Hollywood Vagabond 1927 (5)
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Transcript of Hollywood Vagabond 1927 (5)
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^T TH OLLYWOO D
VagabondFilmpaper £ 3Z*?™;
1, Number 5 Thursday, March 10th, 1927 Copyright, 1927, byVagabond Pub. Co. '
hiatusA COMPENDIUMOF CLIPPINGS
HAM AND EGGS IF—
Provocative reminis-of the ancient
about "if we had
ham we could have
ham-and-eggs if wesome eggs" as aroused
the following epochal
item from Mr.
Landy, First Nat-
studios, Burbank,
:
Although Donald Reed will not
ay the role of a college man in
Moore's coming production
First National "Naughty But
he is one, having attended
idental College in Los Angeles
Hearst-WarnerPud!oeal?
Slight mistake in pub-
copy of Mr. Sam B.
o f Universal
Calif.:Emory Johnson, Universal direc-
has established a new vogue
megaphonists in Holly-
He takes the part of an
and does his directing In
of the camera instead of be-
it.
To the personal knowl-
of the editor, Clar-
Brown did this at
two years ago.
Ups and downs of ath-
in the silent drama, as
from the week's
Reports are. revived that Para-
will film Shaw's "Cashel
Profession" with TunneyDempsey.
MADGE BELLAMYthe successful "Fair Lady in Quandary"
See Page Five
She is
Rumors bagged on Hol-
lywood Boulevard lastnight
_declare that New
York is on the verge of a
wholesale motion picture
exodus.
This report follows in thewake of the recent an-
nouncement of Famous Play-
ers-Lasky Corporation that
they were abandoning their
Long Island City studios en-
tirely for concentrated pro-
duction in the Hollywoodplant.
A deal is reported as nowunder way for the sale of
the giant CosmopolitanStudio in New York to
Warner Bros, for the pro-
duction of Vitaphone film
accompaniments- Hearst hadcontemplated a huge pro-
ducing program at this
studio for his Cosmopolitan
productions before movingto the west coast. The Para-
mount plant on Long Island
will be used by Publix Thea-
tres, a Paramount subsidiary,for the creation and re-
hearsal of theater prologues.
Other reports received
during the week declare
that other studios in NewYork will be converted to
other uses and that the Fort
Lee film plants will be dis-
mantled. All present NewYork production will be
switched to Hollywood, ac-
cording to present indica-
tions.
Hollywood and the Highbrows"-TURN TO PAGE FOUR
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Two Hollywood Vagabond March 10th, 1927
Trust Rap Stirs Industry,
Federal Probe Be Hocus-Pocus?Cloud of Hot Air Hasso Price May
Hays Ass'n TacticsHangs Over Movies Make Films Here
Statements made in the
"Monopoly and
Movies," which was
in last week's
of HOLLYWOODhave been
during the past
days by the news of
merger of the Stanleyof America,
Coast Theaters, and
National Pictures.
l three were cited by
journal as partici-
in the theater ex-
hiatus.
However- the real blow
been struck by Frank J.
fighting chief of
Indiana Motion Picture
Owners' Associa-
who asks for a federal
into an alleged
existing in the motion
industry.
The doughty Rembusch is
or less of a stormy
and has caused pro-
and distributors con-
anxiety by his ac-
in behalf of the ex-
not only of his ownbut everywhere. This
move will no doubt
to the frowns worn by
nabobs when the name,is uttered.
Rembusch, in his com-filed with the anti-
bureau of the Depart-
of Justice at Washing-declares that the Hays
and its membersthe entire produc-
and distribution fields,
well as the theater realm.
to the F i I m Daily,
says:
"If a theater owner complains,
character and business is sub-
to assassination. Often if a
owner refuses to buy a pic-
they will send agents into his
to destroy the good-will he has
his patrons, or threaten to
a theater in competition. In
manner they make him buypictures.
"Today no one can find a way to
screen except through the Haysbecause the distribu-
of pictures is controlled by
If all the alleged actress-
es in motion pictures whoclaim to be ex-Follies girls
were lined up shoulder to
shoulder, then how high is
up?If that's true, then how
long would it take you to
compile a complete list of
the broken-down pugilists,
ex-coal heavers, truck driv-
ers and drug stoi'e cowboyswho claim that once upon a
time they almost knocked
Jack Dempsey off his feet in
a thirty-eight round battle
in the dim, dark past?
them. Recently at Los Angeles I
met Edgar Lewis, a producer, whowants to make pictures and he
asked . . . Is it possible to in
any way reach the screen again?
