The Film Spectator (Mar-Dec 1928)

Page Ten and fearless representative which will stand between him and managerial aggression, as it has with the legitimate actor, (and if such a representative is not necessary now, it will be in the near future). If Equity is prepared to promise these things to the actor what can it hold out to the producer of motion pictures? Is it not hopelessly prejudiced in favor of the actor ? • • ♦ There is Equity's record for scrupulous fairness and strict adherence to its word for which any reputable legitimate producing manager will vouch. That is a good foundation upon which to build any negotiations. There is, further. Equity's promise that it will see its members live up to their contracts and give the best performances of which they are capable. That promise has been amply demonstrated only recently, and should carry considerable weight with producers of motion pictures. And, although Equity has been able to require almost any change in the terms of employment, its actual requests have only been for such things as were fair and workable. And when there has been a question as to whether or not any particular item has been fair or workable. Equity has invariably been willing to submit the dispute to an impartial board of arbitration. That procedure Equity now offers to the motion picture producers, also. Actually the stabilization of working conditions is a help to the responsible producer and is a hindrance only to the irresponsible one. It will eliminate the driving of actors, the unfair conditions of labor which at present permit the unfair and the unfit to compete on even terms with the best men in the field. Far from being antagonistic to producing managers Equity has worked with producers and dramatists to combat inimical legislation. The repeal of the war tax on theatre admissions was due, in part, to Equity's long and courageous campaign for it. And the force behind the formation of the American Theatre Board, in which at this moment, actor, manager and dramatist are working peaceably and harmoniously on the solution of common problems, was the Actors' Equity Association. To manager and actor, alike. Equity offers peace and stability in motion pictures such as it has brought to the legitimate theatre. Its record is plain for all to see. Equity believes that it is to the best interests of both actors and managers to cooperate in the establishment and maintenance of an Equity Shop in the motion picture field. THE FILM SPECTATOR July 21, 1928 Vitaphoning the Beaton By TOM REED AUTHOR'S NOTE— The last time Welford Beaton asked for articles so that he might hie himself away for a vacation and look at brooks, I schemingly waited till he had safely passed the city limits and then sent in my offering. Being a title writer, and zealous one, I naturally extolled the dot and the dash and bellowed for paragraph after paragraph. I was positive that I had closed to my self for ever the columns of The Spectator, but here I am again. And if Welford can stand it I can. The following outburst is an allegedly humorous Vitaphoning of the amazing Beaton, with but a modicum of close-ups. We will pick him up at the breakfast table awaiting the appearance of Mrs. Beaton and Donald. He is peering out of a sunlit window and envying Edward Everett Horton the ownership of pink and purple pansies with red and yellow stems. FADE IN ON LONG SHOT. Welford stands as Mrs. Beaton and Donald seat themselves. He is the first to speak. FULL MEDIUM SHOT AS WELFORD SPEAKS. Welford (with furrowed brow still pointed in general direction of Horton's pansies) : "Dash it! I didn't sleep well. Had bad dreams — no coherency — and an atrociously bad ending." Mrs. Beaton (with affectionate understanding): "Well, you insisted on seeing a picture last night and I knew if you did you'd be mad this morning." Donald (sipping coffee): "Dad, this coflfee gets worse and worse. It's evident we'll never have better product unless the producers find themselves — in their present fog of inefliciency." « • • TROLLEY SHOT MOVING UP RAPIDLY TO WELFORD AS HE REGISTERS REACTION, THEN BACK TO FULL MEDIUM. Mrs. Beaton (paying no attention to offspring and addressing Welford): "What did you dream about, dear?" Welford (in half whisper) : "The Vitaphone — the Vitaphone. It seemed as though I was looking at thousands of reels of it. I heard voices — hundreds of voices. I was searching for a title to criticize and dash it — I couldn't find one. I visualized the pages of The Spectator bereft of criticism. It was horrible!" Mrs. Beaton (trying to conceal a show of alarm) : "Perhaps it was that caviar at Sam Goldwyn's last night — that imported caviar." Donald (tilting nose): "Imported from Seattle! Welford (with finality) : "Imported caviar is all right — you can't fool me on foreign fish. The Russians have a Winifred Dunn Writing for First National I'Xn'ERSAfS ARANGA qA Tale of ^MaonUnd WRITTEN DIRECTED EDITED A>-D TITLED BY ALEXANDER MARKY One of the moat unique attempts in the history of the motion picture