Hollywood Filmograph (Jan-Jul 1930)

! HOLLYWOOD FILMOGRAPH SECCION ESPANOL Let Latins Direct Own Pictures, Is Val lejo's Plea Considerable agitation has arisen in Spanish film circles over recent criticisms in Mexican periodicals which have been casting scathing ridicule anent the "barbarous" accent of some of the actors in pictures shown in the Capitol City. It seems that faulty technical direction and improper diction has caused much unfavorable comment. This criticism has reached the ears of Enrique Valle.'o, local technical adviser for Spanish pictures. He says: "When one considers that a large percentage of the Spanish version pictures are being directed by men who have little or no knowledge of Spanish customs or tradition; men who rely on their imagination and advice of people whose Spanish smacks of the "Paucho" type, one cannot wonder at the ridicule which manifested itself among the people of Mexico." The castilian is an artist. He loves his Majesty's language, and to him the "costumbres Castillanos" are sacred. Before he can appreciate and credit the success of the Spanish pictures he pays to enjoy he wants to be sure that the pictures are Spanish and not merely Spanish type pictures. Mr. Vallejo deplores the fact that this condition exists. He should like to believe that the criticism was not meant seriously. But it is only too true that the situation does really exist. But a few days ago a prominent authoress, in an interview with the representative of the Spanish section, said: "We are all most enthused at the progress being made by the Spanish pictures, but I was amazed several days ago when I saw one of the stars in a Spanish picture wearing a mantilla in a festive scene. The mantilla is never worn except to church or on somber occasions. The Spanish was not spoken here. It was a pot-pourri of Cubano-Argentine-Porto Rican variety. In place of the dulcet, soft harmony of the castilian language, there was the short, cript jargon of a strange tongue, Spanish in meaning, barborous in sound." And there it is. To quote Mr. Vallejo again, "There are many people in the studios today getting good pay who know nothing about Spanish people. Let the Latin direct and produce the Latin pictures." -Jt .£ .jx FAMOUS AUTHORESS TO BE HOSTESS AT PREMIERE Madame Lupe Rubin De Mondorga, celebrated Spanish authoress and world traveler, has recently returned from Santa Monica, where she has been resting after suffering an automobile accident in Hollywood. Her condition, fortunately, is excellent, and will enable her to act as hostess for the Alma de Gaucho premiere which is to be held at the midnight performance, Million Dollar Theatre, Saturday June 7. MARIA GREVER IN OWN RECITAL By Maidee Crawford Maria Grever delighted a host of her musical friends and admirers in a recital of her own composition at the Hollj-wood Music Box Theatre, Sunday night, June 1. Mme. Grever introduced Wilbur Evans, baritone, as guest artist. Mr. Evans' rich voice caused him to be brought back many times — finally gave another beautiful number in Spanish. Maria Grever, exclusive Victor artist, has a very charming personality and her beautiful voice made the evening an outstanding success. Now on an American tour, we know each recital will be enthusiastically welcomed. Lovely and beautiful tributes were exchanged between Mme. Grever and "our" Charles Wakefield Cadman. Mr. Cadman's "At Dawning" inspired Mme. Grever to translate it into the Spanish and make a Victor recording for the Spanish countries. It is now one of the most popular as in America. Air. Cadman apologized for having rushed to the theatre in his English tweed, but at the piano his enthusiastic audience could appreciate this artist had he been in "hiking" clothes. "A' Dawning." sung by Maria Grever in Spanish, was simply divine. Mr. Evans is the winner of the first prize of five thousand dollars in the National Atwater Kent radio contest (1927) over 75,000 singers; he now sings on the Atwater Kent radio hour, from New York, every year. He has appeared in leading baritone roles with the Phila Gran Opera. Wouldn't be surprised if we should be hearing this wonderful artist before long sing from the silver screen. Among the notable picture luminaries present: Don Jose Mojica. who has just finished "One Mad Kiss" for Fox studios, and one of the first Spanish singers to introduct Mme. Grever's song. Others introduced by Mme. Grever: Dolores del Rio, Antonio Moreno, Jack Holt. Armida, Don Alvarado. LOLA BETTER Lola Vendrell. little Mexican actress who pla3's the feminine lead opposite Jose Bohr in "Asi es la Vida." has been quite ill the past week with bronchitis, but is now fully recovered and able to be out again. Lola last month completed a term contract with Sono-Art, where she played in their Spanish productions, so now is one of the most promising of the free lance players for English and Spanish productions, as she is quite at home in either language. 