Such independent producers as
Harry Rapf, Herbert Brenon andBennie Schulberg, who were for-
merly independent producers, are
working for the Trust, or perhaps
they would not work. The Inde-
pendents are about all gone and
are now Dependents. Stars, direc-tors, all come under the influence
of the trust in some manner.
"Our former state right marketis now practically past history.
Hundreds of other pictures could
be and are made but the Trust pre-
vents distribution. Formerly our
best pictures came through the
state right market. The trust
causes the theater owner to buyonly their pictures and they fill upall the time and consequently there
is no room for the State Righter,"
etc.
Once again Rembuschhas sounded the clarion
call. But will there really
be a far-reaching federal
investigation such as he
asks?
Or will there be a
hocus-pocus of nonsense
and long, drawn-out flip-
doodle that ends up in
nothing but a lot of talk
and a lack of action?
This doom hangs over
the films and there are a
few who can see it. Un-less something is done the
tentacles of the octopus
will soon close in on the
industry; then it wll be
too late for action, only
tme for regrets. Wake up
!
According to report, a
series of short-reel films
will be made in Holly-
wood by Hasso Price,
German actor and di-
rector.
Price, or Prietzel, as hewas known before applying
for citizenship here, has hadquite an extensive affiliation
with European film com-panies-
He wrote the continuities
of the German films, "At-
lantis" and "Summer Love,"
and in 1923 was assistant di-
rector on "Sodom's End,"the screen version of the
Sudermann novel directed
by Felix Basch at the UFAstudios in Berlin. Price wasalso affiliated with the late
Max Linder when that come-dian made "The Circus
King" in Paris and Vienna.
As an actor, Price played
in "The Madonna at theGate," "The Game of Love,"
"The Viennes Waltz" andother • continental produc-
tions. In 1925 he producedand directed "The BoxerKing" for the Prima FilmCompany; "The Lucky One"for the Prietzel Film Com-pany, and "Batavia" for the
Heiland Film Company.
During 1926, Price cameto America as correspondent
for a German film trade
paper. Coming to Holly-
wood, he worked in thescenario department of the
Mack Sennett studio. Later
he produced "The StudentPrince" on the San Fran-
cisco stage. Among his re-
cent works is an original
story, "Geisha Love," deal-
ing with naval officers in
Japan, which Price may pro-
duce himself at a later date.
Ralston Picked
For Cruze Opus
Esther Ralston will playthe feminine lead in "BeauSabreur," which JamesCruze will direct for Para-
mount. Production begins
in about ninety days.
Great Array of
Writers at M-G-MThe scenario craft is well
represented at the Metro-
Goldwyn -Mayer studios
these days.
Several new writers, Pat-
rick Kearney, Sam Janney,Josephine Lovett, F. HughHerbert, Hans Kraely andJohn Colton are among those
recently given contracts byIrving Thalberg.
Others in the roster are
Albert Lewin, Byron Mor-gan, Frances Marion, Elliott
Clawson, Jack Cunningham,Dorothy Farnum, DouglasFurber, Agnes Christine
Johnston, Bradley King, Ed-ward Lowe, jr., June Mathis,
Lorna Moon, Winifred EatonReeve, Florence Ryerson,
Gladys Unger, WaldemarYoung and A. P. Younger.
Says Italian Films
Fail in Own Nation"Italian films cannot compete
with the American and Germanproductions. The Italian people
prefer the imported pictures and
home-made films are unable to get
play dates, even in the smaller vil-
lages in Itlay."
This is the statement made by
Count Mazzaglia, known as the
"Italian Lon Chaney" because of
his work in "Titus" and other
Italian motion pictures.
Mazzaglia is now in Holly-
wood working under the name of
Dick Valencia. Prior to starting
his film career, Mazzaglia, or Va-
lencia, produced and acted in
stage productions in Europe.
Strayer Directs
2nd "School* Film
"Rolled Stockings," a
story of college life, will be
the second film to be madeby the Paramount school
players. Frank Strayer will
direct. Charles Rogers andRichard Arlen have been
cast.
Emil Jannings' next pic-
ture for Famous Players
will be "The King of Soho,"
a story of Limehouse.
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10th, 1927 Hollywood Vagabond aqc Th'iree
the
Right Hand of
Joe SchenckNothing discloses real character like the use
of power. It is easy for the weak to be gentle.
Most people can bear adversity. But if you wish
to know what a man really is, give him power.
This is the supreme test.
—ROBERT G. INGERSOLL.
