FILMS and the STAGE

Dominion, Volume 25, Issue 260, 29 July 1932, Page 16

FILMS and the STAGE

APPEARING TOGETHER The Three Barrymores r PHE’arrival in Hollywood o£ the well- -*■ known‘ Ethel Barrymore has confirmed the announcement that the entire “Royal .Family” of the American stage will, be united bn the screen. Miss Bafrymore has signed a contract with, Metro-Goldwyn-Mayer, and will be Starred: with her brothers, John and Lionel, in a story now being prepared;. The .title has not yet been announced. The three Barrymores hare never appeared in one production together either on stage or screen, although each has contributed dozens of characterisations; to the theatre. The picture careers of John and Lionel Barrymore, however, havebeen as notable as their earlier stage successes. The two brothers'appeared together on the screen in “Arsene Lupin,’’ and again in “Grand Hotel.” - . Like her brothers, Ethel Barrymore is a tradition of the American stage. Her experience dates back to such famous successes as “The Rivals,” “Captain ‘ Jinks,” “Rosemary,” “Cousin Kate,” and other plays. Her most outstanding stage vehicles include “The School for Scandal,” “The Kingdom of God,” “The Constant Wife,” and “Scarlet Sister Mary.” , NEW ZEALAND TENOR rpHE youthful and talented tenor, Mr. Denis Sheard, who toured the Dominion with the last J. 0. Williamson Gilbert and Sullivan Company, has taken up his residence in states’ an exchange, and will give a public recital on Wednesday, August 17. Born in Perth, Western Australia, he accompanied the Humphrey Bishop Company on its New Zealand tour last year, arid during his engagement with the Gilbert and Sullivan Company he played in the “Pirates of Penzance” and “Mikado? and understudied Leo .Darnton in other tenor roles. A “SAFE” ACTION TpVEN when he tries to be serious, El Brendel, the popular Fox Films star, is a comedian. In answer to a request for pictures of his new Beverly Hills home, the Fox Films’, funster ad-, mitted a news photographer to his house. Pictures were made of Brendel in all the rooms, in the garden, and in the yard, and Anally Brendel led the ’’ cameraman to the library. “Here,” he said, “is the best shot of alb Look at this little gadget. It’s a wall safe. v A secret. Nobody knows where it is. See? You pull back this picture, press this little button, and out it pops. Cute idea, eh?” “Swell idea,” said the cameraman, shooting a picture of Brendel pointing with pride to his secret vault. It wasn't until next day, with something akin to horror, that Brendel realised the picture of him and his trick safe might possibly appear in every newspaper in the country. ■

PUBLICITY NAMES Stars Lack “Labels” Sitles methods change in the motion picture industry. Time was, writes Helen Walker in an American paper, when actors wore labelled like cans of soup, supplied with nice little slogans, like tooth paste, and sold to the public in neat packages. Mary Pickford started it when she became “America’s Sweetheart.” Theda Bara was “The Siren of the Nile,” aud shortly afterwards signs proclaiming that Eric von Stroheim was “The Man You Love to Hate” appeared on most of the prominent ash cans throughout the country. This method of selling actors was so successful that similar sales campaigns began to be conducted on nearly everyone in pictures. A bright young press agent invented a dandy for Lew Cody —“The Butterfly Man.” And when the twenty-four sheets went up with Lew’s picture and that playful description of a prominent leading man, the public was so enraged that Lew couldn’t get a job in pictures again for two years. They weren’t all so unfortunate, however- Elinor Glyn made a star of Clara Bow when she dubbed her the “It” girl. Florence Vidor was “The Orchid Lady,” and'Pola Negri, for goodness sake, rejoiced in the elaborate appellation of “A Cocktail of Human Lon Chaney was “The Man of a Thousand Faces” and .Garbo became “The Sphinx.” Of late years, however, the-- label method has fallen into disuse. The only. successful: campaign of this sort recently was the tagging of Jean Har-

o )<= ' Human hairs play an important part in the make’up of modem kinema stars, especially those who are getting “a bit thin on fop, Robert Stephenoff, make-up expert of United Artists, is very keen on hair lace as a method of making barren heads look fertile. Hair lace is made by glueing hairs to net base. Tliis is in turn glued to. the scalp and photographed as if it were part of the wearer’s hair.

