Hollywood Filmograph (Jun-Aug 1929)

July 20, 1929 Four Thousand Cheer Speakers At Meeting Chairman Rap For Order; Beery in Audience (Continued from Page 3.) 22 hours rehearsing one number and shooting another at the same time. Parts of her letter were omitted in which she told of certain abuses which the girls were forced to bear. Mr. Gillmore repeated parts of the speech given by Reginald Denny over the Equity radio hour. "If there be any big star or contract player listening in at this time," said Mr. Denny, ."let him remember that he should not desert his less fortunate brother and sister now. The great American public has its ideals and if you would hope to maintain your standing in their eyes you must live up to similar high ideals. If you do not do this, perhaps they will not let you enjoy the high salaries you are now receiving." Mr. Denny on the final day of his shooting just prior to leaving for Honolulu, had this to say, "When I come back and make my next picture it is going to be with an all-Equity cast. Those of you who may not be members and wish to be with me had better join, and if any of you cannot afford to do so just now, I will advance you the money necessary for the fees." Central Casting Hit A scathing denunciation of the Central Casting Corporation was hurled in a letter signed "The Stepping Stones of the Studio— The Extra." The letter said in part, "We hope and pray that Equity will find a way to purify the putrid group known as the Central Casting Corporation." A recital of the injustices heaped on the extra groups followed in which the writer told of salary reductions, insults and humiliations and the favoritism shown to friends of the casting bureau. Almost every extra in the house shouted approval as Gillmore concluded the reading of the letter. Promises Adjustment "We have all heard pre-election promises," said Mr. Gillmore. "It has been my most ardent desire in this struggle to always tell the absolute truth and to promise nothing that cannot be fulfilled. We are no magicians. We cannot wave the wand and in a moment bring about a beautiful country and a promised land. Equity is pledged to remove all of these ills and when we have won the good fight we will take up each grievance in order and attempt to remedy them. Equity did those things for the legitimate stage and it will do it for this industry. I do promise you that, although the casting problem may not be the first thing to be taken up, it won't be the last. We can alleviate the sufferings of our fellow actors by understanding their problems but we cannot cut down a huge forest, a forest which represents the abuses in the motion picture business, with a single stroke of the axe. You can trust our organization to bring about a change in all of these unpleasant conditions." Otto Reinstated The parable of the ancient King who had allowed his famous weavers, musicians of the court and others to organize for self-protection and then refused to right to the artists who created the beautiful urns and canvases, was used as an illustration of the present battle. The parable closed with the words, "And so the artists, having been refused the right to adjust their difference, withdraw from the palace and laid aside their brushes." "I will soon be able to relate to you the sequel," said Mr. Gillmore significantly. The reinstatement of Henry Otto, ordered suspended last week, was announced amid great cheering. Mr. Gillmore explained that while the organization had to be hasty in ordering these suspensions, it was always ready and willing to rectify any errors. In the case of Mr. Otto it was explained that the actor had not had an opportunity to answer the charges against him. When it was satisfactorily shown that he had not violated the rules of Equity he was withdrawn from the unfair list. Two more actresses were suspended at Monday night's meeting. They were Miss Phyllis Crane and Miss Eugenie Besserer. Claude King, a British actor, who has been a member of Equity since 1919, issued a plea to all actors and actresses of English birth to rally to the battle-cry of Equity. "There are a few — thank God, a very few — of them who have not aligned themselves with our organization. In England we, as youngsters, are taught to play cricket. We are taught to achieve the result. Individual effort does not count except for the final victory. You 'play the game.' In 1914, at the outbreak of the war, there were some English actors who thought it would be a great time to come to America and seek engagements. I remember two who left for the United States, and in 1919, when I arrived in New York, I met one of them. We had always been close friends, but he shunned me. He is now a drunken bum. The other actor, while still a star, is a lonely, desolate figure. "Inside of all of us there is a heart — a soul — or whatever you wish to call it. Every now and then that soul says, "Who am I? What am I doing, and what have I done?' In this fight the British stars have been missing from our ranks. I want them to come out and play cricket — 'play the game.' I know you will all assure them a hearty greeting at our meetings. Yes, they should all be here, but I am afraid there is a wretched little worm in the back of their heads telling them it is not expedient. Some day they will be asked, 'What did you do in the war, Daddy?'" Jetta Thrills Throng Mr. Gillmore introduced Jetta Goudal