The executive administration of the motion pic-
industry has been augmented in late years by a
group of young men who have done much to ad-
the cause of the silent drama. Their influx has
almost as great, and certainly as noteworthy as
of new thespian and directorial talent.
Predominant among these his position and activity
s been Irving G. Thalberg,
as one of the most
executive minds in
film business. Thalberg
done much to create the
production standards
Metro-Goldwyn-Mayer.
Where Thalberg has been
publicized and sub-
to widespread critical
however, John W.Jr., has been
neglected- Cer-
a man of Considine's
warrants more at-
than has been paid
Considine, as the right-
man of our leading
magnate, Joseph M.
henck, has acquitted him-
with aplomb and credit.
with confidence and
by Mr. Schenck,
Considine has madenotable moves that
done much to change
movie map of recent
onths.
We read in the papers
time to time of certain
hings that Joseph Schenck
has done, or contemplates
doing. Big moves, that
mean the expenditure of
millions of dollars in filmproductions, theaters or
allied ventures. In reality
these things are done by
John Considine. The plans
themselves are outlined by
Mr. Schenck; but a man of
is
not free to work out the
many details and burdenhimself with the responsi-
bilities concerned in bring-
ing these projects to frui-
tion. That is Considine's job,
and if you have followed the
activities of Mr. Schenck for
the past few years, you will
realize that his young lieu-
tenant has had his handsfull.
The son of the Considine
of Considine & Sullivan
theatrical fame, young Con-
sidine has been fitted bynature for his job. He has
the instinctive showman'ssense- He has the rare
ability to commingle photo-
play art and the demands of
the box-office.
Once upon a time, not
so very long ago, John
Considine said to us:
"Sometimes I wonder if
there is public apprecia-
tion for the man behind
the screen; the executive
who is conscientiously
striving to satisfy exhibi-
tors and their audiences;
the man in whose hands
the destinies of interna-
t i o n a 1 celebrities are
placed ; upon whose shoul-
ders the public blame for
mistakes are laid, but who
is very rarely included in
the praise."
Our answer is that there
is public appreciation for
all of this. But the public
must know who the men be-
hind the scenes are, and of
what caliber they are built.
Considine is of our most in-
telligent and aggressive co-
terie. He creates respect byvirtue of his achievements.
It was Considine who gave
Clarence Brown his first big
chance, when he was pro-
ducing Valentino's pictures.
Considine has also given
Gilbert Roland his chance;
and now he will give Rosita
Moreno her opportunity. Wecould go on indefinitely with
a list of names and a com-
pendium of work well done,
but the significant fact is
that Considine himself is
headed for even greater
prominence than he enjoys
today.
Mr. Schenck has given
Considine his chance. In
turn, Considine has justi-
fied his opportunities in a
fine manner. John Consi-
dine is a man who has
been given power. Hehas passed the supreme
test of using that power
with gentility and in win-
ning the respect of those
under him and the ad-
miration of the industry
at large.
Considine is of the stuff
that tomorrow's motion
picture industry will be
made. We need have no
trepidations for its future.
It is in good hands.
"Headwaiter" will be
Adolphe Menjou's next film.
It was written by Ernest
V a j d a. Menjou recently
made "Grand Duchess and
the Waiter," and, latest,
"Evening Clothes."
MR. CARRAGREESThere are a few people
in this world who have the
all-too-rare faculty of do-
ing their own thinking.
Those few were not num-bered among the several
who protested the recent
article in HOLLYWOODVAGABOND. ".Mission
Play Is of Finer Texture
Than 'Miracle'," wherein
the San Gabriel play washanded a nod over Mr.
Gest's opus.
Among the ladies andgents who said we had made
a mistake there was a pre-vlent notion that the"Miracle" was great because
everybody else said it wasgreat. Just like a lot of
sheep.
It may enlighten them to
read the following words by
our good friend, Mr. Harry
Can-
, if they perchance
missed the Los Angeles
Times of last Monday,where they were printed in
Mr. Carr's inimitable col-
umn, "The Lancer."
The Miracle has closed the most
successful engagement of its
splendid career.
It is a great work of art.
I know this because it has passed
an infallible test.
If anything bores me to tears I
always find out that it is a great
work of art.
Judged by this test, the Miracle
is the crowning achievement of this
benighted age.
I loved the first part of the
Miracle. Although you could see
much the same thing in any
Catholic cathedral on any great
day.
But I can't seem to. convince my-
self that the allegorical symbolism
that followed was great art.
The opening scene with the
Madonna in the cathedral was
sweet, dim-lit, solemn tragedy. It
had the subdued note of consecra-
tion—devotion.