low as “The Platinum Blonde.” That one worked beautifully. First National tried earnestly to label Loretta Young “An Angel Girl,” and Paramount spoke persistently of Buddy Rogers as “America’s Boy Friend.” But these did not take hold successfully. ‘ / Neither did the attempt to tag Ruth Chatterton as “The First Lady of the Screen” do very well. Lilyan Tashman invented one for herself and lived up _to it magnificently—“ The Best Dressed Woman in Pictures,” thus earning .herself a great deal of valuable attention. But the newcomers have been a little neglected as to labels. True, Marlene was called “Legs Dietrich,” but it wasn’t a press agent invention nor was she pleased with it. Maurice Chevalier has nary a tag to his name. Nor has anyone suggested one for Clark Gable or Boris Karlbk or Marian Marsh or Sylvia Sydney or Robert Montgomery. It’s high time something was done about it Here we have a whole, new crop of actors —some of them already stars —and not a tag In the carload of them.

THE TALKIE WORLD Pars from the Studios * “ X Paul Stein, who came over to England specially to direct the film version of Michael Arlen’s most popular novel. “Lily Christine,” starring Corinne Griffith, for Paramount, is convinced that he has made one of his very best pictures. In it Corinne Griffith has never appeared to better advantage. She is certainly one of the loveliest of scieen actresses of to-day. In the same picture will be seen Colin Clive, Miles Mander, Anne Grey, Jack Trevor, and Margaret Bannerman. • • • Professional gamblers were called in to give technical advice and show the 60 or more players how to bet their chips in the various games .of chance introduced in “Man About Town,” the Fox picture now at the Regent. To the accompaniment of Alfredo’s Vagabond Baud, Nancy 'Browne as Teresa, in British International Pictures’ screen version of “The Maid of the Mountains,” has enthralled all hearers with her singing of the lovely and popular waltz song, while the bandits of Baldasarre,, played by Harry Welchman, have made the studio ring with their hearty chorus, “Live- for To day.” Plenty of punch and smashing action make Metro-Goldwyn-Mayer’s “Huddle” the most virile story in which Ramon Novarro has ever appeared. From the minute he has his terrific fight with a labourer in the steel mill until he wins a big-Varsity game for Yale, Novarro is in action constantly. His characterisation as Tony Amatto is entirely different from anything he has

After more than forty years on stage and screen. George Arliss, star of “The Man Who Played God,” a Warner Bros, picture, has given up all hope of avoiding s.tage fright on the opening night of a play, or in the opening scene of a picture. Ho still quakes before a first night audience, and in front of a new camera crew. Once the first curtain falls, or the first scene is “in the bag,” Mr. Arliss regains his composure.

yet attempted aud gives him a chance to demonstrate his genuine ability at. handling varied types of roles.

Herbert Marshall, the English actor, who has been one of Broadway’s most popular leading men for several years, will play a leading role in “Blonde Venus,” the Marlene Dietrich starring picture, soon to go into production at Hollywood. •. * *

“Let Me Explain, Dear,” is the title of the next starring vehicle selected by British International Pictures for the company’s bright particular star, Gene Gerrard. A fast-moving comedy on the lines of the supremely successful “My Wife’s Family,’! which it is confidently expected to surpass in laughter values, the picture will be directed by Gene Gerrard, with Frank Miller and the same technical unit which has supported them in the production of “Lucky Girl.”

Ruth Chatterton is a versatile star. During a recent “vacation” she spent her time directing a stage play and hel]>ing to adapt “Children of Pleasure,” her latest Warner Bros’ First National Picture.

Joan Bloudell, star of “The Crowd Roars,” a Warner Bros.’ First National picture, may still be a blonde on the screen, but off it she is now a brownhaired beauty, with a sleek tightlycombed coiffeur that makes her look about fifteen years of age. It’s her own hair, natural colour. “The Crowd Roars” is packed with’ thrills and romance.

