GENERAL FILM GOSSIP.

Star (Christchurch), Issue 18550, 25 August 1928, Page 24 (Supplement)

GENERAL FILM GOSSIP.

AHSWBBS TO COEBESPONDENTS. The Eagle.—-The-picture “Gigolo” is an adaptation of Edna Ferber’s novel of the same name. It is a P.D.C. production released by First Notional. Movie Fan.-—The principal parts in “What Price Glory?” were as follows: Captain Flagg, Victor M’Laglen; Sergeant Quirt, Edmund Lowe; Charmaine, Dolores Del Rio; Cognac Pete, "William V. Mong; Private Lewisohn, Barry Norton; Private Lepinsky, Sammy Cohen; Private Kiper, Ted M’Namara. In “Driftin’ Thru” the principals were Harry Carey as Daniel Brown, Raymond Nye as Joe Waters, James Gerrard as the Sheriff, Ruth King as Stella Dunn, and Harriet Hammond as the girl. E.R.—All I have at present are as follows:—Tony, Tox Mix, F. 8.0., 780, Gower Street, Hollywood, California; Tarzan, Ken Maynard. First National Studio, Burbank, California; Silver King, Fred Thomson, Paramount Studio, Hollywood, California; White Eagle, Buck Jones, no studio address at present; Palomar, Hoot Gibson, "Universal Studio, Universal City, California: Colorado Kid, Newton House, Universal City, California; Boy, Yakima Canutt, independent, no studio address. If you know of any others shall be pleased to have them. C.X.R.—Viola Dana, Columbia Studio, 1438, Gower Street, Hollywood California. Gilbert Roland, United Artists Studio, Hollywood, California. Herbert Rawlinson, 1735. Highland Street, Los Angeles, California. Norman Kerry and George Lewis, Universal Studio, Universal City, California. Jack Holt, Paramount Studio, Hollywood, California. Anna Q. Nilsson, F-8.0. Studio, 780, Gower Street, Hollywood. California. Richard Earthelmess. First National Studio, Burbank, California. Alice Terry is in Italy and the latest I have with respect to Agnes Ayres is that she is on the vaudeville stage. The others are free-lancing and have no regular studio addresses. Evea.—Out of the thirty-four names submitted I am only able to supply the addresses of the following:— Maria Corda, First National Studio. Burbank. California; Dorothy Gulliver and Grace Cunard, Universal Studio, Universal City, California. Neil Hamilton, Paramount Studio, Hollywood, California. Theodore Kosloff, De Mille Studio, Culver City, California. I have to repeat what I have said on several occasions recently: It is utterly imposible to give the addresses of the hundreds of actors and actresses who have no regular engagements, or who appear occasionally in independent productions. So far as I am aware their addresses are known only to themselves and the casting officials at the studios. Norman Kerry was born on June 16. 1897. The biographical sketch I possess does not mention whether Donald Reed Is or <s not married. Address First National Studio, Burbank, California.

At Everybody's Theatre next week, “Confetti,” which will head the bill, is a picture that has aroused considerable enthusiasm wherever shown. It is played by a company of distinguished artists, that fine English actress, Sidney Fairbrother, having a leading role which she invests with her usual originality. It is a most interesting story which never “lets down” for one instant, is picturesque and romantic, has beautiful settings, and is well acted. “Confetti,” with its lifelike mixing of the humorous with the tragic, youth with age, is a First .National British production.

55 55 55 Shirley Mason, as Sally, dances and smiies and beguiles her way into all hearts in “Sally in Our Alley,” one of the two pictures to be screened at Everybody’s Theatre next week. It is a simple little story, with romance and pathos aplenty, with a touch of humour, and a happy ending. Alec B Francis lends distinction and delight to his role, and Richard Arlen is the leading man.

Ivor Novello, who, besides being i actor, is also a song-writer and comer of no mean ability, returns to creen to make the sequel of “The which was presented in this city, E ch of last year. “The Triumph i;e Rat,” which will be on the bill rystal Palace Theatre next week, is a vcr> dramatic piece, the story of the twin influences in a man's life, a good woman s and a vamp's. The vamp, most alluringly played by Isabel Jeans, the Engi.sh stage star, provides most of the colour in the story, the rest being supplied by the apaches and their fascinating, lawless mode of living. The Great War comes into the story. With the good woman, it restores the outcast to society and Cupid, Novello gives a fine performance in what unquestionably is an excellent film.

Hoot Gibson, he of the friendly smile, the sumptuous garments, and the noble steed, will again delight Crystal Palace audiences next week in his latest picture, “The Flying Cowboy,” a very modern and exciting story of ranches, the open spaces, a pretty girl, two or three villains. This is a pleasant story told with plenty of gusto and humour.

