Close Up (Oct 1920 - Sep 1923)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

12 if-2P ^ JUST BETWEEN OURSELVES Marshall Lorimer Editor and Prop. “CLOSE-UP” The Magazine of Movie Land Issued the 5th and 20th of Each Month H Editorial and Business Office: 603 Western Mutual Life Bldg., (formerly Exchange Bldg.) s 321 West Third Street. Telephone 820-609. | SUBSCRIPTION RATE: ONE YEAR TWO DOLLARS Advertising Rates on Contract Basis s Checks Should Be Made Payable to "Close-Up” H All manuscripts and Contributions Should be Addressed to the Editor “BREAKIN’ IN” By Elsie Eva Steele THE INNOCENT TYPE I ups and quits me job one day, Slingin’ ’em off the arm’s my trade; But I gets the bee in me bonnet I’m a writer, though some what unmade. Gosh, but I wants to write a story; Now, I simply got’a write a play. Go around in a daze all the time, Thinkin’ up great things to say. I can build up a bully situation. Very excitin’, have it ring true; Then when I reads it all over, Decides the damn thing won’t do. I goes to the movies each night To see, how the swell here enacts A play by a much talked of author; Can see at a glance what it lacks. Now, they need some one like me, What can write a picture that’s great. Yet every time I sits down to write, Can’t think of a thing to relate. My Landlady’s just got’a be paid; My shoes are run down at the heels, But can’t get the idea out of me head To write a movie — in seven reels. They ought to have me for that part Where the heroine leaves with a sob; Everything wrong, gosh dam it all, ’Cause tomorrow I goes back on me job. I have an idea that if D. W. Griffith (who revels in such types) had seen Miss Wilma Leone, he would have immediately signed this little film lady to a long-term contract, for Miss Leone possesses every requisite necessary to success in the film game, a peculiar ethereal type of beauty, a great degree of intelligence, and an overpowering ambition to succeed, at this writing it is true that she is merely on the fringe of the circle, but I feel sure that eventually a keen directorial eye will have noticed her ere many moons have passed, and will have given her the opportunity to justify her own faith in herself. PEGGY BROWNE BURSTS INTO VERSE (The editor would like to know why she was driven to this?) I take my heart from beneath your feet, To give it to one who will act more sweet — To my throbbing heart beneath h's feet, Until in time I might repeat — Get off my heart with your big feet! WIT AND EFFECTIVENESS That young man Arthur W. Kelly, who was directly responsible for all the costumes worn in "Trilby,” is an undoubted genius in period clothes. He seemed to have an uncanny way of f.nding the suitable raiment and color schemes to match the individual wearing them. Beside his effectiveness in this department, he owns a nimble wit, as the following attests: “The best business card in the world is your NAME over your own place of business.” A man with such clarity of thought is bound to succeed. Martha Mattox claims that she knows a Scotchman who can smell a scent (cent) at any distance. Are You Interested in beautiful GOWNS? You can purchase in my home at 2006 IVAR AVE., Hollywood, the changing wardrobe of 10 of the BEST DRESSED STARS on the SCREEN! All articles of wearing apparel at a GREAT SACRIFICE. Manv of these GOWNS were worn in only ONE PICTURE. Screen Stars Wardrobe Exchange 2006 IVAR AVE. PHONE 437-028 (Cahuenga Ave. to Franklin, Then One Block East and Two North) THE BROWN PAINTED DWELLING IS 2006 THE MORE THE MERRIER Financed by a group of Cheyenne, Wyoming, capitalists, the Rocky Mountain Productions, Inc., is the latest film producing concern to enter the independent field. The concern will center all its producing activities in Hollywood. Distribution will be via the states right market through the Anchor Film Distributors, Hollywood, of which Morris R. Schlank is president. The firm has already finished its first production, “The Dangerous Trail,” a six-part “special” with an allstar cast, including Irene Rich, Noah Beery, Tully Marshall, William Lowry, Jack Curtis, Jane Talent, and Fred Hank. In addition to the above production the Rocky Mountain productions will film a series of eight pictures featuring Bill Patton, the well known outdoor star. The first two of this series are now in production under the personal supervision of Alvin J. Neitz, who has been appointed director-general of the new organization. F. W. Raymond, secretary-treasurer, will have charge of the local plant. JOHN BOWERS SIGNED Not content with having their stars all of the feminine gender, Principal Pictures Corporation announce this week the signing of John Bowers for a long-term contract. Bowers is regarded as one of the most popular of male leading men and his entry under Principal Pictures’ banner has met with wide approval. With the completion of “Youth Triumphant,” the initial Fisher Production staged at the Hollywood studios the past two months, Victor B. Fisher announces that work on the second independent production will be started immediately. In the cast were the following: Virginia Lee Corbin, Anna Q. Nilsson, Raymond Hatton, Joseph Dowling, Kate Price, Claire McDowell, William Boyd, Ward Crane. Mary Anderson and others. * * * Rex Ingram has a staff of four cameramen, working under the supervision of John F. Seitz, four assistant directors and three technical experts, who remain on the set constantly during the filming of “Scaramouch” at the Metro studio.