The Moving picture world (November 1926-December 1926)

332 MOVING PICTURE WORLD December 4, 1926 THREE photoplays, any or all of which bid fair to be world sensations in cinematic history are due to come to Broadway next week. They are "Old Ironsides," Jimmle Cruze'i latest big one, and described as a fitting successor, both historically and box officewise, to "The Covered Wagon," which opens at the Rivoli on Tuesday and inaugurates the new "run" policy of that popular house; "Michael Strogoff," Universal's great picture based on Jules Verne's famous story of the courier of the czar, produced by the Societe des Cineromans under the supervision of Louis Nalpas, which opens at the George M. Cohan Theatre, Sunday night; and last, but by no means least, "Potcmkin" the marvelous cinematic creation produced by S. M. Eisenstein, the young Russian genius, whose screen technique and tremendous realism has amazed our foremost artists and directors, which will have its first public presentation at the Biltmore. To those who assert that American screens are barred to foreign pictures (our British brethren, for instance) we invite attention to these three productions, two of which are wholly foreign in their cast, theme and origin. "How To Exploit A Picture" in a new way, is told by Herb Cruikshank, photoplay editor of the Morning Telegraph, in a review of F. B. O.'s jungle feature, "The Gorilla Hunt," which appeared in that paper last Sunday. It is straight-from-the-shoulder stuff, highly condensed and far more informative for the exhibitor than many press books we have seen. At the same time there is a certain mystery about it that elevates, even while it intrigues. An exact quotation from that portion of Mr. Cruikshank's review, to which we refer, follows : "SHOWMANSHIP ANGLE— All that may be said of the thousand and one ways to exploit this film has been written Hofshrdlu shrdlu shrdlu shrdlu shrdlu shrd^uuu." It may be we are mistaken about this and that the foregoing is real jungle-talk, transcribed by Mr. Cruikshank from the original gorilla-ese for the benefit of the more or less benighted exhibitor. On the other hand every showman will agree with him that "all that may be said about the thousand and one ways" to exploit the film has been said. Paul Gulick, Universal's chief golf inspector, is back from Hollywood with a fund of interesting anecdotes, that he is ready to turn on tap at an instant's notice. He reports the 19th holes on all West Coast courses to be in first-class working condition. Pete Smith escorted Paul over the M-G-M lot, after the latter had first been given the freedom of Universal City. At M-G-M Paul had another "old home week" reception and introduced Pete to many of his M-G-M associates, who have graduated from Carl Laemmle's big school to continue their studies under Louis Mayer. The Universal officials, WAMPAS, and the "233" Club, Los Angeles' big Masonic organization, all "honored guested" him, so that Paul had to tell on three separate full dress occasions, just what he thought of the climate, etc., of the Golden State. The chronicler reports that he "ad libbed" differently each time, so everybody was satisfied. Paul's only regretful memory of his visit, 't' is said, is that it rained one day and he was forced to forego his customary round of golf. Sol Lesser is back from Europe fairly bubbling over with enthusiasm about everything, about his trip, about the future of the motion picture (he has retired from the business, as everyone knows — now you tell one) about Mrs. Lesser, who enjoyed their rambles on the Riviera and through the cathedrals and art galleries of Europe even more than her husband, about — well, why say more ? The success of Sam Goldwyn's "Winning of Barbara Worth," we might have added, the original of which Sol Lesser, as the owner of all the Harold Bell Wright stories, sold to Mr. Gold wyn. No confirmation at the moment is available, but we might accept a small bet on the possibility that the next Harold Bell Wright yarn to be filmed will be produced and presented by Sol Lesser. Conrad Veidt, now under a three-year contract to Universal, passed through New York last week on his way back to Germany, having finished his work in the role of King Louis IX, in John Barrynore's forthcoming United Artists picture "The Rasrged Lover." He will make one feature for UFA while abroad, to fulfill an old contract and expects to return to America with his family in February. His first picture for Universal will be Victor Hugo's "The Man Who Laughs," which Edward Sloman will direct. IN all the notices we have seen about "Michael Strogoff," Universal's big feature which' opens at the Cohan Theatre,. Dec. 5, and introduces Carl Laemmle's latest screen "find," Ivan Moskine, the great Russian actor, to American audiences, we have not yet observed the name of Louis Nalpas, artistic and technical director of the Societe des Cineromans, whoproduced the picture. It is a pity he has been overlooked for Louis Nalpas is one of the few really great artistic directors, a regisseur of premier rank in Europe, which the screen has yet produced. He was over here some five or six years ago, with two of hispictures, "Tristan and Isolde," beautiful cinema edition of the classic opera, and a wonderfuF Arabian Nights tale, done in colors, which would make a big hit, if it were brought out today, then to distribute a foreign picture, so the contract lapsed. One of these days we hope M. Nalpas may again be persuaded to visit these shores, where under President Laemmle's auspices we feel sure his artisticgifts will be accorded the recognition to which they are entitled. "Michael Strogoff" ought to help to bring this about. Joseph Jefferson O'Neill, F. B. O's Prince of Publicity in the dynasty of King Hy Daab, promulgates the following : "Ed" For the first time since Sidney Kent has been helping Adolph Zukor to tell the world that Paramount is right there when it comes to pictures, he has done a real disappearing act. Following his convalescence from his recent operation for appendicitis he has gone away for a rest and none of his associates (so they say) know whither. At any rate he is not expected back at his desk at the Paramount offices until after Christmas and his friends are hoping that the vacation, his first real one in many a day, will do him a world of good. * Bill (Kalem) Wright, without whose presence for many years no general gathering of film folk was quite complete, is located at No. 6 East 46th street, should any of the old crowd wish to pay him a call. He is said to be working on something that may make an interesting announcement a little later, though this isn't meant as a tip to those hotfoot huskies who solicit advertising for the film trade papers. McNamee, our peerless exploiteer, has returned to his desk after a harrowing experience on Montauk Beach last Sunday. He met two fish, which he is said to have brought home, but the third, was so big that Ed barely got away." Next time Ed will take a camera man along. * Joe Brandt postcards fromLondon that he's "lonesome for the 'gang' at the Astor," but that there's so much "doing^' in the British metropolis that he will have to postpone all lunch dates here for a couple of more weeks Cheer up, Joe, the bunch misses you I We saw Jack Cohn onthe elevator at 1,600 this week and he looked as if he hadn't enjoyed a meal since you left. Did you lock up those cigars?