Camera - April 14, 1923 to February 16, 1924 (April 1923-February 1924)

amera; Weekly Wake-'Em-Up — CAMERA'S News Section Page Eleven MABEL NORMAND DIFFERENT IN NEW PRODUCTION HIS FAN COULD CAST PICTURE 0. K. Every screen favorite receives in mail. But few of the letters ■ceived by the movie stars can 3 considered really construcve. Generally they follow the same ■end. The writers tell the play's how they liked such and ich a picture "in which you ere simply grand." When the •tters usually close with a relest for an autographed photoraph. One of Anna Q. Nilsson's fans, i old lady in Kansas City, who as been writing to her since er old Kalem days, writes let■rs that are really worth while. A few weeks ago Miss Nilsson 'ceived a letter from this fan filing her how pleased she was > read that her favorite actress as to play the leading feminine )le in "Ponjola," a screen veron of Cynthia Stockley's faious story, which is to be prouced by Sam E. Rork for First ational. "When I read the book," the srrespondent wrote, "I told my usband that it offered wonderll material for a motion picture, specially if the part of 'Desiond' were to be played by you." Later in the letter she menoned that she had enjoyed Miss 'ilsson's acting with James :irk\vood in "The Heart of a ool" and in "Pink Gods" and losed by saying, "I shall be ery glad to hear that Mr. Kirkood is to play 'Druro' in 'Ponjla.' " By a strange coincidence the in letter was received by Miss ;ilsson on the same day that Lirkwood signed a contract to lay that part in the picture. Which leads Producer Rork to emark that Miss Nilsson's fan .'ould make a most excellent asting director. fliss Negri Recovers All traces of the severe bruise vhich Pola Negri received in he Aiming of Herbert Brenon's •reduction for Paramount "The Spanish Dancer" in which the 'olish actress is starring, have lisappeared and she has re;umed work. Miss Negri was iccidentally struck in the face )y a heavy seventeenth century joot during the making of one )f the scenes of this adaptation )f the popular novel "Don Cae5ar de Bazan" by Adolphe D'Ennery and P. S. T. Dumanoir **hich June Mathis and Beulah Marie Dix adapted to the screen. Antonio Moreno is featured in this Paramount Picture with Wallace Beery, Kathlyn Williams, Gareth Hughes and Adolphe Menjou in support. Edward Kipling, Dawn O'Day and Charles A. Stevenson complete the cast. There appears to be a well grounded suspicion in the minds of those identified with the production of Mack Sennett's next leature offering to the classics of the screen, that in "The Extra Girl," Mabel Normand's new starring vehicle, a new Miss Normand will be seen. Heretofore Miss Normand has adhered pretty closely to the portrayals of light dramatic and comedy roles. She is known the world over as a comedienne and will probably stay in that classification for all time to come. Despite this, however, the irresistible personality of this little screen favorite will force itself still deeper in the affections of her admirers, when "The Extra Girl' 'is given to the screen, owing to the fact that she is demonstrating in this new picture her right to be classed among the foremost emotional actresses of the cinema. NOW WE MAY EXPECT A NEW COMMODORE— BEVAN When in Rome, do as the Romans do, — that old adage was inspiration for guiding Billy Bevan to another plane of more expensive living than he has been in the habit of following. Billy has purchased a power cruising boat. The next thing he will be doing is to doll his family up in yachting attire, while he dons a commodore's cap, white flannals and sneakers. During the four weeks he was on location at Balboa Beach with Mack Sennett all-star comedy troupe, Bevan was guest on several private yachts. The life of dressed-up ease, the lolling about on canopy-covered decks and talk about regattas, cruises, etc., so strongly appealed to him that he immediately looked about for a good boat buy. When that was accomplished he made application for membership in one of Newport's exclusive yacht clubs. Now that he has been admitted to the real class of sportsmen, his friends are wondering if hi will remain just plain Billy Bevan, or will he insist on being addressed Mister Bevan. Graf Returning Here Max Graf, supervising director of the Graf Productions, after an absence of seven weeks from the film colony, has left New York and is hurrying back to Hollywood where he will immediately begin preparations for his next production, "The Grain of Dust," which he has adapted for the screen. Mildred Harris, featured player in the Graf Productions, is the only artist thus far announced of the cast. Mr. Graf plans shortly to have another unit under operation