MOVIE WORLD

Star (Christchurch), Issue 16875, 28 October 1922, Page 16

MOVIE WORLD

NOTICE TO CORRESPONDENTS. Correjpondenta desirous of having questions answered in the current issue are requested .o see that their communications are delivered at this office not later than Tuesday afternoon. Betty.—The cast of " Squibs ” is as follows:—Squibs Hopkins, Betty Balfour; Police Constable Charles Lee, Frank Groves; Sam Hopkins. Hugh Wright: Buliy Dawson, Cronin Wilson; Ivy Hopkins, Anette Benson; Robert Bee, Ambrose Manning; Mrs Lee, Mary Brough. Rodolph.— Valentino * was married in Mexico, but under American law th** marriage was illegal, his divorce from his first wife not being absolute. The American papers report that Valentino and his new wile will be re-married in America immediately it is possible for this to l>e done legally. Valentino is an Italian. He wn* born on May 6. 1895. Alice.—Sorry' unable to supply more than one cast tbi week. May secure others in time for next i,sue The cast is of “The Trap ” - Gasp aril, Lon Chaney; Benson. Alan Hale: Thalie, Dagmar Godowsk. : th- Boy. Stanley Goethals; the Teacher. Irene Rich: the Factor. Spottiswoodo Aitken; the Priest. Herbert Standing: the Police Sergeant. Frank Campeau. M.E.C.—James Kirkwood and Bert Lytell, Lasky Studios, Hollywood, California. Jackie Coogan, United Studios, Hollywood. California. Betty Blythe, W'.-.i: *via;i Bennett Studios, Riverdale Avenue, Yonkers. New York. The Gish Slaters. Grif flth Studios, Oricuta Point, Mamaroneck, New York. I should advise you to send at least 2a for each photograph. Interna tional coupons can be obtained at the post office. “Foolish Wives.” Universal’? stupendous production, will be shewn at Greater Crystal Palace, eaply in I> > ccmber. The programme for next week at Creater Crystal Palace will he headed by an SOhOi't special, “ Submarine

Eye,” a fascinating tnlo of treasure trove in the Pacific. The picture is water scenes. Programmes for November at Greater Crystal Palace will jnchuJ ‘ The Storm,” » [ nivcrsal-Jcw-I production: ‘‘The Spenders.” a Seismic* picture featuring Claire Adams: “ Th 1 U.P. Trail.” lrom the novel hy Zane Grey, starring Kathleen "Williams: an. Enid Bennett in “ Keeping Cp With Dizzied* If an intelligent man could sec himself drunk or angry lie would never he angry or drunk aagin. And intelligent people, seeing real revolution, living, hating and killing, as Mr Grf-fit-h shows it in his marvellous picture " Orphans of the Storm.” would ],le the suggestion of revolution even mc' e tensely than they could hate M,anny or selfish exploitation. For w ieri v whole people go mad. there is wisdom and safety nowhere. “ Orhpans of the Storm ” is hooked for carlv screening uc the Tdhortv and its scenic variety. Australia is ultimately destined to out-rival America ns the greatest film-manufacturing country in the world.*’ Such is the assertion of Mr Cecil Humphreys, a member of Oscar Asche’s ‘ Cairo” company. ma» to the ‘‘ Sydney Morning Heral “ t*p to the present Great Britain is only feeling its way in the picture trade, and her studios are hampered hy the poor visibility. 1 know something about it, hecau-° since the war ! have played more loading parts for British movies than any other English actor. Australia needs first-class movie directors, and her own scenario writers, and after that plenty of capital. Immense fortunes would follow, for the films would be screened all over the world.” Pola Negri arrived in New York ii* September. Her first picture for Paran cunt will be ‘‘Bella Donna.” Mrs Talmadge has just completed “The Bile Story of the Three 'l*;,.ii.adges,” which will he published i:. December. Madge Kennedy recently signed a contract to appear for the season on the speaking stage. This will not, it *s said, interfere with her picture work. Mary Pickfotd is the principal in a company that has been formed for the purpose of m inufacturing what is to he known as the “ Alarv Piekford doll.” Charlie Chaplin’s latest comedy is a western one. In it, a convict accidentally becomes a parson. Edna Purviance is again leading lady, and she plays the part of a woman whose lit 3 is made miserable hy a mortgage. Dustin Farnum is to appear in a picture, for William Fox, titled “The Yosemite Trail.” Irene Rich will >e his leading woman, and all of the ex teriors are to be made in the famous Yosemite Valley. The cast includes Maurice Flynn and Norman Selby. “ Squibs,” iecently presented at liberty, with Betty Balfour in the lead, was produced n the United States under the title of ‘‘ Ale and My Gal. A report stated : “ This 19 easily the best English-made picture that has so far reached these shores. It should prove satisfactory to any audience.” The output of the William Fox -tudios during the next year will consist of the best novels of the season, plays that have made a hit, and magazine stories from the pens of prominent authors. In addition to this, negotiations are also under way for the work of well known writers who writ© directly for the screen. “Kissing Cup’s Race” with Violet Hopson and Gregory Scott as stars is described as a great turf romance. The «tory, adapted from the famous poem by Campbell Ra*-Brown, is the story of a man whose passion for gambling o rings a noble house to tho verge of

