Picture Play Magazine (Mar-Jul 1929)

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94 Continued from page 59 It is something of a craft, and has been pursued by one man, Charles Crockett, for several years. Recently another, Vincent Barnett, appeared on the horizon. This induced the competition. The latest arrival is versatile. He not only makes speeches decidedly inapropos at large gatherings of film executives, but he has assumed the habiliments of a waiter, and informs leading lights of the cinema, while serving them, that they are using the wrong fork, eating too much, and otherwise behaving badly. Once in a while he drops a tray of dishes with a loud crash in the midst of an announcement or speech at a dance or a dinner. He does this all most skillfully, as does his rival in the art. Of course, this all proves very disconcerting, not to say embarrassing when the reference is to table manners, and at times it has come near starting a hot altercation at social affairs, when escorts began to make dire threats in behalf of their ladies. Sooner or later, however, during any evening when the "insulter" is active, his identity is disclosed and then those present have a good laugh at their own expense. "Broadway" Thrills. The hughest set in Hollywood ! We saw it recently at the Universal studio. It was the cabaret for "Broadway." It wasn't the biggest set ever built in a studio, but it certainly was one of the largest in any sound picture. Glenn Tryon, Merna Kennedy, Evelyn Brent, and Robert Ellis play leading roles in this production. Tryon is the Broadway hoofer — meaning dancer — Miss Kennedy the sweet heroine who is saved from the horrible bootleggers led by Steve Crandall, and Evelyn Brent, the girl, who shoots Crandall — Ellis being that estimable individual. While visiting the cabaret mise en scene — if that's the right expression — we were introduced to the mysteries of the flying camera, a marvelous contrivance that will make the photography in the film a veritable razzle-dazzle. One of the pleasant sports indulged in during the making of "Broadway" was taking people for a ride on this cranelike apparatus, which soared through the air at high speed, with varying results for the passengers in vertigo, nial de mer, and reputedly also nostalgia — whatever that is. With Words and Music. Every studio must have its "reevue." "Ree-vue" is not just an evidence of mispronunciation; it is simply lending emphasis. Hollywood Higk Lights A studio revue — as all good revues should be — is a nice potpourri, a snatch of song, a bit of dance and a dash of comedy. Incidentally — and this with great solemnity — it includes the presentation of various stunning stellars and Stellas, in either their very niftiest apparel, or a well-concocted stage act, also with apparel. Partly the revue is to make the picturegoers acquainted with the starry choir of voices — those not heard already. One of our quaintest impressions in connection with this sort of entertainment is of a view of Marie Dressier, clad in thin draperies like those worn by an Isadora Duncan dancer, coyly emerging from a huge prop seashell, and doing an impersonation of a "woiking god's" vicissitudes, with sound effects. Watch for it when M.-G.-M.'s "Revue of Revues," in which this is incorporated, reaches your town. "Birth" May be Talker. Add to pictures that may be revived in talking form, "The Birth of a Nation." There are even hints that it may be done with part of the original cast. Several members of that glorious company have, of course, passed away, notably Robert Harron, George Siegmann, and Wallace Reid, but many of the others are still in pictures. Of the trio who have passed on, Siegmann played the most prominent role in the original. Welcome Reappearances. Cheerful news seems always circulating these days about the betterknown players. Evidently this is due to the talkers. The old-line favorites all appear to possess the poise and experience that enables them to succeed in the new medium. Naturally, in many instances, it isn't actual stage experience, but even silent-screen training over a long period of time is proving more than salutary. We find Bebe Daniels now scheduled to do four films for RKO, all with dialogue. Carmel Myers has been engaged for a big role in "Diversion." She has an excellent voice, by the way. Patsy Ruth Miller is the heroine of the comedy, "Twin Beds," in which Jack Mulhall plays opposite her. Lina Basquette is starred in an underworld story, called "Come Across," being made by Universal. Miss Basquette has been absent lately on a vaudeville tour. The Blond Sovereign. A "lucky break," or so 'tis reckoned, is the White Queen, in "Trader Horn." And Edwina Booth is the girl who has been elected, or perhaps one should say born for a queen, to this portrayal. Miss Booth has only been a bit player in "Our Modern Maidens," "Alias Jimmy Valentine," and "My Man," ere this. Now she has her chance to become famous. Going back further into her history, she was a stenographer two years ago at the Metro-Goldwyn studio. Her photographic possibilities were discovered when she posed for some publicity pictures. Needless to mention, she is a blonde, and a platinum blonde at that. Meaning that her hair is too light to be described even as golden. Connie's Third Venture. Constance Talmadge's admission of her engagement to Townsend Netcher followed an even more abundant series of denials than is usual in the film realm. In fact, at various times and in various places, the pair took occasion to state the doubtfulness of their intention to wed, during the past six or seven months. However, it's sighfully settled at last, and Connie's third venture, it is hoped, will prove the charm and be permanent. Netcher, who is a merchant in Chicago, was divorced not long ago from Gertrude Selby, a stage actress. The Era of Change. The purchase of Metro-Goldwyn by Fox caused some violent shivers in various departments of the M.G.-M. organization. One never knows what will come of these huge film deals. In practically every case they spell changes in contracts, programs of pictures, and other matters that seriously affect the stars and other talent. As a matter of course such upheavals are always denied in advance, but they generally occur some time later. Since its formation about five years ago, Metro-Goldwyn has been one of the leaders in the picture business. It has contributed such elaborate and successful productions as "The Unholy Three," "The Big Parade," and "Ben-Hur," to name some of its earlier sensational hits. Only recently the company came forward with one of the very best sound productions in "The Broadway Melody." Its record has altogether been splendid. There are those who profess to see in the consolidation of film companies like Warner Brothers and First National, and Fox and Metro-Goldwyn, a growing influence in the electrical companies who are supplying synchronizing equipment. Certainly these deals mean something strange Continued on page 100