Jackie Cooper not only strengthens his standing as a capable juvenile screen performer in Metro-Goldwyu-Mayer s “When a Feller Needs a Friend,” but definitely establishes himself as one of the outstanding artists on the screen. The iriany scenes of pathetic tenderness that distinguishes this production as one of the great human films of the year makes a very deep impression.

At the moment "Sunshine Susie,” the Gaumont - Gainsborough . production which is shortly to be released through New Zealand by Greater' Australasian Films, is breaking every known record at every theatre in Britain where it plays. The star of the production, Miss Renate Muller, who is accompanying the. film in Britain and making personal appearances, has been mobbed by. the huge crowds that flock for miles to see both her and the film.

Occupying a section of the spacious floor of the British Dominions Co.’ri studio at Elstree, England, is a quaint old English rooin, in which several interiors for Edgar Wallace’s racing drama, “The Callendar,” are _ being “shot. ’ Many fine shots of the Epsom Downs and other big English courses will be seen in “The Calendar,” the stage version of which was presented in Sydney and Melbourne recently with Frank Harvey in the leading role.

A story of dramatic intensity is “Madame Julie,” in which Lily Damita make a reappearance and gives an impressive portrayal. . . . The play gives Miss Damita a suitable role, aud she plays it admirably. It has an entertaining plot which comes to an unexpected climax.

Jose Mojica, opera star and concert artist, who has signed a new Spanish language picture contract with Fox Films, this year will be at home for Christmas for the first time in 13 years. He has a beautiful, typically Mexican country, home in Santa Monica Canyon.

Dora Pinter, Constance Bennett’s personal maid, who has been with the star for eight years, and lias attended her during the filming of all her recent pictures, gets her own “break” in “Trie Truth About Hollywood.” She appears in her true life role as Miss Bennetts maid, helping her with make-up.

One of the longest scenes on record, technically known as a “space shot.” was filmed for “Cock of the Air,” the latest Howard Hughes production for United Artists, In this scene, an Italian carnival is filmed with moving cameras, mounted on perambulators, with one of the most exquisite effects ever obtained photographically. Chester Morris, who plays the title role in "Cock of the Air,” had his most recent lead with Alison Lloyd In “Corsair.”

ACTOR AND AUTHOR TYAVID MANNERS, who plays with Constance Bennett and Ben Lyon in “Lady With a Past,” was on a trip to the South Seas when he stepped off at Hollywood for what was to have been but a brief sojourn. Friends introduced him to James Whale, who induced him to give up his trip and play the role of Raleigh in “Journey’s End.” He has remained with the screen. Having a family tradition to live up to is one of the greatest possible spurs to ambition, according to Manners, who has a large array of distinguished ancestors and relatives. Qn his mother’s side, he is related to Lady Diana Cooper and the Duke of Rutland. Distinguished writers with whom he has blood ties include Conan Doyle, W. H. Homing. and Morley Akiom. Manners’s original intention was to uphold the family prestige in the field of literature; to prepare himself for play writing, he sought practical knowledge of the craft by becoming an actor. Success came quickly to him on the stage, and the writing ambition was pushed into the background temporarily. Writing was not forgotten, however, arid after several successful seasons with the theatre, Manners left Broadway for South Seas’ to absorb atmosphere and write. As has already been related, his stopoff in Los Angeles brought him to the films. While in earnest a.bont his screen career, Manners has not given up writing.

STILL TRIUMPHANT 1 QYBIL THORNDIKE with her company of London actors and actresses is scoring success after success in Australia, and the critics say that never before has such realistic acting been witnessed. It is claimed by those who should know that before long New Zealand will enjoy the finished work of trig greatest actress of the age and the best producer in tlie world —Lewis Casson, her liusbaud. PRAISED BY KIRSCHNER T ILYAN TASHMAN was born and educated in New York City. Before embarking on a theatrical career she was a' model, and once gained wide notoriety whei; Rudolph Kirschner, the artist, pronounced her the possessor of “the world’s most- beautiful legs." She was also famous as a Ziegfeld show girl. Miss Tashman is recognised as one of the most - perfectly frocked women on tiro screen.. She both acts aud speaks well.

