Austin Says Day of Slap-Stick is Gone by Lucille Erskine
    William Austin attained success on the stage in that blithest of all comedies, “A Tailor-Made Man.”  For years he has raised a good number of laughs nightly at the Morosco Theatre.  And now he has just finished in “Ruggles of Red Gap,” a Lasky production under the direction of James Cruze, the director. As many are beginning to call him, since “The Covered Wagon.”
    Comedies this successful comedian knows as Paderewski knows the keys of the piano.  And he says the days of the slap-stick are gone.
    “Now, the public demands more than a fat clown who falls down.  Of course, the funny screen play will always be light, but there is going to be more art to it, and it's even to have an intellectual appeal.”
    I expressed my doubts.
    “But back of every good comedian,” he insisted, “is a great and subtle intellect. Charlie Chaplin draws in his net of appreciation the stately Chinese mandarin and the small American child.  But not every one knows that this great jester is a widely-read, deeply-thinking man.  And the subtle touches in his comedies are put there because his own exacting mind demands it.”
With all the race of fun-makers, this Mr. Austin thinks being funny is no joke.
    “On the speaking stage, you have the incentive of the audience.  For all fun should appear impromptu.  But we on the screen have to warm up with a cold and empty house before us.  And you never know when the laugh will come, after the story gets before the audience.  I've sat in a theater and watched myself on the screen; would hear a laugh, when I had little thought of raising one.  And when I was sure of a roar, well, it wouldn't always be as loud as I expected.”
    For several years he played in English comedies and has very definite ideas about how you put over the glittering wit of Oscar Wilde.
    “It has to be played casually-handed over to the audience in small doses, so to speak, or they will get blinded by the too-much brilliancy.  Some of his later plays were very heartless.  And when a Wilde comedy is screened, it exposes the lack of heart back of the cold, steely glitter of the words.  There has to be emotion to get over on the screen and his plays had none.  I expect 'Lady Windermere's Fan' to live, because it exposes not the rottenness of English society, but of a certain small group that used to be powerful, but now are being forced out to earn their bread.”
    And William Austin knows whereof he speaks.  For he comes of a distinguished English family, is another of the emigre that makes the population of Hollywood so picturesque.  Russian, English, and Italian aristocracy are here in this cinema city, an artistic melting pot, working beside Americans descended from the Mayflower and others who bring the rich vigor that comes from being close to the soil.
“    If I may be critical,” he said, “English society is rarely portrayed correctly on the screen.  Take a house party shown in a recent movie drama.  The hostess greets her guests with such cold, such freezing hauteur as if to say 'Who are you?  How dare you come here?'  I do think in real life she would have been simpler and more cordial.”
    He was born in British Guiana and educated in private schools in England.  But the stage claimed him after years spent in the Orient.  He was a soldier in the International army, organized to protect the Europeans in China.
    “Where rebellion,” he said with a smile, “was part of the day's work.  One of the most interesting memories that stays with me from my days in China was a visit to the Chinese theatre.  The audience go right on talking, seemingly giving no attention to the actors, pay visits from seat to seat and wash their faces in hot cloths that are brought around.  You pay so much a wipe.”
    The Chinese drama with its mummified classicism could give him little, but he thinks the Russian players who took New York by storm last winter are to leave their impress on the screen.
    “I did not know a word of their language,” he went on, “and had read only a synopsis of the play, but such was the perfection of their pantomime that I was thrilled at every line. Especially was the way they handled crowds on the stage new and wonderful.  There were no still figures.  Every one seemed to be doing something, yet the audience felt no distraction.  And since we on the screen are their brothers in pantomime, the subtlest emotions now ought not to be beyond us.”
    Whether playing comedies has made him hopeful or not, he is sure art is going to down commercialism in the movie world.

(Camera Vol. 6 No. 22  pg. 5)


Flashes From Frisco by Agnes Kerr Crawford

    Thomas Meighan, his wife Francis Ring, Al green, Director, and thirty members of his company will be here this week for several days working on the waterfront in the picture “Woman-Proof,” which is being made from a story written especially for Meighan by George Ade.

    Earl Williams, his wife, and Constance Talmadge, are guests at the St. Francis.  Earl Williams came to do a dock-side scene for a picture, and Constance Talmadge “Just Came along,” she says, for a little holiday.

(Camera Vol. 6 No. 22  pg. 6)


CAMERA'S WEEKLY WAKE-EM-UP

“Yankee Spirit” For the Fall Release

    For the first time a serious attempt is being made to produce juvenile pictures which will indirectly be of material aid in boosting the good work being done by the Boy Scouts and similar organizations.  This is being done in a series of comedies, which will be known as Juvenile Comedies.  The first of these, which will be distributed throughout the United States and Canada by Educational Film Exchanges, Inc., has already been completed and will be called “Yankee Spirit.”
    Heading the cast of the first picture will be Bennie Alexander, one of the best known juvenile actors on the screen, and who lately portrayed the leading role in the screen version of Booth Tarkington's “Penrod and Sam.”  In the big cast supporting Bennie will be Ernest Butterworth, Roger Keene and several other well known boy actors.  George Ovey, who has had the starring part in over two hundred comedies, has a prominent part in the picture.  The direction was under Norman Taurog, one of the screen's most capable comedy directors, who has directed Larry Semon in a number of his comedy successes,
    There will be six pictures in the Educational-Juvenile Comedy Series, the first of which, “Yankee Spirit,” will be released in a few days.  They will appeal to young and old alike with their humorous child stories, but each picture will be designed to appeal to the best that is in youngsters, as well as to make them and their elders laugh.

    Abraham Carlos, who had originally planned to leave for New York Labor Day, left Saturday and will take with him the prints of his super special “The Unknown Purple, “ adapted  and  directed by Roland West from his stage play and “Fast Freight,” starring Richard Talmadge.


Auto Race to Be Big Run by Big Stars

    George Fitzmaurice, the director, according to a letter received from him by Bull Montana, will finish “The Eternal City” in Rome the latter part of December and be back in Hollywood in February.
    What is more exciting than this piece of news, perhaps, is the acceptance by George of Bull's offer to race the latter's Cadillac against the former's Rolls Royce.
    Bull, it seems, purchased the Fitzmaurice Cadillac when the director left Hollywood.  Abroad, Fitzmaurice bought a new Rolls Royce and in correspondence to Bull has bragged about its merits.  The “Bool,” now appearing in Maurice Tourneur's “ Jealous Fools,” has expressed marked signs of jealousy on frequent occasions to race Fitzmaurice.  The event will take place soon after the director's return.
    Bull sent addresses of his “Mamas” in Rome to Fitzmaurice but the latter sent them back with thanks stating he was too busy for “Mamas” and adding that he had a  “Mama” of his own who would hardly approve of his using Bull's addresses.