Then the story slid off into a
long, tedious nightmare. To tell
the truth, it seemed very much like
a winter garden show—minus the
naked ladies. I was half expecting
to see Al Jolson come out to sing
a mammy song through his nose.
In the meantime the pub-
licity-hypnotized ginks whorave about the Gest opery,
fail to trek to San Gabriel.
It is useless to try to con-
vince people who have no
sense of discrimination ..
especially when they will
not make comparisons on
their own behalf.
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Four Hollywood Vagabond March 10th, 1927
HOLLYWOODAGA
The QUALITY Filmpaper
Published by BILLY JOY Edited by FRED W. FOX
ROBERT D. HOBDAY, Director of Finance and Advertising.
RALPH KIMBALL, Director of Circulation.
A. J. GASCHEN, Comptroller
Published every Thursday by the VAGABOND PUBLISHINGCOMPANY, 619-620 Taft Building, Hollywood, California.
Telephone GRanite 1S59. 20c per copy; by subscription
$10.00 per year.
ANDTHE HIGHBROWS
The babbitts among us are rather exasperated
we read the high-falutin' scorn heaped upon the
movie by the highbrows who sit in the judgment
The cynics among us are covertly pleased, and
for further and greater vitriolic doses to be
down Hollywood throats.
As a matter of fact what the average journalistic
and typewriter intelligentsia have to say
the silent drama is nothing more or less than a
of hypothetical monstrosities.
There are times when the critical survey of the
who on most occasions do not quite grasp
subtleties of our finer photoplays, will whip the
producer or director to the vergeof hair tonic
other post-Volsteadian beverages. Their supine
however, are not to be compared with the
appraisal of our allegedly intelligent critics.
proclamations of these haughty ginks are pungent
the spices of highbrowism. Yet, in their superior
they are just as vapid.
There are only four or five critics in America to-
who are equipped to pass judgment on the type
cinematic fare that will please all classes of this
democracy. None of them have exhibited any
of the intelligentsia.
If a motion picture producer listened to the con-
suggestions of all of these smartcritics
hebe tripping over his beard long before he had
a picture. Then the critics would find some-
else wrong with it.
The critical stupidities of these self-appointed,
marvelously self-opinionated, Nestors of the mo-
picture are theoretical alone. It would be eco-
suicide for any film producer to follow their
The highbrow, as represented in these newspaper
magazine minions, thinks only in terms of intelli-
He is not cognizant of the fact that there are
of people who like the same old claptrap over
over againin
motionpictures.
They are the de-of the horse-operas ; and the worshippers of the
impossible, yet eternally popular, "society
But it is for this vast audience that the pro-
is making pictures. Not for the cliques that
in metropolitan theater guilds.
Pigeons,
Long Pants
Dear Pals, Billy and Fred:
Well, pals, for no reason
whatsoever, I take my type-
writer in lap this lovely
Spring evening to indite a
few words, which, I hopeand pray, will have abso-
lutely no bearing on any-
thing. If they do, blame it
on the typewriter; the dog-
gone thing is always goingkind of haywire and writing
words I don't even knowhow to spell.
What I was going to say,
if I remember rightly, is
something about my boss,
Harry Langdon. He kickedme in the long pants one dayfor saying he was the
world's greatest comedian,so I will now make a retrac-
tion of same by stating that
he is only the world's great-
est comedy star.
Now that we have settled
that question, let us turn to
page 336 and -sing that be-
loved old hymn—wait a min-ute, that was another time.
Well, anyway, I will nowwrite something about the
lovely view from my office
window. I used to have twooffice windows, but theymoved the office away oneday on a truck, so now I haveonly one. I remember once
I looked out my office win-
dow when I had two office
windows, and saw two pig-
eons out on the handsomeengraved curbstone makinglove to each other, and I
wrote the sweetest little
piece about them two pig-
eon. All the girls said it
was just wonderful. 1 would
write something now about
a couple of pigeons, only
there are not any pigeons
around just now, as it is
midnight and all the pigeons
have gone where good pig-
eons go about midnight.
Having settled that fowl
question, I will now write
something about how hard it
is to be a press agent. Let's
see, now— Well, I can't
seem to think just how hard
it is to be a press agent, so
let's talk about something
else.
