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WS of the,
By ELIZABETH GREER
Almost every star has a mother somewhere in the foreground. And altho they just must have fathers, you hear practically nothing about 'em. . . . Marion Davies, original always, presents her paternal parent, Judge Bernard Dour as, of New York City
It wouldn't be surprising if little Sam managed to break into the movies, in spite of the Central Casting Bureau and the other difficulties known to ambitious thespians . . . what with Sam Goldwyn, the famous producer, for a father and Frances Howard, a former star now gone domestic, for a mother
THE First National company is grooming Billie Dove to take the place on their program left vacant by Corinne Griffith. For the present Billie will be teamed with Lloyd Hughes in feature productions. The old team idea is gaining momentum again. Francis X. Bushman and Beverly 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.
It is rather doubtful if Billie Dove will take Corinne's place. It will be very difficult to find a star of Miss Griffith's endurance. She has withstood more terrible pictures than it seemed humanly possible for her to withstand.
\Jew York will have to look to Los Angeles for its future *• wise cracks. On a recent visit to the metropolis of the East I heard entertainers in every night club and show say they were about to sing a song entitled, "A Little Grey Home in the West."
That's as painful in Hollywood as "Ishka bibble." The sentiment in Hollywood regarding the Chaplin case
favors neither side. The citizens assume that both parties are wrong. It doesn't make much difference to the local public whether Chaplin releases "The Circus" or not. They are enjoying the present two-ring carnival.
R
ichard Dix has been giving a very good imitation of a real ring champion over at the Paramount Studio in Astoria. He even had the fight scenes in "Knockout Reilley" broadcast over the radio, by that same Graham McNamee who described the events — if they can be called that — of the Dempsey-Tunney fight to thousands of fans. There was a hook-up of twenty radio stations the night Richard met Jack Renault in the studio ring, and the fans were treated to a good battle and lots of studio atmosphere as well. Richard gave good measure, and a cabaret scene with jazz-band and attendant racket was broadcast before the fight. Mary Brian and Dick sat before the microphone and indulged in a little dialog especially written to suit the occasion. If this sort of thing becomes popular, the movies wont be the silent drama any more — and then what would become of Raymond Griffith.
Eddie Cantor can tell you all about the trials of a casting director
now. He was waiting for the casting director in his office one day
and the morning influx of extras arrived, and . . . "The stagef
was never like this!" wailed Eddie
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