Stage Favorites Receive Great Ovation

    The screen version of “Potash and Perlmutter” was tried out on an unsuspecting audience at the Roosevelt Theatre and was accorded the greatest ovation that any previewed picture had received at that theatre in years.  At its close, the audience which packed the house, applauded for several minutes.  The showing at the Roosevelt theatre was the first exhibition of this picture in the west.  Made in the East by Samuel Goldwyn for First National release, it had previously previewed three times in and about New York.  It had received similar receptions to that accorded it last night.
    “Potash and Perlmutter,” a screen version of the famous stories and plays of Montague Glass, was produced under the direction of Clarence Badger, who is now connected with First National at its West Coast studios and who begins work on the production of “The Swamp Angel” with Colleen More  in the leading role.
    Braney Bernard, Alexander Carr and Vera Gordon played the same characters in the screen play which they had in the several Potash and Perlmutter stage productions. Others in the cast were Ben Lyon, who was the only member of the cast in the West and able to attend last night's preview, Hope Sutherland, Lee Kohlman, Martha Mansfield, De Sacia Mooers, Adolph Miller and Ed Durand.

(Camera Vol. 6 No. 22  pg. 9)


THE SCHENCK LINE-UP

    “The Dangerous Maid,” starring Constance Talmadge, is now in the cutting rooms and will be completely edited in about three weeks.  This story of the turbulent times of King James II of England was directed by Victor Heerman for First National release.
    Buster Keaton will be the next to finish.  Buster is now making “Hospitality,” his second feature length production.  In “Hospitality” Buster's wife, Natalie Talmadge Keaton and Baby Buster as well as Buster's father, “Joe Keaton,” have important roles.  The first sequence of “Hospitality” were made in Truckee.  Other scenes were filmed on the United Studios lot and the comedy is now  being completed at the Keaton Studios.
    Norma Talmadge is about a third done with her big Algerian spectacle-drama, “Dust of Desire,” the scenes of which are laid in and around the famous oasis of Biskra in Northern Africa. “Dust of Desire” is being directed by Chester Franklin and Frances Marion.  Joseph Schildkraut, the famous continental star, heads the all-star cast.  “Dust of Desire” will be ready for editing in about a month.
   

New York Critics Pre-View “Rosita”

    A new jewel is now glistening in Mary Pickford's crown of fame, due to the success of the New York opening of “Rosita,” her latest photoplay, which had its premiere at the Lyric Theatre in the heart of the Metropolitan theatrical district.
    Wires to the star from friends in New York as well as from members of the United Artists organization indicate that this film will not only be Mary's best but will prove one of the worth-while cinemas of the year.
    Among those who telegraphed their congratulations were Mary Hay, Richard Barthelmess, George and Percy Fawcett, Hartley Manners and Laurette Taylor Sol Lesser, Maud Savini, Mrs. Bertha Case, wife of Frank Case who owns the Algonquin Hotel, and many others.
    From Hiram Abrams, president of the United Artists Corporation came the following:
“Press unanimous in praise of your remarkable acting, the magnificent photography, the bigness of the production as well as Lubitsch's direction.”
    “Rosita” is understood to be notable as a photoplay for three reasons: To begin with, it represents Ernst Lubitsch's first directorial effort in America.  Second, it is the first time has appeared in an adult role throughout an entire picture.  And last, the film is distinctive because of the photographic innovations for which Charles Rosher is responsible.
    A notable member of the cast with Miss Pickford is Holbrook Blinn, playing the part of the philandering king.
    “Rosita” is expected to be released generally in the Fall.
   

With the Cinema Stars of Today

    Where do good movie actors come from?  Does any one section of the country contribute more histrionic talent to the silversheet than another, and was the stage the original training school for a majority of the picture industry's well-known players?
    These questions are burning ones with numerous fans who follow the careers of the brightest lights in the spectacular cinema firmament and for this reason the following in formation has been compiled for the edification and peace of mind of “ardent fan,”and “admirer” and the scores of others who pen notes to the players of the screen propounding the intimate queries.
    William V. Mong, noted character leading man, was born on Chambersburg, PA.  Following several years as a district school teacher, he deserted the high lights of education for the footlights of the stage.
    Al St. John, Fox star comedian, was born and raised in Santa Ana, Cal.  He served as a lifeguard at Long Beach for a few years and it was through his daring in the water that Mack Sennett engaged him for minor parts.  St. John rose to stardom quickly.
    Charles Jones, another Fox luminary, is a product of Red Rock, Okla.  He entered the movies via the cowboy route and since has become one of the more popular stars of the cinema world.
    Dorothy Phillips was born and raised in Baltimore, Md.  Following a private school and college education she studied dramatic art and went on the legitimate stage at an early age.  Today she is a famous star.
    Eulalie Jensen, noted featured player, was born in New York, and received her early stage training in musical comedy and vaudeville.  She is now in great demand at the Hollywood studios.
    King Baggot is a native of St. Louis, Mo.  He began his stage career in dramatic stock and is now one of the foremost actors and directors of the movie world.
    James Morrison is a product of Matoon, Ill.  He is a college graduate and also a graduate of the speaking stage, having begun his career as an actor in vaudeville.
    Carl Stockdale, one of the most competent artists of the screen in character roles, will play the role of the bookkeeper, in Bryant Washburn's first picture.   
    Joe Bonner by chance ran into his old partners, Tommy and Mabel Price, with whom he had toured the country in a vaudeville act.  The trio have been engaged to entertain radioites for one of the daily newspapers broadcasting stations, doing the old act.  While the vaudevillians are in town, Joe is showing them about the studios, and giving them an opportunity to see just why he left the road to settle down in cinemaland where he has proven himself a very clever juvenile actor, as well as a clever funster.

(Camera Vol. 6 No. 22  pg. 10)


    May Emory, for years connected with the Mack Sennett comedies, who has of late been appearing in feature length subjects, is the proud possessor of one of the most complete wardrobes of any of the feminine actresses that are now gracing the boards in cinemaland.

    Considerable rivalry exists between Monty Banks and Sid Smith, Grand-Asher comedy stars, as to which shall have a house warming first. Both have new homes in Hollywood, but Monty got moved in a bit before Sid's was completed.  However, Monty is still holding off and Sid swears he plans to have a party the same night.  Probably they'll toss a dollar to see which entertains first.


Priscilla Moran in “Daddies” Cast

    One of the most important child roles to be given away in recent months was handed to Priscilla Moran this week by “Bill” Seiter, who is to direct David Belasco's great stage success, “Daddies,” for Warner Brothers.  Mr. Seiter and Jack Warner have interviewed more than sixty of the screen's most lovable children during the past thirty days, seeking one to play the part of “Sammy” in “Daddies,” and on the very day they were to decide upon their choice, in walked Priscilla and their quest was ended.  She was engaged for the important role immediately.  Priscilla will be remembered as the little girl who lived with the Coogans for several months and was widely reported to be Jackie's adopted sister.  She is a remarkably beautiful child with an almost uncanny natural ability for acting.
    Other notables in the large cast of “Daddies” are Monte Blue, Harry Myers, Mae Marsh, Claude Gillingwater and many others.  Production will start this week.

    The Hercules Film Co., Inc., with headquarters at the Russell studio have just completed their new feature, “Let's Go,” directed by Jack Nelson.  The corporation, under California laws, has in its personnel, Otto Poll, Marco Charles, John Charles, Peter Andrews and Wm. Walthein and was organized for the purpose of filming 5-reel features for the independent market.  Jack Pello, the star, is well known for his athletic stunts and is supported by  a cast which includes Eva Novak, Milburn Moranti, Dick Sutherland, Joe Girard, Billy Elmer and others.  Casting is in charge of Marco Charles, who is busy selecting players for the next picture, to start the latter part of September.


