PRODUCTION JOTTINGS

Wanganui Chronicle, Volume LXXXIII, Issue 19858, 4 June 1927, Page 15 (Supplement)

PRODUCTION JOTTINGS

Plans are under way for Adolphe Menjou’s next picture, which will fol- ’ low “The Headwaiter.” It is to be iI. A. R. Wylie’s story, “With Their jEyes Open.” I Jessie L. Lasky gives some facts ; about the romance of the motion picture business in a contribution to a i book entitled “The Outline of Careers,” edited by Edward L. Bernays and published by George H. Doran. * ❖ ❖ ❖ Monty Banks has started work on “An Ace in the Hole,” a feature- / length comedy. Mr. Banks began his i screen career as a stunt man, and* I thought nothing of rolling off a cliff ! while in a barrel. He also worked for ■Mack Sennctt as a gag man. Mr. i Banks recently finished a film called “The Perfect Gentleman,” wherein a i great deal of the action takes place ; aboard ship. * * * * . I It is expected that the film version lof “Seventh Heaven” will have its .first showing at the Madeleine Theai tro in Paris. i ‘Still another Jewish-Irish film is bei ing produced. It is called “Clancy’s 'Kosher Wedding.” * * * * i “Resurrection,” Edwin Carewc’s i film translation of Tolstoy’s famous ! novel, bad its New York premiere at the Mark Strand Theatre on May 14. * * * *

At the Hippodrome, in New York. Joseph Schildkraut and Lya de Putti are to be seen in a picture called “The Heart Thief.” This story was written by Lajos Biro and was directed by Nils Olaf Chrisandcr.

That excellent German picture, “Variety,” is still showing in Now York”.

The flapper in all her mannerisms is ably portrayed by Laura La Plante, in “Butterflies in the Rain.” Janies Kirkwood plays opposite her, while the supporting east includes such wellknown people as Robert Ober, Edwards Davis, Clarence Thompson, Ruby Lafayette, and Dorothy Stokes. Edward; Aloman directed this English picture. One of the biggest iee jams which has occurred on the Williamette River, in Oregon, in years, provides the climax of the Universal-Jewel production “The Ice Flood.” which features Kenneth Harlan and Viola Dana. Tn addition to the ice flood, scores of impressive scenes made in the big "woods and the lumber camps of Oregon were filmed for the picture. Wallace Beery is record-holder in the high jump of the screen. He cavorted on the bottom of the ocean in sub- [ marine scenes of “We’re in the Navy Now,’* and then jumped to the tops of mountains of the Alps for scenes in his forthcoming Paramount Picture, “The Big Sneeze.” Out or a total of 650 male extras employed by Paramount for a Follies Bergerc sequence in “Wings,” the epic of the air. 327 had seen service in Franco and had visited the famous original in Paris. “Wings” is the story of the aviator during the World War. ❖ * * * Neil Hamilton, popular film lendr man. robbed the ministry of one of i* handsomest members by going into pic tures. Hamilton was graduated from the theological seminary and was about to be ordained when he succumbed, to the lure of the stage and joined a stock company. D. W. Griffith »ook him from the stage and started him on his career. Now he is a Paramount star. * * * * Pola Negri’s latest Paramount starring production, “Hotel Imperial,” is based on the story and play by Lajos Biro. It has, as its background, an episode of the World- War hitherto unused on the screen—the Russian drive through the Carpathian Mountains into Hungary. #** * ’ As soon as William Powell finishes his sophisticated, villain role in “Time to Love,” Raymond Griffith's next Paramount picture, he will do another of the same kind in the Richard Dix picture, tentatively called “Who’s Your Friend?” “HOTEL IMPERIAL” A PANCHROMATIC FILM. When Pola Negri’s newest Paramount starring vehicle, “Hotel Imperial,’’ is thrown on the screen about the fourth week in June next, one of its most notable features will be the striking reproduction, through a black and white print, of the definite colour values of costumes, sets and even flesh ones. This has been made possible through the use of panchromatic film, which was employed, exclusively througho it the picture.

“The advantage of panchromatic I stock,” says Bert Clennon, chief camera- ! man, who acted in that capacity on his fifth successive Pola Negri film, “is that by its use bright reds and yellows . «an be reproduced in their true relationship. It is possible, therefore, to • get photographs of coloured sets and , costumes which show the relative ! brightness of the scenes as they appear to the eye. ! “The uses of panchromatic film are I not confined to the photograph of bright colours, however. It’s of the ■ greatest advantage in closeups; the flesh tones are much more accurately rendered and the whole appearance is I more natural. It’s also invaluable for 'out-door sets.”