The Moving Picture Weekly (1920-1921)

18 THE MOVING PICTURE WEEKLY PublicityiPage for "The Grl in No. 29" BULL MONTANA A PERFECT K. O. TYPE who frank mayo is. •pHE awed portion of the public who have seen Bull Montana, appearing in "The Girl in No. 29," now showing at the theatre, will readily agree with many film directors, that Montana is the most perfect type of the abysmal brute, -whatever that is. Bull rather prides himself on being "The Hardest Looking Guy," now at large. But under his hairy expanse of chest there beats an over-sized heart, according to those who know him, and many a man whose physiognomy is more — well, orthodox, to put it kindly — would do well to copy Montana's affability and constant good humor. Montana was a professional wrestler and "20 minut§ egg" of the New York East Side, when discovered there some four years ago by Douglas Fairbanks. After assuring himself that it was genuine and that a man could really look like that, the irrepressible "Doug" brought Bull back to Southern California vnth him to show to his friends. Montana appeared in Fairbanks' next picture, taking the part of a second story man, a character all the critics agreed the new actor was admirably fitted by nature to represent. After appearing in several ensuing productions, it was soon evident that he could do more than stand in front of a camera to be photographed as one of Natures vagaries. There were certain kinds of parts that he could play and play well. When Jack Ford, the well-known Universal Director, was selecting his cast for "The Girl in No. 29," he en gaged Montana to play one of the thugs always ready to do the villian's bidding. Montana gets more than one laugh all his own from the audience. He is particularly good in his terrific fight with Frank Mayo, the Star of the picture. The short scene in which Bull Montana, who is supposed to be holding the girl a prisoner in an isolated house, succumbs to the witchery of her smile, shows the contrasting results obtainable in facial architectures, when the same number of eyes, ears and other features are used in each case. Bull himself, admits that he is a "Hard looking Egg." He was formerly a professional wrestler and both ears became badly "Cauliflowered" during his mat career. Then there are other characteristics about him that have won him the title of "The Homeliest Man in the World." He is rather proud of it. Miss Anderson is the girl with whom Frank Mayo falls madly in love in "The Girl in No. 29," when he sees her reflection in a mirror. She is that kind of a girl. She has masses of golden hair, and a smile that would light up the darkest of rooms. Although Montana was depicting the brute incarnate in his scene with her, she really wasn't at all frightened, for he is affable, good humored, and really a pretty good sort, according to those who know him. But when he scowls ferociously, and stai-ts after the Hero with a hatchet the most intrepid might easily become alarmed. ADVANCE STORY jy|OST screen plays are classed either as dramas, comedies or melodramas; but the management at the Theatre promises a melodramatic comedy in "The Girl in Number 29," a Universal production starring Frank Mayo, which is to be shown on Frank Mayo, who will be well remembered as the star of "The Brute Breaker," "Lasca" and "A Peddler of Lies" appears in this story as Laurie Devon, a young man of considerable wealth who has turned his literary ability to good use by collaborating wdth a friend, Rodney Bangs, in the writing of a play. When it proves a success he is quite satisfied to rest on his laurels, although his friend, more ambitious, attempts to interest him in the writing of other stage stories. When the efforts of Bangs and the theatrical manager prove ineffectual, Rodney enlists the services of Devon's sister, and together they plan to put a thrill into Laurie's life. One morning not long after, Laurie happens to see in his dressing-room mirror the reflection of a young girl evidently in a nearby apartment. She is holding a pistol to her head, apparently bent on suicide. Devon nishes to the adjacent building, takes possession of the weapon, and offers to be the young lady's knight errant. She refuses to divulge her secret but intimates that she is pursued by an enemy who is driving her to self destruction. Then things begin to hap YHE versatility of Frank Mayo, the popular Universal star, is more than ever demonstrated in his latest picture, "The Girl in Number 29," which comes to the Theatre on The photoplay is the Universal production of Elizabeth Jordan's novel, "The Girl in the Mirror." In "Lasca" the star had the part of a western hero. He showed that he could both ride and shoot. In "The Brute Breaker" he bested the bullies of several north woods lumber camps. In "Burnt Wings," one of his more recent Universal productions, he had the congenial role of a young artist of Paris and New York. In each, the character he portrayed seemed to be the one for which he was best fitted by nature. In "The Girl in Number 29" local theatregoers will have an opportunity to see him as a young man of fashion abundantly abie to look out for himself in a desperate rough-and-tumble fight with a band of thugs. The star is just as likeable in his latest success as in his former pictures. Mayo is an actor by instinct, birth and training. He is the son of Edwin Mayo, an actor well known on the American stage, and a grandson of the late FVank Mayo, who established himself in the histrionic hall of fame as star of many stage classics and especially with his presentation of "Davy Crockett" and "Puddin' Head Wilson" a generation ago. While still a very small boy the present film idol played child parts in his grandfather's company, although at the age of six he was sent to a military school, where he remained for ten years. The star of "The Girl in Number 29" declares his greatest ambition is first to write his name large on the screen and then return to the stage and uphold the Mayo family's reputation in the spoken drama. pen very swiftly and Laurie finds himself in the midst of a maelstrom of exciting adventure. Just when the entire story threatens to become a tragedy, a curious turn of affairs transforms it to a delightful comedy. Elizabeth Jordan's popular novel, "The Girl in the Mirror," is the basis for this photodrama, which was directed by Jack Ford, and in which Frank Mayo is supported by a splendid cast including Claire Anderson, Elinor Fair, Harry Hilliard, Robert Bolder, Arthur Hoyt, Ray Ripley and Bull Montana.