Screenland (Oct 1923-Mar 1924)

SCEEENLAN© 99 Not the Perfect Male, But— By Eunice Marshall EDWARD EVERETT HORTON took up acting because he thought it would be fun. With his first pay envelope came the discovery that it was merely hard work. It's been hard work ever since and the only ones who get any fun out of his acting are the audiences. Which is as it should be. In addition to giving us a well nigh perfect Ruggles, Horton has brought to the screen a new personality. And personalities, Heaven knows, are far more sadly needed than new faces. Horton's face is nothing to write home about. It's a perfectly good face, of course, with the proper number of eyes and noses and ears, but Elinor Glyn would never pick it for her Perfect Male. But when it comes to personality, the man simply oozes it! It was his popularity at the Majestic Theater in Los Angeles, where he has been the mainstay of a stock company for three years, that brought him his chance to play Ruggles in James Cruze's picture, Ruggles of Red Gap. And the perfection of that characterization gave him the lead in Cruze's last picture, To The Ladies. In it, Horton plays the part of a male Dulcy, good-hearted, arrogant, provincial and dumb. Edward Everett's parents had their Edward Horton boy all cut out to be a teacher. He seemed to "take to" languages and English composition and history, so why not? The boy himself didn't have any other great ambition, and it wasn't until his junior year at Columbia University that he acquired one. The university dramatic club put on their annual play, and Horton had a part. The thrill he felt then definitely lost to the teaching profession a most potent educator. He toured with Louis Mann for two years, and then passed into that finest training school for actors, stock. Horton has played in stock in almost every big city in the country. At present he is doing a ten weeks' engagement at the Fulton Theater in Oakland, California, at the expiration of which he is to do another picture. He's a bonny actor! He can express more by a quirk of an eyebrow than most screen actors can with Expressions i, 2, 3 and 4. He has an excellent sense of humor — and good taste in ties. And his photograph adorns the dresser of one who has been exposed to all the male charmers of filmdom, including Valentino, v/ith no lasting effects. Authors vs. Producers To .0 what extent producers will be permitted to change the stories of writers is a question of great importance to some film makers, says The New York Times. The fact that the Appellate Division of the Supreme Court has decided that the Fox Film Corporation must defend an action by Frank L. Packard for $75,000 damages has caused talk in motion-picture circles. Mr. Packard alleged that he sold his story, "The Iron Rider," to the Fox concern for a film, but that the producers made two films of it by using his title on a play he didn't write, and putting a new title, "Smiles Are Trumps," on his story. He asked $50,000 in the first instance and $25,000 for the second. In an article headed "Grief," Joseph Dannenberg, in The Film Daily, declares that this decision is grief for some producers, as it may mean that the picture maker must hold to the author's story, or the author can collect at law. He adds that this makes the Authors' Congress of last Summer wither and pale. "All the kicks registered there were trifling," writes Mr. Dannenberg. "And if all the authors who are sore at producers changing their stories begin action, based on this decision, the courts will hardly have a chance to hear any other cases for the next thirteen years. The grave question arises as to just what a producer buys when he purchases the picture rights to material. Of course, in the Packard-Fox case it was a bit different. 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