Hollywood Filmograph (Jan-Jul 1930)

HOLLYWOOD FILMOGRAPH 13 Noted Actor Urges School For Dramatists Lauds Sound Films; Discovers School in Operation Schools for the training of screen dramatists are advocated by Cyril Maude, English stage star, now making his first appearance in a talking motion picture. Maude believes that universities should include courses in screen writing in their curriculum and that there is a place for schools which specialize in this training. "The writer with ambitions to succeed in the field of the drama must think in terms of the audible screen," said Maude, who is playing the title role in Paramount's film version of the comedy, "Grumpy." Lauds Sound Films "Talking motion pictures have a great present and a still greater future. . The industry needs trained writers, just as the stage has needed them, and still does." Maude was a pioneer advocate of school for dramatic writers in England. "It was in 1907 that I put forward for the first time my idiea of a school for dramatists being founded," said he. Finds Schools Here "I felt convinced, t'hat with specialized training, we might have many more good playwrights than we had. When I came to America in 1913, I found schools such as I had advocated for England. "My idea came in for considerable scoffing in London, however. It was argued that dramatists, like poets, are born and not made. Some of the press, I recall, tore the idea to tatters. "Results achieved in America proved the soundness of my belief. There is no reason why equal benefits may not be derived from schools for screen dramatists." ■f i i SCHUBERT WAS SHY The famous Schubert song, "Blossom Time," was written by the great composer to the beautiful girl he was in love with, because he was too shy to make known his romantic feelings. AMBASSADOR COCOANUT GROVE Every Evening and Saturday Teas Ted Fio-Rito's Fine Orchestra And on July 15th Opening Night Gus Arnheim's Famous Band (20 strong) Make Your Reservations Now WILL ROGERS Through Arrangement With Bert Levy (Courtesy of L. A. Evening Express) "So This Is London" is another Will Rogers gem like "They Had to See Paris." It also shows very plainly that theatregoers want the more conservative entertainment fare, with womanly women and not flappers playing the leading roles, as in the instance of Irene Rich, who again plays opposite the famous funmaker in the Fox picture directed by John G. Blystone and now showing at the Carthay Circle. If you want to really enjoy a good hearty laugh, the kind that only Will Rogers can cause you to have, go by all means and watch the way he pokes fun at the English folks and how after many laughable situations, finally is brought to time and forced to admit that he was wrong. Lumsden Hare needn't worry about his future if he cares to continue to act in talkies. He gave us a characterization as the English Lord which could easily have been overdone and brought up to the ridiculous stage, instead of a true idea of what such a personality would do under the same circumstances. The next best highlight of the picture is the work of Maureen O'Sullivan, who has picked up a heap of acting talent since she was last seen in John McCormack's "Song of My Heart." She really and truly gave a polished performance and worthy of special mention. Frank Albertson had a very difficult part, the ladies ordinarily would sympathize with such a lad, but the part lacked fire and zip, hence Frank struggled hard and won out in the end, which is a compliment to his fine talents. Mary Forbes, who always gives a fine performance, kept up her high standard of work in this one. She looked like she really belonged in high society circles, and especially towards the end, where all join hands and all's well that ends well. Dorothy Christy did splendid in what sha had to do,, especially in the English home of Lord and Lady Duckworth, while Bramwell Fletcher looked too young for the business connections he was supposed to represent and his part was a lifeless one, with little or no chance to bring it over the top. Martha Lee Sparks and Ellen Woodstom pleased. Perfect sound recorded by Frank Mackenzie; a fine story adaptation and dialogue by Owen Davis, Sr., with screen story well written by Sonya Levien; great photography by Charles Clarke; perfect technical work by Byron Tate; settings by Jack Schultze, editing credited to Jack Dennis; gowns by Sophia Wachner. All helped to bring out George M. Cohan's stage play of international flavor by Arthur Goodrich to such an entertaining point, that it should do a whole lot for raising the standard of John G. Blystone as a feature talkie director. One of the biggest laugh short reelers was offered by M.-G.-M. in "The Dogville Murder Case," a take-off on the "Benson Murder Case" with an all barkie army of actors, which Rennie Renfro owns and are under contract to that studio. Zion Myers and Jules White directed the comedy and are deserving of a world of credit for the patience they must have to make the canines do some of the unbelievable stunts especially to match up with the dialogue. Abe Lyman and his Band opened the evening's entertainment immediately after the Fox Movietone News. We have no quarrel to pick with Abe and his boys; but their part of the program, especially the first number, could easily have been cut in half. There is an old but true slogan, "Always leave 'em laughing as you say good-bye." In this instance we would say, "Always leave 'em hungry for more as you say good-bye, Abe, old boy, and you can't go wrong." HARRY BURNS.