1 ruin. The supporting cast include j several well-known players and als features Joe Plant, a famous Englis | jockey. I Path© scoffs at the views expressc j in some producing quarters in Amcrie [ that, the public are tired of lifteen-ep 1 sode serials, and that their day is past Quite the reverse, says Patbe, in a announcement which concludes as to, lows: —“ Until highly trained writer begin to show more signs of exhaustio than they do at present Pathe serial will continue to be issued in fifteen episodes.” If Press praise it to be regarded a an indication of the merits of a picture then “ The Silent Call,” in whici Strongliead, “ the wonder flog of th screen,” plays such a prominent part is certainly the goods. Now, it is an nounced, the First National have turn ed out another picture, “ Brawn of th North,” with Strongliead as the cen tral figure. This.” remarks an Amer ican magazine, "is a better picture than ' The Silent Call,’—and those wh have seen the latter know what tha One notices the common praetic in luxurious kinemas of sending roum boy in gorgeous uniform armed will a squirt, discharging odourous liquid i; the air in the form of spray,” scad ; medical officer at the Congress of th Royal Sanitary Institute at Bo *rne mouth (England). It is wasting tn kinema proprietor's money and tin valuable time of the boy,” he added “More could be done in a few second by opening the windows. 1 think al house disinfection can quite safely b scrapped.” Carol Dempster is one of Griffith* favourite proteges. She is different

! from the woil known typos of film star I A retiring disposition and a disinclina tion for the popular pleasures and ! haunts of society have made a personality which hides all its light and shad; j under a covering of reserve. She is slim j and tall and wears long graceful gowns with an air of distinction. Her two Ik s: j pictures arc “ The Love Flower arc ‘‘Dream Street.” both of which demonstrate her intelligence, good taste and perfect poise. As announced in a recent issue there was considerable bidding for the pic tore rights of the well-known story. “Dorothy Vernon ol llnddon Hall.” the successful bidder being tho Keimi i Corporation, which announced that itobject was to screen Madge Kennedy in the leading part. Amongst the unsuccessful bidders was Mary J’ickford. who had expressed a strong desire to makthe picture. It is now stated in American magazines that the Kenma Cor poration has sold the right to ML.' Pickford for 80,000 dollars. There arc two big hits running in Los Angeles to day- Rudolph Valentino in • Blood and Sand,”' the Ibanez epic of the toreador, and Charles Ray m “ A Tailor-made Alan ” (writes a corresijondent). The first is going to do more to enhance Valentino’s tremen clous popularity than anything he lias done since “The Four Horsemen of the Apocalypse,” and in the latter Charges Ray comes back into his own alter a long row of very, very trivial pictures Although it is not particularly his type of picture, Ray proves that he is actu ally a great actor. Norma and Constance Talmadge have sailed for Europe. Among the countries they will visit is Egypt, where possible locations for “The Garden oi Allah,” in which Norma Talmadge is to appear, will be inspected. Before begin ning this production either abroad or in America, however, Miss Talmadge will return to America to work on a version of “Within the Law.” 1 he picture she completed in the West before coming to New York is “ The \ oice from the Minaret.” Miss Constance Talmadge lias just finished j * East is West.” This, as well as the i other productions mentioned, will be distributed by First National. I AH that a good many people know about Omar Khayyam is that he was un indulgent old Persian philosopher who had an idea that one could be as happy in tho desert with a loaf of bread and a jug ol wine under a tree, ui in marble halls provided the “only girl ” was also present. But that is only a well-remembered and much quoted fragment of one of the greatest of human philosophies ever written f I he Rubaiyat.” It is like a moving picture of life—that was the inspiration that evolved the film spectacle which will shortly lie seen in New Zealand under the direction of Selected Super-films of Australasia. The “ Rubaiyat” is a Persian love story, and is aflame with passion and emotion. It is also a drama, a tragedy, and, in a fined sense, a comedy 7. Following are extracts from an interview with Richard Bathelmess : “ Actors are not supposed to have much of a head for business,” said Dick. “ T like it. I’m interested in investments and the majority of mine have been successful. T even try. to save. Imagine that! Alary and T have everything we want. We have a comfortable place here. We have a good car—not because we want to put on dog, but because we need a good one. I’m not rich by a long sight. When I hear people say sometimes that I could quit right now, I have to laugh. 3 I still have a long row to hoe.” Both > feet set firmly on the ground. That’s Dick Barthelmeas. Stardom with its horde of gold pieces, acclamation, plaudits and adulation is the intoxicant life offers him day after day*. Yet it has not gone to his head. That may be because he has actually worxed

