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

awra Camera! News Section Page 9 apt Led Stone To Career Lfljfc Stone, who heads the all llWst of John M. Stahl's great mH, "Why Men Leave Home," jlffl|d into his thespian career roult trying for honors as a MBit. Having written what ■rtBsidered a splendid drama, .-■ a masterpiece, Stone archfl>red the extravagant atti■tt respect assumed by his Hand stalked out to a play tjfl with his manuscript. A Ijjroducer who was in the ofjrfBthe time decided that Stone Hit the type he wanted for a iM role in one of his plays, fflK talked the young fellow Hccepting the part. Stone valid get that first play read, H got along so well as an tHKiat he didn't have time to Hup his original ambition to | White has appointed JasWxstone assistant to A I Ray, M directing the Cameo commit, with' Sid Smith, Cliff I and Virginia Vance molson Story To Be Filmed M±diih Nicholson's great ■'Broken Barriers,'' the most ■of novel of its time, is going jjllone in motion pictures. Hung out over close competi■r the film rights, Louis B. ■ has secured "Broken Bar■for production by Reginald I. Sada Cowan and Howfflggin have been assigned the ■ant task of preparing the Bo. Metro will release the ■ story centers about an H.in girl of good family and Hducation who has the cour■L openly defy established Ition in the molding of her I Daring, yet logical, it Its a sincere and fearless lent of one of the big vital w|ns of this modern age. will be interesting to note Wkr or not the producers of pture will take liberties with i iginal theme of "Broken Barrjas outlined in Mr. NicholMiovel. The story is already Mar to millions through its rliction as a Cosmopolitan liine serial and its current llation in book form. ft yet people come from all tilie world to enter the movies ike the work is so "easy," Anyone who seeks disallusionikcan come around the Hal M studios and ask Laura nng, Sidney d'Albrook and I Butler, better known as I Spat Family" who have been \tng" up around Chatsworth e last three weeks, y have been doing everyjrom scaling "unscalable ains to sitting for an hour in '-cold stream — but then anyto net a laugh is their mot anic m Lures for Tears One word starts Estelle Taylor to crying. "Julia," murmurs the director in her ear. Her mouth droops, Iter eyes half close. Slowly tears begin to fall. Soon they are cascading down her cheeks — and the camera grinds. From the time she was a child of five, just starting to school until high school days Miss Taylor and Julia Cunningham were pals — closer than sisters. They walked to school together. They sat across from each other in their classrooms. They studied together; played together; spent all of their, time together. They even had the measles and whooping cough together. And stayed at each other's home when they were sick and had the same nurse. They planned to go on the stage together. They rehearsed together. They were to have gone to dramatic school together. Then Julia died. "Thoughts of her wring my heart," Miss Taylor told the reporter. "When the director speaks her name my thoughts go back to the plans we made for a life together and of-of-of what happened — and I just cry." Carmel Myers is a creature of exotic personality as well as of bizarre beauty and hence it is not surprising that odors touch her emotions more closely than does music. A drop of fragrant new-mown hay on the corner of her handkerchief makes a lightsome, merry-hearted country girl of her, a strong rose scent transforms her into a blustering Bowery maid. And "Le Houre Bleu," with its ethereal sweetness reminiscent of a departed lover, puts her first into pensive then into sad mood. Soon her eyes glisten. Then the tears come. Blanche Sweet has not lived a life of perpetual joy, peace and content. Yet no music can arouse personal memories of sufficient poignancy to bring tears. It takes the sorrows, the pitiful, heart-breaking lot of others to wring water from her eyes. "There's a Long, Long Trail AWinding" brings to her all the sadness that hung over the hearts of millions of mothers during the trying war-time days. "It was a marching song in 1918," she explains. "And to me marching men means men going to slaughter. It was a camp song, a trench song, that mingled with the whine of shell and airplane. Hundreds died with its words on their lips. Its simple tune brings to my heart a hurt that nothing can erase." W hen Rupert Hughes, who has directed Helenc Chadwick in most of her recent G o I d w y n pictures, wants the tears to run from her big sorrowful eyes he quietly asks the orchestra leader (there are orchestras on all motion picture sets, you know) to play, slowly and softly, "Love's Old Sweet Song." The second or third bar brings the flood. It has never failed. It was at the suggestion of Miss Chadwick' s mother, Mrs. Laura Chadwick, that he first tried that particular piece of music. She happened to be on the set one day several years ago when tears were demanded of her daughter. "Ever since she was sixteen that song has made her sad," she said. "She' never has told me why. She just cried the harder when I asked her. It used to send her to bed with hysterica! sobbings. Now, after seven years, it brings a more quiet, thoughtful , sad mood." It is at sixteen or thereabouts that a girl generally has her first love affair. INCORPORATE FOR "DINKY' Four-year-old Dinky Dean, protege of Charles Chaplin, and star of the Selznick film, "A Prince of a King, ' is to head his own production company. Articles of incorporation of the Dinky Dean Productions, Inc., have been filed with the secretary of state at Sacramento and the new producing company expects to start activities within the ensuing am anBanlilnKan] DEAN month. The organization is capitalized at $750,000 and the production schedule call> for four pictures annually covering a period of four years. Several of these will be big special productions ;ind the remainder five-reel features in which Dinky will be supported by the best available talent that can be procured in Filmdom. Barker Film Is Dawn-to-Earth Notwithstanding the fact that "Cape Cod Folks," Reginald Barker's new Louis B. Mayer-Metro offering, fairly abounds in thrills and unusual spectacular scenes, romance furnishes the real story thread of this all-star special. The picture tells of the triumph of Captain Joe Cradlebow, an adventurous young skipper in his suit for Emily Swift, the rather snobbish daughter of Jonathan Swift, tyrannic ruler of the fishing industry, and also of the clandestine love affair carried on by Swift's college-bred son and Becky Keeler, the plain little daughter of an old ship captain. A quaint old New England village is the setting for the story and scenes of swordfishing, furious storms at sea, humorous episodes reflecting the life of the fisherfolk, and the daring rescue of a ship's crew during a hurricane furnish a few of the highlights in the action. Von Eltz Huzzas For New Year Theodor von Eltz, is among the actors who sees a big year in 1924 for the motion picture industry. "There will be better pictures of necessity," says Mr. von Eltz. "The public will no longer stand for the hastily thrown together program pictures where so much money and time are given to rush ii through. A hurry-up picture cannot be a good one. An actor who is put on a time budget will not give in exchange, for he cannot, a worth while characterization. No longer is a picture merely a hasty pudding. It must be a living thing, so time and thought are essentials. Stories must be worth while. I believe there is plenty of material in many of the standard books, while the industry has plenty of capable writers who can furnish originals. And I could name more than thirty-three good actors!" George Will Jump Into Drama George O'Hara is all primed for dramatic productions, for since finishing "Fighting Blood," the young star is looming up as one of the big bets of the coming year. Not so long ago, a leading Los Angeles critic emphasized O' Hara's finalities of fine romanticism combined with a virility that make him a formidable competitor for those actors holding forth in the matinee idol class. O'Hara, with his superior comedy training — he was three years with Mack Sennett and his spacing and timing are highly approved by the veterans of the game — and all the drama that came his way in "Fighting Blood" is ready for the biggest things. Romantic roles if they carry with them plenty of characterization appeal to O'Hara, who in making a selection of the different offers that have come hi', way will decide for the one that gives him the greatest opportunity to act.