Close Up (Oct 1920 - Aug 1923)

BY THE MAN BEHIND ‘CLOSE-UP’ n i o WILLIAM DUNCAN By Annie Imlah / The ‘‘fans” seem unusually willing To say all your pictures have class. They’re calling them daring and thrilling The grown-ups, and each lad and lass. 2 Your name to the W orld indicating Your native land far o'er the sea, Has anyone e’re heard you stating ’Tis a place you’re a longing to he? 3 No matter what place you are claiming. No matter how earnest your tone. I’m certain the "fans” here are aiming And longing, to call you their oivn. 4 Your friends were enjoying your playing, Both thought it unusually fine; And later on, what was I saying? Why they were invited to dine. 5 E’re long Mr. "Bill” was explaining (With Miss Edith Johnson to teach ) Some knowledge of music was gaining. Now isn’t Miss Johnson a peach? 6 Do you think any one could be doubting Your acting gives people a thrill? With the audience lovingly shouting, Hurrah for (not William) our "Bill.” READY FOR SHOWING Edward J. Montague has completed the titling of “The Common Law,” all star Selznick production with Corrine Griffith, Conway Tearle and Elliott Dexter in the line up. Montague also adapted the novel to the screen. “The Common Law” will soon be presented at the California theatre. WHAT THEY’VE DONE (Celebrities in Frank Borzage’s New Film) Director Borzage, “Humoresque.” Pauline Garon, “Adam’s Rib.” Johnnie Walker, “Over the Hill.” Frankie Lee, “The Miracle Man.” Lloyd Hughes, “Homespun Folks.” George Nichols, “Suzanna.” Bert Woodruff, “Paris Green.” THE TWO IN COMMAND Now there isn’t any doubt in the world that when a “Shindy” takes place — especially if you’re looking for your Irish friends, the place to find them will be where the fight is thickest, I think the above paragraph will sufficiently introduce you to two noble Sons of Erin— JACK SULLIVAN and JIMMIE DUGAN. You will wonder no doubt why the title above should concern these Hibernians? Well the truth of the matter is — that the other day while visiting Universal City, I had occasion to go to the back ranch — where most of the gigantic exteriors for the “Hunchback of Notre Dame” were being filmed. On this particular day a small-sized army of second and third assistant directors were marshalling under the orders of Sullivan & Dugan a “French Populace” of fifteen hundred humans — who like sheep awaited the orders of the Shepherd — just what to do to be efficiently honest and earn their daily pittance: here is what I saw — a tremendous Square with booths of this — that, or something else, on every side, bunting in myriad colors flaunting to the breeze, the habiliments of the Extra’s representative of every color in the rainbow, looming in the foreground — the mighty Edifice of France — The Church of Our Lady, I could almost imagine myself back again in Paris, the identical decay, and dirt about the base of the Saintly figures on the Colonades — seemed to have been literally taken from the figures of the Saints in Paris, Flagstones of uneven roughness made walking a test, instead of a pleasure. The babel of sound was picturesque and unending — until the blast of a siren is heard — then almost by magic — the concourse is quiet, everyone is awaiting expectantly — they’re not disappointed, for perched upon a replica of the ancient Pillory, or whipping Post — an Irich Brogue blown through a megaphone tells them all that “They’re to do this, or that, and remember — LET’S HAVE ACTION!” Yes, Friend Reader — the brogue belonged to Jack Sullivan — the efficient assistant of Wallace Worsley. Sullivan, by the way, is always found on big “sets” where many people are used — he seems to be able to get the results, and this is what counts with producers — when they have in mind how to get the most benefit without needlessly expending too much money in gaining those ends. If I have said this about Jack you can take the same paragraph to indicate Jimmie Dugan’s art as an assistant, the latter is noted for his brevity, and active accomplishments. He has been the efficient aide to Mr. Worsley for many moons and knows to the very least detail the requirements necessary for the successful conclusion of the feature. Well, anyway — getting back to these Irish Lads — they evidently must have had St. Patrick in their minds the day I was on the “set,” for I noticed with what studious care they made those Extras wearing yellow garments get into the background of the mob. This phase of theirs, merely shows you that although they are good assistant directors they still feel that the “Green” must have been in Victor Hugo’s mind when he wrote his immortal story. Do you get the point? Rupert Julian has another wheeze. Man always makes up his mind, but a woman will always make-up her face. * * * Emil Chautard is directing “Daytime Wives.” Oh, you night hawkes. A DESIRABLE HOME We have the finest LIST of SELECTED HOMES in HOLLYWOOD. Won’t you let us show you just one of them? We will gladly CALL for you at any time, and you need not feel obligated to buy. Special attention to MOVIE PEOPLE. W. A. SNELGROVE. 6274 Hollywood Blvd. Phone 439-180.