1 i / EMA MORA LEFT LAST TUESDAY FOR MEXICALI Ema Mora, one of the Alma de Gaucho players, left last Tuesday for Mexicali where she is to spend a few days, thus preventing her from attending the premiere of the picture in which she scored so well. Stage Review "THE OUTSIDER" At the Belasco Theatre. Conspicuous chiefly as a medium for introducing Maurice Moscovitch to Los Angeles theatregoers, "The Outsider," by Dorothy Brandon, is now showing at the Belasco Theatre. When Mr. Moscovitch appears on the stage, all those already there seem to make a tableau of which he is the center. He is easily dominant in the old school manner which is gradually dwindling away. There are those who will credit him with a mastery of his art altogether as gratifying as it is increasingly rare — to them we heartily recommend this drama. The "love conquers all" theme is the one which Miss Brandon chose for her play. Ragatzy (Moscovitch), is looked down upon by members of the Royal College of Surgeons, as an imposter, yet effects miraculous cures of crippled limbs and twisted bodies. He has studied anatomy but is not a surgeon. He contrives to convince Lalage Sturdee (Betty Ross Clarke), the beautiful maimed daughter of Jasper Sturdee (Richie Ling), a great English surgeon, that he can make her walk without limping within a year if she will place herself in his sole care for that length of time. In the last act, Ragatzy learns that Lalage's sweetheart, Basil Owen (Geoffrey Wardwell), no longer loves her and since several months remain for the completion of her cure and he is afraid lest she lose all interest and faith which is essential to success, Ragatzy assumes the guise of her sweetheart and comforts her, instead. The solution arrived at is pleasant enough, providing the spectator is willing to accept an elderly lover in place of a young one, but inasmuch as Lalage does, that should be sufficient. Miss Clarke, struggling with almost impossible lines, emerges with distinction; Brenda Forbes, Geoffrey Wardwell and Richie Ling gave very creditable performances; and the medical profession was represented in varying degrees by Arthur Metcalf, Eric North, John Peter Richmond and Frederick Harrington. HARRY BURNS. i i -I Stage Review THE DUNCAN SISTERS Philharmonic Auditorium. Presented by L. E. Behymer. It only takes a portion of a stage and a plain velvet back drop for The Duncan Sisters (Rosetta and Vivian) to put on a show that will keep an audience howling for hours. They are like "Peter Pan," they "will never grow up. Always the delightful "kiddies." Rosetta's character song, "I Got a Code In Mah Nose" is still as funny as ever. Strange interlude (not O'Neill's) and quartet from "Rigoletto" (Duncariized) brought them back many times. We were not cheated out of "Topsy and Eva," but this time Eva had invaded Aunt Ophelia's wardrobe and donned her best evening gown (very becoming to Eva), and "Topsy" had slipped into Uncle Tom's cabin (not to steal — just borrow — and come out in his "Sunday-go-to-meeting togs" a few sizes too large). Then, as usual, Aunt Ophelia had to spoil their fun by introducing the lessons. When little Eva is sent up to bed. Aunt Ophelia was warned by "Topsy" she better not try to whip her — she was one of "Hell's Angels." Aunt Ophelia became shocked and asked "Topsy" who her mammy was; very curtly "Topsy" replied: "Al Jolson." Negroes love to dress in white. "Topsy," a typical little negro, looked very prim in her ruffled organdy, and for the first time in her life offered up a prayer that little Eva might be spared. George Grandee, composer and accompanist of repute, assisted this clever team to the delight of his audience. The many request numbers granted after Vivian's merrjr little chuckle and Rosetta's clowning, attested to the never-waning popularity of these internationally beloved sisters. MAIDEE CRAWFORD. i i i Review "SWEET MAMMA" At the Warner Brothers' Theatre Downtown. Alice White shows real talent in the newest offering which the First National are showing her in, "Sweet Mamma." The story is of a member of a small burlesque team who has become tired of the "Stage Door Johnny" and has fallen in love with a bank clerk. The bank clerk has become acquainted with some racketeers in his boarding house and has been drawn into their net. Alice gets a wire from a friend telling of his arrest, and in her haste to reach his side she boards a train surreptitiously and accidentally meets a detective to whom she tells her story. He promises her aid if she will promise him. in return, to help him round up the gang. She agrees to do this and is instrumental in breaking up the gang and saving her sweetheart. Eddie Cline directs the story and makes the most of the fine situations, especially of the scenes on the roof at the penthouse apartment of the racketeer, where the boy is condemned to "accidentally die" at the hands of the gang. There is much real comedy and some very dramatic moments. Added to this, many really novel effects are shown during the dance hall scenes and Alice White sings a theme song throughout. She is a much better actress than a singer, but, of course, everyone must sing in these days. David Manners as the "boy in trouble" has a very appealing role and acquits himself admirably. Kenneth Thompson as "the chief of the racketeers" is splendid in his rendition of his part, while our old friend, Lee Moran, puts over some really humorous and delicious lines in the play as only he can do. A short subject, "Road Knights," is a very novel offering in which a number of tramps attend a convention of "The Knights of the Road." The singing and dancing in the operetta is remarkably fine, and Lupino Lane is funnier than ever in acrobatic dances. Fine entertainment Warner Brothers are providing in their many theatres these days as the fine crowds testify to. ARTHUR FORDE.