Speaking of Harry Lang-don, who is not only my best
pal, but my severest critic,
you will unquestionably be
glad to know that he has
just made a super-laugh-
epic called "Long Pants." If
you don't believe it is a su-
per-laugh-epic, just look at
any of my recent publicity
stories. When I said, upthere in the second para-
graph that Mr. Langdon"kicked me in the long
pants," that was just a clev-
er way of putting over the
title of the picture so youwouldn't know it. That \t
what is known as adroit
(Continued on Page 7)
For instance, there are 19 studios and 250 pro-
ducing companies in Hollywood alone. They have
$1,125,000,000 invested in plants and productions;
and they have $375,000,000 more invested in rawfilm, costumes, stories and other assets. In the year
1925, $165,000,000 was spent in motion picture pro-
duction in Hollywood, and in 1926, $225,000,000 wasexpended for the
same purpose. The intelligentsiacontributed an infinitesimal amount to this sum; cer-
tainly their paid admissions would not run into six
figures. Where did the money come for all this? Fromthe back country, the hack towns, from out of the
pockets of the Great Mob that is America. Not fromthe theater guilds of Fifth Avenue.
When film audiences refuse to pay money to see
artistry and intelligence in the photoplay, forsake it
for the queues outside the nickelodeons that reap har-
vests on the Tom Mix complex, then certainly it is high
time for the intelligentsia to cast about and determine
. . . not what is wrong with the movies . . . but
whatis
wrong with the American people.Therein lies the herculean task of our scoffers,
cynics and pretenders with the savior faire. In the
meantime ... on with the horse-operas and the
hokum . . . and the billion-dollar payrolls. This is
an industry; not an aesthetic picnic.
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10th, 1927 Hollywood Vagabond Page Five
HOLLYWOOD JOURNEYS WITH FRED FOX i
vagabondia^We are the music-makers
And we are the dreamers ofdreams'''
A. W. E. O'SHAUGHNESSY
^4--M^-M-4^4^-»-M--4--M-»-»--*.4.-M-»--M-»-*****-»--«
Fair Lady inQuandary
A poetwould have
it pelting rain.
We cursed the pools of
the mud, and fog
hung over the tree-
It was easy for us to
big, luscious
on a day like
A poet would have
of the elfin tracery
f the eucalyptii against
drenched hills of Bev-
We voiced our furysorrow with phrases
with "hells" and
Our feet were wet, and
spirits were damp.
was a sad day for us
go a-calling on Madgewho had always
springtime and
to us. To-
that was all bunk.A mighty thump on the
of the cozy Spanish
The gr-ru-rumph of
window sash being raised.
a voice
:
"Who's that?"
"It's the Hollywood Vaga-
"Are you sure?"
"Yes, why?""Well, because we've
robbed during the past
days, by two nice look-
young men, too. We're
cautious about wholet in."
We were glad that we
nice looking youngWe immediately for-
that two other nice look-
young men were hold-up
because they volun-
let us in.
She opened the door for
us.
Wefelt conscious of
our soaked shoes, our
water-weary hats and our
dripping coats when wesaw her, all radiant andgorgeously arrayed.
"Isn't this AWFULweather!" she exclaimed.
We felt a lot better after
that. We gave a parting
look out the door and be-
stowed a superior gaze uponthe blue auto that was al-
ready being bathed in giant
rivulets
from thetrees
above.We were glad we hadescaped all that, even mo-mentarily. Let it rain, now;what did we care.
Madge Bellamy was far
different from the girl wehad expected to meet.
The spirit of "Sandy"
and "Summer Bachelors"
had caught us. We knewnow that this girl wasgifted with versatility if
nothing else.
As the conversation rolled
on, we were aware that here
was an actress who had none
of the cocksure suavity that
might have been hers after
her meteoric rise. MadgeBellamy had been in pictures
quite a few years, but it was
only of recent months that
she seemed to be nearing her
goal. We thought it possi-
ble she might have been
aware of the fact. Strange-
ly, she was in a quandary.
"What shall I do next?"
That was thegist
of hertalk.
Madge Bellamy is the
one looming contemporary
of Clara Bow. We have
said that before in these
Fred W. Fox
pages. They have said
that one of the greatest
human properties of the
motion picture is Youth.
If that is true, then MadgeBellamy is worth millions.
For she is the personifica-
tion of Youth. To us she
is a more convincing mad-
cap than Clara.Somehow the deluctable
Bow always makes us feel
as if she were kidding us
with a "Well, this is whatyou want me to be; so here
I am, kid," while Madge hasa vein of sincerity in hermost flapperish moments.
One year from today
Madge Bellamy should be
one of the most valuable
thespic assets of the in-
dustry.
Nobody seems to realize,
adequately, how she hastaken the popular fancy in
the small towns- "Sandy"and "Summer Bachelors,"
with the frivolity andinsouciance of this starry-
eyed creature, has donemore for Madge Bellamythan anything she has ever
attempted before. She hasn't
realized that as yet, though.
