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March 26, 1927
EXHIBITORS HERALD
41
NEW PICTURES
Imagine Connie in “Venus of Venice”?
Can you imagine Constance Talmaclge in “Venus of Venice”? If you can’t, you don’t remember what she did with the group of pictures she made under similarly pat titles when she first signed up with First National. Remember “Virtuous Vamp”? Let’s hope this is half as good, and it is if titles mean anything.
“Venus of Venice” seems to have a flock of things in its favor. Marshall Neilan is director, using a Wallace Smith screen story, and Antonio Moreno is male lead. Joseph Schenck presents the picture, the story of which is laid in modern Venice, wherein Connie dwells as a goddess of the gondolas — which is not what she’s called in the advance information at hand but probably turns out to be.
CAST: Constance Talmadgre. Antonio Moreno. Julanne Johnston, Edward Martindel, Michael Vavitch, Arthur Thalasso, Andre Lenoy, Carmelita Geraghty, Mario Carilio, Tom Ricketts, Hedda Hopper.
HIGHLIGHTS: Wedding sequence. . . . Sinking of gondola. . . . Interruption of robbery. . . . Fisthght. . . . Escape by leap into canal. . « .
Arrest of thief.
“Somewhere in Sonora”
Historical Western
Meagre dope available on Ken Maynard’s First National picture, “Somewhere in Sonora,” indicates that it’s a Western with historical background. Considerable mention also is made of a new photographic process used in its making, although this news may be for public consumption only. The dope doesn’t specify.
Maynard — it is permissible to interrupt the analysis to remark — seems about the most skyrocket-y of the rocketing Western stars to date. The reports on his pictures in “What the Picture Did for Me” are something to write home folks about. No doubt Ken has done so. Anyway, there’s a considerable moral in the spectacle of a young man breaking through ranks so densely packed as those of the cowboy stars in the remarkably short time Maynard has done so. Looks like there’s a chance for a good man any time in spite of propaganda to the contrary.
This “Sonora” thing is directed by Albert Rogell from Marion Jackson’s adaptation of a story by Will (an author can get away with that) Levington Comfort, in fact, a novel called “Somewhere South in Sonora.” Charles R. Rogers does the presenting, and production manager is Harry J. Brown. Sol Polito is cameraman.
CAST : Ken Maynard, Kathleen Collins, Frank Leigh. Joe Bennett, Charles Hill Mailes, Carl Stockdale, Yvonne Howell, Richard Neill, Ben Corbert, Monte Montague, Tarzan.
Hlf^HLIGHTS: Nothing specific about these In the information at hand, but Maynard’s riding can be depended upon and no doubt it will be properly surrounded with stunts.
Who Can Tell What The Title Will Be?
It seems everything is known about W. C. Fields’ new Paramount comedy except the title. At least, that is the only item not covered by the thesis upon it provided by S. Siegel, of Charles E. McCarthy’s very efficient home office staff. Maybe it’s a guessing contest or something.
Hey, Scouts,
On Your Toes
Hey, you boys whose business it is to let the world know about picuires before, during and after their making, what’s wrong here? Why not more, earlier, better and snappier advance dope on these pictures? How do you suppose this infallible public servant is going to keep up with the linotype machines if you don’t do your stuff?
No foolin’. This is exactly and precisely the best chance in the world to get the facts about your pictures before the men who’ll buy them or turn them down. That’s what this department is for — to tell the folks what’s coming up. Maybe Ye Ed’ll say this, or maybe that, about the stuff — but you know what Cohan said.
Hey — no more nappin’ now. Never mind the pretty words, nor the music, just write down the essentials and get the dope in early. On your toes — and on your head the responsibility if not.
Anyway, you can read the dope and select a title for it and see how far you miss. If you don’t miss, of course, that complicates matters. Anyway —
Gregory LaCava is directing this from a story by none other than Gregory LaCava. For some reason, LaCava had it adapted by Roy Briant and Sam Forrest. (Seems silly, but really isn’t. Matter of efficiency, you know, or something like that.) The picture is described as “an uproarous comedy of dramatic and business life with Fields wringing laughs out of every humorous and pathetic situation in a swift-moving story of a worm’s turning.” (Mr. Fields really ought to speak to Mr. Siegel about that use of the word “wringing.”) The theme (says the thesis, and each of these aides of mine seem to have a different idea of what a theme is) has something to do with the running amuck of an underdog who turned out to be a hound when he got started.
