the latest and most modern devices. It is of me and laughed heartily at a brief re- a fact that we no longer need to depend YOU ARE INVITED TO VIEW AN cital of my troubles in Needles. The news- UNUSUAL COLLECTION OF OIL papers had two-column articles in story PAINTINGS OF PET ANIMALS at They THE form of my run-in with Booth. knew him well, as he had been sheriff of Take my advice: Stanhope Studio San Bernardino county for years. Subscribe for 7126 SUNSET BLVD. Our opening went around two hundred old ten, twenty and THE DIRECTOR WM. A. STANHOPE, Animal Painter dollars, prices now the Hours 2 to 5 Daily thirty scale, and stayed good all the week, William Bill totaling over twelve hundred for the six — —

f -V Mono* n« TVM 1925 director 49

on Old Sol for light—the greatest reason all scientifically trained. At a moment’s why we first migrated to California—and notice it is possible to procure character use electricity to achieve effects which can types representing practically every race on be and are used in any studio, no matter this planet, singly or in groups of mob You Fellows what its location, working conditions or proportions. climate; so that, insofar as interiors are Say what we like about the extras, they Got My concerned, pictures can be produced in New constitute a very important adjunct to mo- York or elsewhere with the same ease as tion picture production. Here they are in Hollywood, but available in seemingly unlimited numbers Invitations Where, outside of Hollywood, is the and all of them have had that basis of “locational atmosphere” so readily avail- screen experience which insures proper able here? Where are the mountains with- make-up and performance before the cam- Didn’t You? in a few hours’ ride— real mountains with era. Insignificant as this item may seem serrated peaks and snow lines, with big to be, it is one of the contributor factors —HENRY BERGMAN timber and rushing streams; mountains of which adds immeasurably to the weight of volcanic formation with their deep ravines Hollywood’s claim to genuine superiority and boulder-strewn canyons? Where is over all other centers. the sea—the mighty rolling Pacific with ¥ its long stretches of beach, its dunes and VERY now and then there comes a rocky shores—its Lagunas and Montereys? fresh outburst of talk concerning the desert the real Ameri- E And where is the — migration of motion picture compa- can desert with its sagebrush and its mes- nies away from Hollywood—to Eastern are quite—where are the plains; where cities or to foreign shores—and I suppose HENRY’S the complete range of climatic possibilities that such outbursts will continue for many Rotisserie Delicatessen from the snows of the arctics to the jungles months to come. But such talk can be, & of the tropics? in my opinion, but wasted “gas” and idle Caterers Why, in a few hours from Hollywood conversation. little cost may reach “atmos- and at we There is too much money invested in ROAST CHICKENS, SQUABS phere” which, in other centers where pic- Hollywood to permit of any wholesale AND TURKEYS tures are made, would require huge expen- migration. ditures and the loss of from five days to Millions upon millions are invested in 6325 Hollywood Blvd. two months in time. studio property, in real estate and in In Hollywood the producer has at his equipment. Through the years there have GLadstone 9803 instant disposal the four quarters of the been accumulated in Hollywood, in the earth: Alaska, the East, the West, Flor- prop rooms and on studio lots, equipment, ida—even with her Everglades—China, props, accessories and paraphernalia of ev- Japan, Africa, India, the South Seas! ery nature, most of which have in them- Can New York, Florida or Europe of- selves a value out of all proportion to their fer these? intrinsic worth. Burton My experience has taught me that they And millions of dollars are invested by Steene cannot. the players, and people engaged in the busi- A. S. C. ness of making pictures, in homes and per- URING the time that I was in sonal property, too much by far ever to Florida I found it extremely diffi- think that they would move bag and bag- Cinematographer D cult to make anything but pictures gage to some other location. And inciden- which dealt with Florida atmosphere. I tally these people are vitally necessary to A k e l e y Camera cannot see where Florida can compare in the successful production of motion pic- Aerial and special pho- any measure with Hollywood for conveni- tures. tography; American and ence in picture making, no matter what So, it is my sincere belief that Holly- European Experience in the locale of the story, nor in the matter wood will never lose the movies, and that of equipage and facilities. it is the most suitable place for me to ply Eastern and Continental my profession the making of motion pic- Studios. Similarly in Europe, I found that I — tures for entertainment purposes. could have secured in Hollywood at much Bell & Howell Equip- There is no other place like it. less trouble, and saving in time and pro- ment complete for stu- duction costs, what I achieved there at a Editor’s Note: Mr. Carewe’s article is the dio work. tremendous outlay of cash. first of a series of articles on the general sub- For, in addition to its “locational atmos- ject, “Why Hollywood?” In succeeding issues Studio or Foreign cine- the views of other directors and producers will phere,” Hollywood has developed the nec- be presented, not as a prejudiced refutation of matography. Passports essary accessories to motion picture produc- foreign propaganda, but as a frank discussion always on hand. tion. There are in Hollywood more than of an interesting and important subject. forty thousand people engaged in motion picture activity, people who have been es- Washburn and Crosby have proclaimed Akeley Camera pecially trained in their own particular for years, “Eventually, why not now?” not? will fields and who have become specialists in Well, why THE DIRECTOR SPECIALIST appear just as interesting and a whole lot their lines men and women whose lives ; more regularly if you have us mail it to you HEmpstead 1191 have been devoted to the creation of enter- each month. tainment features. or American Society Advertising is the merchant’s way of Here is an army of actors, actresses, di- of Cinematographers placing before you interesting facts concern- rectors, technical aids, carpenters, plaster- ing the products he has bought for your use. GRanite 4274 ers, painters, artists, architects, film chem- Read the advertisements in THE DIREC- ists, cutters, editors and who and what not, TOR for their messages to you. f. MOTTO"* ru UM 50 director September

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192 5 director 51

THE NIGHT BRIDE his lips. “I’m going to horsewhip you if it happens again, until your hide will look (Continued from Page 29) like a zebra’s—and don’t think I can’t do it.” of her years of service in the banker’s his feet firmly on the ground. It was The culprit’s eyebrows arched in mock employ, handed him the morning paper more to his dignity that Warrington come surprise. He deliberately bowed, as if with a sort of thrust; as if she held a to him. Had his common sense been bending to the yoke of his adversary’s ulti- in hand and was jabbing at the working even on half time, he would lance her — matum. editor who dared bandy the name of Walsh have carried this quarrel far away from “Morituri, te salutatus,” he quoted in all so lightly. Cynthia’s sight and hearing. But his wits humility. He snatched the paper from her and had flown in fear of the consuming fires “We, who are about to die, salute thee.” read the article through to the last word. of his rage. To Walsh it sounded like a camouflaged His face purpled. With a smothered curse, Cynthia watched the young Ogre ap- string of epithets. he kicked over his chair, slammed the paper proaching. She could not help but notice For a moment, Cynthia feared her to the floor and strode from the room, a the rippling muscles of the athlete, the friend was going to end the interview in string of maledictions spewing from his smooth tanned skin and graceful swing of a brawl, but a grimness in Stanley’s glare lips. his carriage. restrained him. Growling something When Walsh’s violent temper was Young Warrington gave Cynthia her about, “we’ll see,” he climbed into the car. aroused, his reasoning powers failed to usual, casual nod, looked the banker over Stanley”s eyes met those of Cynthia’s. function. He had an appointment with cooly, and waited for the first gun to be In them, she read an unspoken message, Cynthia in thirty minutes. They were fired. easily translated. going to motor over to the city and attend “I want to know,” boomed Walsh as “Congratulations,” they seemed to say, the races. he shook his finger close to Stanley’s nose, “on your choice of a husband.” He would kill two birds with one stone. “By what right you indict me in your Cynthia’s cheeks flamed. Was it in His greeting of Cynthia was cordial, but filthy sheet on subjects you know nothing anger—or humiliation ? there was a grim undertone to his manner about.” When the car had regained the highway, that drew a sharp look from her. Stanley’s nose swayed sideways in syn- an ominous silence pervaded, as the grim “I want to stop at the Warrington place chronous precision with the fat, pudgy fin- truth came to her. She was affianced to a a moment, if you don’t mind,” he said ger of the banker. It caught his fancy to fat, flabby, irritable man, with brutal ten- jerkily, as he slammed the door of the car anticipate each stop of the accusing digit. dencies and a vile temper. shut and slumped down beside her. Their A momentary gurgle from the girl in the On the seat beside her Walsh simmered, conversation was desultory, for Walsh was car, brought Walsh to imagine that perhaps like a tea kettle, after the fire has been in a murderous mood. this looked funny. He lowered his hand. turned down. But it had not as yet oc- Cynthia observed the spires of the castle “The article explains itself,” said War- curred to him, that he had slipped on the loom up before her with mixed feelings. rington, his cool, gray eyes darting sparks top rung of his ladder of romance, and Somehow, she felt thrilled with pleasure of joy, in the prospects of another joust hit the ground with a dull and sickening in the hopes of seeing the young Ogre with this trucculant antagonist. thud. (To Be Continued) again. Angrily, she tried to act indiffer- It was the first time Cynthia had seen ent. She knew she wanted to see him him without his goggles. and yet she didn’t. She was glad—and “This isn’t the first time you have held she was mad—good and mad, at herself. me up to ridicule,” the irate man was The car glided up the driveway and came saying. His chest was heaving like a bel- — Catering to the Elite to a stop at Walsh’s signal. It was Cyn- lows, and his words came in belabored thia’s first glimpse of the castle grounds puffs. “At first I attributed it to the Efficiently! from the inside. brain of a weakling, but there’s a limit to The marvel of its beauty held her spell- everything—and I warn you, it’s got to NOW CREATING THE bound. stop. In this last article you practically Hector let out a series of yelps and call me a thief.” WARDROBE FOR tugged frantically at his chain. He recog- “If the shoe fits, wear it,” Stanley sug- without slightest nized his arch enemy, the man who tried gested, the sign of ran- Lillian Gish in to shoot him. cor. “I think you’re as crooked as a Biggies hurried out of the garage and ram’s horn, and I think I have evidence “LA BOHEME” saw the intruders. What? That girl to prove it. As my paper will continue here again? He’d see about this. to analyze your public deals in print, I’m and Over on the tennis courts, set curious to know how you’re going to stop a of triple Frank Lloyd’s horizontal bars had been erected. A heavy it.” padding lay stretched out beneath them. If the fuming financier’s body had ex- “THE SPLENDID ROAD” Stanley, attired in athletic shirt and white ploded into bits, Cynthia would not have duck trousers, was engaged at that moment been surprised. in balancing himself on one of the bars Stanley’s calm and half-cynical treat- —and the same service we give head downward. Swinging in a graceful ment of the whole affair was in marked to the stars, producers & theatres curve, he flung his body through the air, contrast to the violent display of Walsh’s we give to YOU. caught the next bar, circled again, catch- temper. It recalled to Cynthia that old ing the third bar; then, circling once more, adage, “He who holdeth his temper, win- Hollywood he let go, twisted into a somersault and neth the fight.” “Somehow,” she thought, landed lightly on his feet. Cynthia and “When these two lock horns, Addison COSTUMING CO. Walsh stared at this stunt in amazement. always loses caste.” It annoyed her exceed- 6004 Hollywood Blvd. Biggies came ingly. hobbling over to inform his GLADSTONE 0362 master they had guests. Seeing who it The thunder of her fiance’s voice broke was, Stanley nodded, and started towards her reverie. “Costumes by Israel” the car, a frown of displeasure on his face. “I’ll tell you how I’m going to stop it,” The seething banker got out and planted he shouted, a froth of apoplexy sliming MOTTO* run’s! 1~N t 52 director September

New Pictures in the Making

DIRECTOR STUDIO PRODUCTION STAR SCENARIST STATUS

fohn G. Adolfi California Pals Wm. Russell Jules Furthman Cutting Del Andrews F.B.O. Riding the Wind Fred Thomson Marion Jackson Cutting King Baggott United Tumbleweed Bill Hart Shooting Reginald Barker Fox When the Door Opened All-star Bradley King Shooting Harold Beaudine Christie Comedy Bobby Vernon Hal Conklin Shooting William Beaudine Pickford Fairbanks Scraps Mary Pickford Winifred Dunn Preparing Paul Bern Paramount Flower of Night Pola Negri Willis Goldbeck Cutting Constance J. Stuart Blackton Warner Bros. Gilded Highway All-star Marian Cutting Herbert Blache Universal Chip of the Flying-U Hoot Gibson Schayer-Lee Finishing King Baxter Fine Arts Laughing Whirlwind Roy Hughes L. V. Jefferson Preparing Lloyd Bacon Sennett Untitled Ralph Graves Staff Shooting Charles Brabin Universal Sweet Rosie O’Grady Mary Philbin Brabin-Scully Preparing Clarence Brown United Lone Eagle Rudolph Valentino Hans Kraely Shooting Symonds H. J. Brown California Windjammer Billy Sullivan Henry Preparing Tom Buckingham Waldorf Ladies of Leisure Elaine Hammerstein Tom Hopkins Preparing Edwin Carewe United Joanna with a Million Dorothy Mackaill Preparing Horace B. Carpenter Berwilia Burnin’ ’Em Up Bill Patton-Dorothy Donald Shooting William Craft Independent Lightning Strikes Lightnin’ Wyndham Gittings Finishing Eddie F. Cline M.G.M. Old Clothes Jackie Coogan Shooting Wm. C. Crinley Universal Radio Detective William Desmond Staff Shooting Allan Crosland Warner Bros. Compromise Irene Rich E. J. Lowe, J r. Cutting James Cruze Paramount The Pony Express Compson-Cortez Forman- Woods Shooting Irving Cummings United Caesar’s Wife Corinne Griffith A. F. Levine Preparing Wm. H. Curren California Merchant of Weenice Delaney-Phillips H. G. Witwer Cutting Macpherson-Dix Cecil B. DeMille DeMille Road to Yesterday All-star Shooting William DeMille Paramount New Brooms Feature Cast Clara Beranger Shooting Zannuck Roy Del Ruth Warner Bros. Broken Hearts All-star Darral F. Preparing Bailee Wm. De Vonde Thos. C. Regan The Backwash All-star Bill Shooting Moderns Colleen Moore June Mathis Shooting J. Francis Dillon United We Rawlinson Dillon Robert Dillon California The Flame Fighter Shooting Denver Dixon Berwilia Untitled Bob Roberts Staff Preparing Langdon Staff Harry Edwards Sennett Comedy Harry Shooting Percy Marmont Geo. C. Hull Victor Fleming Paramount Lord Jim Cutting All-star Marion Orth Tom Forman Hollywood The People vs. Nancy Cutting Preston Norma Talmadge John Considine, Jr. Sidney A. Franklin United Paris After Dark Preparing Mix Emmett Flynn Fox The Conquistador Tom Cutting Wm. Desmond Francis Ford Universal Winking Idol Cutting All-star John Ford Fox Three Bad Men On Location Tom Hopkins Sven Gade Universal Wives for Rent All-star Shooting Rob Wagner Tony Gaudio Waldorf Sealed Lips Dorothy Reviere Shooting Lefty Flynn John Goodrich Harry Garson F.B.O. Heads Up Shooting All-star Louis Gasnier F.B.O. The Other Woman’s Shooting Story Staff Arvid Gilstrom Educational Untitled Shooting Staff John Gorman Independent A Prince of Broadway George Walsh Cutting Alf Goulding Sennett Untitled Alice Day Eve Unsell Shooting Arthur Gregor Independent Count of Luxemburg All-star Staff Preparing Alfred E. Green United Spanish Sunlight Stone-LaMarr Staff Preparing Goodrich Wm. Educational Comedy Lloyd Hamilton Whittaker-Doty Shooting Fred Guiol Roach Glenn ryon Hal Comedy T Staff Shooting Alan Hale DeMille The Wedding Song Leatrice Joy Edmund Goulding Cutting James W. Horne Hal Roach Comedy Lucien Littlefield Preparing W. K. Howard Martinique Daniels Paramount Bebe J. G. Alexander Shooting John E. Ince California The Great Adventure Rawlinson-Darmond Cutting Ralph Ince Marshall Neilan The Sea Wolf Viola Dana Hal Roach Cutting Fred Jackman Hal Roach Thunderfoot Rex Emilie Johnson Shooting Emory Johnson F.B.O. The Last Edition Ralph Lewis Shooting Daniel Keefe Fox The Hypotheis of All-star Failure Will Lambert Shooting Erie Kenton Warner Bros. The White Chief All-star Preparing George Jeske California Account of Monte Cristo Delaney-Phillips H. C. Witwer Cutting Burton King Selig Counsel for the Defense All-star Shooting Henry King United Potash and Perlmutter Carr-Sidney Shooting 1925 director 53 DIRECTOR STUDIO PRODUCTION STAR SCENARIST STATUS

Charles Lamont Educational Untitled Chris Bowes Shooting Rowland V. Lee Fox Silver Treasure All-star R. V. Lee Cutting Robert Z. Leonard M.G.M. A Little Bit of Broad- All-star Jesse Burns Preparing way

Stan Laurel Hal Roach Comedy Clyde Cook Staff Cutting United The Splendid Road Shooting Frank Lloyd All-star J. G. Hawks Ernest Lubitsch Warner Bros. Lady Windermere’s Fan Irene Rich Shooting Wilfred Lucas F.B.O. El Pasado All-star Sullivan-Lucas Cutting Edward Luddy California Last of the Mohicans All-star H. C. Witwer Cutting

J. P. McGowan California Silver Fingers George Larkin McGowan Shooting Robert McGowan Hal Roach Comedy Our Gang Staff Shooting Leo McCarey Hal Roach Untitled Charles Chase Staff Shooting Henry McRae Universal Strings of Steel All-star Morgan-Goodin Preparing Leo Maloney Goodwill Win, Lose or Draw Leo Maloney Ford Beebe Shooting George Melford Hollywood Simon the Jester All-star Francis Marion Shooting Lewis Milestone Warner Bros. Untitled Matt Moore Preparing Bruce Mitchell California Speed Madness Frank Merrill Wm. Wing Shooting Warren Milais Fine Arts Up in the Air All-star Eline Wilmont Shooting Edmund Mortimer Hollywood The Man from Red Harry Carey Harvey Gates Shooting Gulch Vin Moore Universal Ike’s Holiday Holmes-Corbett Moore-McKenzie Shooting Zion Myers Universal Sweet Sixteen Arthur Lake Chas. Diltz Preparing Lax Neal United Go West Buster Keaton Shooting Marshall Neilan M.G.M. The Great Love All-star Benjamin Glazer Shooting Jack Nelson F.B.O. Prince of Pep Richard Talmadge Jas. Bell Smith Preparing Fred Niblo M.G.M. Ben Hur All-star Finishing Fred Newmeyer F.B.O. Seven Keys to Baldpate Douglas Maclean Staff Shooting Henry W. Otto Fox Rhyme of the Ancient Paul Panzer Mariner Preparing A1 Parker Pickford-Fairbanks The Black Pirate Doug Fairbanks Staff Preparing Stuart Paton Hollywood Through Veiled Eyes All-star Payton-Alexander Preparing Harry Pollard Universal Two Blocks Away All-star Shooting Paul Powell F.B.O. North Star Strongheart Chas. Horan Albert Ray Fox Helen and Warren Perry-Cooley Kathryn Carr Shooting Staff Preparing T. J. Ray California The Young American All-star Shooting Curt Rehfield United Viennese Medley All-star June Mathis Staff Shooting Steve Roberts Educational Untitled Al St. John Jess Robbins Educational Comedy Lupino Lane Staff Shooting Wesley Ruggles F.B.O. The Plastic Age Clara Bow Unsell-Sagor Finishing AI Rogell Universal Deadwood Dick Jack Hoxie Shooting Harvey Thaw Nat Ross F.B.O. Transcontinental Not Selected Casting Limited Al Santell Edward Sedgwick Universal On the Frontier Hoot Gibson Chas. Kenyon On Location Chas. R. Seeling California Untitled All-star Seeling Preparing Ethel Dougherty George B. Seitz Paramount Vanishing Americans All-star Cutting What Happened to Reginald Denny Marion Nixon William A. Seiter Universal Jones Geo. Broadhurst Shooting Forrest Sheldon Goodwill Untitled Bruce Gordon Sheldon Shooting H. Scott Sidney Christie Madame Lucy Julian Eltinge F. McGrew Willis Finishing Edward Sloman Universal His People •a 11/11"! Finishing Noel Smith Warner Bros. Clash of the Wolves Rin-TJn-Tin Charles Logue Finishing Paul Sloan DeMille Braveheart Rod La Rocque Preparing John M. Stahl M.G.M. Memory Lane All-star Benjamin Glazer Shooting Edward Sutherland Paramount On Dress Parade Raymond Griffith Keene Thompson Shooting Jerome Storm Charles Ray Sweet Adeline Charles Ray Chas. E. Banks Cutting Jack Strayer Waldorf The Lure of the Wild Jane Novak Finishing Hunt Stromberg Hollywood The Last Frontier All-star Harvey Gates Preparing Wm. Stroubach California Untitled Johnny St. Clair Staff Shooting Slim Summerville Universal Comedy Neely Edwards Chas. Diltz Shooting Sam Taylor Hollywood Untitled Harold Lloyd Staff Shooting Norman Taurog Educational Untitled Lige Conley Eddie Moran Shooting King Vidor M.G.M. La Boheme Lillian Gish Edmund Goulding Preparing Josef von Sternberg M.G.M. The Masked Bride Mae Murray Carey Wilson Shooting Eric von Stroheim United East of the Setting Sun Constance Talmadge Von Stroheim Preparing Raoul Walsh Paramount The Lucky Lady Feature Cast James O’Donohoe Cutting William Watson Christie Comedy Jimmie Adams Shooting Millard Webb Warner Bros. The Sea Beast John Barrymore Bess Meredith Shooting C. Richard Wallace Universal Comedy Neeley Edwards Marcel Perez Preparing Irvin Willat Paramount Ancient Highway Jack Holt James Hamilton Cutting K. E. Williamson Selig The Feud Woman Mary Carr L. V. Jefferson Shooting Ceder Wilkinson F.B.O. Mazie Series Vaughn-Kent Lewell Martin Shooting W. Wyler Universal The Fighting Barrier Preparing James Young Independent The Bells Lionel Barrymore Young Preparing T~V MOTXW Wl H1U 54 ©irector September 1 I T ISN’T POSSIBLE BOOK REVIEWS * * * Glamour: Essays on the Art of the they will be understood and appreciated by WITH OUR PRESENT EQUIP- Theatre, by Stark Young. Scribners, only the more literate of our Hollywood $2.00 net. actors. To such I commend, with few MENT reservations, “The Prompt Book.” VOLUME of keen imagination and * * * In the third and lengthiest part of the banal stupidity, of sound criticism volume, “Letters from Dead Actors”, each A silly and slush, this collection ranks TO DO ALL THE LAUNDRY immortal writes from the grave to scold or in literary value far below Mr. Young’s * * * reprimand some living performer whose Three Fountains , which was one of the parts are in his own tradition. Mr. most refreshing and stimulating folios of Young’s mediumship is unworthy of his IN HOLLYWOOD essays published last year. However, one ghosts, who are too patronizing, too boast- * * * cannot expect too much of any book which ful for good taste. Realizing the absence begins by extending “thanks for permis- of an essential ingredient, our author at- SO WE’RE SATISFIED sion to reprint” to no less than six period- tempts to astound us by the depth and * * * icals, ranging in diversity from the business- diversity of his learning. A vast number like New York Times to the precious FOR THE PRESENT Theatre Arts Monthly. of critical allusions lead one to suspect that this portion of the work was written in The total value of Glamour is not the * * the reference room of the New York Pub- sum of its five parts, of which the first, lic Library. SPECIALIZE “Visitors”, chronicles the reactions of the TO Most addressed to the present reader is author to the New York performances of * * * the fourth section, “The Art of Directing.” Eleanora Duse, Cecile Sorel, and the Mos- Our authority finds truly that the art of cow Art Theatre. Out of the twenty ON THE SHARE WE GET directing lies between two extremes one nine pages allotted to Madame Duse, — the subjection of the play to the director’s * * * some twenty-five are devoted to the frank- personality, the other the subjugation of est heroine worship. Overwhelmed by the director to the author’s idea. Whether BUT WE WISH TO REMIND his subject, the essayist celebrates her by your work is patterned after that of Cecil YOU prostration and prayer. The remaining B. or William C., this section will bear * # * few paragraphs attempt an interpretation reading for its re-statement of familiar of an art which seems to have been the problems and its discursive glances into the IT’S ALWAYS POSSIBLE outward manifestation of a truly Biblical THAT unknown. grace. The body of this art is dissected by The writer draws a novel parallel be- the critical scalpel of reason, and the tween the stage director and orchestra con- surgical investigation fails, of course, to TO DO A LITTLE BIT MORE ductor, and sees in the contrapuntal changes reveal its soul. * * * of physical action and dramatic point a Madame Sorel is set down as a clothes theory of stage direction as the conducting horse; and Mr. Young makes the startling AND IN THE COURSE of a visual music addressed to the eye. discovery that the Anglo-Saxon does not Although the first for * * * relish French comedy. He also stumbles requirement photo- upon the fact that there are enforced upon graphing Mr. Young’s theories of direc- A NATURAL GROWTH tion be perfect OF the theatre certain artificial conventions, would such working con- * * * and shares his innocent surprise with the ditions as the screen has never known, his reader. ideas seem often sound and valuble. The man who is doing “costume stuff” will WE’LL SPECIALIZE He is at first disappointed by the Mos- find many of his difficulties reduced to * * * cow Art Theatre, dissatisfied with the simplicity by the keenly sensible discussion naturalism of The Czar Feodor, and lays on the difference between empty form and ON THE “LITTLE BIT MORE” down the law that historical fare must be served in the grand romantic pulsating life. * * * manner. One surmises that he considered Shaw’s At the end of one paragraph a perfect FOR AFTER ALL delightful Caesar and Cleopatra a particu- phrase unexpectedly sums up the aim of larly flat failure. Chekhov’s Cherry Or- all direction: “to engage the audience’s at- * * * chard, a play more to his taste, leaves him tention with its constantly fresh vitality and WE’RE SPECIALISTS ANY- raphsodizing that the Russian visitors are surprise.” WAY— “forever right and fine.” In the last section, “Sophocles’ Guest,” Under the heading of “The Prompt we travel with an imaginary young Amer- * * * Book” a series of short essays point the ican to witness the revival of Oedipus Rex At the THAT’S PROGRESS! actor’s path to perfection and teach him in an equally imaginary Greece. how to climb. The ideas in this section end of thirty pages we learn that this im- are too sound and valuable to be startling, possible feat has been performed to teach and too eternal to master at a glance. us that American and Greek cannot be While to many of us they will seem re- reduced to an intellectual common denomi- discoveries of familiar aesthetic shores, nator. As the lesson has nothing to do they differ from Mr. Young’s theatrical with our theatre, it might as well have COMMUNITY been learned in any library or at any impressions in that they are discoveries and not inventions. Truth itself lends their peanut stand. LAUNDRY air of veracity. Written in a nervously Considering Mr. Young’s startlingly technical prose (which descends now and uneven book as a whole, Glamour shows 1001 McCadden PI. HOlly 2538 then to the level of the classroom lecture), him at his best as a theorist and at his ! —

1 MOTIOH MIUM 1925 director 55

worst as a journalist. In form as well as in matter, his reporting and correspondence are juvenile when compared to his aesthetic and technical criticisms. Even these are marred by a pedantry, a gratuitous exhibi- of the Young culture when it has You Can tion nothing to do with the case, which makes the temptation to prick a few of his bub- bles irresistable. For his prose, invigoratingly pure in its BANK finest passages, is inexcusably slovenly in its worst. There are such locutions as “People were numerous who objected.” ON THE BOND DEPARTMENT The rambling inconsequence of “When you know well the Greek marbles in the OF THE Naples museum—but in the north you meet, etc.,” is exceeded in affectation only by the baffling beginning “It was as well that the visitor to these shores from Paris should be Madame Cecile Sorel.” And it seems comic that so stylistic a poet as Francis Thompson should be misquoted by so precious a stylist as Stark Young. National City John Francis Natteford.

The Motion Picture Industry (Continued from Page 34) Indictment That fellow’s got a wonder- Bank ful imagination—he thinks that everyone in the game must be a Director. Al

Did you ever ask him why he does it ? Jim Specializing in High'Qrade Securities Yielding Sure. We’ve gone to his place and asked him to give us a square deal. Over and 6% to 7% Fully Tax Exempt over again he tells us that he’s sorry—the mistake won’t happen again—and before we reach the sidewalk he stops the presses and inserts on the front page in larger letters, “Prominent DIRECTORS Try to Bribe This Paper!” He’s a cuckoo! ScAREHEAD Well, Boys, glad to have had such a so- ciable time. Anything I can do you for I mean do for you—you know—call on OUR SAFE DEPOSIT DEPARTMENT me j Everybody (With meaning emphasis) places its strictly modern equipment at your Good-bye service and provides safe and secure storage (Scarehead exits well satisfied with , for your valuables at small annual cost. himself) Al I’ll never read a newspaper again. Jim What paper do you read ? Al None. I don’t know how. But I listen to the Radio. Roy (At the Heart table) There goes my last million dollars! A Conveniently Located motion for adjournment is now in order. Joe at In conclusion I -would like to say: The Spirit of Fraternalism that permeates the atmosphere. Al 8th, Spring and Main Sts. He’s stealing the other fellow’s stuff. Jim They all do it. It’s a privilege of the Los Angeles, California order. (They all sing The M.P.D.A. Chorus as The Curtain Falls.) !

t ~\ motion ruruu 56 director September

Talking It Over the present, at least, this record will be Bertram A. Holiday, who discusses the confined to the activities of those directors question Can They Come Back? in the (Continued from Page 2) who are actually producing in Hollywood current issue, has written for The Di- of players, their matrimonial status or sim- studios, or are on location from Holly- rector a discussion of the costume picture ilar queries of a distinctly “fan” nature, wood. Because of the difficulty in getting as a box office attraction, and analyzes some but simply specializes on subjects more in accurate and timely reports on the activi- new slants on this problem which has con- character with the publication as a whole. ties of directors who are producing in cerned the production world since the early NOTHER new feature and one that Eastern studios or are engaged in making days of film activity. hope will prove of general interest pictures in foreign locales no attempt will A. we to all our readers is the department de- be made to record the progress of that voted to Angle Shots Around Holly- work. wood Studios. Here each month will be O MUCH for this issue. We hope presented short paragraphs touching on the S that you will like it and that you will activities of studio folk, items of personal find it thoroughly entertaining—perhaps interest about everyone concerned with the .really helpful. Your comments will be films. departments making of Other of gratefully appreciated and constructive similar nature are also being planned with criticism designed to help us in making a view to making Director of great- The The Director a bigger and better maga- er interest both to the men and women ac- zine is always welcome ; for after all this tually engaged in the making of pictures is your publication and unless we run it in and to the host of folk throughout the such a manner as to make it genuinely country who are genuinely interested in pleasing to you, we have failed in the the production side of the “movies.” responsibility we bear toward our readers. S A matter of interest to both studio Next month The Director will con- A folk and those far afield, The Di- tain many features of interest. There will rector introduces this month a chart of be the departments already described, ad- studio activity showing the status and pro- ditional installments of Frank Cooley’s gress of production. Under the heading narrative, The Barnstormer, and the two New Pictures in the Making a month to serials now running, Thundering Silence month record of directorial activity will and The Night Bride, and another article be published in each succeeding issue. For in the Why Hollywood? series.

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Regularly put up in 2-ounce jars, price $2. SEND FOR INTRODUCTORY JAR CONTAINING ONE OUNCE SPECIALLY PRICED AT $1 HARRY L* SEIGELMAN LABORATORIES 412 Taft Bullding Hollywood MOTION PICTURE ]. Stuart Blackton Bernard A. Holway

Editor Managing Editor

Dedicated to the Creation of a Better Understanding Between Those Who Make and Those Who See Motion Pictures

T is with a sincere feeling of sympathy and regret that the who are entertained by the products of the industry—and to the management of contributors of features of screen I The Motion Picture Director is called frank discussion by readers and upon to announce the resignation of George L. Sargent, production which are of interest to both. founder of the magazine as the official publication of the Motion In a sense The Motion Picture Director is blazing a new Picture Directors’ Association and its editor during the first year trail, and asks the constructive aid of its readers both within the of its existence. For the past field of motion picture produc- several months Mr. Sargent’s tion and exhibition and without. eyes have been giving him in- Vol.z. No. 4 CONTENTS Nov. 1925 No publication belongs to itself creasing trouble, and while that but to those whom it serves.

condition is considered only tem- King Vidor ( Photo by Ruth Harriet Louise) Cover porary and largely due to a ner N no way may the purpose of In the Director’s Chair J. Stuart Blackton 3 vous affliction of the eye muscles, I the magazine be more effectu- a complete rest has been deemed Screen Personalities 7 ally accomplished than by serv- necessary. ing as a medium for the inter- Directing Harold Lloyd . . . Sam Taylor 13 change of ideas between those UCH as we regret the cir- Why Hollywood? Robert Vignola 15 who make motion pictures and cumstances attending Mr. those who see. Published in the M KFWB Norman Manning 17 Sargent’s resignation, it is with heart of the film center of the

pardonable and justifiable pride Custom vs. Costume . . Bertram A. Holiday 19 world, by men who are actively that the management announces engaged in the production of New Stories Albert LeVino the advent of J. Stuart Blackton screen entertainment, for those as editor-in-chief of the publica- The Man on the Cover 23 engaged in motion picture activ- tion. Mr. Blackton is particu- ity as well as for those who con- The Big Parade Robert M. Finch 25 larly fitted for the editorial chair stitute the theatre-going public 30 of such a magazine as The The Night Bride (A Serial) . Frederic Chapin of this country, we believe that Motion Picture Director. As The Motion Picture Direc- The Screen Club .... Harry D. Wilson 33 the founder and organizer of tor is peculiarly suited to that

Vitagraph he is one of the pio- Grown-Ups and the Serial purpose. the neer producer-directors of William Lord Wright 34 But, while we who are a part motion picture industry and has of the industry are in a position Bill Hart . Adam Hull Shirk 35 since its earliest days been one of to present to you who see pic-

its foremost exponents. Now Motives and Motifs . . . Sid Grauman 36 tures subjects pertaining to the that Vitagraph has become a unit production side of that The Barnstormer (Part III) Frank Cooley 38 industry, of Warner Brothers production your ideas can only be expressed Blackton program, Commodore Directorial Briefs . . . 41 by you. It is vital to the future continues his production and di- of motion Off Screen Personalities 42 pictures that, as out- activities in association rectorial lined by Commodore Blackton in with that enterprise. Angle Shots 45 this issue, we receive from you In addition to his long years expressions of your Slants on Exploitation The Boulevard Reporter 47 likes and dis- of experience in motion picture likes. Write us frankly and production, Commodore Black- The Directory 49 freely about the pictures you see. ton also brings to The Direc- Tell us what you have Wampas Doin’s A. Wampa 51 liked and tor definite publication experi- what you have not liked. Tell ence as founder and early advisor What the Directors Are Doing 52 us, and through us, the motion of the Brewster Publications, picture industry of which Charley Chase Turns to Acting Edith Ryan 55 we are publishing Motion Picture Mag- a part, the kind of pictures you azine and The Motion Picture Getting the Third Dimension 58 would like to see. Help us to Classic. make The Director a meeting FOCUS Wilfrid North 61 With J. Stuart Blackton as place for the frank discussion of its editorial head The Director The Wasps Edith Ryan 64 ideas. And tell us too about the is definitely launched on a pro- magazine. By so doing you will gram of activity which has as its aid us in making your publica- purpose the creation of a better understanding between those who tion of greater interest and value to you. Tell us what depart- pictures. the make and those who see motion In furtherance of ments you would like to see introduced, what new features devel- its shall to the discussion that purpose columns be devoted of oped and how you like the departments and features in the cur- picture production activity interesting phases of motion —phases rent issues. But above all else write us frankly about the pictures which are of concern both to those within the industry and those you see and the pictures you would like to see.

Published Monthly by The Director Publishing Corporation, 1925 Wilcox Avenue, Hollywood, Calif. J. Stuart Blackton, president; Frank Cooley, secretary and treasurer; Richmond Wharton, business manager, Stuart Blackton," editor J. ; Bernard A. Holway, managing editor.’ Single copies 25 cents, yearly subscription, $2.50.

Entered as second class matter, October 1, 1925, at the postoffice in Los Angeles, California, under the Act of March 3, 1879. PRINTED IN U.S.A. T^V MOTION WCTIW 2 ©irector November

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7/z the Directors Ghair

Taxation Without Representation existing at the time, that production is thoroughly “panned” and the producer turns desperately toward the development of sure-

T is exceedingly doubtful whether the average American real- fire box office angles that will insure box office success for his I izes how completely motion pictures have become an integral productions. And he cannot wholly be blamed for that attitude; part of the daily life of the nation and it would be interesting for the production of motion pictures is a business venture with

to know what would happen if, without warning, there should him. He puts in dollars that more dollars may come out. Every

suddenly be issued a ukase against the theatre, banning motion picture produced is a gamble, who can blame him if he seeks to

pictures and kindred entertainment in every city, village and ham- modify the gamble by injecting a sure-thing element?

let in the country. The director, on the other hand, the man who actually makes

Fortunately we are not living in Russia where such things are the picture, is concerned primarily with making a production that not only possible, but where such a ukase was actually issued and, will be a credit to his artistry, that will please his patrons and

for a time at least, all theatrical entertainment of any sort was thereby, because he has created satisfied customers for his product,

completely forbidden. And yet it is typical of the American insure for the producer adequate return for the investment made.

public that only by some such dictatorial assumption of authority To the director the question of what the public wants is of para-

or mandatory prohibition of what has been conceived as constitut- mount importance. He sincerely and earnestly desires to know ing an item of personal priviledge are the one hundred and ten what kind of pictures will please that he may bend every effort millions who constitute the American people to be galvanized toward shaping and fashioning his work to that end. into action. Because of the power and the magnitude of the industry, and

The “movies” have become accepted so universally that the its importance in the every day life of the nation— it is vital to average American either accepts complacently and as a matter the future development of the industry that the men who are

of course the screen entertainment that is offered him, or else rants directly responsible for the making of pictures should know from and raves and threatens to withdraw his patronage when the the public just what kind of entertainment that public really

production doesn’t suit. Has it ever occurred to him that he has wants. a part to play, that upon him devolves some measure of responsi- Since the signing of the Magna Charta the voice of the people bility for the sort of entertainment he receives? has guided the affairs of English-speaking countries. Indepen-

And yet one of the most vital questions confronting the motion dence of the thirteen colonies was established on the premise of government of the people, by the people, and for the people. picture industry today is “What sort of pictures does the public The want ?” War of the American Revolution wT as predicated on the principle

that “Taxation without representation is tyranny.” The whole future of motion pictures depends to a marked Have the American people now foisted upon themselves “taxa- degree upon arriving with some degree of accuracy at an answer tion” at the office without representation in to that question. box the Film Capital of the Nation? At present practically the only source of guidance that the industry has to the type of pictures desired comes from the exhibi- he Motion Picture Director has been dedicated to cre- tor and the distributor. If a picture doesn’t bring the returns that T ating a closer understanding between those who make and the exhibitor or distributor expects, whether it is the fault of the those who see motion pictures. We believe that the purpose of picture, of the advertising or attributable to economic conditions this magazine can be achieved with no greater effectiveness than by 4 ©irector N ovember serving as a medium for the presentation of the likes and dislikes ward correcting what has long been a serious problem in the proof the theatre-going public to the industry of which this publica- duction world.

tion is a part. Through its columns thpse who see may find Plagiarism has been a constantly growing bugaboo which has expression to those who make, and, by stating frankly what kind increased in magnitude in direct proportion to the increase in the of pictures they really want, thus secure in the Film Capital of popularity of the screen and the growth of the industry. There the Motion World that representation which is their inalienable has been a growing tendency on the part of producers to close right. their doors entirely to the original screen story created by outside

Write to The Director your views on current productions. writers solely because of this fact, and to turn their attention more Tell us and through us the motion picture industry as a whole, and more exclusively to the adaptation of published books or suc- what you have liked and why, and what you have not liked and cessful stage plays to which screen rights may be purchased with

why. Just one letter from one individual won’t achieve the re- reasonable security. The recently announced stand of the Cecil

sult but many letters will. It is the purpose of The Director DeMille studio on this subject, in which it was announced that

to make it possible for the lay public, the men and women who in the future all unsolicited manuscripts submitted would be re-

are the support of motion pictures, to have a voice in the guidance turned to the sender unopened, is a significant illustration.

of the industry. Will you take advantage of that opportunity? Conscious and deliberate plagiarism on the part of motion pic- Will you write us freely and frankly telling us just what you ture producers—entirely aside from the moral and ethical issues think? Will you work with us toward the end of developing involved— is so obviously the worst kind of business that one is the one hundred percent entertainment that is the goal of the constrained to wonder why there should ever have arisen the industry? accusation of story piracy. No producer who has any hope of For instance, we have learned one fundamental truth concern- success in the motion picture field would dare for one moment ing the likes and dislikes of the American people—their preference deliberately to steal a story idea in whole or in part from any for the happy ending. With this as a starting point every direc- manuscript submitted to him. He simply couldn’t afford to do

tor, every producer and every author versed in the technique of so. And yet comparatively few of the big productions of recent the screen endeavors to shape the screen story logically and natur- years which have been based on historic fact or on the develop-

ally to that finis. And we believe that we have learned why the ment of a purely fictional plot written directly for the screen American people like the happy ending. Having learned why we have escaped without charges of plagiarism.

are then in a position intelligently to .create entertainment features The distressing part of it is the fact that in so many instances which, in that respect, at least, we know are sure to find favor it would seem that the plaintiffs have been entirely sincere in with the public. Because do know know just far we why we how their accusations and have really believed that their stories or ideas we can deviate from this fundamental law of motion pictures and have been deliberately stolen. Yet it has been amply demonstrated still produce pleasing entertainment. in the field of mechanical invention that it is entirely possible for

But there are other elements which go into the building of two minds in remotely separated regions of the country to develop

screen entertainment and it is about these other factors that we almost the same identical idea under circumstances which utterly urge you to write The Director, giving frank expression to your preclude the possibility of theft. Similarly in developing plots views on current screen production. Tell us frankly just what for screen plays it has been demonstrated in numerous instances

you like and what you don’t like, remembering that The Direc- that while one fundamental idea underlying an original scenario

tor is published by those who make for those who see motion pic- submitted to a studio may be the same as that upon which a fin- tures and that in writing to The Director you are actually ished production has been built, the picture itself was in production writing to the motion picture industry of which it is a part, that or even actually completed and ready for release before the manuscript containing that idea had been received. your letters will be seen and read by the men who are making

pictures and who are vitally concerned with learning from you Judge Sibley’s decision in which Miss Macpherson is accredited your likes and dislikes. as the author of the scenario of The Ten Commandments and which acquits Cecil de Mille and the Famous Players-Lasky Cor- The Director offers you an opportunity to free yourself from poration from any accusation of conscious plagiarism, emphasizes the burden of “taxation without representation” by registering a point that is of particular interest. In reviewing the evidence your vote for the type of screen productions you wish, not at the presented by Mrs. Thompson he points out that the notes and the box office, but directly to your representatives in the Film Capital. completed script of the story she claims to have written bear such a striking resemblance to the continuity of the finished production Plagiarism as to afford foundation for the deduction that they could only have been written after the picture had been completely edited and pre-

r'l'^HE publicity given the decision rendered by Judge Samuel pared for release. H. Sibley of the United States Court in Atlanta, Ga., in He points out that such close similarity between Mrs. Thomp- the case of Mrs. Mattie Thomas Thompson against Cecil son’s script and the finished production would imply that her story B. DeMille, Famous Players-Lasky Corporation and Jeanie Mac- could only have been influenced by either the picture or by ad-

pherson, charging plagiarism in the production of the DeMille vance information concerning the structural plot of the story as feature, The Ten Commandments, together with the method of finally cut and edited. This brings forth another phase of the

reasoning whereby Judge Sibley reached his decision that Mrs. situation which may afford some basis for the belief that, in Thompson had failed to establish her case, should do much to- some instances at least, plaintiffs in cases charging plagiarism on 1925 ©irector 5

the part of the producer have themselves been guilty of unconscious accomplishment is vested in the man upon whom that burden is plagiarism. Granting sincerity on the part of those believe who placed. themselves to have been sinned against it is but fair to assume that It is a recognized fact that ocean liners cannot be successfully the power of suggestion has influenced them in unconsciously navigated by the officers of a steamship company there must be adapting another’s idea as their own, a situation which has con- — fronted many writers. a captain and a well-trained crew for each ship. And once the Judge Sibley’s decision as quoted in the Los Angeles Examiner ship leaves the dock the captain, by the unwritten law of the sea, of October 14, is so pertinent to the consideration of this whole is in supreme command. subject that it is reprinted here: A motion picture production cannot be directed by a group sufficiently appears that prior to 1919 the plaintiff, “It Mrs. of people sitting “in conference.” A successful and artistic pic- Mattie Thomas Thompson, produced a scenario based on the ture must be the result of the creative thought and work of its Ten Commandments. director. “It is shown also that in 1920 the defendant, through Cecil orchestra can play tunes without a leader, but it would be B. De Mille, its officer and director, and Miss Jeanne MacPher- An son, an employee, produced a motion picture called ‘The Ten sorry music. A Richard Hageman, a Sir Henry Wood, or an similar structure and plot. Commandments’ and having a Use Alfred Hertz is necessary to produce real music. or knowledge of the work of the plaintiff is wholly denied bv A successful publishing company finances, prints, manages and Mr. De Mille and M iss MacPherson and their associates. sells books, but if the officers, business manager, circulation mana- “M rs. Thompson now produced in her own handwriting certain notes and a short synopsis of her play, a copy of which she ger, advertising manager and head printer were to pull apart and claims to have sent defendant in 1919. The similarity is such as reconstruct the writings of their famous authors, the result would to compel the belief that these cannot be independent productions not make very successful literature—and yet this is what is hap- but were taken one from the other. pening every day in the making of motion pictures. “The most plausible theory for the defendants is that the turn plaintiff, seeing the announcement of the forthcoming picture in Just as surely as the fact that the reading public would the fall of 1923, conceived the idea that her work had been in disgust from the mangled and maltreated remains of an author’s stolen, got of a newspaper article describing the picture, a copy work, if treated as above, so surely will the theatre-going public or of the elaborate program put out later containing most of the turn aside from the factory made, routine developed, mediocre article, and others more fully setting forth the plot and action, picture. Such a product cannot earn its cost. The successful and becoming confirmed in the belief that the picture was taken from her scenarios, completely identified them in her mind, and motion picture of the future, artistically and financially, will be thereupon she sat down from memory her synopsis under the that in which the real creative artist is allowed to express his in- influence of what she had read from the program, practically dividuality, unfettered and unhindered, in the same manner as his reproducing it. brother workers in the kindred arts of music, painting and litera- “I find grave troubles about adopting either theory. It is preposterous that Mrs. Thompson should have fabricated the case ture. entirely, and hardly less so that she should have made these papers Upon the director falls the responsibility for the completed prod- since the issue arose with the fraudulent purpose of palming them uct. Give him the authority that should accompany that re- off as of an earlier date. sponsibility. “On the other hand, it appears that Mr. De Mille was paying generously for his materials. More than a million dollars was expended in making the picture. Such an investment would War Pictures not have been placed on a stolen foundation, hardly disguised, N the pendulumistic swing of popular favor war pictures again with the certainty of a reckoning in court on presenting the seem riding to the ascendency, and the reception by the theatre- picture. I going public of such productions as The Dark Angel and “The manuscripts of Miss MacPherson, moreover, show pain- The Big Parade is being watched with genuine interest. Whether ful development, with almost numberless changes, additions and the time is ripe now for a revival of vivid recollections of all that substitutions by Mr. De Mille, refuting the idea of the adoption meant to the American that stayed home and the of a perfected model. the World War American that went overseas is a matter of conjecture. Advance “The similarity of verbiage is not, however, so much to what showings of The Dark Angel and The Big Parade have brought is in the photoplay the work of Mr. De Mille and Miss Mac- veterans keen expression of interest. But what of Pherson, or in the synopsis prepared from the latter by Mr. from overseas the brought nothing but misery, grief and Kiesling, but to the program, itself a reproduction of a news- those to whom war by the war sufficiently healed paper article. pain ? Are the scars left upon them they can impersonally the harrowing details which are While I should be loath to conclude that Mrs. Thompson that view pictures of the war? has undertaken to perpetrate a fraud on the defendant and on essential to war pictures which are truly produc- the court, she has not convinced me that the defendant has done It is particularly interesting to note that in both these a much higher point than has been at- the like. Having the burden of proof on this issue, I must hold tions realism has reached true of The Big Parade that she has failed to carry it and so loses her contention.” tained hithertofore. This is particularly by unanimous verdict of those who have witnessed the advance showings of this production. We have had war pictures touching Unit Production on fragmentary issues and isolated instances, or with the recon- structive period which has followed the Avar, but here are vivid, ESPONSIBILITY without proportionate authority weak- realistic productions Avhich depict the great conflict as it actually few screen achievements of recent year R ens the functioning of any organization and lessens by the was, that convey as have the spirit of the Avar. ratio between those two elements the surety of success. What will be the verdict of the theatre-going public? Does This fundamental law which applies to all forms of industrial the public Avant pictures of the Avar as it actually Avas? The ex- and commercial activity loses none of its effectiveness when ap- periment at least should pnwe interesting for drama is the founda- plied to the production of motion pictures. No great achieve- tion of the cinema and drama without conflict cannot exist. War ment is possible unless authority as well as responsibility for its presents one of the greatest elements of conflict the Avorld knoAvs. ~\ mo no»* ntTvn 6 director November

KNOXWOMEN’S HATS and COATS Rossiter 220-222 W. 7th St.