If she continues along the
same path for the coming
twelve months, without the
deviation to other types of
roles that many players are
prone to make, exhibitors
who clock their audiences
will soon find her one of
their greatest box-office at-
tractions.
The trouble with Madge
Bellamy for years hasbeen that she has tried to
be something she isn't.
She is Youth.
Youth that is gifted andattractive is a rare com-modity in this business.
Madge Bellamy is
one of itsfew acceptable interpreters.
She is the spirit of themodern girl, retaining theenchantment of the eternal
feminine.
Madge Bellamy shuns theappellation of "doll-face."
Yet her face has all the ex-
quisite beauty of a Dresdendoll. It is a face of captivat-
ing innocence. People canbelieve in a heroine like
Madge Bellamy. She ful-
fills their conception of girl-
hood's charm.
Intellectually, MadgeBellamy verges on the in-
terests of a woman of pro-
found mental capacities.
Her knowledge of liter-
ature is not artificial. She
has run the gamut of the
Sudermanns, the Dreisers,
the Wassermans to the
Scott Fitzgeralds and the
Van Vechtens.
She does not speak of
them with the flippancy of
a self-assured girl trying
to impress one. She men-tions them with something
of a devoted awe andgratitude.
It rather makes one feel
as if she had poured over
books too much; that per-
haps her interests are con-
fined too much to the
literary. Maybe she should
be more of the knock-'em-
dead flapper in real life.
Madge Bellamy feels that
she is at the crisis of her pro-fessional life now, but, as wehave said before, she is not
aware of the great impres-
sion she has made in those
two of her most recent pic-
tures.
She is, perhaps, wondering
whether she should com-
promise with an ideal of
creating herself as a dra-
matic entity rather than a
beloved motion picture flap-
per- If she will forsake the
former and cleave to the lat-
ter, her opportunities to at-
tain dramatic distinction will
follow in the wake.
She must retain that spell,
that new-born interest, in
audiences that has been born
(Continued on Page T)
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Page Six Hollywood Vagabond March 10th, 1927
LOOD in the
Great interest was aroused by the symposium
"New Blood in Motion Pictures," which was
in HOLLYWOOD VAGABOND several
ago. In keeping with our promise to discuss the
further, we are herewith giving critical
on several people who are creating interest
their work in the photoplay.
Some of them have been in the profession for
years ; others are comparative newcomers. All,
have done something of interest and promise.
James Murray, picked Susan Fleming, whothe ranks of the
will be seen as lead-
man to Eleanor Board-
in King Vidor's "Thesoon to be released.
should be able to avail
of many more op-
with Metro-Gold-
was seen with AdolpheMenjou in "The Ace of
Cads" is the typical Ameri-
can collegiate type of girl.
She has a startlmgly arrest-
ing personality and should
do big things in time to
come.
Molly O'Day: Watch Her!If little Sally O'Neil thinks she's going to
keep the family laurels to herself, she'd better do
some stepping!
Her young sister, who has adopted the screen
name of Molly O'Day, is sure going to create a stir
among the critics and public when "The Patent
Leather Kid" comes to the theaters.
With us, this is not theory. We have seen a
great deal of the picture and know whereof wespeak. Watch this girl . . . Molly O'Day.
if his work in
picture is of the caliber
Leila Hyams, who wasen with Madge Bellamy"Summer Bachelors,"
that delicate
beauty that makes
Betty Jewel, now play-
ing in a Gary Cooperwestern for Famous Players,
has not fulfilled the promise
of her earlier screen appear-
ances, but if given a role of
some latitude, rather thanthe conventional stuff that
Duello: Mew Film GigoloConsiderable interest has been manifested of
late by casting directors in the Hollywood studios
in a young fellow by the name of Lou Duello.
Of lithe build and sleek black hair, Duello is
the ideal Latin type, and great things are pre-
dicted for him. His accomplishments are two-fold, for in addition to being an actor of verve andrefinement, he is a brilliant dancer, well versed in
all of the intricacies of terpsichore.
stardom. She is of the
Taylor type. Since
the bachelor opus,
Hyams has migrated toand the manifold
of this country.
present she is working at
Lasky studio.
has been handed her, shouldimprove considerably.
The same is true of
Gladys Hulette, whosefailure to follow up her re-
markable work in Barthel-mess' "Tol'able David" andsubsequent films, has always
been somewhat of a mysteryto us. Her work is stampedwith finesse and understand-
ing.
