THE “STAR”

Star (Christchurch), Issue 18780, 8 June 1929, Page 24 (Supplement)

THE “STAR”

NEW ZEALAND’S OFFICIAL FILM NEWSPAPER

- By “ THE MOVIE MAN ”

OFFICIAL FIRST RELEASES IN EACH CENTRE FOR NEW ZEALAND. WEEK COMMENCING JUNE 10, 1929.

GENERAL FILM GOSSIP. Constant Reader—William Hart, born December 6, 1872, New York. Not married now. Elaine Hammerstein, born 1807, New York. Married <J. W. Kays, an insurance broker, June 12, 1026. Cleorge Lewis, born about 1903, in Mexico, of American parents. Married Vera Lewis, screen actress. Lila Lee. born July 23, 1902, New York. Married James Kirkwood, screen actor, July 25, 1923. Reported to be separated. Eugene O’Brien, born 1 ss4, in Colorado. Not married. Mary Rhilbin, born July 16, 1904, Chicago. Not married. Milton Sills, born January 10. 1882, Chicago. Married to Doris Kenyon. Buck Jones, born ISB9, in Vincennes, Indiana. Married to Odille Osborne. Fred Thomson, born April 28. 1890, Pasadena. California. Died Los Angeles, December 26, 19 28. Married Frances Marion, well-known scenario writer. Snookums, born in New York, January, 1925. Sojin born in Japan, date not available. Tom Mix born January 6. 1881, near El Paso, Texas. Married Victoria Forde, once a screen actress. Ri<-hard Arlen, born 1901, Charlotsville, Virginia. Married Jobyna Ralston, January 28, 2 927. Alice Terry married to Rex Ingrain, director. Claire Windsor not married now. Was Mrs Bert Lytell. Vera Reynolds and Donald Reed not married. No information on the point -with respect to Ivor Novello and Lawrence Cray. Talking pictures, of which so much have been heard recently, will be seen, and heard, for the first time in Christchurch at the Liberty Theatre on Monday. An extensive programme will be screened, the films including a speech by his Majesty the King at the opening ot the Tyne Bridge, a speaking Fox Gazette. London entertainers in their special items, the Royal Hawaiians in Honolulu melodies, a speaking comedy and a part dialogue Fox special, “ Mother Knows Best.” The programme impresses as being a most comprehensive one for the kick-off of the latest movement in the motion picture world. Two splendid pictures will be screened al Everybody’s Theatre next week. They are “ Our Dancing Daughters ” and “ Scarlet Seas.'* The former mirrors the Jife of the modern youth, the story centring round the pleasure-bent lives of three society girl friends. These are depicted by Joan Crawford, Dorothy Sebastian and Anita Page, and the opposite sex is represented by Johnny Mack Brown. Nils Asther and Edward Nugent. The cast is high grade and the sets are of the most lavish description, ballroom, riding parties, yachting and domestic scenes being presented with every attention to detail. “ Scarlet Seas.” in which Richard Barthelmess is the star, is a thrill-packed drama teeming with action. It is quite one of Barthelmess’s best pictures. The leading female roles are filled by Betty Compson and Loretta Young. The principal attraction at Crystal Palace next week will be ” Kitty, ’ a British production released by Cinema Art Films. Based on Warwick Deeping’s novel, the picture tells the story of a young wife’s struggle against overwhelming odds to regain her nerveshattered husband, and an aristocratic mother’s attempt to keep the young couple apart. It all arises from a war marriage between Kitty and a young aristocrat, who subsequently becomes an invalid. The love story is one of exquisite charm, and the picture is set amongst most picturesque surround ings. Those two famous English artists Estelle Brody and John Stuart have the leading roles. “ Smiling Guns ” and “ The Desert Woman ” will be the main features of next week’s programme at the Grand Theatre. In the former we have the popular Hoot Gibson in a thrilling comedy-drama of a cowboy who tried to become a fashion plate fo win the girl with whose picture he had fallen in love. Hoot was the dirtiest and most unkempt cowhand on the ranch, but he fell in love with a face on a picture, and proceeded to become the polished gentleman. Action, comedy and thrills abound in this Gibson feature: F : anche Mehaffey is the girl. Irene Rich is the central figure in “ The Desert Woman,” the scene of which is an isolated British outpost. It is a tense melodrama of desert loves and hates, but there is relief afforded by the pranks of the soldiers. 'Heading the current programme at tlje Strand Theatre is “The Horseman of' the Plains,” a Fox production with Tcr-1 Mrs as the star. The beauty of Dawn O'Day, owner of the O Day ranch, so intrigues Tom that he goes through fire and water on her behalf. The O’Day ranch is rapidly falling into disuse. Rustlers and money sharks have taken advantage of the illness of Dawn’s father and have plucked the ranch clean. Tom’s heart goes out to the plucky girl, and his splendid efforts are rewarded by a dazzling smile. Mix makes things hot for her enemies and wins the Triggertown sweepstakes •<xainst overwhelming odds, bringing

