THE SHADOW WORLD

Southland Times, Issue 19049, 19 September 1923, Page 11

THE SHADOW WORLD

Latest Real News of Reel Folk.

Who has not read and enjoyed Kate Douglas Wiggins’s human and amusing character stories, such as we have in “Mrs Wiggs of the Cabbage Patch” ? This gifted authoress has now written her first screen scenario, entitled “Timothy’s Quest,’’ which will be shown at the Albion.

Theodore Roberts says he will not buy another cigar for a year. The man. who made the weed famous on the screen is not swearing off; not at all. While he was on a vaudeville tour the fans welcomed him with big bunches of cigars, instead of the usual flowers that are given a star. As a result his humidor is stocked. Now he is playing Moses in de Mille’s “The Ten Commandments”—and cannot smoke before the camera as usual. “No joy in life for a prophet,” grumbles Theodore.

Dan Keefe, who assisted David Kirkland in the direction of a number of Constance Talmadge pictures and Roy Neil in the making of Constance Binney pictures, assisted J. A. Barry in the direction of “The Woman’s Side,” Katherine MacDonald’s latest Associated First National release, to be shown at the Albion Theatre on Saturdav.

Margaret Leahy, a little English girl, was lifted out of the unknown into sudden fame as winner of a London beauty contest, presided over by Norma and Constance Talmadge. The Talmadges brought her to America in a veritable triumph, heralding her as a “find,” who was to play a big part in “Within the Law.” A month or two ago little Margaret crept back to England, unnoticed. She played in one picture with Buster Keaton. Such is the tragedy of sudden fame.

Rex Ingram says that if you want to film real fight scenes, get Irishmen. Dress them as Frenchmen, Germans, Balkans, if you must, but get Irishmen. He discovered this when he was filming mob scenes in “Scaramouche.” The Frenchmen engaged by Mr Ingram looked the part, but they lacked “punch.” So he mixed a number of Irishmen among them and got the desired results.

Whenever a difficult part is to be cast directors send for Rosemary Theby. In rapid succession she has been a Spanish dancer; a proud, imperious queen; a tender, middle-aged mother; a pioneer woman with a Gallic undercurrent beneath her placid exterior; an impetuous Arabian princess and a patient helpmate, catering to her husband’s creature comforts. In “Long Live the King,” Jackie Coogan’s production, Miss Theby portrays the Countess Olga Loschek, an adventuress who embroils her queen’s country in war and imperils the life of the Crown Prince to gain her selfish ends.

Recently Ernest Torrence had three stitches taken in his hand at the Universal Hospital after one of the extras accidentally struck him with a prop battle-axe. Mr Torrence was leading 1500 extras in a big mob scene of “The Hunchback of Notre Dame.” Picture Jim Kirkwood in a corset! He wore a thick one under his shirt for a scene in “The Eagle’s Feather” when Lester Cuneo was called upon to horsewhip him on the Metro lot. Lester, in his excitement, aimed too high with the whip and caught Jim under the arms . Blood streamed and Jim howled, and two doctors were summoned to stop the flow of blood and language.

Henry Ford is accused of becoming a movie magnate in order to further his campaign for presidency of the United States. When Viola Dana heard about Henry going into the movie business she came right back at him by going into the flivver business, buying a garage in Hollywood. Now we’ll see who’s going to be President!

Monte Blue’s passion for realism landed him in the hospital for several days, and held up the production of “Loving Lies,” the screen version of Peter B. Kyne’s story, “The Harbour Bar.” The script called for Monte to make a landing on a rugged shore in a small skiff during a heavy squall. A double could have been used, but Monte would not have it. As he neared the Ireacherous rocks a mighty wave struck the little boat and threw him into the sea. Another wave sent the boat battering against the helpless movie star, breaking a rib and giving him several bad bruises.

The latest William Fox production starring Charles Jones is “Snowdrift,” showing at the Albion Theatre on Saturday. This story by James B. Hendryx, is an adventurous tale of the great North-west and is filled with exciting action along the Mackenzie River. The author is well mown for his romantic tales of the land of the strong cold, including “The Promise,” “The Gold Girl,” “The Gun Brand” and “Connie Morgan in Alaska.” The supporting cast includes Irene Rich, Dorothy Manners, G. Raymond Nye, Colin Chase, Evelyn Selbic, Lolo Encinos and Lee Shumway.

