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20
Universal Weekly
December 28, 1929
‘The King of Jazz’
Three figures of prime importance — two of them new and unique in moving pictures feature “The King of Jazz.” Paul Whiteman, the recognized king of band masters and the official exponent of a t^e of music which has captivated the world, is mak&i" his picture debut in this superproduction. Everything which is planned for the production is on a par with the enviable reputation of Paul Whiteman.
Carl Laemmle, Jr., insisted on having John Murray Anderson, the eminent st-'^e director and creator of smart entertainment, put this production, his first in the realm of pictures, into screen form. He is giving him every possible assistance and encouragement— including the services of Herman Rosse. The gorgeous settings which are the marvel of Hollywood attest Mr. Rosse’s skill and cleverness.
The third figure is that of John Boles. Carl Laemmle, Jr., has just announced that he will furnish two big numbers in this unique entertainment. The list of talent in “The King of Jazz” is already a staggering one. It includes William Kent, the comedian, Grace Hayes, Jeanette Loff, Stanley Smith, Paul Howard, Jacques Cartier, The Twin Sisters G, Charles Irwin, A1 Norman, Nancy Torres, Charles Giles, Frank Leslie. Nell O’Day and Dancers, and Wynn Halcomb, the Cartoonist.
Supers
WITH the most widely read, most earnestly discussed and most interesting book of the year, with so many famous writers and moving picture technicians giving it their best effort, “All Quiet on the Western Front” bWs fair to be the outstanding picture of 1930. It has everything in its favor. Erich Maria Remarque wrote a marvelous humaninterest document. Maxwell Anderson transformed it into screen material. Dell Andrews and George Abbott have perfected its dialogue. Lewis Milestone is directing it with properties and costumes imported direct from Germany.
Mr. Milestone and Carl Laemmle, Jr., general manager of Universal City, have personally chosen a remarkable cast which includes Louis Wolheim, Lewis Ayres, Russell Gleason, William Bakewell, Slim Summerville, Harold Goodwin, Arnold Lucy, John Wray, Walter Browm R^ers, Ben Alexander, Owen Davis, Jr., Pat Collins, Scott Kolk, Joan Marsh, Richard Alexander. It started production on Armistice Day.
Two World F amous
A scene from the first reel of “All Quiet on the Westerm Front.” Here all the comrades who later joined the colors are urged to enlist bg the eloquence of the school-master.
Below, Paul Whiteman is shown in a scene unth Jeanette Loff from “The King of Jazz” which is all in technicolor