News From The Studios And Theatres

A VERSATILE CAREER A S popular on the screen as he is on A the stage, Jack Buchanan has had rather a versatile career. Born in Glasgow, not so many years ago, he had a school life that was not marked by any notable event, and then went to work in an auctioneer’s office. It was not long before he realised that he would be a bigger success as an actor than an auctioneer’s assistant. So he joined a small touring company, but failing to become the big success his boyish dreams visualised, he left the company he was with and departed for London. Here he was on the verge of starvation for many weeks until he obtained a job in a chorus at a salary of thirtv shillings per week. Success at last came to him and he went from one chorus to another until he was selected to understudy a celebrated stage star whose illness gave Buchanan an opportunity of demonstrating what he was capable of. His . portrayal was greeted with such success that he was engaged by the principal touring company. He later became a leading revue comedian in London. His first screen appearance was in the British talkie “The Happy Ending,” which gave him an Opportunity to play a serious type of role. He has since 'starred in many British films and most notably the American operetta, “Monte Carlo,” the highly successful musical show “Paris,” in which he played opposite Irene Bordoni, and also “Man of Mayfair.” His latest release is “Good Night, Vienna.”

FROM CHORUS TO SCREEN A CORNER table iu New York’s famous “The Tavern” restaurant prides itself on the fact that at many sessions over its cloth an unknown chorus girl planned a brilliant career. That chorus girl was Mae Clarke, before whom Hollywood now bows on bended knee. Miss Clarke was born iu Philadelphia August 16, 1910, is sft- 3in., weighing a nice maximum of 114 pounds, and has blonde hair and brown eyes. Her first theatrical work came with a chorus assignment In “Keep Cool” from Earl Lindsay, who later signed her to dance at the Strand Roof, the Everglades, and Vanity Clubs, and in “Gay Farce.” At that time she and Barbara Stanwyck and Waldo Mansfield became inseparable pals. The' three were engaged to play in ‘The Noose.” “The Front Page” scored her greatest honours, and Car) Laemmle, junior, saw her in it and signed her up. She also made a great hit in “Waterloo Bridge.” Because of her Broadway night club experience it was easy for Miss Clarke tp give one of the. great characterisations of her catcef in “Night World,”

MUSICAL STARS Possibility of Visits A CCORDING to an interview in AusA tralia with Mr. Hugo Larsen, there is a possibility that a number of famous personalities in the musical world may visit Australia next year. Mr. Larsen states that Cortot, the French pianist, was willing to come to Australia in July of next year. “I first met Cortot five years ago in New York, and he then said that if he ever came to Australia he would tour under my direction,”- said Mr. Larsen. “I met him recently in. Paris, and as a result of that interview I may say that there are strong possibilities of a visit next year.” While in Loudon Mr. Larsen opened up uegotiatious with Sir Henry .Wood, the veteran conductor, to direct orchestral concerts in Australia. The cost of bringing a symphony orchestra to this country from London would be too great, Mr. Larsen said, but no doubt Sir Henry Wood would ask that leaders of some of the sections should accompany him. He would train an orchestra in Melbourne, which would play here and in Adelaide. Another orchestra formed in Sydney would perform there and in Brisbane. A solo pianist and a solo violinist would perform at these orchestral concerts. Sir Henry Wood was still as full of enthusiasm as ever, said Mr. Larsen. The conductor had just returned from a visit to the East Indies. , In London. Mr. Larsen made a definite arrangement with Peter Dawson to come to Australia and New Jealand in 1934. This will be . the bassbaritone’s farewell tour, and it will be a comprehensive one. Two days after he had arranged for o)<==><)<==><)<==>O<==>O<=><)C=>O<

There;was quite a stir on a set at one of the Hollywood studios recently, when Director Charles Brabln brought his wife along to watch one •'of the big scenes being made, for Mrs. Brabin was none other than the famous Theda Bara, first and fore- ’ most of the silent screen’s celebrated “vamps.” For years she had no rival, and was the. acknowledged “Queen of the Vamps.”