To get a sequence of novel shots which appear in “Her Reputation,” Thomas H. Ince’s big newspaper drama, several elaborate “sets” of pre-historic days have been built on the lot of the Ince studios. In spite of the fact that only flashes of the scenes will be shown in the picture, weeks of research work have been necessary to establish the correct “atmosphere” or the “sets,” which are some of the most expensive used in the entire production. The sequence carries a vivid illustration of the evolution of the modern newspaper from the days when “news” was passed from mouth to mouth; then by means of hieroglyphics scratched on stones, until finally the modern newspaper plant, with its elaborate facilities for broadcasting daily happenings, was established.

Did you notice that Nazimova always burned her left cheek to the camera? But .low she will turn the other cheek, because she has undergone an operation to remove a scar from the right side of her face, ihe scar was the result of an automobile accident in which she was catapulted through ihe wind shield. Alla spent 18 painful days saving her face made over. Now there is not a line or crinkle in the velvet of her cheek.

One thinks of Mabel Normand as Mickey .tud Molly-O. Who would ever think of her as a poetess? Yet she has written jome exquisite things. When Mabel was n London she was hailed by the intellectuals. Hall Caine invited her to tea, and they say Bernard Shaw was bearded. Now Mabel is back on the Sen nett lot—“playing another one of those Irish dumb-bells,” she -ays. Would you rather be a poetess or .m Irish dumb-bell earning 10,000 dollars i week?

Rodolf Valentino, flying from 2000 en■jptured damsels, burst through a door .narked “ladies’ room” and finally found refuge in his manager’s office. The scene was the Arena in Vancouver, Canada, where R.odolf danced with his wife before 8000 people. After his tango and the beauty contest he repaired to his dressing tent. Two thousand admirers pursued, clamouring for “just one more look.” One lady ore a rent in the dressing tent to get a peep. Others followed until the canvas was well-night ribbons, and Rodolf with Natacha took flight through an opening. They ran lown a corridor, flung themselves through ‘.he door into the ladies’ room and finally arrived at the inner office of the manager >f the Arena, the crowd barred by the timey arrival of some policemen. “Well, anyhow,” sighed a flushed flapper of 19, “we nere near enough to touch his coat!”

“Oliver Twist,” with the popular Jackie Coogan as Oliver, has broken all attendance records up north; and no doubt the same thing will happen here when it screens at the Albion next Wednesday.

Bidding farewell to the follies, Will Rogers packed up his lariat, took a fresh stick of chewing-gum. and set out for Hollywood to star in comedies for Hal Roach. He said in parting: “I’m going out to the coast to make pictures again. The last time I went out there I went to take Charlie Chaplin’s place. This time I’m going out for Valentino.”

Some say the Sargasso Sea, known as the “Isle of Lost Ships,” is a sailor’s myth, but the atlas shows it at the Gulf of Mexico's very door. It is here that, the story entitled “The Isle of Lost Ships” is told —a tale of adventure on an island of derelict ships. Some are centuries old, locked together in a tangle of seaweed, and peopled by a colony of men and two women.

“Racing Hearts,” one of those rushing motor car pictures made popular by the late Wallace Reid, is coming to the Civic this week-end. Agnes Ayres, Richard Dix and Theodore Roberts are the principals appearing in this fine picture. The motor race is said to be one of the big thrilling screen incidents of the year.

Richard Talmadge, the human whirlwind, is now at the Civic in “Putting it Over,” a real thriller with an abundance of thrilling and spectacular stunts, most of them new, and all of them daring in the extreme. Talmadge is a reckless individual—and he still lives!

If Jackie Coogan were actually to do all the million and one things that are asked of him daily by enthusiastic admirers, he would have no time to appear in films at all. But Jackie is happy all the same, because his circle of admirers is widening daily. The fact that he is the outstanding child of the age, and that he possesses real genius, attracts thousands and thousands of people the world over. It is a human weakness that these people should show their adoration by desiring a little memento or to have him in their midst. It is a compliment of fame.

“On or off the screen two sisters should never quarrel—especially if they haven’t seen one another for 10 years.” Thus spoke Edna Flugarth, sister of Viola Dana on the occasion when Oscar Apfel, the director, offered her the sister role in Miss Dana’s newest Metro picture, “The Social Code.” Miss Flugarth was delighted upon reading the script to find that she wouldn’t have to break up the era of sisterly good feeling —even upon, the screen. Thus Rita Weiman’s story will be honoured by having the sister roles actually played by two real sisters, both famous players of the screen.

Has the world’s greatest vampire been tamed? It would seem so, for Theda Bara has turned down three screen offers, choosing to stay by the fireside and look after home affairs for her husband, Charles Brabin.