about a smashing climax. Sally Blane is cast as the heroine. Mr Beaumont Smith, managing director for the J. C. Williamson Films in New Zealand, announces that he has arranged for the “ talkies ” to be presented at the Christchurch Theatre Royal. The Western Electric system is now being installed, under the direction of American experts. In answer to an inquiry, Mr Beaumont Smith said that the “J. C. Williamson Films (N.Z.), Ltd., have decided on a most progressive policy, which will have an important bearing upon, not only the capital cities of the Dominion, but on the principal provincial towns. It has been decided to effect the installation of the most improved system of 4 talkies ’ in-stallation-—viz., the Western Electric, in the several theatres owned by the firm. Auckland has already been provided with this most enjoyable form of en--rtainment; at the Regent Theatre, Wellington, a similar installation has been effected, and. in turn, Dunedin, Invercargill, Wanganui and other districts will be treated in a similar manner. The installation of this system in the theatres in the principal cities and provincial districts will cost the firm approximately £40,000.” It is expected

that the equipment will be ready for j operation next week, and the policy of j the management will be to utilise all 1 dates between the firm’s legitimate attractions. The three Moore brothers—Owen, Tom and Matt, have all signed for “Forty-Ninth Street,” a R.K.O. production. This is the first time that all three Moore brothers have arranged to appear in the same picture. Janet Gaynor will soon be heard by the public on the speaking screen. Voice tests recently conducted by Fox Film Corporation were so satisfactory that it was decided to put a dialogue sequence in her new picture “The Lucky Star.” Charles Farrell jMavs opposite Miss Gaynor. A 3501 b slab of concrete is carrying Miss Dolores del Rio’s greetings across the Pacific to Australia. At the request of the Tivoli Theatre, Melbourne, Miss del Rio has placed her hand and foot prints, greetings and her autograph in a cement block to be placed in the forecourt of this new playhouse. Discovered by D. W. Griffith, Colleen Moore rapidly rose to star heights and now is at the apex of her career in “Love Never Dies,” First National’s aerial production. Miss Moore waited for years to immortalise Jeannine, and the beautiful role is given a refreshing and delightful interpretation by ColThough he has played leading roles in hundreds of stage and screen dramas, Rod La Roque for the first time in his career, is portraving the character of a prince. This occurs in “The One Woman Idea.” made for Fox Films, lie enacts the role of Prince Ahmed in this exotic screen drama, the locale of which