“ Metropolis ” will continue a second week at the Grand Theatre. This picture, though based on an unusual theme, produced on a weirdly futuristic scale, and characterised by uniqueness throughout, has been wonderfully well received by the public, which is always on the qui vive for something different. It is certainly to be had in “Metropolis,” which tells a strong story in the midst of its extravagance of ideas. It also pleasantly proves that love conquers ail things, even the bitter conflict of capital and labour, which is one of its main themes. 55 55 55 A magnificent picture is billed for Liberty Theatre next week, one of those glorious romances, teeming with gallant adventure and bitter feuds and two hearts, that come to the screen only in a while. It is entitled “Old San Francisco,” and has Dolores Costello in the lead, and that prince of villains, Warner Oland, as a person of mountainous villainy. The late Charles Emmet Mack, a finished actor, is leading man to Miss Costello, and Anna May Wong is also in the cast. The story opens in surroundings of wealth and leisure, then changes rapidly to the underworld, which is governed by a half-caste, ruling Chinese, Malays, all the mixed - wno came through the Golden Gate. It is the story of a Spanish girl’s vengeance, and is filled with thrilling adventure, some necessary romance, and a vast amount of intriguing drama. 55 55 : “The Missing Link,” Syd Chaplin’s side-splitting comedy, will be the principal attraction at the Queen’s Theatre next week Syd is cast as a timid young man, who takes a job as a lug-gage-carrier for Lord Dry den, who is on his way to Africa to hunt for the “Missing Link.” Dryden makes him act tbe part of the link-hunter. What

ludicrous and breath-taking adventures follow among the jungle creatures can well be guessed. There are head-hunt-ing savages, a fiendish chimpanzee, monkeys galore, lions, and in the midst is Syd., shaken by unholy fear, and the love of a young lady who believes him really to be what he knows he can never be—a hunter of big game. How he does finally capture the “Missing Link” and then the beautiful lady, how his stock for bravery goes up as his heart goes down, make a huge, amusing burlesque

Heading the current programme at the Strand Theatre is “ The Music Master,” with Lois Moran, Alec Francis, Norman Trevor and Neil Hamilton in the leading roles. The picture, which is adapted from the successful stage play is the story of a great wrong done to a great musician, while containing pathos yet has fun and drama. Alec Francis does the best work of his career as the old musician. Most of the action takes place in 1900 and the period immediately following. The New York of that day, with all its quaint charm, furnishes the background of the drama. “ Annie Laurie,” booked for early release in the city, is an excellent film version of the famous Scotch legend, which has been immortalised in song and poem. Lilian Gish plays the title role, supported by Norman Kerry as her braw iover. It is Kerry who walks off with the honours in this picture, by g.ving a most virile interpretation of rns lighting, romantic role. The picture is beautifully got up, with some entrancing scenes of the Highlands, and pienty of action between the clans.

Arrangements are now completed for the celebration of Paramount Week, September 2-8, in New Zealand, in which public attention is being direct ed to the advancement in modern motion picture production. In keeping with the demand for bigger and better pictures. Paramount will release during Paramount Week several productions of outstanding interest. Among them are “ Red Hair,” starring Clara Bow. several scenes of which are portrayed in technicolour; Adolphe Menjou’s latest, “His Tiger Lady”; Wallace BeeryRaymond Hatton in “Wife Savers”; and Sir Harry Lauder in “ Huntingtower.” Fay Wray, the Paramount star, was recently married to John Monk Saunders, author of “Wings.” 5*5 55 55 Francis X. Cushman, who has been appearing in vaudeville for several months, has decided to return to the screen. Greta Nissen is another film actress to desert the screen for the stage. She is appearing in a play called “Behind the Screen.’’ Anita Stewart, known in private life as Anna Mary Brennan, was grant-