Back on the screen together again are Dorothy Gish and Richard Barthelmess in “Fury.” This is a story of ships and storms and sea—a drama of rolling decks, with glimpses bf Limehouse in . its yellow fog. The company spent three weeks in a schooner at sea, when this picture was being filmed. It comes to the Albion.

Goldwyn, Cosmopolitan and Distinctive pictures have merged their distributing activities in a 70,000,000 deal. Each will produce independently, but will share in the distribution costs and in the profits, according to their holdings in the Goldwyn distributing organisation.

Home life and the individual experiences of each member of the family is the theme of “The Old Nest.” Ruper Hughes, the author, holds a high reputation for scenario writing, and in “The Old Nest” he portrays faithfully the average family life. The babies grow through youth to manhood and womanhood, and leave “the old nest” which has sheltered them to fend for themselves. Nevertheless neither the mother nor “the old nest” are forgotten, although of necessity they take second place.

Another triumph is registered for Theodore Roberts in his latest offering, “Grumpy.” Never has the grand old man of the screen been seen in a role which fits him so well as that of the irascible but good-hearted old man who plays detective in a story that is humorous to the last degree.

While waiting for the delivery of his new big automobile, Bull Montana, Metro’s bur-vlar-fabed comedian, has been travelling in a flivver. A friend chided him, suggesting that it was a disgrace for a person of such affluence to be seen in such a humble equippage. “I don’t think so,” the cauli-flower-eared star said. “I’m pretty lucky to be riding in anything. Half the time when I was in New York six or seven years ago I didn’t even have car fare. One night I had a wrestling match at a gymnasium in Brooklyn. I turned in my pick and shovel on my job in New York at 5.30 o’clock and walked fast for three solid hours in order to arrive in time for the match at 8.30. I didn’t even have the price of a meal. But that night I got three dollars, and I returned to New York in jtyle—on the subway.”

Paramount has made a fine picture out of the play “Adam and Eva” which was •_i big success on the Australian stage a while ago. Marion Davies is in the leading role. It is the story of a man who turned lie family over io a young go-getter and jme back to find them all changed. Its ‘heme is universally popular, the laughs are nany, and the love interest is most ap'ealing. Probably no other screen actress is so well adapted to the leading role as \iiss Davies and Cosmopolitan has surround'd her with a fine cast, including T. Roy Barnes and Tom Lewis. Civic will screen

A French actress of luring accent, carmined lips flashing from a face of saffron pallor, oblique eyes that reflect the amber light of pendant earrings, a slim silhouette of fluid grace about whom hovers a secret perfume compounded by herself—Jetta Goudal is the Chinese Lily of “The Bright Shawl” with Parisian modifications, avers “Photoplay” magazine. Nothing whatever was known of her when she triumphed over the screen in her first part—that of “Pillar de Lima” in “The Bright Shawl.” She is in fact what other sirens are in fiction—a lady of mystery. “I came to America because I thought I might as well be miserable here as any place,” she said with her slow, colouring accent. ‘lt was during the war. . . .” She is a oerfect visualisation of Hergesheimer’s Pilar—that water lily bloom, so densely pale, whose lips of artificial carmine were like the applied petals of a geranium. Yet she is not a Chinese lily, but a fleur de lis, born at Versailles, in France. When she saw herself in “The Bright Shawl”— in her first screen part—she was disheartened. “So many scenes were missing—l was all cut away,” she said plaintively. When the critics acclaimed her, she was astonished. “I went to see the picture again, thinking perhaps they had put back my scenes. Mais non.” She shook her head mystified. “I still do not understand —there was so little of me!” Jetta Goudal unquestionably will take her place on the peacock dais along with Sirens Naldi, Swanson and T.a Marr. She is distinctlv « charmer of men.

