MOTION PICTURES

Wanganui Chronicle, Volume LXXXIII, Issue 19918, 13 August 1927, Page 15 (Supplement)

MOTION PICTURES

BIG OR LITTLE? WOMEN IN FILMS Are tall women losing their popularity 1 Has the s atuesquc type given way to the smaller girl, who wears a size fourteen liress arvl a number two slipper? Small, slender women are now in demand as artists* models. The movies, which set the styles in more ways than one, are demanding small women on the screen. A large percentage of the stars and players measure less than the average height, which is five feet five. Mae Murray, for instance, is five feet one and a-half inches in height. Renee Adoree is only five feet ole, as is Louise Lorraine, one of the new •omers to the screen. Gertruue Olmstead is only five feet three, and Sally O’Neill is half an inch shorterAileen Pringle is five feet four inches, and Norma Shearer is five feet two. with Pauline Starke an meh taller than Miss Shearer. Claire Winrl s<»r att'l* Carmel Myers are considered tall at th.* studio, yet they are just average—five feet five inches.

MAKE-UP PAYS AND CHARACTER MEN LAST “Character acting is what pays in the long run,” says Lon Chaney, better known as “The Man of a Thousand- Faces.” I discourage young actors from choosing ‘sheik’ roles, because success is so short-lived.” The public, according to Chaney, tires of screen idols, while a character a»*tor has a steady demand for his services. “I have proved this,” he ►ays, “time and again; awl, anyhow, I could never have qualified as a han.<some hero. No matter how old he becomes, a really good character man. who understands the delicate art of make-up, is always busy. Sesides, study of characters is intensely interesting.” METRO-GOLDWYN FILMS LILLIAN GISH AGAIN Dimitri Buchowetzki is to direct Leo Tolstoi’s story “Anna Karenina.” Other Metro-Goldwyn-Mayer productions to be made include “Jenny Li’>d,” based on the life of the Swedish singer; 1 ‘Smarty,” an original comedy by F. Hugh Herbert and Florence Ryerson- “Captain Salvation,” an adaptation of the novel of the same name; “The Bugle Call,” with Jackie Coogan; “Spring Fever,” a ?omedy-d*rama based on Vincent Lawrence’s stage play; “The Dog of Mystery,” an original story by Chester Franklin; “Becky,” with Sally O ’Neill. “The Wind,” a film version of Dorothy Scarborough’s novel in which Lillian Gish is to appear, and a few other films that have not received titles. FOOTLIGHT GUTTER NORMA SHEARER’S FASCINATING ROLE. The glitter of footlights—the glamour of the varieties—and the human element that underlies the spectacle of gilded butterflies cf vaudeville—these arc the elements that make “Upstage” a play long to be remembered. 1: is more than a play of vaudeville—it is the living soul of vaudeville — a world apart. Norma Shearer, beautiful, dazzling in her gorgeous creations; appealing in her wistful appeal for sympathy in misfortune—is the very embodiment of all the fascinating women of the vaudeville stage. She echoes their triumphs and their tragedies—she holds a mirror up to the fair beauties of the stage. This new Mctro-Gc Viwyn-Mayer production, an intimate st Try of “ beaind the scenes.” coming <u Wednesday to His Majesty’s Thcati'** ?s one of the most striking pictures ot today. It is a play about players; it takes the audience into the regions behind the scenes in a vaudeville theatre- One follows Norma Shearer through her adventures on the hard road the vaudeville actress must travel. Monta Bell directed the picture from the story by Walter De Leon, famous writer of vaudeville fiction, and hinfself a vaudeville headliner for many years. De Leon caught the very spirit of the players of the varieties, and* Bell placed it on the screen with rare skill. The cast is something novel. The hero is a real vaudeville dancer —Oscar Shaw, late of the “Music Box Revue ’ ’ —who proves a very acceptable screen hero indeed. Dorothy Phillips. J. Frank Glcndon, Ward Crane, Gwen Lee. T. Holtz, and other well-known players are in the principal roles. The settings, showing the interior of a vaudeville theatre anrl the region behind the scenes, are very interesting. The rehearsal, with genuine vaudeville performers preparing their acts is ■stoundingly true to life. A DOUBLE LIFE •‘THE STREET OF FORGOTTEN MEN” By day he was Easy Money Charlie, crippled professional beggar who at night grimly guanded the secret of his life from the girl who thought she was his daughter. And then came the dav in his Jekyll and* Hyde existence that he had dreaded, the *ay when an- ( other who knew his secret determined to shatter his happiness. The story of his sacrifice is told* in “The Street of Forgotten Men,” the Paramount p’eture which comes to the Municipal Theatre next month