i for it and earned it. Mis stardom is not a -thing born of any freak quality as stardom so often is. While scores of other stars have shot across the sky. he has been building consistently, first with one characterisation —then with another. And he has done it for the most part with idealistic portrayals. He is young and sane and normal. He is good to look at, too, with his firmly set month, his deep brown eyes and bis warm brown skin With his feet standing firmly on the ground- - And liis eyes finding the stars. THE FILM STAR. THAT INDESCRIBABLE SOMETHING. (“ Motion Picture Magazine.”) Just what is meant when we say that an actor, or actress, possesses ‘that indescribable somethingor that a certain person lias beauty and talent and intelligence, but lacks “ personality ?** i'o analyse and define personality ” constitutes one of the most difficult tasks with which psychologists are conironted, for each individual subject presents a new and specific problem. And in this connection there arises another im, ortant question—namely--Just what is the powerful bold which certain of the leading motion picture stars have upon the public? How can we account for each one’s tremendous popularity when they are obviously so entirely different from one another? Compare, for instance, a dozen or so of the foremost film stars. You will find that th • - have almost nothing in common. Each one is a dfstinct type, both mentally and physically. And yet we like them all. Each one of them exerts a specific fascination over us. Each one appeals to us in a different way, and arouses in us a different set of emotions. On the other hand, there are manv actors and actresses who are fully as attractive physically, and who also are as technically proficient, as the stars we admire. Yet they do not grip us in the same way. They are without that “ indescribable something.” It is not. therefore, physical charm or acting ability which accounts for a star's widespread popularity. It is something deeper and more powerful * something which other actors do not possess. The truth is that every one of tlv* big motion picture stars represents some fundamental instinct in mankind; A star is not only an individual, but also a symbol of some profound psychological impulse and universal emotion Each one stands for an ideal. That is whaf makes them great. That is why they appeal to us so strongly, when other actors, just as good-looking and just as capable, fail to hold us. Last month I selected six widely different types of male stars, and analysed the broad human instinct which each one epitomised. This month I have chosen six leading women stars, and have explained how each one is the symbol of some universal appeal. “ EXTRAS M EM PICTURES, THOSE WHO PROVIDE THE • MOB I STUFF.” There are half a dozen private *‘ex-