( After January 1st at 645 S. Flower St.) Photo by Witzel Dossett to play the role of Drusus. When Fred Niblo Chappell brought Ben Hur back to Hollywood, Dossett to the Ameri- continued in the cast. Upon completing his can screen whose work gives much promise, and role as Drusus his next appearance has been who comes to this country after eight years of with William Neill in the Fox production of European experience, a large part of which was spent as production manager for the London The Cowboy Prince. Dossett has distinctive Film Company. When the Ben Hur company screen personality and looks like a comer on the went abroad, Chappell Dossett joined the cast American silver sheet. Photo by Melbourne Spurr

s anot^ er free lancing in Hollywood, Tyrone Powers con- * Tvrnnr' xPn7i)Pir[y J / ever-growing num- siders himself definitely a part of the motion ber of veteran stage picture colony and finds in the cinema a variety actors permanently to ally themselves on the of roles that afford opportunities for interpre- side of the silent drama. After six months of tive work seldom found on the stage. who have witnessed his characterizations of this Bert Woodruff rapidly diminishing group of Civil War veter- out of the juve- ans. Woodruff is one of those veterans of the nile class, is nevertheless popularly known as the “G.A.R. Juvenile of the Screen,” an appel- profession who may always be depended upon lation which is readily understandable by those for human characterizations of difficult roles. T^firp through a series of remark- appears. Like others who have risen to the top JT / iLc a biy human portrayals has of her profession, she is a graduate of the old created for herself a repu- Vitagraph school. As a daughter of old Erin, tation as the screen’s foremost character actress. she is particularly at home in humorous and Tn all her work there is that element of genuine- ness, of human understanding, that adds a vital semi-humorous roles calling for Irish charac- touch of realism to any production in which she terizations. , , ,

Photo by Freulich

Harry Beaumont’s production of Rose of the 1/lClil JA (J f f l j/ pendable players World he was called to the M-G-M studios in who can always be Jackie Coogan’s picture, Old Clothes and is counted upon for effective work as a featured now playing male lead opposite Barbara de la lead. Because of this very dependability and Mott, in Robert Vignola’s production of Fifth the recognized following he has won, he is much in demand as a free lance. For instance, Avenue now filming at Metropolitan studio for having completed his work as male lead for Belasco. Photo by Hartsook constitute one of the oldest teams in the acting profession. Claire McDowell Both are “graduates” from the speaking stage as well as from the old Biograph Company and have appeared to- and her actor husband gether in many roles in stage and screen. Their most recent production in which both have appeared has been Ben Hur. Claire McDowell appears as the mother in The Big Parade Charles Hill Mailes and has been cast in a similar role in Hobart Henley’s forthcoming production for M-G-M, Free Lips, in which Norma Shearer plays the feminine lead opposite Lew Cody. —

director 13 Directing Harold Lloyd

By Hk Sam Taylor

TYLES in entertainment change as nated and received but little impetus. Thus alone can we tell a logically-moti- S rapidly and as radically as any dress Such developments as were made in this vated comedy story and it is this practice mode, a fact that has been amply direction were limited to the field of com- which has made the Lloyd pictures what demonstrated in every branch of entertain- edy dramas, rollicking dramatic stories they are today and which is bringing about ment : magazine fiction, novels, stage plays with a strong undercurrent of humor a revolution in all comedy producing. and especially, motion pictures. In no field productions of the type that the late Wal- Motion pictures have found their most of entertainment activity, however, has lace Reid did so effectively. genuine expression in comedies rather than this been in and, in the double more strongly indicated than in Lloyd’s steady rise to the top has not dramas race toward the of the goal of perfection, has far out- realm comedy production. only brought him the success which he so comedy stripped any other type of picture. I During the past few years has been richly deserved, but has also amply demon- can say this being accused prejudice evidenced a steady trend toward what we strated the fundamental truth of the pre- without of or bias, since it is only a reiteration of what were wont to call in former days, “subtle mise upon which all of his pictures have its the sincerest students of the screen have comedy”—the comedy that builds hu- been predicated : the treatment of comedy already said. mor on a dramatic foundation, the comedy with the same seriousness as that accorded In the first place, the fundamental tech- that is treated seriously and with infinite to dramatic productions, and the infusion nique of motion pictures is pantomime and attention to structural details, the comedy of a strong vein of drama into comedy even a surface study reveals the that is actually built just as a contractor features of the story. supremacy of the comedians in the pantomimic field. rears a limit height building rather than There is a vast difference between com- And with the supremacy of this type of one which is just thrown together. edv-drama and dramatic comedy of the actor, there has been a corresponding im- Early exponents of this type of comedy Lloyd type. The first is fundamentally provement in story-telling and in the di- were Mr. and Mrs. Sidney Drew and a dramatic, as its name implies. Whatever rection of comedies far beyond the heights decade ago the “know-it-alls” were loud in comedy it has, is injected to provide relief reached in dramatic productions! their affirmations that the subtle comedy between intensely dramatic sequences and True pictures should, of course, be told in action of the Drews would never go over. But to give the audience a rest from emotional rather than in they put it over and were becoming thor- strain. words, and the possibilities for such narration through pictures are far oughly established as leaders in this parti- A dramatic comedy is, naturally, basic- greater in the comedy field. cular type of comedy when Sidney Drew’s ally aimed to produce laughter. The death intervened. drama which is infused into it, is placed OMEDIES have gone ahead through Until Harold Lloyd stepped into the there not alone to rest the audience’s risi- C recognizing the artistic and intellec- breach with the new distinct type of dra- bilities—which is important enough from a tual development of motion picture audi- matic comedy which has placed him today physiological point of view—but also to ences far more than the dramatic films have in the front rank of box-office attractions, knit together the comedy sequences in the done. The screen public has not only im- the trend toward dramatic comedy stag- network of a fundamentally dramatic story. proved in its ability to “read film;” it has !

_T “N MOTION PU 1 LRI 14 director November

also developed real artistic ideals—an im- and real romance. There is a really beauti- —a gust of wind blows Harold’s picture provement in mass taste which has never ful sweetness in the first meeting of Harold off the wall and into the waste basket before been even approached in the devel- and Jobyna on the train and a wistfulness Do you remember the sweet romance in opment of any other art-expression within in the scene where her maternal instinct Girl Sliy, where Harold saves the box a similar period of time. The screen pub- leads her to rescue him from the ordeal which once held the dog biscuit for Joby- lic has graduated from the kindergarten of sewing on his buttons. na’s pet and where she, in turn, keeps the stage of Sunday-supplement, alleged humor. There is real drama in the building up crackerjack container which they enjoyed The custard pie industry is now restrict- of the photograph episode, where Harold together? The episode had a comedy ing itself to the manufacture of edible first puts his own picture below that of the twist, it is true but we all of us felt that ;

dainties rather than the romance of it was comic missiles and even just as strong and just bathing beauties must as sweet as the trite be able to act a little dramatic form of the in addition to the Harold Lloyd hands boy treasuring his sculptural charm of Sam Taylor his fifth girl’s handkerchief or their lower limbs ! MEGAPHONE, SYMBOLIZ- her pressing a flower of Some slapstick has, ING HIS FIFTH YEAR AS which her lover had course, survived and Lloyd’s director. given to her. Then we shall always have there was the scene in it, but to a more and the publisher’s office, more limited extent. where Harold brings Harold Lloyd’s his treatise on how to drawing power is due make love, with all the not only to his own seriousness and studi- charming personality, ousness of an erudite but also because his professor, when he pictures have shown a realizes that his book

realization of the of experiences is but changed desires of mo- the recounting of a tion picture audiences. series of episodes in The Lloyd comedies which—to use the ver- have gags, of course; nacular—“he has been but always the gag fur- kidded to death.” thers the story. In fact, The use of two of only those incidents Harold Lloyd’s pic- which fulfill this re- tures to point out spe- quirement, as well as cific instances of gen-

being intrinsically fun- eral theories is not ny, can stay in the pic- done, I assure you, in ture. And underneath any spirit of boastful- the whole structure is ness, but because these a foundation of legiti- very points have been mate plot and charac- mentioned repeatedly ter development as con- in countless criticisms sistent as in any of the of these two pictures so-called dramatic and because, having films. worked out the inci- In fact, our practise dents named, they

in preparing the sce- come to my mind as il- narios for Lloyd’s pic- lustrations of the poli- tures, during the per- cies we have followed iod before actual shoot- in making all of these ing, reveals this truism. pictures. Our first task is to The chief factor write a dramatic foundation structure, that most popular man in college whom he has which has made it possible for us to inject we divide the scenario into “factions,” or set up for himself as his ideal. Later, he drama into comedy has been the great tal- integral sequences, and then proceed to the puts his picture alongside of his hero and, ent of Harold Lloyd and the fact that it is insertion of gags into them. First we “gag finally, above it. It is not a spirit of boast- only pictures of this type which can really up” the initial faction and then while I am fulness, but the expression of a youth’s exploit his versatility as an all-round actor. directing Harold in this sequence, the gag realization of a cherished ambition and a This fact explains Lloyd’s supremacy and, men in the office are preparing the inci- universal youngster’s trick of bolstering up at the same time, his responsibility for dents and treatment for the second faction. his own courage by telling himself he is changing the entire course of comedy mak- Always, of course, under Lloyd’s guidance achieving what he has set out to accom- ing. and my own supervision—and so on, until plish. And Harold’s complete break-down HE improvements in comedy, based we have shot the several factions which and sobbing in the lap of the girl he loves, T on the improvement in audience- compose the story. when he realizes that he has all along been desires—and the consequent wish of the HE FRESHMAN illustrates, per- the student joke rather than the college audience for more comedy in all pictures T haps better than any other Lloyd pic- idol, is to my mind as dramatic an episode —leads, in turn, to an explanation of the ture outside of Girl Shy , our method of as anything I have ever seen on the screen. practice of introducing comedy into dramas. injecting drama into comedy. Interspersed The incident of the photographs enters All of us, who are making pictures of any in this rollicking story of collegiate life again, to symbolize the drama, by the in- type, know of the recent coming of the are several incidents of poignant pathos troduction of a flash shot of his empty room (Continued on Page 50) 192 5 director IS

Getting What You Want, When You Want It, Is Given As One of the Reasons Why Hollywood

By Robert Vignola

The Second of a Series of Articles Dis- cussing the Pros and Cons of Hollywood as the Center of Motion Picture Production

F the many genuinely adequate rea- month, I had a sudden need for a hat, size quickly and more certainly than can anyone sons why Hollywood is and in all 7%, such as might have been worn by a anywhere. O probability will continue to be the young blood of the fifties. In Hollywood If the prop or the costume he wants is logical center of motion picture production, a phone call -would have brought me twenty not in the wardrobe or the prop room of the fact that Hollywood is the one place of them in an hour. I could have en- the studio where he is making his picture, in the world where there are adequate fa- trusted their selection to any of half a he can phone the Western Costume Com- cilities for making pictures impresses me dozen agencies which exist for that purpose. pany or the immense rental prop depart- as being a factor well worthy of considera- In New York, it took me three days to ment of the United Studios, or anyone of tion. get one—and two men spent all of their a score of other agencies and get what he As a result of the location of the indus- time searching for it. wants in an hour or less. try in Hollywood and its having become The picture industry is built on props If he wants a lion, or a two-headed pink an important factor in the community and costumes, more or less, and actors. snake, or a dancing monkey or a whole there has grown up around the industry And the good will of the community. menagerie if he wants a score of bald- ; an amazing array of accessory features headed negroes with white beards, or three which have today become absolutely essen- HERE is undoubtedly more genuine red-headed Japanese; if he wants a three- tial to the efficient and economic production T colonial furniture in New York than inch cockroach that can’t swim or a Kaffir of modern film entertainment. in Hollywood. There are, without question, spear—all a director has to do is to con- Not the least important of these is the more pewter mugs and bustles in Florida sult a directory and phone the right num- development of “prop” facilities. In ad- than in California. Spokane, Seattle, ber—or, simpler yet, tell his assistant to dition to the highly organized property Portland and San Francisco—to mention get them. rooms of the various studies there are a several other cities that have embryo mo- Nearly fifty thousand people are listed number of independent prop houses supply- tion picture studios—may possibly have on the books of the various casting agencies ing all sorts of accessories for settings and more Indian head-dresses, more flint-lock —and included among them are club-footed costuming to which any producing unit may muskets, more ox-carts, within their con- giants, bow-legged dwarfs, sword-swallow- turn. fines than has Los Angeles. ers, snake-eaters, mothers with children Where else can such facilities be found ? But in Los Angeles the man who wants aged anywhere from two days to seventy For instance, while making Fifth Avenue a flintlock, a bustle or a colonial high-boy, years, women noted for their beauty and for Belasco Productions in New York last or twenty of each, can get them more for their ugliness. 16 ©i rector November

WANTED a boot-jack and a celluloid collar for another of the “Fifth Avenue” scenes in New ork. It would hare been a matter of a few minutes

wait if we had been working in a Hollywood studio. It cost us a day—several thousand dollars. And then the celluloid collar came from Philadelphia. One of the prop men said his father lived there and he always wore them, so, after canvassing more than twenty shops in New York, he wired his father and the collars arrived at noon the next day.

I will leave the discussion of the capital investment in the picture industry in Hollywood for someone

better able to deal with it than I, but before leaving

this subject I do want to point out that in New York

the industry is one of hundreds—and of less importance to the community than the cloak and suit business. But to Hollywood, to Los Angeles, the in-

dustry is of paramount (adv.) importance. Barker’s or any furniture house, will rent anything in its stock for a picture. The First National Bank, or the

corner grocery in Watts, is always willing to allow its

quarters or its employees to be used in a scene.

As for me, personally, for the first time in my adult

life I have a Home—and I am going to stay there. I’ll go to New York for a few weeks, or to Tim-

buctoo, but I am going to Live in Hollywood for the

rest of my life. I dwell on a hilltop, in quiet and peace with the lights of the city below me and those of God above me. In ten minutes I can be at work in the studio, in twenty at the theater. Forsake that for rumble, lights, excitement? I should say not!

Nor will anyone else of importance in the industry that I know !

In the prop ROOMS OF THE STUDIOS ONE MAY FIND ANYTHING FROM A BIRD CAGE TO A FOUR-POSTED BED ABOVE, FOUR-POSTED BED DESIGNED for Mary Pickford’s USE IN “Little Lord Fauntel- ROY AT LEFT, ONE CORNER OF THE PROPERTY ROOMS AT THE United Studios. MOTION MI 1 WI 1925 ©irector 17

Putting the Movies on the Air

ADIO has been frequently decried features detrimental to theatrical enter- HUS the radio, in addition to its ad- by theatrical wise-acres as being not tainment Warner Bros, have demonstrated T vertising features, has proved a dis- R that it distinc- tinct only competitive to motion pictures through KFWB possesses contribution to the screen interests of but as even threatening the very existence tively constructive features which have Warner Bros. Studio. of the motion picture theatre, but such has tended to increase the popularity of the si- And yet, when Warner Bros, decided to not been the experience of Warner Bros., lent drama. For, just as the radio has install their broadcasting station immedi- who, as owners and operators of KFWB, had the effect of “vocalizing” newspaper ate disaster was predicted and it was pro- the huge broadcasting station which domi- advertising, so has KFWB served to create nounced foolish opposition to their pictorial nates the air in Hollywood, occupy the for Warner Bros, screen activities an in- interests. So completely has its value been unique position of being the only motion terest heightened by the addition of an proven that plans are in consideration for picture firm of national magnitude func- auditory appeal to the already existent op- establishing KFWB in the new theatre tioning in the radio world. tical features of screen attraction. which Warner Bros, are to erect in the In adopting the radio Warner Bros, This has been particularly demonstrated immediate future at Hollywood Boule- have put into operation that age-old prin- in the matter of creating among screen and vard and Wilcox avenue. ciple of converting what seems at first radio fans, a more intimate contact with glance to be a destructive force, into an the personalities of the silent drama. In Not only that but it is planned further ally contributing its share toward the final one sense, the radio as utilized by Warner to develope its use in connection with War- results to be achieved. In this somewhat Bros., has supplied the missing link be- ner Bros, screen studios and under the the same principle as that which has actu- tween stage and screen through broad- supervision of Frank Murphy, electrical ated the development of radio broadcasting casting the voices of the stars appearing in engineer for the studio, six motor trucks as an adjunct to newspaper publishing has the films. That these voices come to fans have been designed and equipped with loud been followed. As an advertising medium on the air and are wholly detached from speakers, receiving sets, microphones and the radio presented threatening aspects to visible expression of the star’s personality telephone attachments. Several of these the established advertising mediums of the but adds interest and novelty to the ex- trucks are now in operation on location community as represented by the news- perience. Imagination readily supplies a and are proving their worth in the direc- papers until a certain domination of the mental picture of the star whose voice is tion of Warner Bros. Screen Classics. air was acquired by the newspapers them- heard, a picture that is frequently a com- Particularly have they proved of value in selves. posite of several of the roles which that directing mob scenes and in making clearly Similarly in the cinematic world. While star has played on the screen and which audible instructions to hundreds of people the radio might be conceived as possessing have particularly appealed to the auditor. scattered all over the set. T~'*^ MOTION MCTLItt 18 ©irector N ovember

Other trucks have been sent East where is the aim of W arners to knit a closer con- New York Shows Disgust Star a cross-country tie up it contemplated by tact with their listeners and the industry. “And they censor motion pictures!” which fans from coast to coast will be in- Various motion picture stars and directors That was Evelyn Brent’s pertinent com- drop in formed of events in movieland and will of an evening and they are imme- ment on the New York shows when she diately pressed into service to say a few be told about current and forthcoming arrived home in Hollywood Sunday after words. Warner productions. On Sunday evening at the regular several weeks vacation in Gotham. Warner Bros.’ hour the station holds an To this end “Chief” Murphy is now “I saw and heard things in reputable impromptu hour. Stars from all over superintending the construction of a large New York theatres which would bar any station will be Hollywood are invited and a regular screen portable broadcasting which newspaper from the mails if reproduced in family program is floated through the air. a miniature duplicate of KFWB. The print,” she declared. “I saw women pranc- supplied The atmosphere of Hollywood, the center power to operate will be by two ing about the stage, making an exhibition Its call will be of the motion picture industry, is imbued motor generators. 6XBR; of their nakedness, without a thread to in the entire program. its wave length 108 meters. cover them. The station itself is a 500 watt Western VERY evening between ten and eleven “I didn’t sneak up an alley to see the Electric outfit erected and maintained by a player from the studio stock com- sights of the slums. I didn’t seek out E Frank Murphy, the studio chief engineer. pany, which includes Marie Prevost, Louise nasty shows. I loathe nastiness. I have The 150-foot towers are placed directly Fazenda, Irene Rich, Dorothy Devore, lived my life in New York and London and in front of the big white studio on Sunset June Marlowe, Patsy Ruth Miller, Do- Paris and think I am broad minded. But Boulevard, one at each end of it, and all lores and Helene Costello, Alice Calhoun, I was disgusted with what I saw in the passers-by know that it is the motion pic- M yrna Loy, John Barrymore, Monte Blue, shows that are most talked of in New Syd Chaplin, Huntlv Gordon, Willard ture industry that boasts of Station York. The music was good, the scenery Louis, John Roche, John Harron, John KFWB. and the costumes were splendid works of Patrick, Kenneth Harlan, Matt Moore, All radio fans know it and know they art. The spectacles had been conceived Clive Brook, Gayne Whitman, Charles can hear their favorite star any evening by masters. Conklin, Don Alverado and Charles Far- between the hours of ten and eleven, but “A nude woman may be pretty. But a rell, is selected to act as guest announcer. with mighty good programs every night naked one is disgusting. And the show This gives fans who have seen them on from six to 12 p. m. “Don’t go ’way, girls in the Follies type of performance the screen many times, an opportunity to folks, it’s KFWB.” were naked. When they wore anything their hear voices. Many of Warner’s directors have also at all it was just to accentuate their naked- In all respects KFWB is a motion pic- been heard on the station, among them ness. ture broadcasting station. It is not only William Beaudine, Charles “Chuck” Reis- “And they censor motion pictures in owned and operated by a producer but it ner, J. Stuart Blackton, and Erie Kenton. New York!”

As GENERAL MANAGER OF KFWB, THE ONLY MOTION PICTURE BROADCASTING STUDIO, NoRMAN MANNING IS CREATING FOR Warner Brothers stars increased popularity through “personal appearances” on the air. 19 2 5 ®i rector 19 Custom versus Costume

By Bertram A. Holiday

HILE everyone with whom I have I doubt if there ever has been a pro- ucer has learned to leave severely alone talked seems thoroughly satisfied duction possessing greater box office angles, and which the American exhibitor has Wthat the Metro-Goldwyn-Maver as those angles are commonly interpreted. learned to his cost too frequently fail to production of Ben Hur is destined to prove It has a marvelous story as its foundation bring results at the box office. the biggest cinematic sensation since Ouo plus a play which ran successfully for more The American public shies instinctively Vadis and The Birth of a Nation, its ac- than a score of years, all of which means from the costume play. Ordinarily it tual reception by the theatre-going public a wealth of ready-made publicity and ex- doesn’t appeal to them, and if there is one is likely to prove exceedingly interesting, ploitation. thing that the American producer strives and to the best of my knowledge no sure- While these are of value and play a part to do, it is to give the theatre-going public fire method of predetermining what the the importance of which hardly can be ques- what the producer believes that public reaction of that public to any production tioned, there is one other factor that ap- wants. is likely to be has yet been evolved. peals to me as being of equal importance, All of which bears more or less directly

However there is every reason to believe dove-tailing with the others to certain ex- on the opening paragraph of a letter I re- that Ben Hur will measure up to all extent, yet of importance even without them. ceived recently from Budapest, Hungary, pectations and possibly even more. Cer- I refer to the psychological appeal in the in which the writer, one Anthony Ehler tainly it ought to if the amount of time, story of Ben Hur. says, effort and money involved mean anything, It is this appeal which discounts in ad- “1 am the author of a film scenario. I not to mention the fact that it has taken vance the fact that Ben Hur is and must am one who has sent in a scenario to sev- two sets of directors, scenarists and prin- of necessity be a costume play and costume eral producers and whose scenario has been cipals. plays are things which the American pro- returned with regrets, saying that although 20 ©i rector November

was there. Why that picture was so clearly etched in your memory that you could have sworn that it had actually appeared in black and white in the pages of the

book. And yet when you look for it, it isn’t there, and you come to the realization that it has only been a figment of your own imagination! Undoubtedly we have all had such experiences.

All of which is parentheteic to the thought that we read a fascinating story of the dim remote ages and thoroughly enjoy it, we recreate in our mind’s eye the characters and settings of the story, but when it comes to actually reconstructing char-

acters, scenes and action of such a story illusion disappears and reality enters. And cold reality too often brings disillusion- ment.

This to my mind is one of the dominant factors mitigating against the so-called costume play of any period. While the same

story told with the art of the novelist is fascinating in the extreme and we find delicious enjoyment in reading the flights of fancy of Sir Rider Haggard, Edgar Rice Burroughs and H. G. Wells, when

it come to translating that story to the

screen illusion is lost and the reality which invests the depicting of the story on the

Splendidly acted as is their portrayal of the customs of the period, screen is so utterly different from precon- THERE IS AN INEVITABLE STAGINESS ABOUT THIS SCENE BETWEEN NOVARRO AND ceived ideas that we are generally disap- Bushman in the M-G-M production of “Ben Hur.” pointed. There must be something deeper, some greater appeal to the interest of the spec- the story is an interesting one they are not acters, the settings and the action of the interested at the present in costume stories story. tator to offset the unreality that characterizes such productions. There must and that the public is tired of them. Will Such a story as Herr Ehler submits with be you look into this business for me?” his letter, a story to which he has given some emotional appeal to which he makes instinctive response. presents I have looked into “this business’ for the title Oberon and which he states is Ben Hur him, and, as expressed in the foregoing founded on the folk-tale of Wieland, if such an appeal. have found that the market for costume told with all the skill of a great novelist This phase of the situation has been in- stories, as such, simply doesn’t exist; that would grip the imagination of the reader terestingly summed up in the suggestion there must be some powerful motivation and would hold it in breathless interest offered by a New York advertising man back of such a story, some theme with to the very end. And from the word pic- who took a flyer in motion picture adver- world-wide appeal, before a period play tures woven by the author into the warp tising and then returned to his beloved will even be considered. and woof of his story the reader’s imagina- New York and the more prosaic exploita-

I am not advancing this as a new dis- tion evolves mental pictures in which the tion of the necessities of life, by referring covery by any means. It is a matter of characters of the story come to life and to screen entertainment as being “predi- common knowledge, at least in the pro- move amid the settings so graphically des- gested.” The product of imagination, ducing world. Costume pictures don’t cribed. screen stories leave so little to the imagina- seem to pay out. But here is the interesting feature. Every tion when translated to the screen, that And yet there are so many people out- reader creates his own mental picture, a they in truth do become predigested. side of immediate contact with motion pic- picture inspired and dictated by something ture activity who consider that the screen that has gone before,—by the capacity of HORTLY after receiving Herr Ehler’s is peculiarly adapted to the depiction of his mind to reconstruct. Sometimes these S manuscript and its accompanying letter stories of this type. All of which is essen- pictures are sharply etched, sometimes, and I was talking with a printer who has de- tially true, up to a certain point. The I believe this to be more frequently the voted his life to the study and application screen is ideally suited to the depiction of case, they are nebulous and sketchy, bare of expressing thoughts in terms of type the romance of bye-gone ages and through outlines which, while entirely sufficient to faces. With the enthusiasm of an artist its illusive qualities that romance may be make the story seem real to the reader, for his art he entered into an animated dis- made to live again. would vanish as a puff of smoke were the cussion of the merits and interpretive val-

And there is the rub. reader to attempt to put down on paper ues of various type faces.

the picture he sees in his mind. The de- “Type is the vehicle for thought,” he T is one thing to be held spell-bound by tails just aren’t there. said, “Make your printed page easy to read. I the graphic art of the novelist, to be But while they last these pictures seem Set your message in the type face with swayed by the charm of his description and real. For instance, how often have you which your readers are most familiar and by the brilliance of his style and diction. read a book which particularly appealed they will read it quickly and easily. Set

One’s imagination keeping pace with the to you and a year or so later have picked is in unfamiliar type and easy reading is imagination of the author readily evolves up that book and in thumbing through the retarded through the necessity for ‘trans- from the word pictures on the printed page, illustrations have searched in vain for some lating’ the type and puzzling out familiar mental pictures which visualize the char- particular illustration you were positive words in unfamiliar dress.” 1925 ©irector 21

Give the public what it is in the habit of seeing. In that paraphrase of the old printer’s comment it seems to me is summed up the psychology of motion picture production, and is expressed at least one reason why the costume picture as such has so universally proved disappointing at the box office. Presenting a story of the Middle Ages on the screen with all its attendant qualities of unfamiliar costumes and unfamiliar settings is to my mind very much like setting a familiar nursery rhyme in old German type. The unfamiliarity of the type of itself would “stop” the average reader. The fact that the rhyme is expressed in English, that the spelling of the words is just the same as one is accustomed to see, is entirely offset by the unfamiliarity of the “costume” worn by the familiar characters. It isn’t real. Such a production, for instance as Rom- ola, in which, despite the splendid work done by Lillian and Dorothy Gish, the careful characterizations and the infinite attention to detail, the unfamiliarity of characters, costumes and background des- troyed the element of reality and mitigated against the box office success of that production to a marked degree. On the other hand, indicative of “the While in the Warner Brothers production of “The Cave Man” Matt exception that proves the rule” Ben Hur Moore packs a realistic punch that is most convincing and which is possesses all the attributes which enter into THOROUGHLY UNDERSTOOD BY THE PRESENT GENERATION. a successful box office picture and the mere fact that the story is laid in its entirety alized a story with which the whole world characterized Quo Vadis and which is to some 2000 years ago will in this instance was familiar and because it visualized a be expected in Ben Hur. have very little effect on the final result. period of world and religious history known Still turning back the leaves of memory

And while this may sound paradoxial, to every man an woman. I am impressed by the fact that in nearly there I believe it may be easily explained. Des- Between Quo Vadis and Ben Hur every instance plays in which period set- Vadis pite the period in which it is laid, despite is a distinct parallel, and what Quo tings have been involved, or even where likely to the fact that it is essentially a costume was in its day Ben Hur is very the entire action has been laid in foreign interesting picture, Ben Hur possesses an appeal to become today. And yet it is settings with costumes peculiar to those effort to revive Quo the American public—to the world public to note that every settings, have proved unsatisfactory as box- in fact, —that transcends any inhibition Vadis has been disastrous. office attractions. against costume pictures. Ben Hur is real, Going back to that Quo Vadis period, an I have already referred to Romola as one not only because of its long success on the interesting illustration of the point estab- instance. There have been a great many American stage, not only because of the lished is found in the fact that following others. There have been, too, many in- tremendous popularity of General Lew the success of that production other pro- stances where stories have been laid in Wallace’s book on which that play was ductions of similar nature were imported foreign settings with foreign costuming based, but because in Ben Hur are sym- and in every instance proved a complete predominate, but leavened by the introduc- bolized religious history and religious teach- flop. tion of “home-folk” in familiar garb. For ings which are familiar to the entire With all the power of Bulwer Lytton’s instance there was Graustark as played by

Christian world. As such there is to Ben literary classic back of it, with all the Bushman and Bayne and the more recent Hur as there was to Quo Vadis an intensity spectacular elements that such a subject Talmadge version. The costume element of appeal that is entirely apart from other afforded, The Last Days of Pompeii proved found relief in the fact that the interest factors which so universally enter into the a box office failure. Similarly Julius Cea- of the spectator was focused on an Amer- equation. sar, Spartacus at Rome and Anthony and ican hero. Cleopatara failed utterly to measure up to The current production of The Merry OING back into “ancient history” the standards of box office success estab- Widow is another case in point. Not only for a bit, some thirteen lished by Quo Vadis. G years ago is there the relief afforded by the presence George Kleine brought over Quo Vadis an Marvelous as each production was, of the troupe of American players, but Italian-made feature production—the first spectacular to a high degree splendidly there is a subtle touch of World War in- super feature to be exhibited in this coun- done, each founded on a famous story or fluence and modernism in military accoutre- try—and startled the cinematic world with an episode in the history of the world with ment, contrasting with the old world cos- the tremendous success that picture made which all students are familiar, these pro- tumes. The result is an extremely color- as a box office attraction. ductions lacked that seemingly intangible ful production in which there is sufficient Quo Vadis was an instanteous success quality that made Quo Vadis a mighty suc- realism as interpreted by the American au- throughout the country, partly because it cess. The story each told, while fascinat- dience to balance the unfamiliar settings was a novelty—a mammoth, spectacular ing in the extreme, true to the period in and create an atmosphere of charm and production of unheard of pretentiousness which it was laid, lacked that vital ele- interest for the whole. Add to that the for the films —but largely because it visu- ment of direct individual interest which (Continued on Page 50) — !

f MOTION Ml 1 mi 22 director November

Does the Public IVant New Stories An Interview with ALBERT LeVINO—by Jimmie Starr

AS a new idea any sex appeal? again,” yells Le Vino at the top of his OW that LeVino has succeeded in with that much be- making himself and ideas clear, let us That is not quite the status of our voice. “A love story— N story, yet it is a good opening if damned happy ending.” chatter on with other stuff. nothing more. Those who don’t agree can stop here. Sometimes the old formula—and it is Just why one should pick upon such a This is fair warning— if you go farther, that— is varied, seemingly by presenting the busy personage as Albert Shelby LeVino, you are apt to get yourself into a hot and heroine and hero as a married couple. This method, some times, according to the I don’t know, but according to this, I did. heavy argument. Watch your step scenario writer’s ability, may enhance the And believe me he was the right guy. \T THAT all competent directors and conflict element. Probably a deeper, more He more than hit the nail on the head least VV writers know—at we hope sincere thought is carried out. he socked it. If there was ever one who they know that,” says LeVino, “but what brought up the villainous heat of the The age-old gag is used and maintained producers and critics seemingly do some so as to part lower regions into an agrument, which is the husband and wife—and not know— is that the Anglo-Saxon amuse- keep all ready white hot with the various ver- them apart until time for the fade ment-supporting public wants, or ever has sions of pin-headed producers, then—well out. wanted, is the same story over and over Battling LeVino is ready for all comeis. It all narrows down to this: The only again.” Tune in and listen to some high-pow- variation in the presentation of the form- Perhaps it is the fact that we all are ered broadcasting of truth, the whole truth ula lies in the treatment. There have been producing the same story which will awak- and nothing but the truth. countless ways and means contrived by the en in the public a desire for something most subtle minds of the world, which, has been gaily circulating around Word else. But nothing in the literary or dra- after all, seems to be the only thing we our fair Cinema City that the latest wail matic scope of the English speaking coun- are seeking. (it is of the production that) many heads tries justified such an assumption. We are not after new stories, but forever of the motion picture industry is the lack By now you are probably doubting that ‘ seeking and endeavoring to discover some of ‘new” stories. we are telling the same old story on the newer method of presenting the old idea, “Perhaps,” says scenarist Albert, “they screen and always have been telling it. Let which is my idea of being truly original. are in a conspiracy to keep artistic produc- us permit LeVino again to have the floor: To be a successful film wr riter you have to ers—if any—and high-minded studio exe- “The first thing we do is create a girl be fitted and able to “top” the newest gag, cutives—if any again—from obtaining new or woman character and present her so and ye gods, there is a new one born every stories.” that the audience will like her. Then we minute. Which isn’t such a bad crack, come to construct her boy or man counterpart and think of it. present him so that the audience will like Once again LeVino hops up and takes Just at present about ninety per cent of him. Now we bring the heroine and the the floor: the studios are asking for new stories. hero together—and make them like each “I have a beautiful, large-type copy of Maybe this is ignorance—because there other. Simple, isn’t it? the Gesta Rornanorum, the book from isn’t a new story under the sun that is “H ere comes the dirty work. Even a which William Shakespeare is said to have

commercially sound. scenario writer is a villain at heart and secured seventeen of his thirty-four (or is “A short time ago,” breaks in LeVino with a pen. Just at the moment when it thirty-five?) plots. I have read the book again, “my very good friend—and at that said heroine and hero would like to kiss often and most diligently, but I can not time employer—Harry Rapf, blurted out and start to live happily ever after in spite get even one plot from those old monks’ that the industry really needed ‘not new of the whole cock-eyed world (apologies tales that will pass any studio executive. faces, but new brains’, which included only to Ben Turpin), the weaver of the yarn Which is only another proof, and quite an writers and directors. steps boldly forth and slaps in the conflict unnecessary one, that Bill Shakespeare was “ element. Still simple, isn’t it? and still is, a better craftsman than I am.” ‘Well, Harry’, 1 asked him, ‘don’t you think you might also include some new “This new move separates the happy pair In speaking of the Gesta Rornanorum in ” brains as production heads?’ both mentally and physically. From then which are the seventeen plays, one finds Harry Rapf chuckled good-naturedly, on it is a battle—a mighty one for the that Shakespeare was really guilty of an which was most natural for a man in that writer—to keep the heroic characters from awful lapse. He was often praised for getting together again in peace, amity and position, and he nodded his head in Le- seventeen different plots, but there is an- Hollywood. Here is the catch: The very Vino’s favor of suggestion. other catch. Those seventeen stories, which Many of these so-called “wise ones” of instant the conflict element is defeated, include all the plays ending happily, are the movies seemingly have lost their knack the adult audience reaches for its collective absolutely identical in plot formula just of guessing just what the public wants. hat and grab the children by the arm. — all really successful screen stories, is one thing to do shove in as our That is easy to analyze. There only — are. “It’s the same old story, over and over ‘The End’ title and call it a day.” y X MOTION Wl Tl/RC 1925 director 23 King Vidor The Man on the Cover

The Story of A Little Parade When the Camera Jammed and a Big Parade

When It Didn’t.

Photo by Waxman

OME men achieve success, fame and cause he has allowed no opportunity pass individual creativeness, persistency and S distinction when Fate places Golden that might further his purpose and because ambition, and Destiny will read the result Opportunity in their path and when, when no opportunity presented he went in terms of success. with the instincts of a football player, they out and made one. When King Vidor is asked about his

pick it up and race down the field to the When the films and King Vidor were early career in the movies he becomes re- goal. both young there was born within him an trospective and a twinkle comes into his Some men achieve success solely through ambition to become a dominant figure in eye as he tells of that day not so many their grim, dogged persistency and their the motion picture world. It is doubtful years ago when, as a boy in Houston, indomitable resolve to accomplish the pur- whether at that time he concretely visual- Texas, he wagered $5, and offered to sell pose for which they set out. ized himself as a director. Probably he his bicycle if necessary to meet the wager,

Such a man is King Vidor, whose por- did not. But in him is the creative in- on the mechanics of motion pictures. It is trait appears on the cover and whose most stinct—the instinct which is the heritage a story that he delights in telling and in recent film triumph, The Big Parade, is of every boy but which in so many in- that incident he believes he received his already on the tongue of the professional stances becomes atrophied with adolescence first genuine inspiration to make the mov-

world. King Vidor has “arrived” because and manhood and is completely subjugated ies his life-work. he has never for one moment forgotten by the responsibilities of life and the bur- The films were still comparatively new the objective which he set as his goal, be- den of making a living. Combine in one in those days and the story opens with —

t_ X MOTION W1UW 24 director# November

two youngsters standing on the sidewalk projection machine. While his patrons be daunted and he practiced that night in front of a small theatre, blinking in gropingly found seats for themselves in the operating the camera without film. The the bright Texas sunlight and discussing dark, King Vidor diligently studied the next morning, at least three hours before the motion picture paraphrase of “what technique of the silent drama, counting the parade was to start, he was stationed makes the wheels go ’round.” the number of scenes and analyzing the on the roof of the Odd Fellows Hall with “The pictures sure moved,” said one of modus operandl. his camera trained on the street down the boys, “but I bet that they were justed Then he began to write scenarios and which the soldiers were to march. painted on.” when he had fifteen or twenty good ones At last the procession came into sight. “No, I think that they were photo- he sent them away to various moving pic- The drum major in all his glory whirled graphed with some kind his baton just in the of a earner,” replied the range of the lens and other. King Vidor began to

EN in squads, in platoons, in regiments . . . “What’s your ‘bet’?” 44 TV /T crank. There was a \\ /I toiling through the sticky mud . . . falling crumpling sound inside “I’ll bet you $5, even out bv the roadside to bandage blistered feet, the mysterious box. The if I have to sell my bi- J^Y X handle cycle to pay you,” King or to buy food from sad faced villagers, onlv jammed. The boy ran frantically with Vidor returned, “but I again to take up the interminable drive to the front. And his camera into a dark won’t have to because I with the men the guns, big guns, medium-sized guns, little corridor know I am right.” and with excit-

guns . . guns in and in . . ed . column guns convoy guns fingers . straightened The boys carried out the buckled film. behind prespiring horses and snorting tractors . . . their their dispute before the lurching, But when he rushed mayor of the town muzzles dipping, careening through the gray fog and back to the roof, the it was explained to like wave-tossed dories on a stormy sea . . . shiny guns, them parade had passed. that moving pictures rusty guns; dripping guns, guns stuck in the mud and sur- Thus ended the first were indeed photo- rounded by swearing, sweating men, tugging, pulling, episode, but like many graphed by a kind of a straining in that laborious, ominous purposeful crowding episodes it proved but camera. After that on and on in The Big Parade to the front. the beginning of anoth- nothing mattered to er. He and the chauf- King Vidor but this For the first time a director has caught and trans- feur organized a com- fascinating business of planted to celluloid, both the immensity of the World War pany. Vidor wrote the moving pictures. He story, played the leading had to know more about and the underlying spirit of the American Expeditionary role and, with the help them. Force. In the foregoing lines one overseas veteran tells of o f different colored The obvious place to his impressions of The Big Parade. On the opposite page beards, played other turn was to the theatre Robert M. Finch, a man who was there, tells his impres- characters as well. where they were shown sions of this Metro-Goldwyn-Mayer production in which A trip to New York and he succeeded in get- followed and his intro- King Vidor has created the supreme achievement of a ting a job at the Ex- duction to that myster- brilliant directorial career. In his first attempt at motion celsior theatre in Hous- ious procedure termed ton, his first job in the pictures, King Vidor’s camera jammed when shooting a Distribution. movies. He took in small-town parade, but when The Big Parade came along After New York, tickets and acted as ush- the camera didn’t jam and King Vidor has given to the Texas lost its appeal as er and because he work- a moving picture locale. world what is considered as the truest picture of the World ed faithfully and per- Besides Hollywood was that has been filmed. sistently for ten hours War then becoming the a day, he was paid the center of the film munificent salary of wold. And so to Holly- $2.50 every week. ture organizations. They must have been wood he came. At that time a feature picture was a good ones, for they never came back. In For a few years he did a little bit of whole two reels in length and King Vidor fact he never heard of them again. everything: acting, writing, assisting as di-

has the pleasure of seeing it twenty-four Came a day when there was to be a rector and building sets. Every little times a day. The feature picture that parade of soldiers in the town and an ad- while he insisted that he could direct pic- marked his entrance into the film world vertisement appeared in the paper asking tures and finally was given an opportunity as doorman and usher at the Excelsior for someone to make moving pictures of the to make a kid comedy. It was a good one theatre was called Ben Hur and he thought parade for a news reel. He promptly got and he made nine more. But comedies it was a pretty good show. But after he the job, and then remembered that he didn’t didn’t satisfy his ambition. He wanted to had watched the brick tumble down from have a camera. create something more real, something more the wall a number of times he decided But that was soon solved. There was tangible, something more lasting. And so that it might have been better, and gradu- a movie camera in the town owned by a he quit making comedies. ally there was born in him the ambition chauffeur with whom he promptly entered But getting a chance to direct a real to make a better picture. into business arrangements, agreeing to split feature presented many difficulties and a Now, that ambition to write a better the profits, if any. few weeks later he was sitting on the extra story or make a better picture has started Things were moving smoothly until the bench of a casting office. Tiring of the many a man in whom is the creative in- chauffeur learned that he had to drive in interminable waiting his imagination sought stinct upon the road that leads to success. the parade and if the picture were to be something to occupy itself with, he began Fired with this new ambition he started taken King Vidor would have to turn the evolving in his mind the plot of a feature in to learn all that he could learn. He crank himself. This was something dif- production. It was then that he conceived had the operator—they were called opera- ferent again, but here is where the per- the big idea, and sitting on the extra bench tors and not projectionists in those days sistency of the man becomes evident. Like he worked out the detailed plot of The to explain him all the intricacies of the most heroes of fact or fiction he was not to (Continued on Page 64) —

fc ~\ MOTION Plt TLTtU 1925 director 25 An Overseas Veterans

Tom O’Brien, John Gilbert and Karl Dane, as the “three musketeers” in “The Big Parade” ™ E Big Parade By Robert M. Finch

’EST LA GUERRE. seen anywhere those days of the “big push.” self—of the Great Experience. For the Despite the idiomatic significance The Big Parade to me is not just a war first time anywhere it brings the cataclysm which attaches to that phrase so picture. It is in all reality, a picture of of the age to the inner consciousness of all commonly on the tongue of the Frenchman the world war. who view it, in all its awful majesty, its during the World War, its broad interpre- Never have I seen the spirit of those ruthless dominance of everything and the tation sums up so completely my impres- war days caught and translated to either pitiful insignificance of the human atom sions of The Bit/ Parade that I sat back in printed page or silver sheet with such engulfed in its tremendous eruption. my seat during an advance showing of this fidelity, such accuracy of detail, such rem- There have been numerous war pictures really worth-while production of war-time iniscent touches of those little things that and war stories in which isolated fragments France with but the one thought: remain so vividly in the mind of every have been vividly reproduced, but in most

It is the war! overseas veteran. Surely author, director of these the vital element of realism seemed

In every sense of the word, "It is the and cast must have been there. It doesn’t to be lacking. The soldiers depicted on the war!”—a realistic, vivid portrayal of war- seem possible that realism could have been screen seemed more like automatons time France and the A.E.F. that brings obtained otherwise! mere puppets in the hands of the director back a flood of memories and revives as The Biff Parade is to me a dynamic, —than like men who had been there, who has no other screen production that I have vital, gripping presentation of the war it- (Continued on Page 28) ,

a£S> -

Photo by Ruth Harriet Louise

tainly knows her France and in The Big Parade Renee yddoree she has done herself and King Vidor proud. As “Mimi” of war-time the true-hearted, bubbling “Madelon” of the France, Renee Adoree has, in The Big Parade villages, she astonishes with her impetuousness an exceptional opportunity to give to the screen and enthralls with her charming presentation of the best work of her screen career, an opportu- that sublime faith that gives all and asks, Oh! nity that she has fully lived up to. She cer- so little in return. Photo by Ruth Harriet Louise

Tnhn CiHhprt 0i the many roles in the aristocracy discovered himself in the inferno jUfJ/l vjWi/c / £ which he has captivated of The Front where Death stalked ever near. the hearts of the theatre- Typifying the flower of American manhood who going public, John Gilbert’s portrayal of Jim went into the war through circumstances, his Apperson in King Vidor’s production, The Big delineation of the boy who learned to forget Parade, is undoubtedly his best. Dumped from himself and become a real soldier in that ghastly the mansions of the avenues into the dirt and hell of No Man’s Land will not soon be for- the grime of war-time France, many a scion of gotten. 28 ©irector November

. . . The Boy crowded into the war . . . The Girl he left behind him. The Rookie cantonment—it all had been done before and I set myself to see “just another war picture.”

Came a long shot down a sloping hill with shielding poplars lining the macadam road, a road that glistened and shone in the drizzling rain, while down the road rocked seemingly endless columns of marching troops. Indifference fell from me like an impatiently discarded mantle. This was France itself—the road from Dombasle to Rendezvous du Chasse over which The Big Parade swept in 1917.

Memories flooded over me and I was back in France. As the long shot faded into a close-up of weary, set faces plodding on and

on in The Big Parade it was the faces of my war-time buddies that

1 saw on the screen. The scene changed. A typical French village flashed before me and I laughed aloud in delicious reminiscence as the men fell out around a manure pile. I could smell the musty straw in the loft and the burned grease from the ponirne de terre frie. I pictured Laurence Stallings the author, among the men of that platoon. Fie surely must

been there ! Then the “Three Musketeers!” What platoon

in the A.E.F. did not have them ! The arrogant corporal, the Swede iron-moulder and the pampered scion of wealth—all engulfed in the maelstrom of The Big Parade—buddies by chance, not by choice. In the soldier’s retrospect, irresistibly real and funny

now—not so funny then ! Expectantly I waited for the introduction of the “Madelon,” the laughing, self-confident madamoiselle of all France, without whom no picture of the war would be complete. Wistfully, I found myself hoping that she would be real.

Then I saw her, standing in the gate. The little smiling “Mimi” of the cross- roads village whom every soldier in France knew. The same semi-sophisticated bold- ness, the same little mannerisms.

Renee Adoree, as Melisande, is as From the alleys and barrooms they came and were caught in the swirl Frenchy as her name and one needs no of “The Big Parade.” O’Brien portrays Tom a difficult role as one of exercise of imagination to fit her into both the “Three Musketeers” in an admirable way. Every overseas veteran role and atmosphere. She just belongs. KNEW HIS COUNTERPART IN FRANCE. In “The BlG P.ARADE” O’BrIEN APPEARS She is real. Back went my recollection as an East Side Bartender drafted into war. His instincts of self-pres- the to Erize la Petite, or was it at Montigny ervation MADE HIM A CORPORAL. HlS NATURAL ARROGANCE OVERCAME HIS DIS- du Rue that I knew her counterpart? CRETION AND HE WAS REDUCED TO A PRIVATE. Now John Gilbert, as Jim Apperson, steps out of the The Big Parade and reg- had plodded weary hours through drizzling And over it all the subdued, insistent, isters as an individual. He meets Meli- rain and sticky mud, who had smelled a sullen rumble of the artillery in that vague sande and gets busy with his French dic- shrapnel burst and had had their ears deaf- distance to the front, like the bass notes tionary. I venture that this clever bit of ened by the pounding of the big guns at of some colossal organ or the vibrant, domi- pantomime will be as refreshingly remini- the front. nating pulsing tom-tom of African war scent to every veteran who sees The Biff But in The Biff Parade are found not drums. Day by day growing ever louder, Parade as it was to me. only the individual touches which are still more insistent, more compelling as the the scene where Melisande intro- fresh in the memories of overseas veterans, weary columns struggled on. At night Then to her family and but underlying the whole picture is that more weird as across the distant horizon duces her soldier-wooer

. stilted . . . dominant note which was so evident all flickered a fitful glare in accompaniment friends . . The welcome The through the American doughboy’s experi- to the eternal reverberation. adulation of the French for their heroes ences “Over there,”—the ceaseless inter- What overseas man can ever forget it? as they read their letters from the front minable push to the front the endless ; . . . Their fervid and dramatic patriotism. I that, having been of olive-drab figures forging on RANKLY, confess stream and It is all there and will bring back memo- an infinitesimal atom in the mighty enon and on in The Big Parade. F ries to many through its adroit realism. that It required no conscious flight of imagi- semble of war machinery Marshal The arrival of the mail . . . Slim’s disap- nation to transport me back to those days in Foch poured north to crush the Hun, it pointment at not receiving a letter, a quick- Belgium and the Argonne. Even while was with some skepticism that I dropped seat at Egyptian to wit- ened bit of artistry . . . The corporal kicks my attention was riveted on the screen, in into a Grauman’s imagination’s eye was the picture that every ness an advance showing of The Biff Pa- the wrong man and loses his stripes . . . veteran of the A.E.F. will have a pic- rade. Slim gets the promotion. As you see it de- ture of overcast clouds and drizzling rain Somewhat indifferently 1 followed the picted on the screen, so it was done in and through the rain a seemingly endless trend of the early sequences. Before me France, as I am sure every overseas veteran stream of men and guns. on the silver sheet flashed the usual prelude will agree. 1925 ©irector oving up! M The confusion of assembly and en- trainment is admirably portrayed . . . The lover’s parting, an impassioned scene so typical of the French who realized the ominous possibilities of the last march in The Big Parade from which so many dear to them had failed to return. The front at last. The clumsy deployment when for the first time they faced the Great Unknown, half-dazed by the appalling cannonade of the covering barrage . . . Their baptisme de feu, as the French so naively phrased it . . . The awkward stilted advance with lagging feet. . . . The crushing clutch on the rifle stocks . . . Bayonets fixed . . . The seeming indifference to companions as the air rains steel. No flights of imagination are necessary to sense that the man who engineered these scenes had been there himself.

Artillery laying down the barrage . . . The dancing 75’s with their perspiring crews . . . The 155 howitzers and rifles splashing the mud as they buck back on their trails in recoil . . . One could almost hear the metallic ring of the contracting tubes and smell the acrid back flare from the muzzles. The sputtering of the German machine guns . . . Even sensed through the eye alone one seems to hear subsconsciously their vibratory rat-tat-tat as they belch their deadly streams of lead. Hand grenades, and the Heinies surrendering before the grenades are heaved

. . . With eyes transfixed before them, the men in the first wave stumbling on, bayonets at the ready, seemingly oblivious to the upraised arms of the surrendering Ger- mans. To my mind this is one of the really great hits of the picture in its conception. Only the seasoned veteran would They were all Americans under the skin. As the big clumsy Swede realize that prisoners are to be taken by IRON MOLDER, K.ARL DANE IS RESPONSIBLE FOR MOST OF THE LAUGHS IN “The the second wave and the moppers up. Big Parade.” Phlegmatic, slow thinking, exhilaratingly funny, Slim, THE CORPORAL WHO WENT TO HIS DEATH WITH A FRESH CUD OF TOBACCO IN HIS CHEEK, IS ONE OF THE CLEVEREST CHARACTERIZATIONS ON THE SCREEN. O man’s land, with its eerie lights . . . N The “Th ree Musketeers” in a shell

hole . . . Jim’s rebellion at the awfulness handing his enemy his last cigaret. A been presented with such delicious drollery. of it . . . Bull’s dazed attitude . . . Jim’s picture not soon forgotten. Never before has the consuming ardor of crude indifference to the situation. re- A I once saw a corporal under very similar patriotism in the French that makes the markable of portrayal the manner in which circumstances, mortally wounded and fren- chanting of “The Marsellaise” a religion different men stood up under fire. zied with pain, seize a rifle and bayonet with them been so superbly exemplified.