One-Minute Interviews With Famous Film Folk
By MALCOM STUART BOYLAN

    “Miss Breamer, you are of Australian birth.  Now, do you think that there is any temperamental difference between the Colonials and the British that might influence one's work on the screen?
    “Temperament, I believe, originates with one's parents and imme3diate associates, rather than with geography.  The British are restrained emotionally in comparison with the Latins, for instance, but between the British of England and the British of the colonies there is no difference of mannerism that could be noticed on the screen.
    “Miss Enid Bennett, a beautiful and gifted actress, is an Australian by birth.  But I do not believe that an observer could watch her art from a theatre seat and learn the place of her birth.
    “The silent drama is internationally incognito because of its silence.  There is no accent to identify one's geographical origin.  It is entirely a matter of appearance.
    “In “Thundergate,” as an example, Owen Moore looks entirely Chinese when that is the requirement of the story and half-caste when the trend of the drama changes.  Mr. McKim might be British, Italian, Celtic or French.”
    Miss Breamer shared prestige with the all-star cast of First National's “Thundergate” and is now playing an important role in “Her Temporary Husband” for that company.
           
                ____________________________________
   
   
    “Miss Moore, what do you think of the strange international situation between Italy and Greece?
    “ I think as little as possible about it, and with apprehension.  For a young girl to impose her views on the public on such a serious subject would be taking unfair advantage of the freedom of the press.
    “Girls with whom I went to school would not be asked to express an opinion on a matter that bewilders a statesman.  I am asked because the public has been kind enough to recognize me as a screen player.
    “Even if my publicity director knew enough to intelligently answer the question in my behalf, I would not allow my opinion to be thrust upon thinking adults.
    I pray, devoutly, that the difference between nations will not lead to war.  I do not like Greek restaurants; nor do I like spaghetti, but I should dislike to see anyone fighting about it.”
    Miss Moore has just finished the leading role of “Flaming Youth,” filmed under the direction of John Francis Dillon from Warner Fabian's novel and offered as an Associated First National picture.

                ______________________________________

    “Miss Faire, would you rather the publicity department would describe you as a  spectacularly beautiful girl with a profound intellect, or as a nice girl, moderately pretty, who is trying to get along?”
    “The latter!
    “Bad advertising has killed more picture players than lack of publicity.
    “Blatant blithering about screen folk must be getting fearfully tiresome to the general public.  It is to me.  I would much rather be known as a sincere worker with a possibility for success than as a simpering doll for whom fame and fortune has been prescribed by destiny.”
    “Miss Faire, what can you say about your latest picture?”
    “Nothing.  I did not under stand that it was to be the purpose of this brief interview to discuss any definite production.”
    Miss Faire has just finished an important leading role in First National's production “Thundergate,” directed by Joseph  de Grasse from Sidney Marshall Small's story, “The Lord of Thundergate.
       
                _____________________________________

    “Mr. Bird, of all the hundreds of beautiful women you have photographed, whom do you consider the best subject?”
    “That is an unfair question and to answer would probably abrogate my insurance.
    “Each has some elusive charm which is not always captured by the camera.  Many of the most charming have a face for every hour and a mood for every minute.”
    “ Mr. Bird, Associated First National has three young women under contract with whom you are in frequent professional contact.  Surely, Miss Colleen Moore, Miss Sylvia Breamer and Miss Virginia Brown Faire are first on your list of beautiful women?”
    “Not necessarily.  I did not understand that this informal chat was to be diplomatic?
    “Miss Moore, for instance, is too animated; too fleeting in her almost innumerable expressions to be a perfect subject, for a camera that requires a motionless moment.  When portrairs are made exclusively by the motion picture camera, Miss Moore will be the perfect subject.
    “Miss Breamer, is statuesque.  She must be photographed only in dignified poses and her beauty is so delicate that it is sadly influenced by lights.  She is difficult to photograph but the effort is well worth making.
    “Miss Faire is a charming subject, but she thinks so deeply that it is not always easy to change her mood to suit the moment's requirement of the still camera.  I like to photograph her in the low tones of old painting.”
   
(Camera Vol. 6 No. 22  pg. 11)


Syd Returns to Screen

    Good news for motion picture producers as well as fans comes in Syd Chaplin's declaration that henceforth he will devote himself exclusively to screen acting.
    Originally, back in the days when he was a star performer in the London music halls, Syd Chaplin was the older, successful brother, doing his utmost to get a start for his “kid brother,” Charlie.  In fact, it was the insistence of the London vaudeville managers that he fulfill his contracts there which kept Syd from coming to this country and gave Charlie the opportunity to display his art in America-and hence came his start in pictures.  Later, Syd came over here, too, acted in a number of comedies and directed a few-but was forced to give most of his attention to Charlie's business affairs.  Soon he found himself in other business ventures and thus his screen appearances became spasmodic, fed and far between.
    Realizing that he must concentrate his efforts, Syd Chaplin has now decided to devote himself exclusively to acting before the camera-and thus another great comedian will come into his own.  Especially, he plans to create those roles which afford comedy relief to the highly dramatic plots that are coming into vogue again on the screen.  He recently concluded such a part, with Marshall Neilan in “The Rendezvous,” a grim Russian tragedy.  At the present time, Syd is a member of the all-star cast making “Her Temporary Husband” for First National Pictures.

    Samuel Bishoff, auditing director of Grand-Asher Distributing Corp., whose offices are in New York, is in Hollywood for an extended visit.  He was delighted with the development of the organization since its inception and impressed by the amazing growth  of Southern California since his last visit a couple of years ago.


Makes Ready For Busy Fall Season

    Under the direction of Norman Manning, studio manager for Principal pictures Corporation, the first few dollars of the company's appropriation for studio expansion, are being put into circulation.
    A new dressing room building has just been completed, of the one-story bungalow type.  It is the last word in modern construction and the large airy rooms are completely equipped with every known convenience for donning the make-up.  The fifteen additional rooms are divided into three star suites, two large rooms for extra players and seven singles.
    Also a new high-powered generator has been installed to take care of the additional “juice” required for the increased production activities.
Manning, a landscape artist of no mean ability, has been laying out the grounds surrounding the executive offices, and rows of brilliant geraniums, smooth green lawns and young pepper trees serve to make this studio one of the most attractive in Los Angeles.
    Fifteen acres of ground adjoining the Pickford-Fairbanks studio on Santa Monica Boulevard, comprise the Principal Pictures lot.  The studio was formerly owned by Florence and King Vidor, but was taken over by Sol Lesser and his associates early last Spring. It is here that the Harold Bell Wright novels are being filmed.  “When a Man's a Man,” featuring John Bowers and Marguerite De La Motte, has just been finished and is now in the cutting room.  The second Wright story to be screened, “The Winning of Barbara Worth,” starring Florence Vidor, will go into production early in October.
    Eddie Cline is at present busy on the big stage directing Bennie Zeidman's production for Principal Pictures, “The Good Bad Boy,” featuring Joe Butterworth and Forrest Robinson.  Harry Langdon and his company are in the midst of the second two-reel comedy of his series, under the direction of Alf Goulding, with June Marlowe playing opposite the star. 
    Principal Pictures Corporation, though a young organization, has made terrific strides in both the production and distribution ends of the motion picture business, and promises to become a recognized leader in the industry.

