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SCREEN PETS
John Brown, grizzly bear.
the huge
iMONG the dumb actors of the screen is John Brown, the huge grizzly. He has worked for nearly c\m him company on the Wes1 Coast and is especially in demand by the comedy companies. In spite of his vicious appearance, John Brown is as harmless as his comedy rival, Rosie, the Monk.
Rosie's specialty in pictures is teasing the cat and starting trouble in general, and day by day she is becoming more and more of a slapstick comedienne. The aristocrat of the animal performers is the trick horse. Queenie. She dashes to the rescue of a child in a burning house, opens the barn door and is generally a heroine.
She and Brownie appear in comedies together, but
Rosie, the comical little monkey, enjoys a lii>ely jaunt atop of Queenie — h c r pal in more than one movie escapade.
■ ^P
Brownie the wonder dog.
Queenie — and her "cast," with Brownie "directing"
Brownie is a star of longer standing and has a real career to tell of.
Brownie was born somewhere — no one knows — about five years ago. It was California, for Charles Gee, his present owner and trainer, saved him from the dog pound one rainy January night. He persuaded the driver of the "death wagon" to allow him to have the dog. This is one reason why Brownie is not known as a thoroughbred. The other reasons are not necessary — for Brownie has won a reputation for himself just as bootblacks and newsboys have attained fame against overwhelming obstacles.
He stands 4^2 feet high on his hind legs and weighs about 60 pounds. His body is a beautiful brown, with spots of white here and there.
Brownie's first part was in Charles Chaplin's "A Dog's Life," and from there he went to Bert Lytell. Bessie Love and other stars followed, until Julius and Abe Stern, officials of Century Comedies, gave Gee a contract for Brownie's services for the following five years. That was three years ago.
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