Release Dates
WEEK OF MARCH 13 “Love Makes ’Em WiId’’^—Fox^— 5,508.
“High Hat’’— First National^— 6,190. “Cheaters’’— Tiffany— ^,023.
“Moulders of Men” F. B. O.— 6413.
“When a Dog Loves”— F. B. O.— 4390.
WEEK OF MARCH 20
“Tarzan and the Golden Lion”^— F. B. O.— 5807. “Heaven On Earth’’— M-G-M— 6301.
“Evening Clothes’’— Paramount— 6287. **Sensation Seekers’’^— U.— 7015.
“The Fourth Commandment’’— U.— ^838.
“Venus of Venice’’^— First National— 6,324.
WEEK OF MARCH 27 “Terror of the Bar X’’ — F. B. 0.^-4, 982, “Cabaret” — Par. — 7,175.
**BIazlng Days”— Blue Streak— Universal— 4,638. “The Arizona Whirlwind”^— Pathe— five reels. “The Telephone Girl”— Para.*^5455.
WEEK OF APRIL 3 “Children of Divorce”— Para.— 6662.
“Afraid to Love”— Para.— 6199.
“Fashions For Women”^— Para. 6296.
The locale is a small town, so the picture was made (or is being made, as the case may be) at the Paramount Long Island studio, in a New York theatre, and on the streets of a Long Island town.
CAST: W. C. Fields, Mary Brian, Claud Buchanan, Marie Shotwell, Barney Raskle, Frederick Burton, J. Moy Bennett, Frank Evans, Ed Roseman, Tom Madden. Rex (not the horse, but a dog who is his namesake.)
HIGHLIGHTS: Domestic battles. . . . Attempt
to collect bill. . . . Surprise break into theatre. . . . Boxing match. . , . Assertion of rights by underdog. . . . Break-up of board meeting. . . . Others you gotta see the picture to get.
Buddy Roosevelt Makes “Fightin Comeback”
Buddy Roosevelt is the fellow who makes “The Fightin’ Comeback” in Pathe’s picture of that title. It’s a Western, of course, but there’s a different sort of crookery in it than usual, according to the synopsis at hand, and the pattern is unfamiliar.
Lester F. Scott, Jr., presents the picture, produced by Action Pictures, Inc., and Tenny Wright directed it. Walter J. Coburn is author, his yarn having been adapted by Frank L. Inghram. Ray Reis, a cameraman whose shooting is consistent and efficient, cranked the picture and 4,415 feet of it constitutes the finished print.
CAST: Buddy Roosevelt, Clara Horton, Sidney M. Goldin, Richard Neill, Robert Homans, Charles Thurston. Richard Alexander.
HIGHLIGHTS: Gambling game, . . . Escape.
. . . Pursuit. . . . Outlaw sequence. . . . Meeting with chorus girl. . . . Confession. . . . Return of missing funds. . . . Capture of criminals.
Jenkins Will Report on
“Children of Divorce”
Clara Bow, an overnight favorite due to Jaysee Jenkins naming his automobile after her, is in Paramount’s “Children of Divorce” and for that reason “The Herald Man” is commissioned herewith to report on the picture as soon as he comes upon it in his travels. Nobody can report a Clara Bow picture like Jenkins. He thinks of more things to say about Clara Bow than most men can say about a Ford — and she’s a Chevrolet. That is, Jenkins’ copy of her. But you know all about that.
Miss Bow is not the only good reason for “Children of Divorce,” however, type of same size emblazoning the likewise significant name of Esther Ralston. (No one has nominated Miss Ralston in the Beauty Contest yet, but she ought to break in by next week at latest.) And there are other good reasons for giving the picture three paragraphs instead of the customary two. Among them — ■
Frank Lloyd is director of the picture. Owen Johnson wrote the story — a novel called “The Enemy Sex” and didn’t Paramount make it once under that name? — and adaptation was provided by Hope Loring and Louis D. Lighton. Victor Milner, who photographed it, is the cameraman who did “Kid Boots,” “You Never Know Women” and “The Wanderer.”
CAST : Clara Bow, Esther Ralston, Gary Cooper, Einar Hanson, Norman Trevor, Hedda Hopper, Edward Martindel, Julia Swayne Gordon, Tom Ricketts, Albert Gran, Iris Stuart, Margaret Campbell, Percy Williams, Joyce Marie Coad, Yvonne Pelletier. Don Marion.
HIGHLIGHTS : Emotional crises. . . . Interruption of oflfice party. . . . Love se<iuence8. • • > Death scene.