(Camera Vol. 6 No. 22  pg. 12)


Langdon Brings Famous Coat to Screen

    Harold Lloyd and his horn-rimmed spectacles-Charlie Chaplin and his bamboo cane-Lloyd Hamilton and his checkered cap-and Harry Langdon and his triangle overcoat.  The short, flaring overcoat of Harry Langdon is as familiar to vaudeville fans as those other appurtenances are inseparable from the screen comedians.  And Langdon has brought the overcoat with him to the screen.  Or I should say, overcoats, for his wardrobe actually boasts eight.
    It is an easy matter for a screen comedian to determine what is funny and what is not.  He need only sit down in the projection room and examine his screen self at leisure-and the comedian himself generally knows better than anyone else what is funny.  Whether or not a certain piece of wearing apparel, and the manner of wearing it will cause laughter, is decided before the picture leaves the projection room.  Of course we don't always agree with the decision.
    But the stage comedian can't see himself.  He's got to try out his ideas on an audience that has paid good money to be made to laugh.  The measure of applause-or-otherwise-that he receives from these first audiences decides whether or not his “stuff” is funny.
    Harry Langdon had a slight advantage over his brother stage comedians.  He was for many years a cartoonist, and knew pretty well what looked funny to people.  A cartoon of his once made such a hit that Langdon set himself the task of discovering what it was about this particular figure that made it so funny.  It wasn't the pose; it wasn't the face, or the hat-it was the lines of the overcoat!
    He forthwith adopted the style for himself for his vaudeville acts, with such success that the Langdon overcoat is as well-known to vaudeville audiences as the acts themselves, “Johnny's New Car,” and “After the Ball.”  A tailor in Chicago makes all the overcoats.
    Langdon is busy now on his second two-reel comedy for Principal Pictures Corporation under the direction of Alf Goulding. June Marlowe plays opposite the star.

Checking Up On The “I-Told-You-So” Gang

    Dempsey vs. Firpo.
    At the First National studios there are a half dozen or more actors who are either personal friends of the champion, or who have had such close contact with him as to have felt his husky left.
    There is Chuck Reisner, playing villain in “Her Temporary Husband,” being directed by John McDermott, who corresponds regularly with his old pal, Jack.
    “He and I used to barnstorm around the country,” says Chuck.  “I remember when he would meet all comers-and knock 'em cold.”
    “He's a cinch to win.  Firpo will come in on him and that's just what Jack wants.  Jack, like most champions, is best when he fights block and counter style.  I expect he'll teach Firpo something in the way of arm blows.  If Firpo's right arm ever feels Jack's left on the muscle it won't be worth much.  Sure, Jack will knock him for a row of Argentine ant-eaters.”
    Chalk up another for Dempsey from Sydney Chaplin, who is playing a leading role in “Her Temporary Husband.”
    “Foreign fighters have no chance with Americans.  It was in America where all the modern science of the game was developed.  Foreign fighters are more for display to make the fight spectacular.  An American goes in to win; it is the American breeding and can't be beat.  And I believe Dempsey is a true representation of American determination.” says Chaplin.  Firpo should hear the sweet birds before six rounds are fought.”
    But here is a vote for Firpo.
    “If these two fellows are letting their beards grow as a part of their training-it's Firpo all the way,” believes McDermott.  “Each have said they are passing up the barber shop because long beards go for protection.  Well, take a look at Firpo's map.  Of course if I were betting-that's something else.”
    The fight dope on the First National sets is not without authentic source, for in Joe Stanton, Cherokee Indian, who is playing a minor villain part in McDermott's picture, there is a man who has sparred with both of the fighters.
    “Firpo can knock out Dempsey.  He has the punch.  The only doubt in my mind is his ability to take a Dempsey lashing. If he can stand up four or five rounds he'll knock the championship out of America.”
    “Fight?  Whata fight?” asks Bull Montana, playing in Jealous Fools” being directed for First National by Maurice Tourneur.  “Oh, you mean that thing what Firpo's donna know nothing about?”  The “Bool” leaves not room for doubt as to what he thinks of Dempsey's chances.”
    “I tried to bet that Dempsey would knock out Willard in one round but I couldn't place it,” Owen Moore, playing the leading role in “Her Temporary Husband,” says, explaining that he feels the same way about this fight.  “Jack's from another actor who's knowledge of the prize ring came from actual experience in it.  Conway Tearle, who is being co-starred with Corrine Griffith in “Black Oxen,” was once a professional welterweight in England.  Ten years ago he was considered to be one of the fastest men in his class.  Tearle admits that he has placed several bets on Jack, and he's not worried at all about Firpo's chance of dethroning Dempsey.


A SMALL WORLD
    Meet again on “The Isle of Paradise”; this is the story of Robert J. Horner and Richard P. Young, Hollywood film folk.  Some years ago, Horner, then scenario editor for a producer in Chicago, purchased a funny story from Richard P. Young, the a free lance writer.  Leaving immediately afterward for the Coast, Horner lost track of his new acquaintance.
    And now they are to begin together again in “The Isles of Paradise” a feature film production starring George Chesbro, to be directed by Horner, and cut by Young.


PLAYS IMPORTANT PART
    Beautiful Hazel Deane, said by many to possess the most magnetic personality in pictures, has been chosen to portray an unusually vivacious part in Bryant Washburn's first Grand-Asher production “Try and Get It.”  In this delightful farce, plays the part of a modern flapper, who finally succumbs to the wiles of Edward Horton, to perfection.
    Both Cullen B. Tate, director, and Bryant Washburn are delighted with Miss Deane's work  and predict a big future for her.

Noted Author Is Here On Visit

    The first step toward the making of “The Winning of Barbara Worth” by Principal Pictures was taken yesterday when Harold Bell Wright, the author, met edward F. Cline, director, at Principal Pictures studio and began a series of conferences in which the scenario department of the Lesser organization will participate.
    Harold Bell Wright, accompanied by Mrs. Wright, arrived from Tucson, Arizona, and registered at the Ambassador Hotel, Los Angeles, where they will remain about two weeks.
    Daily meetings with the scenario department of Principal Pictures and with Mr. Cline, are scheduled, the plan being to get Mr. Wright's cooperation in laying out the scenario just as was done in the case of “When a Man's a Man” which is now completed.
    Mr. Lesser's determination is to parallel in the picture he is to present, the motives and spirit, and action of Mr. Wright's epic story of the reclamation of the desert, so that when it is produced it can go forth with the approval of the author.
    “That Mr. Wright accurately gauges the taste of the American Public”, says Mr. Lesser, “is demonstrated by the millions of readers he has won with his fiction.  If he can win millions of readers for his books,” continues Mr. Lesser, “it is because he touches their hearts and arouses their enthusiasms.  There is no reason why these salient qualities of Mr. Wright's novels should not be caught by the camera.  That is why we are inviting his cooperation and why we are so happy he is giving it to us in such abundance.”