ed an interlocutory decree of divorce at Los Angeles on July 2 from Rudolph Cameron Brennan. Lila Lee has returned to the screen making her reappearance as a giddy girl in “lust Married.” Her husband, James Kirkwood, is appearing on the stage in England. Buck Jones having finished his contract with Fox Films is now in the independent field. His first picture will be “The Big Hop,” and his leading lad\ Jcbyna Ralston. After a long absence, Theodore Roberts returns to the screen in John Gilbert’s latest vehicle for Metro-Goldwyn “The Mask of the Devil.” Alma Rubens and Ralph Forbes also are in the cast Dolores Del Rio and a company of supports, was booked to sail from New York last month to make a picture in London. On its completion the schedule provided for a picture in China, to be followed by one in India. 15 55 55 Mary Pickford’s fans (says “Motion Picture Magazine”) will be shocked to learn that when Mary stopped in Chicago, on her way back to California, she had her famous blonde curls cut. off. However, we hasten to tell her fans that her bob is very becoming. “Conquest” is the title of John Barrymore’s third United Artists picture, and Camilla Horn again will appear opposite the star of “Tempest.” The story is an original one, not a film version of a stage play. “Conquest,” like “Tempest," will be a modern story. Marian Nixon and George Lewis had to change clothes seven times during the filming of a rain scene in “jazz Mad,” the Universal picture. Miss Nixon and Lewis, who have featured roles, had to appear in dry clothes to start the scene, of which seven takes” were made. Perhaps one of the most concrete proofs of the economy wave in the movies is the “back-to-the-apartment-house” movement. Many stars and featured players are giving up their homes and moving into small apart-

ments with “maid service” included.— “Photoplay.” A message from Vienna states; Lillian Gish, motion-picture actress, has arrived at Salsburg and will be the guest of Max Reinhardt, noted producer, at Castle Leopoldskron. It is reported that the American star will appear in a Reinhardt film, the scenario of which is now being prepared. “The Gateway of the Moon," the thrilling story of the adventures of a young mining engineer in the fastnesses of South America, was produced for Fox Films. Dolores Del Rio has the stellar role. Others in the cast include Walter Pidgeon, as the young engineer, Leslie Fenton, Anders Randolf and Ted M’Namara. The Columbia Master Picture, “Golf Widows,” is expected to be one of the outstanding comedy successes of the year. The feature is brimful of humour and amazing situations. The titles alone are said to be an entertainment.

The cast includes Vera Reynolds, Harrison Ford, John Patrick, Sally Rand and Kathleen Key. “The Heart of Maryland,” a Warner Bros.’ Master Picture, featuring Dolores Costello and Jason Robards, is a story of the American Civil War. There have been, of course, many different Civil War stories, but Warners relied on the strength of story for the success of “The Heart of Maryland” rather than the background of the Civil War. A romance that began in a fashionable charity bazaar in Mexico City in 1921 ended in the prosaic divorce court at Nogales (says an American movie magazine). Dolores Del Rio, the much press-agented star, was awarded a decree against Jaime Del Rio. Jaime has sailed for Europe, vowing that he will not return to Hollywood until he is as famous as his ex-wife. Dialogue is used in motion-picture production almost as much as it is used on the legitimate stage. The screen player has to learn his lines in the same way as the stage artist, before he attempts to act his part before the camera. In “Sporting Goods” Richard Dix’s latest Paramount comedy, Dix uses much of the dialogue of a former stage production in which he p]ayed. For the first time since he was elevated to stardom, William Haines forsakes his farce-comedy and enters an entirely new field for his latest starring picture, “ Telling the World,” which will be released shortly. This type of story is radically different from anything that the star has ever done before and gives him an opportunity to reveal an entirely new sjde of his character.

Beautiful Billie Dove, lovelier than ever, is the star of the lavishly produced First National production. “The Yellow Lily.” Clive Brook makes a very handsome villain-hero in this scintillating expose of Court life behind the scenes of Royal splendour and intrigue. Miss Dove's frocking is a feature of the film, while the story affords

some thrilling climaxes and exciting denouements. To date Fox Films have spent approximately 2,000,000 dollars in experimental work on the Movietone for the production of talking pictures. All the experts in this work were signed on term contracts and pledged to secrecy. Mr S. S. Crick, Australasian managing director for Fox Films, states that in the very near future his company will bring out a special Movietone crew to instal the apparatus throughout New Zealand. Philip Strange, the English screen actor, seen in several recent Paramount productions, has been signed by Samuel Goldwyn to play the role of D’Alcacer, the Spanish nobleman, in his forthcoming piejurisation of Joseph Conrad’s “The Rescue.” Strange is a close friend of Ronald Colman, who is starred in “The Rescue.” Lily Damita, Mr Goldwyn’s new French discovery, will play opposite Colman in this first picture made- by Vilma Banky’s former team-mate as an independent star.

Interviewed for historical data purposes while making his newest picture, Wyoming,” which shows over a thousand Red Indians in the spectacular battle scenes, Tim M’Coy, Metro-Gold-wyn-Mayer star, expressed the opinion that the white man’s civilisation has definitely arrested the evolution of Red Indian language, signs and customs. The motion picture has also played a big part in this transition. Dorothy Sebastian and an able cast supports M’Coy in this thrilling picture of early Wyoming history.

