The Film Spectator (Mar-Dec 1928)

Pagre Sixteen THE FILM SPECTATOR November 3, 1928 sell Powell, Tom Wilson, Mike Donlin, Otto H. Fries, Billy Bevan. TWO LOVERS— A United Artists picture. Directed by Fred Niblo; from the story "Leatherface" by Baroness Orczy; adapted by Alice D. G. Miller; photographed by George Barnes, A. S. C; assistant director, H. B. Humberstone. The cast: Ronald Colman, Vilma Banky, Noah Beery, Nigel de Brulier, Virginia Bradford, Helen Jerome Eddy, Eugenie Besserer, Paul Lukas, Fred Esmelton, Harry Allen, Marcella Daly, Charles Belcher, Phil Sleeman, Lon Poff, Walter F. Lewis, Andre Cheron, Harry Schultz, Fletcher Norton, Scott Blattraw, Lydia Yeamon Titus. WATERHOLE, THE— A Paramount picture. Directed by F. Richard Jones; photographed by C. Edgar Schoenbaum; assistant director, George Crook; editor-in-chief, Albert Shelby LeVino. The cast: Jack Holt, Nancy Carroll, John Boles, Montague Shaw, Ann Christy, Lydia Yeamans Titus, Jack Perrin, Jack Mower, Paul Ralli, Tex Young, Bob Miles, Greg Whitespear. THE article published July 21st, 1928, in "The Film Spectator" made no charge against Mr. Kiesling, whom I have met only once. A protest was made against too much authority being given to any one publicity organization. Mr. Kiesling represented the Wampas — my complaint, or charge, was against the Wampas and their feminine half the Wasps. In paragraph four of "The Wampas Makes Reply" they endeavor to explain their reason for the new ruling. In replying to their explanation I can mention about half a dozen freelance writers, all doing excellent work, who have appeared regularly in various fan publications — and none of them have been guilty of peddling "shoelaces, real estate" or publicity on any studio lot. • • • None of them have, to my knowledge, sought a job on a studio lot for they imagined when scouting for stories that they had a job. Most of them held credentials in the shape of cards signed by their editors. Here is a suggestion that I would like to have the Wampas answer — why should these non-peddling, non-begging, already recognized writers be obliged to obtain permission from the Wampas (in writing) before they are allowed to go ahead with their work? These vsTiters are well known by every studio publicity department, it is quite unnecessary that they should be sponsored by the Wampas. And is it not an ungallant gesture to place these "illegitimate writers" in the same class with shoe-string peddlers? A thing the Wampas have done by their protective measures in behalf of the legitimate writer. • * * As to fake credentials — I had a card signed by Mr. Roscoe Fawcett (which I have every reason to believe was not faked). This card had about six weeks to run when I was told by Mr. Kiesling that it was of no va|ue owing to the new Wampas ruling. This being the case Wampas had taken over complete control of Mr. Fawcett's magazine. And yet the magazine is owned by Mr. Fawcett. This looks as though the Wampas had decided to dictate to its owner the policy of his magazine. What pressure was brought to bear upon Mr. Fawcett to bring about this condition I do not know. Anyway, it is a dangerous precedent to establish. I have been told by the representative of a well known fan magazine that whenever his editor comes to town (as he does once a year) that he (the representative) does his level best to keep him away from any contacts with press agents and the Wampas — this, lest the editor be unduly influenced. • * * When vjrriting for the Fawcett magazine (a new and struggling publication) I met with decided opposition in one publicity department. The woman in charge of the magazine section told me upon each visit that it was a "dirty" magazine, etc. Photographs were grudgingly doled out to me. Other virriters for the same magazine met with similar opposition. Discouraged they complained to Mr. Fawcett and he paid a visit to Hollywood. The woman m question was a member of the Wasps. During Mr. Fawcett's visit the new ruling was established. The woman in Replying to the Wampus and Miss McDonough By Madeline Matzen question is the most insistent of any upon signed credentials from the Wampas. A letter from Jack Smalley (business manager for the Fawcetts) urges me to keep on writing for them and explains how much easier the Wampas and Mr. Kiesling are going to make work for the freelance writer. As I explained in my article, instead of making it easier for the freelance they have made it harder. It looks as though someone had been fooling both Mr. Fawcett and Mr. Smalley. Having discussed the new ruling with various "illegitimate writers" I find their opinions coincide with mine. But they tell me that they are afraid to say so openly lest the Wampas bar them from every studio lot and deprive them of their chance to make a living. But I do not believe the Wampas would do such a thing — hence my article and this reply. Mies McDonough says that "fan magazine writeri are not eligible for membership in the Wasps". This ii true but there is another side to this statement. While still a member of the Wasps a woman publicist was recently made feature writer on a well known fan maga . zine. Having landed the job she resigned from the Wasps. A member of the Wampas having been made editor of a fan magazine immediately resigned from the Wampas — but he obtained the editorial job while still a member of that organization. I could cite other cases like these. I am informed by several editors that often Wasp members (holding positions in certain studios) submit articles and sell them. These articles usually are printed under a nom m de plume. 'f • • • It looks as though it were the beginning of a monopoly and when a monopoly rules, the product of a necessity becomes inferior. Competition, and competition only, will add value to a product. When we glance over recent issues of the different fan magazines we know that the product has been worse than inferior. 11 Who cares what a symposium of men stars have to '• say about leap year proposals, about whether screen kisses thrill them or not, etc ? Who cares what a woman star happens to think of her "art" ? We know that with such an empty face she can not think at all and wouldn't know "art" if she met it dressed in a red label. Who cares to read the laudatory and often nauseous praise of paid press agents? Very few people. And certainly the ambitious stars and players do not care to have their names and photographs adorning blah, absurd stories. Not long ago a well known press agent laughed at me when I told him that I wrote my own articles. "Nobody does!" he said and explained rather grandly "If I think of a good story I write it myself in the stylo of whichever staff writer I think it is suited to. Then I send for this writer and give her the article. Sometimes she makes a few changes in it but usually she sends it out as it is, with her own name attached. The contract writers seldom write all their own stories — you are a fool if you do, it's a waste of time."