Screen Stars and Films

Auckland Star, Volume LIV, Issue 213, 8 September 1923, Page 23

Screen Stars and Films

NEW RELEASES THIS WEEK.

THEATRE. PRODUCTION. BRAND. STAR. STRAND "Shadows" Preferred Pictures Lo n Chanev NATIONAL "Brothers Under the Skin" Goldwyn Helena rj,lj™t EVERYBDY'S "Omar the Tentmaker" First National Guy Ifetes Port

Norman Sprowl. hurrying to his office in Universal City, took a short cut through the light studio. Suddenly lie found himself in the court room set used for Rita Weim.tn's play, "The Acquittal." Instantly Sprawl's hat came off. Elmer Sheely declares that that was the best tribute he ever had on a , set. For perhaps the first time in her brilliant career Ethe 1 Clayton figures in a production of unusual proportions in jcenic effects in "if I Were Queen." The film deals with the adventures of a charming young American girl who becomes unwittingly involved in the quaint politics of three small kingdoms of the Balkans. Bert Roach, that inimitable portrayer of tramp characters, has been added to the cast of "The Storm Daughter." In addition to his single-reel comedies, Bert Koach has already found time to create two excellent character parts —Wade Tremble in "The Flirt," and Sir Christopher Crowle in "A Lady of Quality." In "The Storm Daughter" he plays a Swede. [Everybody knows that feature stars are terribly expensive to gown on the screen, especially in the array of clothes that Pauline Frederick, Barbara La If&rr or Gloria Swanson sometimes wear. But consider the extravagance of the serial asteroid liko Ann Little, who h&s returned to the "black-an'd-blue" chapter drama. Miss Little has each of her dresses made in triplicate. One she wears to get dragged over the ground in, the second copy she had to put on when she goes in the water, so that it may be appropriately ruined, and the third she uses for the normal part of tho scenes and to go home in. "Hollywood," one of the most unusual .films ever produced by Paramount, which has been finished under the direction of James Cruze, was to have been released this month. In addition to a cast of unknown players—unknown because they have never before appeared in motion pictures—the pla3 - ers include practically all of the stars in American pictures. The idea of making a picture story showing the stars and celebrities of the screen in their real surroundings, was first announced last fall. Frank Condon has submitted his novelette, "Hollywood, and the Only Child," to Jesse L. Lasky. Mr. Lasky saw its possibilities, and engaged Thomas J. Ger.ighty to make the adaptation. The story concerns the trials of a young girl who seeks a movie career, and its scenes carry her into many of the studios in the vicinity of Los Angeles. Leading figures in a number of the picture companies co-operate in its production. Among the number are twenty recognised stars and fifty other film celebrities. The person who said there was nothing new under the sun \ittered words of wisdom. One season skirts are long, next they are short. Styles recur in a circle—on the screen as elsewhere. Not so long ago the little gTay-haired mother, whose children ran away and left her, was the popular character in the movie theatre. Last season the vogue was sheiks, "hut right now the Hollywood forecast points inevitably to the vampire. We all remember when she held the centre of the stage before, but we cannot help noticing that she has changed a little during her absence. She works more quietly than of yore. The censors have subdued and placated her and she has adapted herself to circumstances. The 1922 model vampire is, however, far more convincing than the one of half a dozen seasons ago. She is not a heavy, snaky creature who swathes herself in velvets and pearls, but an infinitely more human girl. She is tall and slim and dresses in the latest modes. , Thprc are certain well-defined standards in connection with the making of films concerning the "underworld" which must bo borne in mind at all, times and never departed from in view of the fact that to do so would mean the displaying a certain amount of originality, a thing greatly to be avoided if you wish to take out a director's union caret. Kemember. for instance, that in an unaernorld picture every gang or i-rooks must have a cellar for then plotting. There is no way out of it. In the collar there must be a candle stucV in a bottle in the centre of the room For seating purposes the only article* allowed by code books are boxes strewn carelessly but artistically about the cellar. It is also a good idea to have a few empty bottles lying about to create a vicious atmosphere. As each new arrival knocks nt the door, all members of the gang grab at their hip pockets and assume a menacing attitude, looking, however, toward the camera instead of in the direction of the door, lest the facial expression fail to register fully with the unintelligent spectator who has only been watching the picture three reels and does not know what the scene is about. That crisis in the wanderings of the Children of Israel from Egypt to Carman when they turned to the worship of the Calf of Gold at the foot of Mt. Sinai, is heing put into motion pictures near Hollywood. It is one of the final spectacles in the Biblical prologue which Cecil B. DeMille is making for his Paramount picture "The Ten Commandments," the story of which was written by Jeanie Maopherson. It was necessary to resort to the scene painter's art to secure retlism, and Francis McComas, famous water colour artist, was comniissiuned to supervise the construction of a canyon that would make it possihle t<; fil.n that j.ortion of the story of the Book of Exotlus where after Moses had asePiidi'd Mt.. Sinai to receive the graven tablets. The Chrildren of Israel break out int" a revel before a calf of gold made from their earrings. This will be the closing »rene of the prologue before the picture fades into tho modern story showing the revelation of the commandments brought down from the mountain by Mose? to the life of to-day. The foiituroil players are Theodore Roberts, Leatriee ,loy, Richard Dix, Nita Xaldi, Charles de "Roche, Estelle Taylor, Rod la Rocque, Julia Faye, James NeilJ, and Eajthe Chajjman.