Then the call to to the front . . Slim’s go a defenseless German prisoner, only to So much for the picture as an epic of

clever ruse to gain the opportunity . . . throw himself on the ground weeping hy- the Great Conflict. Jim’s high strung spirit and his hysterical sterically with genuine grief when he real- I frankly believe that no overseas soldier anxiety to find his buddy. Here enters ized what an awful thing he had done. can view The Big Parade without being what was to me one of the most vividly It is such poignant, vivid episodes as this, carried back to those drab days in France realistic episodes of the picture. realistically done, presenting at the same and without being thrilled as I was thrilled Jim has the last German, desperately time the actual horrors of way and its truly by its masterful portrayal of The Great wounded, completely at his mercy. Goad- human side, that register so compelling on Experience. I am confident that it stands ed to uncontrollable fury by the fate of the consciousness of the overseas soldier the inspection of its severest critics—the Slim out there in the dark, Jim sees red. who sees The Big Parade. men whose fortitude it extolls. Here is the enemy delivered into his hands. Never before has the intense drama of Of course some of the scenes depicted Slim is out there, wounded, perhaps dead. life and death in the Great Experience been are ugly and unrefined in spots. The World Somebody must pay. He raises his arm so powerfully reproduced in its intimate, War was no afternoon soiree. If it all to strike but is arrested by the agony in human quality. Never before have the were pretty to look at it would not be war.

the Hun’s face. Sanity comes back to him humorous aspects and ironical absurdities in To me The Big Parade is a dynamic, and, softened by pity, he finds himself the routine life of soldier on foreign soil (Continued on Page 59) — — —

MOTTO*. Ml ITN , U«l >(l - director November Th6 NIGHT B RIDE T By Frederic Chapin

Synopsis of Preceding Chapters found the service and seclusion to their always glad when his onerous duties were HEN Cynthia Stockton, motoring home liking. over, rolled one of his own and leaned from the country club, observed that the Out of nowhere, Louis managed to con- back in his chair. Casually he picked up WOgre's castle, which had been long va- jure famous brands of liquors and wines a copy of the cant, was tenanted, her curiosity was aroused. paper and the bond article She soon learned that young Stanley War- of rare vintage. caught his eye. rington, Jr., owner of the Warrington fleet of I hose whom he knew, he trusted and “Say!” he exclaimed, with more than steamships, had purchased the place. Stanley served. Louis knew Addison Walsh by passing interest. “This Walsh feller must hated anything that pertained to the sea and virtue of his past patronage, and a large was—according to his friends, a bug on writ- be some pun’kins around these diggings, ing. He also had suffered from a disastrous room upstairs was already prepared for ain’t he?” love affair and with his man Biggies, a gruff that worthy gentleman’s bachelor dinner. “About as important as a pumpkin—or a old one-legged ex sea captain who had been It was to be his parting shot at the high squash,” replied Bill. given charge of Stanley since he was a boy life a last it the young man went into retirement, refusing — embrace, as were—of the “He must have a bankroll.” to meet his neighbors and treating everyone Goddess of Frolic, before entering the “He sure has.” with scant courtesy. sedate portals of marital life. “He’s the that bought our This piqued Cynthia who was used to adu- guy show For the past year, AValsh had shunned lation and admiration from the male members for tonight.” the primrose path. But the urge of reck- of the exclusive colony in which she lived. “Bought it?” Bill repeated, pricking up Her friendly advances repulsed, she became less abandon in his salacious soul, called his ears. angry and accepted Addison Walsh, a wealthy for one last fling—a rip-snorting revel banker, much older than she, who had become “That’s what I said —bought it—for one one more of the good old times when jazz- her father's creditor for huge sums advanced performance. We were due to give a show the Stockton factories. crazed men and women could whoop ’er in Milo tonight, when this bird blows in Mrs. Stockton—whose lavish expenditures up into a Bacchanalian orgy. and writes a check for the amount of the had made her a social leader—sponsored this Walsh, immaculate in evening dress, match and was delighted when the ring was receipts.” was the first to arrive. He surveyed the finally placed on Cynthia’s finger. Bill pondered. Meanwhile, Stanley bought the local news- appointments of the table with satisfaction. paper as an outlet for his penchant for writ- Casting his gastronomical eye down the “Wonder what little Addy did that for,” ing and started in to expose Walsh's nefari- — menu, he admitted it to show promise of he said musingly. ous financial schemes which made the two being a feast fit for Epicurus himself. men bitter enemies. The agent smiled knowingly and hitched dapper little Frenchman stood by But through it all, the call of youth kept The his chair up closer. this young woman hater in Cynthia's mind, al- awaiting the verdict. this hat,” he whis- though she had given him up as a bad job “Keep under your “Excellent, Louis,” said Walsh approv- and hated him. She slyly sent him an invi- pered confidentially. “There’s going to be ingly. tation to her birthday fete given at night on a wild party tonight—at the Poodle Dog the Stockton lawn on a lavish scale—and Louis bowed stiffly, his body bending —Walsh’s bachelor dinner. His last leap caught the young man hovering in the shad- like a hinge. ows, looking on. It thrilled her, for his pres- into the realm of wine, woman and jazz. “You’re sure there is no danger of any- ence proved the potency of her charms and The song stuff is out. Our twelve beauti- one disturbing us?” Walsh asked. she knew she had secretly penetrated his armor ful queens of burlesque are going to be of sex hatred. “Non non Monsieur,” Louis assured — — there that’s he had to pay for the Then came a disagreeable clash between — why him. “Ze doors are locked, ze shuttaires Walsh and Stanley—once, over his dog which whole show. And after the sixth cocktail, are closed, ze lights are out and ze place, had nearly caused an accident to the Walsh it takes six to get them started if they car and again, over his open articles of con- she belong to you.” — don’t cut loose and rip the chandeliers off demnation in his newspaper. These two meet- The portly host pulled out an expensive I in ings had been in Stanley’s favor and convinced the walls, then ain’t never seen them perfecto, Louis supplied the light and hur- Cynthia that she was affianced to an elderly, action.” ried away to turn the bottles in the cool- choleric man with a mean tongue and a vile Bill surveyed the speaker akin to affec- disposition. ers; while Walsh drew in the fragrant tion. A holy joy flooded his soul. He To add to her discomfort—she knew Stanley smoke and rocked back and forth on his condemned her with every look for what wanted to rise up and ease himself in one patent leathers in complete accord with seemed to all appearances the sale of herself unearthly whoop. Instead, he reached into to the banker to save the Stockton fortune. the world. his desk for a box, and skidded it over to- Novi go on viith the story. His guests had been chosen with care. wards the agent. No outsiders would ever know what trans- Fifth Installment “Have a cigar,” he said nonchalantly. pired there that night. HE Poodle Dog Inn was a notorious “Take a couple—a fist full. They’re good, But a benign Providence works in mys- place. Nestling in a curve just off we smoke ’em ourselves.” terious ways. Tthe The surprised man took his quota and highway about twelve miles out of town, this ancient tavern had been con- It so happened—that very day, the ad- soon left the office. Bill grabbed up the verted by one Louis Henri—once maitre vance agent of a girl show . . . one of ’phone and —conversed with— Stanley. His d’hotel of a well-known hostelry—into a those cheap musical melanges, that depends “Uh huh,” “You bet” “Sure thing” modern roadhouse. upon the scanty attire of its chorus for its and “Leave it to me”, seemed to punctuate The quality of Louis’ food was worth drawing power, dropped into the office of certain terse commands from the other end the prices charged. The average respec- the Daily Eagle. They were due to play of the wire. table man shunned the Poodle Dog for in Sterling the following night. That was why Bill Dobbins was seen sundry reasons. But young men of wealth, Bill Dobbins, alone in the office at the to park his motor cycle near the Poodle and married men whose wives were away, time, attended to his wants. The agent, Dog at exactly nine thirty that same night. 192 5 ©irector 31

Several limousines were lined up in the But this was her liege’s wedding day. the blessings of a profound slumber. carriage shed while the chauffeurs, by the That worthy gentleman lay at the moment Throughout the long hours the terrors of aid of a flash light, indulged in a game of buried in a mound of bed clothes, snoring her coming marriage to Walsh had lashed crap. like a huge sea cow. It would be hours her brain with stinging thoughts of re- The faint sound of a phonograph, ming- before he awakened. There would be no bellion. ling with the shrill laughter of feminine customary reading of the morning paper In the grip of her dreams, she had seen voices, floated from the darkened tavern, at the breakfast table. A crumpled news- herself as one besieged. On one side, her and Bill knew the jamboree was on. paper at such a time was a drug on the mother, garbed as a battle-crying Brunne- It was no trick to shin up a post to the market. hilde, hurled javelins at her, anathema- upper balcony, where a tell-tale light It flopped into the waste basket. tizing —her with cries of, “Ungrateful— through a slit between the lowered curtain At the usual hour, the Stockton butler child,” “see what you—have done,” “look and the frame of the window, gave promise stepped out to the terrace, inhaled a breath at your poor father,” “he is ruined, and of a glimpse inside. of morning air, picked up the morning we are disgraced.” Bill parked himself comfortably, glued paper and departed into the house. From the opposite side, Walsh, in his his eyes to the window, and found him- But this was Miss Cynthia’s wedding rage, tore big chunks out of the Stockton self the happy owner of a ringside seat day. Already, the house was astir; and factories and threw them at her in fiendish for the show. thus it was that the paper found its way glee. The party had reached the stage of a to the hall table, an unwanted thing of Turning in blind fear to escape her tor- lewd and licentious riot. The twelve ugly pot. There it lay throughout the mentors, she saw her father confronting queens of grease-paint were making the day, unopened and unread. her as if in condemnation. He seemed to most of their sudden plunge into an un- The residents of Sterling however, were falter and then fall lifeless to the ground. limited supply of pre-war hootch. Walsh, running on their regular schedule. By She wanted to go to him, but she found maudlin and drooling in his drunken joy, nine o’clock the story was being mouthed herself running—running as one possessed chased the scantilly attired coryphees hither as a delicious morsel of scandal, for Stan- in the other direction. The road lay open and yon. ley had painted a picture with a carmine before her. In the distance, she could The tipsy period had passed, all were brush. see the gates of the Ogre’s castle opening, just plain drunk. Then a game started Minerva was up early. Her husband, a as if to offer sanctuary. She stumbled on, where the loser forfeited some portion of humored invalid slept late to conserve his passed through the gates, heard them clang their wearing apparel. strength for the ceremony. Cynthia, after shut, and dropped breathlessly to her knees. “Looks like something is going to come a sleepless night, had finally succumbed to The young Ogre came to her, lifted her off” muttered Bill, glancing up gently, and carried )ier at his wrist watch. He would away. have to hustle to get the story In Stanley Warrington’s ready for the morning paper, arms, she had fallen asleep. however, he had seen “A Welsh rabbit night- enough. mare,” would have been Bill He had a tale that would Dobbin’s comment. melt the type. Stanley was waiting for he wedding was to take him in the office. Bill pro- T place at eight o’clock ceeded to give him lucid a ac- that evening. Any girl could count of the dinner party. be married in a drawing room the When young man had at four in the afternoon, but finished, Warrington, Jr., Minerva was forever striving wheeled around, thought a for something new. minute and started his yarn On the broad, green sward with a string of alliterations, of the Stockton estate, an al- that would have brought joy tar banked with roses, was re- to the heart of a circus press ceiving its finishing touches by agent. a florist of discernment. A As he paused to light his hundred or more chairs were pipe, Bill glanced over his being unfolded and set up. shoulder and read the head- From a hidden group of lines. palms and shrubbery, an or- “Where will you have the chestra would thunder out the remains sent?” he asked. measured tread of Mendel- Stanley gave a grunt, sohn’s melody. In another punched viciously at the ma- bower, a caterer was unpack- chine, gathering speed as he ing his viands, silverware and swung into his stride—and dishes. the tale was in the telling. Many lanterns of variegated hues were being strung to H E morning paper invisible wires, while Min- T flopped on the door- erva, the creator and builder steps of its subscribers at the of this fairyland, scurried usual hour. about, giving an order here, Delia, as was her custom, or a suggestion there. swung open the portals of the The wedding gown in all Walsh mansion, scooped up its finery lay in state in Cyn- the rolled paper and went thia’s boudoir. wardrobe Ph otoby Moss A into the house. Canyon Palms trunk, one of the many pres- — ”

32 ©irector November

gulps, like a man just off the desert would with a gold plate bearing the en- that bright remark, he turned to the clean- sent— guzzle water. graved name of Mrs. Addison Walsh, ing of his gun. “Thanks, old chap,” he murmured faint- awaited its assortment of finery for the ly, as he leaned his head on the back of honeymoon. T lacked ten minutes of eight. In just the chair. “It was some party, wasn’t it?” In the office of the Daily Eagle, Bill I about fifteen minutes, Cynthia would The flask-toter granted it to be a record- Dobbins was busily engaged in cleaning and be Mrs. Addison Walsh. That accomp- breaker, and took a swig of the flask to oiling an old horse pistol. lished—and Minerva secretly admitted it fortify himself. “What’s the big idea?” asked his father, to be an accomplishment—the future of as he peeled oft his coat for the day’s the Stocktons would be firmly planted on rs. Clotilde Burlingame-Magoun was work. a solid foundation. M one of the guests who read her morn- “Just mobilizing.” The guests were being ushered to their ing paper assiduously. A charming widow, “Who for—Walsh?” seats. The orchestra was tuning up, while grass and otherwise—was Clotilde. Pos- “Yep.” the bridesmaids chattered and preened sessed of a small income, that made it an “You’re crazy.” themselves in the library, like a bevy of unpleasant strain to live up to her apparent “Sure, crazy like a fox." magpies.

affluence ; stories of her vast estates having “He wouldn’t dare get rough,” said Cal, The bridegroom had not arrived as yet, been judiciously spread throughout the snorting out his work. but that perfumed Lothario was already community, she was usually hard pressed “Nevertheless,” observed the cautious on the way. Seated in his closed car, he to make both ends meet. one. “When he reads our little sketch, removed his silk hat, and mopped the mois- With her beautiful eyes, deep wells of he’s going to bounce right through his roof ture from his brow with a handkerchief as onyx, someone had called them, continu- and land in here. He may come empty- big as a lunch cloth. ally scanning the matrimonial horizon for handed—and he may not.” Outwardly he appeared to be calm, but a man whose rating in Bradstreet’s would Cal chuckled. It smacked of the days inwardly he was literally stewing. Delia relieve the situation, she had set her cap when men went gunning for the editor. had to practically blast him out of bed. He for Walsh and nearly landed him. “By the way,” inquired Cal. “Where had, what is termed—a beautiful hangover. But that was a year ago, then he had is ye editor of ye paper?” But, by the aid of a barber, a cold shower slipped away from her and turned to Cyn- “Gone dove shooting.” and a good jolt of whiskey, topped off with thia Stockton. “Think he’s afraid to show up?” a peppermint lozenger on the tongue, he Disappointment turned to rage, and rage “Not on your life,” replied Bill loyally. felt able to go through with it. to a roaring furnace of revenge. She stood “He isn’t afraid of anything—unless it’s a Thoughts of the beautiful girl who in the Stockton hallway, gazing wistfully girl.” would soon be nestling in his arms, buoyed at the door of the music room, through Cal gazed out the window in retrospec- him up. which, Walsh had passed not a moment tion. It was his crowning hour—the ultimate before. “The mills of the gods grind slowly, achievement of his career. “Cynthia—his For a year she had nursed a forlorn hope but they grind exceeding small,” he priceless princess of love— that she might recapture him, but now mused. Walsh was plunging joyously into a sea she realized that all was over. He was “Which leads us to ?” queried Bill. of gush. lost to her forever. “I was just wondering what Cynthia Cal and Bill had waited all day for the With a sigh, relative to a groan, she will do when she reads that,” said Cal, tap- explosion. As the hour of the wedding turned to go. Glancing down at the table, ping the article with his finger. drew near, they had to scurry around at the crumpled newspaper caught her eve. The younger Dobbin indulged in a grin the last minute to get their dress suits out H er nimble wits instantly apprised her of satisfaction. of camphor, have them pressed and find of its significace there. Could it really be, “She’ll just naturally pick up a monkey suitable linen. that no one in the household had read the wrench, and throw it in Addy’s machin- Standing on the Stockton lawn, absorb- story? If that were true, and it appeared ery.” ing the beauties of the scene, they marveled. to be so then she could understand many “There’ll be the devil to pay if she does,” Not a peep out of Walsh, nor a protest — things that had puzzled her. She knew Cal predicted. “He’ll just teetotally beg- from Mrs. Stockton. Everything was pro- Cynthia well enough to realize the effect gar them.” ceeding merrily, despite the story of the such a tale would have on her. As for “Sure,” acquiesced his worthy son. “But bachelor dinner. herself, she was willing at all time to take out of the ruins, Cynthia will rise—beauti- “Wonder if anybody reads our paper,” Walsh—as is. ful—and resourceful. Gosh,” he added, muttered Bill. A clever plan inspired her. viewing himself in a pocket mirror. “Being “Looks as if they didn’t” said Cal. Hastily picking up the newspaper, she married to Cynthia wouldn’t be hard to “What’s got into everybody?” asked called the passing butler, who hurried over take.” Bill. “Is it possible the king can do no and bowed profoundly before this ravish- Cal gazed at his boy with paternal pride. wrong r ing guest. “Never mind, kid,” he said in a gentle Cal had no answer for him. “Could you tell me?” she inquired in a tone. “Some day, some girl is going to A town car glided up to the house. The throaty tone of voice, “Whether anyone fall hard for those freckles of yours. bridegroom alighted somewhat gingerly, it here has seen the morning paper? I found “Yeah,” admitted Bill doubtfully. “The seemed to them. Then he hurried into the it here, rolled up just as it was delivered fall will be hard—on her. Now—if I only house, and was shown immediately into — this morning, I presume. looked like good old Stan—Say! “he said, the music room. He came in, shut and The heavy Englishman nodded impres- jumping to his feet, “That’s how it ought locked the door, and sank into a chair. His sively. to be. Wouldn’t they make a pair to best man turned in relief from his nervous “I think not ma’m,” he said, radiating draw to?” pacing of the floor. Addison groaned and “It isn’t in the cards,” said laconi- competance. “I placed it there myself. It Cal held his head in his hands. The friend, ” has been such a busy day cally. who had been a guest at the Poodle Dog “Ever drink deep of those eyes of hers?” the night before, had come prepared. He “I quite understand,” said Clotilde, an- “No—and neither has he.” quickly produced a silver flask, and silently ticipating him. “I wonder if you would “Well—maybe he hasn’t drunk deep handed it to the stricken man. do me a favor? There’s an article in this I’ll bet he’s taken little but a sip.” With He drained it with a series of guzzling (Continued on Page 58) 192 5 ©irector 33

The Playhouse ofthe Stars THE Screen Club

By Harry D. IVitson Hit Lake Hrrowhead

N a lofty bluff overlooking in one Linlike many openings in the theatrical the interesting appeal while in the summer, direction Lake Arrowhead and the world, last minute hustle and bustle is des- there is everything on hand for the vacation O forest beyond and in another the tined to be utterly lacking, for the Screen hunter and for that ‘few days rest from little Swiss village of Arrowhead nestling Club stands today complete in every detail, the studio’ feeling. at its base, awaiting for its formal opening beautifully and attractively furnished, with “The club is probably one of the most but the first fall of snow in this mountain landscaping and gardening and all the at- picturesque and interesting place in the retreat where the white mantle of winter tendant decorative details fully carried out, land. It is large and spacious, contains affords pleasing contrast to the semi-tropi- —a treat to the eye and something that some sixty guest chambers, a huge living cal climate of Southern California’s play- the motion picture industry may well be room, the wonderful trophy room, and in ground, stands the recently completed proud to claim as its own. fact, everything that a modern up-to-the-

Screen Club, the first exclusively cinematic “There is nothing like it anywhere minute gentleman’s lodge should boast.” institution of its kind. whether it be in the White Mountains, the That the film colony is responding to the With that first fall of snow at Arrow- Blue Hills, or Switzerland,” said Norman membership invitation is evinced in those head mighty logs will sizzle and spark and Manning, well-known sportsman and in who have been participating in the activi- burn in the giant fire place of the trophy charge of the activities of the new club. ties of the club house despite the fact it has room and final plans for the formal opening “It has been created for the screen stars not, as yet, been formally opened. for which all preliminary preparations have and studio executives and its organization Stars such as Lewis Stone, Anna Q. already been made, will be whipped into consists of some of the finest business men Nilsson, Dorothy Mackaill, Blanche Sweet, shape and this new mountain home for in the film colony. Lew Cody, Henry B. Walthall, Lloyd the stars and executives of the silent drama “The club,” continued Manning, “will Hughes, Bert Lytell, Claire Windsor, colony of Hollywood will be officially and be available all the year ’round and during Mary Akin, Dolores del Rio, Ben Lyon, formally dedicated. the winter months, winter sports will be Milton Sills, Alice Joyce, Agnes Ayres, —

34 Director November and many more are keenly interested in the ern California and there is no doubt but A gala opening is being planned. At club and its future. Directors of the that it will be doing a capacity business this opening, stars and directors and offi- standing of Frank Lloyd, Edwin Carewe, every week of the year.” cials of filmdom will gather and pay hom- Alfred E. Green, Curt Rehfeld, John ‘“One of the interesting angles about the age to their new mountain home. This Francis Dillon, Irving Cummings, and Arrowhead Screen Club,” said Lewis event will be with the first fall of snow others are among those participating in the Stone, one of the most enthusiastic boost- and plans are now afoot to stage a giant the club. activities of ers of the institution and himself a prop- winter carnival in connection with the “That the Screen Club will be a lasting erty owner of no small means in the Lake opening. home for the film folks—a retreat high up Arrowhead region, “is in the fact it is so There is a toboggan slide of a mile in and away from the busy whirl of the studio near Hollywood. The average driver can length, facilities for ice skating, ski sports, life, is assured,” continued Manning. make it on a non-stop basis in three and and everything that an Eastern winter re- “From every quarter, we are receiving re- a half hours and not be afraid of traffic sort can offer. The opening of the Screen quests for membership and questions asked officers on the highways. The approach is Club of Lake Arrowhead promises to be relative to the procedure for joining. It is ideal. No rough roads and the incline created exclusively for the Screen people from the foot of the hills until one stops his one of the events of the winter months and the executives of the picture industry. motor at the main gate of the resort, is most something for the film folk to look for- It will be one of the show place of South- easy for any automobile of modern type.” ward to with no mean anticipation.

Grown - Ups and the Serial Picture Play

An Interview with William Lord Wright By Walter M. Leslie

ILLIAM LORD WRIGHT, country have contributed their efforts to see those of their own age going through head of Universal serial depart- Universal’s coming program. Another adventures on the screen, and the grown- W ment, takes exception to the oft- thing, serials are being given more comedy ups get much the same feeling out of it, heard remark that the serial picture play relief, which appeals not only to the chil- for it takes them back to the days when

is only for children and that it appeals only dren but also to the grown-ups. The suc- they had visualized themselves in these very to children. cessful serial must be clean above every- roles. “The serial picture,” says Wright, “as thing else. In considering stories, that is “The present day serial can be made of regards the more mature movie fans is Universal’s first thought. Then it must wonderful educational value and that is much the same as the circus. The children have novelty and enough of a plot to make what Universal is striving for. We are are only a means to the end. Parents, it interest sustaining for 10 weeks, and now finishing two such pictures. One is uncles, aunts and older brothers and sisters that is what we are getting now. Strings of Steel, and the other The Radio use the children as an excuse to go to the “The serial is, I think, the most diffi- Detective. The former is a thrilling and circus. And by the same token, they use cult feature of motion picture work. Where romantic story of the invention and devel- the children as an excuse to follow the it treats of historical matters, it must fol- opment of the telephone. Before we began thrilling episodes of a serial picture. They low history closely. Writers of serials to make that picture, we secured the co-

enjoy it but won’t admit it!” must know their technique, and directors operation of the Bell system. We were “Many of the big feature pictures are must display more resourcefulness than in given access to their museum in New York nothing more nor less than glorified ser- any other brand of pictures. Getting back City and from the data secured there and ials,” continued Wright, “costing more, to the serial and grown-ups, the serial is from veterans still in the service, we have but with no greater attention paid to detail reaching out and replacing the hold that produced an historical picture that will be chil- than is given the serial. Serials are slowly juvenile literature once had on the instructive and interesting to all ages. but steadily gaining in public favor. There dren’s elders. Many a tired business and The Radio Detective is based on Arthur might have been a slump for a time but professional man has been known to seek B. Reeve’s story of the same name. Every- this has passed. Universal’s belief, not relief from his worries through the medium thing touching on the radio that appears only in the growing popularity of the ser- of books that he once read as a child. Now in this picture was first passed on by radio ial picture, but also in its educative value, he is seeking that same relief from the authorities. Boy Scouts play an important

is shown by the program it has mapped serial pictures. part in it and here, as well as through the out. We will make six serials the coming “Take Perils of the Wild, one of Uni- radio feature, is something that certainly year and perhaps eight. versal’s recent releases. It is a screen adap- appeals to others than children. While the “More money is now being spent on tation of the famous Swiss Family Robin- serial has been described as a ‘children’s serials than heretofore, not only as regards son. It is reported as drawing as many picture,’ it is a safe bet that father and cost of production, but also as regards price older persons as it does children. This, I mother, uncle and aunt, and elder brother paid for stories and casts. Historical at- think, is the first serial showing boys work- and sister are glad to be able to see one mosphere is being sought for more and ing in adventure. Four youngsters have even though they do hide behind the ex- ” more, and some of the best writers of the prominent parts in it. Children like to cuse, ‘the children like it.’ 19 2 5 director 35 IVbat Bill Hart Stands for

By Adam Hull Shirk

ILLIAM S. (Bill) HART has always stood pre-eminently in mo- W tion pictures, for clean, wholesome, western drama. The few other types of films in which he has starred were so to speak incidental to his metier— i.e. —the portrayal of western types in pictures which deal with either historical or purely imaginative incidents in the developments of the frontiers of our country. The fact that millions of boys love Bill Hart and adore his pictures is adequate proof, if there were none other, of the clean character of his photodramas. The evil in men has not been held up for aggrandizement, and always the villain has received his just punishment. Bill Hart has always stood, as he does today, for fine- ness of character, for bravery, honesty, dignity and clean-cut manhood. No milk and water heroes, his—but red blooded men who fought against obstacles, and won by sheer pluck and sturdiness of character and an infallible belief in justice.

His present vehicle, soon to be released Bill Hart among the tumbleweeds by United Artists is “Tumbleweeds” adapted by C. Gardner Sullivan from Hal. G. Evarts novel, and directed by King Baggot. Bill Hart makes history as he goes along; methodical manner, is one of the most It is an epic of the west, with the central rather, he perpetuates in celluloid the his- modest and considerate of men. His asso- element of the great land rush in ’89 for tory of the great west. As few other ciates swear by him. He is eminently just the Cherokee Strip, when it was opened men do, he knows his west. has stu- and fair. to homesteaders. This was in Kansas and He died it, knows many men whose names are Oklahoma and the scenes and incidents of Few men are more often referred to in part the period depicted. Barbara Bed- and parcel of its development. He are ablv the writings of famous authors—such as loves it and he makes his pictures labors ford is his leading woman and there is an Sherwood Anderson, James Montgomery of excellent love. Yet he is keen enough in his cast. Flagg, Katherine Fullerton Gerould—all business judgment to know the require- This picture cost $300,000. That is a of whom have referred to him in glowing ments of the box office and as a result his good deal for a western picture some may terms, as the true western exponent of films have always been successful. The say, but this is no common western ; it is drama for the screen, and, moreover, as a first one he ever made, and every one made an epic drama with power and strength man who in real life is all that his screen since, is still being shown and in demand. and romance as well as a great historical characterizations imply—a man who is im- This is a record few stars can point to. background. The land rush alone re- bued with the spirit of honesty, justice and quired the services of thousands of horses Withal, Bill Hart, with his love of ani- fairness, big of soul and heart, a man who and wagons, hundred of people and nine- mals and his great interest in the boys of stands pre-eminently as one of the great teen cameras to get the shots. the nation ; his studious habits and his quiet, bulwarks of the film industry. ©irector N ovember Motives and Motifs

HEN I was a schoolboy in San Francisco, our teacher constantly re- W iterated a copy book efficiency maxim which, if I remember correctly, was as follows: “One safe, sure and attainable quality is that of attention. It will grow in the poorest of soil and in its own due time bring forth flowers and fruit.” Grauman It made a tremendous impression on me at the time as an efficiency maxim to pro- mote concentration in studies, but it was gets the audience into a receptive mood, not until years later that I recognized its and the experienced exhibitor avoids per- application to other things. mitting it to be too insistent in volume. I To my mind it is the very foundation have seen stage performances terribly handi- of the science of the theatrical business as capped by an overzealous orchestra con- we know it today, whether it be grand ductor. opera, drama, vaudeville, the staging of The motion picture alone, which reaches great film productions, or the neighbor- population, usually are short lived. The the sensibilities of the audience solely hood motion picture show. plays that endure are these for the masses. through the eyes, will not suffice as com-

The producer or exhibitor is in the posi- The playhouses that most frequently dis- plete entertainment. The prologue gives tion of the school teacher seeking to gain play the ‘S.R.O.’ sign, you will find are the opportunity to vary the sensory appeal and hold the attention of his audience, the comfortable, conveniently arranged for the and prepare the audience for the picture general public. He must first of all draw public, and courteously conducted. You production. It should be artistic, to ap- the interest of the great crowd seeking di- cannot hold the attention of the audience peal to the sense of refinement. With the version or education, as the case may be. if the patrons are cold, cramped or crowd- stage spectacle you may reach the sense of Experience has shown that the most suc- ed, and slights or discourtesies from the rhythm through the dance, beauty, grace cessful productions are those which attract house personnel will establish a disagree- and poise through the tableaux, and un- the attention of all sorts of people, young able feeling that will distract attention dur- limited opportunity is given to appeal to and old, ingenuous and sophisticated. Plays ing the whole performance. the humorous and dramatic senses of the that are designed for a class, or which harp Productions that hold the attention of audience. There are no limitations to the too much on one chord, or which are un- the masses appeal to all the senses. The effects that can be achieved by scenic art derstandable only to a small part of the introductory music by its auditory appeal and costuming. 192 5 ©irector 37

Sid Grauman’s success in making The Egyptian more than just a theatre but a national institution HAS ENCOURAGED HIM IN CARRYING OUT HIS PLANS FOR THE ERECTION OF A COLORFUL ORIENTAL PLAYHOUSE WITH A DISTINCTIVELY CHINESE MOTIF. The FORECOURT, ENTRANCE TO WHICH IS SHOWN ABOVE, WILL CONSTITUTE A LAVISHLY LAID OUT CHINESE GARDEN SURROUNDED BY FORTY-FOOT WALLS. Ground for the new theatre will be broken early in November.

The picture play prologue that holds the ment of suspense for what is to follow, for the entire prologue was a panoramic attention of the audience is an introductory which is the very object of the prologue. spectacle of Chilkoot Pass in the Klondike. entity in itself. vaudeville acts, no 1 did not want to lower the curtain during Simple N staging the prologue for Charlie matter how striking or novel, unrelated one I Chaplin’s “The Gold Rush’’ at the the entire prologue to risk diverting the to the other or to the picture production, Egyptian theater, a problem was presented attention of the spectators, if it possibly distract the attention, and destroy the ele- which illustrates this point. The setting could be avoided. And yet I had planned 38 director November to present a Monte Carlo dancehall scene was too far from the center of population, Faith in the future of Hollywood and in the spectacle. In studying the problem they said, and the public would not go to Los Angeles convinces me that the time from all angles, I was struck with the idea Hollywood to see a picture show, no mat- has arrived when the best of facilities for of the manner in which such an effect is ter how elaborately it was staged. If an production of plays and pictures are none usually accomplished in motion pictures, in ordinary theater had been contemplated, too good. presenting dream illusions on the screen, their advice would have been heeded. The plans call for a great oriental garden ‘the lap-dissolve’. But my plans called for a playhouse of within 40 foot walls as a forecourt in which The mechanics presented some difficul- a different character from the ordinary I hope to be able to incorporate such sur- ties, but the problem was finally solved by conception of a theater. I desired to erect roundings as to give the impression that cutting the set in two and introducing the a structure that would command the atten- the visitor is in truth entering another halves simultaneously from both sides of tion not only of the residents, but of the world. the stage, with the players in position on winter tourists. I had in mind an institu- While it will not be the largest theater the ground floor and the balcony of the tion unique not only in architectural de- of its kind, I have planned an institution dancehall ready for the play the instant the sign, but from the standpoint of the char- which incorporates my best efforts to pro- illusion was complete. acter of the productions to be offered. vide a setting unique and splendid enough The set was removed the same way it The Egyptian was designed with a fore- to be worthy of the surpassing class of pro- was introduced, with only a slight dimming court as a means of holding the attention ductions I am confident are to be produced of the lights, for the final scene of ‘Charlie of the public all day long where exhibits of here. Chaplin’s Dream’, the panorama of the an interesting or educational nature rela- To perpetuate for posterity the memory pass. tive to the production could be displayed. of the artists of the screen who have done The effect accomplished more than re- It also offers a commodious and conven- so much for the Southland, a hall of fame ient for will in paid for the effort, for it permitted the park the audience, both men and be included which will be hung staging of the prologue spectacle without a women, to use as a promenade during in- paintings and sculpture by artists of inter- curtain or any interruption. A continuous termission. national reputation presenting the stars of snowstorm throughout the prologue was The favor the Egyptian has enjoyed today and tomorrow. visible to the audience through the dance- from the public in the last three years has Hollywood already commands the at- hall windows. given me the courage to go ahead with tention of the world as its cinema capital. plans for the new Chinese theater to be With the world renowned figures of the HEN the Egyptian theater was pro- located on Hollywood boulevard, near Or- stage and the screen, music and other arts W jected for Hollywood, I was warned chid avenue, a project I have had in mind resident here, why cannot Hollywood at- by theatrical men in whose judgment I for years for a playhouse for the produc- tract the attention of the universe as an had the greatest confidence that I was mak- tion not only of picture plays, but of grand artistic center and realize the fruits and ing a mistake in choosing a location. It opera and drama as well. flowers promised by the copy book? The Barnstormer PART III

UR week in San Diego ran around quite a bit of stage below the curtain and fourteen hundred dollars, but as By Frank Cooley when Joe finally came to rest, he was in O were on a fifty-fifty percentage we front of the curtain line. I whispered lights and stage lights were lamps. The did not clear as much as we did in San loudly to him from R. 1st, where I stood manager had worked out a dimming sys- Bernardino. ready to ring down, “Joe, get back! You’re tem with strings, but it didn’t work very Our next stop was Bakersfield, where in front of the curtain.” Joe opened an well, the wicks burning to different lengths. we were booked for a three night stand. eye, saw the curtain, which was on a big pulled some Then when the string was roll, to descend. I had located a new edition of fine four- trembling, ready He would go out entirely, and when the string colored litho work for Ten Nights in a arose, moved upstage, and died all over was pulled the other way, some would go Barroom, so had our advance man adver- again. The curtain came down with au- up too high and smoke, then someone in tise this for the last night. Mr. Scribner, dience and actors enjoying a hearty laugh. the audience would run up and blow the the manager, pleaded with me to substitute The show again was unlucky. W e played offender out. something else, saying, “No one will come to a good house, but during the second act We had a new actor, Joe Rhodes, whom to see that old nightmare”. The customers a boy ran in crying, “Mr. Thompson, your I had picked up in Redlands. He said he didn’t show up in overwhelming numbers house is on fire!” Mr. Thompson and hadn’t had much experience but “was as the first two nights, but for Wednesday, family hurried out, but their house burned limber as a string”. He was playing Wil- our last night, the reserved seats were sold to the ground and they had to get rooms lie Green in Ten Nights. Willie gets out early in the afternoon. We actually at the hotel for the night. shot at the end of the first act, I think. turned people away. The receipts on old We were now playing Under Two Flags We opened in Ten Nights so I could use night. janitor, who Ten Nights were $285, but I don’t think for our second The advance man as an actor and still be the show was lucky— a blacksmith after my also ran the curtain, brought his little witnessing the performance went home and able to get him off in time to bill the next brother to see the show from the wings. blew his brains out. town. When Joe was shot he did a very He had him stationed in the first entrance. and We hit Selma next. Here the house dramatic and elaborate fall, but there was The sword fight between Black Hawk —

1925 ©irector 39

Bertie Cecil so excited the lad that by the Before I get too far away I want to I joined my newspaper friend and asked if time the curtain was coming down he was mention regarding my trouble with Dr. he knew who the man with the long hair under it. The big heavy roll caught him Booth at the Needles—that several years was. “Sure,” he said, “that’s Dr. Booth. and was bearing him to the floor— I yelled after the occurence we were playing a week He’s running for coroner of the county on to his brother, the janitor, and he stopped in Pomona. the Democratic ticket.” the windlass just in time. The boy was One night after dinner I was sitting in I recalled to his mind the trouble I had quickly pulled from under and the curtain the hotel office, when the bus arrived from had with the doctor at the “Needles”. My allowed to descend. I was so mad that I the station with quite a number of guests. friend had written a two column article made for the janitor at once and demanded As they were registering, a waiter on the about it at the time. He was immediately that the boy leave the interested and had me stage at once. He re- review the occurrence plied : “He’s my broth- for him. His was a er and he stays right Republican paper and here.” I took a punch next morning’s issue at him—he looked at contained rather a sour me in a daze, turned account of the Demo- to his brother, saying, cratic meeting and at “Johnny, get the hell the bottom stated, out of here!” Johnny “Quite a coincidence went out in front and last night Dr. Booth the show proceeded. and Frank Cooley were guests of the The next morning I same went over to the the- hotel. This atre to get something brings to our mind Frank’s out of my dressing first visit to room. The janitor was the Needles” — then followed sweeping the stage and the story of Booth, upon seeing me, he the mob and the jail, dropped his broom and ending with “ and this quickly preceded me to — man now the dressing room, asks the voters of Los opened the door and Angeles county to elect him to the ushered me in saving, important “Look, I’ve cleaned office of Corner.” An- other her out good for you, coincidence, Frank.” There was Booth ran ahead of his ticket in fresh paper on the Los Angeles, but behind in the coun- shelf, clean water in a pitcher, and quite the ty. He was not elected. neatest dressing room weeks one had a right to ex- N a few we pect in a small town. I hit San Jose. All I played Selma every went well till Sunday season after that for morning. I was seven or eight years dressed in my best and never had the least clothes and moving trouble with anyone. along Santa Clara I was generally called Avenue with a roll of “Frank” by all and music under my arm, made some wonderful on my rvay to try out friends. some songs with the first soprano of the big The janitor, who Catholic church. As I also ran a d raying busi- was passing a saloon, a ness, was a young man young man in a bicycle and the manager’s suit was backing hur- brother. He was a husky young fellow, Jim Corbett loses a bet to Frank Cooley and pays it many years riedly out, followed by yet two hard looking cus- he was taken ill later—Jim Corbett at left, Frank Cooley at right. and died a few years tomers who were hit- after our first visit and ting him with all their 1 have always deeply regretted hitting him. morning paper came in, spoke to me and artillery. As he neared me he was knocked

started a conversation, hut I was an indif- down and one man started to kick him. NOTHER recruit joined us—Mac- ferent listener as I was wondering where I I held the larger man away, saying, “Your A Donald— I don’t remember his first had seen the man before, who was at the partner can lick him without you.” My name. I think he runs a drug store in moment entering his name on the register. back was turned to the man on the ground San Bernardino now. He sang between He had the politician’s smile, and was and his opponent. acts, but in rather looking, Tulare the piano player and good his dark hair streaked Suddenly I received an ungodly swing he couldn’t with gray reaching almost to his shoulders. mate up and he got the “Bird”. on the right ear. I turned to face my I was wild and intended to fire him, but he As soon as he left the register I sauntered enemy and as I did so, the big fellow that anticipated me by getting out over the back over to the desk. You can imagine my I had held off swung one from the hip fence and I didn’t see him again for years. surprise when I learned it was Dr. Booth? and caught me on side of the nose. If it !

TpV nptws miiu 40 ©irector November had landed on top my nose would have been E reached San Francisco at last and opponent with me to show what I had done “laid off” a week, as the leading to him, so I surely looked a big loser. The broken beyond repair. 1 succeeded in get- W ting them both in front of me and was do- lady received another offer and quit. I grease paint poisoned my nose and I had a ing quite well, when the larger fellow said, put Mrs. Cooley in the leads and engaged knuckle there that was a fright to behold. !” “Look out, fellows, here comes the bull Harry Pollard, now a great director, as Some one advised me to get some Hall’s 1 never saw this fellow again. I kept on second man. antiseptic cream, which I did, and within a week the nose was O.K. with the other one, however, trying hard We opened in Redwood City to $33. I had an actor with me now who had to catch him on the chin, but he was com- It was winter then, and as the theatre a reputation for drinking, so I signed him ing so fast that I kept hitting him too high. boasted no stove, the audience nearly froze. to an agreement whereby I held out fifty I opened a long cut on his left cheek and I invited them to sit down in front and dollars of his salary and if I caught him closed his left eye. The policeman—Mr. they filled about three rows. I announced drinking, he was to forfeit the fifty. I Pickering was his name—arrived and a stove for the next night, but evidently was sure that he was drinking but was placed White and myself under arrest. I I was not believed as the receipts for the never fortunate enough to catch him. The learned later that White was his name and second night only reached $10. We made show was making good but during Lent he had quite a local reputation as a box good nevertheless, and by Saturday we business was not particularly encouraging, fighter. The fellow I had protected were doing over the century. We used with the exception of Willows. Here we mounted his wheel and rode off as soon as Tom Sawyer for matinees and always had played to a great business for a full week. he got to his feet, never offering to help a full house of children and mothers. I Everyone seemed to know us. me in the least. I was diplomatic and the gave a china plate with every 25-cent ticket officer did not as much as put his hand on and a box of candy with every 15-cent HIS was mv first visit here since 1889 my shoulder. ticket. Twhen a number of members of the succeeded in keeping of trouble He escorted us to jail, one on each side. We out Olympic Club had given an exhibition in We were both bleeding freely and there till we reached Sebastopole. Here the one of the big Willows wheat warehouses. morning we were leaving I think it was a large crowd following. The desk — was I boxed four rounds with Phil Beaulo. about six-thirty and very cold— sergeant said, “Your bail will be $15 each.” I jammed My boxing partner, Lovett Lafferty, with the drayman. Our contract obligated I pleaded that I had to leave town early in sparred with Jim Corbett. Bob McCord the morning and wouldn’t he please reduce me to pay four dollars for the hauling of was to have been Corbett’s partner, but trunks and scenery, round trip, but it to ten. He looked at me rather queerly, we failed to show up. The show was short had borrowed a little organ to use in The but agreed. We were put in the cage to- so I was hustled into a long coat and re- Daughter Dixie play that Frank gether with a warning that if we got to of —a cited, “Anthony’s Address to the Romans,” Bacon and I wrote. drayman fighting in there, things would go hard The charged from the ring. me a dollar and a half for taking this to for us. There was a colored foot racer by the and from the theatre. Anyone could have Within an hour the darndest bunch of name of Pickett in town—a bootblack. His carried it, as I don’t suppose it weighed supporters claimed he could beat anyone Mafia looking gents I ever saw, bailed my over sixty pounds. I grumbled while count- in America for a mile. I remembered see- opponent out, but I remained in jail for ing out the five dollars and fifty cents, and ing him run foot races at over three hours before one of my company Shellmount Park, to be as as I could, it mean picked out of near Berkeley, and was sure I could beat arrived with the necessary ten and the — the bag in quarters, nickels and dimes, and him. I told Corbett this and right iron doors opend for me. away piled it on a Wells Fargo wagon. The he arranged a foot race between us to take I learned later that White—my enemy drayman suddenly pushed the pile over, place the following day. We had a hard —stood trial and was only fined eight saying, “Don’t pay a cent if you are as time raising two hundred and fifty dollars, dollars. On a later visit I called on Jus- cheap as that.” I hit him and a darb of a which Pickett’s backers demanded. In fact tice Glass and tried to get my ten back, fight was on. He weighed about a hundred Corbett pawned his gold watch before we but he laughed and said, “That ten has and eighty. I had the best of it but he could total that amount. cut me every time he landed took the gone towards paying the policeman’s sal- ; Just before the race my nose started to skin off the top of my big nose, cut my ary and you are lucky we don’t arrest you bleed and I was leaning against the fence cheek, and gashed my mouth. But I had for jumping your bail.” I thanked him trying to stop it, when Corbett saw me. bleeding all for his leniency and got away from there. him plenty— over his clothes, He thought his money was about to bid and the sight of blood scared him so that r him farewell. He raved and called me Even time I have played San Jose since, he dropped his hands and ran around the everything, but the nose didn’t bleed long White has occupied seats in the second row station, with me after him. His brother and in a short time we got on the mark. —first alone; then with his wife; and stopped me, saying, “Don’t fight any At the crack of the pistol Pickett ran away finally with three children. more, Frank, he’s got enough.” I replied, from me—the crowd roared. He reached a visit just a few years ago, I hap- On “He isn’t licked; he has plenty of fight in the quarter pole a good thirty feet ahead pened to be in the box office, when a very him yet.” But the big fellow popped his of me, but I set after him down the back stout man asked for six seats in the sec- head around the corner of the station and stretch and caught him at the half mile ond row. As he received them he said, said, “Never mind, I’m no professional pole and finished the mile well in the lead. “Frank Cooley sure, ain’t it?” The box fighter I know when I’ve had enough.” — Corbett offered me twenty-five dollars office man answered, “Yes.” “That’s They could have double-banked me and in gold but I had to refuse to take it, al- him,” said White; “he’s a damn good ac- beat me to death, but they were good fel- though I did want it awfully bad. Later tor.” As he stepped away from the win- lows and sports. The next time I played in San Francisco we compromised. Cor- dow the cashier whispered, “Frank, that’s the town, they hauled my baggage again bett paid for a dozen photos at the Elite White, the fellow you had the fight with and never even asked for their money. 1 Gallery and promised to give me a silver- years ago.” I ran out of the office and sent the four dollars to the Hopli Hotel, headed cane. called, “Oh, Mr. White.” He turned, however, and the proprietor paid the bill. looked a moment, recognized me, and ex- That was in 1889, when I was sixteen These brothers are now two of the leading claimed, “Oh, Mr. Cooley, you was dead years old. Corbett never gave me the citizens of Sebastapole and very well to do. wrong dat time. If you knew what dat cane until last year when, during his visit More power to them did to me, by God, you hit him, to San Francisco, some of the old Olympic Bill Keanneally and Bob MacAr- too.” We shook hands and he said, “Dat’s I took an awful looking face to the boys, fact fine.” next town with me. I couldn’t take my thur, got after him. In they went 1925 ©irector 41

with him to a cane store and so thirty-five

years later, I received the cane. It is in- scribed: Due Frank Cooley 1889 Presented by James Corbett 1925 Directorial Briefs J.

ORNING was our next stop. The last night here one of the actors and myself were playing the slot ma- In directing The Million Dollar Handi- Paris is reported as being scheduled as chine and having a drink or so at the hotel cap Scott Sidney returns to the field of Paul Bern’s first Metro-Goldwyn-Mayer bar. The machine was a little out of or- drama after several years of comedy direct- production, the continuity of which is being der and I won something over eleven dol- ing at the Christie studios. done by Jessie Burns from an original story lars before the bartender turned it to the * * * by Carey Wilson. wall. We started to leave, but were in- “Slim” Summervils, the elongated mega- * * vited to have a drink on the house. We phone weilder is directing Look Out Be- From the lot comes the report readily consented, and after we poured M-G-M low, Joe Rock’s current standard comedy. that Victor Seastrom is busy lecturing ours, the bartender filled on a fourth glass to -* ' # * American customs to his countrymen in the the brim, saying, “Excuse me, I have a A1 Rogell, the mascot director, has com- industry, adding that he is “father con- lady friend in the box. I’ll take this to pleted his twin pictures The Overland fessor” to Greto Garbo, Mauritz Stiller her.” Then we treated and bought a drink Trail and Red Hot Leather featuring Jack and Benjamin Christiansen, newer arrivals for the lady in the box. This was re- Hoxie, and is busy editing and titling both from peated several times, each glass for the Europe. productions. * * * lady filled to overflowing. thought it We * * * a great joke. Edward Sloman has been called to New Finis Fox, scenarist, director and former My actor companion finally told the York to supervise the cutting of his recently been signed by Metropolitan bartender that his lady friend had some producer, has completed Universal feature, His People. Pictures will the scenario capacity. The bells were ringing for me, and augment * * * staff of which Jack Cunningham is the so we went to bed. I was pretty dizzy, Jean Hersholt has returned from Port- editorial chi< f. to say the least, but had saved myself by land and points North and is again on the * * * taking very small drinks, and my friend lot at Universal City waiting for his next Sam Taylor is finishing the heavy traffic had smoked several cigars, so we were assignment. Hersholt was loaned to Louis not as bad off scenes in Harold Lloyd’s first production as we might have been. Moomaw to direct the Moomaw produc- The next morning on the Paramount program and according- we assembled at the tion T o the Brave. depot for an early jump. ly activities on the picture are returning to The actor that * # # had the fifty-dollar forfeit arrived, carried the normalcy of six-days a week. For Concluding his first vacation in three by the property man and carpenter. He Heaven's Sake is the working title. * * * years Reginald Barker has returned from a was surely “loaded.” I jumped all over three week’s trip to Chicago and him and told him he had lost his fifty. The New Commandment, the first east- New is lining He looked at me with a sickly smile. ern-made production directed by Howard York, mostly New York, and now directorial activity for the fall “Oh, no, Frank,” he said, “you got me Higgin, is reported to have been warmly up for and pickled— I was the bartender’s lady friend received at a trade showing in New York. winter. Barker’s trip seemed to have been last night.” * * * marked by festivities all along the route.