   
Ben Alexander Is First National Child Star

    Ben Alexander has arrived.
    This youthful actor's sterling work in the leading role in “Penrod and Sam,” has been recognized by Associated First National Pictures, Inc., with a long termed contract.
    Under the agreement signed this week the 11-year-old phenomenon will appear in a number of forthcoming First National productions to be made on the West Coast.  The first is to be “Misunderstood,” an original Booth Tarkington story to be produced by J. K. McDonald and directed by William Beaudine.  Executives of First National believe that in the signing of Ben Alexander they have added to their West Coast staff a youngster who is destined for the greatest honors that the screen can give.
    The new First National actor takes his place with the several stars and featured players who have been signed within the last few months by this producing and distributing organization.  Ben will now be in the excellent company of Colleen Moore, Corrine Griffith, Sylvia Breamer, Virginia Brown Faire and Ben Lyon.
    Although only eleven years old, Ben can look back on a most histrionic career which covers an appearance in six stage successes, a vaudeville tour and so many photoplays that he has lost count of them.
    Born in Goldfield, Nevada, he made his first appearance before the footlights in a sketch written by his mother in which he toured from San Francisco to Chicago.  On the legitimate stage he played the title role in “Penrod,” and had important roles in “Seven Miles to Arden,” “The Little Teacher” and several other popular productions.
    In pictures he played several parts before being “discovered” by D. W. Griffith, who gave him an important boy-role, the brother, in “Hearts of the World.”  Following his impressive work in that picture, he was given important roles in several other big film productions, every one adding more glory to his youthful crown,  His most recent role was in Maurice Tourneur's First National picture, “Jealous Fools.”

    Joy Winthrop is playing the part of an old maid gossip under the direction of Jess Robbins at the Universal Studio.

(Camera Vol. 6 No. 22  pg. 15)


Who’s Who and What’s What in Filmland This Week
   
    Clara Bow, 17-year-old Brooklyn high school girl, has been elected to play the part of Janet Oglethorpe, a society flapper in Frank Lloyd's independent production of “Black Oxen” which is to be released as a First national picture.
    Miss Bow recently came to Hollywood as the winner of a Fame and Fortune Contest and following her appearance in “Down to the Sea in Ships” was signed to a long term contract by B. P. Schulberg by who's courtesy she is enabled to appear in “Black Oxen.”
    Mr. Lloyd made tests of over a dozen flapper types before he selected Miss Bow whom he describes as vivacious, intelligent, athletic and attractive enough to be the center of interest at any party.  The selection of Miss Bow leaves but two characters for “Black Oxen” unfilled-Prince Hohenauer and Mrs. Jane Oglethorpe.  Corrine Griffith and Conway Tearle are the featured leads of the production.

LIKE THEIR MUSIC
    A four-tube receiving set has been installed in the scenario room at the Buster Keaton Studios.  Here concerts are enjoyed during intervals when Buster's scenario writers, Jean Havez, Joe Mitchell and Clyde Bruckman, feel the need for a respite from the grind of work.  The concerts are also a tempting prelude for the daily conference between the scenario staff, Buster, Director Jack Blystone and Lou Anger, Buster's manager.
    Radio concerts were first introduced during the working out of the story of “Hospitality,” Buscrican life in 1830, which is now being made to be released by Joseph M. Schenck Productions through Metro.  The making of a comedy is a severe nerve-strain.  In the discussion over the working out of various situations differences of opinions rose, and time and again Buster played peacemaker by “giving them the air” with his radio.

WANDA HAWLEY FINDS POLITEST MAN
    While Wanda Hawley was working before the camera in Egypt, during her just-completed foreign trip, the city of Luxor was visited by the Queen of Belgium.  Both of these famous ladies happened to be boarding the same ferry across the Nile to King Tut's tomb; and the screen queen was assisted by Sheykh Sid Achmed el Gabir, of Mena.  The gallant Bedouin exclaimed that he would far rather serve her than the hereditary royalty present.  That retort, claims Miss Hawley, wins him the Chesterfieldian medal!

    Constance Talmadge is taking a short rest at a sea resort after finishing her latest comedy-drama, “The Dangerous Maid.”

    Harry Gribbon connection with Mack Sennett through a period of almost 10 years has made him one of the best known of funsters in two-reel comedies.
    Mr. Gribbon only a short while back was given a starring role in a new series of fun-films and he came through with such flying colors that he is destined to do bigger and better things from now on.

MANY NOTABLES IN CAST
    Jane Murfin, who with Justin H. McCloskey, directed the Trimble-Murfin Production, “The Sign,” has finished editing and titling this all-star production and it will be given a pre-view within a few days.  In the cast are such favorites as may Allison, Rockliffe Fellowes, Edward Horton, who has just completed “Ruggles of Red Gap,” Harry Mestayer, Eddie Phillips, Vera Reynolds, Tom O'Brien and others

(Camera Vol. 6 No. 22  pg. 13)

   
DEMILLE TO CAST SOON
    William de Mille will return to the studio within the next ten days to start production work on his forthcoming Paramount picture. “Evert Day Love,” adapted by Clara Beranger from Julian Street's novel. “Rita Coventry.”
       
FATTY RETURNS
    Walter Heirs, rotund Paramount comedian, is celebrating his summer vacation by making a series of personal appearances throughout the Middle West.  He is scheduled to return to California this month.

    With the filming of a replica of the United States House of Representatives, Tod Browning, Goldwyn director, has completed work on his picturization of “The Day of Faith,” by Arthur Somers Roche.
    Tyrone Power, stage star, who played one of the leading characters of the story, is returning to New York, while Eleanor Boardman, Raymond Griffith, Wallace MacDonald, Charles Conklin, Edward Martindel, Jane Mercer and Winter Hall, other members of the cast, are preparing further picture work.  Ford Sterling, who played a leading role, is in Florida, with King Vidor, making Joseph Hergesheimer's novel, “Wild Oranges.”

    Mme. Rose Dione, who plays the part of Mme. Florio in Bryant Washburn's “Try and Get It,” his first picture for Grand-Asher, was in many plays with Sarah Bernhardt and during the war served as a red cross nurse.

    Richard Talmadge has finished “Fast Freight,” a five-reeler, and his first starring vehicle on his new contract with Abraham Carlos who has signed him for three years.  Mr. Talmadge, who before his stardom doubled for all the stars, performed in this picture every kind of daring feat against the handicap of a sprained ankle that laid him up for three weeks.  Among those who supported him in “Fast Freight” were Tully Marshall, Aileen Percy, George Nichols, Bruce Gordon, Al Freeman, John Steppling and others.  W. K. Howard directed.

MEIGHAN IN “WOMAN-PROOF”
    Although Thomas Meighan is in California and George Ade is several thousand miles away in Indiana, both are working steadily on “Woman-Proof,” the Ade story in which Meighan is now starring for Paramount, under the direction of Alfred E. Green.
    Ade keeps in constant contact with Meighan and Green by letter and telegram during the production of his stories, of which “Woman-Proof” is the third to star Thomas Meighan.  Tom Geraghty is production editor and the cast includes Lila Lee, Mary Astor, Robert Agnew, John Sainpolis, Louise Dresser, Edgar Norton, Charles A. Sellon, George O'Brien, Vera Reynolds, Hardee Kirkland, Martha Maddox, “Bill”Gonder and “Mike” Donlin.