j For sheer pictorial beauty few motion pictures have approached the perfection reached in tho B. P. Schulberg production of Bertha M. Clay's immortal romance, "Thorns and Orange Blossoms." The story transpires in Madrid, whefe luxuriant gardens, ehadowy patios and tropical sunsets delight the eyes. Estelle Taylor, who plays Rosiet, the fascinating prima donna, contributes a Spanish type of beauty which off-sets her gorgeous costumes of richly embroidered shawls, high combs, lovely fans and mantillas of rare lace. "The Face on the Barroom Floor," the new William Fox special production, will be ehown in Auckland shortly. Tho film is a twentieth century melodrama, replete with thrills, including the daring escape of prisoners from the state penitentiary and a thrilling storm at eea. Henry B. Walthall heads the all-star cast of ecreen artists seen in the production, and he is ably supported by Ruth Clifford, Alma Bennett and others of equal prominence. "The Face on the Barroom Floor" wus directed by Jack Ford, who will be remembered for his staging of the other superlative William Fox attraction, "The Village Blacksmith." Ford has come to the fore rapidly during the past two years and has many successful screen plays to his credit A motion picture studio outside the immediate glamour of the sets is just about the barest and most uncomfortable place imaginable. To have even a chair to oneself is considered a privilege. Extras and the less important players fill in the tedious waits between scenes, during which they are not supposed to leave the stage, by disposing themselves wherever they can find a bare space and repairing their make-up as best they can in odd corners. The stars, of couree, are accorded more latitude, and everything possible is done for their comfort. Portable dreesing rooms are not exactly new. Several especially favoured stars possess them, but for the most part they are small boxlike affairs with few claims either to beauty or great comfort. Just about the time that Mr. and Mrs. Carter de Haven announced the disposal of their home and furniture and art treasures at auction, Mr. and Mrs. Bryant Washburn, not dismayed by the fateful event, made public their intention of carrying on the husband-and-wife alliance idea on the screen. They have played together in two pictures thus far—"Mine to Keep" and "The Love Trap." In the latter they are featured. They are not, however, making an obvious disclosure of their domestic relationship, for Mrs. Washburn has taken the name of Mabel Forrest. They are now about the sole survivors of the husband-and-wife combination of co-stars. The list has never been large. It is now some time since the Carter de Havens first delighted us with their comedies. It is to be hoped that sometimes in the future they will return to the screen in their old-time class of production. Betty Balfour. whose last happy little film-play, "Squibs Wins the Calcutta Sweep," is still very bright in our I memory, will next be seen in "Wee I MacGregor's Sweetheart." Commenting lon this production Alder Anderson, the I well-known critic of the "Daily Telegraph," km id that the picture furnished a. remarkable proof of how, in good hands, the screen could be made to reproduce "atmosphere" that seemed too evanescent to. be separated from the words in which it was enshrined. As it was. this simple little play was redolent of the soil and charms by its very sincerity of purpose just as did some of the Swedish films, which it resembled in being a slory of humble village life. Miss Betty Balfour once more shows herself to be that most rare and precious thing, a young actress with a [highly developed sense of humour. The acrobatics she indulged in to display her tomboyish proclivitie.- would not disgrace Mr. Douglas Fairbanks. Is luck a factor in becoming a screen actress? When hundreds of aspirants storm the office of the casting director J and still that much tried individual fails to find.the type be wants he no longer waits for the right one to come along, but goes out himself and finds her. Unknown to his prospects he looks them over, usually from a fifth row aisle seat in the popular plays of the moment running on Broadway and if they please they will in all probability receive an advantageous offer to appear before the camera in the course of a few days. Countless screen artists have been raised from an obscure role in legitimate drama to a big future in screen work. A casting director from Metro, for instance, saw Bert Lytell in an Irene Fenwick play "Mary's Ankle" and a starring contract was only a matter of moments. Similarly D. W. Griffith cast Joseph Schildkraut for "Orphans of the Storm" and Henry Hull for "One Exciting Night." ' Long ago girls learned that an artist's model throne could be used to good advantage as a stepping stone into the movies, but it was only recently that young men have followed that route with notable success. Allen Simpson, the hero of many of Leyendecker's drawings, is now appearing in Paramount pictures, his most recent ones being "The Exciters and "Glimpses of the Moon." Neil Hamilton, whose smiles have helped to sell hats, cigarettes and tooth-paste, was sponsored by D. W. Griffith into motion pictures. He plays a prominent part in "The White Rose," and distinguishes niinself for his sincerity as well as for his extreme good looks. A big future is prodieted for Rued Hunter for he has the same sort of boyish charm that made Glenn Hunter popular. Young Mr. House was an advertising model often used ny manufacturers of collars and hats, but the Thespian urge got him and he went on the stage. When Glenn Hunter lelt the cast of "The Intimate Strangers, Reed House played his role. Later he went into pictures, and recently played in "High Speed Lee" and "The Broken Violin. Already he is being considered for 'big parts in light comedies.