GREAT VIOLINISTS HEIFETZ AND KREISLER. Heifetz, the world-famous violinist, who is to give recitals at Wellington, Christchun-h, Dunedin and Auckland and who closes his all-too-short season at Wellington to-night, has always cherished a great admiration for Kreisler, and the two arc close friends. When Heifetz was ten years old he first heard Kreisler play, and since that time he has attended his concerts whenever an opportunity presented itself.

Strangely enough, he and Kreisler share the same birthday—February 2. Heifetz was unaware of the fact until one day in New York he was asked to write his name in a young lady’s birthday book. Turning to the date of his own birthday the first name he saw was that of Fritz Kreisler.

“MAN AND MAID” MADAME GLYN’S THEORIES If you want to see a picture full of love and intrigue, don’t miss Elinor Glyn’s Metro-Gold*wyn-Mayer- production, “Man and Maid,” which opens at His Majesty’s Theatre next Wednesday. Madame Glyn has psychology at the tips of her fingers and knows howto put her theories over on the screen as well as she does in her writing. She offers for our approval a new leading woman Harrier Hammond. Miss Hammond is an ethereal blonde, and gave a beautiful performance of the heroine role —Alathca. Lew Cody astounds one as the hero and makes one hope he will never play anything else but parts like that of Sir Nicholas Thormonde from this time on. Renee Adoree is brilliant in the role of Suzette. Her scintillating personality will long be remembered, as will the gentleness and sweetness of Alec Francis in the role of the hero’s valet. Others in the cast whose work stands out arc: Paulette Duval, Crauford Kent, Jacqueline Gadsden, Carrie Clark Warde, Dagmar Desmond and Jane Mercer. The settings are worthy of extra mention, each one unique and* for the most part extraordinarily beautiful. The time is at the end of the war. The place. ParisVictor Schertzinger directed under Madame Glyn’s supervision, and Chat Lyons was the photographer.

MOTHER LOVE “THE FOURTH COMMANDMENT” Belle Bennett’s latest triumph is to be seen in “The Fourth Commandment.” a Universal production, which opens at His Majesty’s Theatre to-day. In the big film drama Miss Bennett achieves a mother role even greater than of “Stella Dallas,” and “The Fourth Commandment” is being heralded as one of the outstanding film dramas of the year. Directed by Emory Johnson it carries a thundering message and at the same time manages to be exceptional entertainment.