(Camera Vol. 6 No. 22  pg. 14)


Pulse of the Studios

For Week Starting Monday, Sept 17

BERWILLA STUDIO.  5821 Santa Monica Blvd.  Ashton Dearholt, Pro. Mgr.  Holly 3130
Eddie Lyons Productions (Arrow release).
Director: Eddie Lyons  Star: Eddie Lyons  Cameraman: Ramsey  Ass’t Director: Cooke  Scenarist: Collins  Type: 2-Reel Comedies    Progress: Schedule
Director: Eugene De Rue  Star: Bobby Dunn  Cameraman: Ramsey  Ass’t Director: Cooke  Scenarist: Collins  Type: 2-Reel Comedies    Progress: Schedule

FRED CALDWELL PRODUCTIONS.  4513 Sunset Blvd.    593576

CENTURY STUDIO.  6100 Sunset Blvd.  Julius Stern, Gen. Mgr.  Bert Sternback, Casting.    Holly 0096
Century Comedies (Universal release).
Director: Al Herman  Star: All-Star  Cameraman: Wm. Hyer  Ass’t Director: Herman        Scenarist: Herman  Type: “The Detective”    Progress: Schedule

CHAPLIN STUDIO.  Alfred Reeves, Gen. Mgr.  1416 La Brea Ave.  Holly 4070

CHRISTIE STUDIOS.  Harry Edwards, Casting.  6101 Sunset.  C. H. Christie, Gen. Mgr.    Holly 3100
Director: H. Beaudine  Star: Jim Adams  Cameraman: Paul Garnet  Ass’t Director: Jim Clemens  Type:2-Reel Comedy    Progress: Editing
Director: Scott Sidney  Star: Neil Burns  Cameraman: Alex Phillips  Ass’t Director: Ernest LeVelle  Type:2-Reel Comedy    Progress: Schedule
   
CULVER CITY STUDIO.  Ralph M. DeLacy, Mgr.  6529 Venice Blvd.  Culver City.
Renalles, Inc.  Clarke Renalle, Director General. 
Star: All-Star  Scenarist: Staff  Type: “The Elk's Tooth”    Progress: Preparing
Scenarist: Harry A. Swart  Type: “Purple Bath Tub”    Progress: Preparing

FINE ARTS STUDIOS.  4500 Sunset Blvd.  E. H. Allen, Gen. Mgr.  Scotty Cleethorpe,  Casting.    598-165
Jack White Corp. (Educational Release) (Mermaid Comedies)
Director: Taurog  Star: Neely Edwards  Cameraman: Meehan  Ass’t Director: Cullen Scenarist: Staff      Type:Special    Progress: 4th Week
Director: Kerr  Star: All-Star  Cameraman: McGill  Ass’t Director: Linkoff  Scenarist: Staff  Type: Comedy    Progress: Editing
Director: Hibbard  Star: Lige Conley  Cameraman: Corby  Ass’t Director: Sharpless  Scenarist: Staff  Type: Comedy    Progress: 2nd Week
Jack White Corp. (Educational Release) (Novelty Juveniles)
Director: Ward Hayes  Star: All-Star  Cameraman: Stengler  Ass’t Director: Linkoff  Scenarist: Staff  Type: Novelty    Progress: 2nd Week
Director: Pratt  Star: Cliff Bowes  Cameraman: McGill  Ass’t Director: Dewar  Scenarist: Staff  Type: Cameo    Progress: 1st Week
Lloyd Hamilton Corp. (Educational Release)

FOX STUDIO.  James Ryan, Casting.  1401 N. Western Ave.  Fred Kley, Studio Mgr.    Holly 3000
Director: Mayo  Star: Stock  Cameraman: Sid Wagner  Ass’t Director: Jas. Tinling  Scenarist: Staff  Type:Comedies    Progress: Schedule
Director: Al St. John  Star: Al St. John  Cameraman: Ernest S. Depew  Ass’t Director: Benny Stoloff  Scenarist: Al St. John  Type:Comedies    Progress: Schedule
Director: Slim Summerville  Star: Stock  Cameraman: J. A. Schmidt  Ass’t Director: Arthur Cohn  Scenarist: Staff  Type:Comedies    Progress: Schedule
Director: Erle Kenton  Star: Lew Brice  Cameraman: Vic Scheurich  Ass’t Director: Max Gold  Type:Comedies    Progress: Schedule

GOLDWYN STUDIO.  R. B. McIntyre, Casting.  Culver City.    761711
Director: King Vidor  Star: All-Star  Cameraman: John Boyle  Ass’t Director: James Dugan  Scenarist: King Vidor    Type: “Wild Oranges”    Progress: 7th Week
   
GRAND STUDIO.  1438 Gower St.  Ben Verschleiser, General Manager.    Holly 0162
Monte Banks Productions, Inc.
Sid Smith Productions, Inc.
Joe Rock Productions, Inc.
Bryant Washburn Productions
Director: Cullen B. Tate  Star: Washburn-Dove  Cameraman: K. MacLean  Ass’t Director: R. Asher  Scenarist: J. Furthman    Type: “Try and Get It”    Progress: 4th Week

HOLLYWOOD STUDIOS.  6640 Santa Monica Blvd.  Wm. Sistrom, Mgr.    Holly 1431
Harold Lloyd Corporation-Wm. R. Fraser, Gen. Mgr.
Director: Taylor-Newmeyer  Star: H. Lloyd  Cameraman: Lundin  Ass’t Director: Bud Golden    Type: ”The Girl Expert”    Progress: 6th Week

(Camera Vol. 6 No. 22  pg. 16)

BUSTER KEATON STUDIO.  1025 Lilian Way.  Eddie Cline, Casting.    Holly 2814
Director: Jack Blystone  Star: Buster Keaton  Cameraman: E. Lessley-Thorp  Ass’t Director: Rose    Scenarist: Mitchell    Type: ”Hospitality”    Progress: 12th Week
Lou Anger Productions.

