Close Up (Oct 1920 - Sep 1923)

9 On Strips of Celluloid PERT POINTS MATRIMONIAL CO-STARS How many wives of monarchs of the movies are there in the same histrionic ranks of their husbands? A busy statistician has counted ninetynine and it seems a pity he could not think of just one more to make it an even hundred. Some of the more prominent co-working couples he cited “for bravery” were : Gretchen Hartman, wife of Alan Hale; Gloria Hope, wife of Lloyd Hughes; Maude Leslie, wife of David Torrence; Enid Bennett, wife of Fred Niblo; Florence Vidor, wife of King Vidor; Barbara Bedford, wife of A1 Roscoe, and last, but by no means least, Mary Pickford, wife of Douglas Fairbanks. “Wives like these, men are luckless to miss,” might sing a poet, although he wouldn’t be a very good poet. Lloyd Hughes, Mary Pickford’s leading man in her new “Tess of the Storm Country,” is also featured first in Thomas H. luce’s feature, “The Scars of Jealousy,” scheduled for early release, and, as if to complete the “trinity,” this same debonair Lloyd will be just as strongly stood out as the “big it” in Tom Forman’s latest cinema achievement, entitled “Are You a Failure?” says a certain film wiseacre: “Another such trio and Hughes will be one of our foremost stars.” GERTRUDE STEVENS Comedy Ingenue POST’S FIRST VACATION IN DECADE One of the severest penalties of success is the constant demand of the public upon the artist who has achieved this goal. Guy Bates Post, the distinguished star of “The Masquerader” and “Omar the Tentmaker,” exemplifies this statement perhaps above all others. Even before he came under the management of Richard Walton Tully, which has already covered a period of over thirteen years, Guy Bates Post was a name to conjure with in the world of the theater. With Tully, Post has starred in “The Bird of Paradise,” “The MasqueTader” and “Omar the Tentmaker” — years completely filled with performances, rehearsals and travelings. Two beautiful homes, one in Connecticut, the other in California, waited and waited for Post to inhabit them. Post closed his latest stage season in Baltimore on a Saturday night— he commenced shooting on “The Masquerader” in Los Angeles six mornings later. The interval before the filming of “Omar the Tentmaker” was filled with study and preparation. It was only after “Omar the Tentmaker” was all completed, cut, titled and shipped East that Post found he had won his vacation — the first in over a decade filled with strenuous and meritorious artistic achievement. Just a month has elapsed snce that time. Already Post is commencing the detailed study, invariable preface to his polished portrayals, for his coming characterization of Svengali in “Trilby.” But this month of vacation. Post declares, will remain forever in his memory as a landmark, the realization of his one ambition for fifteen years: The chance to enjoy the simple, wholesome pleasures which most of us can have daily, but which are denied the successful artist during his era of popularity. Speaking of slang, we might say: “There’s the bakery that ‘dough’ built. No, this not John Doe, says Arthur K. Doe of Cunningham fame. * * * Which is proper: Locking over thd girl, or overlooking the girl? Let Constance be your guide, said Mrs. Talmadge. STEREOSCOPIC PICTURES “The Power of Love” was shown with the Fairall Process of Stereoscopic Motion Pictures in one of the largest theaters in the West to a group of exhibitors who were amazed at the remarkable projection. The screen shows no distortion when viewed from any part of the theater, the last seats on the first row being just as advantageous as those in the center of the house, which is an extraordinary accomplishment. The flat picture shows a considerable amount of distortion when viewed from the side. In pictures exhibited with the stereoscopic method, the image squares itself to the individual .eliminating distortion and making perfect the projection from every angle. “The Power of Love” will be shown in the near future as a road show attraction in all parts of this country, bringing before the public a realistic procession of life’s drama. Ethel Ranscme pulls a funny one. Fellow came to see us the other day and maw told him to take a chair, but he took the piano. He was a collector. * * * After wearing a modern evening gown, a girl feels over-dressed in her nightgown. Katherine McElhany has submitted this. BARTINE BURKETT Screen Ingenue PLEASE PATRONIZ E— W HO ADVERTIS E— I N CLOSE-UP