RANDOM SHOTS All who remember Vera Gordon as the Jewish Mother in “Humoresque,” ’ and there are hundreds of thousands I who do remember her, will rejoice that she was chosen as the Mother in George J. Jesse]'s starring venture, “Private Izzy Murphy,” a Master picture to be released shortly in New Zealand. Miss Gordon's vivid and* poignant performance seems to be the incarnation of all the joys and sorrows of mothers everywhere. She seems to be actually the mother she portrays. Her role runs the entire scale of emotion—delight at her son’s business, pride in his fine youth and strength, grief when he leaves for the front, and the agony when she receives news of his death. No delight could be wilder than hers when she sees her son footing it up Fifth Avenue in the pink of condition. v *{**!* A life-long ambition has been realised by Eddie Cantor, and Hollywood, dear children, brought it. Aladdin-like. “All my life,” said Eddie, looking soulful, if eyes like his can, “I have wanted a whistle. A dear little whistle. And now as a mailman, in ‘Special Delivery,’ my drcam has been realised.” And- that may explain why Henry perfected the Ford: perhaps he always had a longing for a squeak. ❖ * * * “Resurrection” represents five years of creative effort on the part of Edwin Carewc, and the fructication of two years of dramatic training of Miss del Rio by Mr Carewe. her discoverer; plus almost a year of combin ed efforts of Count Ilya Tolstoy, son of the author of “Resurrection,” scenarist Finis Fox. editorial supervisor. Thomas Hiranda, and- others who assisted Mr Carewe in making the production. Rod la Rocque was borrowed fom Cecil B. De Mille. to whom he is under contract, for the role of Prince Dimitrie Nckhludof. and Dolores del Rio was cast as Katusha Mazlova, the part which Mary Garden created in opera, and Blanche Walsh on the stage. Other actresses who have played Katusha have been Alla Nazimova. Pauline Frederick and Yya Mara. Sir Herbert Beerbohn Tree created the role of Prince Dimitrie in 1903 at His Majesty’s Theatre, London.

William McLeod Rainc, the noted writer of Western tales, wrote “The Ridin’ Rascal,” which has been adapted for the screen by Universal, and features Art Acord and Olive Hasbrouck. These two excellent Western stars are supported by a very capable cast, and the film comes to His Majesty’s Theatre soon. Mrs Victor Varconi, the pretty Nusi of the gay little Viennese clique in the foreign colony of Hollywood, serves as interpreter for the brave domestic actors who venture into the imported set. Take Rod la Rocque, for example. One night not. so very long ago he rang Mrs Varconi. “I’ve invited the Conrad Vcidts and Vilma to a private showing of ‘Resurrection’ on Tuesday night. I am not sure they understand me. Will you call them?” Mrs Varconi did, and discovered; from Mrs Veidt that she thought they had been invited to a beach party on Saturday. But Vilma was different. “I oonderstand efery vord Rod spiks to me.” A week later their engagement was announced. Now they’re married-

The First National Company is grooming Billie Dove to take the place on their programme left vacant by Corinne Griffith. For the present Billie will be teamed with Lloyd Hughes in feature productions. The old team is gaining momentum again. Francis X. Bushman and Beverley Bayne started this vogue about the time Henry Ford made his first flivver. Every two years the companies swing back to the idea of teaming their stars. It lasts until the stars and* the vehicles which they have been pulling around begin to look a little shopworn, and then they are discarded again. A great fire and earthquake forms an important part in the development of the dramatic story of “The Fourth Commandment.” which is to be screened at His Majesty’s Theatre. A miraculous and thundering reproduction of great disaster appears in the production. Many thousands of dollars were spent in the filming of the scenes that show buildings tumbling, streets afire, and the great exodus of refugees. Emery Johnson directed the big Universal production which features Belle Bonnett. The supporting cast includes Mary Carr. Robert Agnew and others of prominence. ❖ * * Gerald Beaumont, who is dead; but whose stories go marching on, is the author of “Betty Is A Lady,” in Charlie Ray will play a prize fighter and James Gleason, who wrote the stage play. “Is Zat So?” will play his manager. Twice each week, after he’s finished a hard day’s work as a prize fighter, Ray goes .to his vocal teacher and sounds his A. He’s having Tiis voice trained so that he’ll be able to lift it with some credit in a musical comedy he has in mind and- in which he’s- long wanted to appear. ❖ * * * Blame it on Sam Messenheimer if you don't like the wry expression on .Tack Gilbert’s face in “Twelve Miles Out.” or the soul-searing light in Renee Adoree’s eyes. Sam. who throttles a set melodeon, is a composer of popular melody and every time he creates a new one he Tries it on the actors first. If they like it. Sam beams. If not, it goes back for repairs.