LASKY STUDIOS.  L. M. Goodstadt, Casting.  1520 Vine St.    Holly 2400
Director: Al. E., Green  Star: Thos. Meighan  Cameraman: Chas. Clark  Ass’t Director: Fred J. Robinson    Scenarist: Edfrid Bingham    Type:”Woman-Proof”    Progress: 8th Week
Director: Jos. Henabery  Star: Douglas Fairbanks, Jr.  Cameraman: Saxon Dean  Ass’t Director: Dick Johnson    Type:”Stephen Steps Out”    Progress: 8th Week
Director: Wm. DeMille  Star: All-Star  Cameraman: Guy Wilky  Ass’t Director: Gheo. Hippard    Scenarist: Clar Berangee    Type:”Every Day Love”    Progress: Preparing
James Cruze Productions
Director: James Cruze  Star: All-Star  Cameraman: Vernon Keays  Ass’t Director: Karl Brown    Scenarist: Walter Woods    Type:”To the Ladies”    Progress: Preparing

McNAMARA STUDIOS.  4011 Lankershim Blvd.    Lankershim 132-J

MAYER-SCHULBERG STUDIO.  3800 Mission Rd.  Individual Casting.    Capitol 2120
Louis B. Mayer Productions. (Metro Release).
Director: John M. Stahl  Star: All-Star  Ass’t Director: Sidney Algier  Scenarist: A. G. Younger    Type: ”Why Men Leave Home”    Progress: 3rd Week
B. P. Schulberg Productions (Preferred Pictures Release)
Director: Vic Schertzinger  Star: All-Star  Cameraman: Karl Struss  Ass’t Director: George Yohalem    Scenarist: Eve Unsell    Type: ”The Boomerang”    Progress: Preparing
Director: Gasnier  Star: All-Star  Cameraman: Karl Struss  Ass’t Director: George Yohalem    Scenarist: Olga Printzlau    Type: ”Maytime”    Progress: 6th Week

PRINCIPAL PICTURE CORP.  7250 Santa Monica.    Holly 2806
Director: Louis Tolhurst  Scenarist: Walter Anthony  Type: Microsopic Motion Pictures    Progress: Schedule
Director: Alf. Goulding  Star: Harry Langdon  Cameraman: Albert Breslau  Ass’t Director: David Smith  Scenarist: Harry Langdon  Type: Comedy    Progress: Schedule
Benny Zeidman Productions.
Director: Ed Cline  Star: Joe Butterworth  Cameraman: Wm. Marshall  Ass’t Director: Frank Geraghty    Scenarist: Grey Carr    Type: “The Good Bad Boy”    Progress: Editing

R-C STUDIO.  Melrose and Gower.  780 Gower St.    Holly 7780
Individual Productions.  (Film Booking Offices.)
Director: Al Santel  Star: Eddie Hearn  Ass’t Director: Gilbert Fones  Scenarist: Wyndam Gittens    Type: “The Sandpile”    Progress: Preparing
Director: Lehrman  Star: Geo. O'Hara  Cameraman: Lee Garmes  Ass’t Director: Moreno  Scenarist: Beatrice Van  Type: “Comedy of Terrors”    Progress: Schedule
Douglas MacLean Productions
Director: Jimmy Horne  Star: Douglas MacLean  Cameraman: Max Dupont  Ass’t Director: Art Flavin   Type: “The Yankee Consul”    Progress: 4th Week
   
ROACH STUDIO.  Culver City.  Warren Doane, Mgr.    761-721
Hal Roach Comedies (Pathe Release).
Director: Jackman  Star: All-Star  Cameraman: Floyd Jackman      Ass’t Director: W. L. Guthrie  Scenarist: Staff  Type: Feature    Progress: Schedule
Director: P. Pembroke  Star: Will Rogers  Cameraman: Robt. Doran  Ass’t Director: Ross Letterman  Scenarist: Staff  Type: 2-Reel Comedy    Progress: Schedule
Director: Geo. Jeske  Star: Pollard  Cameraman: J. Roach  Ass’t Director: Clark Hennecke  Type: 1-Reel Comedy    Progress: Schedule
Director: Len Powers  Star: Animals  Cameraman: B. Currigan  Ass’t Director: Greeland  Scenarist: Staff  Type: 1-Reel Comedy    Progress: Schedule
Director: Bob McGowan  Star: Our Gang  Cameraman: Harry Gerstadt  Ass’t Director: C. Morehouse  Type: 2-Reel Comedy    Progress: Schedule
Director: J. Howe  Star: Stan Laurel  Cameraman: Frank Young  Ass’t Director: Cruze    Scenarist: Staff  Type: 2-Reel Comedy  Progress: Schedule
              
(Camera Vol. 6 No. 22  pg. 17)


SENNETT STUDIO.  7425 Sunset Blvd.      Dexel 1550
Director: Del Lord  Star: All-Star  Cameraman: Blake Wagner    Scenarist: Mack Sennett  Type: Comedy  Progress: Schedule
Director: Del Ruth  Star: Ben Turpin  Scenarist: Mack Sennett  Type: Comedy  Progress: Schedule

UNITED STUDIOS.  5341 Melrose.  M. C. Levee, Pres.  Nan Collins, Casting.    Holly 4080
Joseph M. Schenck Productions (First National release).
Director: Victor Heerman  Star: Constance Talmadge  Cameraman: Glen McWilliams  Ass’t Director: Edw. Brophy  Scenarist: Mace Sullivan  Type: “The Mirage”    Progress: Preparing
First National Productions.
Director: McDermott Chaplin  Star: All-Star  Ass’t Director: James Chapin  Scenarist: Wm. Dowlin  Type: “Temporary Marriage”    Progress: 7th Week
Frank Lloyd Productions (First National Release)   
Director: Frank Lloyd  Star: Griffith-Tearle  Cameraman: Norbert Brodin  Ass’t Director: Billy Reiter  Scenarist: Fred Myton  Type: “Black Oxen”    Progress: 4th  Week

UNIVERSAL STUDIO.  Fred Datig, Casting.    570-081
Universal Film Manufacturing Co. (Universal release.)
Director: Herbert Blache  Star: Gladys Walton  Ass’t Director: Sullivan  Scenarist: Hugh Hoffman  Type: “The Near Lady”    Progress: Editing
Director: Wm. Parke  Star: Herbert Rawlinson  Ass’t Director: Dorin  Type: “The Noblest Roman”    Progress: Editing
Director: Ed. Laemmle  Star: Billy Sullivan  Ass’t Director: Regan  Type: The Leather Pushers series  Progress: Schedule
Director: Harry Pollard  Star: Reginald Denny  Ass’t Director: F. Messinger    Type: “The Spice of Life”    Progress: 5th Week
Director: Irving Cummings  Star: Mary Philbin  Ass’t Director: Woolstenhume  Type: “My Mamie Rose”    Progress: 3rd Week
Director: Jess Robbins  Star: Baby Peggy  Ass’t Director: Arthur  Type: “The Right to Love”    Progress: 3rd Week
Director: Robert Hill  Star: Herbert Rawlinson  Ass’t Director: E. Lumley  Type: “All for the Love of Gloria”    Progress: 2nd Week
Jimmy Aubrey Productions.
Director: W. Hayes  Star: Aubrey  Cameraman: Lyons  Ass’t Director: Zimmerman  Scenarist: Staff  Type: Comedy    Progress: Schedule
Laval Photoplay, Ltd., of Canada.  L. Ernest Ouimet, Pres and Mgr.
Director: P. Cazeneoye  Star: Andre Lafayette  Cameraman: Gene Benoit  Ass’t Director: Harry Webb  Type: “The Vital Question”    Progress: 3rd Week

VITAGRAPH STUDIOS.  1708 Talmadge.  W. S. Smith, Mgr.    598-131
Larry Semon Productions.