The unit of youth. That’s what they called the company who made “Wild West Romance,” Fox Films production, starring Rex Bell, the new cowboy discovery. Bell has just passed his twent} r -first birthday, and proof that the unit is rightly named my be gleaned from the fact that he is the oldest member of the featured members of the cast. “Wild West Romance” is an interesting story of a young rancher who unwittingly stumbles on a plot to rob the stage of the weekly mine payroll and is enmeshed in a series of dramatic adventures.

Much care has to be taken when Francis X. Bushman is before the camera if his eyes are to be brought out clearly in the picture, for he has the most peculiar eyes of anyone in the profession. They are very light or pale blue in colour, and when photographed without sufficient light and “magenta” screens on the lights they look white on the screen. Many close-up shots of Bushman’s eyes are to be seen in “Grip of the Yukon,” the Universal picture. Others in the all-star cast are Neil Hamilton, June Marlowe, James Farley, Otis Harlan and Burr MTntosh. 55 55 55 The heartsome, mirthful, tender, exciting story of an old-time song-and-dance man, his pal, and his orphaned daughter, is “Good Time Charley.” Warner Oland, that fine character actor, gives his most superb perform ance, and Clyde Cook, master of humour, is at his best. Charley’s daughter (played by Helene Costello) has become famous as a dancer before he finds out the person who was responsible for her mother’s death. Halfblind, he gropes his way to wreak vengeance, but the fates plan otherwise. There is an unexpected and dramatic ending.

In the filming of “The Divine Lady,” First National’s colossal super-special dealing with the life. of Lord Nelson and his paramour, Lady Hamilton, exceptional opportunity is afforded for the achievement of unusual effects. Twenty-eight cameras were used in many of the bigger scenes of the picture. Dealing as it does with colpurful costuming days of the period of 17801800, with beautiful old English, French and Italian backgrounds, and great sea spectacles such as the Battles of Trafalgar and the Nile, “The Divine Lady” is promised as one of the most pictorial ly colourful productions ever produced. The value of “Sunrise,” William Fox’s masterpiece, which is to have its premier release in New Zealand at the Strand Theatre, Auckland, on or about September 5, does not lie alone in its size. F. W. Murnau, the great German director, has injected into this picture the most powerful dramatic sequence of his career. And with the artistry for which he is known, the director has blended natural logical comedy. Janet Gaynor, who leaped to fame in “Seventh Heaven,” and George O’Brien, well known for his work in “The Iron Horse,” “Blue Eagle,” “Sharpshooters" and “Paid to Love,” have the leading roles in this great production. Two popular and versatile players are united once again in the First National production, “Lady Be Good,” which is based on the popular musical comedy of that name. Incidentally Miss Mackaill displays her ability as a danger in this production, having been a Follies girl before launching on her very successful film career. First National has been remarkably successful in producing musical comedies for the screen, including “Irene and Sally,” but “Lady Be Good” promises to outiass them all for diversity of enter.ainment values and richness of settings. The supporting cast includes Yola d’Avril. John Miljan and others. Chartering a timber mill to make a floor for a German palace was one of

the strange activities of the production department of the Metro-Goldwyn-Mayer studios when “The Student Prince” was made. The floor of the great hall in the palace is made entirely of great blocks of birch—the only wood found to give the exact effect of the original floor in Potsdam—and as only one timber mill in America could supply birch blocks to make the floor, the entire output of the mill was taken over for the work. Ramon Novarro and Norma Shearer play the co-star-ring roles in “The Student Prince,” and Jean Ilersholt, Philippe de Lacy and Edward Connolly are included in the supporting cast. The rolling pin of the comic strip may be the most ominous appearing implement to be impressed into service for the correction of the habits of an erring husband, but there are others more effective though not physically, it is disclosed in Warner Bros.’ “If I Were Single,” shortly to be released throughout the Dominion, co-starring May M’Avoy and Conrad Nagel. The Warner Bros.’ picture initiates its co-stars into roles as newlyweds whose love is languishing after the fires of the first year’s romance have cooled. Hot words and hasty actions accompany flares ol temper and misunderstandings in rapid order. Then the disillusioned wife settled down to the problem of rebuilding her husband. How her plans work out, and they nearly go awry, paves the way for a series of incidents which are both pathetic and hilariously funny.

