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44
Nils Asther's feathered friends relax their hauteur to accept a morsel from a fellow aristocrat.
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Town talk and topics of the film colony are breezily related.
FOR ways that are dark and plots that are deep, consider the movie producer. Who's who and what's what can scarcely be determined since he started his annual churning up of starry destinies. The ax is falling heavily at the studios, and it looks as if some of the biggest names would suddenly be in the discard.
We hear rumors, for example, that Adolphe Menjou, Wallace Beery, and even Emil Jannings will soon no longer be with Paramount. Conrad Veidt, the Universal star, may be hieing himself back to Europe, and Mary Philbin may possibly leave the same organization. There have been differences between Madge Bellamy and Fox, which have resulted in the severing of their relations. May McAvoy has left Warner's. The throne of Esther Ralston and Florence Vidor have been reported shaky, and they have been retained as featured players instead of stars by Paramount. Altogether it is, to coin a new word, a very "havocky" situation.
No — Not Emil!
The Jannings' rumor hits us most dismally. 'Tis said that the masterful Emil will return to Europe upon the completion of his contract. The agreement expires some time toward the end of the year. He has two pictures to make by its terms after his present one is completed.
Last time we talked to Emil at the Paramount studio,
he seemed unusually joyous. He positively glowed in his praise of Lewis Milestone, his director. He waxed vigorously cheerful over his story, the character of the production, and the support which he was receiving from Gary Cooper and Esther Ralston.
Still, we have often known Pola Negri to be similarly exuberant.
The Ghosts of Economy.
Behind all the changes lurks, of course, the specter of high salaries. Studios simply aren't paying them, when they can help it. A success has to be overwhelming to permit of a $5,000 a week stipend these days, and many of the older stars, by virtue of natural increases in their contracts, have passed this figure. The question of "keeping them on," therefore, is debated, since there seems to be such a rage for newcomers.
It strikes us, however, that many of the producers are somewhat shortsighted. They think, for one thing, that the talkies have completely changed conditions. For another, some of them seem to be laboring under the delusion that they can make personalities, and above all, actors overnight.
Most of the evidence is all to the contrary. It has been proved time and again that stability lies only in reputations that are, or have been, outstanding over a long period. That's the reason for the continued success of Douglas Fairbanks, Mary Pickford, and Charlie Chap