WARNER BROS. STUDIOS, 5842 Sunset Blvd.      Holly 4181
Warner Brothers Productions.
Director: Mal St. Clair  Star: Wesley Barry  Cameraman: E. B.  Dupar  Ass’t Director: Geo. Webster  Type: “George washinbgton, Jr.”    Progress: 7th Week
Director: Johnny Hines  Star: Johnny Hines  Cameraman: Chas. Gilson  Ass’t Director: C. Hines-Roth      Type: “Conductor 1492”    Progress: 8th Week
Director: Wm. A. Seiter  Star: Marsh Gillingwater  Ass’t Director: Tenny Wright  Type: “Daddies”    Progress: Scheduled
Ernest Lubitsch Productions.
Director: Ernest Lubitsch  Star: All-Star  Cameraman: Paul Perry  Ass’t Director: Flood      Blanke  Type: “The Marriage Circle”    Progress: 5th Week

WORLD EDUCATIONAL FILMS.  Box 818, Sta. “C”. Los Angeles
Director: Eliason  Star: Baby Betty  Cameraman: Wm. Field  Ass’t Director: F. M. Abbey  Scenarist: Robinson  Type: “Haunts of Hiawatha”    Progress: 5th  Week

(Camera Vol. 6 No. 22  pg. 18)


From “U” to You by Will C. Murphy

    Mary Philbin's first big starring vehicle since the amazing little star's rise to fame in “Merry-Go-Round,” has been started at Universal City, in “My Mamie Rose,” filmization of Owen Kildare's celebrated novel of the Bowery.  Irving Cummings is directing the new feature, to be a Universal Jewel and one of the outstanding productions of the new season at the studio.
    In order that the first Mary Philbin vehicle since “Merry-Go-Round” may be one of the outstanding pictures of the year, a cast of special importance has been chosen to support her.  Pat O'Malley, outstanding figure in several of the past season's big successes, plays a bowery tough who finds his way to regeneration through the love of the little charmer of the quarter.  It is said that this part is literally the life story of the author, who rose from a gangster to be “The port of the Bowery” and one of the striking figures in American literature through a woman's influence.
    William Collier, Jr., son of the famous comedian and himself a notable in screenland, is another player in the big cast; Max Davidson, noted character man, plays the quaint “Levy” of the old clothing store, and Lincoln Plummer, Edwin J. Brady and several others are among the supporting players.  A complete reproduction of the old Bowery, several blocks long, with such places as “Suicide Hall,” “Steve Brodie's” and other landmarks are built at Universal City for the picture; one of the largest sets erected since “The Hunchback of Notre Dame.”

(Camera Vol. 6 No. 22  pg. 19)


    Work commences during the week at Universal City on the third and largest of the Baby Peggy Jewel productions, “The Right to Love,” in which the baby is surrounded with one of the most remarkable casts she has ever under the wing of a new director, Jesse Robbins, specially engaged to handle the diminutive celebrity of the celluloid.
    Winifred Bryson, who's work in “The Hunchback of Notre Dame” was folloked by her sensation characterization of “Lullaby Lou” in “Thundering Dawn,” is among the notable players enlisted to support the tiny actress in an all star cast of special interest.  Elinor Fair is another notable in the cast.  Miss Fair has been famous in screenland ever since her sensational success with Otis Skinner in “Kismet.”  Robert Ellis is another important player announced in the Baby Peggy cast. 
    Several other well known players are soon to be announced for later sequences of the picture, according to Casting Director Fred Datig.
The picture is from an original story by Bernard McConville, with continuity by Lois Zellner.         

(Camera Vol. 6 No. 22  pg. 19-20)


    Billy Sullivan, who is playing the leads in the new series of H. C. Witwer's “The Leather Pushers” at Universal City, has a claim to fame that ought to mean much in the new prize fight series.  Not only has he shaken hands with John L. Sullivan-but the famous old fighter used to carry him around when he was a baby.  For Sullivan is a nephew of the greatest fighter of all ring history.
    “I remember my uncle ever since I was a little baby,” says Sullivan. “When I was quite a small shaver he used to tell me I'd be a fighter some day-he was proud of me and that was his way of showing it.  Well-I did become a fighter, but I'm afraid never a good enough one to justify Uncle John in boasting much.  I last saw my uncle only a short time before his death, a few years ago, when he was in vaudeville.  I was then a fighter of some reputation, and he urged me earnestly to keep it up.  However, I had turned actor then, and I found that I was pretty good at it and liked it.  So I went on with my stage work.  My uncle was a little disappointed, I'm afraid.”
    Sullivan plays the role of Kid Roberts, abandoned by Reginald Denny when the later started features.  Denny himself handed over “The Leather Pushers” title to the new star.  Edward Laemmle is directing the new series, which is crammed with lightning-like fight action for Sullivan.   

(Camera Vol. 6 No. 22  pg. 20)


[Advertisement]

Animated Cartoons-Original Title
Ideas-Clay Animation-Miniature
Sets and Animated Figures

CINEMA ARTS STUDIO
ELMER H. YOUNG, Manager
6615½  Santa Monica Blvd.  Telephone 434-430
   
(Camera Vol. 6 No. 22  pg. 20)


POSSIBLY ABOUT YOU

    Bebe Daniels is back in California after a year's absence in the East.  Accompanied by her mother, Mrs. Phyllis Daniels, and her grandmother, Mrs. George Butler Griffin, the popular Paramount actress has arrived in Los Angeles and will enjoy a vacation of three weeks before starting work in her next production.  Miss Daniels completed the leading feminine role in Sam Wood's production, “His Children's Children,” in New York, just before starting on her transcontinental trip.

    Walter Hiers, who has been making a series of personal appearances in his native state of Georgia, is enroute to California, to begin in George Melford's forthcoming Paramount Picture “Flaming Barriers,” adapted by Jack Cunningham from the story by Byron Morgan.  The cast is headed by Jacqueline Logan, Antonio Moreno, Theodore Roberts, Walter Hiers, Sigrid Holmquist and Robert McKim.

    Edward Horton, who played the title role in the James Cruze production  “Ruggles of Red Gap,” has been chosen to play the principal masculine role in “To the Ladies,” the forthcoming Paramount Picture which Cruze will produce, according to an announcement made today by Jesse L. Lasky, first vice-president in charge of production.

    San Francisco and its justly famous waterfront will serve as a background for some important action in Thomas Meighan's latest Paramount Picture, “Woman-Proof,” which George Ade wrote as a screen starring vehicle for Meighan.  The entire company will spend several days there.  Alfred E. Green is again handling the megaphone.  Tom Gerhaty is production editor and the cast includes Lila Lee, Mary Astor, Robert Agnew, John Sainpolis, Louise Dresser, Edgar Norton, Charles A. Sellon, George O'Brien, Vera Reynolds, Hardee Kirkland, Martha Mattox, “Bill”Gonder and “Mike” Donlin.

    Douglas Fairbanks, Jr. has completed the Turkish episodes of his first starring picture, “Stephen Steps Out,” and is now engaged in an important sequence of scenes with Theodore Roberts as the other principal.

    Ben Bernie's orchestra, one of the big time vaudeville attractions, was used in several scenes of Bryant Washburn's :Try and Get It,” his first Grand-Asher production.  Bernie brought his remarkable aggregation of musicians direct from a local theatre where they are appearing under his leadership on a specially constructed stage at the Grand Studio dispensed sweet or jazzy music while the cameras rolled.

(Camera Vol. 6 No. 22  pg. 22)

Back to CAMERA MAGAZINE COMEDY CLIPPINGS