Mary Astor gives a meritorious performance as Dee Renaud, a “come-on” who lures the ticket buyers outside of an amusement concession known as “Hell.” The girl attempts to change her mode of life and marries the youthful keeper of a lighthouse, but the calm and peace of her new existence is marred by the intrusion of her former associates. Tlow she finally wins out is dramatically told in the appealing story. Daphne Pollard, who plays a prominent part in two R.K.O. pictures. “Sinners in Love” and “Hit of the Show,” is an Australian making good on the other side. For several years Miss Pollard has been one of the most popular stars in musical comedy and vaudeville in the leading cities of America and Europe. Diggers who were in Paris at Armistice time will remember her at the Follies Bergere, where she was appearing with Fred Kitchen’s company. At the conclusion of the London premiere of Warner Bros. Yitaphone picture, “The Singing Fool” in which A 1 Jolson is starred, a trailer was flashed asking the audience to remain seated and take refreshments with, the management, and four hundred girls were sent down the aisles handing put sandwiches, cigars and champagne. For the premiere the Regal Theatre had a distinctly society audience, headed by the Prince and Princess of Connaught. Z& K K In Warner Bros’ latest forthcoming mystery thriller “The Terror,” there is not one title shown on the screen. Even the introduction is spoken. All the stars speak throughout the entire length of the picture, thus heightening the thrill, and giving a grimly realistic effect which holds one throughout the picture. The cast includes May M’Avov, Alec Francis, John Miljan, Louise Fazenda, Matthew Betz and Holmes Herbert, all of whom speak from the screen. The following criticism is taken from “The Exhibitors’ Herald”:—“More than once I felt like'going up to the screen and congratulating William Haines’s shadow for his fine work. The picture has suspense, and holds it right up to the last —‘ Alias Jimmy Valentine ’ —is all wool, and a yard wide ” Lionel Barrymore, Leila Hvams and Karl Dane are seen and heard in this fast moving, laughing, snap and thrill production, which Metro-Goldw n-Mayer will shortly release. 1 Thanks to intelligent direction and splendid acting “The Manxman,” Sir Hall Caine’s popular story, makes a picture of very high entertainment value.

In addition to many unusual touches in direction, “The Manxman” is notable for the quaint charm of the Isle of Man settings in which it was enacted. The important roles of the male characters are sympathetically handled by (’ari Brisson and Malcolm Keen, whilst Annv Ondra makes a pathetic figure as the victimised Kate. “The Manxman” will be released shortly by Cinema Art Films. Metro-Goldwyn-Mayer "ill shortly release “ Broadway Melody ” in New Zealand. This is a 100 per cent “ talkie ” production, and is a spectacular screen musical extravaganza, with many sequences filmed lavishly in technicolour “ Broadway Melody ” has real drama, musical comedy, and comedy in its composition, together with a cast of players who will make a place for themselves in the talkies. “ From beginning to end. the recording and reproduction is clear, distinct, and at not. a single time is the dialogue or singing overdone,” says a review. English cables announce that Mr Ernest Turnbull, managing director of British Dominion Films has completed arrangements whereby his company will distribute the highly appraised Herbert Wilcox British “Talkie” programme embracing features and short subjects of first grade merit throughout New Zealand and Australia.- Another item of especial interest is that arrangements have been finali«6d whereby leading producers and technicians will visit Australia to make two super talking productions annually. The first, which is already scheduled for production, is “The Trail of the Southern Cross.” Splendid character acting is one of the many features of the British Dominions film version of Edgar Wallace’s popular mystery book and play, “The Ringer,”