What could I say? I learned later that The entire freshman class at Fordham On the eve of his departure a dinner was he sat in that box, drinking free whisky University turned out en masse to see The given in his honor at Cafe Lafayette at until he slid to the floor and had to be Freshman, Harold Lloyd’s current produc- which notables of screen and publication carried to bed. tion directed by Sam Taylor, thus honor- world were present. In Chicago he was greeted by. the Fourth Estate who were his We had a ball team now. I was the ing one of their alumnus. Sam Taylor pitcher and Harry Pollard the catcher. graduated from Fordham in 1915. hosts between trains and in New York During a game in Roseburg, Oregon, * * * he was met at the Grand Central by a delegation from The Players of which he Harry caught a foul tip fair on the nose. Bill Beaudine will resume work under has long been a member. We had no masks. His nose was badly his contract with Warner Bros., upon the broken, but ht refused to quit and finished completion of his direction of Mary Pick- * the game with the blood running oft his ford in Scraps. George Melford has returned from chin, and both eyes almost closed. * * * We Sitka, Alaska, where he has been on loca- begged him to stop but he refused. We Jack Conway is directing an all star tion with his Rocking Moon company for opened in the next town with my hand- cast headed by Aileen Pringle and Edmund Metropolitan. Incidentally Rocking Moon some juvenile’s eyes blackened and almost Lowe in The Reason fVhy, most success- is reported as being the first production to closed. He certainly showed plenty of ful of all Elinor Glyn’s novels, at the be filmed on location at Sitka. gameness. Metro-Goldwyn-Mayer studios. Two weeks later we closed in the Met- * * * * # * ropolitan Opera House, Portland, after a James Hogan is busily engaged in cutting season of one full year. After an absence of nearly two years his recently completed production for Met- The actors all had money in their Robert Thornby returns to the studios in pock- ropolitan, Steel Preferred. of ets. I didn’t have much money, but I the capacity director, and has started had forty-one signed contracts for next work on the latest Christie comedy, The season and was happy. I had but one los- Man Pays, featuring Neal Burns and Vera Doorkeeper Becomes Director ing season after that. The pictures drove Steadman. Victor Nordlinger has been promoted from * * * me oft the road in 1908 and I retired to a gatekeeper at Universal City to director and my ranch fully believing that the pictures Billie Dove says being married to a will make “The Love Deputy,” starring Ed- were a fad and would run their course in director has many advantages aside from mund Cobb, supported by Fay Wray, Frank a couple of years. domestic relationship and asserts that Irvin F. Austin, and r To Be Newberg, George Buck Moulton I think maybe I was wrong, [concluded] Willat is her severest critic. little Francis Irwin. 42 ©irector November Off Screen tSSS Personalities

VERY once in a while, Fate gets the man, the job and the opportunity together. Then things happen. The stage was set for one of these rare occasions one afternoon eight years ago j when a rather harrassed young man walked into what was then the Paralta Studios at Mel rose Avenue and Van Ness. E sheriff’s Just ahead of the young man came a formidable looking person wearing a

badge. The young man didn’t know it, but his destiny, as well as that of the motion pictures, was tied up with this coincidental entry. “I’d like to see the head of the studio,” said the young man. "That's him talking to the sheriff,” replied a workman, gloomily. The young man was interested. He had come to the studio with the idea of producing a picture and, if there was a sheriff in the offing, he wanted to know what

it was about. It didn’t take long to secure the information. The studio head had taken over the Paralta three days before, on very favorable terms. He had just learned why the terms were favorable. The studio was head over heels in debt, and the sheriff —

192 5 43 ©i rector

Courtesy Jay Chapman

When M. C. Levee took over the Paralta Studios in association with THE LATE Bob BrUNTON IT CONSISTED OF A SMALL CROUP OF BUILDINGS AND A LOT OF UNUSED SPACE. TODAY THE UNITED STUDIOS IS ONE OF THE BIGGEST SPOTS ON THE CINEMATIC MAP. ABOVE, THE OLD PARALTA STUDIOS. At LEFT, THE UNITED STUDIOS AS SEEN FROM THE AIR. INSET, M. C. LeVEE AT THE HELM OF ONE OF THE FLOCK OF TRACTORS BUSY ALL THE TIME ON NEW CONSTRUCTION AT THE UNITED. was there to attach anything of value, of the United Studios and of M. C. Levee studio or—let the people who had studios was there to attach anything of value. Productions. go on making them. time ripe for change. “I’m afraid you can’t produce here,” the The project which -routed the sheriff and But the was a Imagination and adventurousness was lack- studio head said, in conclusion. “I’m changed motion picture history was the con- ing in the big studios. They were pro- afraid no one can.” version of the Paralta, then a producing ducing a certain type of inexpensive pic- But the mind of the young man had been lot, into an independent leasing studio, the ture, and were fairly well satisfied with working actively. In a moment, he was first in existence. it. Exhibitors were complaining—as ex- expounding a scheme by which the studio Howt important the move was can only hibitors frequently are, for that matter could be extricated from its difficulties. be guaged by a remembrance of the time but it did them no good. The people The studio head listened, first incredulous- in which it took place. In 1917, the large with new ideas did not have the studios ly, then with hope. Finally, while the scale independent producer was unknown. and the people with the studios didn’t have sheriff waited, he and the young man It was impossible that he should exist. All the ideas—or not enough of them anyway. reached an agreement. important pictures were made by the big There was danger that the motion pic- An hour later, the sheriff was gone, and producers. They had a monopoly of the ture, having progressed in a few years from the young man and the studio head had facilities for large scale production, and an experiment to an established industry, laid the foundations for a project which they were not anxious to share these facili- might stop there. Had it done so, its was to have a profound effect on the his- ties with anyone. It was natural. Out- artistic development would have undoubt- tory of motion pictures. side producers the would upset normal edly been delayed for years, and the pic-

The studio head was the late Robert tenor of their own organizations. There ture business, as it is today, would not Brunton, who had been art director for was no object in encouraging competition. have existed. Thomas Ince. The young man—he was So if you wanted to make any sort of real Into this situation, stepped,—or rather, then 25—was M. C. Levee, now president picture you could either build your own fell—Levee. 44 Director November

IS personal story, like many others on could easily get financial backing to make If there were any mistakes to be made, we

the lots, their own pictures if they only had a place made them. H Hollywood is remarkable. He was born in Chicago, sent himself to produce them. I realized they had no “In nearly any business, you have pre- through school by selling newspapers and chance while the big producers owned the cedent to guide you. But we were a conducting a boys’ orchestra, and began studios. What the independents needed new thing in a new field, and we had to drawing an office clerk’s salary when he was a chance. I made up my mind right solve all our problems on the spot. there that I was going to give it to them.” was 16. At 21, he had $1,000 saved up, “The more tenants we got, the more and, coming to Angeles uncle, It was the urge of a dream but it was Los with an — problems there were. We started with a put it into an installment cloak and suit a dream that was destined to become true. small mechanical department ; in a few business. That night, the future president of the months it had tripled. By 1917, the firm was doing a tremen- first independent leasing studio in the “I had made up my mind that, no mat- dous business, and Levee, married, was liv- world, got the Milwaukee owners of Pa- ter how impossible a tenant’s request might ing in an expensive apartment and driving ralta on the telephone and made an agree- seem, the studio would produce it. Now, a high-priced car. He became interested ment with them by which they put up it’s simple. Nine times out of ten, we in pictures through his wife, who had one-third of money due the creditors on either have it in our big prop department, brief ambitions to become an actress, and condition that he should take care of the or we can make it right on the lot. But, in took a furlough from his installment busi- rest within a comparatively short period. those days, it often required a lot of pa- ness to become an assistant prop man at Relieved of the sheriff, and aided by the tience and ingenuity. $20 a week in the Fox studios. What he credit he had established here, Levee man- “Costs had to be estimated, and some- saw persuaded him that the picture busi- aged the rest of the financing without dif- times we went wrong. But we made pro- ness offered an easy highroad to success, ficulty. gress anyway. The need of an indepen- and he finally sold out his other interests In a few months, the Paralta producing dent leasing studio was great and when you with the intention of getting into it. studios were a memory, and the Robert fill a real need, you don’t have to worry On a trip to San Francisco, he picked up Brunton Studios, jointly owned by Levee about your eventual success.” an idea for a picture based on the Mooney and the former I nee art director, was mak- Perhaps the first big vindication of the trial. He secured the promise of financial ing a successful debut as an independent importance of an independent lot to the backing from wealthy labor sympathizers, leasing lot. motion picture industry as a whole came and returned to Los Angeles with the in- with the George Loane Tucker production tention of becoming a producer. It was ART of Levee’s dream had been that of The Miracle Man. to secure studio space that he visited the P Mary Pickford would be his first ten- The Miracle Man, as everyone conver- Paralta on the momentous day which was ant, and he proceeded to realize it. At the to determine not only his personal future moment, she was considering the purchase sant with pictures knows, established new but, to a calculable degree, that of indepen- of a studio as the first step in her program standards of production. It was the sort dent motion pictures. of independence. It would have been an of departure which only an independent The Paralto had failed as a producing ambitious step, and perhaps ruinous finan- producer would have made. Mr. Levee lot. It was heavily in debt. It’s owners cially. still looks back on it as one of the big were in Milwaukee, and had made the Levee went to Miss Pickford. He out- steps in the fulfillment of his dream. agreement with Mr. Brunton as a sort of lined his whole plan for a big leasing lot, In 1918, the studio had grown so that last hope. Levee knew he could not fi- capable of fulfilling every demand of a it was compelled to lease thirteen and one nance a producing studio, but he thought major production. He pointed out what half acres next to the ten acres on which he saw a way by which the Paralta could an immense advantage such a studio would the Paralta had stood. In this same year, be saved from attachment, and turned into be, not only to her, but to every other came the first serious setback. There was a profitable leasing lot. actor or director with ambitions beyond the a depression in pictures, and the big pro- His own experience in searching for a salaried routine. He appealed to her, not ducers, in an effort to make both ends meet, studio where he could stage a production only on the ground of economy and serv- began leasing space to the independents had shown him there was need for some- ice, but those of a high idealism. themselves. thing of the kind. In addition, he had Miss Pickford still wavered. Then But it did not endure. The producers read in the newspapers a few days before Levee played his trump card. He pro- soon found that the demands of the resi- that Mary Pickford and Douglas Fair- duced the plan of a bungalow. At that dent organizations weighed too heavily banks had split with Famous and announc- time, such a thing as a star’s dressing-room against their own. Several who had left their ed their intention of producing own bungalow on the lot was undreamed of. came back, and the business continued to pictures. “Why,” he said, “I’ve even had this bun- grow. Perhaps Mr. Levee can himself best dis- galow designed for you. It goes with your An important factor, too, in meeting cuss this phase of the matter. lease whenever you are ready to start.” this competition, was the manner in which “It all came to me in a moment,” he The bungalow, drawn and designed the the studio had continued to build up its or- said the other day in his luxurious offices plan- previous day by Jack Okey, art director of ganization and facilities. It added a on the present twenty-seven and a half acre department. It the studio, proved the deciding factor. ing mill to its mechanical United lot. “There was nothing in sight any Miss Pickford signed, and the next day laid the first concrete streets inside except some muddy ground, a lot of scat- in the world. It was the first studio the bungalow was going up. It is still on studio tered lumber, and a couple of stages. But 3-ply veneer flats instead of the lot and is now used by Norma and to employ I visioned a real leasing studio, big enough Constance Talmadge. compo hoard for its sets. It built new of production with to handle any kind and stages, new dressing-rooms, new executive In a few months, Miss Pickford’s exam- the facilities to handle every detail of it. offices. It raised its property department ple had been followed by others. The stu- I could almost see the completed project. to the point where it could compete with dio boomed. Sets were smaller in those I saw all the immense advantages of such city, and then to the point where one time, there were eleven any in the a scheme from the standpoint of both the days, and, at on the two stages. But, none can compete with it. And, under studio and the producer. companies working as business increased, Mr. Levee’s diffi- all difficulties, it adhered strictly to Levee’s “I remembered what I had read about precept that nothing was impossible if a Mary Pickford and Fairbanks. From my culties began. this client wanted it. own experience, I knew there were a lot “You see,” he said, in discussing of other ambitious actors and actresses who phase of the situation, “we were pioneers. (Continued on Page 56) 1925 ©irector 45

PEAKING of fish stories again in his mad search for masculine rai- CREEN comedy usually attains to the An interesting yarn has leaked out ment. So far as history states he is still S heights of laugh-provoking humor from one of the big studios regarding a there searching for his pants. after the film has been edited and titled whale. According to the story as told with * * * and it is rare that gag scenes are as funny at the time they are being shot. many reiterations that names must not be N fact many interesting things are devel- But according to Arthur Hagerman Fred used, the property department of this w.k. I oping at the Pickford-Fairbanks lot in Guiol had a heck of studio was called upon to produce a whale the shooting of The Black Pirate. Realism a time out at the Hal Roach studios trying to shoot a scene in for a whaling sequence. With memories has been developed to such an extent in the a new comedy in which of The Lost H'orld and similar produc- shooting of several scenes wherein skeleton Tyler Brooke and George Cooper have a partnership tions in mind, props turned to and fash- fragments of pirate ships are being used to gag which caused all kinds of trouble. ioned a life-sized whale of rubber composi- create the desired illusion, that the hy- tion—a realistic replica of the monsters of draulic rocking of the ships to simulate According to the story as related by the deep, fitted with mechanical devices heavy weather has proved too much for Hagerman, Brooke is supposed to be a re- operating a concealed propeller to provide numerous members of the crew by develop- formed crook. Cooper is his unreformed motive force. Something like $20,000 is ing accute attacks of mal de mere. buddy, whose soul he is trying to save at said to have been expended and with great But realism isn’t by any means confined all costs. About one-third of the scenes eclat the “whale” was taken to deep water to hydraulically operated ships that rock shot are of Brooke looking at Cooper and to do its stuff. Now natural historians and roll and pitch on a sea of sand and pleading with him to “go straight”. The tell us that a whale, while not a fish at all rocks. Certain scenes were being shot at humor of the scenes lies in just how much but belonging to the animal kingdom, Los Angeles harbor aboard the full-rigged pathos and sadness they can get into these spends much of its time on the surface, but ship the Lleivelyn J. Morse when a fifty- closeups—and many a closeup has been frequently dives to great depths. This one mile gale sprang up, snapped the current spoiled by both of them breaking into did. It dived as soon as it was launched lines and threatened to blow the Morse out laughter right in the middle of the action. and the dern thing wouldn’t come up. Ac- to sea. The pirate band while good actors After a fine assortment of silverware and cording to latest reports it is still a denizen all, were not sailors and didn’t know what jewelry had dropped out of Cooper’s sleeves of the deep while efficiency experts at the in heck to do. Upper and lower tops’ls and trousers while Brooke was pleading w.k. studio are tearing their hair at the were all set and the Morse was just rarin’ with him, the whole troupe broke out wastage of the thousands of dollars it is to go. Nobody knew enough about reefing laughing and spoiled the scene. The same reported to have cost. the expanse of sail, according to reports, stunt was repeated several times. Finally * * * and there they were pulling on ropes until Brooke veiled at Guiol and his staff

HOOTING in technicolor is reported their hands were torn and bleeding, strug- “If you men can keep your minds on S to be an expensive process and every gling manfully to “save the ship.” Finally your jobs for about one minute and not precaution is being taken at the Pickford- by dint of hauling the yards aback they laugh at this gag, we can get it over. We Fairbanks studio to avoid retakes and ex- managed to get her nose headed into the don’t want an audience, what we want is cessive footage, all of which developed in- wind until a tug came up and took them silence.”

teresting angles during the shooting of a in tow. •sfc =£ water scene in Doug’s new picture The And an added touch of realism was given Block Pirate. According to the script one when, instead of blowing up a miniature fi /CHURCHILL MARMADUKE”, V_> read the card presented Fred of the band of bold bad pirates is supposed “in a bath tub”, Doug took advantage of Schuessler, casting director at Universal. to jump overboard and swim to the shore the stranding of the lumber schooner “Sit Marmaduke,” said where the cameras were stationed—four Muriel on the bar at the entrance to New- down Mr. Schuessler, “What can I do for you?” of them—to register the scene. He port Bay and arranged to blow it out of jumped all right but, while the cameras the water. Accordingly the Muriel was Marmaduke settled himself comfortably. clicked off the footage, failed to reappear. worked over to resemble a galleon of the He was one of the fast-disappearing type of

Minutes passed and still the bobbing head 1 7 th century and blown up as a sequence old-time Shakespearean players, a bit tat- of the swimmer didn’t enter the angle of in the filming of The Black Pirate, afford- tered, but still maintaining his dignity.

the camera lenses. Finally he bobbed up ing genuine realism and at the same time “I came to see if perhaps you had a place and to the pleading and commands that removing a menace to commerce and solv- in your company for one who has played he come out of the water, replied “I can’t. ing an accute problem for the owners of the MacBeth, King Lear, Othello and all the I lost my pants,” and with that he dived derelict. other great gentry of the stage,” boomed 46 Director N ovember out the deep voice of the tragedian, “My ACCORDING to Pete Smith at ington to New York, thence back to Cali- price is $50.” 1\ M-G-M the surest way to analyze fornia to the studios where she was being Schuessler regretted he had no opening. the fundamental traits of star characteris- starred in The Masked Bride. Then he remembered that Edward Sedg- tics is to note the type of music they want Pasted on it, in lieu of an address was wick was calling for Indians for his Hearts played off scene, as for instance: her photo—nothing more. It was signed of the West. Lillian Gish, at work on La Boherne, “From a Japanese admirer.” “I can make you an Indian at $25,” said prefers pensive classics; Raff’s “Vavatina,” The Japanese postal authorities recog- Schuessler. the Berceuse from “Jocelyn,” Gounod’s nized the photo and forwarded the card to “An Indian at $25,” roared the old ac- “Ave Maria” and the “Racconto Del Ru- the Postmaster General’s office at Wash- tor, “Sorry sir, but I cannot accept.” dulpho” from La Boheme are most fre- ington; there it was sent to New York, As he neared the door, the veteran quently heard. where her whereabouts was ascertained and stopped. Mae Murray, starring under Christy the card forwarded to the studios at Culver “My price, sir,” he said, “is $50. I Cabanne’s direction in The Masked Bride, City. Which shows that Miss Murray’s cannot play an Indian for $25, but I will is a dancer. Strains with striking rythm face is not without fame agree to go on as a half-breed at that price.” are her inspiration. A jazz orchestra * * * * * * plays music— that is heavily punctuated by With the recent death of Eugene San- tympanii ; “Lulu,” for instance. — ROBABLY the meanest actors before dow, in London, Joe Bonomo claims to Norma Shearer reacts to violins; “Trau- a camera are the alligators rented to be the undisputed strong man of the world. merei,” Rubinstein’s “Melody in F” and P picture companies by an alligator farm near While age had somewhat weakened the Kreisler’s “Olden Melody” are among Los Angeles. iron muscles of Sandow, Bonomo’s claim her favorites. Pauline Starke likes modern Seven of the beasts were used this week to the title of the world’s strongest human comic operas;—and Gilbert and Sullivan. in Mary Pickford’s Scraps. While Miss was contested while Sandow lived, but with Lew Cody prefers airs from the French — Pickford is leading nine little children his passing, the Universal star now be- operas; “Thais,” “Louise,” and “La Na- through the swamp, they are suddenly con- lieves that he is rightfully the holder of varraise.” fronted with the alligators. the title. He is willing to compete for * * ^ The making of the scenes was extremely the honor with any strong man. * * * dangerous, and the greatest care was taken HEN Rupert Julian wants certain to protect Miss Pickford and the children, ATSY RUTH MILLER has been music for a scene he is directing he W as well as the workmen who handled the having lot of fun with her newly shin- doesn’t depend on the limited repertoire P animals. gled thatch of hair. She has been regarded of the three-piece “orchestra” playing on During one scene an alligator suddenly as a staunch defender of lengthy locks for his set, he just sits down to the little ol’ snapped at H. F. Carney, one of the cam- so long that falling beneath the bobber’s piano and knocks out his own love song eramen. Carney was deep in the mud, and shears has brought consternation. or whatever is demanded. He was direct- could not move his boots. So he slipped Just after the clipping, hatted in a neat ing a scene for Three Faces East on the out of the one nearest the alligator, and little felt, she made a personal appearance DeMille lot the other day and did his own made his escape to shore in his stocking with other stars at a benefit fashion show, pinch-hitting when a particularly touching foot. and the man who introduced the stars ten- melody was required. Old Man Overhead Crack shots with rifles were stationed dered a deft compliment on the wisdom of chalked up just ten minutes to Julian while just outside the range of the cameramen. Pat’s retaining her individuality by keep- he knocked out a tune that would have ing her long hair. He concluded by ask- made Beethoven or Wagner green with

ing Pat to give a few words on why she envy. You may not see it in the pictures never bobbed her tresses. but you’ll see Walthall, Clive Brooke and HOLTGH accustomed to every sort Pat was at a loss for a moment—but not Jetta Goudal emoting to its strains. T of costume from Roman togas to the off stood for long. She swept her hat and * * * rags of Lear, Tyrone Power, celebrated in the glory of her new shingle bob. character actor, donned his first Indian at- “I haven’t a thing to say!” declared Pat, ECAUSE Norma Shearer’s brother, tire in the Alan Hale production of Brave- and the audience howled. Douglas, used to be a radio fan—and heart, starring Rod La Rocque. Particu- * * * B used to practice all day with the “code”, larly dismaying were the Indian leggings LTHOUGH studio gatemen in the Miss Shearer has been able to cast dis- which, as every westerner should know, film capitol are no longer fooled by the redskin’s legs, but not his south- A„ comfiture into the souls of two very clever cover the clever disguises of actors, it remained youths. ern facade. It was on the heels of this dis- for Charlotte Mineau, featured player with The boys, evidently amateur wireless en- covery, the first morning on location, that in to “put one over” Mary Pickford Scraps thusiastic, were looking in a store window Mr. Power, summoned before Alan Hale on the casting director at the Pickford- and carrying on a conversation by whist- after an hour’s delay, which he spent sulk- Fairbanks lot. ing within his dressing-tent, stalked ma- ling;—that is, whistling the dots and being consid- look in his eagle When Miss Mineau was dashes of the code, as is often done by op- jestically forth, an injured ered for the role she is now playing the erators. eye. against in- well-known c.d. voiced a protest The Metro-Goldwyn-Mayer star stood “What’s been keeping you Tyrone?” the signing of Charlotte for the part, claim- regarding them for a moment. One of the quired Hale, glancing with approval at his ing that she was “too darn attractive” to boys whistled a rather risque remark. chief’s costume which was, at the moment, essay the character of an old hag. The “Lobster”, whistled Miss Shearer in on display from the front. the still delicate following day, while matter was code, and walked away, leaving two flab- The mighty chieftain blushed a under discussion, a slovenly old woman bergasted youths staring after her. pink under his Duco finish. in on the conference and complained walked demanded * * * “Most extr’ordin’ry,” he an immediate interview with the casting nervously, “Extr’ ordin’ry mistake some- director. Indignantly, the c.d. ordered Postal authorities, even in foreign lands, where, Alan. Some imbecile has given me that the wretch be ‘given the air’ and it have their picture fans as was proved by the a pair of trousers without a seat,” and he was than that Miss Mineau revealed her postcard Mae Murray received at the turned on his heel for inspection as the

identity and affixed her signature to the Metro-Goldwyn-Mayer studios after it had Order was restored immediately after coveted contract. traveled from Japan to Washington, Wash- lunch. ” a

motion Menu* 19 25 director 47 Exploitation

By The Boulevard Reporter

wants to run about the production of all we get from the exchange U\J7HAT is the exhibitor’s slant on nowadays VV the exploitation material which “Blah Blah” at the Oompah Theatre, nor and we’ve got to dig our exploitation ideas under the present method ema- is it an effective exploitation sheet. out of that. But they aren’t there. What nates from the New York office of the dis- This tied in with what I had gotten I think is the answer to the whole darn tributing company handling a picture— from the exhibitors with whom I had casu- thing is the creation of a new department, picture that in all probability was made ally talked. in the production office, something in the here in Hollywood?” “The trouble is that the New York of- nature of an exploitation gag man, if you

I asked that question casually of an fice takes the stuff we write for publicity get what I mean. exploitation man handling a group of purposes and practically all of which has “I don’t mean to imply that the pub- neighborhood houses. His reply w-as already been sent out pretty generally licity departments aren’t competent to turn

aplenty and started a train of thought that throughout the country, and works it over out exploitation stuff, but as I see it, look- led me to get a few more slants. into a press sheet,” he went on. “But in- ing at things from the outside, of course, stead it According to his views the principal ex- of making an effective compilation and from the exhibitor’s angle, the pub- of interesting news items, be- ploitation material received is contained in New York licity man has his hands full publicizing comes the press sheet and he asked, “Why give obsessed with the idea that the darn the production and the cast. It seems to thing ought to do double us a press sheet at all? We fellows who duty and that me that there should be a separate depart- here’s are handling neighborhood houses in sub- a wonderful chance to sell the exhibi- ment, functioning in association with the urban communities haven’t much use for a tor on the picture. Result—a hybrid prod- publicity department, if you like, but press sheet. The newspapers can’t give uct that usually fails of either objective. strictly responsible for just one thing—ex- us much space and what space they do give Something more is genuinely needed, just ploitation ideas for the exhibitor, who after us has to do double duty for the house and what I am not wholly sure right now.” all is the one who has to sell the picture the picture. The big fellows can get their to the ultimate consumer. The man for such a department would appear to me to stuff across because they buy advertising ERE was a live lead that seemed to be a chap who combines the instincts, space, and they usually have a well-organ- H possess interesting possibilities and, training and inventiveness of a publicity ized publicity department to work up pub- looking for a constructive angle to the sit- man with the experience of an exhibitor. licity and exploitation angles. uation I trotted over to the De Luxe The- “What we want,” this chap went on to atre to see Jed Buell and get his slants on say, “are exploitation suggestions, stunts the thing. (( PERHAPS one trouble lies in the fact that can be worked and that have been I picked on Jed Buell because he had Jl that exploitation angles are developed figured out from a practical angle not a impressed in New York and not the lot ; me as a live-wire exploitation on where bunch of half-baked theories that either man, an impression that had been height- the picture is made, or in the center of have no box office pulling power, or else ened by the fact that during the past few production where it is previewed and an- are so hoary with age that they can months he has grabbed off three first prizes alyzed before final cutting and editing. It scarcely stand, let alone do anv effective for exhibitor exploitation, two national seems to me that there is where many work.” prizes offered by Carl Laemmle and one ideas for exploitation can be developed. I What is a press sheet, anyway? local prize. Incidentally, he holds the rec- know that I personally get many ideas I went to a publicity man—an old-time ord for being the only exhibitor to capture during a preview for exploiting a produc- advertising man, one who has been in the two first prizes in succession and, accord- tion that I am reasonably sure is coming game “since its infancy”—and I asked him ing to Fred J. McConnell, general sales back to me later on regular booking. what it was all about. manager for Universal, he “leads the coun- “As it is now, the main asset of the “Is this for publication?” he replied. try in U prize awards.” Besides, from him press sheet lies in the fact that it contains

I assured him that it was and he closed I felt reasonably sure I would get the ex- the cast of players appearing in the pro- up like a clam. Nothing doing. So I hibitor slant that I wanted. duction, and I believe that the average tried him on another tack. “Well, sup- I found him in his cubby hole over the exhibitor will agree with me in this. pose I don’t make it a direct quotation or box office figuring out stunts for his next “If we could only have some originality don’t use your name, how—about it?” picture and having him effectively in a in our exploitation, some carefully worked “Oh, well, in that case corner, put my original question to him: out stunts that can be pulled—stunts that Anyway, he came through with some “Jed, what’s your slant on the effective- are really practical, not the cut and dried more slants on the subject and once I ness of the exploitation material which, stuff that is dished out to us as a general had assured him that I wouldn’t use his under the present method, you receive thing. Producers are always hollering for name, he talked quite freely. According through the exchange?” the ‘surprise twist’ and the box office angle to his viewpoint the press sheet as now “Well, I’ll tell you,” he began—that’s in the stories selected for filming. We constructed is neither a press sheet worth the way they usually come— back when you need some surprise twists and box office a tinker’s hooray to the newspaper editor ask a direct question “that’s something angles in our exploitation material. Stunts to whom it is supposed to be taken with that I have been thinking about a good bit that will pique the interest and curiosity the assurance to the exhibitor that the said lately and here is the hunch that I have of our patrons and which will tie in with editor will glean therefrom the stories he on the situation : The press sheet is about the picture so that they won’t feel that 48 ©irector November

they have been tricked into coming to the art. But when we reach the press sheet, window display of any great value. You’ve theatre to only be fooled again. things take an awful slump. Money is got to keep handing the public something “You can’t fool ’em all the time and get spent lavishly for stories and in production, new and that is what I am hollering for. away with it. but when it comes to selling the picture to The producer realizes it when he searches "But we don’t get the surprise twist. the ultimate consumer, cut and dried ho- for new story material. The director real- Usually the predominating note is a tie-up kum is ground out by the yard in lieu of izes it when he seeks for the new angles of some sort, usually with a proposition sure-enough exhibitor aids which will to be injected in the script. The gag man more national than local. For instance, a bring money into the box office and in- realizes it when he is working out new very common suggestion is a Gloria Smith creased business for exchange and producer. gags that will add punch or humor to the tie-up with Mine. Velma’s Facial Cream “Exploitation is a problem that stares production. or hokum of that sort. Ten chances to every exhibitor in the face today. Few “Why don’t they give us exploitation twelve Mme. Velma gets $3 or $4 a jar productions will win at the box office with- gags that are planned as carefully and as for her marvelous stuff and very seldom is out it. This is particularly true of the exclusively for the production in question it sold outside of New York or the bigger smaller houses, which, unlike the down- as the gag man works out his stuff? cities. What good is such a tie-up for the town theatres with their greater capacity “I really believe that the whole answer average neighborhood house in suburban and longer runs, have no money to spend to this problem will come when something community? on exploitation.” like an exploitation gag man is developed

“Here is a suggestion that appeared in “How about the contests in which you to work out the exploitation angles of a the alleged live-wire ‘Putting It Over’ won first prizes, did you get away without production and nothing else. column in the press sheet on one of our expenditure there?” I interjected. “Of course I appreciate that we fellows current attractions: “You bet I did,” Buell answered; “I on this end of the game are expected to use “ to. In the ‘Load a truck with a small band of had putting over exploitation some brains in devising new stunts to fit on Riddle Rider, for instance, the six or seven pieces and a mounted wax The our particular needs and to sell our houses stunt that first national figure of the star, and parade this through won me my prize and our productions to our patrons. But in the contests, I practi- I the streets adjacent to your theatre. This Laemmle spent do believe that it is entirely equitable cally nothing. Here’s an illustration: I for us to expect more direct help in adver- makes a great flash—a wonderful ballyhoo needed something to act as flaming —and will pull the people into your the- red tising each individual production than we bandannas for the thirteen program boys atre.’ are now getting. Changing pictures at whom I had dressed as cowboy's and least twice a week, as most of us do, some- “Now that’s a real novel idea and a big mounted in broomsticks for a ballyhoo. times three and four times, we haven’t help to the showman, isn’t it? It was Ten cents worth of red crepe paper from much opportunity to work out stunts for probably used in the days of Caesar, but the corner drug store did the trick. pictures that nine times out of ten we they hand us such suggestions as this as “But to go back to the press sheet,” won’t see until they appear on our screens. bubbling over with originality. Buell added, shying away from the ex- During the production period and when

ploitation of his own exploitation, “one of the picture is being previewed, when the

aiTVERYWHERE else the motion the big stunts that is suggested in almost exhibitor advertising is being planned and rj picture industry has made wonder- every press sheet is that of window dis- the paper is being laid out—that’s the ful strides. Directorial genius has created plays. But that has been done so much time when real exploitation angles can be many marvelous productions. Motion pic- that it has lost all its kick and only when developed and tested and relayed to us on tures photography has become a distinct there is a particularly effective tie-up is a the firing line.”

'mmm

Photo by Moss Sunset at Santa Monica — :

1925 ©irector 49

motion picture industry be- S the motion picture indus- the besieged by thousands de- try a closed shop and does ing I en- “Who do you know?” manding and beseeching the supply of available constitute the only open sesame? The Directory trance, material is grossly in excess of Apparently that is the view demand. Employ- point held by many who seek A source of authentic the actual ment offices of the studios are their careers within its ranks information concerning with talent of all as witness this letter from a swamped sorts. Under such circum- reader of The Director, the the making of ep- " stances experience is natur- answer to which, because of the « Motion Pictures preference over theoretical generality of the question, has been pre- ally given the It is human nature to follow pared by members of the editorial staff: knowledge. the line of least resistence. And yet the stu- ing generally the attitude of the motion dios are not at all unmindful of the im- Editor, The Director: picture industry toward new blood and portance of training new blood. Exempli- In your last issue of The Director you toward men of educational attainments is fication of this fact is found in the establish- ask for ideas and comment upon things that much the same as that of any other large ment of schools for the training of special- concern the motion picture industry. May I industry. ized workers by Universal, Paramount ask a question—What is the relation of blood and educational attainments organizations. higher education as at present expressed in New and other large producing the universities to motion pictures? Do the are always welcome and are constantly be- The motion picture industry has no and heads of this field encourage college men ing sought. But as do other large indus- quarrel with higher education, nor does it ideas, or is entrance into the motion picture tries the motion picture industry prefers discourage college men and college ideas. field limited to—Who do you know? that when a man of specific educational particularly ideas, for I know of a history professor with un- Both are welcome, limited experience in the field of research, attainments is brought into the industry the motion picture industry is essentially Oxford men, a specialist in the field of two one of two conditions shall exist : Either creative. But somehow ideas based on costume design and origin and a great many that such a man be a specialist in some theory or evolved from without the indus- degree holders from universities of the West, particular field for which the industry practical all of whom have found little or no encour- try by people who have had no agement, each telling the same story: that needs highly specialized knowledge, or that experience in the field of the silent drama motion pictures are a closed industry. he have, in addition to his educational back- seem consistently to fail through lack of I myself have had much the same experi- ground either some experience in the dra- of the principles involved. ence. After studying with the express pur- understanding pose of motion pictures in view, I have for matic field or an understanding of the pe- In the matter of research, not only does some time been following promises that lead culiar requirements of the industry and a each studio maintain a highly developed re- but to other promises, blind alleys and offi- sympathy for the silent drama. search department of its own with specially cious office boys. No more than any other are motion pic- and women of education and This is not a crank letter, for I love the trained men work and being young can still manage to tures a closed industry. But like most experience in charge, but there have grown jobs more or less subsist on dreams and odd other enterprises entry, excepting through up as adjuncts to the industry research or- and continue to like it. But motion pictures the door of experience, is difficult, particu- ganizations who specialize in accumulating being one of the largest industries in exist- larly so to the because he has In ence must eventually have trained men of man who accurate data on all sorts of subjects. theoretical background as well as practical made a specialized study of some particular addition when special knowledge in any experience. To the point field, or because he has achieved the degrees one subject, historical or otherwise, is re- It has been proven by a great many cor- of higher education, is impelled to the quired that knowledge is sought from the porations that the conducting of courses in belief the line of practical experience over the that he should step into a responsible most authentic source attainable. various phases of their industry more than and well-paying position by virtue of those It might be well for D.W.C. to con- itself by securing thereby executives pays for attainments. sider that the production program of each who fit their job. This method is based Because a man of such qualifications may of a comparatively few merely on taking promising young men, pay- studio in the space ing them enough to subsist on and giving happen to have friends, relatives or inti- months will cover a wide range of diversi- them a few months of intensive training in mate acquaintances holding responsible po- fied subjects. One unit may be producing various departments, thus getting a certain sitions in the industry and thereby may be a story of Ancient Rome and follow im- amount of work at a cheaper price than be- given an opportunity to demonstrate his of the South Seas fore in addition to finding to what line mediately with a story various individuals are best suited. At the value is not necessarily a sufficient reason and again with a modern society drama, end of this period the student is either em- for declaring that the motion picture indus- an epic of the old West or a story of the ployed, if he has made good, or all relations try is closed excepting to those who have French revolution. It is the business of terminated. Incidentally it has given the student a wedge with which to dig himself “pull”. The same is true of any industry. the research department to provide on in and has supplied a source of new blood Opportunity is sometimes made for some short notice all the essential data and facts for the corporation, thus benefiting employ- individuals, others make their own, But necessary to build sets, design costumes and ers as well as employe. in any industry the surest mode of entrance atmosphere of the locale in which Could not some deviation of this be put plan the into practice by the larger producing com- is that which is expressed by “beginning at action of the story is laid. It is rare that panies ? the bottom.” specialized knowledge on any one subject

D.W.C., Hollywood. However there is one factor of the mois required with a degree of regularity to tion picture equation which is peculiar to warrant the retention of such a history pro- this industry: The fact that it is in all fessor as D.W.C. refers to, for presumably, HE evident sincerity of D.W.C. in probability the most popular line of activity being a history professor he has specialized T asking his questions and presenting in our modern business world, the most subject, and equally as presumable what he conceives to be a constructive — on that romantic, the most alluring the most that he has specialized on criticism, accompanied, as most constructive and is the assumption attractive profession in the world. Result specific period in the history of the criticisms are, by a remedial suggestion, some his to break generates a desire to try and answer his Everybody and brother wants world. it. literally they all, regrettable as it may seem query as fairly and as completely as pos- into Figuratively and After of every an idealistic point of view, the atti- sible. want to “break in” for nine out from of the business world of today is not In drawing his parallel between the ten applicants who apply for positions seek tude for you?” but “What motion picture industry and others of a to crash to the top overnight. “What can we do for us?” motion picture commercial nature, D.W.C. has in a meas- Now all this invokes the immutable law can you do The is no exception. ure answered his own question, for speak- of supply and demand. With the gates of industry 50 ©irector November DIRECTING might indeed be a very successful production in Europe, visualizing as it does many HAROLD LLOYD elements of European history and tradition which have only an indirect appeal in this (Continued from Page 14) country and that largely to those of foreign birth to whom the legendary characters the introduction gag-man into his own and are more or less real. But in this country of men of this type into the dramatic lots. the chances are 100 to 1 that it would Every studio of any consequence today prove a decided “flop.” has one or more gag-men whose sole func-

tion it is to furnish gags to be injected into dramatic stories. The improvement in comedies has taught audiences to laugh; the producers have recognized this fact and, A BUSY SEASON like all good businessmen, they are endeavoring to satisfy their customers’ demands. FOR EVE UNSELL The result has been a growing homo- RITING the modern screen story, geneity of motion pictures—not a sameness, whether in original form or as an but a closer kinship. It is the same march W aptation, calls for a degree of ver- of events which can be traced in the history satility and a of any other art-expression. There will knowledge of human nature that is always be a small number of out-and-out astounding when you stop to analyze things bit. melodramas and, at the other extreme, a For instance, a resume of the downright farces, but the in-between group scenario activities of Eve Unsell during the past of pictures is growing in volume with this few months runs pretty much the whole increasing kinship—and rightly so, because gamut of human emotions as well it means we are giving our audiences as involving an intimate understanding of worth-while entertainment with a proper the modus operandi of some half dozen admixture of comedy and drama. The directors and half as many studios. small circle of directors and producers who During the past year, which Miss Unsell have already recognized the fact of this states has been “the happiest and most suc-

artistic progress on the screen is reaping a cessful of my busy screen career,” she just reward and, in this case at least, the has turned out nine scripts either as a tendency to follow-the-leader will be bene- whole or in collaboration. Starting with ficial to all concerned. the adaptation of Hell’s High Road for Cecil B. DeMille, she followed that up with The Plastic Age for B. P. Schulberg. Then came collaboration with James Ham- CUSTOMS AND ilton in the adaptation of The Ancient Highway, a James Oliver Curwood story, for Famous Players-Lasky and then a COSTUMES ; GOERZ period of collaboration with June Mathis (Continued from Page 21) during which were evolved What Fools Men! for Lewis Stone and popularity of the comic opera from which Shirley Mason, Film Raw Stock directed the picture has been adapted and the musi- by George Archainbaud, and adapted from the book, Joseph cal theme which accompanies it and The Greer and His Daughter; Girl Merry M'idow is another of the exceptions The from Mont marts, that prove the rule. for Barbara LaMarr and Lewis Stone, di- NEGATIVE rected In the category of costume plays one by Alfred E. Green and adapted POSITIVE must perforce include allegories and fan- from the book, Spanish Sunlight, and The PANCHROMATIC tasies. The same basic principles that ap- Second Chance on which she is now work- ply to the period play apply here as well ing in collaboration with Miss Mathis, as and to an even greater extent. a vehicle for Anna Q. Nilsson to be di- In the old days the illusive possibilities rected by Curt Rehfield. In between have y? of the camera prompted the production of been scripts for three Fox productions, many allegorical subjects, productions Thunder Mountain, a Victor Schertzinger which in practically every instance failed production based on the John Golden play of success as box office attractions. The Howdy Folks by Pearl Franklin; The element of realism as understood by the Yankee Senor from the book The Conquis- Sole Distributors American public was lacking. tador, a Tom Mix production directed by Fantasies have suffered much the same Emmett Flynn, and The Golden Strain fate. Notable exceptions have been where another Victor Schertzinger production FISH-SCHURMAN the personalities of players have carried the from the Cosmopolitan story Thorough- CORPORATION production over through the sheer force of breds by Peter B. Kyne. personal appeal. Douglas Fairbanks in WEST COAST OFFICE The Thief of Bagdad achieved a greater success than would otherwise have been Following his return from his trans- 1050 Cahuenga Ave. the case simply because it was Fairbanks. continental trip visiting the exchanges, E. Los Angeles California All of which explains in part why An- O. Van Pelt has taken a flier up into the thony Ehler’s scenario having trav- Yellowstone where he shot exteriors on a Telephone GLadstone 9805 Oberon eled the rounds has been consistently re- new feature in eight working days getting jected by American producers. Oberon some remarkable scenic stuff on the side. s

1925 ©i rector 51 Wampas Doin'

By A. Wampa augmented by a group of newspaper men including several city editors, the home of relative inactiv- FTER a summer coming assumed new proportions and de- ity, with many members away on A veloped into a glowing tribute both to ‘long distance jaunts, including both Harry Brand and the Wampas as a whole. President Harry Brand and Vice-president following the docking Tom Engler, the Wampas have swung On the Tuesday the Manchuria, a special meeting and back into the harness and, in the words of of dinner was held at the Writers’ Club in Harry Wilson, are “up and at it again.” honor of the returning Wampa at which Many things are on the schedule for the the Fourth Estate of Los Angeles turned fall and winter that promise interesting de- out en masse. It is doubtful if there has velopments. Of which more anon. ever been a greater gathering of Los An- The inactivity of the summer months geles newspaper men and representatives of was broken with a smash September 28th the motion picture industry to do honor to when Ham Beall took charge of the first a publicist than that which assembled in of the fall meetings the spacious dining room of the Writers’ —a meeting which Club as a welcome to Harry Brand. In marked the return addition to the newspaper men were sev- of Tom Engler as eral writers of national repute, including the van guard of the Donald Ogden Stewart and Montague wandering Wampas Glass while the motion picture industry who were wending ; was ably represented by Sid Grauman, Sol their way westward. Harry Brand Lesser, M. C. Levee, Stuart Blackton, Tom’s return was J. Frank Keenan, Lew Cody and a host of an event in itself, has been jaunting back and forth between others. particularly inas- Hollywood and San Francisco. much as at that Coming in relays from Warner Brothers, After rusticating in the wilds of Kansas time he was the entertainers from the KFWB radio pro- City, Eddie Hitchcock has returned to the only presiding offi- gram contributed the entertainment fea- fold and is handling publicity at the Cri- cer that the Wampas had, Harry Brand tures of the evening through the courtesy terion. having resigned affili- because of New York of Norman Manning. Manning, by the Pete Smith, publicity director for M-G- ations. But the entertainment program way, having been M has also returned from a snappy trip staged by Ham Beall broke all records for elected to associate to New York where he says he was so snap, pep and vim. With the Dixieland membership follow- busily engaged in—well the things one does Blue Boars from Freddy Solomon’s Palais ing the 1925 Frolic in New York—that he didn’t even have de Dance tearing off the jazziest jazz heard was elected to full time to convey the greetings of the W.A.- by the Wampas in a long while and the in the membership M.P.A. to the A.M.P.A. from the prologue at Texas Tommy team a m a s at the W p Jeff Lazarus, formerly handling public- Grauman’s Egyptian whirling through September 28 meet- ity at the Metropolitan theatre in Los An- their dizzy dance number, things moved ing. geles is now handling exploitation and pub- fast. the genius of the true With show- surprise of The for Boston’s new theatre of the same man Ham balanced the program with the licity the evening was name. Bartender Baritone, also from the Egyptian sprung by Tom rendering reportoire of old-time songs Among those who have returned to Hol- a Tom Engler Engler, who pre- and ballads of the vintage of The Gold lywood during the past few weeks have sented his resigna- Rush. been Tom Reed and Carroll Graham, who tion as president, urging that Harry Brand have returned to the centre of press agentry Saturday morning October 3rd the S.S. be reinstated. Tom’s resignation was acted Universal City and have hung out Manchuria docked at 8 o’clock with Harry upon and Harry reinstated by popular from Sunset Boulevard. As Brand and Garrett Graham on board, acclaim. their shingle at 6683 Garrett likewise returning from New York a matter of fact Tom Reed has busted With Harry Brand as the pivotal point publicists as the eastern terminus of his recent tour. into the ranks of the free lance the dinner developed into a home-coming sheet stands On the dock to meet Harry was a com- with a flock of twenty-four for several other Wampas whose absence mittee of the silk-hatted Wampas composed scattered where they will do the most good had been felt during the preceding months. of Joe Jackson, Harry Wilson, Norman announcing that fact. As an exploitation Larkin who had just Manning and Larry Weingarten, heading There was Mark man Tom is a good doctor—he takes his gotten back after a summer exploiting Don a Wampas delegation of sleepy-eyed press own medicine. O., Garrett Graham, who started for San agents. In view of Harry’s popularity and But “seriously fellows” as Bert Dorris Francisco and wound up in New York, his leadership during the early part of the would say, ol’ Bert himself merits a word Pelt, who has just finished a year, when he actively filled the office of Enoch Van of commendation for his handling of a exchanges of the country; president it was to be expected that there tour of the Tom difficult problem during the summer months would be a Wampas delegation on hand to Engler who has been visiting the old home when he was called on to pinch hit for greet him, but when that delegation was folks in Maryland, and Arch Reeve who Harry Brand and Tom Engler. 52 ©irector What the Direc

DIRECTOR STUDIO PRODUCTION STAR SCENARIST

John G. Adolphi Fine Arts The Phantom Express Dave Butler Tom Hopkins Lloyd Bacon Sennett Comedy Ralph Graves Staff

Clarence Badger Paramount Hands Up Raymond Griffith

King Baggot United Tumbleweed Bill Hart Svlvano Balboni LTited The Far Cry All-star Katherine Kavanaugh

Harold Beaudine Christie Comedy Neal Burns Kingsley Benedict William Beaudine Pickford-Fairbanks Scraps Mary Pick ford Winifred Dunn George Beban F.B.O. Loves of Ricardo George Beban Staff Paul Bern M-G-M Paris

J. Stuart Blackton Warner Bros. Maryland, My Maryland Costello-Harron Marian Constance Frank Borzage Fox The First Year All-star Frances Marion

Clarence Brown LT nited Kiki Norma Talmadge Hans Kraely

H. J. Brown California Windjammer Billy Sullivan Grover Jones Tod Browning M-G-M The Mocking Bird Lon Chaney Waldeman Young

Edwin Carew United Joanna with a Million Dorothy Mackaill

Eddie F. Cline Sennett Comedy Alice Day Staff Jack Conway M-G-M The Reason Why Norma Shearer Loring-Lighton

William J. Craft Universal Radio Detective William Desmond Staff Allan Crossland Warner Brothers Don Juan John Barrymore Bess Meredith

Cecile DeMille DeMille The Volga Boatman All-star Coffee-Macpherson William DeMille Paramount Magpie Daniels-Hamilton Violet Clark

Roy Del Ruth Warner Brothers The Agony Column Blue-Devore E. T. Lowe, J r. Edward Dillon Metropolitan The Bride Priscilla Dean Finis Fox

Scott Dunlop Universal Seventh Bandit Harry Carey Dick Shayer

Dallas Fitzgerald Universal On Her Own Clara Bow Francis Ford Ben Wilson The Power God Ben Wilson George W. Pvper John Ford Fox Three Bad Men All-star John Stone Sven Gade Universal Wives for Rent All-star Tom Hopkins John Grant California Plumb Center Comedies All-star Staff

Alfred E. Green United Irene Colleen Moore June Mathis Wm. Goodwich Educational Comedy Lupino Lane Staff Fred Guiol Hal Roach Comedy Staff Alan Hale DeMille Braveheart Rod La Rocque Mary O’Hara Hobart Henley M-G-M Free Lips Shearer-Cody Loring-Lighton Joseph Henabery F.B.O. Playing Safe Monty Banks Staff

George Hill M-G-M The Barrier All-star Harvey Gates James W. Horne Hal Roach Comedy All-star Staff John E. Ince Fine Arts Midnight Thieves Rawlinson-Darmond Staff Lloyd Ingraham F.B.O. The Nut Cracker All-star Madge Myton

F red Jackman Hal Roach The Devil Horse Rex Hal Roach Emory Johnson F.B.O. The Last Edition Ralph Lewis Beatrice Van

Daniel Keefe Fox Cupid a la Carte All-star Erie Kenton Warner Brothers Broken Hearts All-star Gregory Rogers

George Jeske California Untitled All-star Staff ©irector S3 tors Are Doing

DIRECTOR STUDIO PRODUCTION STAR SCENARIST

Henry King United Potash and Perlmutter Carr-Sidnev Frances Marion

Charles Lamont Educational Untitled All-star Staff

Robert Z. Leonard M-G-M Dance Madness All-star Del Lord Sennett Comedy Raymond McKee Staff

J. P. McGowan California Mistaken Orders Helen Holmes William Lester Robert McGowan Hal Roach Comedy Our Gang Staff

Leo McCarev Hal Roach Untitled Charles Chase Staff

Leo Maloney Maloford The Blind T rail Leo Maloney Ford Beebe George Melford Metropolitan Rocking Moon All-star Cunningham-Clawson Lewis Milestone Warner Bros. The Cave Man Matt Moore Julian Josephsen Bruce Mitchell Fine Arts The Ace Dick Grace Gene Taylor Vin Moore LIniversal Comedy Holmes-Corbett Moore-McKenzie

Jack Nelson F.B.O. Prince of Pep Richard Talmadge Jas. Bell Smith Fred Niblo M-G-M Ben Hur Ramon Novarro June Mathis

A1 Parker Pickford-Fairbanks The Black Pirate Douglas Fairbanks Staff Albert Ray Fox Helen and Warren Perry-Cooley Kathryn Carr Staff T. J. Ray California Untitled Jackie Ray Herman Raymaker Warner Bros. The Night Cry Rin-tin-tin Chuck Reisner Warner Bros. Nightie Night, Nurse Svd Chaplin Reisner-Zannuck Eve Curt Rehfield United The Second Chance All-star Unsell Lynn Reynolds Universal Combat House Peters Lupino Staff Jess Robbins Educational Comedy Lane Lige Steve Roberts Educational Untitled Conley Staff A1 Rogell Universal Gunning Guns Jack Hoxie A1 Rogell Wesley Ruggles F.B.O. A Broadway Lad Evelyn Brent J. G. Hawkes Nat Ross F.B.O. Transcontinental Limited Harvey Thew Vic Schertzinger Fox The Golden Strain All-star Peter B. Kyne Staff Lou Seiler Fox The Flying Fool All-star Taylor William Seiter Universal Skinner’s Dress Suit Reginald Denny Rex