Paul Ellis, whose por-
trayal in "The Bandolero"
fication of pep and would be
a wow if given a real chance
in collegiate stuff.
Erik Arnold, whose un-
forgettable portrayal of
the dying German soldier of
When Harry Langdon's new picture, "LongPants," has passed before the public gaze it will
have to its credit the introduction of a new screen
siren.
She is none other than Alma Bennett, sloe-
eyed and voluptuous, who leads the hapless Harry
a merry chase in this picture. Alma, while not a
newcomer to the films, has never had a chance
such as this. It should put her over with a bang.
several years ago was indic-
ative of native ability, has
not accomplished in the
intervening months what weexpected of him. At the
present time Ellis is playing
in "Belgrano," a story of the
Argentine being filmed at
the Tec-Art studios. It is in
films of this type that Ellis
excels. Perhaps he will stage
a sensation.
While Joan Crawford
of Metro-Goldwyn-Mayerstarted out with great gusto
"The Big Parade," was one
of the high-lights of that
picture, is good leading mantimbre. Erik recently fin-
ished a part with GeorgeO'Brien in Murnau's "Sun-
rise," at the Fox studios.
George Rigas, one of
the screen's most distinc-
tive character actors, merits
parts greater than those he
played in Griffith's "ThatRoyle Girl," or "The Wan-derer. Gesticulation,
soin-
dispensable to many of our
Kails: A Rival for MeiafouArmand Kaliz is a personage more familiar
to the stage than to the screen. But in his few ap-
pearances in the silent drama he has revealed
himself as an actor of poise and discrimination.
Since the heyday of Menjou there have been
several actors of varying quality who have en-
deavored to encroach upon Adolphe's domain.
None have distinguished themselves. But Kaliz is
a man who can bestow insomnia upon Menjou ifhe has the chance.
in "Sally, Irene and Mary,"she has not followed up con-
sistently. However, we are
expectantly waiting to see
what she does in the next
few months-
A practically unknownyoungster, who seems to
possess all of the necessary
requisites for screen success
is Colette Mazzoletti, nowworking in the "Collegian"
series at Universal. Colette,
who is an accomplished
dancer, has intriguing eyes
and a rather languid beauty.
However, she is the personi-
character artists, has noplace in his thespic reper-
toire. Subtlety and reserve
of movement are his strong
points. Rigas has recently
returned from New Yorkand, no doubt, will soon
come forth again in an inter-
esting role-
Allene Ray is content to
be queen of the serials.
Since she has firmly estab-
lished herself in this type ofproduction she, no doubt, has
no yen to be a feature star.
Yet it would prove interest-
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10th, 1927 Hollywood Vagabond Page Seven
New Blood vagabondia(Continued from Pat:.- •:
|
to see what effect she
have on many of ourseven-reel favorites
she tried their stuff.
Another candidate for
role of Harold Teen in
comic-strip adaptation
First National will film
young Art Winkler, who is
close runner-up to Eddie
as a potential bet for
First National selecting
Art's chances haveconfined to a smatter-
of bits and small parts in
pictures.
Mathew Betz, who wasin 'The Unholy
and several other
has done noth-
to date that adequatelyup the promise of his
However, it is a safe
that when Barthelmess
Leather K i d"the screen, Betz will
established as one of the
popular character
in the films. In the
film, Betz plays
prizefighter's manager andhis role with real-
dexterity.
Reginald Sheifield gave
indication of bring-
a
newand
morenatural
of "heavy" to the screen
seen with Barthelmess
"Classmates." Sheffield
the snob with eclat.
no more has beenof him since.
Two children, both boys,
also come to the fore
remarkable rapidity of late.
One is Wendell Phillips Frank-
five years of age, who made his
film appearance in "The
Commandment" with Belle
Since then he has been
a "Hoot" Gibson picture and
report is that the kid is en-
with the divine fire.
Mickey McBan is more of a vet-
trouper. He has been vir-
brought up in the glare of
Kliegs. Mickey's work in
Return of Peter Grimm,"
one of the highlights of the
season.
An actor who has been
victim of "toughover a long period of time
"Tiny" Sanford." It seems that
jinx will follow him for all
to come. His part as the
lead in Charlie Chaplin's
Circus" is declared to be of
caliber that if and when the
is released, "Tiny" will
the talk of Hollywood.
But he is now facing the grim
of the picture being de-
. from Page ")
with "Sandy" and "SummerBachelors."
Then when she is ready to
try something more ortho-
dox and consonant with her
ambitions, she will have afollowing of worthy propor-
tions.