now screening in New Zealand. A fine cast is headed by England’s leading character actor, Leslie Faber as Dr Lomond and Annette Henson, as Cora Ann. Nigel Barrie, who has been seen nil many American films, is also in the cast which includes Muriel Angelus, a new screen discovery, Lawson Butt, a brother of Dame Clara Butt, John Hamilton and Hayford Hobbs. The picture version of the play starts a little earlier .than the book and helps thereby to plant the main theme, but retains to the full the mounting mystery and suspense. Mary Pickford is abandoning silent pictures and in future will make “Talkies” only. Her latest picture “Coquette” in which Mary speaks for the first time has created a deep impression in America. Miss Pickford bridges the Pollvanna era and grows up in her first-talking picture, by virtue of a combination of the pert sophistication of this modern day with the innate simplicity which among other characteristics has preserved for her the most unique of places in the stellar ranks of the industry. Miss Pickford’s screen career stands without parallel in every way for longevity, for stardom, and for the promotion of the motion picture industry. Her voice has proved a great surprise and is described by reviewers as the golden voice of the screen. Probably at no previous time in the history of the motion picture industry have there been so many British players engaged at Hollywood as at present. “ The reason,” says Rupert Julian, who is directing the first 100 per cent British cast at the Metro-Goldwyn-Mayer studios, “ is partly that the British actor has, invariably, a perfect speaki g voice, and hence is ideal for talking dramas.” Julian is an Australian, and appeared on the musical comedy stage. He is directing “ The Green Ghost,” Ben Ilecht’s Lon don mystery story, now being made as a talking film by Metro-Goldwyn-Mayer. All the players are British or of British descent. Roland Young. Ernest Terrence, Claude Fleming (well known to Australians and New Zealanders as a musical comedy star), Clarence Geldert, Sydney Jarvis, John Roche, Richard Travers, Richard Tucker, Natalie Moorhead, Philip Strange, John Loder, John Miljan, Lionel Belmore and George Cooper arc the Britishers in the cast. Neil Hamilton, the Paramount featured player, started life as a machine operator. He soon tired of that vocation. however, and became a clerk in a hardware store. From that position he migrated to pictures, and worked as an “extra” for Paramount in New York. After a short period, Hamilton found himself without employment, and he took a position as scene shifter in the stage production of “The Better ’Ole.” Later he was able to obtain a small part as an actor with a travelling company, but even that did not last long, and he returned, disappointed, to commercial life. But the stage seemed to have an irresistible attraction for the actor, and when a leading role in a stock company was offered him, he jumped at the chance. Again, at the last moment, the role was taken from him. The turning point came when D. W. Griffith cast him as leading man in “The White Rose.” Since then Neil Hamilton has appeared in a long series of Paramount productions, notably “The Street of Forgotten Men” and “Beau Geste.” His latest picture is “Three Week Ends,” in which he plays the leading male role opposite Clara Bow. 4 #> In the British International super. “Piccadilly,” no fewer than three artists make exceptional hits in minor roles. King Ho Chang has been acclaimed by the Press as the greatest discovery in years and could not have been improved upon. Mr King, as no is called in the restaurant which he controls, did not seek the limelight of the film, but was induced after much persuasion to accept the role of “Jim” in “Piccadilly,” by E. A. Dupont, who, entering King’s restaurant in the West End, extracted from him a promise to go out to Elstree and see what he could do. King does not intend to follow a screen career, but suggests that if he is called upon in future he would like to play opposite Anna May Wong again. Cyril Ritchard is a young man who recently made a great hit in “So This is Love” at the Winter Garden Theatre, London, and welcomed the chance to play a villain part, as a relief to musical comedy. Charles Laughton is the third of the minor characterisations which have brought forth columns of Press praise. Mr Laughton is named as a future English star if only he will go over to the movies. Mr Laughton’s most recent stage success was in the title role of Air Pickwick, at the Haymarket Theatre, London. Cinema Art Films will release “Piccadilly” shortly. What is claimed to be the foremost achievement of the Continental cinema is “ The Passion of Joan of Arc.” which h-s been shown in New York, where it earned most glowing praise from the critics. From Paul Morand, one of the most distinguished stylists of cont Ynporarv French literature, has come the following: “On the strength of a few signs, one has realised for some time that the French cinema art was struggling to live; with 4 Joan of Arc’ it is born. The warlike life of Joan of Arc is the unfolding of heroic movements —but her trial and death take place in a rarefied atmosphere which does not require gesture; this was understood by Dreyer (the author)„ who has concentrated on the faces the whole action of this sacred drama. Human faces now appear to us for the first time like landscapes, either flat or uneven; under the castigation of the Judge’s words Joan’s tears are so full and so rapid that to call them torrents is not a fiction; her lips—when not closed by some divine obstination—are chinks; her mouth is a crater which casts truth forth. The nightmare of stone-cardboard towns of Carcassonne is now ended. The scenery of 4 Joan of Arc ’ is that of Rouen, but as new as a clinic. Falconetti (the name of the artist interpreting the maid) is sublime.” Marion Davies is* known as “Hollywood’s Happiest Hostess.” When persons visit the Metro-GoldwynAhayer studio at Culver City, Miss Davies entertains them, and many noted guests have enjoyed the hospitality of Miss Davies’ beautiful home, which is one of the show places of the motion picture colony. Miss Davies is a most inventive hostess, and her novel ideas for amusing guests are among those incorporated in a little booklet. “What Will We Do Now?” Marion Davies is one of those fortunate .human being born with such beauty, of face and figure and such charm of personality that from childhood it was foreshadowed she would become famous—if she possessed the balance to keep her head amid the admiration and flattery which naturally surrounds her. That is. Afiss Davies was reasonably sure of her niche in the world purely as a beautiful woman of unusual grace and charm And without very much effort on her part, her natural gifts swiftly tock her from a quick dramatic success to immediate stardom on the screen. Her impersonations, now familiar to motion picture audiences everywhere, developed the same way. She long entertain--1 ed her friends with these impersonations, both at home and during intervals of picture making at the studios : before she had the chance to do them ; in motion pictures. She loves beauti- ; ful things. Her home in Hollywood is one uf the most beautiful in a collec-