FAMOUS DANCERS IN J.C.W. PRODUCTION. New Zealanders arc hoping that when the “Tip Toes” Company comes to the Dominion it will contain Gerardo and Enid Adair, the famous dancers who created a sensation in London with their really wonderful performance. People who describe dancing as “tame” and maintain that dancers take no risks will certainly change their mind when they see Gerardo and Enid Adair in their daring feats.

THRILLS “THE OVERLAND LIMITED” Seekers in search of a thrill have only to journey to His Majesty’s Theatre to-day or Monday and see the latest Master Picture, “The Overland Limited.” It is impossible in a limited space to describe the rapid* action and many exciting moments of this photoplay, but if the reader can imagine a fast express train dashing along with a maniac creeping over the top of the engine to attack the engineer, the struggle in the cab, and then the train running wild, with a maiimau at the throttle. Then shift the scene to a new steel bridge, with two men silently cutting through the girders with an acetylene torch. The train reaches the bridge, and; suddenly the bridge collapses, plunging the steel monster into a raging torrent below.

BAIRNSFATHER’S BEST “THE BETTER ’OLE” Writing of “The Better ’Ole,” which comes to His Majesty’s Theatre on Tuesday, the Sydney Bulletin says: “One of the most amusing pictures Melbourne has seen in many moons started to unfold itself at Melbourne Auditorium on Saturday. The generation that didn’t live through the war has to discard a multitude of conceptions before it can appreciate the emotions latent in “The Better ’Ole,” Bruce Bairnsfathcr’s once world-fam-ous creation. Yet the walrus-whiskered warrior, who shakes off a ton of earth deposited on him by a six-inch shell only to make a music-hall mot. is probably a truer version of the private soldier through the ages than the version given in the histories and the speeches of Armistice Day orators; the chances are there were ’Olt Bills among the Spartans at Thermopylae in 480 B.C. Syd. Chaplin as the hero of the British film under discussion is as lifelike a reproduction of Bairnsfather’s original absurdity as is celluloidly possible. and the show is a riot of laughter from start to finish.”

YOUNG ACTRESS IN “GOD GAVE ME TWENTY CENTS” How is it that an eighteen-year-old girl, whose life has been tranquil :yid hoppy-, is able to depict tragedy—portray it so feelingly that tears are brought to the eyes of sophisticated men ana* women? 1 The question was asked of Lois Moran, whose acting as Mary, wife of “Gambling” Steve Doran in Herbert Brenon’s Paramount production, “God Gave Me Twenty Cents,” which commences at Municipal Pictures to-day, has been widely praised as the best work of her screen career. “There are effective substitutes, I think.” said Miss Moran, “for a lack of experience. One is a crisp imagination, which enables one to place herself in another person’s shoes. Of

course, she must have some vicarious experience to work on or her imaginary conception will be distorted. I get these by reading books and watching life. “I’ve never been married, and I’ve never sat at the death bed of a woman who had robbed me or ipy lover, but when I sank into a chair beside the cot of Cassie Lang in ‘God Gave Me Twenty Cents,’ I pictured a woman I’d seen in a Parisian hospital. She was dying and pleading .forgiveness of a soldier. I never forgot that picture. I saw that woman as I gazed at Miss de Putti, and I was the soldier—looking through his eyes. That moment was absolutely real for me. “Romantic love scenes aren’t difficult. All young girls have secret visions and dreams. I suppose that’s the real secret of the whole, thing—to he able to conjure up visions of people, emotions and. situations that are real and truthful. Experience is just a measuring stick. You've got to have the other things.” , •Sybil Thorndike, leading English actress, was invited to represent Great Britain at the International Dramatic Festival in Paris, which opened on June 20. She played “Saint Joan” and “Medea.” “I do feel that we should make the occasion a real help in promoting the good feeling between the two nations that we all so much desire,” said Miss Thorndike on her departure for Paris. “The venture is not a commercial one. We are meeting all our own expenses, and if the week is successful its profits will be shared among the company. ’ ’ M. Gemier, the distinguished French actor, arranged the festival, which took place at the Champs-Elysees Theatre. •