Mr Stanley S. Crick, managing director of Fox Film Coloration (Australasia), Ltd., has received the following cablegram; “William Fox has purchased the Poli circuit of New England theatres, having a valuation of 26,000,000 dollars. This purchase, coupled with recently-acquired 100,000,000 dollars West Coast Theatres Incorporated, and twenty Roxy type theatres now in actual operation or building, makes William Fox not only the world’s most outstanding producer of film attractions, but also owner of the world’s greatest circuit of theatres! By this latest purchase, Mr Fox controls a further chain of twenty theatres, seating 5000 persons each, thus supplementing his already extensive chain of 800 theatres acquired previously. In addition to these, he is operating or building twenty theatres of the Roxy type. This latter type of de luxe theatre seats more than 6000 persons.

The sober routine of a business office is utilised surprisiugly in Johnny Hines’s latest picture, “The Wright Idea,” and with hilarious effect. The story deals with the genial Johnny as an inventor of blotterless and lumin ous ink, and believing himself to be 'the owner of a palatial racing yacht. A romance, naturally, develops between Johnny and a pretty stenographer, played by Louise Lorraine, who also plays opposite the comedian in “Chinatown Charlie.” Hilarious situations are the result of the desperate efforts to penetrate into the inner sanctums of the “Big Bosses” with his invention, while the scenes aboard the yacht also cause much merriment. Thrills are provided in plenty by a daring midnight race, with all lights out and the captain and crew holding the passengers as prisoners. There is a very dramatic climax wherein the indomitable Johnny save the situation. Following the completion of his latest super-comedy “ Speedy, ’ which will be released in New Zealand shortly by Paramount, Harold Lloyd began the preparations for his next production. As yet no definite announcement regarding the story has been made, but it is believed that the comedian will choose one dealing with the adventures

of a newspaper reporter. The recent | revolutionary development in sound synchronisation have inclined Lloyd to consider a sound accompaniment or dialogue for the picture. He has a good speaking voice developed through : long stage experience, for he commenc- ■ ed acting at the age of twelve. In the ' past Lloyd has been of the opinion that the action of comedies would be too fast to permit of sound effects or dialogue, but lately he has been making extensive tests with the new methods which may result in the practical application of sound to the comedy type of production. “Why Sailors Go Wrong,” Fox Films comedy-drama, is shortly to be released in all centres. The story starts out in a big city where two pals, one Jewish and the other Irish, are shown as friendly competitors in the transportation business. Sammy drives a brokendown taxi-cab, and Mac a rattle-trap hansom, with an old white nag for motive power. Business being slow, the pair decide to help two lovers in distress. This takes them on board a palatial yacht, where they are shanghaied and made to swab decks and peel potatoes. These distasteful duties are interrupted when the yacht is wrecked and all are cast on a desert island inhabited by cannibals. It is here that the fun begins and one comic situation succeeds another, from stepping on lions’ tails to being fought over by jungle beauties. Sally Phipps and Nick Stuart are the young lovers, and Sammy Cohen and Ted M’Namara, the Je-wish and Irish pals.

A remarkable experiment was sue cessfully conducted by Paramount in America when a complete motion picture record of the departure of the “ Southern Cross ” for Australia in June, was developed and printed in mid-air. The ’plane used in the flight was a Ryan monoplane similar to that used by Lindbergh in his Atlantic flight and was flown by an air mail pilot. It carried all the intricate equipment necessary for the development of the motion picture film and a compact dark room was specially fitted into the fuselage. Three skilled laboratory mechanics from the Paramount News head office travelled with the film and conducted the operations. Hundreds of feet of film had to be developed in specially designed tanks, then the film was edited and cut and a single negative spliced into shape. The titles were then inserted and during the rest of the trip positives were printed, developed, dried and packed ready to be delivered to the theatres. The Watson family of Hollywood has contributed seven little Watsons, ranging in age from 15 years to 21 months to motion pictures. They all support Chester Conklin, who plays a taxi driver in “ Taxi 13.” The seven little Watsons have been in pictures for some time, but this is their first picture en masse, so to speak. Five were in “ Tillie’s Punctured Romance,” and “ The Callahans and the Murphys.” While not exactly born “on the lot,” the Watsons have been around the studios all their lives. The line-up is as follows: Coy Watson Jr., 15; Vivian, 13; Gloria, 10; Louise, 8; Harry, 0, Billy, 4 and Dalmar, 21 months. Coy Watson, father of a decidedly clever family, was with Mack Sennett as far back as 1913. Coy Jr. played first in Sennett comedy when he was nine months old, and his latest appearances have been in “The Smart Set,” and with Jackie Coogan in “ Buttons.’ Harry w r as in “ Hell-ship Bronson,” and Billy in “Kid Hayseed’’ and "The Gloom Chasers ” for Educational. The children attend school on the studio ■ lot.