Radio enthusiasts of all ages will be greatly interested in a two-reel film, entitled “Via Radio” to be seen at the Albion. It illustrates in minute detail the way in which the radio operates, and the reasons for its operation. Beginning with voice waves, the range of which is demonstrated by animated charts, the entire process put into operation each time a radiograph is given or received is clearly and concisely shown. Viola Dana once was a toe dancer on the stage. In ‘The Social Code,” her latest picture for Metro, Miss Dana must do ordinary ballroom dancing—the latest dances, that is. But she holds this sort to be more exacting than toe dancing and has gone into intensive training. According to the little star, the audience, composed of dancers for the most part, is very critical and therefore every step must be correct. Clarence Burton’s conscience is troubling him. All his life he has been abusing pretty heroines and chasing through several reels until he is finally brought to an evil end. Recently the film gods changed the tempo a bit by having him inflict his villainy upon innocent equines. This was in “Garrison’s Finish.” And now he whines, they have asked him to penetrate his foul deeds upon various and sundry canines—an animal of which he is very fond. This time it is in the Associated Authors’ production of Elmer Harris’s “No More Women.” Joan Lowell, one of the latest screen “finds” of the year, was taken aboard her father’s ship at the age of three months in a desperate effort to stem the tide of death which medical men forecasted. Suffering from malnutrition the little infant was nursed by her sea-captain father on the usual ship rations. To-day, at the age of 17, she is considered a sturdy example of girlhood and is on the brink of receiving the highest of screen honours through her work in the Associated Au- ( thorn’ production of “Loving Lies,” Thompson Buchanan’s screen version of Peter B. Kyne’s story, “The Harbour Bar.” Who knows what wives want? Solomon didn’t know—and many another wise man in history met his downfall when he tried to find out. A modern indication of a woman's needs is given in the Universal photodrama “What Wives Want,” which is coming this week to the Civic. Ethel Grey Terry, Niles Welch, Ramsay Wallace and Margaret Landis are the principals in the all-star cast entrusted with the development of the story. Ina Claire, a musical comedy actress with a big reputation, makes her screen debut at the Civic to-night in the latest Metro production ‘Tolly With a Past,” an amusing comedy that serves as a fitting vehicle for her introduction to picture audiences. “Polly With a Past” is a lively story of a venturesome miss who undertook the role of a woman with a reputation of sorts, and then found it an awkward matter to live up to that repuation. It was a big stage success and is likely to prove the same on the screen. One of the “big” pictures that will strike a responsive chord in the hearts of every man, woman, and child in the community is “The Flirt,” a Universal Jewel production that is coming to the Civic very soon. The picture is based on Booth Tarkington's well-known story, considered by many to be the finest work he has done—and it makes a remarkably fine picture, thoroughly human and with a heart-searching appeal. Eileen Percy is scheduled to appear in the title role, and gives a very fine interpretation, but ’tis said that she is completely overshadowed by other members of the cast, notably George Nichols in the role of Pa Madison, Buddy Messenger as her younger brother, and Helen Jerome as Eddy, her sister. There is not a false note throughout the whole production. It •s one of the gems of the screen. “The Flirt” Is coming to the Civic. “First Love” comes to some of us like the measles —a fever, a chill, and then its all over. But to Katherine O’Donnell it came like a great tidal wave that swept her from young girlhood into womanhood, overwhelmed mother love, home ties, friendship’s warnings and dashed her upon the shores of tragedy. The story is graphically told in Constance Binney’s next Realart picture “First Love,” which is on its way to the Civic. After weeks of careful consideration, Thomas H. Ince has signed up one of the most remarkable trio of actors ever appearing in one picture, for the leading roles in his screen adaptation of “Anna Christie,” Eugene O’Neill’s big stage success. Blanche Sweet has been selected for the title role. George Marion, who created the role of “Chris,” the old “Squarehead” father, for the stage-play, has been brought back from London, where the play has had a sensational run, to play the saipe part on the screen. William Russell Has been cast for the part of “Matt Burke,” the Irish stoker lover of the drama. Miss Sweet, who has been entrusted with the role for the screen which Pauline Lord has made famous on the stage, is considered one of the most able emotional actresses of the silver sheet. She has been a “fan” favourite since the old Biograph days, and recently made a triumphant “come-back” after several years’ absence from the screen, in “Quincy Adams Sawyer.” “Mae Marsh is back,” comments Herbert Howe in the August number of Photoplay Magazine. “She came stumbling back through the rain and the night without a wedding ring, or even an umbrella, but in her arms a bouncing Mellins Food product. We were so glad to see her we didn't care if she never wore a ring, though we did wish she’d remember her rubbers because we never want to lose our Mae again. Compared with her most other stars are merely sing-song girls with sing-song faces. Mae’s plainness is one reason for her greatness. You couldn’t help but feel sorry for a face like hers. It’s just a little piece of twisted rag when she cries. Unhampered by a consciousness of beauty, Mae can give her entire mind to acting, whereas the stellar shebas are occupied with thoughts of camera angles and graceful postures. They would not dare to act if given the ability, for emotions are not pretty and tears mess up the make-up. Though histrionically punk, such stars are financially sound. Thus Katherine MacDonald retires with a i fortune, and Mary Miles Minter rates as a , millionairess. Both were non-acting stars. 1 Mae Marsh will never be a great star financially. She hasn’t the face ot an angel I food cake—nor the icing.”