Screenland (Nov 1929-Apr 1930)

for ?\[o v e mb e r 19 2 9 7 Marion Davies is popular before the microphone or away from it. Note the gleeful expressions of Billy Haines and George K. Arthur, not to mention the decorative bit of background, Constance Bennett. dio in Hollywood when John •rymore, Dolores Del Rio, ry Pickford, Douglas Fairks, Charles Chaplin and ers were heard. Al Jolson on the air many times stui Bai Ma ban oth has since he became a Vitaphone star. BUT recently, the movies have been reciprocating and have been drawing for talent on radio names. Practically every prominent radio artist has made a short subject for one of the movie studios. Rudy Vallee, Paul Whiteman and others, have been given lucrative west coast contracts on the strength of their radio popularity. Vallee was made by broadcasting. When his crooning voice first went out from the Heigh-Ho Club !n New York, he was unknown except to a few thousand people in New Haven. But he has become one of the best bets on the air and is now in Hollywood making his first feature-length picture, "Vagabond Lover," for Radio Pictures. RKO resumed its Tuesday night radio programs over WEAF and a national network of stations extending to the Pacific, and is also inaugurating a Thursday afternoon series for women on the same system. Rosalie Stewart has been riade director with Graham McNamee as the weekly guide. WALTER O'KEEFE, night club entertainer who deserted New York for Hollywood studios, has made a short' in which he burlesques Graham McNamee announcing a football game. The subject has been incorporated in Pathee's program feature, "The Sophomore," starring Eddie Quillan. AN interesting development is the formation of an international soundfilm program in various tongues which can be put on the air simultaneously in many nations. Under this plan, according to Cinema Vision Corporation, singers, entertainers and orchestras will give their renditions in the studios before microphones linked with a recording device which contains unexposed films like motion picture films and just wide enough to adjust themselves to the picture of the sound vibrations intercepted by the microphones. These films will be prepared in their individual languages in the New York studios, and films for various nations will be shipped abroad. It is said that 43 stations in this country and 30 abroad are to be allied with the new system. Another new company — the Jewish Broadcasting Company — plans to operate its own station in the near future. In addition to furnishing the teachings and ideals of Judaism, it will broadcast the best in Jewish and classical music, and will render service to all undertakings for the advancement of art and culture. Did You Know That: Adolph Zukor was the first movie executive to deliver an address via the radio? Nearly ten years ago he talked over WJZ from its old Newark studio in the Western Electric Building, and in speaking on the future of the movies never dreamed that his company would some day control that station? That Charlie Chaplin was one of the pioneers in the era of radio interviewing and that he broadcast brief programs on nearly every musical instrument he could find in the studio, but as a joke on his audience, did not tell them that other men were actually doing the playing? That although Vincent Lopez was the first orchestra leader ever to go on the air from any station in this country, he is one of the few who hasn't bought a ticket to Hollywood? That Ramona which brought on the theme song rash, actually popularized the picture of the same name before the production was released, and that Dolores Del Rio sang it in the first big radio program on which it was introduced to air audiences?