IN THE MOVIE WORLD.

Waikato Times, Volume 108, Issue 18159, 25 October 1930, Page 17 (Supplement)

IN THE MOVIE WORLD.

LATE LON CHANEY. THE FUNERAL SERVICE. MOVIE PLAYERS IN TEARS. “One star differs from another in glory,” read Chaplain Dyer, of the U.S. Marines, at the funeral service of Lon Chaney. Lew. Cody covered his face with his hands; tears streamed from Billy Haines’s eyes; Cliff. Edwards’ round countenance was distorted with grief; Maurice Costello’s features seemed carved from granite. One star differs from another in glory, but in humanity Lon Chaney differed from them all. A Simple Service. A simple service was held in a quiel, chapel in Los a Angeles, inside the building- was a group of people who had loved Chaney; outsire, a surging mob filled the street, the rooftops, and the adjacent ways.

For the crowd a great actor was dead; for those in the chapel a friend was gone.

In the days of the silent films, Chaney once slipped a note into a violin case. This note contained a list of the tunes to he played at his funeral, and these simple melodies came from the little chapel organ. The Marines, who adored Chaney, formed a guard of honour beside the coffin. Disposal of Fortune. Lon Chaney left a life insurance of £55,000. This, under the terms of his will, goes to his son, Creighton Tull Chaney, his brother, John, and his sister, Carrie Keys. The remainder of his £IIO,OOO estate has been left to his widow, Mrs Hazel G. Chaney. One dollar was bequeathed to the actor’s former wife, the will declaring, “so that there may be no misunderstanding or contest of any kind whatever.”

It will be recalled that Mabel Normand left her husband, Lew Cody one dollar, “for the reason that he is well provided for in his separate property and is capable of earning his own support.”

NEWS OF THE TALKIES.

was carried from the court into his house.

Mr Sills, who was 48, had been twice forced to interrupt his screen work owing to trouble with his heart. It was while occupying the Chair of Philosophy at Chicago University, at the age of 25, that he decided on a stage career. He went on to the screen in 1914 in a picture based on Air Norris’s story of Chicago Avheat, entitled *“ The Pit.” Once he was paid £15,000 a week, a record salary at the time, appearing in “The Sea Hawk ” and “ Men of Steel.” Mr Sills was one of the few screen actors who was equally good in talking and silent films. Besides “ The Barker,” he made “ His Captive Woman" as a talk-film with Miss Dorothy Mackaill, and had lately completed “ The Sea Wolf,” from Jack London’s famous story. He was a frequent lecturer at the universities on the art of the screen.

He married Doris Kenyon, the American film actress, in 1920, shortly after his divorce from Gladys Edith Wynne, an English girl, whom he married in London in 1910. New Zealander’s Success In Film. The Regal's programme this week is the Viennese musical comedy, “ The Last Waltz,” produced by the U.P.A. Company of Berlin, says the London Era. In this film there is a combination of clever production, extremely tuneful music and clever acting. It is reminiscent of previous Viennese musical comedy and strikes a note of distinctive appeal, the light touches and catchy songs offering welcome attraction. Erich Pommer in this picture has worked on an entirely different line and given us a most complete picture of the old gay Viennese days. The young hero is played by John Batten (formerly of New Zealand), whose performance establishes him with youthful parts. Opposite is Liliian Harvey, who gives a vivacious performunce, while the character work of George Alexander as the Archduke is i treat.

The story concerns Bobby Fould, son of a rich car manufacturer, who is taken on as factotum to the Archduke. They go to Hamburg, where Peter is expected to marry Princess Eva. In the official visit, Bobby is