extras (wvitea the Los Angeles correspondent of a New. York i>aper). Many girls on piece work in factories are on the extra list. When a lot of people aro wanted for some big spectacle they get into the mobs and make their odol or 7dol 50 cents a day. Ordinary mob stuff pays odol. Then again mere • atmosphere ” may he wanted. That may bring in a crowd without any experience or movie ambition at all—a lot of farmers right off the ranch, for instance, to piece out a street scene in rural drama, or n lynching scene, or maybe a hunch of Chinese from Los Angeles to swell the mob in a Boxer rebellion. This pays 3dol a day. The farmers get n lot of fun out of rom- ' ing to the studios occasionally and pretending they’re actors, i The extras-—on the legitimate stage | they're called supers—have to be on ! the lot by half past eight in the | morning the same as the actors, for ! shooting starts at nine. If .there’s j no rush to go' the production done, j they’re through at five o'clock, but if there’s a rush, as there often is. they may have to stick around late at I night, or even nil night. It’s hard work and irregular work, certain as to money return, usually getting you nowhere except a certain standing as a dependable extra. J’ve seen many a one start with a flourish in the morning and quit for good the first night, especially when the company goes into the country on location. At such times the discipline of the big studios is so strict that all the extras have to sit in their rubber- * neck waggons until called. They may sit there all day in the cold and rain- There arc interminable wearisome waits. HUMAN HEARTS. A THRICE CONSTRUCTED PICTURE. George C. Warren, in the San Francisco ‘‘ Chronicle.” tells the story of “Human Hearts.” a melodrama by Hal Reid, father of Wallace Reid, and who played the leading part during its long and successful stage career:—Umveisal comes to bat again witli “Human Hearts,” and, from accounts in the East, the company has scored a “home run with this picturisation ot Hal Reid’s old rural melodrama. It is doubtful if Reid would know his work could he gee it in its present form, for during the course of triple production it has undergone changes that have lifted it from the type of popularpriced heroics in which its author specialised into the realm of genuine drama. “Human Hearts” is built on real emotions, and it has gome basis in fact, in the experience of Hal Reid, its author, who went through a prison term once, and embodied some of his experiences in this play. As a melodrama the play made a fortune and seemed a i never ending source of revenue for its author and producers. When motion pictures wore coming j into vogue, there was a hunt for likely stories for the screen. and Carl Laemmie, who is the. head and front of j Universal, bought outright the rights of * Human Hearts.” The first production, made in the days when motion pictures were crude, amorphous things, was successful. It cost its producer about oOOOdoi. It ran its course and was put away. There was a flood tide of stories for a few years, and then an ebb, and when the lean years came again Laemmie bethought him of his “ Human Hearts ” manuscript and dragged it out to the light- once more for a further production. This time, with improved facilities and increased expenses, .t cost about 12,000d0l to make, an extravagant sum, it was thought. Once more Laemmie reaped a goodly sum from the presentation. Again it fulfilled its duty to him and the screen, and disappeared from the ken of human eyes. But the end bad not come. New ideals in picture-making came ! into the industry, and with them a scarcity of material on which to employ (

them. So, once again, and perhaps not for the last time either, the manuscript of the Hal Reid melodrama was pulled from its pigeonhole, scenarists and continuity writers were put work, ard a new scheme of production came into life. This ! : ’ue the field of players was scoured for “ types ” ; locations and production wer© put on a massive | scale, and the cost of production soared into the hundreds of thousands. Tt is ! said that the last filming of ‘ Human 1 Hearts’’ cost 200,000d01. | The story has undergone many , changes under the hands of the various , scenario writers and directors who have i handled it, and seems to have come out I of the crucible a wholesome, well made, j splendidly acted and intelligently ; directed picture. In the cast of the latest production j | are House Peters, Russell Simpson, • George Kackathornc, Gertrude Claire, i Edith Haller. Mary Philbin, Ramsey M allace. Snitz Edwards and others. FALLING ANGELS. (Under the heading “ Kinema Stars’ Dimmed Lustre.” “The Times” reports:—“ The eclipse of famous screen j personalities continues with the progress of the kinema popularity contest conducted for the benefit of New York charities . . . Miss Mary Pick ford has dropped to ninth place. Among the men a similar situation prevails. Charlie Chaplin is ninth.”) Tt is an awful thought to iliink How reputations soar and sink! The stars that lately climbed so high, j Suddenly tumble down the sky. Or else arc left behind a haze, •Just blinking whore where thev used to j | blaze. I Take Mary. Onlv vesterdav 1 The Wonder of the Filmy Way— No two opinions seemed to vary About the magnitude of Mary ; No rival orb made such a shine - And now she’s classed os No. 0. Or Charlie. With a front like* Mars, Unmoved among the movie stars. The hat that crowned his kingly brow Once broke the hearts of men—and now The light of his moustache is dim ; Eight heroes stand ahead of him. Or Douglas. Where, oh where .is he, The pride of that old. galaxy. Whose beauty, even dulled by paint. Would make the toughest bosom faint ; I’ve scanned “ The Times,” and -what a fall ! ft doesn’t mention Doug at all ! I'm glad that T have never been Anxious to shine upon the screen, Although T feel T’v© got the art To play a fairly static part. And in a “close-up ” T should guess My face would have a huge success. Rash climbers, flung from Heaven’s door. Fall further, and it hurts them more : So though I have a natural bent To scale the angelic firmament, T stick to earth—far safer this— And give Los Angeles a miss. —-O.S. in “ Punch.”