Camera - April 14, 1923 to February 16, 1924 (April 1923-February 1924)

CAMERA ! The Diqest of the Motion Picture Industry" Page Five Hollywood and Return, or A Personal Disappearance B? AL martin It was on Main Street of Paris, and this being my first trip to Illinois, I was thrilled to think of being so far from home. I was thrilled again in the same place when I saw a sign on a moving picture theatre which told all that Francis Z. Fairford, the famous screen star, was appearing personally at that theatre. After I was comfortably seated next to some girl who had parked her gum on the arm of my chair, the theatre manager announced Francis Z. Fairford. Francis jumped up on the stage with his hat in hand, and was all out of breath as though he had ran all the way from California. He told the audience how glad he was to be with them, and how much he enjoyed working in pictures. Also he hoped they would like him in his new pictures as well as they did in his old. All together it was a wonderful speech, and when he told the audience he was going right back to California they all applauded to their full strength. He didn't go back to California as he had promised, for I saw him in the lobby of the theatre shaking hands with people, and answering their foolish questions. When it came my turn I told him how wonderful I thought he was, but he didn't seem at all surprised. I also told him I expected to go to California shortly, and asked him where I could get a pass to Hollywood, as I would like to see how pictures are made. He laughed right out loud at my question, and as he laughed, I had sufficient time to notice that his tonsils were out. He then explained to me that there were other things in Hollywood besides motion pictures, in fact it is a regular city, being just ten cents worth of car-fare from Los Angeles, he emphasized. After my confab with Francis, I went to a restaurant nearby, and over a saucer of coffee I managed to get an idea. Most peo ple like to see motion picture actors in the flesh, so I figured I would go to Hollywood, get in a motion picture, and then, I would return east and make personal appearances with it. The people in the smaller towns would think I was a star because I would not only admit it, but I would have a picture to prove it. However, I could improve on the speech that Francis made, and I don't believe I would rush on the stage like he did, but might run off, which, of course, would depend on my audience. It is so seldom I get an idea that when I do I sure make use of it, so two weeks later finds me sending post cards from Hollywood to my friends back home in Kokomo. I tried very hard to get work in pictures, but found it is not a very easy thing to get. Every place I went it seemed as though all the work was done, which was good for them, but not so nice for me. It didn't take me long to get on my feet as I wore my shoes out, and did the wire act, telegraphing home for money. I made up my mind that I was going to get work in pictures, but it seemed as though all the directors had made up their minds that I wouldn't. Finally, one day for no reason at all, a man stopped me on the street, and asked me if I wanted work in his picture. His question took my breath away, and as soon as I was able to speak I said, "Lead me to it." I know this is not the way to talk to a director, but I couldn't think of anything else to say at the time. He took me to the studio, and as we passed the gate-man I looked over my shoulder expecting him to speak gruffly to me and call me back, but he didn't do either, in fact he laughed at me. The director showed me my dressing room and left me alone with my thoughts. I had just taken off my hat when a man, who I later learned was the assistant director, rushed in the room and said, 'Aren't you ready yet?" As I wasn't I told him no, so he left me, telling me to hurry. Then I took off my collar, and another man entered. He also gave me the rush act. I told him I was hurrying as quickly as possible, and as he left I realized that they were waiting for me. Strange, for so long I have been trying to get in the moving pictures, and now that I've got a job the whole company waited. The chances are that I am playing the lead, thought I, but was interrupted again right there, this time it was the director himself. Before he had a chance to tell me to hurry I said, "It won't be long now." He then told me to take my time as Jerry was having his lunch, and seeing that he was the star he must be humored. After he said that I knew I wasn't playing the lead, but as long as I worked in a picture I was satisfied, and as I looked at the director I noticed he had a slip of paper in nis hand together with a pencil with which he was making notes. He then asked me several questions as one would expect when he has their life insured, such as my name and address, where I wished my body shipped in case of death, and a few more pleasant ones. He didn't scare me a bit with these questions, or the sober expression on his face, and to prove this I started to whistle. I just started, for he jumped up as though he were shot and said, "Don't you know it's bad luck to whistle in a dressing room?" I don't believe in superstitions unless it's for good luck, so I laughed at him, which laugh was not returned, as he seemed to gaze into space. He continued to do this as he turned to me and said, "Well, let's get it over with." I followed him into the studio, and just as I thought, everyone was waiting for me. He introduced me to the entire company, which didn't take long, and then he said, (Continued on Page 22) Skeiks and Sheikesses, Beware and Be Careful Fresh from conquests of the hearts of San Francisco's flappers comes Reggie Morley (Morelli). The usurper of the crown so long worn by Rodolph Valentino has just completed a series of twelve Plum Center Comedies in which he created the character of "Dude Bisbee." This, of course, was one of Reggie's lighter moments. He now feels the urge of Sheiking and hereby gives notice to all other aspirants to the laurels of Valentino that his bandana, or whatever it is that sheiks wear around their heads, is in the ring. When Rodolph established his prior claims to the title of "Pioneer Sheik of America," Morelli was in the east. As soon as he heard of the "Four Horsemen," Reggie came out to the coast, but Valentino had retreated to the east. One of Reggie Morley's early roles, in which he demonstrated conclusively that he was a coming Sheik, was "Love's Comet." In this vehicle Reggie played the part of a negro preacher in support of Ora Carew. So you see even in those early Mack Sennett days he leaned toward the dusky hero roles. For the benefit of the sighing maidens and signing producers Reggie announces that through the aid of the Motion Picture Players Association, he has located a harem and can be reached on the phone by dialing 435-252 and 435-253. In a truly Sparkplugish vein Reggie says, "Don't overlook any bets. I am ready to go, and will go and won't stop until Hollywood Boulevard is called 'Morley's Lane.' " REGGIE MORLEY | STARS TO ENTERTAIN STARS Stars of the motion picture world are to be hosts and hostesses at many important social events in July when the Monroe Doctrine Centennial will be celebrated in Los Angeles. Many distinguished educators will visit the Exposition in Los Angeles on their way home from the meeting of the National Education Association, which is to be held in Oakland and San Francisco the end of June. Famous men and women of the South American countries are to be invited to speak at a series of conferences which will be held at the American Historical Revue and Motion Picture Exposition. California universities have been engaged for some time in research work that will enable the directors of the pageants at the Monroe Doctrine Centennial to adhere strictly to historical facts. As all the episodes are to be filmed as educational pictures the importance of exactness in even minor details is recognized.