H. Scott Sidney Metropolitan Million Dollar Handicap Vera Reynolds F. McGrew Willis

Cliff Smith Universal Fool for Luck House Peters Edward Sutherland Paramount Behind the Front Mary Brian Frank Condon Jack Straver Waldorf Untitled Dorothy Revier Slim Summerville Universal Comedy All-star Staff Sam Taylor Metropolitan Untitled Harold Lloyd Staff Norman Taurog Educational Untitled Lloyd Hamilton Staff King Vidor M-G-M La Boheme Lillian Gish Edmund Goulding

Eric von Stroheim United East of the Setting Sun Constance Talmadge von Stroheim Robert Vignola Metropolitan Fifth Avenue De La Mott-Forrest Anthony Coldewey Raoul Walsh Paramount The Golden Journey Nissen-Collier, Jr. C. Richard Wallace Hal Roach Comedy Clyde Cook Staff Herman Weight F.B.O. Flaming Waters All-star Staff

Roland West LT nited The Bat All-star Roland West Ceder Wilkinson F.B.O. The Mazie Series Vaughn-Kent Lewell Martin

John Griffith Wray Fox The Golden Butterfly All-star Bradley King 54 ©irector November os* M& SX i® we P® SX < 3® Si? fjge) SX “ 3® @? iO. SX * 3® w i® sx ^ Sic* 3® p® gx • Si? 3® i® gx 3® Si? i® gx “ 5® gx “ si? 3® i® gx < Si? 3® i® sx “ Si? 3® i® gx Sic* 5® i® gx * Sx* 3© P® gx Sic* 3® P® SX * Sic* 3® P® MY POLICY sx •J® Sic* v® gx “ C? 3® i® gx Sic* gx <5® “ 3® i® gx “J® compensation accepted Sic* P® THE ONLY gx Sic* 3® p® gx by my office is from artists , writers and Sic* 3® gx <5® directors under written contract to me. Sic* 5 SX .< ® * Sic* 3® i® SX. Sic* 3® v® (sX < Other engagements which this organi- Sic* 3® gx K Sic* p® zation secures are consummated gratis, gx Sic* 3® gx as a courtesy to the individual and a Sic* 4; S5? < 3® P® gx service to the producer. Sic* - ' SX. P® Sic* * 3® SX _g Sic* * 3® We are glad to talk your problems gx ig Sic* gx ig over with you. Sic* * 3® sx p® Sic* p gx p® Sic* 5® gx j£2 Sic* .- DEMMY LAMSON gx p® Sic* * 3® MANAGER SX ig Sic* • . gx i® Si? “ 3® gx. g Sic* Associates— sx. _® Sic* < 6683 Sunset 3® gx. Miss Ruth Collier Boulevard ®{> gx. Mr. W. 0. Christensen si? Tel., Hempstead 1802 gx. (Formerly at the M-G-M si? and Lasky Studios) sx si? gx Jess Smith—New York Representative 1925 director 55 Charley Chase Turns THE ZULU to Activity By Edith M. Ryan

N the annals of Hollywood there are HUT I numerous cases of actors who have become directors, but it would be more * <• *- difficult to present a list of directors who have exchanged the megaphone for the aymond McKee makeup box. Consequently the hat of cordially invites Charley Chase, student of laughter, thrown R in the comedy ring is interesting. And since you to visit his it is there to stay, it is timely to measure ZULU HUT out Ven- this young man. tura Boulevard, two miles beyond Cahuen- ga Pass. He hopes you will make the ZULU HUT a meeting place for yourself and friends where you may spend nothing but your time, and gaze into the great open fireplace while you play at Bridge, Checkers or what not. He tearfully regrets that he will be obliged to admit folks who are bent upon spending Charley Chase money. There you may be yourself, and let the During his six years with Hal Roach, weird wanderings of Charley Chase spent four of them as di- embership in the rector of highly successful one-reel come- M Breakers Club is limited your spirit take what dies. The money they earned would re- to those men and women form they will. flect credit on the most widely known direc- whose names will add to the tor in the game. And they are still making money. high character of the club’s But the psychological moment came and present roster. Charley Chase in the full enjoyment of Incidentally he serves Life Memberships now his prestige as director, reckoned as one squab, available are not whole whole of the best in the comedy field, burned his assessable, fried chicken, hot bis- ships and began the fashioning of his name not liable and may be trans- cuits, corn pone and for the electric lights, in the role of the ferred. average American youth who has been The Breakers Club will mark honey, not to mention plunged into amusing situations. the real coffee. To Charley Chase has been given the great improvement over all gift of story weaving. As director he shore clubs of similar nature wrote all his stories and supplied the anywhere in the U. S. The Zulu Hut “gags”. He has not escaped the type- One-half mile beyond the turn to writer as actor. For the first year of his Universal City on Ventura one-reelers, he wrote thirty stories, and Boulevard. since he began the Charley Chase comedies, he has written fully a dozen stories in BREAKERS collaboration with Leo McCarey, in charge of this unit. - - When his year ends he will C L U - B “SakuBona M'Lunger” have completed a better average than one a month. Property at Executive Offices Zulu for Ocean Front &_ 8th Floor Spring Arcade Marine Terrace 541 Spring Street “I Greet you. White Man!” If you saw it advertised in THE DIREC- TOR, why not say so? That will cost you Santa Monica Phone TUcker 8085 nothing and will be of genuine service to both merchant and magazine. 1PN MOTION nmw 56 director November OFF buildings are valued at more than a mil- T SCREEN lion dollars. I T ISN'T POSSIBLE The actual of PERSONALITIES area the studio is now * * * twenty-seven and one half acres, six acres (Continued from Page 44) having been subdivided in the spring of WITH OUR PRESENT EQUIP- 1925. Incidentally, as a sample of Los MENT T was not until 1922, however, that Angeles land values, they were sold for I Levee attained his whole aim. In that more than the entire thirty-three acres had * * * tear, he mustered capital, bought out Brun- cost four years ago. TO DO ALL THE LAUNDRY ton, acquired the land on which the studio Levee, the young man who strolled into stood, with the addition of ten more acres, the studio in 1917, and routed a sheriff, * * * and became president of the corporation. can sit back now at the ripe age of 33, and Coincidentally, the name of the big lot was survey the realization of his dream. He IN HOLLYWOOD changed to the United Studios, and remains does that. He has a personal pride, not * * * that. only in the studio, but in the pictures which

It was at this time, too, that are produced in it. Such pictures SATISFIED Joseph as The SO WE’RE Schenck, now chairman of the board of Isle of Dead Ships, Flaming Youth, Black

Hi Hi Hs directors and a heavy stockholder, became Oxen, The Sea Hatvk and Ashes of Ven- an important factor in the affairs of the geance. FOR THE PRESENT organization. When Levee dreamed of an independent * * * Until he bought out Brunton, Levee had studio, pictures like this had never been been vice-president, treasurer and assistant conceived. Would they have been if some- TO SPECIALIZE secretary. The staff had been Brunton one had not built a place where imagina- hired, however, and, when the former vice- tion and ambition could have free scope? * * * president took over, the executive heads Possibly, but certainly not soon. ON THE SHARE WE GET assumed as a matter of course, that they — C. S. Dunning. would be discharged. So, following cus- * * * tom in such crises, they turned in their Demand for Short Subjects resignations. BUT WE WISH TO REMIND A greater demand for entertaining short Then Levee did a characteristic thing. film subjects exists today than ever before YOU He called all the executive heads into his in the history of the motion picture busi- * * * office. ness. Exhibitors throughout the country “This is all nonsense,” he said. “We’ve IT’S ALWAYS POSSIBLE are clamoring for wholesome two-reel com- THAT had some little scraps from time to time, edies that can be featured on their programs * but we’ll forget them. I want you all to * * but at the same time there is no demand stay. All I ask is that you give me the for ordinary ‘fillers’. TO DO A LITTLE BIT MORE same loyalty you did Brunton.” This is the contention of Joe Rock, pro- still Hi Hi Hi They stayed—and they are staying. ducer of Standard and Blue Ribbon com- As for their loyalty, try to hire one of edies, who but recently completed survey AND IN THE COURSE them. Other people have. a of the short subject market. the when Levee became presi- * * * From day “Such two-reelers as the pictures are dent, the expansion of the studio has been we now producing are extremely popular with OF A NATURAL GROWTH marked. It now has six stages, including showmen everywhere as they are clean and number six, the largest in the world. Two H: Hi Hi entertaining and more are now being built as part of a have a genuine appeal with adults and children alike,” says Rock. “No WE’LL SPECIALIZE $300,000 improvement program begun in August. longer will the producer of suggestive com- * * * edies find a market for his product as ex- Producing constantly on the lot are hibitors have found out that this BIT MORE’’ Norma Talmadge, Rudolph Valentino, class of ON THE “LITTLE so-called entertainment is neither Constance Talmadge, Colleen Moore, profitable Hi Hi nor appealing.” Hi First National Productions, Frank Lloyd Rock recently mailed a questionnaire on Productions, Corinne Griffith, Edwin Ca- FOR AFTER ALL the subject of comedy films to 500 leading rewe, Henry King Productions, Samuel in this country * * * Goldwyn Productions and June Mathis exhibitors and he bases his conclusions on the replies Productions. he received from WE’RE SPECIALISTS ANY- this campaign. Each of the various producers has his in- WAY— dividual offices on the lot. There are three Frank Lawrence Resigns Hi * Hi star bungalows. The Talmadge sisters Frank Lawrence, film editor-in-chief at sisters occupy the one built for Miss Pick- Universal City, has resigned that office, THAT’S PROGRESS! ford, and left tenantless when her needs according to an announcement made by and those of her famous husband caused Lawrence. Lawrence has cut and edited them to build a studio of their own. The some of the most successful pictures pro- other two were built for Rudolph Valen- duced by Universal. tino and Marion Davies. In addition,

ground is now being broken for a bunga- Hal Crane, one of America’s most bril- low for Colleen Moore. There are a host liant creators of vaudeville sketches, is to COMMUNITY of dressing rooms, and more being built. take a fling at motion picture scenarios, it The mechanical department, with its plan- was learned with the announcement of his LAUNDRY ing mill, blacksmith shop, painting and with the Metro-Goldwyn- electrical departments, now occupies two new contract huge prop Maver studios. 1001 McCadden PI. HOlly 2538 acres. The contents of the ?

J—~*V MOTION PH T tst 192 5 director 57 Claims Sitting Bull “Stole” sound-casting— Massacre Scene “let ’em ALL hear”

HIEF Standing Bear, son of one of ‘big head.’ When they took him to Wash- Sitting Bull's great war chiefs and ington to see the Great White father he last time you saw this picture

C who is appearing with several hun- really thought he was to be made president. in this place the outfit had just dred other Indians in Universal’s Hearts of But he changed his mind when he came left the shop. the West, takes issue with history as to the back, and but for my father he would have our activities since then have part played by Sitting Bull in the campaign been killed. My people hated him. When been many and varied. that eventually ended in the Custer massa- he returned, Crazy Horse tried to kill him we provided both radio and an- cre. Sitting Bull, in the language of mo- but my father held Crazy Horse off with nouncing facilities for 17,000 at tion picture people, merely stole the scene a rifle.” maier park for an open-air fight. from Chief Gall and Chief Crazy Horse, Standing Bear takes a rather unique kept 25,000 informed during two great war chieftains of the Sioux, ac- stand as to the ethics of scalping. auto-classic at fresno. cording to Standing Bear. “When our boys came home from the received opera from kfi and am- Standing Bear was three years old at the war in Europe they brought back German plified it in Olympic auditorium time of the massacre, is a graduate of the helmets and rifles as trophies,” he said, “to during schumann-heink’s recent famous Carlisle Indian School has and show people that they had really been there. broadcast. delved deep into the lore of his tribe. In When the Indian took the warpath altho our first work was on a addition, his statements are supported bv against an enemy tribe he brought back the large movie lot our other activi- the accounts of the campaign given him scalps of the braves he had slain. It was ties have covered about every by his father. his proof that he had been to war and had sound-amplification problem. “Sitting Bull was not a ‘brave,’ ” says killed an enemy.” our efforts in this field have Standing Bear. “Never had be taken a met with the enthusiastic ap- cast of Hearts scalp. He was a medicine man who ex- The of the West, includes proval of our clients. ercised great influence over his people. At such players as Hoot Gibson, Anne Corn- you’ll hear a lot about our work the time of the Custer massacre he was six wall, Dustin Farnum, Ward Crane, Kath- from now on. miles away. Chief Gall was the real war leen Key, Eddie Gribbon, Harry Todd, leader of my people. Sitting Bull, he had George Fawcett and Harold Goodwin.

Producing Entire Pictures on Donald Ogden Stewart Signs With Location M.G.M. Studio

Probably not since the film industry was Found at last! A famous author who “in its infancy” has an entire picture been doesn’t want to revolutionize the screen ! made wholly on location, but that is what His name is Donald Ogden Stewart, and Renaud Hoffman is doing in the Redwood he has just arrived in California to serve State Park near Santa Cruz and what what he calls an “apprenticeship” at the has been Jack Ford doing at Jackson Hole, Metro-Goldwyn-Maver studios. Wyoming, where the Fox special, Three Stewart, author of the remarkable suc- Bad Men, has been in production. cessful novel, The Crazy Fool, recently large of A company players with a for- purchased by M-G-M, is under contract midable array of props and equipment have as an editor and supervisor, possibly to do been sent to Santa Cruz and filming is now his first work on his own novel. He is one under way on The Phantom of the Forest, of the best known authors in America, and Hoffman’s newest feature for Gotham six of h is books in succession have won wide Productions. Both exteriors and interiors popularity. will be made in the wilds with the old “I never had anything to do with pic- Spreckels’ ranch at Aptos furnishing part of tures before,” says Stewart, “and have no the settings. The electric power company illusions about revolutionizing them—-nor has installed transformers the most powerful portable to secure cur- have I any idea that I know anything about rent sound-casting unit in the west from the main transmission line sev- them. I am going to try to learn the busi- eral miles away. ness before I talk about it.” The Phantom of the Forest will feature Stewart is the author of A Parody Out- your’s to command—any place, Thunder, famous canine actor of the screen line of History, hailed as a classic in hu- any time (if date is open). and is an original story from the pen of mor, Perfect Behavior, Aunt Polly’s Story his owner, Frank Foster Davis, who also of Mankind and Mr. and Mrs. Haddock plays a prominent role in the picture. James A broad. the radio stores co., inc. J. Tynan made the adaptation. The all- 426 west eighth street tucker 3148 star cast, under the direction of Henry FOR SALE McCarty, is headed by Betty Francisco Yearly Subscriptions to and Eddie Phillips and includes James Ma- THE DIRECTOR s. son, Irene Hunt, Rhodv Hathaway and $2.50 p. we want more movie work ! Director Publishing others. The company will be on location Corp. 1925 Wilcox Ave., Hollywood for several weeks according to Glenn Belt. I ~\ MfTIO* MCTVU 58 ©irector November Getting the Third Dimension On the Screen

EVELOPMENTS in cinematogra- tography in steroscopic film. The same Grand Canyon in which some marvelous phy presaging results of far-reach- results can be procured through the use results were obtained. Not only was dis- D ing importance in both production of simply the Cooper-Hewitts and the tance beyond the range of the ordinary and exhibition of motion pictures are an- broads by which daylight is simulated on a lens or even the naked eye procured with nounced by Charles B. Hazlehurst in con- darkened stage. remarkable definition, but the third dimen- nection with the perfection of experiments sional qualities giving depth to the picture conducted by Max O. Miller in third di- HE fundamental principle of the Mil- brought out, as has rarely been done, the mensional photography. T ler device, Mr. Hazlehurst points out, full grandeur and beauty of the Grand According to the statements made by while declining to make any further state- Canyon. Mr. Hazlehurst, as attorney for Mr. Mil- ment concerning the composition or details Shots showing the Colorado river flow- ler and his associate in the development of the attachment, is based on bringing to ing through deep gorges into which sun- of his stereoscopic patents, and as demon- the eye of the camera all the light that is light penetrates only a few minutes during strated at a private showing of a test film in both foreground and background. the day, were shown sharply and clearly given the members of the Wampas, third “The ordinary lens,” says Mr. Hazle- and were snapped into extreme realism by dimensional photography is not only pos- hurst, “excludes through absorption, re- effective tinting. One of the most inter- sible but exceedingly practical. fraction, reflection and other qualities, esting features of the river scenes was that Ordinary photography, Mr. Hazlehurst fully fifty per cent of the light impinging showing one of the water falls in which a explains, has but two dimensions, length upon the lens. Through the Miller at- flickering rainbow playing through the mist and breadth, but no depth. The function tachment all the light that is available is was caught clearly and distinctly. of the Miller attachment is to produce brought to the lens and through the lens Indicative of the possibilities of the Mil- depth, and when you have depth, you have to the sensitized film. ler attachment for registering scenes in the “roundness” of objects in the fore- “There is nothing wrong with the film,” light other than direct bright sunlight, Mr. ground that creates the stereoscopic effect. he goes on to say. “The film now in use Hazlehurst included in his demonstration Interesting as this phase of the device is will register all the picture that reaches it. a shot down the gorge made after the sun in its far-reaching possibilities for creating By using the Miller attachment on any had gone down, in which the beauties of greater realism in screen production, there camera greater detail and definition can the canyon were still clearly visible for are two other angles that are of equal im- be obtained and consequently a clearer, fifty miles beneath bank upon bank of portance, Mr. Hazlehurst points out. In sharper picture in which objects in the fore- fleecy clouds upon which was reflected the getting depth the Miller attachment also ground will assume that condition of last rays of the dying sun. gets distance and while these terms which is induced by the depth ; ‘roundness’ might at first be conceived as being synony- acquired in the background. N the past it has been frequently as- mous in the results achieved, there is a “And conversely whatever has been reg- I serted that third dimensional results very finely drawn distinction. This was istered on the film can be reproduced on were obtained through the use of the ster- demonstrated in the scenes of the test reel the screen by fitting the projection ma- eoscopic device, formerly seen so commonly showing shots of the Grand Canyon in chine with the Miller projection attach- on the parlor table, by a double set of lens which sharp definition was gotten for a ment.” which focused each eye upon a separate distance of fifty miles, and it is claimed by According to Mr. Hazlehurst, the at- picture, and that it was because both eyes Mr. Hazlehurst that it is possible to get tachment has been simplified to the point were used in this manner an effect of definition for 125 miles. where it may be quickly and easily at- “roundness” was obtained. But, according The other factor involved is that of reg- tached to any camera or projector and to Mr. Hazlehurst, that theory can be ex- istering scenes on the films when there is a calls for no other adjustment or special ploded by the simple expedient of closing minimum of reflective light — after sun- apparatus. one eye. An object that is round will still down, in fog or rain, or even at night. Like many others Mr. Miller has been appear round. Mr. Miller’s preliminary

Again the angle of “distance” is responsi- experimenting with third dimensional pho- experiments were based on the theory that ble, for as explained by Mr. Hazlehurst, it tography for many years. He has worked it doesn’t take two eyes to produce stereo- it possible to register upon the sensitized for the past twelve years, to be specific, scopic results, and that accordingly the film of the camera everything that the in perfecting his stereoscopic attachment single lens of the ordinary camera can be naked eye can detect in the same amount and it looks as though he had achieved it. made to produce the same result. of light. For example, it is claimed that The demonstration given at the Writers’ First public exhibition of films made it is possible to take pictures during rain Club before the Wampas showed very in- with the Miller attachment will be made and register the same picture as that which terestingly something of the possibilities of in December when the screen version of will be seen with the naked eye. the device. The first scenes were taken Emerson Hough’s Ship of Souls will be The importance of this feature is more after the sun had gone down and were released by Associated Exhibitors. The far-reaching than would appear in casual thirty per cent stereoscopic. The principle entire camera work on this production was consideration of the subject. For Mr. demonstrated in these scenes was that of done under the direct supervision of Max Hazlehurst confidently asserts that the getting definition and distance under con- Miller and with the use of the Miller at- problem of Kleig eyes may be conclusively ditions which ordinarily would be consid- the scenes taken solved through the light absorption quali- ered impossible. The results were gray tachment. Most of were ties of the Miller attachment. He bases but the picture was there. The most in- at Truckee and because of the brilliancy this assertion on the fact that the glare of teresting features of the demonstration, of the reflection from the broad expanses

Kleig lights is not essential to perfect pho- however, centered in the shots of the of snow, the stereoscopic qualities were 192 5 ©irector 59 stopped down to thirty per cent of their full value. That the possibilities of the Miller at- Doug and Mary tachment are not restricted to motion picture photography is brought out by the assertion that equally as interesting results To Do Picture can be obtained in still photography and Joint that the attachment may be used with similar effectiveness in connection with small UMORS that Doug and Mary are work on a third production in which will kodaks as with the large cameras of the to realize Miss Pickford’s oft-ex- be recited the adventures of a shop girl in motion picture and commercial world. R a large pressed ambition to do a joint picture American city. With Bill Beau- Practical demonstrations of the Miller have been confirmed from the Pickford- dine scheduled to return to Warner Broth- attachment are to be made during the week Fairbanks studio in the announcement that ers, by whom he was loaned to Miss Pick- of November 9 at several of the large tentative plans are being formed for a joint ford, upon completion of Scraps, consider- motion picture studios when direct com- Pickford-Fairbanks production to be filmed able interest centers around the question of parative experiments will be made between abroad. who will be Miss Pickford’s director on the cameras regularly used on the set and According to the present plans of these the third picture. No statement on this a camera equipped with stereoscopic fea- two world-famoUs stars Doug and Mary subject has been forthcoming from the tures. The real test in these experiments, will probably leave for a tour around the Pickford-Fairbanks studio, however. Mr. Hazlehurst predicts, will come when world in March or April to be gone a That Pickford the same scenes are shot without the use Mary intends never to year, returning to Hollywood in the spring “grow up” is evidenced of Kleigs upon a stage illuminated only by by her assertion of 1927. that in the future Cooper-Hewitts and broads. she will do only the child In the meantime Doug is busily engaged parts that have always been her most suc- in the filming of his first technicolor pro- cessful roles. In this she has been influ- Popularizes “Mother” duction, The Black Pirate, while Mary enced both by inclination and by the phe- is completing Scraps, her second picture nomenal success which it is reported has under the Bill Roles direction of Beaudine. attended the openings of Little Annie Immediately upon the completion of Rooney, not only in the key centers of this LAIRE McDOWELL has been se- Scraps Miss Pickford is scheduled to start country but in Europe as well. C cured by Hobart Henley to play the part of Norma Shearer’s mother in Free Lips, with Miss Shearer and Lew Harry Langdon Moves to Cody. First National Lot M iss McDowell bids fair to become the INISHING his contract with Mack Valentino and his organization. screen’s sensation in mother roles with the Sennett by completing his last two- 1 hese quarters, however, are only tem- release of her next two or three pictures. F reel fun film for the comedy producer, porary, for the Langdon unit of First Three of the very greatest roles of this or Harry Langdon and his staff, have moved National will occupy a bungalow—a build- any other year have recently fallen to the bag and baggage to their new quarters on ing separate from the administration offices lot of this actress, and according to all re- the United Studio lot where First National of the various companies at United Studios. ports she has made the most of everyone. makes its headquarters. The comedian is to begin production at Miss McDowell plays the mother of William Jenner, the comedian’s manag- once on a five-reel fun fest, the script of Ben Hur, one of the very greatest parts in er, had already taken space, occupying the which has been compiled by five noted the great Metro-Goldwyn-Mayer produc- offices which were used by Rudolph scenarists and gagmen. tion. She also plays John Gilbert’s mother in The Big Parade, which promises to be this year’s sensation, and has won unstinted praise from critics and public alike for her THE BIG PARADE “Good Old Days” portrayal of “Katrina,” Norma Shearer’s (Continued from Page 29) mother, in The Tower of Lies. TAGE hands of forty years ago, re- S cruited, two from an old soldiers’ home pulsating drama of life itself. It is the at Sawtelle, and two from the ranks of first production that I have ever seen that screen extras, returned to their old craft Superstitious Cats has caught the spirit of national pride that during the filming of La Boherne, Lillian cats are superstitious. They think makes the United States army the greatest LL Gish’s new starring vehicle. its bad luck to work on any direc- fighting organization on earth—that sub- A They handled the old gas footlights, re- tor’s birthday. Hence the trouble tile yearning to acquit themselves honor- Jimmy produced in the theatre scene in the play, Hogan had the other day when he tried to ably in doing that which the situation de- on a specially arranged stage at the Metro- get a black cat to perform in Steel Pre- mands, that brings heroes out of the slums Goldwyn-Mayer studios. They handled ferred. With prop boys holding the black and the mansions of wealth alike. the ancient paper scenery, obtained from the cat and others trying to coax it into acting I saw The Big Parade screened without storehouse of an old theatre at San Ber- natural, it developed terrible streak of accompanying music, in a cold, empty a nardino, and tended the varied obsolete temperament, darted across stage in the house. With an introductory prologue of stage fixtures. wrong direction and escaped under the stu- the calibre that has made Sid Grauman A theatre of years ago was reconstructed with a musical score of the throb- dio floor, never to return. Walter Long famous ; in every detail for the new picture, which and his wife happened by and when told bing vitality with which he accompanies King Vidor is directing. of the catastrophy, promptly motored home each great production at the Egyptian, brought two beautiful black cats not ad- The Big Parade, as a Grauman presen- but be verse to working on Hogan’s birthday and tation, should prove one of the greatest at- Subscribe to THE DIRECTOR, sure and send in your change in address at they through their paces beautifully. tractions the Hollywood playhouse has ever went least fifteen days before date of publication. Thus was old man Overhead thwarted known, if not one of the greatest presenta- Subscription rates to THE DIRECTOR again. tions anywhere. are $2.50 per year. I X MOTION Wl TlTU 60 director November

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that you are a better insurance man. Go and be a still better insurance man, and give a real actor a chance to play your

part. See what I mean by ‘focusing’ yourself?” Focus And by this time the chandelier was hung; and the director rose, saying to him- By Wilfrid North down by Jim, the old philosopher, who self, “By George, I’m going to focus!” was happy playing extra parts, and was And he did! _,L directors have been through it at now on the sidelines addressing two or some time or another. A morning three who loved to listen to his wisdom. “Gag” Men Organize Club A First, when everything went wrong. The Director hoped Jim was talking about Now the “gag” men of movieland are the leading woman did not arrive until “Brotherhood his favorite topic, so he to have their own social organization. The past ten o’clock, then it was discovered she sat near him, and this is what he overheard boys who put the ‘kicks’ in up-to-the-minute had dressed for the wrong episode and had screen entertainment are organizing a so- to change her clothes then, when finally “You have just patted yourself on the ; ciety to be known as the “Re-writer’s Club” she reappeared, and everybody said, “At back, my friend,” Jim said, addressing a and they have asked Tom McNamara, last!” and “Thank goodness, we can start nice-looking young fellow in front of him, at various timejc in the past has now,” the cameraman suggested that in the “when you should have been kicking your- who pictures, to head the asso- “long shot” he was showing a lot of ceiling, self for not focusing. Have you ever been “gagged” many ciation president. However, as and there was an abundance of light, and in a projection room when they have been as McNa- mara is no longer a “gagger” he has de- no visible reason for it, and, as it was an running the dailies, or the rushes, the evening party, he would advise they hang rough work of the day before, and chanced clined the office but has promised to assist organization. a chandelier,—and that was as far as he to hear what the supervising director and in the perfecting of the got. The director, who had waited, and the editors have said to a cameraman who Members of the Re-writers earn their waited, and waited with a calm patience took a scene out of focus? living by editing and improving on the ma- that been the had exemplary, now flew all to “There’s one place where the alibi won’t terial turned out by the personnel of pieces, and asked the in so they say. that as cameraman “Why work. If a scene is out of focus, it is the Writer’s Club— Be thunder he hadn’t said so hours to into two ago? fault of the cameraman, and if a screw is is may, the gag men are now come wait until they were to take of fine club Why ready loose, or someone has kicked his tripod, it their own by boasting as a the scene?” house as there is in all Hollywood. is the fault of the cameraman ! Do you And the cameraman said it not his was get me? And if you are out of focus, it business to design the sets, “don’t bawl me is your fault, because you adjust your own Billie Dove Becomes “Color Girl out because the technical director had actions. Now you have just stated that of Films” slipped a cog; no one has shown me a you are a very good life insurance agent; Billie Dove, appearing opposite Douglas script.” The poor cameraman had to guess can sell insurance to anybody you start Fairbanks in The Black Pirate, is rapidly whether it was day or night, or stormy, or after. heck are trying Then, why in you becoming known as “The Color Girl of a pensive gray light for retrospections no ; to act You are not a good actor, to my Pictures”. one told him the nature of the scene; and mind. The reason is that Miss Dove has been he sat up nights studying the various aurae “You have intelligence and look well, specializing in color films in fact, she is a the French psychics had discovered just for ; and you do what the director requests you pioneer in this field. Her first fame as the sake of lighting people sympathetically, to do, but that isn’t acting. Acting is living a featured player in an all-color picture “and a property boy who knew no more the part you are impersonating for the came with her appearance in Irvin Willat’s about Art than a Zulu does about etiquette time being; thinking as he thinks; moving production of the Zane Grey story, “Wan- could have a script two weeks before a pro- as he moves; being the character, and not derers of the Wasteland”. In this photo- duction, and he had better call him to light yourself. play her rich coloring, quaint charm and it! He was through!” “You make me think of an undertaker buoyant personality proved her superiority Then the poor director sees—in his who thought he would put his profits into in natural color pictures. In fact, her mind’s eye—his pet cameraman leaving the a more pleasant mode of living, so he work in “Wanderers of the Wasteland” set, and pictures him working with his started a green grocer’s establishment two did much to influence Douglas Fairbanks’ hated rival on a No. 2 set, and obtaining doors away, and went into debt to finish selection of her for his lead in The Black finer negative than he had ever seen ! There building it. Then someone said ‘he sold Pirate, another epic in color. surges through him a feeling that the bad vegetables in the hope of helping his producer might lose a week, the backer undertaking trade,’ and the joke was told As Character Indices might lose his money, but he will not lose Hands as a truth, and the people stopped trading his “pet” cameraman. So everybody is Judging men by their hands, their man- at the store, and he failed and died, and told to clear the stage. ner, and their faces, as Conan Doyle made proved himself a job for his own under- The director calls the cameraman, and Sherlock Holmes do in his novels, isn’t as taking establishment. asks him just where he wants the chande- fantastic and practical as it may sound. According to Lon Chaney, it’s very prac- lier—and the style of it —and the number “Now, my boy, don’t think you can be of lights, and tells him to go and smoke a a jack of all trades and succeed at them tical indeed. cigarette while it was being placed. all. You must be a master of one thing Chaney has made a lifelong study of Then he calls the property man and today. You live in a day of specializing. reading character from external appear- bawls him out for not having put a chan- If you take cognizance of directors—they ances, and often astounds co-workers at the delier on his list anyway. “You hear me specialize! One handles horses very much Metro-Goldwyn-Mayer studios by wag- ering on his ability to tell at a glance a —anyway—do that hereafter, have one better than the rest. Another is a society man’s occupation or antecedents. He sel- anyway ! Now chase one as quickly as director who knows society; how the ne fails to win in his queer game. you can—any kind of chandelier—the plus ultra dresses and acts; another is suc- dom quickest chandelier cessful with children another the of observation kind of you know how ; knows “Just a matter —and de- to hang! Hurry!” West. See what I mean? Don’t flatter duction,” he says. And he didn’t mean to

And this is how I had a chance to sit yourself that you are a good actor, but quote Sherlock Holmes, either. 62 ©Irector Novembe)

Stone and brick must sometimes be used in the building of sets, and this combined Side Lights on bill averages $5,000. Flowers and trees are often required, and nursery men and florists get an average of $10,000 per annum. Production Costs Looking further down the list of expenditures, you find “salt” $500. You By C. S. Dunning are puzzled as to what any business can do with $500 worth of salt. Then you

remember that salt is the only thing which VER5 business man realizes the At least half of that $2,000,000—and provides a good imitation of drifted snow, value of a motion picture plant to probably more goes E — back into the de- and you understand. Similarly, it is easy a city, from the standpoint of publi- velopment of Hollywood and of the city to explain an item of “paper, $500.” city and general advertising. of which it is a part, Los Angeles. Paper is used for falling snow. But how many of them appreciate the With the studio employees, this makes A large item obtrudes. It is “canvas, value of a big motion picture concern pure- a yearly payroll of at least $4,000,000, $7,200.” Canvas is expensive, and great ly as a business asset —considered on the surely a sizeable addition to the wealth amounts of it are used for scenery. Some- same footing as a cracker factory, a pack- of any city, and something for the mer- times a thousand dollars worth is painted, ing house or an automobile plant ? chants and business men generally to re- and then scrapped. The scene does not Not many probably. Yet even a cursory gard with satisfaction. suit. In its nature, the motion picture survey of such a plant shows that, as a This is the outstanding item, as the pay- business must often seem extravagant and source of income to a city, it compares roll is always in industrial computations. wasteful, but the city gets the benefit. more than favorably with nearly any But it is not all by any means. Here are a few other entries which may manufacturing industry that could give an idea of the steady outgo which be Studios require vast amounts of varie- named. makes a studio valuable to a city: Lime, gated materials. Many of these are ex- Take the United Studios, the big $198; cement, $375; copper, $1,250; roof- in- pensive; virtually all are purchased within dependent lot of ing, floor wax, pipe, Southern California—the the city. $740; $670; $452; biggest independent lot in the world, in silk, $3,800; fan blowers, $800; ice, $1,- An example is lumber. The United fact. A little conversation with M. C. 200; hose (fire) $350; glass, $1,058; Studios pay out an average of $200,000 a Levee, President, and with R. W. Allison, furniture, $200,000 and cotton waste, $75. year for lumber, mostly to be used in the his assistant, will give an idea of what Similar items could be quoted by the construction of sets and temporary build- such a plant means to a city. yard. The United Studios, it must be ings. The United lot, you will learn in the understood, leases out its facilities to in- The electric light and power bills aver- first place, represents a standing invest- dependent producers, and gives them what age $1,500 a month—-and this in a city ment of $2,000,000—land, buildings and they want when they order it, whether it where electricity is much cheaper than in property on the lot. Sometimes, owing to is a grand piano or a baby-carriage. Con- the average municipality. the vagaries of the business, the property sequently, its outlay is so variegated that paint bill of is may be greater or less in value, but that is A $20,000 a year another it can almost be said there is no line of about the average. item. business it does not patronize. The lot covers 27 J4 acres, about as much as a big factory. It has a regular pay-roll—exclusive of actors and including BIG PROGRAM FOR UNIVERSAL only the regular employees of the United HE largest production schedule ever Edward J. Montagne and Harry Ditt- Studios of from $20,000 to $40,000 a — launched at LTiversal City will be mar are collaborating in preparing the next week. T projected at the “U” studios next big Edward Sedgwick production, The Big There are never less than 350 persons season according to Edward J. Montagne, Gun, by Richard Barry. regularly employed, and, in times of large scenario editor, who announces a produc- H arry Pollard will direct Poker Faces, production, which covers about half the tion budget in excess of $5,000,000. by Edgar Franklin, the scenario for which year, there are from 500 to 700. The next Mary Philbin vehicle will be is being done by Mel Brown. To this, it may be only partially fair Going Straight, from an original story by A big outdoor feature which will be to add to the salaries of the actors and Raymond L. Schrock, being prepared by made in the Fall, with the northern snow other employees of the companies which Monte Katterjohn. country as the location, is The Yukon regularly produce at the United Studios. So far, three stories are in preparation for Trail, by William McLeod Raine, being Still, if there was no plant, there would Reginald Denny; Byron Morgan’s The prepared by James Spearing. be no actors, so it is at least worth taking Love Thrill, being scenarized by Don Lee; All rumors regarding the famous Har- into consideration. Ray Cannon is preparing Follow the Signs; riet Beecher Stowe novel, Uncle Tom’s Well, there are ten companies which and the well-known play Rolling Home, Cabin, are set at rest by the announcement produce regularly at the United Studios, Booth, is being done into that A. P. Younger is now making the including the First National. Norma and by John Hunter Constance Talmadge, Samuel Goldwyn, script form by Rex Taylor. adaptation. M. C. Levee, Frank Lloyd, Edwin Carewe Laura La Plante will do Brides Will Be Curtis is putting a big circus story into and Rudolph Valentino. The income Brides, the famous story by Lucille Van continuity form, The Trail of the Tiger, this is be- by Riley Cooper, master of ani- of some of the stars involved is so well Slyke. The scenario for picture Courtney circus tales. known that it is scarcely mentioned. To ing prepared by Charles Kenyon. mal and add up that of all the actors who produce Hoot Gibson’s next big picture will be Svend Gade has begun production on a on the lot during the year would involve George W. Ogden’s The Cow Jerry, the new Jewel, Wives for Rent, next week; too much inter-company prying to be script for which is now being made by William A. Seiter started Reginald Den- practicable. It can be approximated, how- Marian Jackson. ny’s new starring vehicle, Skinner's Dress

ever, and, when it is, quite conservatively, Herbert Blache is making his own adap- Suit, on Monday; and Lynn Reynolds has it reaches the staggering sum of $2,000,- tation of Crimes of the Armchair Club, as commenced The Rowdy, House Peters’ 000 a year. a special on the 1926 program. next picture. 1925 ©irector 63 Have You Subscribed for MOTION PICTURE

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- t—v motion picture ~ Published Monthly by |TTV /^>' T~'ZAT) J- STUART BLACKTON, ! ]') U Director Publishing Corp. -I J l£v.C/V_y 1 President and Editor.

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64 director November THE W.A.S.P.S KING VIDOR Richard Thomas Takes By Edith M. Ryan The Man on the Cover Over Berwilla Studios (Continued from Page 24-) the active clubs in Holly- MONG HE Berwilla Studios in Hollywood wood is the Women’s Association, A Turn in the Road. That night he wrote will, in the future, be known as the Screen Publicists, which was organ- nobody T out the scenario. This time Richard Thomas Productions ized about a year ago and which meets laughed, for in The Turn of the Road Studio. This move will add another to twice a month. One of the meetings is were all the elements that go to make up the list of modern producing plants in an open meeting when a member acts as a genuine feature production. Southern California and is another spike chairman of the entertainment committee That was eight years ago. Determina- in the guns of the Eastern claimants of and in conjunction with the president, tion, persistency, sincerity and a keen hu- New York and Florida as future capitals Carolyn Wagner, invites outside speakers man understanding have enabled him to of the film world. and distinguished visitors in the city. Re- force steadily to the top. His Wild The capitalists who have invested in the cent social affairs in October included a Oranges, The Jack Knife Alan, Peg O Richard Thomas organization are Los An- buffet supper given by the girls in honor Aly Heart, His Hour and other notable geles and San Francisco men, making it of Agnes O’Malley, vice-president of the achievements have been stepping stones that the first motion picture firm with an all- club, who has resigned from her post of have carried him steadily upward in a California backing. director of publicity for the Mack Sennett career that has been fittingly crowned today Thomas himself has to his credit 27 studios to accept the position of assistant with his magnificent production of The pictures which he has produced and editor of Photoplay magazine in New Big Parade. directed. The most recent ones, The \ ork. Miss O’Malley was further hon- And this time when the very Big Parade Love Pirate and Phantom Justice, were ored, when the members in appreciation of came into sight, the camera did not jam, distributed through F. B. O. her zeal for the club presented her with and as the World War marched by, each The present plans of the company in- a handsome traveling bag, complete in thought, each feeling of that great conflict clude eight all-star feature dramatic films every detail. 1 his affair was held at the was captured and translated to the screen per year the first ; will be a screen version home of Mrs. Wagner. in a masterpiece of motion picture directing. of William Dudley Pellev’s Saturday * * * Evening Post story, What Women Love. Albert Shelby Levino has already com- Margaret Ettinger, of the Metro-Gold- THE NIGHT BRIDE pleted the adaptation. wyn-Mayer Studios, was club hostess for The Richard Thomas Studio, will be (Continued from Page 32) the second week in October when, a bril- remodelled at a cost of $100,000, accord- liant dinner was held at the Writers’. ing to plans drawn up by A. F. Mantz, edition, I feel sure Cynthia would like to * * * Hollywood architect. The executive see. It concerns her wedding. Could you, building will he covered with stucco and by any chance, see that she gets it right The leading event of the Wasp’s social raised to a height of two full stories. Im- away? I’d like to have her read it before calendar took place October 24, when they portant changes will also be made in the the ceremony.” entertained at a dinner-dance at the Mont- interior of the studio. The new equip- “Why, certainly, ma’am,” said the broad martre in honor of the film magazine ment will include a lumber mill, a series bosomed fellow. ‘‘I’m sure Miss Cynthia writers. of projection rooms, a large wardrobe de- would be glad to read anything appertain- * * * partment and suite of dressing rooms for ing to her wedding.” the players besides entirely new electrical Carolyn Wagner has accepted took the paper and started up the a position He equipment. In the intervals between as coast publicity representative on special stairs. shooting, Thomas plans to rent stage space productions for the Davis Distributing Clotilde’s eyes narrowed, and her heart to other independent companies. The Corporation of New York and is now beat a rapid tatoo of exhultation. studio will be completed about the early busily engaged on an extensive publicity “Who knows,” she breathed through part of December and at that time and exploitation campaign for The Red clenched teeth. “Perhaps the fight isn’t lost actual filming will begin on What Kimona, Mrs. Wallace Reid’s latest ve- yet.” Women Love, the first Richard Thomas hicle. (to be continued) production.

S ATEMENT ,.^„r- 1! OF OWNERSHIP, MANAGEMENT, CIRCULATION, ETC., REQUIRED BY THE ACT OF CONGRESS OF AUGUST 24. 1912, OF THE MOTION PICTURE DIRECTOR," PUBLISHED MONTHLY AT HOLLYWOOD, CALIFORNIA, FOR OCTOBER, 1925. State of California, County of Los Angeles, ss. Before me, a Notary Public in and for the State and County aforesaid, appeared RICHMOND WHARTON, who, having been duly sworn according to law, deposes and says that he is the BUSINESS MANAGER of THE MOTION PICTURE DIRECTOR and that the foUowing is, to the best of his knowledge and 3 tru st te,T ent °f the ownership, management, etc., of the aforesaid publication for the date shown in the above caption, required by the Act of August 24, i qio , 5 ^ l . 1912, embodied in Section 443, Postal Laws and Regulations, printed on the reverse of this form, to wot: That the names and addresses of the publishers, editor, managing editor, and business manager are: Publisher, Director Publishing Corporation, 1925 No. w ilcox Ave., Hollywood, Calif. ; Editor, Geo. L. Sargent, 1925 No. Wilcox Ave., Hollywood, Calif. ; Managing Editor, Bernard A. Holway, 1925 No. Wilcox Ave., Hollywood, Calif. ; Business Manager, Richmond Wharton, 1925 No. Wilcox Ave., Hollywood, Calif. 2. That the owner is DIRECTOR PUBLISHING CORPORATION, 1925 No. Wilcox Ave., Hollywood, Calif. (No stockholders.)

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‘A Better Understanding Between Those Who See and Those Who Make Pictures MOTION PICTURE Volume 1 February Number 7 1926

Stuart Blackton Bernard A. Holway J. Jay Brien Chapman Managing Editor Editor Assistant Editor CONTENT

[Design by Harold IF. Miles Cover Clarence Brown J ....

The Open Door . . 2

In the Director’s Chair . J. Stuart Blackton 3 Screen Personalities 4 Norma Plays Kiki Jay Brien Chapman 10 Lucretia Borgia Posed by Estelle Taylor 14 Motherhood and the Screen Irene Rich 15 Bride of the Storm Fred Applegate 18 Drafting the Brains of Europe for the American Screen 20 The Man on the Cover 22 Capitalizing Opportunity 23 ” Bill Beaudine Says, “Leave it to Me ! . 24 The Motor Car Trend for 1926 Charles H. Bird 25 Brewster’s Millions a la Mode 29 The Jewel Ballet from “The Midnight Sun” 32 Hollywood Builds New Temples to Art 34 Three Bad Men in “The World of Promise” Frank A. Murray 36 As Worrfon the Screen 39 America’s Sweetheart, Yesterday and Today 40

Follies Girls on the Screen . Sally Long 42 Individuality Ethel Painter Chaffin 45 Laura La Plante 47 A Home to be Enjoyed 48

What is a Wampas and Why? George Landy 50 Memories of Yesteryear Bernard A. Holway 52 Angle Shots Around Hollywood Studios 53 What the Directors are Doing 56 Fraternities of the Screen 58 Illustrations and Headings Wallace Woodbury

Published monthly by The Director Publishing Corporation, 1925 N. Wilcox Ave., Hollywood, California.

J. Stuart Blackton, president and editor; William Beaudine, vice-president; Frank Cooley, secretary-treasurer; Richmond Wharton, business manager; Tim Crowley, professional advertising, Blanchard-Nichols-Coleman general advertising representatives, Los Angeles, San Francisco, Seattle. Single copies 25 cents, yearly subscrip-

tion, $2.50. Entered as second class matter, October 1, 1925, at the postoffice in Los Angeles, California, under the Act of March 3, 1879. PRINTED IN U.S.A. 2 THE MOTION PICTURE DIRECTOR February

From Those Who See To Those Who Make Motion Pictures

Editor, into the theatre tired and out of sorts, I out engendering emotional exhaustion and The Motion Picture Director: came away refreshed and with the feeling you will give us pictures that we, who that I had had an enjoyable time. While constitute the American theatre-going pub- In recent issues you have asked your much more dramatic I have enjoyed equally lic, thoroughly enjoy. readers to express themselves freely in re- as much “The Merry Widow” and “The M. j. D., Los Angeles. gard to the pictures that they see and the Eagle.” In neither instance was there the pictures that they would like to see. You dramatic intensity nor the emotional strain have told us in your editorials that, through Editor, that I have referred to. The Motion Picture Director maga- The Motion Picture Director: Just the other evening I attended the zine, we have an “open door” to the pro- preview of what is probably a big produc- I am very much interested in the making ducers of pictures. Accordingly I want tion. It features a famous star and a of moving pictures, especially after reading to register my vote for the type of film strong cast of film favorites. It was di- about “Ben Hur.” that I really like and enjoy. rected by a director who has made a not- I think that moving pictures Motion pictures to me are not just mere are nearly able name for himself as the director of as valuable as educational matter entertainment but virtually a panacea for as they unusually powerful pictures. It was are for entertainment. For a few cents all human ills. When one is in a joyous adapted from a world-famous story. Yet I we can see before our eyes mood one goes joyously to a downtown “How the other came away worn out—exhausted. The side of the world lives.” Every theatre or to a neighborhood house and school tenseness of the dramatic suspense, the should use more educational pictures in the enjoys a good picture. When one is blue, vividness of the emotional scenes and the class room. I think they would in the dumps, one goes to the films to for- make more unhappy ending left me depressed and re- impression on the young mind than hours get and to get away from one’s self. At gretting the evening spent. I am making of study. We use them in the all times pictures take one out of one’s Navy to no quarrel with the unhappy ending in instruct our Engineers in operation self and into a land of romance, and ad- of new this instance. It had to be in order faith- machinery. For preserving historical events venture. One the silver sheet we see often fully to follow the original story. To do they have no equal and to my rather in- ourselves in romantic roles—as we would otherwise would be to have created a pic- experienced mind they should he like to be, perhaps. placed ture that had no excuse for being. But side by side with steam engines, telephones, Taking these things into consideration even without that ending the story left a radio, automobiles and electric lights in I believe that I am speaking for many “bad taste.” everyday usefulness. others when I say that the films that are Undoubtedly such a picture will appeal I very anxious most enjoyable are those that entertain and am to be allowed the to people who seem to derive a certain de- privilege of visiting some large amuse, that take one’s thoughts from one- studio with gree of enjoyment from morbid scenes. soneone who can explain the “inner self and one’s own problems and leave one work- Probably it would be a tremendous success ings.” Some time ago a certain with a pleasant feeling of having, for the moving in Europe. But to me it is the antithesis picture company took a few “shots” time at least, completely lost one’s self in aboard of the type of production that American this vessel. They didn’t the entertainer. cause us one bit audiences desire and really enjoy. of inconvenience; in fact, they caused a lot The intensely dramatic picture, on the people are living essen- of enjoyment. The director said he other hand, not only is depressing but be- The American tially in the present. are keyed to a would show us the finished product some cause of its intensity frequently proves an We pitch all the time and, whether evening. The evening arrived and he said emotional strain that is exceedingly tiring. high we of it or not, under a constant nervous he was bringing a few the actors along. Personally I incline to the belief that the realize American people of today more thoroughly strain,—a feeling that we must keep up When they came on board there were enjoy the lighter themes. Such pictures as with the procession. Yesterday has gone, about twenty persons. The picture was never comes. It is today that shown and a very interesting “Best People” for instance with its delici- tomorrow picture too, for the life of ous satire are thoroughly enjoyable. One counts. “Then, why mourn about featuring a Navy man on sea is is shore. relishes the satire, one enjoys the dramatic what gone or worry about what to and on To us, who know the Navy features, the suspense of the plot and work- come?” may be said to be an expression of Man on shipboard it was very true to life, ing out of the story to the happy ending the national outlook on life. It is in such and great credit is due the director and that we Americans so insistently demand. a spirit that we attend the motion picture company for their excellent acting. The picture full of It so happened that on the same evening theatres, seeking relaxation, amusement was comedy and thrills. Not only did they honor us with their that I saw “Best People” I also saw a and relief from the every day problems of preview of “Dance Madness.” I went life. Give us pictures that entertain with- (Continued on Page 68) 1926 THE MOTION PICTURE DIRECTOR 3

The Battle of company when arriving at a new city or town had to change Bunker Hill the lines and rehearse the show in order to conform to some no- tion of the community censors, BOUT the year what kind of a play would it 1900, the motion be? Certainly it would soon picture appeared cease to be the author’s work and in ten years it began to as originally conceived and take its place with the kindred presented. arts, Literature and the Drama. Actually this censorship ques- Today, literature and the tion does not affect the producer drama enjoy the same freedom of films one-half as much as it of expression that was their THE affects the rights of the public heritage from the War of In- in the kind of picture they want dependence. to see. And the people have at Today, the motion picture is DIRECTORS CHAIR their hands the most potent of the victim of a pernicious and J. Stuart Blackton weapons to combat pernicious growing class legislation. censorship in the power of In the year 1909, the writer public demand, a power that, produced a two-reel historical expressed at the box office, has film portraying the life of George Washington. greater force than all attempts at regulation exerted by individually created censor boards. Then an unbelievable thing happened !