the visit of Szigeti, Mr. Larsen met Edith Lorand, the violinist, and she promised to hold herself and her V iennese Orchestra available for a tour of Australia next season. Apart from Miss Lorand, this small combination Is comprised of men, each of whom is able to play half-a-dozen instruments. Miss Lorand said it would be" able to give 15 different programmes, if required. In the near future Mr. Larsen hopes to' arrange for a joint visit to Australia of Madame Suggia, ’cellist, ftud Nicolai Orloff, Russian pianist. Other artists whom Mr. Larsen hopes to introduce here are Vladimir Horowitz, Russian pianist, and Conchita Supervia, Spanish mezzo-soprano. AMONG THE AMATEURS THE Wellington Repertory Theatre Players are busily engaged In rehearsing for their next show, which will be “By Candle Light, in which the leading parts will be played by Miss Beryl Earle, Mr. Victor Lloyd and Mr. Tom Anson. The production is-again in the capable hands of Mr. W. S. Waucbop. . ■. , The Masterton Amateur Theatrical Society will present the musicalcomedy, “A Runaway Girl,” in September. , “The Kiss of Death,” a mystery play, will be produced in Auckland next month in aid of the Auckland Discharged Prisoners’ Aid Society. The Hamilton Operatic Society ‘ is rehearsing for “The Belle of New York.” The Invercargill Operatic Society is at present playing “A Country Girl.” BREEZY DIALOGUE' THE' inside intrigues of a jury room x are revealed in the farce-drama, “Ladies of the Jury,” starring the inimitable Edna May Oliver in the role of Mrs. Crane, a social leader who is impanelled on a jury. The film is a riot of laughs, and some idea of the breezy material at the disposalof the comedienne is seen in the following snatches of dialogue from the show:— Mrs. Crane: “Oh, dear Judge Fish, a thousand pardons. I’m so sorry to be late ... but it didn’t worry me because I remembered that Fred and Bertha told you at the club on Sunday that they were sailing this morning, and I was quite sure you would understand, I just had to drop in on them. ...” Judge: “My dear Mrs. Crane, you have not kept the court waiting. Now, if you will kindly take the witness stand. . . .”. Mrs. Crane: “The witness stand? I thought I was invited to serve on the jury?” Judge: “Quite so. Mrs. Crane, but you must be examined.” Mrs. Crane: “Examined? Why, Judge Fish I” Judge: “Before you can serve as a juror, Mrs. Crane, you must be examined on both sides.” Mrs. Crane (shocked): “Why, HenryFish.'” Judge: “I riiean counsel on both sides must examine you.” Mrs. Crane: “Oh!” Judge: “Now, if you will please take the stand." Mrs. Crane: “Yes. indeed . . . with pleasure ... but Judge, may I ask if the lawyers are under oath to tell the truth?” Judge: “No, Mrs. Crane, only the witnesses . . . not the lawyers." Mrs. Crane: “But that seems so unfair. Judge. Oh . . . Oh. Then we needn’t pay any attention to what those lawyers over there say.” CHANGE OF TITLE “What Price Hollywood,” is to be the title of Constance Bennett’s starring vehicle for Pathe, now in production and previously known as “The Truth About Hollywood." Playing opposite Miss Bennett in this inside story of Hollywood life is Neil Hamilton, while the supporting players Include Lowell Sherman. In the role o an eccentric director: Gregory Ratoffi. as a producer; Florence Roberts, Bryant Washburn. Lita Chevret. Bruce Cabot end King Baggott. Miss Bennett is said to excel all her previous trjumpliaut efforts in ttys show-

THEY NEVER DIE Fate of Old Films TN the bush, hundreds of miles from Quebec, there is one of the queerest picture-houses in the worlds—an odd building, an odd audience, and the oddest of films, states an article in the “Film Pictorial.” The word goes, round among the lumberjacks that the movie man is coming to the “camp," and straggling parties of all sorts and conditions of men trek in from the wilds, all eager to see the “animated pictures.” The picture-house is an old, dimly lighted shack, or barn. There is no charge for admission. There are not even seats. Those who get there first squat on the floor; the unlucky ones group themselves around the walls. A rough screen is erected at one end of fbe shack, and if it measures six feet by six, then it’s a mighty fine screen. ' ' '

