GENERAL FILM GOSSIP.

Star (Christchurch), Issue 17865, 5 June 1926, Page 20 (Supplement)

GENERAL FILM GOSSIP.

TO CORRESPONDENTS. Floi'ence M'Nicholl—Eugene O'Brien Player's Club, New York: Hobart Bosworth, 236, South Rampart Boulevard, Los Angeles; Blanche Sweet 6737. Wit ley Terrace, Los Angelos l Harold Lloyd, Rolin Film Co., Los Angeles; Jack ilolt. Lasky Studios Hollywood; John Barrymore, Lamb's Club, New York; Lillian Gish, Griffith Studio, Manfaroneck, New York. Others not listed. Betty—Douglas Fairbanks, Douglas Fairbanks Co., Hollywood: Charles Chaplin, Los Angeles Athletic ClubMary Pickford, Mary Plckford (’o’ Los Angeles; Harrison Ford, Lasky Studio, Hollywood; Conrad Nagel Lamb’s Club. New York; Blanche Sweet, 6737, Witley Terrace, Los Angeles; Betty Compson, 3526, Winslow Drive, Los Angeles; Dorothy Gish, Griffith Studio, Mamaroneek, New York; Lewis Stone, 226, South Rampart Boulevard, Los Angeles. Others not listed. Olga—Norma Talmadgo, Norma Talinadge Film Corporation, 31S. E. 4Sth Street. New York; Nigel Barrie. 1313, N. Van Ness Avenue, Hollywood: Bessie Love, Hollywood Apartments, Hollywood: Milton Sills, 1816, Argyle ' Street, Hollywood; Monte Blue, Lasky Film Corporation, Vine Street. Hollvwood: Sydney Chaplin, Sydney Chaplin Producers, 064 2, Santa Monica Boulevard, Los Angeles; Mae Murray, Famous Players. 4 85, Fifth Avenue, New York: Colleen Moore, Christie Film Co., Los Angeles; Alice Joyce, Vitagraph, Brooklyn, New York; John Hines, 548, W. 164t1i Street, New York; Marie Prevost, 353, West Seventh Street, Los Angeles. Others not listed.

That long waited for picture, “ The Couht : of Luxembourg.” is to be j;*resented at the Liberty Theatre, all next week, and, by virtue of its wonderfully fascinating stofy and the gorgeousnesS of its settings, should prove one of the most successful filrtts to be shown in the city. It is the picturisation of Franz Lehar’s famous opera, and is an exact reproduction of that popular piece, which is something for which to thank the powers that be, because it is very rarely indeed that the picture is ever the same as the bock or the libretto. The story is delightfully uncon-

riage with a woman whom he never sees, the object being to give her a title so that an old duke may not marry her, the count receiving money, which he is compelled to take to save his friend’s life; for be it known that the count was greatly impoverished. The countess is then obliged to divorce her unknown husband, marry the duke and live happily ever after. But Cupid takes a hand, or an arrow, in things. The pair both go to the Riviera, where they are introduced, and, behold! after some romantic and thrilling experiences they fall in love. Well and good. But there was the duke to cope with, and also the husband. It would not be a fair thing to disclose the denouement, but suffice it to say that carnivals, bals masques, duels and a dozen other brilliant and exciting events flash across the screen before Angele and Rene are reunited. A feature of this picture is its most beautiful staging, the gay scenes on the Riviera being most artistically presented. George Walsh, in the role of the count, and Helen Lee Worthington, as the charming Angele, both stamp themselves as sympathetic • and carefully temperamental artists, Walsh acting with an irresistible dash and romantic chivalry that will delight all, particularly the ladies.