which will doubtless be located at the Metro Studios. In one of the longest scenes shot of "The Extra Girl," Miss Normand shows a dual character which even her most enthusiastic admirers would doubt she was capable of expressing. For several minutes the Normand we all know so well, lively, gay and mischievous, is before us, but almost at the snapping of a finger her bouyancy gives way to an expression of utter despair, when she hears the words that tell of the financial ruin of her parents, and to which she has been an unsuspecting accomplice. F. Richard Jones, directing "The Extra Girl," claims for Mack Sennett's little star that "regardless of what the producer, the star, or he himself will essay to do in the future, this present production and Mabel Normand's work in it will remain always as a monument to her inimitable versatility." STAR PROPOSES ACTOR COLONY FOR PLAYERS A colony of actors living apart from the world, with their own government, dedicated to the stage drama, what Tryone Power, famous stage star, now working in Tod Browning's production of "The Day of Faith" at the Goldwyn studios, is planning. Although the actor admits that as yet he has not been able to find a suitable location for the temple, his plans for the magnificent grounds and auditorium are complete. All artists the world over, are to be asked to contribute a subject of their art to beautify the temple and grounds. In the halls and the auditorium, great paintings of eminent artists are to be hung. The actor inhabitants of the proposed temple are to be given life contracts and their families are to be protected by insurance. An alternating system of appearance has been arranged so that one week a star will be seen in a minor part and the next he will interpret the leading one. The temple will be situated close to some large city, yet it must be in a beautiful location preferably, near the seashore. Decorates Cafe Wall Carl Miller, whose latest work on the silversheet is registered in Chaplin's "Public Opinion" in which he played male lead, is also immortalized in a most interesting portrait, the work of Julian Harrison, which is now exhibited at Levy's cafe, Hollywood, where the decorations were likewise executed by Mr. Harrison. Much co'or is flaunted in the portrait where the actor is shown in a glowing dressing gown over evening clothes, while the background is lively in blues and greens. MARGUERITE LOSES ALL FEAR OF SNAKES Every actress in motion pictures has a fear of some one thing. Perchance it is a mouse; maybe a lion or other wild animal. And it seems always that during her career before the camera, she will at one time or other be called upon to enact a role which brings her in direct contact with the dreaded object. Such is — or rather was — the case of dainty Marguerite De La Motte, enacting the leading feminine role in Principal Pictures Corporation's "When a Man's a Man." Marguerite fears — or rather feared — snakes. Who blames her? And lo and behold, when she started making the popular Harold Bell Wright story, her role called for her to be found fondling a pet reptile. Horrors! Try as she would to have the part changed and try as she would to have a double enact this particular episode. — it all fell upon deaf ears in so far as the director, Eddie Cline, was concerned. "Aw, don't be scared of an old snake," cried John Bowers in soothing tones to Marguerite, as the actress stood some twenty feet away from the crawling thing. Finally with the assurance of all that the snake was tired out, toothless and, had he been human, probably bald, the film star proceeded with the most difficult task of her entire screen career. She "did her stuff" — with Mr. Snake. As she watched the film shown in the projection room, a cold chill swept down her back. "I don't know how I ever did it," she exclaimed. "But I DID and now I'm not afraid of anything. Bring on your wild animals, your mice, lions, bears — even your old snakes. I'm not afraid any more! " LOSES ACROSS-SEAS RACE WITH STORK Henry King, who has been directing Lillian Gish in the filming of Francis Marion Crawford's "White Sister" in Italy, has lost a race with the stork. Mr. King is hurrying home on the "Berengaria" in the hope of being able to beat the bird, but the race has already been won by the bird, as Mrs. King will introduce him to a son when he reaches home this week. Mr. King left with Miss Gish for Italy last November and the picture has just been finished. Miss Gish will return to her native land on the "Olympic." Mr. King also lost another race, as Richard Barthelmess, whom he directed in " Tol'able David" and several other pictures, became a father two months prior to Mr. King.