Madge Bellamy has
been regarded by manyas "just a beautiful kid."
laved a long time ere the public
sees it. Unless a quick settlement
of the Chaplin sorrows swings the
pendulum of luck toward "Tiny"
Sanford.
"Buddy" Post, who created at-
tention with his work in King
Vidor's "Wild Oranges" and,
then, various other films, also
merits a big chance. It seems that
an ogre has also been lurking on
Buddy's trail.
Ralph Forbes, well-known on
the stage, seems destined for screen
fame shortly. His real chance will
come in "The Trail of '98," the
next Clarence Brown production
for Metro-Goldwyn-Mayer.
The film colony is also watching
Harry Crocker, erstwhile assistant
director with Charlie Chaplin, who
will be seen with Marion Davies
in "Tillie the Toiler." Mr.
Crocker is a handsome young fel-
low and an intelligent actor as
well.
"Let Me Protect You"
Frank M. Flynn
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She is more than that.
She is inspired by a beau-
tiful ideal and propelled
by an ambition thatshould not die.
In motion pictures nowand then we see players who
put "tone" into their work;sometimes it comes onlyonce in a career. It is some-thing transcendental aboveall else they have done, or
anything that others havedone. Barthelmess did it in
"Broken Blossoms" and"Tol'able David;" Gilbert
did it in "The Big Parade,"and there are many other in-
stances.
The same epochal role
awaits Madge Bellamy.
Our prediction is that it
will be a glorification of
modern youth. For MadgeBallamy has done moreto create understanding
for Youth than any other
single player on the
screen. That, alone, is a
great achievement.
And it warrants an evengreater opportunity. Thatopportunity is not far ahead.
Write this in your book of
cinematic prophecies.
(COMING NEXT WEEK! FredW. Fox will interview Cecil B. DeMille . . . what will he say aboutthe man who deserted the bath-tubs of Vine street for the Bible ofCulver City?
PIGEONS
publicity, and you can readall about it on page 64 of thelittle blue book. That's
where I learned it from. Theonly trouble with that sys-
tem is that if the editor don't
know it, neither will either
of the readers.
Well, that hasn't got any-
thing to do with whatever it
was we were talking about,
of course. If any. So if youdon't mind, I have now writ-
ten two pages and a half andthere is a raven sitting on
mystudy door looking like a
Red Raven Splits, and it is
getting either kind of late or
kind of early, so I think I
will go home and go to bed.
Good night, lads and las-
lies of Vagabondland, and I
hope to see each and every
one of you at the Templenext Wednesday afternoon,
when I will demonstrate mymarvelous disappearing act
without the aid of trick or
artifice.
Painlessly, if at all,
DON EDDY.
j
SUCCESS"Success or failure in business is more a
matter of mental attitude than of mental
capacity."—WALTER DILL SCOTT.
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Eight Hollywood Vagabond March 10th, 1927
The Joy
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Taxes—Nowand Hereafter
J ITH the approaching March 15th
and penalties for additional taxes
so often assessed on the motion pic-
ture industry, or excess taxes paid, all lev-
ied because of lack of study or attention
to the requirements and deductions that
pertain to earnings of incomes, more
thought and study of individual condition
are necessary to prevent either an excess
tax with its additional penalties, etc.
The cinema profession is particularly
subject to costs of producing income
through many channels, such as deprecia-
tion of wardrobe, as the circumstances war-
rant; management cost, publicity expense,
advertising and personal appearance ex-
pense, etc.
Traveling and automobile expense be-
comes a business expense instead of per-
sonal expense, when for business purposes
relative to earning of income. The profes-
sional man has his expenses for books, sub-
scriptions to professional magazines, socie-
ties, etc., all of which, when representing
his business overhead, is a factor to be con-
sidered in the tax form.
Interest, all taxes (except income taxes
and street assessments), losses, bad debts,
contributions, losses on sale of capital as-
sets, theft, etc., are further deductions, all
of which, with many more individual de-
ductions, becomes a matter for the taxpay-
er's thought and study to protect himself
from incorrect or excessive tax returns.
Sources of income are more easily identi-
fied from many avenues of report, and
personal effort and attention, regardless of
lack of time, knowledge of requirements,
etc.,
should beessential
tothe taxpayer for
his own protection.
Taxes do have to be paid, so that the
"Ides of March" now, or the month here-
after, are not the most pleasant times for
thoughts on taxes. But, too, the other manpays and pays and pays, so forget the
worry and be glad when the wet season
is over.
Henry W. Bullen
Public Accountant and AuditorFederal, State and Local Taxes
HOLLYWOOD 3642