The camera-man is a god in the eyes of the lumberjacks. Not only ’oes he manipulate the camera, but also, he. interprets scene for scene as the film proceeds—first in French and then-in English; few of the lumberjacks, whether French or English-Canadian, can read, so that captions count for nothing. Old films never die —they simply fade away into the Canadian bush. Tattered and torn portions of a dozen old films are all joined together, regardless of any connection with each other, and this hotch-potch of incidents flickers and jerks upon the screen. Nobody seems to mind. Cowboy scenes mingle with West End

Hollywood gossips are whispering the news that Pola Negri is once more contemplating . matrimony—' this time to a millionaire. One of Poia’s early loves was the late Rudolph Valentino, to whom she was engaged to be married. When the handsome “Rudy” died, Pola Negri had made, as a covering for his coffin, a blanket of scarlet roses in the centre of which was set her own name festooned in white blooms.

melodrama, then fade into rollicking slapstick comedy which, in turn, get's mixed up with a scrap of a twenty-five-year-old Bioscope scene of London life. Then comes the circus; no bush movie show is complete without- a circus turn.

There are a couple of clowns, a trapeze act, and a few horses chasing round the ring. Like excited children the' lumberjacks wildly applaud each turn and above it all the interpreter yells himself hoarse. ~ ’

The. air is thick with tobacco smoke . .. the screen grows dimmer and dimmer. The last scene flickers in and out and the show is’ over. The cameraman packs up and leaves for another “camp.” -The lumberjacks trek back through the bush. The firie “animated pictures” they saw provide a topic of conversation for weeks to come.

“SIGN OF THE CROSS” To be Made as Talkie 'T’HE famous director, Cecil B. de Mille, has began preliminary work for his Paramount production, “The Sign of the Cross,” which will be adapted from Wilson Barrett’s play of the intrigues of Nero’s court with a romance between a Christian girl and a Roman soldier as the dominating motif. To the dramatic appeal.and spectacular scope of .“The Ten Commandments’”and “King of Kings," which he directed several years' ago, de Mille will add the advantages of sound and dialogue in his production of “The Sign of the Cross,” which will be his .first i -Iking picture of epic proportions. It has not-yet been announced who will be seen In the leading roles. Wilson Barrett, himself, was seen -in the stage show in New Zealand many years ago, and, with him were Miss Lillah McCarthy, Miss Elliott Page, and Mr, Basil Gill. “The Sign of the Cross” was also played here by Julius Knight, Irene Brown and Lizette Parkes. Many people preferred Mr. Knight’s interpretation of the role of Marcus to that of the author. THE RETURN OF “REX” “Wild horse stampede,” a ’ ’ sensational. horse story, soon to be placed in production by Columbia Pictures, will bring back to the screen. Rex, the beautiful black stallion which starred, in the memorable pictures “Rex, King of Wil'd Horses.” and “Th® Devil Horse.” The new production will be the first big horSe-picture. to be filmed in the past five years. Produced entirely in the Navajo Indian country of. Arizona, “Wild Horse Stampede” will also feature Lady, the whit® mare, and Marque, the villainous pinto horse, featured with Rex in the former pictures. Almost 1000 Navajo_ Indians, most primitive of the remaining Indian tribes, will appear in the production. as well as two thousand head of wild horses. / UNIQUE MAKE-UP BOX A MAKE-UP box of unique distinction is owned by Warren William, who is playing one of the featured parts in Metro-Goldwyn-Mayer s Skyscraper Souls.” This portable case is finished to give the impression of aged wood. When opened it represents.a miniature, dressing-table with small compartments and drawers. The large mirror; fitting in.at the top of the case, is surrounded by electric light globes which are attached to a hidden battery. J ~ ‘

The second production of the. J. C. Williamson musical-comedy company, feautring Madge Elliott'and Cyril Ritchard, will be “Follow Through,’ a most humorous musical play which is as entertaining as the popular “Blue Roses.”