Our Chicago office wired that the Chicago Board of Censors, Let us for a moment consider the film situation in Russia. In headed by one Major Funkhauser, refused to permit the showing a recent article in The Film Daily Ernest W. Fredman explains of our Washington film unless we eliminated the Battle of Bunker that in Russia the government recognizes what a force the cinema Hill and the Siege of Yorktown. plays in the lives of their people. The government controls films by a state department under the name of Sovkino that entirely Further particulars convinced us that it was not a huge joke deals with the film industry. is big as we first suspected. The redoubtable Funkhauser and his mis- The Sovkino a renting organ- guided associates were in deadly earnest. ization which has the monopoly in film renting throughout the whole of Soviet Russia and to whom every foreign country sells When asked for an explanation, he pointed to Clause V in the its product. A stranger to a Moscow or Leningrad cinema gets list of scenes and action subject to elimination under the local the complete shock of his life when he sees an American picture. censorship board’s ruling. There it was, in black and white: If it is a social drama and contains scenes of high life, it is either “Clause V. It shall be a misdemeanor to exhibit in moving pic- cut to shreds or it is twisted about so as to convey propaganda tures on the screen in any public place, scenes showing firearms that the rich are living at the expense of the poor. being used with intent to kill, and such scenes shall be eliminated before a permit can be issued for exhibition.” Native production gets preference and, as almost every one of these films has propaganda of some kind, it can be The Battle of Bunker Hill and the Siege of Yorktown typified easily under- the Soviet subtly its ideas into the beginning and end of the Colony’s struggle for freedom, but stood how weaves the minds of the the Colonial and British troops were “using firearms with intent people. to kill,” and so the stupid censors, in their doltish and destructive The Censor Board is very strict in Russia. They view every- ignorance, applied Clause V to the case in hand without regard thing from the revolutionary point of view. Films in which mon- to the injury it worked upon those who made the picture and archy is portrayed are utterly taboo; kissing frowned upon, and those who wanted to see it. all Biblical films have been banned. difference Funkhauser and Sovkino, As a matter of fact there is no need for censorship as it is Not much between except imposed on the American screen. The sternest censors of motion in the spelling. pictures after all are, first, the public itself, and secondly, the One hundred and fifty years ago, the war for independence was exhibitors—the men who show the films. The big, high-class fought and won. Our forefathers fought and died for the high theatres will not debase themselves by showing the type of pictures principles of Liberty—liberty of thought, liberty of speech, liberty that is essentially censorable. The neighborhood theatres would of action, liberty of government “of the people, for the people, not dare to show them. Such houses cater to a regular clientele by the people.” pictures which would quickly draw away were of a genuinely For nearly one hundred and fifty years this country rejoiced in objectionable nature to be shown. what was recognized throughout the civilized world as the most If a picture is so bad that it is not fit to be exhibited anywhere perfect form of government. Class legislation was not permitted there are very plainly worded laws on the statutes of every com- and trades, professions, societies, religions and the arts and sciences munity providing for just such contingencies. But as a whole the were allowed full freedom of expression. If they transgressed petty censorship imposed by the self-appointed censors of the the laws and statutes based upon the Constitution of the United smaller communities accomplishes nothing and is seriously dam- States, means were provided by law to punish them. It was not aging the picture that is made for and belongs to the American until censorship singled out the motion picture, over fifteen years public. ago, that class legislation began to be permitted and suffered. The very people who are themselves most directly affected by Motion picture censorship was the original Sovkino. Censorship censorship—the theatre patrons of the country—are the ones who is class legislation pure and simple. It prohibits the cinema from have it in their hands effectively to eradicate a censorship that doing what the press can do with complete freedom. It denies arbitrarily imposes its will and its whims on the screen and per- the motion picture the freedom enjoyed by literature and the mits literature and the dramatic stage complete freedom of drama. It very definitely indicates that the police and other expression. proper authorities deemed competent to handle every sort of crime, incapable of exercising control over motion pictures. Suppose, for instance, that every novel that is written were are at the mercy of local censors, that before the people of a Censorship could easily be considered as the greatest laugh of

community could buy it or read it, it had to be reviewed by the century if it were not working such injury to the very prin- the local censor boards. Suppose that every traveling theatrical ciples for which the patriots fought at the Battle of Bunker Hill. 4 THE MOTION PICTURE DIRECTOR February

Melbourne Spurr

Pola Negri in pensive mood. She is finishing her first production for Paramount tinder the direction of Dimitri Buchowetski to be released under the title “Because I Love You.” 19 26 THE MOTION PICTURE DIRECTOR 5

Melbourne Spurr

Alice Terry is again to play the feminine lead in Paris-made productions for Metro-Goldwyn-Mayer and has returned to

Paris where she will rejoin her director-husband , Rex Ingram. 6 THE MOTION PICTURE DIRECTOR February

Melbourne Spurr

Marion Davies in her new production , “ Beverly of Grau-

stark”, is introducing some spectacular thrills that promise genuine entertainment. 19 26 THE MOTION PICTURE DIRECTOR 7

Marie Prevost, following a successful career in featured leads at fVarner Brothers, has now been signed by Metro- politan and elevated to full stardom. 8 THE MOTION PICTURE DIRECTOR February

Hartsook

Lilyan Tashman found January a busy month , appearing in

Metropolitan's production of “ IV hispering Smith ” and being loaned to Fox for an important part in “Siberia.” 19 26 THE MOTION PICTURE DIRECTOR 9

' te-.' i -- ' — •= •;'< •. : V V —

Harold Dean Carsey

Ronald Colman as Renal in the Norma Talmadge production of “Kiki” is giving the screen another of his convincing portrayals, particularly when cast in a French role.

' -

- 10 THE MOTION PICTURE DIRECTOR February

Norma Talmadge is playing " Kiki” as the lovable, fiery little bundle of impudence appears on the stage, a role so utterly at variance with her customary portrayals as to cause one to wonder, “Is this Norma Talmadge, or a totally different person whom we have never met before?” 1 9 26 THE MOTION PICTURE DIRECTOR 11

r 1 "A HE announcement will have achieved a defi- several months ago nite accomplishment as X that Norma Tal- well as having succeeded in madge would make “Kiki” a courageous venture. And as her first contribution to the point proved will be motion picture theatregoers that a star - personality, for 1926, caused a great built through adherence to deal of speculation within a single general type of the motion picture indus- role until it dominates in- try. dividual ambition, but con- While interest was fo- tinue to prevail, so that the cused on the question of star of outstanding reputa- what Miss T a 1 m a d g e tion cannot be allowed to would do with a role so exceed certain limits of different from those she versatility without suffer- usually portrays, as that of- ing temporary retrogres- fered by Belasco’s sensa- sion in the public favor.

tional stage success, a wider Norma Talmadge is significance attaches to the playing “Kiki” as that lov- making of “Kiki” and the able, fiery little bundle of success or failure of an in- impudence appears on the dividual production. stage, and the production No one can doubt the and technical staffs under ability of Miss Talmadge Director Clarence Brown j as an actress. If she were are giving the screen play merely a versatile charac- a background of color, at- ter woman, there would be mosphere and setting that no question of her ability fully takes advantage of to please the public in the the cinema’s greater facili-

role of “Kiki.” But she is ties in this direction. more than a capable actress. Standing, one afternoon, She is a star whose great in the heart of the famous popularity has created two Montmartre section of distinct Norma Talmadges. Paris or to be more accu- | — One of these Talmadges rate, standing beside the

is the actress herself, apart 1 cameras that were filming from her reputation. The a very fine reproduction of other is the formidable Norma Talmadge great a departure from the portrayal of that section as it had been built on the of the public mind, who, as one of the the certain definite type which has made United Studio lot—the impression of the screen’s best-known and best-loved person- her famous, injects considerable suspense screen’s vast resources came to me with alities, belongs not to herself but to her into the present speculation in film circles unusual force. audience. It is this second personage, and regarding the success of her undertaking. It was a bustling street scene, filled with not the first, who may be limited in her The question arising in their minds is, will the polyglot, cosmopolitan crowd that capacity for versatility; not by her ability the public accept Norma Talmadge as com- throngs that section of the Parisian’s play- but by the conception of her that dwells edienne, and in the role of a French gutter- ground. The old buildings of the Mont- in the minds of this great audience. snipe? martre shouldered each other down the

Her case is not unique. Chaplin might The launching of a star of such power- street and vanished around a corner in the excel his own record of artistic achieve- ful reputation into a character vehicle so foreground. The narrow pavements were ment if he were to turn to tragedy—but different from those upon which she had crowded with push carts, omnibuses, bicy- could the Chaplin who lives in the public built her fame is a courageous venture, cles and Renaults of all vintages. On the mind be replaced by another, however ca- and one in which the whole motion picture sidewalks was a colorful mingling of various pable? Mary Pickford is another of sev- industry has something at stake. Her suc- foreign types and individuals. An artist eral of today’s stars who are bound to a cess as “Kiki” may be the means of de- with a framed canvas under his arm hur- general type of role by the shackles of stroying certain musty traditions now ex- ried along close to the wall. A gendarme popularity—and one may ever go beyond isting which have heretofore discouraged flirted with a saucy girl who was burdened the beginning of motion pictures and con- individual producers and artists from de- with various hat boxes. A street gamin, sider the stage for further examples. Sarah parting from “type.” A greater variety of feminine gender, offered papers to the pass- Bernhardt was always the divine Sarah of expression, and as a result, a greater free- ers-by, her stand the vantage point of an the public’s conception, a great actress dom from box office limitations may be omnibus “Stop.” whose genius deprived her of the privilege established. I looked around for the star, and in do- of versatility. Even if “Kiki” should not be received ing so, unconsciously looked for Norma

The fact that the role of “Kiki” is so with favor by her public, Miss Talmadge Talmadge as I had come to know her in 12 THE MOTION PICTURE DIRECTOR February

The old buildings of the Montmartre shouldered each other down the street and vanished around a that throngs that section of

previous productions. Suddenly I real- saucy model for everyone’s rags, instead of as “Baron Rapp” is another antagonist in ized, with a shock, that my eye had passed being merely superimposed upon the per- the play, while the more-than-ordinarily her as casually as I have described, in the sonality of Miss Talmadge. interesting servant role of “Adolphe” rests above scene, the character she represented Ronald Colman, in the part of Victor with the capable George K. Arthur. —that of the little paper seller! Renal, has many opportunities particularly The task of adapting the Belasco stage Truly, Miss Talmadge was playing suited to his ability, and Gertrude Astor, play to fit the requirements, utilize the fa- “Kiki” as we know her from the stage. who plays the role of “Paulette,” is an cilities of and conform to the limitations of The stately Norma of “Graustark,” had admirable foil for the star as well as the the screen was entrusted to Hans Kraly, become the true Parisian street gamin, the villainness of the piece. Marc McDermott whose splendid work in adapting “Her 1 9 26 THE MOTION PICTURE DIRECTOR 13

corner in the foreground . ... a bustling street scene, filled with the polyglot, cosmopolitan crowd the Parisian s playground.

Sister from Paris” has won him a high Those who have been fortunate enough down from the stage version for the same place in the scenario field. to have seen the play in New York or reason, but it has not suffered in dramatic Judging by the detailed synopsis of elsewhere may have heard that the Ameri- interest in the process. “Kiki”, Mr. Kraly has done equally good can stage versions differed somewhat from The screen play will introduce “Kiki” work with the harder problems it involves. the French that may have been made, are as the guttersnipe of the Paris streets, Harder because of the fact that in visual- probably to spare the feelings of the cen- seller of papers in the Montmarte. Dif- izing the action of the star, Kraly was sors. The screen version which must be ficulties with her landlady threatens her obliged to create, in his own mind at least, offered to an audience so widely opinion- with eviction, but instead of paying her a new version of Norma Talmadge. ated, has probably been slightly toned " (Continued on Page 64) 14 THE MOTION PICTURE DIRECTOR February

Estelle Taylor

As she will appear in the role of Lucretia Borgia opposite John Barrymore in the forthcoming Warner Bros, production o f Don Juan". Cos- tume of green velvet trimmed with gold and silver lace, diamonds and pearls, designed by Sophie IVagner. Photo by Harold Dean Carsey. ” ” — ”

7 9 26 THE MOTION PICTURE DIRECTOR 15

Irene Rich as “ Lady Windemere”

Motherhood a7idthe Screen uvOU can’t be a real mother to your hi/ Irene Rich “I plead guilty of feeling the lure, as children and an actress too!” they you call it,” I said, “but it isn’t just the | told me. glamor of the thing. I’ve always wanted “They” were the usual groups of friends sional hostess, social secretary and others to try acting for the screen, because of the and relatives who surround anyone who is in which— one’s social training may be cap- scope of the medium. Now I have an added going into motion pictures, or to move to italized incentive in the matter of its financial ap- another state, or to choose a college or to “And one’s time monopolized!” I re- peal. If I do succeed, I can do more for buy a hat. torted. I’m afraid I wasn’t altogether po- the children than I—could do in any other “It’s a matter of duty to the kiddies,” lite or considerate, but as a matter of fact way, I’m sure. So they continued. “You know what the I was secretly agitated. In spite of careful Every time I hear of any girl or woman screen career is. It isn’t fair to the children consideration of the problem, and arrival breaking the home ties and launching forth, to take them into that atmosphere, or to at a decision that I had no intention of from some distant circle of friends and take their mother away from them.” changing, I had little disquieting fears familiar atmosphere, into the struggle for “On the contrary,” I replied, “I’m go- little jangling nerves that were easily film success in Hollywood, I think of that ing into motion pictures because of the aroused to the “jumpy” state. scene. No doubt it is rather typical, for children.” “I am going into motion pictures as I if children do not figure in the problem, I A gasp ! They all looked at my mother would enter a business venture,” said. inexperience in life or any one of many who, bless her sensible heart, was on my “I’ll have a sinking fund. I’ll be pre- obstacles will be held up before the eyes of side. pared to wait for business. I’ll invest in the aspirant to career, and magnified, I “I don’t know what the screen career ways and means of attracting business, such believe, beyond a just proportion. is,” I continued, “and if you’ll pardon my as advertising and publicity. If I fail I I’ll add my voice to those of the many saying so, dear friends, neither do you. can always try to find some other market who have said that the screen career offers But I have reason to believe that as a for my personality and limited talents.” no broad, easy highway of approach, no

motion picture actress I can raise the “You’re going into it, child, because flower-strewn path of progress, no sinecure children in a better atmosphere, can give you’re caught by the lure of acting, just as when success arrives. But we cannot keep them a better home, a better education and any silly little girl with no responsibilities up with the bandwagon of the times and more of my own care than I could if I might rush to Hollywood and destruction!” still preserve those ideas of the not distant were going to become a stenographer, a The speaker was a friend old enough and past that if possible girls should be kept bookkeeper, a — dear enough to speak her thoughts without from seeking a career other than that of “But, my dear girl! Surely you know reserve—and on this occasion she spared marriage. that there are such occupations as profes- me nothing. Duty to children? As I saw mine, it —

16 THE MOTION PICTURE DIRECTOR February

was to give them the best in the way of contributed to the bringing about of a work, and the children to a certain degree education and surroundings that I could degree of independence and equality with shared my enthusiasm. They were brought procure for them, plus home life in their men, of our women-folk. We, in fact, up with an attitude of interest toward tender years, and their mother’s own care, created the environment that is shaping work, in general, that, I think, will go love and attention. I was not entirely the much-talked-of new generation, and along with them into whatever careers confident of screen success, and I did not we tend to sit back and contemplate our they may elect to follow. know for sure that I could, in pictures, do work with a bit of fear, simply because it Another important point in connection I for what hoped to do my two girls. But has grown beyond us. with their moulding in the environment of I had thought it over carefully, and decided It would seem that we must be edu- a screen actress’ to try. home—they will never cated, that we must take forward steps, invest the idea of a career in I have never been sorry. pictures, on that we must strive to understand our chil- the stage, or in any other line of endeavor, girls are older. The growing Now, hav- dren and their rather problems than striv- with false glamour. To them any sort of ing attained a degree of success in my ing to make them understand our own, art will appear simply a very interesting, work, and a degree of experience and in- unless we are quite, quite sure that we absorbing kind of work. sight into the screen as a career, I can understand the problems which, far beyond bring not only the point of view of the They have studied the screen with me, any control that parents can exercise, con- actress to bear, but also that of the mother and if any phase of their environment has front the new generation. whose girls will some day seek careers of tended to make them precocious, it is that. The fact that country and city have their own, I know the mother’s fears. But the development they were given in been brought closer together by a process Knowing, too, the spirit of independence that way is along the lines of close, accu- of amalagamation of thought brings the in the kiddies, I have decided not to try rate observation and criticism. It was bal- career of a film star and that of a wife to raise them in the way I was raised, but anced by physical development and outdoor and mother nearer to each other. More to prepare them for whatever may come in sport of the healthiest sort, and I believe girls who sincerely feel and respond to the this lively age of ours, not only by giving that the result will be faculties of quick, urge for artistic expression through the them the best cultural advantage possible, accurate judgment; of self-criticism as well shadow-stage medium, are going to attempt but by aiding and abetting their natural as criticism of others, and a well-balanced the film career. More women whose mar- wish for independence. healthy temperament. ital barques have been upset by death or They’re now in Switzerland, adding fin- Living in the picture atmosphere, we unhappiness are going to turn to the screen ishing touches to their preparatory educa- probably saw no greater number of pic- instead of to second marriages or millinery. tion, and learning for the first time what it tures within any given period of time, than As happily married women seek inde- is to do without their mother. I’m now in the average family does. But for my own pendent careers (and that is one of the Hollywood, trying to learn to do without sake as well as that of the children, I was newest and most rapidly growing customs them. And deep down in my heart, 1 careful to analyze, within their hearing, of our times that has come to my atten- have a feeling that my lesson is the harder the pictures we did see. Insofar as I was tion), more and more of these will turn to learn! able, I separated for them the true from to motion pictures as well as to other ar- A thing that has impressed me during the false, the real from the actual, the tistic careers. And I wish to say here that my travels—not that portion of them good from the bad. if such women have children, there is no abroad, but is in our own dear homeland— “Why did so-and-so do such-and-such a reason why they cannot give those children the fact that Hollywood and New York thing, mamma?” was a question frequently proper mother love, care and personal at- no longer stand apart from the rest of the asked. tention while pursuing screen success. If country. The radio, the motion picture, success does come, the children inevitably There might be a perfectly logical rea- the printed word, the transportation facili- son I will be benefited. could explain to them. Or, if it was ties have lit the fires under the melting one of those slips of the artist in mirroring busy, pot. The city dweller and the country The picture actress does keep very life, often to be found in the best of films, dweller are fusing in temperament; the when success comes her way—and yet there I would blame it on the person I thought small townsman and the about-town-folk is plenty of time, ordinarily, to keep in responsible. of the great cities are thinking alike. These touch with children as a mother should. “That, Jane dear,” I’d say, “is the con- things, of course, apply with greatest force If her own mother, the children’s grand- that tinuity writer’s idea of what she’d do. We to the new generation, and that is why, mother, is there, so much the better; don’t think so, do we? But you see, he with bewildering rapidity, some of the was an advantage I enjoyed. may have been in a very great hurry when older generation are losing perspective. The “atmosphere” of Hollywood as it he wrote the scene, or he may not have As a motion picture actress familiar with concerns the children of professional folk, been able to imagine what the scene would the supposedly sophisticated and ultra- is just as much one of the home as any, look like when it was complete.” modern life of Hollywood, I’m amazed to except, perhaps, for a little note of artistic Then we’d decide what “she” should find that I am nearly as far behind the enthusiasm that enters it everywhere. The have done under those circumstances, in- generation to which my children belong as note of artistic enthusiasm I mention is stead of doing what she did. We may have some dear friends of mine are in their healthy rather than otherwise. Bringing been right or we may have been wrong. home in a country town in the east. Emo- my theory home again, for the sake of il- But whichever it was, I was in position tionally, I’m sometimes at war with the lustration : I do not believe that my pro- to give things the sort of interpretation, in new conditions; intellectually, I’m not, for fession, my study of the screen art, or general, that I wished, in accordance with I perceive that these times are wonderful friends from the studios introduced into my ideas of what was good for my little ones, that our young folk are wonderful my home socially, in any way adversely ladies. young folk, and that if there is a bit of affected the welfare of my children. At I have tried, also, to give them an im- chaos, it is because of the lack of adjust- the same time, we were kept alive men- pression similar to my own of the motion ment. The children go too far in seeking tally by that enthusiasm I have men- picture in its general aspects. They have independence; the parents put too much tioned, brought into our home by those a respect for the institution that is similar pressure on the reins. contacts. to my respect I think they are proud of ; It is because we who have children, There was none of that, “Oh, dear their mother for what she has been able to though our own childhood isn’t so terribly another dead, weary old day past—nothing accomplish, proud of her association with far distant, are far behind the generation to do until tomorrow!” attitude. I was the motion picture industry, and proud of into which our children are growing. We vitally and constantly interested in my the industry itself. (Continued on Page 64) 1926 THE MOTION PICTURE DIRECTOR 17

The Irene Rich of Lady Windemere s Fan ” and the home-loving Irene Rich are two very different personalities. Dramatic art of high order created the former—and a delightfully natural mood of the latter is expressed by the camera study above. 18 THE MOTION PICTURE DIRECTOR Februa,- wuury

fy FRED APPLEGATE

IDOR may have done the most “Maryland, My Maryland” and although touching, Webb the most powerful, the entire story hinges as much on the song VVon Stroheim the most artistic, and as did Ernst Lubitsch’s “Lady Winder- Niblo the most spectacular moving pictures mere’s Fan” on the fan, it does it in an entirely novel and unexpected manner. of the season, but J. Stuart Blackton has done the most unusual. Pictures pivoting upon or inspired by To the habitual picture-goer sated with famous songs have of late enjoyed an aston- “Northwoods stuff,” “flapper stuff,” “epic ishing popularity and success. Two of stuff,” “costume stuff,” and other “stuff,” the most noteworthy of recent release his production of “Bride of the Storm” for counted among the top-notchers of the last Warner Brothers will come like a cool sea season are “Little Annie Rooney” directed breeze on a suffocating midsummer night. by William Beaudine, and “Kiss Mg It is as strange and intriguing as a lost city. Again” directed by Ernst Lubitsch. “The Bride of the Storm” was cleverly Blackton Commodore explains this prom- Tyrone Power adapted to the screen by Marian Constance inence of music as the theme and inspira- as Jacob Kroom from “Maryland, My Maryland,” a short tion of picture successes by the important by story James Francis Dwyer, which at part which music has played and the in- music. It could not represent life without the time of its publication in Collier’s creasingly important part it is now playing representing the profound effect of music attracted weekly considerable attention and in the affairs of the human race. An art on it. comment because of the originality of its which has the human emotions as its me- As usual Blackton has assembled a well- setting and the freshness of its theme. It dium could hardly ignore the most elemen- balanced cast of extraordinary strength. is said to have been inspired by the song tal, universal, and emotional of all the arts, Many years ago he began and sponsored PICTURE DIRECTOR 19 1 9 26 THE MOTION the film career of the greatest star of his Pag lighthouse in the Dutch West Indies, heaven-sent bride brought by the storm for day, Maurice Costello. In “Bride of the becomes the slavey of the three keepers. his grandson, whom he knows no woman Storm” he had the pleasure and satisfaction In a short glimpse of her father’s mansion would willingly have and this thought of of helping launch the promising career of in Baltimore at the beginning of the pic- marriage with Hans is a constant horror to that favorite’s remarkable daughter, Do- ture, and in the shipwreck and rescue by her. lores Costello. Her rare type of wistful, the keepers, Julia Swayne Gordon is seen Then one day from the balcony of the spiritual beauty was ideally suited to the as Faith’s mother. lighthouse she sees a destroyer anchored a characterization of Faith Fitzhugh, the Tyrone Power as Jacob Kroom, the short way off and the sight of the American little Maryland girl, who shipwrecked off hook-handed grandfather in charge of the flag at its peak stirs old memories. Some- light, Sheldon Lewis as Piet, his crooked- thing wells up in her throat and she sings backed monster of a son, and Otto Mat- —“Maryland,” the words meaningless to tieson as Hans, his idiot grandson, form a her and garbled with Dutch which has particular sinister and repellant trio. replaced what little she knew of her native Aware of Faith’s identity and comprehend- tongue. Dick Wayne, a young lieutenant ing that she comes from people of means played by John Harron catches a snatch of

they keep her so that they may marry her the song as he is coming up on the other to Hans and come into possession of her side of the lighthouse and this and the property. hostile reticense of the Krooms, who deny Faith arrives at womanhood ignorant of the presence of a woman piques his curios- all but the bleak cramped world of the ity so that he returns another time to find lonely light house isolated on tiny, rocky Faith alone on the beach. Pag island, the memories of her earlier, As he maneuvered for a landing in a

happy life almost blotted out by the drud- small rowboat, a breaker neatly capsized it gery, hardship, and loneliness of her exist- and drenched him. Scrambling ashore to ence under the brutality and ignorance of where Faith has been watching the accident her masters. Old Jacob regards her as a (Continued on Page 65)

Dolores Costello and Johnny Harron, the lovers, about whom the maelstrom of a gripping, dramatic plot whirls, with malevolent intensity ;

20 THE MOTION PICTURE DIRECTOR /' ebruary DRAFTING OF EUROPE AMERICAN

VICTOR SEASTROM BENJAMIN CHRISTIANSON

SVEND GADE

HE vast, world-conquering popularity of American T screen production has resulted in the drafting of the best directorial brains of Europe into the work of film production in Hollywood. Of the group pictured above, the majority have come from Europe after outstanding achievement in the film industry there had attracted the attention of American producers. Eric

Von Stroheim is the only real exception to this rule among those listed here; while he studied the stage and was an actor in Europe, he worked in pictures in Hollywood as an extra, a character player and a star before becoming a director. Inevitably, one tends to put the foreign directors into one group classification, and American directors into another, and to say that the work of the former differs from that of the latter. Actually, the director whose natural dramatic methods

most resemble those of Ernst Lubitsch, for instance, is not one of the other foreigners, but an American. The same might be said of Svend Gade, as we know him by his work to date while Benjamin Christianson groups with the foreigners only by race. The closest bond that exists between any of the foreign di- Freulich rectors occurs in the case of Victor Seastrom and Mauritz ERIC VON STROHEIM Stiller. The latter was a pioneer European director, and Seastrom was an actor in Stiller’s pictures. Seastrom, how- 1 926 THE MOTION PICTURE DIRECTOR 21

ERNST LUBITSCH

Freulich MAURITZ STILLER

ever, first attracted the attention of the American producers, while Stiller is one of the most recent importations. In the case of Dimitri Buchowetzki, the Russian’s work is as distinct from that of his foreign colleagues as it is from that of the indigenous directors. Buchowetzki directed “Sapho,” "Danton,” “Othello” and other notable pictures abroad, and his most recent American films are “Graustark” and “The Midnight Sun.” Christian- son produced “Blind Justice,” “The Witch” and other films for Ufa, and has just done “Devilkin” here. Stiller is such a recent arrival that his first production in Hollywood is only now under way, but great things are expected of him since his foreign production, “The Atonement of Goesta Berling.” Seastrom attracted attention here principally through his European production, “Give Us This Day.” His most notable productions here are “The Tower of Lies” and “He Who Gets Slapped.” Ernst Lubitsch made that remarkable Ger- man film, “Passion,” and in America has made “The Marriage Circle” and many other notable contributions. Svend Gade scored a particular success with “Hamlet” abroad, and has to his credit in America, “Peacock Feathers” and “Watch Your Wife.” Von Stroheim’s great success with “Foolish Wives” definitely placed him upon the cinema map, preparing the way Richee for such accomplishments as “Greed” and “The Merry DIMITRI BUCHOWETZKI Widow.” ?? THE MOTION PICTURE DIRECTOR February

‘y'/ie an on Cover

ma, drama that however does not lose its emotional power, that sets Brown apart as distinctive in the field of directors. For six years after his entry into motion pictures in June, 1915, Brown was assistant with Maurice Tourneur. From the start he exhibited his capacity to forge ahead in the young industry. He readily grasped the somewhat intricate engineering of photoplay production. Brown, however, thought in terms of human thought, rather than from the standpoint of what consti- tuted “good drama” from the viewpoint of director and cameramen. He later evidenced this in violating many of the moth- eaten bugaboos about camera angles, sequence of events, in brief, the construction of a motion picture to him was good as

long as it abided by the natural trend of progression, and not by the box-office idea of scene assembly. larence brown, the man, is build, about five feet ten inches in height The most noteworthy of his productions an infinitely more interesting sub- . . . black hair fringed with gray . . . are “The Great Redeemer”, “The Acquit- C ject for editorial comment than a penetrating gaze; the gaze of a keen tal”, “The Signal Tower”, “Butterfly”, Clarence Brown, the director. Naturally, analyst and a sound intellectualist . . . “Smouldering Fires”, “The Goose it is the man who actuates and motivates a quizzical smile, at times fading into a Woman” and “The Eagle”, in the order the director. But to know the man aside vague reverie . . . subduing outward of their making. It was the initiation of from the director is to plumb the depths of emotions . . . not inclined much to speech a new order of consistently fine photoplays his sincerity. Let it suffice to say that except at times when enthusiasm moves that established him. Probably “The Sig- the Brown of this dawning epoch of hey- him to ardent discussion . . . never in- nal Tower”, more than any other, served days is the same man of yesteryear’s tur- dulging in idle gossip . . . and of a tem- to bring his to the public foreground. bulent era. Today he would not say any- perate nature that is one of the rarities of name thing, nor do anything, that he would not Hollywood (he neither drinks nor smokes) Each succeeding Brown picture has been consistently better, regardless of theme or have done yesterday. He is entirely free . ... he exudes a firm resolve and radi- from the sudden snobbishness and false ates a dominating personality. size. It is generally conceded that “Kiki”, flourishes that have hurtled many other Clarence Brown was born at Clinton, the Norma Talmadge vehicle which Brown promising and delightful people of leaner Mass., on May 10, 1890. At the age of is now producing, will be the greatest tri- days into a personification of the inane. fifteen he graduated from high school umph of both Brown and Talmadeg. When Clarence Brown says something there. Four years later he was graduated At the present time he is under contract to Schenck to make pictures for to you, you know that he means it. He from the University of Tennessee with Joseph M. United Artists Corporation. Brown was doesn’t “beat around the bush.” He doesn’t two degrees . . . those of Bachelor of “talk to the gallery.” If he has any serious Science in Mechanical Engineering and maneuvered from Lfiiiversal by Schenck shortcomings as either man or director they Bachelor of Science in Electrical Engineer- immediately after the completion of “The which proved to be one have not made themselves apparent. He is ing. For about six years he directed his Goose Woman”, the kind of a man that you can pin your knowledge and abilities in the realm of au- of the biggest hits of 1925 and brought faith on. He would never violate a trust. tomotive engineering in a worthy capacity Louise Dresser to stellar fame on the Those kind of men make good directors. with the Stevens-Duryea Motor Co. Un- screen. is inter- Brown is one of the best in the business. wittingly he was fitting himself for his fu- One thing about Brown that of also to the The physical make-up of Brown is in- ture work as a film director. For it is est to the layman—and man dicative of a thinker and a doer. Of sturdy the sense of mechanical motivation of dra- (Continued on Page 62) — ”

19 26 THE MOTION PICTURE DIRECTOR 23

ltalizm

y?n OJTJcreen Ursonah'iy Storu

HERE comes a time in the career of every man when he pauses to T take stock of himself, and deliberately seeks his proper niche in the scheme of life. And so it happened that a young man stopped to take account of his assets before embarking upon his career. Behind him lay college, athletic achievement, travel and a good deal of money variously spent. Before him lay the world and the problem of how to attack it most advantageously. Assets: Health and optimism. Cultural polish imparted by Stanford, Yale, Oxford and Heidelburg Universities, and student life abroad. Discipline from experience in the navy during the World War. Friends and connections in the show business. Cap- ital, none to speak of except in the form of those other assets. JOHN W. CONSIDINE, JR. The young man was John W. Consi- dine, Jr., son of the John Considine known to fame in the theatrical profession as part ner in the enterprises of Sullivan and Con- sidine. Like many young men, he had not thought seriously of the profession he by any other means.— First he makes him- for a position. He was in New York, and would eventually enter until this particu- self indispensable the date was November, 1921. lar time. His college studies, beginning And so on. As Considine had said, he “Meet me in Los Angeles,” said the with medicine, had been broad and general had made a study of the secretary business, producer, “and I’ll give you a chance.” in their later developments, and they gave not with any thought of becoming a secre- At the appointed time and place, Con- him no particular index to the choice of a tary at that time, but simply because he sidine reported for duty—any sort of duty career. admired high proficiency in any capacity, there was to offer. There came back to Considine’s memory and considered his father’s secretary ex- “You’ll be the assistant of Sidney Frank- a conversation he had had with a room- traordinarily proficient. lin’s assistant director,” Schenck told him. mate at Yale. He had said, in effect: “What’s the future of such a position?” “Now, before I turn you over to him, “Buddy, if ever I need to go to work he had asked himself, and instantly found here’s one vitally important piece of ad- I’m going to pick out some big man I like, the answer in the fact that aside from his vice. Forget that you’re anyone but an engaged in a line of work I’m interested father, no one knew so much about his energetic young man trying to get along. in, and get a job with him with the inten- father’s business as that secretary did. Fu- Forget that you’re the product of several tion of ultimately becoming his secretary.” ture? All that individual ability and the colleges. You’re in ?" a business now where his secretary “Ultimately becoming possibilities of the particular line of busi- your personal ability will carry you as far the room-mate had said with justifiable ness in question could offer. as you make it, and nothing else will help surprise. It was precisely at this point in his intro- you in fact, is ; anything else liable to han- “Yes. That’s one of the best short cuts spection that Joseph M. Schenck entered dicap you. Go ahead and make good !” to mastery of big business. It happens that his career as a vital factor. Through his Considine found that his new position I know, because I’ve made an intimate father’s association with the Loew enter- was, in fact, that of third assistant direc- study of father’s secretary, my who was a prises and consequently with Mr. Schenck, tor. The picture was “The Primitive master of the secretary’s art. By studying he knew that dominant leader, and ad- Lover,” starring Constance Talmadge. him, too, I’ve learned part of his tricks mired him immensely. The business in Following the advice of Mr. Schenck and in my opinion, the secretary to a big, which Mr. Schenck’s interests were cen- faithfully, and pouring all his energy into active figure in any line of business is in tering, motion pictures, also intrigued the the new task, he succeeded in pleasing Mr. position to get into the executive end of interest of young Considine. Franklin with his work. Winning the that business quicker than he could arrive He promptly approached Mr. Schenck (Continued on Page 67) 24 THE MOTION PICTURE DIRECTOR February

Montagu Love, Dor- othy Devore and John Patrick in the Warner Bros. Classic, Leave It to Me, directed by William Beaudine.

(BillBeaudine says

VER at Warner Bros, a neat little oned, or shot, or stabbed, or what is “job” in the matter of a crook worse—converted. O movie has been “pulled off” by Ninety-five percent of the picture was William Beaudine. Phil Klein and E. T. taken on location in woodsy places or little goodness crooks, consistently crooked and things Lowe hatched the plot by adapting Darryl towns. It is a picture of the great outdoors proud of it, who serve to liven up master-brain Francis Zanuck’s story, whereupon “Beau” “where men are men,” yet it is a crook considerably. The big who assembled such notorious characters as picture. As a rule the heroine and hero is responsible from the first for so much John Mescall, Gene Anderson, George are promising young crooks doing a flour- humorous activity, Dr. R. Rappaport Run- Bert is splendidly Webster, “Briny” Foy, and Shipman ishing trade in crime—not really bad crime yon, alias Ducket Nelson, abet in filming, with Dor- Love. Frank to aid and him —quite chivalrous and respectable in fact. charactrized by Montagu othy Devore, John Patrick, Montagu When they meet, their consciences smite Brownlee makes an admirable convict, Love, George Pearce, Lynn Cowan, Rus- them both simultaneously and they begin better than would ninety-eight per cent of hospitality of our sell Simpson, James Gordon, Frank to long to set each other on the straight those now enjoying the Brownlee, Fred Kelsey, Charles Hill and narrow way. penal institutions. Mailes, and others, Warner Bros, produc- “Leave It To Me” is a light, swiftly In “Leave It To Me” the procedure is tion of “Leave It To Me.” moving comedy-drama wonderfully well reversed. The young gentleman (of the conventional “crook picture” deals suited to the talents not only of Miss De- The press, by the way), and the young lady with gobs and gobs of underworld people vore and Mr. Beaudine, a working team start out perfectly respectable. Circum- city, virtuous lady crooks of long standing, but to those of John in the big who stance intervenes and brings them together reform, big-hearted gent crooks who do the Patrick. For Patrick it is the chance for —to impress each other with their wicked- same, faithful “dopes” get “clunked” which every picture actor and actress hopes who ness and their bold, bad exploits. in the last reel to everybody’s sorrow after and prays. His star as a comedian has Up to the very denouement of one of saving something or somebody, etc. been hanging brightly well above the hori- the most delightfully interesting tangles There isn’t a big city, a “dope,” a crook, zon, giving great promise, but from “Leave seen upon the screen in years, they have male or female, who reforms, a mean, nasty It To Me” on just leave it to John. His detective, a pair of handcuffs, a den, a each other convinced of their sinfulness. star is scheduled by this particular astrono- poolroom, a “fence,” or a secret passageway These of course are John and Dorothy. mer to rise higher and shine brighter at an in “Leave It To Me.” Nobody gets pois- But there are a couple of honest-to- increasingly steady rate. 1 9 26 THE MOTION PICTURE DIRECTOR 25

^ Motor Car Trend.£r 1926

6y CHARLES H.BIRD

NOTHER great national preview opment and improvement of personal trans- and value of his chosen vehicle is not going has come to a close, and has been portation. to be almost totally wrecked by the sud- A1- followed closely by many local And just at this time of year investi- den advent of an entirely new model, premiers and debuts. gations into probable trends are seriously sprung on an unsuspecting public within This screen parlance refers to automo- hampered by the amusing “veil of secrecy” six months of his original purchase. biles, probably no in which over-anxious motor car men at- Standardization in basic principles of de- and with good reason : other industry, trade or profession uses temp to swathe their business. sign and construction has come to stay for more high-class passenger automobiles than But information as vital as the news of two excellent reasons. First, owner con- the motion picture industry and its workers. automotive doings, has a way of circulating, fidence, that most vital asset, must be main-

Cars are a vital necessity to stars, di- and so it may be authoritatively stated tained, and second, “Old Man Overhead”, rectors and members of technical and pro- that the outstanding trend of passenger the ever present enemy of the manufact- ducing staffs. For the army of extras and transportation for 1926 presents a very defi- urer must be kept down, and radical other itinerant workers in films the auto- nite advance toward a paradoxical combi- changes of design send manufacturing costs skyrocketing, to the ultimate ruin of those mobile is no less necessary as a means of nation,—that of speed and safety. who persist in attempting to snatch success speedy transportation from studio to studio, Cars of 1926 are built to travel faster, to through sensationalism, rather than achiev- and aside from the use of commercial cars afford even greater comfort to passengers, ing it by means of the slower, surer process and trucks, an unusual number of good and at the same time, to be controlled with of dependable automobiles are to be found in studio trans- greater ease. of sound merchandising products. portation departments. These cars are used Another encouraging trend is the rap- Significant proof of the actual time and in pictures and for emergency transporta- idly spreading custom among leading motor this present era of tion of all sorts. Truly, the motor car car builders of abandoning yearly models. space blanking spirit of rapid transit, is seen in the fact that, simul- has an important place in film production. That, more than anything else, has estab- taneously with the opening of the Every January, in the Grand Central lished owner confidence. Today, the auto- New cars, identical with Palace, New York City, leading motor car mobile owner, who selects a new car from York Show, new model those displayed “for the first time” in the manufacturers collaborate in a comprehen- the line of any of the fifty dependable man- Central Palace, began to appear on sive exposition of the latest developments in ufacturers can rest assured that the style Grand the Pacific Coast, notably, in the fine salons of the Hollywood and Los Angeles motor car distributors and dealers. And with them came several surprise an- nouncements of great eastern mergers, all tending toward the inevitable plan o f further standardization. The Stutz vertical eight, one of the most

striking developments of the new year, is introduced here under the sponsorship of Lynn C. Buxton, who for years has stuck to the Stearns-Knight line. But Willys- Overland Inc. of Toledo announced the purchase of the Stearns factory. This brings the manufacture of all cars with the sleeve-valve engine under one head, although the various plants are to be operated as separate units.

The new Stutz is replete with unique

automotive design. That is the national automobile preview. Naturally, a good two-thirds of the population of United States are on the qui vive to know what the outcome will be, what new departures will be introduced in various makes of cars, for they all have cars at home, the style and value of which are going to be more or less affected. The great question of the day on the street, among motor car owners, is “What’s the Trend”?

That word trend is a term somewhat difficult to interpret in the face of the kalei- General Motors’ new low priced creation is the Pontiac Six, featuring this Coupe and a Coach doscopic progress being in the devel- made distributed as companion cars to the Oakland line. 26 THE MOTION PICTURE DIRECTOR February

Introducing aAuto

The fastest selling model of the Buick line, with latest refinements, is this new Four-Door Sedan.

A new Big Six, the “Imperial 80,” is presented by Chrysler, with a 92 H.P. motor and speed ability up to 80 miles per hour.

The handy “One-Shot Lubrication” has been added as one of many improvements in this new Twentieth Century Six-Cylinder Sedan by Chandler.

With rich appointments and an improved design of their famous speedway motor, Locomobile offers this new Coupe and a Brougham in the Junior Eight.

High-class conveyance at mass price is the aim of Oldsmobile in offering this new Utility Coupe and a Coach of similar line and appointment.

Capt. E. V. Rick- enbacker declares his new line of straight eights are the fastest cars in America, the Coupe Sedan with two carburetors and a 100 H.P. motor is shown here.

The smallest sleeve-valve engine ever built in America, powers the new Willys-Knight Six Seventy, built to sell under $1800. 19 26 THE MOTION PICTURE DIRECTOR 27

Debs” of 1926

This is a special Sport Phaeton customed by Don Lee on the new “Ninety Degree Cadillac Eight Chassis,” with tonneau cowl and European deflectors.

This Diana Line Eight Cabriolet Roadster produced by Moon specialists, is credited with intriguing lines, tiger getaway, and superb comfort.

Spirit of Youth is typified in the “Gray Goose Traveler” Sport Phaeton of new Wills St. Claire group, which includes a new V-type Eight.

Nash has designed a new engine used exclusively in his closed models. This Advanced Six 4-Door Sedan has the new “Closed Car Motor.”

A Sedan of novel design, built to offset wind resis- tance, after the German idea, is introduced by Velie in this six. “better vision” closed car.

Don Douglas, airplane builder, knows motors. Here he is with his Franklin “Camel” Sport Roadster, the famous air-cooled six series. 28 THE MOTION PICTURE DIRECTOR February mechanical features, combined in a long, the Pontiac, fea- low, swift looking car. The maximum tured in a coupe outside height of the entire line of six body and a coach to types is 70 inches, making it possible for a sell around a person of average height to look clear over thousand dollars, the car when standing on the curbing. distributed as a One standard price, under $3500, has companion car to been set for all six Stutz models, a sales the Oakland line. innovation which will no doubt be followed It is reported to eventually by many builders. The engine be the ‘‘last is eight-in-line with nine main bearings word” in moder- and an overhead valve control assembly, ate priced trans- automatically oiled. Automatic oiling is portation, carry- also carried out in the chassis. The fam- ing all the newest ous Stutz under-slung chassis is retained mechanical and with refinements and improvements. The comfort features, seat level is only 30 inches from the pave- such as automatic ment, and although the car is rated 131 lubrication, spe- - Majel Coleman had the first ride in this new Jordan Line Eight Playboy which inches long, it can be turned in a 24 foot cial easy ride has an engine designed after the turbine principle. radius. Latest type hydraulic four wheel spring design, fluence for it is usually the second car in brakes, balloon tires special cam and lever feather-finger control, and marked opera- ; steering gear for balloon tires, with co- tion economy by reason of a friction-free the family, reserved for exceptionally fine ordinated spring design, are said to make motor of powerful, but small piston days. Body finishes continue to lean to- these new cars remarkably ward the new lacquer coat- comfortable and so easily ing, although baked enamel and positively controlled that and multi-coated paint and they are practically skid- varnish coverings are still proof, even at high speed, on favored by some. wet surfaces. Chassis life has been In fact many features of lengthened by improvement the new Stutz line and the in fit and quality of parts. methods outlined for their The old song about cars be- distribution and sale are ing built better in former prophetic, marking a trend years is now passe. Today’s close to policies adopted all cars are actually better than along the line by the fore- they were even two years most motor car makers. ago. Increased life has been Two sport roadsters and gained by improvements in four closed body types make design. Pressure lubrication up the line. is now almost universal. Most of the new cars for That increases bearing life, 1926 are closed models, and all wearing surfaces are with smart roadsters, equip- larger, and hence slower to ped with rumble seats, rep- deteriorate. resenting the open types. Two new features, the And even the roadsters and air-cleaner and the oil puri- speedsters are receiving brisk fier, or rectifier, adopted by competition by the advent of many leading builders have many sport coupes. materially increased engine Kissel General Motors an- Readily convertible from sleek sport roadster to snug coupe, this new life. The former takes the model is offered in both six and eight. It is called the “All-Year Car.” nounces an entirely new six, dirt out of the air which is drawn into the motor construction. The through the carburetor, and the latter takes closed cars un- the grit out of the oil in the crankcase; also doubtedly hold keeping it free from water and gasoline drippings, thus increasing bearing service. the center of the picture. Some Another interesting device which is makers have quit gaining wide acceptance and is installed on building open many of the new models this year, is the prominent last models, while gasoline filter. It became year when Studebaker adopted it as stand- others offer them ard equipment without any special pub- only in de luxe designs. Times licity. have certainly Shock absorbers are prominent as stock changed. Yester- equipment this year, adding to riding com- day, the rich man fort, and nearly all models have balloon was known by tires and four-wheel brakes, with special his closed car. steering improvements which have in- Today, the open creased motoring safety through quick and sport type vehicle easy car control, a most vital advantage in A flash of foreign fashion is incorporated in the design of the new Marmon, and Mitchell Lewis found this Speedster irresistible. is the mark of af- (Continued on Page 59) 19 26 THE MOTION PICTURE DIRECTOR 29

Just an extra who inherits a million, then starts out to spend it.

imons

F Dickens were alive today with all complex, more fascinating in its possibili- made in motion pictures that any reissue

his literary urge and power of old, ties than those of my time. It is not fair of the original film would be impractical. I would he write of the old times or of to let my work, with its comparatively dull The change in public taste, the amaz- the new? atmosphere, stand judgment upon its hu- ing metamorphosis in the lives and sur-

He wrote of the things modern in his manness alone. I would give it the ad- roundings of the screen patrons themselves,

day. Modern life, contemporary problems vantage of a modern background, a tempo is a development that relegates any prev- held his interest. His claim to imortality and color contemporaneous with its modern ious version of the story still farther into lies in his revelation of human frailty and readers.” the background of the past. Stories of strength of humanness in general, unchang- A somewhat similar problem confronted the year 1900 fall into a peculiar class that ing within the short span of history. One the Paramount organization in filming has neither the romantic color of tales of is constrained to believe that if the question “Brewster’s Millions.” The George Barr the more distant past, nor the present-day were put to him, he would reply, McCutcheon story appeared some twenty- interest of our own modern times. “Of course I would write of the Jazz five years ago in the form of a novel and A picturization of the exact story against Age! Character is unchanging, but the a stage play. Five years ago it was a modern background could not satisfy the conditions surrounding it and modifying brought to the screen as a Paramount pro- modern taste, yet the basic dramatic ele- its manifestations, change with the passing duction featuring Roscoe Arbuckle. ments of the story were too good to be years. This day is more advanced, more Such great technical progress has been laid away in the museum of past successes. 30 THE MOTION PICTURE DIRECTOR February

” In the topsy-turvy land of “Miss Brewster s Millions stars become extras and extras become stars. Here are ten extras who impersonate Mary Bickford, Florence Vidor, Corinne Griffith, Norma Shearer, Mae Murray, Norma Talmadge Pola Negri, Gloria Swanson, Betty Bronson and Colleen Moore.

Paramount solved the problem by changing preserve the “punch” of the idea a girl was ent century appear dull and uninteresting the title and placing a feminine star in created to spend the millions! in comparison. the leading role, thus accomplishing several At present, spending a million in a year Instead of making the principal character things at once. Most important of these isn’t such a remarkable feat. Miss Brew- a member of the “four hundred” as was is the fact that the present title preserves ster of 1926, as she is portrayed in the the case in the original story, the feminine the identity of the story and at the same Lasky film by Bebe Daniels, must spend Brewster makes her bow as an extra girl time conveys the thought that plot changes the amount within three months! in Hollywood. This new idea holds a are to be expected. According to the producer this is a special significance. In 1900, New York’s The changes in the superficial elements fairly accurate example of the increased famous social circle represented the ulti- of tbe story are radical; those in the basic, tempo of modern life during the twenty- mate in speed, the peak of ultra-modernism, human side in which lies the real value of six years that have elapsed since the au- the abode of thrills, the atmosphere into the original “Brewster” are very slight. thor’s original conception of the story. which there entered the greatest liberty of the utmost in free- And all the new and unfamiliar material In keeping with that increased tempo thought and expression, is due to the influence the dom from convention. of moderniza- are the other elements of added “pep” and tion of its setting. The life of an extra girl in Hollywood thrill, flash and color comprising up-to- In those times when the original hero conveys to the general screen audience the the-minute ultra-modernism. Lavish was a strictly up-to-the-minute young man, present-day ultimate along these lines. All clothes, the absence of conventions and his attempt at spending a million a year classes of our society meet and mingle in social restrictions characteristic of the most was so unusual and presented such diffi- the democracy of motion picture life. The life will feature culties, that it possessed a great “punch.” colorful phases of modern spirit it represents typifies the complete dis- Since then, times have progressed far be- “Miss Brewster,” and make the original appearance of artificial social barriers and yond the author’s wildest dreams so to spendthrift of the earliest days of our pres- conventions. 19 26 THE MOTION PICTURE DIRECTOR 31

- m mm r nm

Jazzing up "Brewster’s Millions” has been lots of fun for the entire staff. Here Miss Daniels is shown talking over new gags

with Clarence Badger, director; Monty Brice, scenarist; Travis Banton, designer; H. K. Martin, cinematographer ; Kenneth Hawks, editorial supervisor, and Paul Jones, assistant director.