The G.O.M. of the screen, Theodore Roberts, will be seen here shortly in the screen version of "Grumpy,'' from the •play of the same name. He is supported Iby May McAvoy and Conrad Nagel. Adapted from the well-known story by Cosmo Hamilton, "The Rustle of Silk" is among the Ibig Paramount offerings. Betty Compson is in the leading role. The story deals with life in upper crusts ot society, and offers wonderful posui■mhties for lavish presentations. Now that Ramon Novaxro's brother Mananno has put in an appearance and is making hie screen debut in Constance Talmadge's picture, "The Dangerous Maid, it is a subject for speculation whether he will change his name as many times as Ramon did. Samaniegos is the family name, but poor Ramon was calledeverything from San Diegos to Ham-and-eggs-os that he had simply to defend the family honour by adopting one of his extra names. Charles Ray and a numfcer of financiers and business men, have decided to organise the Charles Ray Enterprise Corporation, and have purchased two city blocks whereon they plan to erect one of the finest studios in the country, administration bui/lings, laboratories, etc, as well as a bank, large hotel, and various scores and shops all having relation to the picture-making establishment. "Adams Rib"is heralded as one of Paramount's biggest attractions for 1923. This is a Cecil B. De Mille production, and the big cast is headed by Anne Q. Nilsonn, Pauline Garon, Elliott Dexter, Milton Sills, and Theodore Kosloff. The theme is one that carries the Spectators back to the primeval age, from the ballroom of modern society to the jungle in age when passions are likened to th« modern emotions. Vicent Blasco Ibanez, Spanish author, has written his first original story for the ecreen. It is entitled "Argentine I Love," and is told against a background of the Argentine, where many scenes of his novel, "The Four Horsemes of the Apocalypse," were laid. The original story was written by Ibanez after several months' study of photoplay writing and production technique. It will be made as Paramount picture. Ibanez, as recently ] reported in the cables, expects to come to Australia in November. While in that country he win write a novel, which he intends to dedicate to the British race in appreciation of its colonisation efforts. Once in a while a girl who waits months and months and months for recognition in the pictures will have a great piece of luck, because a big producer will decide that she is just the type that he requires for a certain important part.. This happens rarely, but it does happen. There are few, though, who have realised their dreams as Julanne Johnston has done Miss Johnston, who has been engaged in place of Evelyn Brent for "The Thief of Bagdad," which Douglas Fairbanks is making, is a charming and well-bred girl of the slender type that is now gaining proinence in pictures. Her principal success heretofore has been as a dancer. What is this that a little bird is whispering around Hollywood about Charlie Chaplin (in his picture "Public Opinion") dramatising incidents from the life of Peggy Hopkins Joyce? If this is true, "then we have at last solved the perplexing riddle of why the comedian should pursue such a succession of fair enthrallers. He wants, perhaps, to draw his characters and situations from life. Would it not be terrible, though, if he should dissect the souls of each and every one of the attractive ladies on the screen? Really the girls ought to do something about it ? At any rate, Charlie will have material for a long time to come. Consider the list of first names, Mac and Claire and Claire again, L>ila-, Peggy, I Eleanor, Pola and perhaps—although this is not properly -authenticated or I denied by the lady herself—Sigrid. Lewis Stone began his career as an actor in a playful mood. It was a great lark. To-day he is entrusted by Rex Ingram with one of the biggest I roles in "Scaramouche." Here is how I his stage career began:-—Being asked by a friend if he would not substitute for tho leading man of a stock company in Toronto —the actor having, fallen ill —Mr. Stone smi.ingly consented. Ho entered upon what he himself termed "Stone's Folly." It was all in the nature of a lark, and after it was over, lie would return to his usual mode of life. The leading man failed to return, and Stone continued in his place. By this time the smile had died out, and acting was a matter of course. He was offered other roles. Then he was asked to play in a Broadway production. This brought him prominence and an offer to play in a film production. Since then Stone has worked in pictures constantly. Music goes hand in hand with the motion picture from its inception to its final presentation. It is almost an integral part of thf motion picture itself, and it plays a tremendously important part in the success of the photoplay. '•The motion picture is the art of pantomime expressed in a new medium," says Herbert Brenon, the Paramount director. ''Music and pure pantomime have been twins since the dawn of the pantomime art. The savage war dance, with its accompaniment of the primitive tom-tom, is an instance of pantomime and music working hand in hand, Most people think of tempo as something restricted to music. They do not know its tremendous importance in drama, both on the screen and stage. But the public notice its absence without realising just what is lacking in We finished screen or stage play. "if a P lay drags in spots, if the action fails to hold the attention, it can usually be traced to a slowing up of the tempo in the picture. It is out of key with the rest of the picture, and the public senses t.iis without toeing able to define it. By the use of right music in the making of the picture this tempo can he kept perfect. Obviously the tempo varies for different moments exactly as it does in a concerto or an opera. Thus it is necessary to select music of the right tempo for particular scene or series of scenes in the picture." j