A picture to tickle the risible faculties of the most sombre member of the community comes to Everybody’s Theatre next week, “ So This is Marriage,” with Conrad Nagel asking the question, [ Eleanor Boardman answering it and [ Lew Cody listening in with a supercilii ous smile. It is a piece of real marriage drama, telling the story of the girl with gold dust in her veins and the boy with steel. Steel means strength, but it does not always mean ready money. Could Luxury economise? Well, she did her best—fired the under-groom, ordered one Rolls-Royce instead of two, shopped on Fifth Avenue to save the fare to Paris. A month later the bills came in, and the husband went out — almost! What this wife knew about economy could be put in a walnut shell without breaking the shell. That was the first crisis. The second was a cyclonic climax. Friend husband, having studied “ How to Educate a Wife,” suddenly finds himself the obtuse angle in the eternal triangle. His wife’s tears had been wetting another’s shirt front! But the queerest twist rights matters, and the most entertaining picture comes to a grand finish. An unusual feature of this film is a technicolour sequence, filmed wonderfully in natural colours celebrating the Biblical romance of David and Bethsheba. Eleanor Boardman has a firm grip on comedy, and, of course, the immaculate Lew Cody is as suave and plausible as “ The Pony Express ” is to run a second week at the Crystal Palace, and, judging from the attendances during the past week, this move is amply justified. It is a type of picture frankly Western. The public like it, for it has none of those impossible feats, none of those absurd “ bad men,” and none of those Colts that can shoot without ever being reloaded, that are so tiresome a feature of the majority of Western “ thrillers.” There are i'eats of courage and daring in “ The Pony Express ” that, in spite of their apparent impossibility, are eminently feasible, for the theme is history, and no one questions history as recent as ISGO. There are villains, but they bear out the old saying, “ There's so much good in the worst of us,” and what shooting there is is mainly the work of the red men pursuing the express riders, and the riders, being more intent on getting to their destination, strain every nerve to get there and not shoot back. Mingling with the dramatic interest of the story is clever and piquant comedy, supplied by Ernest Torrence, as the blacksmithparson of the outpost, a smith first and a sky pilot afterwards. Ilis humour is of the subtlest, and draws forth gales of laughter. Ricardo Cortez is the gallant hero, and wins for his pains lovely Betty Compson. Another name to add to this galaxy of stars is Wallace Beery, who lends his sterling aid to the success of this very excellent picture. A First National picture dealing with “ the days of old, the days of gold, the days of ’49,” will be the main attraction at the Grand Theatre next week, when “ The Splendid Road ” will l )e screened. This picture is in the capable hands of Anna Q. Nilsson, Robert Fraser and Lionel Barrymore, and all the artists make of a very good story a very good picture. Although the influence of gold is in evidence throughout, the complicated romance that runs through it gives it a softening touch, and the excellent acting of Barrymore, raises it far above the average motion picture. lie has a congenial role, and gives it a brilliant interpretation. It is a dramatic story, and, although the ending is sensational, there are moments of intense suspense in the body of the film, which add to its intrinsic interest. Miss. Nilsson is. as usual, everything that can be desired. The Queen s Theatre provides an excellent programme again next week, when “ Ashes of Vengeance,” with Norma Talmadge and Conway Tearle in the leading roles, will be the mam attraction. This dramatic romance is a story of old France, in the days of

church and the Huguenots, full If thrilling and dangerous incidents, wars, duels, hurried amours, court intrigues, all providing a background for the idyllic romance of Yoiande, de Breux and Rupert de Vrieac. Although it deals with a turbulent and remote period of French history, the settings and events are most accurate. First National engaging the assistance of Stephep Goosson, of L’Ecole des Beaux i Arts. Paris, to help in the production, j A feature of this marvellous picture is | the massacre of St Bartholomew’s Day, and the sinister wiles of Catherine de . Medici that supposedly perpetrated the crime. Norma Talmadge was never more entrancing than as Yoiande. She niaturally fall's into the role of a dignified noblewoman, moving with exqui- | site grace and feeling through her scenes, and Conway Tearle is again the dashing hero, romantic lover and winner of the fair lady herself. The supporting cast is noted for the inclusion of great names, and over 4000 extras worked in the mob scenes. As in all Norma Talmadge pictures, the settings . are gorgeous. J Tom Mix has now completed his seventh picture for Fox Films, on the [ 1926 schedule. His work on the current year’s supply is now completed and he will be able to enjov a wellearned rest. “ Teeth.” the next Mix release for this city, provides entertainment of the genuine western type. Tom Mix, Tony (the wonder horse), and Duke, the equally clever dog, make a screen trio which is hard to beat, and when it is known that Bille Dove is to be seen in conjunction with these three, nothing more could be desired. If it were necessary, “ The Man on the Box,” a Master picture, might be considered a family affair with various members shining in the reflected glory of their famous relatives. Syd Chaplin, the star, is the brother of Charles; ( harles “ Chuck ” Reisner, director, is the father of the popular screen youngster, “ Dinky Dean,” and Helene Costello is the daughter of the old-time favourite, Maurice Costello. But they are all a success in their own right, and “ The Man on the Box ” is said to be one of the best screen comedies ever produced. The joyous abandon of Armistice Day, when the cup of life brimmed over with the spirits of good fellowship, is captured in the adaptation of “ Recompense.” Marie Prevost and Monte Blue are the stars in this Master picture. Some admiring friends sent a telegram of congratulation to Dolores Costello after seeing her performance in the Master picture, “ The Sea Beast.” The wire read: " We think you are one of the greatest artists the screen has ever seen.” To which the exquisite Dolores responded: “ So’s my old man.” The marriage that came pretty much as a surprise was that of Pauline Garon and Lowell Sherman. Pauline. ■ had hinted around about it a couple of times—but then she used to be engaged to Gene Sarazen, the golf champion, and nothing came of that. It was more or less a surprise when Lowell Sherman lifted the piquant ] Pauline off the train and rushed her to the Los Angeles marriage, license bureau. They were married by a deputy city clerk. Miss Garon’s sister and Mr Sherman's mother witnessed the marriage. Immediately after their own ceremony, Mr and Mrs Sherman acted as witnesses to the marriage of Edwin Martin, an assistant director working with Sherman, to Mae A. Feely. The day following the wedding, Pauline Garon Sherman began work on a new picture called “ The Virgin Wife.” As soon as it is completed the newlyweds will go abroad on a honeymoon. Mr Sherman is starred in the Master picture, “ Satan in Sables.”