Incidentally, there’s a certain glamor in dignified, overbearing character of his pro- instead of remaining, as it is a present, fo- the life of screen folk that was missing in totype, Ford Sterling as the uncle in “Miss cussed on women and their problems, per- that of the “Four Hundred.” “Miss Brewster’s Millions” becomes a humorous, haps some enterprising producer will bring forth “Brewster’s Millions” for the third Brewster,” herself a famous star portraying human sort, possessed of all of our pres- time, and allow a man to spend the mil- the role of extra girl is seen meeting many ent-day weaknesses. lions. other famous stars of filmdom in her To have attempted making “Brewster’s Meanwhile Bebe Daniels as the come- rounds of the studios. That in itself is Millions” with a feminine star five years dienne who must spend the million in three sufficient to interest millions of picture ago might have been folly, for it is a ques- months, should keep her audience hysterical patrons. tion as to whether or not the public would from the time she makes her entrance on Another important character of the story, have accepted the substitution. Since then, a miniature horse following a wagon-load that of the uncle, has also been remodeled however, the screen patrons themselves of hay, all the way through to the high- in order to take him out of the class of have so accelerated the tempo of modern speed finish of the film. The radical de- the ancient villain and thus endow him life that they have involuntarily created parture of the producers in making the star with a greater humanness. A fuller, “Miss Brewster’s Millions” and success- of the play feminine is more than justified truer and less dignified revelation of one’s fully influenced the Paramount organiza- by the promise of her performance for this human qualities is permissable today, tion to screen her ‘a la mode, proving con- role, and the lavish staging that is being whereas twenty-six years ago it simply clusively that forcing the producer to recog- given the production by Director Clarence wasn’t being done. There has since been nize intelligent public taste stimulates com- Badger. Miss Daniels has, in her role of added the final touch of destruction to the petition and creates better pictures. “Miss Brewster,” the sort of opportunities idea of “poise,” for which has been sub- If in some future development of the in which she appears to the greatest ad- stituted spontaneity. Instead of the stern, public taste, interest should shift to men vantage. 32 THE MOTION PICTURE DIRECTOR February

Below—Alice O'Neill in her workshop at Universal City supervising the execution of her designs for the Ballet of Jewels. Right — the Gold Girl as evolved from the original sketch shown immediately below. Right center—Pearl with inset of the original conception.

THE JEWEL BALLET from

//LICE O’NEILL, who designed the costumes for v y “The Midnight Sun,” Dimitri Buchowetski’s spectacular picture-story of life in pre-war Russia for Uni- versal has given to the film world one of its most colorful and brilliant spectacles in the Ballet of Jewels sequence of that production scheduled for fall release on the L^niversal Super- Jewel program. While hut a spectacular incident in the dramatic action of the story itself, its sheer beauty and color make it one of the most interesting and attractive highlights of the picture as a whole. The story, which centers around the character of a PICTURE DIRECTOR 33 7 9 26 THE MOTION

Below—Black Diamond, the contrasting note in a kaleide- scope of color. This is the evolution of the sketch Miss O’Neill is holding on the opposite page. Left Center— Diamond, with accompanying sketch. Right — The Ring Girl. Center — the ensemble of the Ballet of Jewels in the Grotto of Gems.

“THE MIDNIGHT SUN”

little ballerino in the Russian opera (played by Laura La Plante) reaches one of its dramatic peaks in the ballerino’s first appearance in a premiere role. It was to give this feature of the story a proper setting that the Ballet of Jewels was planned. Several suggestions were offered for the particular treatment, but were discarded in favor of the more brilliant spectacle as finally conceived. In planning the ballet full cognizance had to be taken of the limitations of the screen which, strangely enough, in this particular instance, are greater than those of the stage, and several suggestions had to be abandoned for that reason. (Continued on Page 66) 34 THE MOTION PICTURE DIRECTOR February HOLLYWOOD BUILDS

MID much popping of fire crackers and oriental ceremonies fitting such

A' an occasion ground broken was January 3 for the building of the Sid Grauman’s new Chinese Theatre at Holly- wood boulevard and Orchid street, a vis-

ualization of which is conveyed by the accompanying pen and ink sketch from the architect’s drawings. Below, reading from left to right, and appearing as some of the principals in the event, are shown Sid Grau- man, Norma Talmadge, Lige Conley and Anna May Wong, with Miss Talmadge holding the gold

( Continued on Page 63) v

19 26 THE MOTION PICTURE DIRECTOR 35 NEW TEMPLES OF ART

T THE hour of high noon on the second of January Harry M. War- A president of Warner Bros. Pic- ner, '• tures, Inc., presented the gold spade, with f f which ground was broken for the new six- : f < story Warner Bros. Hollywood Theatre, at Hollywood boulevard and Wilcox ave- A i a nue, to Motley Flint, executive vice-president of the Pacific-Southwest Trust and Savings Bank, and the first dirt VM was turned with suitable ceremonies. Charley Wellman was on hand, and his “Don’t go ’way, folks!” announced to K F W B radio fans that they, too, were to par- ticipate in the ex- ercises. Below are shown the principals who (Continued on Page 63) 36 THE MOTION PICTURE DIRECTOR February

BY FRANK

LD Grand Teton, mighty, snow- but soon waxed yet, at clad monarch, reared his vener- mighty; and the able, white-crowned head over the what appeared of its power, O lesser but still peaks height towering another tribe came of the Teton range—reared his head, conquered it. blinked his eyes, and stared down into the in and were Jackson Hole country in astonishment. Weak and few He has seen the ages go by; had watched they, at first, but the passing of whole geological epochs im- they, like the dark- measurable in puny years. From the time er-skinned tribe of his chaotic, raw-edged and undisciplined which had preceded vouth, he had watched broodingly over the them, grew amaz- Wvoming plains. Even before the glaciers ingly in numbers, and beyond all grasp had polished him ; before they and the storms of ages had made soil around his of the great moun- lower slopes and vegetation had sprouted tain’s imagination, there, he had observed animal life out on in power. the plains. Not only fire and Lower down, right at his feet, grew clubs and spears, long, rank grass loved by the mammoth. and arrows that kill When the glaciers and the passing of time at long distance, had left of the animals only the weaker were theirs, but har- and the smaller, notably an insignicant de- nessed thunder and scendant of the great cave bear, the weakest steam and other na- puniest animal of all made his appearance tural forces. Grand —a man, walking on his hind legs, depend- Teton at last saw ent for protection against the cold on the steel rails invading his very range, tunnels the most interesting and thrilling of all hides of other animals incapable of much through his granite shoulders, cuts high the time he had witnessed since. Earth had of a fight with tooth, claw and fist—but on the sides of his canyons. He finally thrust him forth into the air. 1 hose endowed with a marvelous facility for saw a giant man-made insect that buzzed times were the days at Jackson’s Hole and shaping inanimate things to his needs. through the air, bearing men on its back. its surrounding country, when the Indian He proved, to Grand Teton, the most Then, as we have said in the beginning, territories were opened for settlement, and fascinating spectacle in the drama of the he saw the most amazing thing of all. the place became the most noted rendez- ages. The tribe was weak and few at first, He had been dreaming of the liveliest, vous for “band men” in the West. 1926 THE MOTION PICTURE DIRECTOR 37

A. MURRAY

tion so steady that reached its zenith when evil force ; was he had learned to supreme and lawlessness was the law. Then hid good-bye to each came stern justice; retribution, swift and vanishing epoch as a sure; the six-gun became the symbol of thing of memory, law and order. something gone for- There were, besides automobiles and ever and beyond re- other modern equipment, and the things call. of the old times, curious things that be- Was he still longed to the new times, yet made it pos- dreaming — or did sible to link old times with new; to give he see ghosts of the to a vast audience over all the world eyes old road-agents gal- that saw farther than the eyes of Grand lop madly across the Teton himself; age and experience greater

low-lying flat of no- even than his. Motion picture cameras. . . torious Jackson’s John Ford, a young Fox Films director Hole? There were who put on the screen a picture of giant the wagon unending theme, “The Iron Horse,” and rose by its trains pushing for- fame into the first ranks of directors, was ward in the face of responsible for the spectacle that made Old almost impossible Grand Teton think that he had been difficulties. The that, more dreaming of the past again ; towns of tents were important, will open to the eyes of the there, ruled by the world’s great cinema audience one of the worst of bad men, most picturesque and thoroughly repre- by force of gun and sentative periods and locales of the West’s bowie-knife. storied lawlessness. No, here were no The new Ford drama is called “The ghosts, and he was World of Promise,” originally entitled not dreaming. The “Three Bad Men”—a tale of empire Those days had gone by—he had seen lurid history of strife, bloodshed, black building, outlawry, and the struggle cen- the aeroplane and the automobile. But deeds and gallant deeds of old was once tering around Jackson’s Hole, Wyoming, when he had opened his eyes from dream- more transpiring before his eyes, curiously and having its period at that critical time ing of that colorful time, there, before his mingled with manifestations of the modern territories opened amazed, far-reaching vision, was being re- age such as automobiles. when the Indian were for settlement by whites. The theme is enacted the scenes of the past ! It was a The story of Jackson’s Hole unfolded violation of the evolution that he had as he had seen it unfold in real life. There great in scope, and yet the story differs watched through the centuries—an evolu- was the time when the rule of the bad men from that of “The Iron Horse” and other 38 THE MOTION PICTURE DIRECTOR February

quartered is as full of daring exploits and with the problem of keeping their supplies romance as a fiction story. coming into camp. To insure regular de- The campsite at Jack- liveries, one hundred and fifty trucks were son’s Hole, while it is in constantly traveling between the Fox Films northern Wyoming, was camp and Victor, Idaho, a distance of situated nearly one hun- nearly one hundred miles. When climatic dred miles from the path conditions were favorable, these trips were completed in forty-eight hours each. In spite of such difficulties and setbacks, the camp was completely finished when Director Ford and his company arrived. The production unit arrived late in the afternoon and started camera work the following morning with every department functioning as swiftly and smoothly as though the protecting hand of the studio was just around the corner. From Pocatello, Idaho, to the lower end of Hogback Canyon, Wyoming, a distance of three hundred miles, emissaries of Fox Film Corporation traversed, gathering the herds of horses and wagons; covered wag-

ons and surreys ; oxen and wild animals and the vast horde of humans that appear in the production.

Two hundred and fifty horses and fifty wagons were utilized during the construction of the camp. These were added to five hundred saddle horses for the big scenes in the photoplay. Three thousand steers were rounded up for the picture. To feed this large herd of animals, thirty hay wagons, using one hundred and twenty John Ford, horses, were constantly hauling hay from The Director Jackson, Wyoming, thirty miles away. These teams never stopped. Night and of “The Iron Horse.” day the procession moved across the The advance guard Jack- son Hole flats with the loads of hay. was sent from the Los One hundred and fifty laborers and fifty photoplays which have been styled screen Angeles studio three carpenters, augmented by machinists and epics, in its emphasis upon human drama months prior to the loggers, comprised the working crew. rather than the movement of peoples, or time that Director John Ford led his pic- More than half a million feet of lumber upon war, or conquest. ture-makers to the scene of activity. Three- was used in building the camp. With Director Ford and the production fourths of this time was used in clearing The public little realizes what fore- staff were George O’Brien and Olive the campsite of growth to allow for the thought, preparation and organization is Borden, romantic leads; J. Farrell Mac- construction of the tent city. Once this involved in a huge motion picture location donald, peerless “Corporal Casey” of “The clearing was made, five weeks sufficed for movement. The only news to reach the Iron Horse,” Tom Santschi, Frank Cam- the gang of workmen to erect the tents, outside world during an activity of this na- peau, Lou Tellegen, Jay Hunt, Otis Har- build floors and set up stoves. ture is of the fanciful brand: interesting lan, George Harris and a host of others Difficulties in transportation and the in- notes of the players, fictional tales of the appearing in chief supporting roles. ability of the merchants to meet the heavy surroundings and catchy paragraphs per- In the very heart of the celebrated demand for material handicapped the containing to the new experiences of the stars. “Hole,” John Ford and his company lived struction of the canvas town. Lumber, In the production of “The World of in the open, undergoing the test of the used in such quantities that mills in the Promise,” a vivid example of motion pic- rugged climate of late autumn and early vicinity of the camp were startled at the ture efficiency was shown by the moving winter. The towering Tetons, on one side, size of the orders, was purchased from four of the huge Ford camp from Wyoming to and the glorious Shoshone range on the sawmills, three being located in Wyoming the Mojave desert, near Victorville, Calif. other with their snow-capped peaks and and the fourth in Idaho. The mills were At the outset the studio officials were deep canyons, inspired the production to all located more than forty miles from confronted with the huge task of providing the greatness of pioneer picture undertak- camp, causing a long delay in the delivery sturdy, clean, warm living accommodations ings. of the necessary lumber. for nearly five thousand people, which alone Death Canyon, notorious retreat of the After the first heavy drain upon the herculean task. Not only this old-time cattle rustlers who inhabited the resources of the sawmills, these institu- constitutes a phase of preparation was intensive. Three Jackson Hole country, was used for a tions were unable to cope with the situa- thousand horses and other kinds of live scenic background for many of the big tion and as it was vitally necessary to have stock had to be sanitarily corralled. scenes in the production. While in the a constant supply of lumber to complete the million of lumber was used “Hole” filming exterior scenes, the direc- camp before the invasion of the production Over a feet building of the street sets for use tor took advantage of the proximity of unit, crews were sent into the forest, tim- in the location. hundred and the noted landmark and “shot” scenes on bers were felled, snaked to the mills, which on the desert One skilled studio mechan- the very spot where, in years past, widely turned them into the planks, thus eliminat- fifty carpenters and prior to the known thieves had assembled. ing long delay. ics worked for two months the production unit erecting The story of the construction of the After the initial influx of workmen, the arrival of Wyoming camp wherein the company was construction engineers were confronted (Continued on Page 66) 19 26 THE MOTION PICTURE DIRECTOR 39

Margaret Livingstone wearing a black French spider lace gown over flesh colored silk demonstrates in the Wil- AS WORN production liam Fox “A Trip to Chinatown” BY THE what the well-dressed “vamp” should wear. PLAYERS One sleeve is fashioned of the dress material, the other of georgette. Both are edged in monkey fur. The only touch of ornamenta- tion about the costume

is in the elborate rhine- stone shoe buckles.

Speaking o f

Shawls : Do- lores Del Rio, {left) and Lil- yan Tashman {right) pose for camera _ studies in new I shawls of hand painted design and exotic coloring.

* *t 40 THE MOTION PICTURE DIRECTOR February mencas

HE will never be allowed to grow Producers began to discover that the up. The little girl who, at the age people were willing to pay to see Mary S of five, began her stage career with Pickford, regardless of film trademarks juvenile parts in the Valentine stock com- and story titles. Experiments in placing pany of Toronto, Canada, struck a chord her in various types of roles established in the heart of America’s amusement pa- the fact that her following wanted their trons that has endured, and will endure. star to play the sort of stories which Fame is a peculiar thing. To some who

attain it to a great degree, it comes overnight. Lord Byron is by no means the solitary example of a human being waking in the morning to find himself upon its pedestal. But fame enshrouded Mary An early picture of Mary Pickford, Pickford gradually, and it is hard to say showing her at the time when she at point in her career it really began what first appeared on the stage in Be- —just at what time she became “Amer- lasco productions, and Mary Pick- ica’s Sweetheart.” ford as she is today. “Little Mary” never grows up and whether it is in It would not be too far-fetched, in the her latest pictures, “Sparrows,” ex- light of subsequent developments, to say treme right, and “Annie Rooney,” that it began when she was nine years old. lower left, or in "Heart o’ the Hills” or Hoodlum,” she is Amer- At that age she was starring in stage pro- “The — ica's sweetheart. ductions such as “The Fatal Wedding,” playing juvenile parts that were usually older than herself; in other words, the nine-year-old girl even then had begun to lay the foundations of her present fame through playing just the sort of roles in which she is beloved today. As a child nearing her ’teens, she played with Chauncy Olcott in “Ed- mund Burke,” for Belasco in “The Warrens of Virginia,” and in many other productions in which her parts were overshadowed by names and personalities who were then famous, and whose roles gave them the center of the stage. Yet her fame as well as her ability may have been growing even then ; one might almost say it must have been growing—for is she not, today, in spite of her real-life physical maturity, the same little girl of those early stage roles? When she went into motion pictures, in the days before the film players were given personal publicity and screen credit, she had to “start all over again” in one sense. She became known as “The Biograph Blonde.” But the Mary Pickford personality, in some way, emerged from this trade-marked obscur- ity, and in spite of the fact that a few more noted stage players had overcome their prejudice against films and were working before the camera, she was one of the first to become known to the public. 1 926 THE MOTION PICTURE DIRECTOR 41

and “Amarilly of Clothesline Alley.” The international success of “Little Annie Roo-

ney” proves that there is no change of mind and taste on the part of the motion picture goers, insofar as Miss Pickford is concerned. The picture she has just completed, “Spar- rows,” presents the star in a role that undoubtedly will take its place in public favor with her past triumphs. “Scraps” was the original title, and the story deals with Mary’s adventures with a little band of mistreated orphans on a baby farm. “Even without Mary, ‘Sparrows’ would be a great picture,” said Douglas Fair- banks when he and Joseph M. Schenck viewed the completed production. In that remark lies considerable significance. The public will not let Mary Pick- ford depart from her role, and the star’s work had really made popular for the first ways been the same. There is a Mary name is sufficient to make almost any pas- time. No one wanted her to grow up. Pickford role, typified by her outstanding sably good picture a big financial success. Similar experiments have been made ever successes in such pictures as “Rebecca of But she and her producers are not relying since, sporadically, and the result has al- Sunnybrook Farm,” “Daddy Long Legs,” (Continued on Page 60) 42 THE MOTION PICTURE DIRECTOR February

Above Nita Naldi Marian Davies

Sally Long

Right Dolores Costello THE FOLLIES GIRL

As told by Sally Long

AS a Fol- beautiful as some of the millions of others Below lies girl trying to break into the movies, but the Helen Lee “H any better public—or a goodly portion of it —knows Worthington chance of making a me as young and beautiful and my name, success of a career as a Follies girl, has a certain amount of in motion pictures box-office value that gives me an edge on than another girl of all of the others trying to break onto the equal beauty, ability screen. and intelligence?” “Then, too, Mat Stone has been hang- It was in the ear- ing around ever since I met him when he ly fall of 1924 that came to New York a couple of weeks ago

I first began to puz- and he can help a lot for he puts up the zle over this ques- money for a lot of pictures.” tion. It all started Then began an argument which lasted

when I casually infor months. Betty and I had ten minutes quired of my chum, in the wings together, between numbers, Betty Grey, as I dropped into a chair be- every night. And every night we argued side her in the wings of the Selwyn The- the advantages and disadvantages of a ca- atre, “Well, where do we go from here?” reer in motion pictures and one on the stage. I pointed to the security of our po- Just an expression, something to say, but sition with Mr. Ziegfeld. He had made she chose to take it seriously. “I’m going us, given us an opportunity to acquire a to Hollywood,” she calmly proclaimed. certain amount of wealth and a great deal “I’m tired of working all night and re- of fame. hearsing all day and living in a tiny apart- Betty spoke of the quicker success to be ment. People in the show business know attained in the films. You get six or eight who I am now. I can get to see the direc- chances a year to do something big. Here tors and producers by just sending in my you get your numbers at the beginning of name. I may not be any younger or as the season and have no chance to try for 19 26 THE MOTION PICTURE DIRECTOR 43

Kathryn Perry

ON THE SCREEN

to C. S. Dunning

Anne Pennington, Jacqueline Logan something bigger and better for another and Billie Dove at Fox Studios year.” Betty won the argument—and stayed in Right— Dorothy Mackaill New York. I lost—and came to Holly- wood. Below—Lilyan Tashman I think that it was the list of Follies girls who had come to Hollywood and made a success that decided me. I couldn’t think of a one who had failed. And there was Marion Davies, Nita Naldi, Ann Pen- nington, Dolores Costello, Lilyan Tash- man, Jacqueline Logan, Billie Dove, Helen Lee Worthing, Blanche Mehaffey, Joce- lyn Lee and a half dozen others who had made a name for themselves in the films. If the Follies girl, by virtue of her reputation for beauty and the box-office value of her name, had a better oppor-

tunity of breaking onto the screen than y the average newcomer to Hollywood, she must also have a better chance of staying there, I decided. For hadn’t all the Follies girls who had gone to Holly- wood stayed there? I had never heard of any coming back, begging for their old job. It must be that the training, the knowledge of how to take direction, of tim-

(Continued on Page 66) 44 THE MOTION PICTURE DIRECTOR February

Muskrat fur in plaid design forms a novel idea for trimming this beach Club sport dress. The wide cuffs, band and scarf, all but cover the straight line crepe gown, and the short ruffle at the bottom of the skirt and sleeves are a most unusual finish. IVorn by Ruth Stewart of the Majestic Theatre. 1 926 THE MOTION PICTURE DIRECTOR 45

Photo by Mandeville

Gwendolyn Lee, featured Metro-Goldwyn- Alice Calhoun charmingly wears this plaid Mayer player wearing a cape of silver ap- taffeta and batiste embroidery dress with plique finished at the bottom with sea foam full flare skirt and full sleeves, one of the green maline pleating and at neck with surprises in the mode for the coming maline ruff finished with hand rolled petals. summer. To be worn over a dance frock of same material, with plain silver pumps and diamond buckles.

GOWNS—ORIGINAL CREATIONS BY by FUR CREATIONS BY ETHEL PAINTER CHAFFIN ETHEL PAINTER CHAFFIN WILLARD H. GEORGE, INC.

should like to feel, when designing and decrees that skirts shall be fourteen inches smartest dressed women of American and creating apparel for the women of from the floor. Consider your figure and in establishing a prestige, we should each I Southern California, that we have the effect a long or short skirt will have one of us wear the becoming things. Per- enough individuality to dress becomingly. in giving to you the desired silhouette. sonality is the keynote. A gown or wrap We must bear in mind that the gown we Study the accessories, for they play an correctly designed to the individual will so much admire on another, even though important role in the ensemble. Shoes and give that certain touch and poise that is beautifully designed and executed, may ill hose must be carefully considered. Do not recognized instantly as good taste. become our own personality. wear snake skin shoes and hat and carry The morning sports costume can be se- The individual figure, more than ever a hand-bag of the same material when vere and plain, but shoes, hose, hats, gloves before, is demanding the attention of the wearing a dark tailored gown. Accessor- and bag should be adapted accordingly.

leading French designers, and to it they are ies are necessary and smart when worn with There is nothing more delightful than the turning their entire attention. If your in- sport costumes or an ensemble carefully smart white tailored sport suit, supple- dividual figure requires long skirts, do not thought out. The women of Southern mented by the new snake skin shoes, hat wear the shorter ones simply because Paris California are acknowledged among the and bag. Snake skin will play an im- 46 T H t MOTION PICTURE DIRECTOR February

portant part in milady’s costume this spring, Angeleno Decorated and as it comes in a wide range of colors it is readily adapted to almost any costume AROLD DEAN CARSEY, Holly- design. If furs are worn for sport wear, H wood photographer of motion picture for they should proclaim the purpose which folks, for the fourth year in succession has the pelts they are intended. With various been granted the highest award at the on the market today there is a wide selec- Royal Pictorial Salon of Sweden, accord- tion from which to choose furs suitable for ing to word received from his European motoring to and from the Country Club representative. or for the shopping tour. The grand award given after the fourth The familiar nutria is soft and warm, year, carries with it an invitation to visit very durable, and of a rich brown shade so Stockholm and there photograph the becoming to most women. Sealion and Swedish royal family. Mr. Carsey expects the leopard dyed kids, newcomers in this to leave within a fortnight, closing his field, many times trimmed with fox or Laurel Canyon studio for two months. other contrasting fur have a dash that is One hundred and fifty photographs of most youthful. motion picture celebrities will accompany The luncheon ensemble should become a Mr. Carsey to Stockholm and there be bit more intimate as it may drift into a hung in a special salon to which the award bridge or a Mah Jong for the afternoon. entitles him. A combination of cloth or crepe and chiffon Carsey hung fourteen portraits—two is correct or even a lovely embroidered each of Bill Hart and Joseph Schildkraut frock and coat. A bit of fur either in and one each of John Barrymore, Clara white or pastel shades used for the collar Bow, Anna Q. Nilsson, Jetta Goudal, or trimming will do much to soften the Anita Stewart, Evelyn Long, Nazimova lines of the face or figure. The hat may and Donald Keith—at the Royal Salon. carry softer lines than that used with the It was a portrait of Joseph Schildkraut sport costume for morning wear. The ma- which won him the award. terials for afternoon run the wide range He opened his Hollywood studio about from brilliantly flowered chiffons to the For motoring and general utility a year ago, coming here from New York. taffeta plaids. Here the selection is wide wear, for comfort and smartness, While operating a studio in Greenwich and if one will bear in mind her individu- Pauline Frederick wears this silver Village he made annual trips to India, ality, easily a costume may be created which American Broadtail coat with plati- China and Japan photographing celebrities will have a most pleasing and harmonious num fox trimming. in those countries. Previous to his camera effect. career Carsey was a decorative and cos- The fur scarf is in many cases a neces- they are an indispensable part of every tume designer of renown. sary adjunct to the afternoon ensemble. woman’s wardrobe and their vogue is un- Foxes come in a wide range of colors to diminished. For those who are short of suit the personality of the wearer. Indeed stature and inclined to stoutness, the sable

or marten is more to be preferred. The combination of dinner gown and wrap are most essential for the popular

clubs or house parties. The gown is only complete when accompanied by a soft lace wrap or cape for the cool of the evening. Chiffon gowns and capes are always practical and one can appear in a new shade each evening. While those who are sus- ceptible to the chill of the California nights, capes and wraps of fur have a strong appeal. And rightly so. For not only are they becoming but they give a feeling of warmth and satisfying comfort not otherwise obtainable. Royal ermine of snowy whiteness, usually severely plain, sometimes with the black tails lavishly used in the linings are always in good taste. Car- acul and broadtail too in various suitable shades usually trimmed with fox or other contrasting fur also have their place in the mode. Organdy, taffeta or net, becomingly designed, are some of the enticing thoughts for spring.

This, indeed, is to be a spring of individuality and while the thought and selection necessary to a perfect wardrobe may Styles may come and go, but the appear a bit terrifying at first still the re- charm and usefulness of the cape will sult will fully justify the care expended. always keep it with us. This one is Delores Del Rio becomingly wears Study your individual figure, bear in mind of blond caracul trimmed with gol- white ermine trimmed with white your personality and make your selections den fox and just fits the personality fox for evening. accordingly. of Claire Windsor. 19 26 THE MOTION PICTURE DIRECTOR 47

Laura La Plante

In a hand-painted afternoon gown in Greek motif designed by Alice O’Neill; an unusually attractive creation of shell pink chiffon and velvet, hand painted in bronze and silver and trimmed with moleskin 48 THE MOTION PICTURE DIRECTOR February A HOME THAT WAS DECORATED

The informal good taste which makes this home so inviting and livable is seen in every corner of every room. The fireplace group

in the living room is one expression of it. A portrait of an old galleon rocking on a sea of rich cerulean blue was the keynote for the color scheme. Two little love seats in softest blue velvet make a welcoming gesture to the fireside.

THIS HOME WAS A RECENT COMMISSION OF BARKER BROS.’ STUDIOS OF INTERIOR DECORATION.

The other end of the living room—garden view window framed by hangings of blue, hand-blocked linen with designs in piquant colors; two handsome floor candlesticks and two congenial chairs— one in deep apricot hand- woven linen, the other in black and henna striped moire. -

19 26 THE MOTION PICTURE DIRECTOR 49 AND FURNISHED TO BE ENJOYED

Glazed chintz hangings of glorious “A?n aryllis” rose are the high note in this guest

room, which is a sun- ny, delightful place.

The carpet is rose taupe and the furniture walnut of a satiny, dull finish.

The dining room is in distinct but pleasing contrast with the rest of the house, as a dining room has a right to be. The red tile floor is guiltless of rug or carpet. Ital-

i a n chairs - v and table, specially designed, frat- ernize with Spanish side board and console which are fine, hancl- m a d e r e- productions of old pieces.

The graciousness and dignity of Queen Anne furniture are especially appropriate for the guest room. The fine lines, soft lustre and delicate antique gold decorations lend an air of real distinction. The little Louis XVI chair with its needlepoint covering is an arsito- cratic note. 50 THE MOTION PICTURE DIRECTOR February

, an ^GEORGE LANDY

NLY five years old, rope, but all of them relig- the Wampas—more iously retain their Wampas O formally designated membership. The honorary as the Western Associated members include several of Motion Picture Advertisers the most important men in —has already grown to be the entire film world and an important factor, not every one of them treasures only within the motion pic- his membership card as a re- ture industry but among the ward for meritorious service. national institutions of every Several other members have description. left the publicity depart-

It is based on a commu- ments to enter the producing nity of ideas, purposes, poli- field in pictures, and a num- cies and ambitions of the ber of them have risen to the highest ranks these men men who publicize the vari- ; ous factors which combine also religiously keep up their to make up the film indus- Wampas memberships and try: producing studios, stars, attend as often as their large directors and authors, distri- interests permit. bution organizations and the The presiding office has motion picture theatres. been occupied in turn by From the results accom- Ray H. Leek, Arch Reeve, plished by the Wampas Joe Jackson, Harry Wilson members, individually and and Harry Brand, the pres- collectively, this group of ent incumbent. To these men should of the men can certainly take its go much credit their place among the leading fac- for untiring ef- tions which have definitely forts and leadership in serving standard accomplished great things in as bearers for the entire history of the the Wampas’ perennial cam- world. Certainly no indus- paign to elevate the profession of picture try has ever grown to such motion pub- tremendous proportions and, licity. just as surely, no art has Shortly after the forma- ever reached such a high tion of the organization, stage of development as mo- Ray Leek, first president of the Warnpas and for the past there was expressed a spon- tion pictures have achieved two years general manager for the Annual Frolic and Ball taneous desire on the part of in the twenty years of their which lias now become a national institution. the stars, producers, direc- existence — and it has been tors and other executives to the publicity man who has played a big the people of the world through existing make public admission of the service of the part in this dual progress. newspaper and other periodicals by the publicity men, and it was from this spirit Through publicity, the screen has not Wampas and other publicity men. No that the idea of the Wampas Frolic and only opened a new vista of entertainment longer does the press agent try to foist an Ball was evolved. The first of this series for the mass population of the entire world unwelcome idea over on an unsuspecting of annual entertainments, which have be- — it has a far greater accomplishment to editor or represent things beyond their come universally conceded to be the lead- its credit. Through the films, and espe- actual proportions. Practically every Wam- ing cinematic social events in California’s cially through the publicity connected with pas member has real newspaper experience calendar, was held in the main dining room pictures, the United States has been “sold” to his credit and, in fact, most of the mem- of the Ambassador Hotel. This room has to the entire civilized world as a nation, bers of this organization have held high a capacity of 3000 and it was jammed to and the benefits therefrom have been in- posts on the local dailies. A Wampa knows the doors! Ever since this first affair, the calculably tremendous, not only from the what the neswpaper wants and he gives Wampas has been faced by the necessity entertainment angle, but also in the in- the paper news—not just statistical infor- of securing a larger edifice to accommodate dustrial, social and political aspects. mation, but live stories with human inter- its co-workers in the film field and the It was about five years ago that seven est, legitimately demanding space in the members of the public who wish to attend directors of publicity for various studios periodicals of the world. the Frolics. in Southern California gathered around a From the seven men who sat together at The second Frolic served to open the dinner table at one of the local hotels to that semi-social function five years ago, the then new Warner Brothers studio on Sun- discuss the dignity and the new purposes Wampas has grown until, at present, its set Boulevard, where the attendance ex- of their profession. It was at this gather- roster includes eighty-eight active members, ceeded 6000 persons. The third year found ing that the Wampas was born. thirteen associate members and eight hon- the Wampas faced with a problem regard-

It is a far cry from the hokum press orary members. Of the active members, ing late dancing, at that time the civic agentry of several years ago to the efficient eight are working in cities outside of dilemma in Los Angeles, and after receiv- and dignified service which is rendered to Southern California and three are in Eu- ing invitations from numerous municipali- :

1 926 THE MOTION PICTURE DIRECTOR 51

Los Angeles New Shrine Civic Auditorium, where the Wampas will hold their fifth Annual Frolic, February 4.

ties throughout the United States, the pub- tunities of the Shrine stage and the tre- 1925: Betty Arlen, Violet Avon, Olive licity men finally accepted the offer per- mendous ballroom to offer a twin enter- Borden, Anne Cornwall, Ena Gregory, sonally tendered at a Wampas meeting by tainment, of which the details are narrated Madeline Hurlock, Natalie Joyce, Joan the municipal authorities of San Francisco. elsewhere. Meredith, June Marlow, Evelyn Pierce, Accordingly, the Frolic was held in the The publicity men who have been re- Dorothy Revier, Duane Thompson and Bay City, at its Civic Auditorium, where sponsible for the elevation to stardom of Lola Todd. the attendance reached about 8000—almost practically every screen celebrity, instituted Last year the Wampas went one step half as being turned the many away when an official Wampas custom just before the further: it instituted a Screen Achievement fire department closed the doors to prevent first Frolic, which has continued every Trophy, which was presented at the last excessive crowding. year and which we expect to practice an- Frolic and will be presented at the next, This third Frolic did far more than nually indefinitely. Each year the Wam- and annually henceworth. The award is merely change the dance law in Los An- pas selects the thirteen most promising given to the girl of the last four groups of geles— it served to cement the friendly re- young leading women of the screen, based Wampas selections who has made the lations between San Francisco and its sister on a careful study of their talents, achieve- greatest professional strides since her nom- city in Southern California as no other ments to date and future probabilities. ination. The girl is selected by a group event had done. It was the occasion for Hitherto, we have called these girls Baby of judges consisting of the editors of the the greatest hegira which has ever occurred Stars. Starting this year, we are calling national fan magazines, the trade papers in the motion picture world : Seventy stars them “Stars of 1926,” because the Wam- within the motion picture industry and of the first magnitude, accompanied by pas is convinced that these girls will the film editors of the local newspapers. Wampas members and their guests, as well achieve the heights of stardom during the Last year the cup was donated by Ar- of other filled the as hundreds Angelenos, calendar year in which they are selected. thur J. Klein and was presented to Colleen three special trains which took the party Moore. This year the great silver cup The Wampas selections for each year north. Every California city within 200 has been donated by the Paul G. Hoffman have been as follows miles of San Francisco sent official dele- Company, Inc. 1922: Helen Ferguson, Bessie Love, gations this Frolic, giving it genuinely to a Even in an industry which has itself Colleen Moore, Mary Philbin, Pauline state-wide flavor. been termed an infant, but whose growth Starke, Lila Lee, Jacqueline Logan, Last year the Wampas again had to face has been the most phenomenal in the his- Maryon Aye, Louise Lorraine, Kathryn the necessity of a larger auditorium to ac- tory of the world, the development of the McGuire, Lois Wilson, Claire Windsor commodate its potential guests at the Wampas has been an outstanding phenom- and Patsy Ruth Miller. Frolic. Fortunately the Ambassador had enon. To list its achievements, its chari- 1923: Eleanor Boardman, Pauline erected such an edifice in its grounds, and ties and its other activities within the mo- Garon, Laura LaPlante, Virginia Browne so that was the scene of the fourth Frolic. tion picture industry would sound like Faire, Derelys Purdue, Ethel Shannon, This year the same problem also arose, and braggadocio. But they have elevated it to Leahy, Devore, Betty we are very fortunate in having the mag- Margaret Dorothy an institution of deserved national promi- nificent Shrine Civic Auditorium to house Francisco, Kathleen Key, Helen Lynch, nence, known wherever motion pictures are our guests of that evening. Jobyna Ralston and Evelyn Brent. shown, and honored and respected univer- For the first time in the history of the 1924: Clara Bow, Blanche Mehaffey, sally. Wampas, we have been able to offer not Margaret Morris, Hazel Keener, Lucille In elevating the dignity of the profes-

only a mardi gras show, consisting of Rickson, Gloria Grey, Elinor Fair, Dor- sion whose mouthpiece it is, the Wampas general dancing interspersed by numerous othy Mackaill, Carmelita Geraghty, has served the entire film field and, through elaborate presentations; this year we have Julanne Johnston, Lillian Rich, Alberta this service, it has made a distinct contri- taken advantage of the unparalleled oppor- Vaughn and Ruth Hiatt. bution to the world’s progress. THE MOTION PICTURE DIRECTOR February

EEP in the hearts of us all there mott, Harry Morey, Ned Finley, James linger memories that are treas- Morrison and Hughie Mack. The ap- D ured for their association with pearance of each was greeted with en- days that are gone. No matter how blase Price meeting, amid such circumstances thusiasm and a momentary buzz of voices, become in later years it is with a we may when memories were so keenly alive, those as irrepressible reminiscences demanded ut- delicious sense of reminiscence that we turn with whom she was so closely associated in terance. Many who were present saw back the pages of memory’s book and live the older days. With the emotionalism of themselves at the outset of their careers. again amid scenes and friends of yesteryear. Dolores and Helen Costello, climbing her Irish ancestry, Miss Price made no at- now to stardom as belles of the No more vivid illustration of this truism tempt to hide her feelings as laughing and screen, were seen with Bobby and Helen Connelly in can I conceive than that which was pre- crying she greeted first one and then juvenile roles. sented at The Writers on the evening of another, and was greeted with an affection January 21st when Commodore J. Stuart indicative of her place in the hearts of all. Then there were, present on the screen, Blackton, incidental to the previewing of if not in person, Rose Tapley, William Commodore Blackton had arranged his his latest production “Bride of the Storm” Shea, Florence Turner, Patsy De Forrest, program with the true instincts of show- brought back to the film colony of Holly- George Holt, Van Dyke Brooke, L. Roger manship, opening with an amusing comedy wood memories of the Vitagraph days of Lytton, Lucille Lee Stewart, Templar of the vintage of 1910, bearing the intrigu- a decade and a half ago. Mere words on Saxe, Leah Baird, Evart Overton, Ralph ing title “The Boy, The Bust and the a sheet of paper can not begin to do justice Ince, Charles Richman, Corinne Griffith, Bath,” and featuring a cast composed of to the heart thrills of that evening as on Charles Kent, Hector Dion, Dorothy Florence Lawrence, Bill Shea, Hector the silver sheet of the club were flashed Kelly, Edward Phillips, Louise Beaudet, Dion and Buster Blackton, then a mis- scenes and faces dear to everyone who fol- Robert Gaillord, Don Cameron, Harry chievous boy of nine. lowed the motion picture during its early Northrup, Eulalie Jensen, E. K. Lincoln, The quaint costumes days. and sets of that Alice Joyce, Billie Billings, Naomi Chil- little comedy, not Commodore Blackton can always be much longer than its ders, Wilfrid North, E. H. Sothern, Wal- title, created just the right counted upon to do the beautiful thing, to atmosphere into ter Grail, Florence Lawrence, Norma which blended the presentation of inject the delicate note of sentiment, but “Remi- Talmadge, Julia Swayne Gordon, Anne niscenes of 1915.” The picture opened I doubt if he has ever done anything that Schaefer, William Duncan, Josephine with a of the has given greater pleasure to the film folks view Vitagraph offices in Earle, Anders Randolph, Denton Vane, Brooklyn showing Commodore Blackton than his presentation of “Reminiscences of Edna May, Antonio Moreno, Peggy Hy- and A. E. Smith directing the early des- 1915.” It was in truth a work of love, land, Jewell Hunt and Katherine Lewis. tinies of what may in all verity be con- for long hours, extending over weeks and As a most entertaining revelation of the sidered the “cradle of the American even months, had been expended by the strides that have in truth been made in screen.” And then came bits from nearly “Guv’nor” and his son in digging out of film production since those days the Com- a hundred productions showing the players the film archives of the old Vitagraph modore then gave us a typical drama fea- of the Vitagraph Stock Company as it was studio (now a part of the Warner Bros. turing Helene Costello as “the little child then composed. West Coast Studios) scenes from Vita- who led them,” Louise Beaudet and Don- the old favorites While we laughed again as had in graph productions showing we ald Hall. In its day this production, the in those days of former days at his inimitible drollery there of the screen as thev were title of which I didn’t note carefully was a suspicious in 1910 and 1915. break our voices, a enough to remember, was an intense, dra- dimming of the eyes, as And then, when this film had been com- John Bunny matic thriller. One of those pictures that stepped forth from behind the pletely assembled, the Commodore did the curtain of tore at your heart strings and made the the past and greeted us from the screen. most beautiful thing of all. Searching sob sisters sob. As the story unfolded it It was all so real that the gates of throughout the film colony of Hollywood time struck a responsive chord in my memory rolled back, and we forgot the superfea- he secured the addresses of every member and I recalled the time when I first saw it tures of today. The little bit of comedy of what he affectionately terms the Vita- and how I was thrilled by its pathos, by that followed, in which Bunny and graph Alumni and to each he sent a per- Flora the sentiment of its titles and the intensity Finch appeared in their familiar roles, sonal invitation to be his guest on that of its dramatic structure. Yet, when I brought another flood of memories. evening. The response to that invitation is Mr. saw it that night at The Writers, I and Mrs. Sidney Drew struck an equally indicative of the love which the old guard laughed as I haven’t laughed in a long responsive chord as of the films bear to him who in those days, we saw them once while. It was excruciatingly funny. The more enacting the subtle was their chief. comedy sequences titles were a veritable scream. The exag- that endeared them to the hearts of the film Tears were very near the surface as old gerated action, so typical of those days, world of a decade ago. friends and partners of the films met, even to the inevitable chase sequence, some of them after intervals of years, in It was with a distinct thrill that I saw seemed so ridiculous that I literally howled the assembly rooms of the club prior open- again Mary Maurice, whose mother roles with the rest of the audience. Verily ing of the doors leading to the large dining has so firmly enshrined her in our memo- times have changed and the films have ad- room in which screen and stage presenta- ries. And how reminiscent it was of those vanced in technique, in realism and in ar- tions are made. I am perfectly willing to early days that we saw Maurice Costello, tistry. admit that there was a queer tugging dimpled Lillian Walker, Arline Pretty, Commodore Blackton had planned his around my own heart and that my glasses Edith Storey, Mary Anderson, Wally program well. Nothing could have fitted fogged up unexpectedly as I watched these Reid, and the host of others who were us for the preview of his latest picture favorites of yesterday reliving old memo- such favorites then and later. Clara Kim- more admirably than that old-time “dram- ries. And at no time was this feeling ball Young in a typical scene, Anita Stew- mer,” and when, following his little stronger in than as I watched Kate me art and Earle Williams; Marc McDer- (Continued, on Page 67) 1 9 26 THE MOTION PICTURE DIRECTOR 53

mile chautard, who a few that it promises theatre goers a series of steamer Tahiti for Papeete where he will E years ago was one of the industry’s productions combining Neilan’s unfailing rest and paint, transferring to canvas the foremost directors, has been engaged to por- entertainment skill with the producing exotic beauties of the southern seas. The tray the leading company’s extensive facilities. Olivers plan to be away from Hollywood

character role i n Neilan has signed a long-term contract some six months.

“P a r i s at Mid- with Paramount, under the terms of which * * * night”, Frances he will make his productions at his own ARYON AYE, dainty actress of the Marion’s new Met- studio at Edendale, California, backed by M stage and screen, appears as the lead- ropolitan picture, the facilities and resources of the producing ing feminine role in “Kosher Kitty Kelly,” based upon the Bal- organization in Lasky Studio. a stage offering in zac classic, “Pere The first story Mr. Neilan will produce San Francisco. Goriot”. under the new arrangement is now under She was playing Chautard’s fame way in the scenario department, and its in Colleen Moore’s in this country has production probably will start near the “Irene” at the time been confined to di- middle of February. It will be released the stage role was recting, for although during the fall of 1926. Following this offered her, and the he was formerly one of the most popular production, he will direct Betty Bronson in opening of the play actors in France, he has never appeared on a picture of the type that made him famous was held off for a either the stage or screen in America. Here as the director of many of Mary Pick- week, after a long- he is best known for his direction of many ford’s most successful offerings. distance telephone of the screen successes in which Pauline * * consultation with Frederick, Elsie Ferguson and Alice Brady ANTICIPATING a revival of South the play producers, were starred. Sea Island pictures in the not distant in order to allow Miss Aye to finish her In France, Chautard was leading man future, Harry Oliver, art director for screen role. for the great tragedienne, Mme. Rejane, Mary Pickford, is A coach was sent to Los Angeles to whip for nearly twenty years and achieved parti- taking advantage of Miss Aye into the “Kosher Kitty Kelly” cular fame for his portrayal of Napoleon the Pickford-Fair- part between scenes of Miss Moore’s pro- in Sans Gene”. Later he di- “Mme. was banks round - the - duction, and through the efforts of Alfred rector of the Royal Theatre in Brussels and world tour to get in E. Green, who is directing the film, the still later he created the title role in “Alias a little sightseeing actress was released as soon as possible, Jimmy Valentine” in Paris. himself and at the and caught the earliest train for San Fran- in Thirteen years ago Paris Chautard same time pick up cisco. directed a screen version of “The Merry at first hand accu- Miss Aye scored a hit in San Francisco Widow” in which Maurice Tourneur por- rate data concerning some time ago when she played “White trayed a leading role. some of the out-of- Collars” there, and perhaps it was this role * * * the-way places of that led to the new one. She will come arshall neilan’S acquisition the world. Accord- to Los Angeles in “Kosher Kitty Kelly” M by Paramount forms one of the most ingly, accompanied by Mrs. Oliver and his before or shortly after this item comes off interesting news angles of the month in daughter Amy, he sailed January 27 on the the press. !

54 THE MOTION PICTURE DIRECTOR February

OMMODORE J. Stuart Blackton’s It is said that the record is unique inso- such Continental stars as Emil Jannings, C next production for Warner Brothers far as local courses go. If, however, it is Werner Krauss, Lya de Putti, Zenia Des- will be “Hell Bent for Heaven,” Thatcher open to contest. Burns has agreed to settle ni, Lil Dagovar, Conrad Zeidt and others. Hughes’ Pulitzer prize play, which has the matter with any challenging studio * * * been one of the season’s footlight sensa- golfer on any tee or green. N THE First National lot Harry tions from both ar- Burns is one of the golf stars of the O Harry Langdon is to be found in the tistic and financial Christie-Metropolitan team, which has only midst of his first feature-length comedy viewpoints. The been defeated once in meeting other studios. for that organization. In addition to em- play is being The team is composed of Charles Christie, barking on a new venture, Harry is dem- adapted for the Neal Burns, A. C. Cadwalader, Jack onstrating what the artist can accomplish screen by Marian Noble, Jack Cunningham and George with a bit of make- Constance, and pro- Melford. up, particularly in * * # d u c t i o n will be changing the size of started as soon as ART of the atmosphere that is going to the eyes. the shooting script P be one of the appealing features of The usual thing is completed. “The Volga Boatman” is to be supplied by in making up the “Hell Bent for Vasili Kalmykoff, formerly a line officer ey'es is to rim them Heaven” will be in “The White Army” of Admiral Kol- with black, so that known as a Blackton Production and one chak. Kalmykoff has been added to the they will appear of the season’s big specials from Warner technical staff of the larger. Langdon Brothers. The film rights of the play were second personally rims his eyes with purchased expressly for Commodore Black- directed Cecil de white in order to ton. The play had a long run in New Mille offering for accomplish just the York and has appeared in Los Angeles, Producers’ Distrib- opposite result. The white, he finds, makes where it played for four weeks. uting Corporation. his eyes appear much smaller on the screen * * * He speaks no than they really are.” “I wear white makeup around the eyes BILITY to swim came in handy to English, working not only to make them look smaller, but Bebe Daniels and Ricardo Cortez entirely through in- AL says to give a peculiar sheepish expression,” while filming some of the spectacular terpreters. Theo- dore Kosloff, Mr. Langdon. “This helps greatly with scenes of “Volcano,” a Paramount produc- Rus- sian dancer and ac- my pantomimic imitation of the timorous tion in which they play featured roles. and bashful lover.” For the sake of tor, and Kalmykoff will technical points con- In order to enlarge and deepen the ex- realism, they were work together on nected pression of the eyes, Mr. Langdon advo- not permitted to with the filming of this love story of a rough, colorful and a cates the use of red makeup rather than swim in smooth wa- Volga boatman gently reared aristocrat. black. For giving an impression of dull- ter, but in the sort The background ness to the eyes, he uses green color around of rough water that action of the story is that of the Russian them. The white makeup is being used the technical direc- revolution and social overthrow. throughout his present feature, which is tors thought would One of Kalmykoff’s tasks is the training now in the seventh week of production. be stirred up by vol- of Victor Varconi, who appears in the pro- The story resulted from an original idea canic activity and duction as a prince in the White army'. of Langdon’s, and is being directed by earthquake. More- Other featured players who appear in the story are William Boyd, Elinor Fair, Julia Harry Edwards. over, a rain of * * * Fay'e, ashes and debris fell Theodore Kosloff and Robert Edeson. WO very fat and very serious-faced all around them during the process of film- * * * T comedians of the screen shook hands ing those particular scenes. HE affiliation between Universal and on Hollywood Boulevard and wandered Wallace Beery, Arthur Edmund Carew T the UFA company of Berlin by Carl into a drug store to and Dale Fuller also play featured roles Laemmle will, it is said, result in a whole- celebrate the chance in “Volcano,” which is a William K. sale transference and exchange of stars meeting with a H oward production scenarized by Bernard from Berlin to Universal City and vice drink a la Volstead. McConville. versa. Walter Hiers sat # # * There are many Universal stars who down at the coun- HE golf champion of the Christie are quite as popular in Europe as they are ter, but Ned A. T studio lot—a studio of golfers, by the in America, and these, probably, will be Sparks refused to way—has hung up an enviable record for sent to UFA studios for parts in the Ger- do so, even at Wal- his competitors to man pictures, according to advices from ter’s pressing invi- Philbin is being shoot at, and it will Mr. Laemmle. Mary tation. probably require considered as the “Marguerite” for the big “Can’t!” he considerable shoot- production of “Faust” which UFA is smiled. “I’ve been ing to bring this planning, with Emil Jennings as Mephisto. learning to ice skate.” — particular record Laura La Plante, Virginia Valli, Reginald “What’s that got to do with ” began down. Yes, it’s Neal Denny, Jean Hersholt and many other Hiers. Then, remembering when he had Burns, and his feat stars may be sent abroad for one or several first learned to skate, he stood up and the was to make the pictures. two comedians drank to the good old days sixth hole at the In return, Mr. Laemmle plans to import of the high bar and the footrail—standing. # * * Lakeside Club, a several stars and directors of the UFA

two-hundred - yard, company for work at Universal City. He MAN who lost his memory during par-three hole, in has already arranged to bring Andre Mat- A the war and has since been trying to two—not once, but four consecutive times. toni, a Czecho-Slovakian actor, and E. A. find someone who knows him, has been There were witnesses other than the caddy, Dupont, a noted German director, to Hol- given a position at Universal Studios by of course lywood, and future exchanges may involve Acting General Manager Harry MacRae. !