tion of beautiful homes, but it is first of all a home. Nothing is sacrificed there to comfort. She has said that if she can have made the world a little happier for her having lived in it, she will be perfectly contented. “THE WOMAN DISPUTED.” EXTENDED SEASON. The management of the Municipal Theatre are so pleased with the success of ‘‘The Woman Disputed” that they have decided to extend the season for another week. There is something about the picture that lifts it high above even the best of the many other films in which Norma Talmadge has appeared. The theme of the picture is refreshingly original, but it is the superb acting of Norma Talmadge that makes it the great film that it is. She has been in the front rank of the world’s film players almost since the time that she was given her first part, but in this, her latest film, she scores an even greater success than ever before. “The Woman Disputed’’ is a picture that is gripping in its intensity; it cannot be forgotten as soon as the curtain falls. The detailed story? It is clearly from the pen of a master. Mary Ann Wagner is a girl of the gutters of the city of Lemberg, on the Austrian* Russian border. To her room comes another human wreck, who ends his miserable existence with a bullet in the brain. Knowing that she will be accused of murder, Mary Wagner is in a frenzy of fear, but she is befriended by two military officers, one an Austrian, and the other a Russian. Each man. unknown to the other, falls in love with the girl. The men have been friends since boyhood, and they continue so even when this girl comes into their lives Months pass happily, and neither young man speaks of his love. And then comes rumblings of war between Russia and Austria. Although still friends, each man is sworn to a rival cause, but the real climax comes when Tirgenov discovers Mary Ann’s preference for Hartman. There is a vow of vengeance, Tirgenov’s clay comes when his army rides into Lemberg. Mary Ann is captured. while trying to escape, in order to marry Hartman. It is Tirgenov’s hour, and he makes cruel terms. Mary Ann has to choose between dishonour or death, not only for herself, but also for many of the Austrian troops. The climax is splendid. Critics declare that “The Woman Disputed” will take its place among the all-too-limited category of great and permanent motion pictures.

HOLLYWOOD IN PERSON. DAILY LIFE IN FILMDOM. (By MOLLY .MERRICK.) (Copyright by the "Star" and the N.A.X.A.). Hollywood Defends Her Reputation. Lady Hollywood is out to defend her reputation. Iler lifted countenance has a fresh coat of whitewash, and two bright spots of the bloom of youth have been painted afresh on her somewhat passe cheeks. On the surface she is so eminently respectable, so absolutely free from guile, that she cannot see how some of the writers can write as they do and some of the Broadwayites who are collecting fat salaries for talkies can talk as they do. Away from the microphones, I mean. Gentlemen under contract to write wise-cracking titles have not refrained from a few priceless wise-cracks on the subject of Hollywood. These have been