Margaret Livingstone, who has been featured in a number of Fox productions, has the leading role in “ Hell’s Four Hundred,” a crook story of great interest and action. A cabaret girl i sets out with the intention of catching a rich bachelor and enjoying the luxuries that have previously been for others. After many adventures she manages to secure the very thing, but after having married him. sho finds that he is on the brink of bankruptcy. Disaster follows thick and fast upon the footsteps of the scheming girl, and in the end she is left exactly where she started. Margaret Livingstone deserves much praise for her characterisation of this difficult role, and her name will be looked for in many future productions. Like D. W. Griffith. Marshal Neilan, another great film producer, has at last been taken into the Paramount fold. Neilan will chiefly be remembered for his “ Man Woman Marriage.” His first picture under his new Paramount contract will be “ Diplomacy,” from the internationally famous stage success b y \ ictor Sardou. It will be produced on a very large scale, as is evidenced by the lavish preparation that is at present under way. So far only two of a cast have been signed. Blanche Sweet will play the role of the English girl Dora, while Gustav von Seffertitz will play the heavy as Baron von Stein. The story is one of love and intrigue, and is placed in the diplomatic circles of Washington, Paris and Moscow. The picture will be made at the Marshal Neilan studios, though the producerdirector will have the advantage of being able to draw on* the vast re- , sources of Famous Players-Laskv. J One week you are reading in these columns that such and such a picture is in course of production, and the next week you learn of its release. So goes the world of pictures. Two announcements expected this moAth concern the completion of “ Old Ironsides ” by Paramount and “ Beau Geste.” Both of these pictures have been several months in the making, but, as they are destined to be two of Paramount's greatest productions, it is only natural that they cannot be completed for a little while vet. Often such news is not more than a day or two old when it reaches print in the New Zealand dailies, as all such important information is sent from the Lasky studios throughout the length and breadth of the world by cable. We therefore in ew Zealand are never more than a few hours behind the rest of the world in the matter of what is happening in the studios. Three of the players in “What HapI pened to Jones,” the Universal-Jewel to be released in New Zealand shortlv, appeared in stage versions of that famous farce, which was written by George Broadhurst. Reginald Dennv, the star, is one, and the other two are Otis Harlan and Emily Fitzroy. When any one of the three were in a scene I the director, William A. Seiter, had no work to do, so smoothly and assured!v did they go through with the action. Now Seiter is the envied of Hollywood’s directors for the sparkling story , he has produced. ! Art Acord, prince of screen thrillers. I who appears in his most sensational role in “The Circus Cyclone,” a Universal Western attraction, is one of the few stars with a real record as a rider. Acord has for some years held the title, won at the Pendleton Round-up, of world’s champion broncho rider. I * >: I The latest addition to the staff of First National directors is Alfred A. Santell, according to John M’Cormick. general manager of First National's West Coast units. Santell. although one of the youngest to handle a megaphone, is known as one of the cleverest of comedy directors. lie directed “Classified” for First National with 1 Corinne Griffith, and is now making “Sweet Daddies” with Charlie Murray and George Sidney in the leading roles The contract was consummated by the purchase of the agreement held by E. M. Asher on Santell’s services. Santell will leave for New York to direct Dorothy Mackaill and Jack Mulhall in “Subway Sadie” soon. There was a day when a little blackeyed sprite in a convent dreamed of being a great actress—preferably in the movies. To-day the same girl is portraying for the screen the dream of a j similar girl to be a similar star. The girl who did the dreaming and the girl who has fulfilled her own dream and is acting out the same phantasy is Colleen Moore, First National star. In “Ella Cinders,” Miss Moore’s next First National picture, she acts as a little slavey, who dreams of being an act- | l ess. The dream will be shown on the screen. Colleen admits that in her case, reality is better than dreaming. With Miss Moore in “Ella Cinders” are Lloyd Hughes, Vera Lewis, Jed Prouty, Doris Baker, Emily Gerdes. Harry Allen, Jack Duffy and many more well-known players. Alfred E. Green is directing the John M’Cormick production. Edmund Lowe, handsome young man of man of many Fox attractions, ‘ who is due to appear here next in “ Ports of Call.” has achieved a great triumph in his latest production “The Fool.” In this story he. takes the part of an idealistic young minister who endeavours to carry out the teachings of Christ, and is met on every turn by scorn and misunderstanding, while the mildest epithet flung at him is that of “a fool.” Lowe has made this character a most convincing and realistic one, and his intense dramatic ability carried out the author's conception of the part in a way which was little short of genius. Another member of the cast who displays talent above the usual is Ann Dale in the role of the crippled girl who has such faith in the minister that in the time of crisis she proves that miracles can happen, and she walks. This picture is a most powerful drama, and is bound to appeal to patrons who like something different from the usual run of society dramas.