19 26 THE MOTION PICTURE DIRECTOR 55

The name by which he is now known is would break right into the busiest part of ropean tour. It has not yet been decided Jerry Talbot. Talbot has conducted a his schedule. But he decided that Christ- which of the various world-wide search to find people who know mas must be observed regardless, and al- Schenck units will him, putting his picture into American work at the Pick- though it cost him so much money, he now and foreign publications. He has an accu- ford-Fairbanks stu- feels repaid by the added enthusiasm of his rate memory of the events of the war and dios, but indications cast and production staff, an enthusiasm remembers the unit, the Sixth Marines, in now point to the which may make the work go so rapidly which he served. Several buddies he has transference of the that a good deal more than the thirty encountered from that outfit knew him but Norma Talmadge thousand dollars could not recall his name. will be saved. and Constance Tal- companies to Talbot only remembers the past 18 The losses had to be figured on set rent- madge the new quarters. months of his life since the war, coming als, salaries, the rent of equipment and Plans are now to himself in the Veterans’ Bureau Hos- many miscellaneous items that enter into considered for pital at Palo Alto. He retains absolutely film bookkeeping. “Heirs Apparent” is to being be first the enlargement of facilities at the Pick- no memory of his life before the war. He Carewe’s offering for 1926. ford-Fairbanks Studios in order that the seems to be of French descent, is about * * * units have more room to thirty-five and fought in the battle of Bois Schenck may large piece of property de Belleau. He also remembers the battle ACCORDING to Cecil de Mille, 95 work. Already a added to the rear of the “lot” of Chateau Thierry hazily, and believes 2 \ per cent of the inexperienced players has been every possibility that a new that the wound which caused his loss of who appear on the screen or try to break and there is than any now in existence, memory was sustained there. into pictures depend too much on facial stage, larger will be built. Seventy-five men of his outfit were killed expression in their pantomime, or “act all Moving the Schenck companies to this at Chateau Thierry and he believes he is over the place and studio is merely a temporary arrangement, listed as one of these, but an attempt to smother their dra- according to the report; if Mr. Fairbanks trace down the names and relatives of these matic points by an - and Miss Pickford make a picture abroad men has proved futile. The American abundance of i 1 1 the Schenck companies no doubt will re- Legion is at present working on the prob- chosen gestures.” possession of their studios for a lem of tracing his identity. De Mille speaks main in not only with the year. Talbot’s work at Universal is in the authority of a great technical department, and he will also do * * * director, as the extra work in pictures in the hope that but some friend will recognize him when the discoverer of much STELLE TAYLOR seems to have a talent that now oc- at her films are distributed all over the world. E regular menagerie of pets c u p i e s prominent house. Separate reports on their doings * * * places in the screen show that there is a “Patsy,” a “Clara,” limelight. discovered and trained such (4TV/IISS DE LA MOTTE,” said a He a “Pete,” and a “Tom” of the feline tribe, 1*1 Hollywood newsboy to Margue- stars as Gloria Swanson, Bebe Daniels, and a “Punch” and rite, “I gotta kid brother who never seen Leatrice Joy, Rod La Rocque and Thomas a “Duke” represent- a movie. You’re in a show up the street; Meighan. ing the canine. will you gimme the “The accomplished artist is one whose “Tom” is a cat of price of a couple of hands are trained to help and not to hin- the garden or alley ducats?” der. The best facial expression is helpless variety, rescued by Touched by the without thoughtful pantomime with the Miss Taylor last thought of a child hands,” he maintains. spring when he who had never seen “Girls beat men at this phase of film came meowing for a motion picture, work. The feminine habit of ‘talking with admittance at her the star handed the the hands’ is a distinct asset, when used door, dragging after urchin a dollar. As with intelligence and discretion. Unfor- him a maimed leg. an afterthought, she tunately, through self-consciousness, many He was nursed asked: “When are girls overdo gesture. Men, conversely, go back to health, and dominated the house- you going to take to opposite extremes and have to be trained hold, even her English pug “Punch,” until him to the show?” from ‘woodenness’ into graceful use of the arrival of Jack Dempsey’s Great Dane, “I ain’t gonna take him,” giggled the their extremities. “Duke.” “Tom” gave one look at the boy, having removed himself to a safe dis- “William Boyd, featured in my produc- newcomer and fled, and he hasn’t been tance. “Em gonna take me girl. Me kid tion, ‘The Volga Boatman,’ once believed heard nor seen since. brother what ain’t seen a movie is just five that pockets were the only place for hands. Another report concerns “Punch,” weeks old.” But as soon as the stiffness was eliminated known as Estelle’s “$10,000 dog.” It seems Miss De La Motte believes that such a from his arm movements, he found the in- that “Punch” is liable to justify his ex- good joke on herself is worth the dollar between point where gestures are most ef- pensive reputation, despite the fact that invested. fective for nicely balanced pantomime. He customs officials finally placed his real * * * is but one of the hundreds of actors who value at $58—if he persists in indulging HOLIDAY that cost thirty thousand have had to learn that their hands are in his appetite for costly bedroom slippers. A dollars valuable for something other than writing “Every year just before Christmas I That was the result of a bit of figuring checks or changing tires.” seem to establish a friendship for some on slippers,” Miss done by Edwin Carewe, producer-director * * * pup who makes his meals for First National Productions, when he Taylor remarks. “Two years ago, my sis- went over his expense list for Christmas ACCORDING to an announcement ter’s fox terrier raised hob with my foot- week. 1 \. from the Pickford-Fairbanks head- wear. All my friends knew about it and It chanced that he was starting “Heirs quarters, Joseph M. Schenck will take they gave me slippers for Christmas. Apparent,” a production featuring Lloyd over the studio used by Mary and Doug Then last year, Mr. Dempsey gave me a Hughes and Mary Astor. Christmas day while that couple are absent on their Eu- Chow and again I was slipperless.” 56 THE MOTION PICTURE DIRECTOR February WHAT THE DIRECTORS ARE DOING

Clarence Directing “Miss Brewster's Edwin Directing “The Heir Appar- James Directing “Why Girls Go Badger Millions” for Paramount, Carewe ent” with Lloyd Hughes and Flood Back Home,” featuring Patsy starring Bebe Daniels. Mary "Astor for First Na- Ruth Miller, Clive Brook and tional. Scenario by Lois George O’Hara. Warner Leeson. Bros, release.

Sylvano Finishing “The Far Cry” for Benjamin Directing Norma Shearer in Emmett Directing “Yellow Fingers,” Balboni First National release, fea- Christenson “The Light Eternal” for Flynn featuring Olive Borden, for turing Blanche Sweet. Scen- Metro-Goldwyn-Mayer. Scen- Fox. Scenario by Eve Un- ario by Katherine Kava- ario by Mr. Christensen. sell. naugh.

King Directing “The Perch of the Eddie Directing a series of pictures John Editing and cutting “The Baggott Devil” for Universal, featur- Cline for Mack Sennett featuring Ford World of Promise” for Fox. ing Mae Busch and Pat Alice Day. This is the new title for O’Malley. Adapted by Mary “Three Bad Men.” All-star O’Hara from Gertrude Ath- cast. erton’s novel.

William Loaned by Warner Bros, to Allan Editing “Don Juan,” featur- Svend (Between pictures.) Beaudine Famous Players-Lasky Corp. Crossland ing John Barrymore, for Gade to direct Douglas McLean in Warner Bros. Scenario by “That’s My Baby.” Bess Meredith.

Monta Directing the famous Ibanez Irving Preparing “Rustling for Cu- A1 Finishing “Irene,” starring Bell novel, “The Torrent,” featur- Cummings pid” for Fox. Greene Colleen Moore, for First Na- ing Ricardo Cortez and. Greta tional. Scenario by June Garbo for Metro-Goldwyn- Mathis. Maver.

Directing Herbert Directing “The Mystery Allan Preparing “Padlocked” for Alan “Forbidden Wa- ters,” Blache Club” from the story by Ar- Dwan Paramount. Not yet cast. Hale featuring Priscilla Dean, from an thur Somers Roche. Univer- original story sal all-star. by Percy Heath.

Directing Charles J. Stuart Directing “Hell Bent Cecil Editing and cutting “The Hobart Ray and for Eleanor Blackton Heaven” by Warner Bros. DeMille Volga Boatman.” All-star Henley Boardman in “The Auction Scenario by Marion Con- cast. Scenario by Konrad Block” for Metro- Goldwyn-Mayer. All - stance from the $25,000 Pulit- Bercovici. star zer prize play. cast. Scenario by Frederick and Fanny Hatton.

Frank Directing “The Dixie Mer- Reeves Directing George Walsh in George Directing the famous Rex Borzage chant for Fox. All-star cast. Eason “The Test of Donald Nor- Hill Beach story, “The Barrier,” ton” for Chadwick Pictures for Metro-Goldwyn-Mayer. Corp. All-star cast. Scenario by Harvey Gates.

Clarence Directing Norma Talmadge Harry Directing Harry Langdon in Lambert Finishing “The Second and Brown Ronald Colman in “Kiki” Edwards his first feature length com- Hillyer Chance,” featuring Anna Q. for First National release. edy for First National. The Nilsson, for First National. Scenario by Hans Kraely. title is “Tramp, Tramp, Scenario by Eve Unsell. Tramp,” and is an original story by Langdon himself.

Dimitri Directing an as yet untitled George Editing “The Son of a Renaud Directing “The Unknown Buchowetzki picture for Paramount, star- Fitzmaurice Sheik,” starring Rudolph Hoffman Soldier” from an original ring Pola Negri. Valentino. A Joseph M. story by Dorothy Farnum. Schenck production. All-star cast.

Christy Directing “Monte Carlo”, Victor Directing “The Blind Daugh- E. Mason Directing “Paris at Mid- Cabanne featuring Lew Cody, Ger- Fleming ter” for Paramount, featuring Hopper night” with all-star cast. trude Olmstead and Roy Esther Ralston, Earnest Tor- Taken from the Balzac novel, D’Arcy for Mctro-Goldwyn- rance and Jack Holt. “Pere Goriot.” Scenario by Mayer. Francis Marion. 19 26 THE MOTION PICTURE DIRECTOR 57 WHAT THE DIRECTORS ARE DOING

William K. Finishing “Red Dice,” fea- George Directing ‘‘Whispering William A. Directing “Rolling Home,” Howard turing Rod La Rocque, for Melford Smith” from the novel by Seiter featuring Reginald Denny, Cecil DeMille. Scenario by Frank H. Spearman. All-star for Universal. Jeanie McPherson. cast.

Rupert Preparing “Silence” for De- Walter Directing “Outlawed,” Rin- Paul Directing “Eve’s Leaves,” Julian Mille. Scenario by Beulah Morosco Tin-Tin’s next for Warner Sloane featuring Leatrice Joy, for Marie Dix. Bros. DeMille. Scenario by Elmer Harris.

Directing “The Old Soak” Earl Directing “The Sap,” featur- Marshall Finishing “Wild Oats Lane,” Edward for Universal. Kenton ing Kenneth Harlan and Neilan a Marshall Neilan production, Sloman Mary McAllister, for Warner featuring Viola Dana and Bros. Robert Agnew.

Directing Harold Henry Recently finished “Partners Fred Enjoying a well-earned rest Sam Lloyd’s next feature length comedy, King Again,” one of the “Potash Niblo after completing “Ben-Hur.” Taylor “For Heaven’s Sake.” and Perlmutter” series.

Rowland In Europe. Albert Directing Douglas Fairbanks Maurice Directing the Marion Fairfax N. Lee Parker in “The Black Pirate” for Tourneur production, “The Desert United Artists release. Healer,” featuring Barbara Bedford and Lewis Stone.

Directing “Bardelys the Robert Z. Directing Corinne Griffith in Harry Directing “Beware of King Mag- nificent” for Leonard “Mile. Modiste” for First Pollard Blondes,” featuring Laura Vidor Metro-Goldwyn- National release. Adapted La Plante and Edward Ever- Mayer. From the novel by from the stage play by Ade- ett Horton, for Universal. Sabatini. laide Heilborn. Scenario by Mel Brown.

Frank Just finished “The Splendid Paul Directing “The Prince of Pil- Raoul Preparing to start work on Price Lloyd Road” with Anna Q. Nils- Powell sen,” featuring Anita Stew- Walsh “What Glory” for Fox. son, his own independent art. Belasco production Still uncast. production. adapted from the stage play by Anthony Coldewey.

Roland Directing “The Bat” for Del Directing Billy Bevan in all- Lynn Directing “Chip of the Flying United Artists. Lord star Mack Sennett series. Reynolds U,” starring “Hoot” Gibson. West All-star Universal picture, adapted cast. Scenario by Julienne from the famous B. M. Josepheson. Bower book.

Phil Directing an William Directing “Lazy Lightning,” Ernst Preparing to produce “The as yet untitled Rosen feature for Wiley featuring Art Acord, for Uni- Lubitsch Door Mat” for Warner Metro-Goldwyn- Bros, from the stage play by Mayer, featuring Renee versal. Another B. M. Bower Ethel Clifton and Branda Adoree and Conrad Nagel. novel. Fowler. As yet uncast.

Leo Directing a series of come- Roy Directing “The Grifters,” fea- John Griffith Directing “Hell's 400”, fea- McCarey dies for Hal Roach, featuring Del Ruth turing Dolores Costello and Wray turing Margaret Livingston, Charlie Chase. Johnny Harron, for Warner for Fox. Scenario by Brad- Bros. Scenario by Daryl ley King. Francis Zanuck.

Robert Still fathering “Our Gang” Edward Directing “The Continental McGowan over at Hal Roach Studios. Sedgewick Limited,” all-star cast, for Universal. Scenario by Cur- tis Benton. 58 THE MOTION PICTURE DIRECTOR February

OTION picture work is never fin- Wasps; The Two Thirty-three Club; The Hughes, serves both The Writers Club of ished. The whistle does not blow Masquers; The Troupers Club and The Hollywood, and the Screen Writers Guild. M to release the men and women en- Screen Club. Organized four years ago, with Frank gaged in the creative side of the picture Each of these organizations has its sep- E. Woods as first president, The Writers industry from their toil and their respon- arate and individual entity, interests, and quickly won a name for their social func- sibility. The star who is not before the functions. Each has its own limitations tions, their banquets, plays, and previews camera is studying a new role and select- and scope in membership. Several ties of photoplays. Their clubhouse, which is ing costumes, or negotiating for a new unite them all, however; they are affiliated at 6700 Sunset Boulevard, is a big, ram- contract. The extra who is not working in general community interest, in working bling, ivy-clad structure of homelike at- is seeking another part. The director who for the welfare of the motion picture in- mosphere similar to that of the directors’ is not beside his cameras is superintending dustry and its people and in fostering headquarters. It has a library, lounging the cutting of a film just finished, or work- among their members a feeling of joint room, billiard room, dining hall and thea- ing over the script of a production soon to and individual responsibility to society in tre. The latter is well equipped for pre- be begun. the creation of an entertainment of such senting either stage or screen offerings. The It is this condition which tends to limit giant scope and influence as that which building and grounds are owned by mem- personal contacts to business hours, to iso- the cinema offers. bers of The Writers. late the social and co-operative forces of The Motion Picture Directors Associa- The stage plays given at The Writers the industry, and to narrow the interests is presi- tion, of which William Beaudine are, for the most part, written by the mem- and points of view of the thousands of men dent, has on its membership roster many bers, and since the inception of the club are engaged in the mani- in and women who of the most prominent screen directors seventy-six one-act plays have been pre- fold activities of motion picture production. organization has its the industry. The sented. The giving of plays is a regular at 1925 North The formation of clubs and association headquarters in Hollywood affair, in charge of a play committee, of of all sorts, linking the interest of indi- in a homelike, old-fash- Wilcox Avenue, which Alfred A. Cohn is chairman. Some viduals groups, of other with groups with ioned dwelling house. of the most successful one-act plays of the their groups, and of the motion picture industry There, directors who have wone past several years have been given their inas a whole with the public it serves, is a gossip, ideas, place in the sun exchange itial tryouts at The Writers, where they comparatively recent al- the movement. But reminiscences and criticism with newer are subjected to a merciless but thoroughly it has ready gone a long way toward ac- recruits. Social events, professional or gen- constructive criticism. complishing its purpose. Individual insul- eral, are given at frequent intervals, among In addition to banquets and other func- ation and isolation of interest has been the characteristic of which is the cus- most tions within the club membership, events broken down. The force of constructive of giving banquets in honor of out- tom of importance in connection with the mo- co-operation is being brought to bear with standing achievements. For example, a tion picture industry and the literary world more and more force. A great breadth of banquet of this sort was given in honor of have been celebrated. One of the first of contact has been established. King Vidor, in recognition and praise of these was a dinner welcoming the advent The result is that today, in spite of the his in directing “The Big Parade.” work of George Ade to Hollywood, while one exacting and absorbing nature of the work before that event, Ford occupied Just John of the most recent affairs of this sort was of most persons engaged in the making of honor at a similar function, in the place held in honor of Michael Arlen’s visit to of screen productions, the motion picture with that classic celebration of his success the film colony. art and industry has community interests, of pioneer Western spectacles, “The Iron The Wampas is a familiar name for group and general co-operation, and organ- Horse.” The Western Association of Motion Pic- ized social force for fostering the best of An organization much akin to the Di- ture Advertisers. As the title indicates, relations with its patrons, comparable to rectors’ Association is the American So- this association is composed of advertising and perhaps excelling those of any other ciety of Cinematographers. Homer A. Scott publicity connected with all industry. clubs and men Through and forces of is president, and the Hollywood headquar- branches of the motion picture industry. organization of a non-commercial variety, ters are at 1219 Guaranty Building, where Wampas semi-monthly meetings are held the scattered interests and ambitions of in- permanent clubrooms are maintained. The at the clubhouse of The Writers. dividuals within the industry have been cameramen meet here socially and officially, gathered and crystallized into responsible, Each year, the Wampas stage a very- a as an organization or as individual mem- co-operative, large and highly advertised event, the constructive force of great bers of the club. The organization has an and limitless possibilities. Wampas Frolic. At this function, which power official publication, “The American Cin- is an entertainment open to the public, the Among the most important and interest- ematographer,” which is devoted to club most novel attraction is the introduction of ing clubs and organizations that have been news and technical discussion. thirteen young women whom the organiza- created as direct or indirect by-products of The Writers Club of Hollywood main- tion has selected by vote as the most prom- the screen are The Motion Picture Direc- tains its separate identity as a local organ- ising actresses not hitherto presented by the tors’ Association, The Writers Club and ization, although affiliated with the Screen Wampas, or already famous as stars. Fur- Screen Writers Guild, the Society of Amer- Writers Guild of the Authors League of ther details concerning the Wampas organ- ican Cinematographers, The Western As- America, and also with the Authors ization are given in another article in this sociation of Motion Picture Advertisers, or League of America itself. It happens at Wampas; its feminine counterpart The this time that the same president, Rupert (Continued on Page 60) 1 9 26 THE MOTION PICTURE DIRECTOR 59

The Motor Car Trend for 1926

(Continued from Page 28) these days of ever-increasing wheel traffic and is guaranteed to deliver 90 miles an introduced a new aristocratic looking coupe throughout the country. hour, which probably makes it the fastest and a brougham, with that famous speed- Super-chargers to pep up fuel combus- stock car in the world. The sedan shown way engine. Wills St. Claire looks like a tion, increasing power and speed and mate- here is powered with the same engine, thoroughbred, prepped for a sprint. Lines rially decreasing fuel consumption are still equipped with two carburetors and nine are low and rakish. technical main bearings. Shatter-proof glass is being tested by race drivers and The Ninety Degree Cadillac is the latest standard equipment. Safety is engineers for future adoption on stock cars. a prime thing out in this line, and after Don Lee factor in design and all the models That will usher in a still more startling are low gets them, he adds distinctive custom era. Some makers have incorporated the and racy looking. touches in his own shops to fit the personal to limited extent but super-charger idea a The new Willys-Knight 6-70 is a lighter taste of his patrons. The Franklin “Series sensational results as to high mileage are car with the smallest bore sleeve-valve en- LI” is the only air-cooled car of national still to come. gine ever built in this country, giving it an prominence, and Rupert Larson has proved Some fours have been replaced by sixes excess of power and snappy pick-up. It has repeatedly that this “Camel” can stand just as some sixes have been supplanted safety four-wheel brakes, is long and low, gruelling punishment almost indefinite. by eights. There are about fourteen eights and positively oiled through a specially de- Studebaker is featuring a new Big Six of various types now being built by well- signed pressure lubricating system. Sport Roadster, the design of which was known manufacturers. Nash announces the first closed car to personally supervised by Paul G. Hoffman,

Twenty years ago it was a triangular have a motor built especially for a closed who still calls Los Angeles “home” despite battle between ones, twos and fours. Now car, in his new Advanced Six. This newly the fact that he is spending most of his the contest is between fours, sixes and designed “Closed Car Motor” is said to time in South Bend, where he is said to eights, with the two latter fast outstripping deliver the same rate of power per pound have started a new era of pep among Stu- the former. to move the heavier closed models, as for- debaker workers. mer motors exerted in propelling lighter On the whole, car performance will be The Diana Eight and the Moon Six open models, affording a smoothness and found to be better than a year ago, and have proved popular throughout the past responsiveness never before achieved in that, in the broadest sense, is what every- year, and while they do not build yearly body buys. Comfort, economy, reliability, closed car performance. models, their new cars are up to the minute power and quietness of operation have Buick remains unchanged with closed in design and appointment, backed by a been enhanced. cars leading in popularity. Chandler has $75,000,000 group of specialists. Valve assemblies have been silenced, bought out Cleveland and is showing new Velie has somewhat jumped over the crankshafts have been stiffened, balancers closed models, featuring the Chandler the advent of their new “wind- have decreased vibration, springs have been 20th Century Sedan, and a Cleveland Spe- traces with designed after the German balanced to balloon tires, brakes have re- cial Six coupe, both equipped wfith one-shot splitting” sedan windshield and duced collision hazard, and steering con- lubrication. Oldsmobile has a new Utility idea, with long slanting complete style trol has very definitely increased motoring Coupe and a Coach of smart appearance bowed-out body back, a security. and medium prices with some new refine- change from former models. In presenting a pictorial array of the ments. Locomobile Junior Eight recently Jordan, as usual, is out in front with new cars here, an attempt has been made two sizes of line eights. He builds noth- to include as many prices classes as possible ing else now, and is making friends every and at the same time provide illustrations day with his policy of quality building of the newest models which are attracting along standard lines with advanced ideas nation-wide attention. of design and style. Besides the Stutz and Pontiac, outstand- Kissel has a new all-year convertible ing models which are proving show sensa- coupe roadster which can be opened or tions are the Chn'sler Six, Rickenbacker closed according to the feel of the weather. Eight, Willys-Knight Six, Nash Advanced ought to make many friends Six, Hupp Eight and Paige Six. This number for them, for it is a tailored looking crea- Walter P. Chrysler’s new Imperial tion of low, swift design. “80,” a larger, finer, faster six, was given its Los Angeles debut the same day that Marmon has established a special style the New York show opened. It has a department devoted entirely to building ninety-two horsepower engine with a good looks into their cars that will make speed range up to 80 miles an hour. Six motor car “modistes” sit up and take body styles include roadster and phaeton notice. of sport type, coupe, five and seven-passen- Sixes lead the parade in new announce- ger sedans and a sedan limousine. Rubber ments for the year with eights showing cushion clamps take the place of shackle the greatest proportionate gain. There bolts at the spring ends, increasing riding are five V-type eights, and sixteen straight ease, and eliminating lubrication. eights for ambitious owners to conjure Captain Eddie Rickenbacker says his with. Only ten fours put in an appearance

new straight eight super-sport roadster is at the New York show. Henry Ford was the fastest stock car in America. He de- conspicuous by his absence. His new mod- clares he has driven it 97 miles an hour. els are already much in evidence every-

It is mounted on the regular Rickenbacker Overlooking the Willamette Valley, where and he is busy building airplanes eight chassis, has a 100-horsepower motor Oregon and new engines for dirigibles. :

60 THE MOTION PICTURE DIRECTOR February

America’s Sweetheart (Continued from Page 41)

upon this factor. They are working tion, letters asking advice, letters request- steadily upward in story and production ing photographs and letters that only pour quality to a climax that seems always just out the hearts of the writers has increased ahead. with the passing years. Many followers of the screen have felt A thoroughly representative instance of

that such a climax would arrive if she this adoration that has enshrined Miss made a production with her husband, Pickford as “America’s Sweetheart” is Douglas Fairbanks, in a co-star role. given in the form of a present she received Countless rumors to the effect that such a from Mrs. Helen Eckles, of San Diego, venture was about to be made have gone California. The gift was a set of seven the rounds, and finally a near-promise has large scrap books, containing newspaper been given by the stars to make the joint and magazine clippings that covered the

production in the immediate future. It is star’s film career from the time she became to be launched either during their stay known to the public by name. abroad, or just after their return to Holly- This admirer of Mary Pickford has wood. gathered the clippings contained in the While there can be no doubt that a scrap books from every newspaper and Pickford-Fairbanks co-star production magazine she could obtain, and her first would score a tremendous success from an plan was to preserve the unique collection entertainment point of view, no climax in for herself. Years of admiration for the the screen career of Mary Pickford will be star finally culminated in a personal meet- reached thereby. She may go on from ing in Hollywood, and as a result of this there, either in her own productions or with meeting, in the presentation of the scrap- Mr. Fairbanks. Only one limitation will books—a gift that money could not buy or duplicate. be imposed upon her by the public, and H er fame has grown, and continues to The FOX that is—she may not grow up! grow, but the charming matron, Mrs. Countless news stories and magazine ar- Douglas Fairbanks, shall never reach ma- ticles have told the screen lovers of the SCARF turity on the screen. She shall remain al- world about Mary Pickford’s daily mail. ways the little girl of “Annie Rooney” and The great number of letters of apprecia- of “Sparrows.” harmonizing with every frock — so places they can be many Fraternities of the Screen ( Continued from Page 58) worn — an indispensable part of every wardrobe — More issue of The Motion Picture Director. it is here that the entertainments are dis- The Wampas being composed exclusively popular than ever this spring. cussed and plotted. The “prompter” in of masculine publicists and advertisers, an- charge of entertainment has absolute com- other organization having functions very mand over the two hundred screen-celeb- similar has been created by the women pub- rity members, from whom he may pick his Many shades and qualities licity representatives and advertisers of the casts and production staffs for the next studios. This club is called As- from which to choose. Women’s Masquers’ revel. sociation, Screen Publicists, or W.A.S.P.S., The Troupers Club is another very re its elected president is and newly Elizabeth cently organized group, and one of the Reardon. most interesting. Its primary requisite for The Masquers is a large and recently membership is a formidable one: Thirty developed organization of screen actors years in the theatrical profession on the and directors headed by one of the found- stage or as manager! It was founded only ers, Robert Edeson, whose title is not pres- a few months ago with nine members, and ident but Harlequin. Other officers are the membership is now nearing one hun- as follows: Sainpolis, Pierrot; named John drer. The meetings, which are dinners, E. Read, Croesus; Fred George Esmelton, are called Rehearsals, and the officers are Ponchinello; Robert Schable, Pantaloon. It as follows has a house committee, an entertainment Stage Manager, Frank Norcross ; committee, and a “Jesterate,” and its mot-

Prompter, Charles Thurston ; Call Boy, to is, “We Laugh to Win.” Palmer Morrison; Stage Doorkeeper, Fred This club is one of the most recently The ATELIER Gambold. The members are called The organized, having been founded on May 2126 West Seventh Street Cast. 1925. After various social events with- opposite Westlake Park 12, The Two Thirty-Three Club is a Ma- in its membership, the first public revel, sonic organization of actors and motion which is to be an annual event hereafter, picture workers, with a large and influen- was held at the Philharmonic Audtiorium tial membership. Further information on October 22nd, 1925. Entertainment is concerning this organization will be sup- supplied entirely by the membership. plied under a department devoted to the At the Masquers clubhouse, 6735 Yucca Thirty-Three Club, in the next issue street, Hollywood, the members foregather Two of The Motion Picture Director. The at all times of day and in all sorts of cos- is essentially a recreation and tume and makeup, as, in New York, stage Screen Club and screen players do at The Lambs. Be- vacation club, with headquarters in the sides the exchange of gossip and opinion, High Sierras at Lake Arrowhead, 19 26 THE MOTION PICTURE DIRECTOR 61

Barker bros . are lidding (( open house 9 at the new residence m the Quality Center of LOS Angeles shopping section. Ateinhers oftlle ALotion Picture family,

heing oId friends oftlns establishment, a very cordial invitation is hereby extended to yon to come and enjoy all that our new home has to oiler ol beauty, practical worth and trained, intelligent service.

(( 9 We are waiting to make you all truly at homeJ . BARKER BROS. Complete Furnishers of Successful Homes

SEVENTH Street, Flower & Figueroa 62 THE MOTION PICTURE DIRECTOR February

The Man on the Cover

(Continued, from Page 22)

Announcement in pictures—is that he is always open to suggestions and new ideas. If you have any that are based on sound logic, are practical, commercially feasible or at least artistically unique, this man Brown will lend you an ear.

H is wife is his constant companion. No- body who has ever met her twice could Frank E. Warren Inc., burden her with the formal dignity of Mrs. Clarence Brown. Ona Brown is a automotive finance and worthy helpmate to her husband—an in- insurance company an- spiration rather than an obstruction. She is always keyed to a high pitch of enthusi- nounces the acquisition asm about anything that her capable hus- of Floyd V. Bennett, band has accomplished or is about to accomplish. Praise showered on Clarence

nationally known insur- Brown is praise twice showered on his ance counsellor to wife. She has a business sense that is keen to the ’steenth degree. She is looking out the personnel for the welfare of Clarence Brown. She

is a courageous and tireless champion of | | anything and everything that will tend to | enhance and forward the cause of her hus-

band. But she is not selfish. The home of the Browns is a quiet, happy retreat; a haven from the hurry and bustle of life. Here everybody is assured of a homey and

democratic welcome. That is the spirit of the Brown chateau.

Then there is Adrienne Ann Brown. Nine years of age. Wistful, childishly serious. Shy but pleasant. Adrienne has told her daddy that when she grows up have acquired rep- We she’s going to be a motion picture actress. resentation of every Clarence says, “It’s up to her.” Just now, however, Adrienne is living the intoxicat- substantial insurance ingly joyous and fleeting years of childhood company and are now at Chevy Chase School in Washington, D.C. Frank E. Warren prepared and equipped to handle insurance in The Clarence Brown that tomorrow will carry to the heights of motion picture all its branches glory has been an industrious and serious apprentice. The strides he has made in his profession are not only an indication of public [[“WARREN -TEED INSURANCE ]1 recognition of one who knows his business but the crystallization of a faith and a -will- U MEANS PROPER PROTECTION” if to-do that has seen many dark days before the light came.

It is hard to develop enthusiasm about people in this business of up-today and Frank E. Warren Inc. down-tomorrow. Sometimes their mettle does not meet the test. We believe in 6461 Sunset Boulevard Clarence Brown. You will, too. Tel. GRanite 4780

The Little Journey, a recent fiction success by Rachael Crothers, has been •> <* purchased by the Metro-Goldwyn-Mayer studios for early screen production.

Rachael Crothers is one of America’s uC ” Phone for Qounsel best known fiction writers, having written various stories in the Saturday Evening Post and other magazines, as well as a number of successful novels. :

7 926 THE MOTION PICTURE DIRECTOR 63

Architects to Exhibit rT~'HE first exhibition of the Architects X League of Hollywood, to be given at the Regent Hotel, starts February 8 and will continue for two weeks. This exhibition will include not only architectural work, but work of the allied arts: mural painting, architectural sculpture, plastic work, iron work, landscape gardening, motion picture sets, and architectural models. A dinner and entertainment to be given on the evening of February 5th at the Regent Hotel, precedes the formal opening of the exhibition. At this function, members of the League and the architects of Hollywood in general will be entertained.

New Warner Theatre

(Continued from Page 35) played an active part in the ground breaking. Reading from left to right, they are Leon Schlessinger, George Coffin, Holly-

wood Chamber of Commerce ; Bennie Zeidman, associate executive, Warner Bros.; William Koenig, studio manager; E. T. Loew, Jr., scenarist; Jack Warner, production manager; Syd Chaplin, Harry C. Knox, Joe Toplitsky, Motley Flint, Mr. and Mrs. B. Warner, mother and father of the Warner brothers; Harry M. Warner, Ernst Lubitsch, Charley Well- man and J. Stuart Blackton. Back of them rises the artist’s conception of what the new theatre and home of KFWB will be like when completed. Rugs of Worth Chinese Theatre TN SELECTING rugs there should be consid- (Continued from Page A 34) ered these three points — service, beauty, authenticity. which the first excavation was made. Sid Grauman’s plans for the new the- While we can recognize beauty, few of us can pass atre are based on rearing what will in truth on the authenticity of an Oriental Rug. be a temple to the cinema and allied arts, Service is very important, for rugs have to stand a Chinese temple in which will be en- more wear than any other object in the room. They shrined the beauty, artistry and culture of the orient as the atmospheric background are ever in full view and their beauty must be for the presentation of the best in music, sustained. drama, and cinematic achievement. From The collection of Oriental and Chinese Rugs at the entrance to the huge elliptical fore- the “California” combines the best obtainable court to the backdrop of the vast stage the from a service intriguing Chinese motif will be carried out. Upon standpoint with the most the completion of the structure one will, in color and designs. upon passing through a pagoda-like en- And the prestige and reliability of the “Califor- trance, find oneself virtually in the orient. nia” assure you of the authenticity of every rug This effect is to be heightened by the you purchase here. forty-foot wall which will surround the forecourt and effectually shut off the rest of the world for the time being. Gafiformfc|fe^urtii|ure(2 If you have an idea of interest to the 644.545 ^ A BROADWAY. motion picture industry write THE DIREC- Interior Decorators TOR about it. Subscription rates to THE DIRECTOR are $2.50 per year. . ” —

64 THE MOTION PICTURE DIRECTOR February

Motherhood and the Screen

(Continued from Page 16) qA SMessage from "I miss the faces beyond the footlights,” and light. Others are very rich and pow- confessed a professional friend of mine who erful and perhaps the pictures they see ffilaur SltiL — Urury will % was dining at my home. “Somehow there’s make them help the poor, and be a wave of feeling that sweeps back over kinder to everyone. twenty years I’ve “That is what I see and feel, the footlights when you send it out from and to me, re- it is more inspiring T been mentally you, and it gets the people out there. It than any theatre audi- tf dressing the people comes back, and enters you, and you react ence and its applause would be. You see, with whom I have come to it by rising to greater heights. In pic- through the magic of the camera, it is now in contact. At first it af- tures, it’s only the director, and a few possible to spread happiness throughout forded a little idle me cynical cameramen and property men, the whole world, and it makes me very, Later amusement. I got a and— very happy, and very, very proud to think great kick out of visualiz- that I can contribute my bit to the enter- of girls ing a friend dressed in One my heard this, and when a tainment of that vast, wonderful audience.” the guest had departed, of course suit of clothes that I built there Yes—in that thought I perceive justifi- for him in my mind. Some were questions. . . . cation for all struggle on the road to a times I would fairly itch to “Don’t you miss it, then, mamma?” she demanded. screen career. To give the world, to give tell him about it, and fi- all humanity that added happiness and nally it became an obses- I able to say with the “No,” was utmost light, that beginning of universal under- sion with me. of conviction. The subject was, and is, standing and oneness of thought that may And then I found two one near to my heart. “No, dear, I do not some day fuse the interests of mankind, is

other . . miss the theatre audience.” Of course, I men the mission of the motion picture. The have not faced many theatre audiences. My WILLIAM privilege of making important contribu- experience in that line has been confined tions to this cause is, I feel, the utmost BEAUDINE practically to amateur performances and reward, the highest pinnacle, the greatest and personal appearances. But I truly feel in- attainment that a career can offer me. spired when I face the camera, and I’ll JOHN D. Combined with the things that, through tell you why. SCHULZE screen work, I have been able to give to the director and the camera- the children, the reward is great enough! who like myself have for “Beyond If I did I years been mentally build- men, the property men and the sets, I seem not believe have been a good ing clothes for their to see and to feel a greater audience than mother to the children, I would not be sat- friends. So now we have any single theatre can hold. There’s a isfied. If I did not believe that any mother sea of intent faces: faces of men and who preserved the ideal of motherhood in today . . . women and children not only of our country, but her struggle for success on the screen could DRURY LANE of every country in the world. There do equally well, in proportion to her suc- are the folk of England, of Holland, of cess as an actress, I would not give such I am having the time of the Scandinavian countries; there are folk an optimistic message to other mothers my life actually building of the Orient, there are folk of all colors who, perhaps, would like to enter motion clothes for my friends. You and races. Some are very, very poor, but pictures— if it were not for their children. can take it for granted — it costs them little to see a picture in their If you like, enter motion pictures be- you are cordially invited country, and it brings them some happiness cause of the children! to come up to DRURY LANE—and I hope you’ll come—for I’d sure like to (Continued from Page run a tape measure around Norma Plays Kiki 13) you. overdue rent she gambles her savings on Kiki’s well-remembered cataleptic fit, You’ll like DRURY the purchase of a second-hand wardrobe stimulated as a trump card in her endeavor LANE ( its personnel is with which to “break into the chorus.” to keep Paulette and Renal from driving modest). You’ll enjoy its office of Renal, her from the latter’s is an outstand- aristocratic atmosphere In the theatre manager house, Kiki in tryout, ing feature of the screen version. ’Tis and dignified originality. succeeds securing a through with flying colors be- here that K. Arthur as the servant, Won’t you let us know which she marches George when to exped you? We cause the song chances to be one with which Adolphe, is given the opportunity for a can smoke and chat and she is familiar. choice bit of action in kissing Kiki. If get acquainted. A comedy sequence follows, in which one pretends to be in that rigid condition, Kiki makes her debut and in trying to and helpless, how can one prevent one’s Estado ne Manana fake dancing as she had faked singing, self from being kissed? collides with Paulette, the featured dancer, Renal, of course, rescues her at the criti- Sincerely, and after a violent kick from that lady, cal moment, and Kiki comes out of her E. L. VALBRACHT sails through the air and lands sitting in “fit” with a bound, to throw herself into the bass drum of the orchestra! his arms and kiss him, much to his delight. Baron Rapp, the villain, enters the plot What a role! Will Miss Talmadge enhance her own and “Kiki’s” fame IrurylCattpICtiL here. In the screen version he is a more active villain than on the stage, and has through its portrayal?

5404 i?irrra Uista Aurrnu' a very good part. Paulette is presented as I am inclined to think that she will, and lliilUjanioi) Renal’s sweetheart, Kiki comes between if so, I hope that Norma will give us ffiladBtmtr 1T36 them, and thereafter lively fighting that other plays of that order, and not let arrives at the hair-pulling stage ensues. “Kiki” stand as a solitary example of that iflakrrfi of (Dutrr (Barmrntfi fur iRrn The intervals between the battles are filled remarkable combination—a powerful screen with intrigue, in which Paulette excells. individuality and true versatility. )

1926 THE MOTION PICTURE DIRECTOR 65

Bride of the Storm (Continued from Page 19) Permanent with interest, he tips his cap and says, “I beg your pardon. I’m all wet.” There

is certainly nothing “wet,” to resort to the vernacular, about Harron’s performance in Waving this picture. It is easily the best of his, for one so young, long screen career, which

is saying quite a bit. ... Faith is at once attracted by Dick’s neat by thes Weaver -Jackson_; ex- white uniform and the cheerful honesty of his face and he by her strange position, her clusive, new method ofwrapping, poor clothes, her suppressed loveliness, and her starved eagerness for companionship, effects a wides natural waves. understanding and love.

From this is evolved a delightful situa-

tion masterfully treated, a clandestine . . . We guarantees this wave to courtship under the most trying conditions, and without the benefit of language. Some remains in your hair for six of these scenes are positively unsurpassed for simple sincerity, pure sweetness, and months and it often_j lasts much gentle humor delicately and tastefully de- lineated.

From this point things move swiftly to a climax. Piet has sent for Mynheer Tom, a renegade parson, justice, etc. and plots with him to marry Faith himself. Faith . o . Do not entrust permanent conveys the news to Dick and after his commander has refused to intervene he gets waving to other than_j experts. back to the island that night by a clever ruse just in time to interrupt the ceremony. Our operators ares artists in their A terrible fight takes place, Hans hacks the supports from beneath the lighthouse and lines and you are assured a beau- fires it. Dick and Faith escape in the nick of time. This last part is particu- tiful waves, whole head . . . $19.30 larly spectacular and thrilling. The splendid photography under difficult and adverse conditions and the unusual and startlingly effective nightmare sequences are a credit . . . For forty years, our beauty to Nick Musuraca. Victor Vance is responsible for the appropriately atmospheric salons haves served the mosis dis- art titles. “Bride of the Storm’’ contains the most criminating women, o4 large masterful and interesting psychological study of the action, reaction, and inter- staff of courteous, experts attend- action of the minds of the four sinister figures of Jacob, Piet, Hans, and Mynheer ants has made theWeaver-Jackson Tom and of Faith and Dick of any picture since D e Mille’s “Whispering Co. well known to womens who Chorus.” So artfully are the effects of the various minds upon one another brought dress fastidiously in_; every detail. out, emphasized, and presented that the interplay and conflict grips one more powerfully than the most striking and thrilling of action scenes. The multi-colored threads of the various characters are woven into the fabric of the picture in a lucid but r complicated and delicate design, logical, co- 'eavtr-yads(M herent, convincing which is a satisfaction hAtRf/STORES not only to the initiated creator of pictures but to the layman in search of entertain- 621 South Olive Street ment. This is character building of the highest degree. 538 South Broadway

Commodore Blackton has carved in 6759 Hollywood Boulevard strange and exquisite style a beautiful Ambassador Hotel (Casino Floor cameo, faithful to the immutable laws of life and human nature, fashioned from new and interesting materials. 66 THE MOTION PICTURE DIRECTOR February

Lining up for the land rush which opened up the Indian Territory to settlers.

Three Bad Men In The World Of Promise (Continued from Page 38) these picture necessities, and a separate score to move the actors from Victorville, stores, clothing stores, ice cream parlors, crew of forty men was used in building California, the last railway point, to the doctors’ offices, dentists’ offices, a horse- the tent city wherein the cast of the pro- location, fifty miles into the Mojave desert. shoer’s establishment, a garage and a sep- duction and Director John Ford’s staff Huge motor parlor cars, especially equip- arate post office. One dozen deputy sher- were housed. ped with high-powered engines, were in- iffs from San Bernardino county were de- With the completion of the sets and liv- cluded in the great automobile train. The tailed to supervise the camp, and maintain ing quarters, the business manager of the caravan of cars stretched out for nearly a law and order. This was a necessary step location notified the home studio office that mile when the last car was loaded and because of the large number of people everything was in readiness for the pro- started on its way into the desert. camped together. ducing unit. Then came the problem of On the Mojave desert location every Such are a few of the problems which transporting the company to the location. imaginable enterprise existed—beauty par- enter into the bringing of the old, rugged Motor vehicles were engaged by the lors, barber shops, candy stores, shoe west before the eyes of a modern public.

The Follies Girl On The Screen (Continued from Page 13)

ing your movements, of a score of stage me work at once. I played a cloakroom scheduled to play opposite one of the most tricks, was of aid. girl in a picture in which Dorothy Mack- popular stars of today in a big production.

I arrived in Hollywood a little more aill played the lead, “The Bridge of Then I didn’t. I sit home now, between

than a year ago. And as this is written I Sighs.” Dot played her first Follies en- pictures, waiting for the telephone to ring have just finished playing my first leading gagement in New York in a company in and not knowing what to expect when I part. I appear opposite Buck Jones in which I had a big part and I played my pick up the receiver. It may be a gossip- “The Fighting Buckaroo,” for Fox Films. first bit in pictures in a company in which ing friend, or a call to world-wide fame. That is what my Follies training has she played the lead. Odd, isn’t it? On the stage one starts the season and done for me. From then on I was kept busy most of after the first night there is no new thrill, It brought me a part, a small part but the time. I was under contract to Rudolph nor chance of overwhelming success. In nevertheless an opportunity to appear be- Valentino for three months, to play oppo- pictures, one never knows. Every few

fore the camera, just four days after I site him in a picture which was never made. weeks there is a new chance. A tiny bit arrived. It was my connection with the I think that the excitement of a big chance may develop during the making of a pic- Foil ies that got me into Jack Warner’s like that has gotten into my blood. Just a ture to a part that will bring fame. This

office the day after my arrival and he gave few months after my arrival here I was is the life. I’ll never go back to New \ ork.

The Jewel Ballet from “The Midnight Sun” (Continued from Page 33)

In its final development the action of Miss O’Neill is another of the ever- Hollywood to do costumes for “The Merry this scene takes place in a grotto of jewels, increasing group of stage artisans to turn Widow” and “Ben Hur” as well as cos- about the throne of the King of Gems. her attention exclusively to the screen. Her tumes for Norma Talmadge’s “Graustark.” Before him pass in review the personifica- work as designer of some of the most nota- She is now designing costumes for the pic- tion of precious stones and metals, only the ble costuming effects of the Ziegfeld Follies Pilsen”, for highlights of which can be shown in the attracted her to the attention of Metro- turization of “The Prince of black and white illustrations. Goldwyn-Mayer for whom she came to Belasco Productions. —

1926 THE MOTION PICTURE DIRECTOR 67

young man not only anxious but deter- Capitalizing Opportunity mined to “get along,” took stock of his assets and made his plans. Four years later (Continued, from Page 23) CHAPMAN’S we find him in one of the most active and responsible executive positions in the motion son director over to a conviction that the picture industry. Fancy Ice Creams of an important figure in the show world He says that as he reviews his progress was sincere in his desire to succeed on his during those four years, he realizes that Ices own merits was not easy, but Considine and “the breaks were all for me!” That, he convinced him by a very simple method modestly explains, accounts for the speed demonstration. of his climb. Now that he had made the first step,

At last—the opportunity to demonstrate (Continued from Page 52)

An opportunity to prove his executive ability and generalship of detail to Mr. ' So many women find it such a Schenck yet more convincingly, came when distressing problem to find a the latter was planning a trip to Europe. It had not been his intention to take Con- satisfactory laundry. sidine along, but he chanced to remember When it comes to solving laun- that he spoke French and had lived in Eu- dry problems — the rope. On being offered the chance of ac- consult companying his employer, the young pri- Crescent Hand Laundry. vate secretary accepted eagerly. Europe meant little to him after several trips and For we are experts in the wash- periods of residence there, but the chance ing of delicate fabrics such as of greater intimacy with Schenck, and a lingerie—silks—and laces. greater opportunity to serve him, was more than attractive. He managed the trip so well that very WE SPECIALIZE ON HAND WORK shortly after their return he became manager of the Norma Talmadge company. 'Preservers of Linen' Two and a half years ago he was made general manager of the Schenck Produc- tions, a position he still holds. In addition, he is now an associate producer. He made “Wild Justice,” with Peter the Great, the HANDWORK Laundry Inc. police dog star, in the central role; another of his productions is “The Eagle,” star- 1139 NORTH MILTON AVENUE ring Rudolph Valentino. Both are United HOLLYWOOD, CALIF. GRanite 0203 Artists releases.

In 1921 John W. Considine, Jr., a 68 THE MOTION PICTURE DIRECTOR F ebruary Open Door (Continued from Page 2) ANNOUNCEMENT T presence, but they entertained us with stor- I T ISN’T POSSIBLE ies of the fun and sorrows of work in a % % ^ moving picture company. All of us from the Captain down had the time of our “Ollie” WITH OUR PRESENT EQUIP- lives and are looking forward to a return MENT visit. L. J. Kehoe, h= * * Chief Yeoman, U.S.N. SELLERS ALL THE LAUNDRY TO DO Formerly Editor, * * * Associated with The Motion Picture Director: IN HOLLYWOOD Carl van Vechten’s “The Tattooed Universal Film Corporation * * * Countess” has just arrived in my town as and “A Woman of the World” with Pola SO WE’RE SATISFIED Negri in the title role. Pola is good, and Triangle Film Corporation * * * the picture, as a picture, is such a great improvement over her “Flower of the Night” FOR THE PRESENT that the contrast makes it a masterpiece. Has Opened Let it be understood, then, that I have no * * * Exclusive quarrel with the photoplay itself; it is an TO SPECIALIZE good workmanship throughout, and presents the star as only two of her pictures, He * * “Passion” and “Forbidden Paradise,” have Furniture ON THE SHARE WE GET done. My quarrel is with the linking of the * * * name of a book by a well-known author Studio BUT WE WISH TO REMIND with a story that bears practically no relationship to it. I will not say that the SUNSET BLVD. YOU story which appeared was not as good, for On Between Curzon and Stanley H= * * picture use, as Van Vechten’s unpuctuated

novel. Perhaps it was better. But why THAT IT’S ALWAYS POSSIBLE credit the author? Why tire out the spec- Featuring tator who comes to the show for enter- H= H= H= tainment, with the task of matching a story TO DO A LITTLE BIT MORE he has read with the story that unfolds on Decorative and the screen? He looks in vain for certain H= H= He fiction characters, and discovers others Period Furniture totally to him in the familiar AND IN THE COURSE new ; few ones he sees, he meets new personalities H: H= He who confuse him with traits and story func- Draperies tions utterly foreign to his memory of OF A NATURAL GROWTH and them a la Van Vechten. H= * * A director I ensnared with my tale of Upholstered WE’LL SPECIALIZE woe tells me that the censors are responsible. If so, a bas le censors! And if H= H= H= they aren’t to be a bas-ed, by any possible Furniture THE “LITTLE BIT MORE” means, let’s have stories that do not have ON to be censored, or stories built from the

* He H= ground up and given to the public sight- Tailored in Their unseen. Not by Mr. Hergesheimer, who Own Shops FOR AFTER ALL is alleged to have perpetrated “Flower of

H= * * the Night,” but by the capable man, woman or collaborators who authored the WE’RE SPECIALISTS ANY- film “A Woman of the World,”—and let YOU ARE CORDIALLY WAY— them be unhampered by the necessity of INVITED TO CALL preserving in part a few characters or situa- He H= He tions created by a novelist. THAT’S PROGRESS! Having no inclination to write scenarios, I do not advocate my favorite star appearing in a masterpiece of mine. Box office Sellers’ investment of time and money alone im- pells me respectfully to suggest stories by Furniture Studio studio staff authors — good studio staff 7617-19-21-23 Sunset Bind. COMMUNITY authors. If censors or the limitations of the screen make a fairly true reproduction GLadstone 4795 LAUNDRY of a novel or play impossible, let the studio men create our entertainment. Cordially, M.E.R. This bookletyours for the asking-

“Eastman Panchromatic Negative Film for Motion Pictures”

An interesting, practical booklet on the properties and uses of Eastman Panchromatic Film. Contains the information directors and

cinematographers have been looking for.

Write for a copy.

Motion Picture Film Department EASTMAN KODAK COMPANY ROCHESTER, NEW YORK

SMITH-BARNES CORPORATION MORE THAN PRINTERS

Scanned from the collection of

Marc Wanamaker / Bison Archives

Coordinated by the Media History Digital Library www.mediahistoryproj ect.org

Funded by a donation from University of South Carolina Libraries and College of Arts and Sciences