next and she received tremendous applause. A series of clever little quips had the audience in a hilarious mood. "You know, I think this is a very good time for a vacation," said Miss Goudal. "It is so hot " In relating her experiences in talking over the radio, she said: "When I am here talking I know I am among friends, but over the radio I do not know how many enemies are listening in." Miss Goudal then grew serious. Continuing, she said: "Whatever changes come in life, spring up because of necessity. Traffic rules and traffic cops were a necessity. Now we need traffic rules and traffic cops in the studios to protect the owner of the Ford as well as the owner of the RollsRoyce. Give Till It Hurts "In talking with a contract player, I was told that we must all have our vacations. Well, perhaps we can arrange the contract in such a way as to give the contract player a vacation and save the producer money at the same time. We know that the contract player only works about 32 weeks out of the year. In a business deal there is no place for charity. Whenever we work it is a plain business proposition. Back in the middle ages the actors depended greatly on charity. But this is a modern day, therefore that is out. Another star said, 'But we are not laborers and should not be unionized.' Perhaps we "TAKE IT OFF" (Actors' Equity News, July 8, 1929) The AMERICAN FEDERATION OF LABOR publishes journals. Throughout the United States news of general interest is sent to local publications, just as syndicated articles are sent to daily newspapers. The PICTURE SITUATION is of general and particular interest to them just now. It is being reported on, and certain suggestions are being made. Close tabs are being kept on certain PICTURE PLAYERS. THERE IS NO LACK of pictures to select from for the motion picture fan; the regular attendance at picture houses is largely composed of relations and friends of people who receive these journals, and artists' names that have figured prominently in statements in the papers detrimental to Equity may find their names in electric lights have lost some of the drawing power at the local community houses in the cities and towns of America. Last week at Pittsburgh a picture went on the screen. The star was one of those who had given out a statement, one of those on our list. First there was silence. Then from somewhere came a HISS. From somewhere else a groan. Then another hiss. Another and another, till it became general. Then a cry of: "TAKE IT OFF!" THE PICTURE WAS STOPPED; ANOTHER ONE WAS RUN. There will be batches of "fan mail" soon that won't bear reading. are not laborers, but we are certainly WORKERS. We talk about art with a capital 'A.' I would just like to see what would happen if we actors and actresses waited for the inspiration to come — regardless of time. Actors' Fund Low "At a meeting last week one speaker said we are the oil of the machinery. I differ from her. We are not the oil — we are the wheels. The oil is the money — the almighty dollar. "I talked with Douglas Fairbanks on the set the other day, and he told me that only $25 remained in the Motion Picture Actors' Relief Fund. Think of it— only $25 left! That could never happen in any labor union. When we finally get our union — and we will, of course — we must each contribute a small percentage of our salary to protect the sick and aged. Then I asked Mr. Fairbanks who had contributed to the fund, and I found that some who had wealth enough had not donated. Some of them say, 'Why give money?' Did we not during the war, the biggest and smallest of us, ask for money to aid the cause, and was it not freely given? Now, it is just that famous 'manana' business — procrastination! I just looked that up in the dictionary. "Now, we must give to our cause. Give of your own free will, my friends. "If you don't give — I'll come back and haunt you!" Makes Fine Speech Lawrence Grant was introduced and received a great welcome. "My absence from these meetings and along the boulevard has been noted," said Mr. Grant. "There has been some whisperings about it, and for the benefit of those who have insinuated that I am an Equity dissenter I wish to say that three weeks ago I underwent a surgical operation and have only been out of bed since last Saturday. I would rather have my body on a hospital cot than be numbered among those on the suspension list. I would hate to be branded as a deserter. I want to sleep comfortably at night. I want to be happy with a good conscience. I have to live with myself, so I want to be deserving of the respect of all men. I want to be self-respecting and conscience-free. Flays the Producer "I have viewed this struggle through the physical calm of a bed. It has pleased me greatly that there has been no rancor or evil speaking by parties on either side of the controversy. There is also much humor in the newspaper reports of the affair." Mr. Grant quoted from an editorial in the Los Angeles Times in which it was stated that the open-door policy had been pursued by the producers. In commenting upon the editorial he said: "Yes, it has been an open door, all right... Mr. Beetson swings it one way and slams the actor on the nose, and then when it swings back Mr. Will Hays swings it the other way and hits him in the back of the head." The early newspaper statements signed by stars who were speaking in behalf of the producers elicited caus