so good that they have flown from mouth to mouth as things have a way of flying in the gelatine village. And in their merry tour they have come back to the producers’ ears. Producers are beginning to lay down the law where before they only frowned. The “naughty, naughty” of yesterday is changing into a more tangible form of correction. Contracts are being written which include a clause forbidding employees to wisecrack or make joking or seriously derogatory remarks about movieland and its inhabitants. Lady Hollywood looks slant-wise out' of sly little eyes at this disbelieving world. She is putting up a good exterior, and wants the world to take her at face value. And these ill-mannered creatures who peep behind the scenes or see through the bright and shining enamel are to have their knuckles cracked with the financial ruler. Unless they keep their hands in their pockets! The New Mary Pickford. The years 1925-1929 will be known as the agp of change in motion pictures. The old order passed and a new order entered in. That new order, launched on the public in a crude and awkward condition, is rapidly becoming a finished product. And a product that will rei main. A most startling feature of this general change is the venture which Mary Pickford, for eighteen years an artist of the old school, has carried through to a successful culmination. At a private showing I have just seen her latest picture. A powerful emotional story with a sad ending. A story done entirely in sound, and a story that could not have been told in any other medium. To conceive of the little girl, with the curls of other days playing the part of a small town coquette in exaggerated modern clothes is difficult. But conceive of such a character facing the lawyer pleading with her to testify against the name of her dead lover that she may save the life of the father who has killed him, and who instead, griefmad, screams, “let him hang—l hope they hang him. I hate him, he killed the only thing I ever loved -” It you can imagine this situation poignantly played with no concessions to anything but pure drama you have some idea of the radical departure Mary Pickford has made, in this, period of change. Without calling in any outside authorities, Sam Taylor, the director who has been working with Mary Pickford for some time now, has brought a sane and comprehensive treatment to the tale. And the scene where the star tells the story of the night of tragedy to her black mammy, cradled in those loving arms and with her head on that broad bosom, is a clever combination of age-old human pathos and modern thcatricalism. While the girl sobs her version of the night the mammy rocks to and fro and hums a ciad'le song. That low musical murmur backgrounds the recital. It is an obligato which keeps the picture snugly within its frame of the south. For to forget that this is a story of the south is to fight its psychology* immediately. * No stunts were pulled to put this picture over. I am so tired of movies in sound where everyone but the audience has been entertained by the sounds made. There is no nonsensical hanging of doors or hammering of heels. The sounds that come to the audience are the average noises one hears in actual life. While one is never allowed to forget that this is a story of people who live below the Mason-Dixori line, there are no night-club negro stunts with banjos. No pickaninny singers to keep the audience in good hutnOur. Music is not dragged in willy-nilly to interfere with the tale and send the audience home feeling they have had a combined movie and vaudeville evening. Nothing interferes with the progress of the tale. The dramatic line should be the shortest line between two points —the inception of the tale and its conclusion. And no rambling that is not vital should be permitted to enter in.

If the original story from which this picture was made has been changed to same extent it has not been turned into a sappy story that is just another in avie. Mary Pickford’s new venture gives you an actress whose performance is magnificent. It sends you home with an intense emotional reaction and a sad taste in your mouth. But it is net a bad taste—and that is the only concession to moviedom which has been made. Mary Pickford has great emotional 1 scope within her range, and if the right characterisations, continue to be chosen for her the era of change shows us an actress who has been eighteen years in silent drama leaving that silence behind her like an outworn shell. This fact alone is a milestone in the progress of an industry. The Freelancers. Free-lance lists in the village are being augmented every day. Ruth Taylor is one of the players entering the ranks of movieties who have the whole field to romp in. But sometimes nothing to romp about. Being entirely free and independent has its drawbacks—as many in movies can assure you. Aileen Pringle has joined the ranks of the free lancing ladies. When I think of Pringle with her exquisite skin colouring and the rich lovely shade of her hair, when I consider the whimsicality of her voice tones, at times, and the charming and cultured inflection at all times. I wonder why the legitimate has not. claimed her long ago. Perhaps as the next year unfolds some interesting interchange between this village and Broadway will take place. First All-Negro Picture. The first all-negro picture reaches the screen with an apologetic preamble. Which is scarcely timely. The negro theme has been popular in Eastern theatres for some time. Short story subjects have a definite market among magazines catering to large subscriptions. The negro novel has been a decided addition to literature of late years. So the negro picture is a natural outgrowth of the above-mentioned things. An apology for the thinness of the story might be more in order. Producers are being entertained themselves by the idea of sound. They can’t bear to shoot a scene without backgrounding it by a quartet in the distance. This dangerous practice undoubtedly will weaken sound pictures, lessening the realism of the drama and contributing artificiality to a medium paramount in its artificial quality at the outset. This first all-negro picture, despite its beautiful photography and excellent photographic composition, established during the first twenty-five minutes only these things: That there were negroes in the world, that they'could sing, and that one of them was very lazy. We’ve got to do better than this, even in catering to the intelligentsia. Speaking of the last-named, an eight-year-old child pointed to a man on stilts who was advertising a new movie with the lotullv-put question: “Mamma, is that an intelligentsia? Daddy said he’d show me one when he had time.” | Ronald Colman in a Talkie. Ronald Colman will make his talkie debut in New York. Much to the disgust of local fans, fired to mad enthusiasm about the reticent British actor who seems to care nothing about any of them. So few. even of Hollvwood’s inhabitants, are familiar with the Colman speech that his voice will be a treat to all concerned. Each new beauty to arrive in Hollywood, goes “Colman” before she goes Hollywood. With amused smile Ronnie Colman hears of it. They meet him if they are fortunate, or know the English colony well enough to arrange for it. They find that they cannot get behind that, whimsical cavalierism which is his characteristic.

