Close Up (Oct 1920 - Aug 1923)

5 Moving Along In Movie-Land THIS IS NO EXAGGERATION STRAYING THOUGHTS CAN THIS BE TRUE? There appears to be a well grounded suspicion in the minds of those identified with the production of Mack Sennett's next feature 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 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. In one of the longest scenes shot for “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 buoyancy gives way to an expression of utter despair, when she nears the words that tell of the financial ruin of her parents, and to which she has been an unsuspecting accomplice. Were it not for the beautifu? face of Miss Normand, one would presume the action to be that of a Bernhardt or Barrymore, so great is the immediate transformation. F. Richard Jones, directing, 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 marvelous and inimitable versatility.” Fat Karr has been signed to appear in a Jack White comedy over at the Fine Arts studio. If the powers that be let “Fat” get away from them when he finishes his picture, they will be making a mistake, for the longer one is acquainted with him the funnier he gets, and he just seems to grow on one, especially a director who learns his fine points. Out of sorrow, and out of suffering , They say, souls are born anew; So, dear God, give me happiness, And I will make my old soul do. Ah! the voiceless voice which now and then commands me; Until the spirit of a fearless soul within doth know I shall set out to search — illimitable unknown! And yet , and yet return — the same as I did go. By Ei.sie Eva Steele. CONSTANCE TiAS LOTS OF HELP The greatest cast ever chosen to support Constance Talmadge. With eight new players announced by Producer Joseph M. Schenck, the cast of “The Dangerous Maid” will be the greatest ever selected by Schenck in support of his comedy star. Heading the list is Marjorie Daw, who will play Cousin Cecilie, to Constance’s Lady Barbara Winslow. The others are Tully Marshall, Charles Gerrard, Kate Price, Arthur Rankin, Lou Morrison, Philip Dunham and Kenneth Gibson. Marshall scored one of the big hits as a prospector in “The Covered Wagon.” His part of “Simon, the peddler,” is said to be equally rich in character possibilities. Young Rankin, who is cast as a young fugitive rebel, claims kin with the illustrious Barrymores and Drews. Kate Price and Charles Gerrard are two widely known screen personalities. Besides the above, Producer Schenck had previously given out the names of Conway Tearle and Willard Mack, who will play the hero and villain in Constance’s serio-comedy adaptation of Elizabeth Ellis’ famous novel, “Barbara Winslow, Rebel.” Victor Heerman is directing. Vernon Dent, that roly-poly comedian, is working on the Big U lot. Here is a man who has been starred in his own pictures, and who always figures that activity is the best selling value of one’s services, and he always keeps busy, no matter what they want him to .do as long as the salary is right. It isn’t often that a person is mistaken for his or herself. The other day Tony Gaudio, major domo of the Norman Talmadge photographic force, was talking on the United lot with Myer Epstein, a United Studio lieutenant. Up the studio street came a stunning young girl, slender, graceful and radiant. “Some good looker,” opined Epstin, a connoisseur on feminine allurements. “Gosh, she looks an awful lot like Norma Talmadge,” said Tony. “Say, doesn’t she, though. Must be some young girl that’s coming out to ask if they need a double for Norma. I heard there was a girl in town looked just like her.” The object of all this speculation drew alongside. She turned upon them a smile that intensifed her radiance. The two men gasped. Was she flirting with them! Then she spoke. “Hello, boys.” Gaudio and Epstin gasped again. It was Norma herself! FINIS FOX, busily engaged in filming "Bag and Baggage" at the Hollywood Studios, Inc., says if he had not been blessed with five sisters and two brothers he would have been an only child. A FOOL THERE WAS HE HAD WORKED WITHOUT A MISS FOR TWO YEARS AT $350 A WEEK. ONLY HIMSELF AND WIFE TO CARE FOR. THREE WEEKS AFTER HE LOST HIS JOB THE COMPANY PULLED OUT HIS TELEPHONE, AND THE GROCERY MAN WAS REAL NASTY ABOUT A LITTLE BILL OF A HUNDRED AND FORTY-SOME ODD DOLLARS. IF HE HAD JUST PUT A MISERABLE LITTLE TEN PER CENT OF THAT SALARY INTO A SIX PER CENT ACCOUNT WITH THE GUARANTY BUILDING AND LOAN ASSOCIATION AT 6364 HOLLYWOOD BOULEVARD, WHAT A DIFFERENCE IT WOULD HAVE MADE. WITH NEARLY $4000 WHERE HE COULD LAY HIS HANDS ON IT, HE COULD HAVE TOLD THEM ALL TO GO TO — TO THEIR BOOKS AND CREDIT HIM WITH PAYMENT. — A dvt.