Gloria Swanson’s New Leading Man. Gloria Swanson will have Otto Matiessen in her talkie version of the latest picture. Matiessen is one of the cleverest of the group of foreign actors. A Dane, he came to Hollywood from a substantial stage success in his own country. He learned the bitter ways of the Boulevard. Found that art in Hollywood was not spelled in the same way as art in the old world. Discovered that interpretation came second to boxoffice. Then Dr Paul Fejos, Hungarian genius of directing, discovered Matiessen. Together they made a strange picture. It was callgd “The Last Moment”— and Matiessen was the only actor in it. The queer little film ljecame a sensation. It washed Dr Fejos up out of the breathless struggle of Poverty Row into a post as one of the leading directors of movieland. And it carried Matiessen through many fine parts to the eminence of a role with Gloria Swanson. Screen Credits. A very good story is told about screen credits. A certain dentist whom we shall call Dr Fix-em is employed mainly by directors to refurbish the mouths of ladies being groomed for stardom. One of the essential points of beauty for any young lady planning to face the cameras and dazzle a vulnerable world is perfect teeth. Many an actress has eyes like drowned stars, a delicious Greek nose, pouting, provocative lips and deliriously curly hair as a frame-work for a mouthful of what country boys call “buck” teeth. The dentist in question solves their difficulties by sawing off the offending teeth at the gum and replacing them wtih faultless porcelain raps. Perfect teeth while you wait, so to speak. One of tfye ladies who has enjoyed the benefits of this dental art appeared in a picture in which two full slides were given to screen credits. A cynic in the audience had been mumbling these credits aloud. When he got to the last one he drawled, “Teeth by Dr Fix-em,” to the vast amusement of everyone about.

Feature. Make. Star. - Town. Released by •'Love and the Devil" First National. Maria Corda. Auckland. First National. “Saturdays Children” . First National. Corinne Griffith. Wellington. First National. “ Scarlet Seas ” First National. Richard Barthelmess. Christchurch. First National. “ The Barker ” First National. Milton Sills. Dunedin. First National. “ Lady of Chance ” Metro-Goldwyn Norma Shearer. Auckland. Metro-Golrhvyn “ The Bellamy Trial ” Metro-Goldwyn All Star. Wellington. Metro-Goldwyn J Our Dancing Daughters ” Metro-Goldwyn Joan Crawford. Christchurch. Metro-Goldwyn “The Mysterious Lady” Metro-Goldwyn. Greta Garbo. Dunedin. Metro-Goldwyn “The Night Bird” "Universal. Reg. Denny. Auckland. Universal. Smiling Guns” Universal. Root Gibson. Wellington. Universal. “ The Night Bird ” Universal. Beg. Denny. Dunedin. Universal. “Bare Knees” Fox. All Star. Wellington. Fox. “ Mother Knows Best ” Fox. Madge Bellamy. Christchurch. Fox. “The Horseman of the Plains” Fox. Tom Mix. Christchurch. Fox. “The Air Circus” Fox. Sue Carroll. Dunedin. Fox. “Mile Parley Voo ” British Domns. Estelle Brody. Auckland. British Donins. “ * Q ’ Ships” British Domns. All Star. Auckland. British Domna. “ Mile Parley- Voo ” British Domns. Estelle Brody. Wellington. British Domns. “A Woman in Pawn” British Domns. John Stuart. Christchurch. British Domns. “One of the Best” British Domns. Eve Gray. Dunedin. British Domns. “ The Desert Woman ” Warner. Irene Rich. Christchurch. Australasian.