Inside facts of stage and screen (February 8, 1930)

PAGE TWO INSIDE FACTS OF STAGE AND SCREEN SATURDAY, FEB, 8, 1930 STANDARD BIG FILM PROBABLE Getting An Agent A matter which is given some thought in Hollywood, but not nearly enough thought, is the question of selecting an agent. And, with the continuing influx of so many new people to pic- tures, Inside Facts deems it not irrelevant at this time to sug- gest that a person think twice before putting their name on any dotted line binding them to an agent’s contract. This, by no manner of means should be understood to be a warning that good agents cannot do a person a world of good. They can, and do. It refers to those agents who are not so hot. The average person entering pictures deludes himself with the idea that “even if the agent doesn’t do me any good, he can’t do me any more harm than taking away ten per cent of my earnings.” Nothing could be further from the truth. The poor or un- principled personal representative may cost his principal thou- sands of dollars in addition to the ten per cent fees. Innumerable incidents are on the files of trade papers of agents who have worked irreparable harm to their clients by unconscionable or misguided activity. Some'agents, being “high hat” or short of temper, will offend at moments which are critical in an actors’ career. In one such instance, when the person’s future hung in the balance, the agent, being asked for some news, met the members of the press in a haughty and uncongenial manner, and the paid-for work of a high- priced press agent was undone in the twinkling of an eye. Reviews, which might have been tempered with kindness, were, instead, rather caustic; further publicity concerning the actor was waste-basketed. And all because the agent happened to feel grouchy that particular morning. There is another case even more flagrant. A certain woman Jiad just made a tremendous hit in a picture. Then she was negotiated for another picture, but she found no increase in salary offered her. She would have turned down the offer had not her agent persuaded her that she would ruin her career by so doing. She signed, and started herself on a down grade. Later she discovered that her agent had guaranteed to get her for her old salary if the studio would let him also cast the rfest^of the picture. Her career was sacrificed as bait for some fat ten per cents for the agent. Such examples could be given by the score, with the one moral outstanding—that selection of an agent is a most impor- tant matter, and one which should have the fullest investiga- tion before action is taken. Inside Facts will gladly give infor- mation on the subject to any one in doubt concerning any Hollywood agent. FILL OUT SPACES FOR NEW ALL-TIME RECORD AT MAJESTIC All records for the past 25 years'* or ever since the Majestic theatre was built, were broken last Sat- urday when “The New Moon” played- to $66.75 better than the best Saturday the house ever had. In order to get this money in it was necessary to take off the spot- light men and put them back in the booth, the orchestra was moved tunder the stage, extra seats placed in the boxes, and chairs placed down in front of the aisles. The previous house record was held by “The Desert Song,” also a Macloon-Albertson produc- tion. The last week gross amount- ed to $19,500. ,At the Mayan, the last week of “Oh, Susanna” drew $12,000. “Bambina” opened last Monday, another operetta with a big flash ensemble. The first effort of the Civic Repertory Theatre at the Holly- wood Music Box, “And So To Bed,” is being very favorably com- mented upon as a praiseworthy effort although the first week’s gross amounted to $3600. This is 'no indication, however, as most of the support comes from the sale of season tickets. Lucille La Verne at the Vine St. did $4700 for her first week of the return engagement of “Sun- Up.” The show is in for an- other week, after which will be presented “The Nut Farm” by John Brownell. The Duffy houses did their us- ual consistent business. The El Capitan drew $5700 for the clos- ing week of “The Boomerang.” Mary Boland in “Ladies of the Jury” is now current, opening to splendid business. The President closed with “The Cat and the Canary,” the last week getting $5400. Kolb and Dill in “Give and Take” are now in and selling out for each per- formance. “It Pays to Advertise” is draw- ing well at the Hollywood Play- house, getting $5400 last week. Frank Craven opens Feb. 23 in “Salt Water” at this house. The Belasco is still showing “Journey’s End.” Other houses are dark. ORLANDO TO PRODUCE Guido Orlando has just arrived in Hollywood from New York and Europe. While abroad, he ar- ranged with an Italian syndicate to make a series of features in the Italian language in Hollywood and is preparing to organize for an early shooting schedule which will probably be at Tec-Art. While in New York, Orlando made a picture featuring Natacha Ramboca, former wife of the late Rudolph Valentino. Previous to his trip East, he made some shorts here which he disposed of to good ad- vantage in the big centers. OPEN STUDIOS The Beaumont Studios of New York and Chicago have opened a branch on West Ninety-sixth street, Los Angeles, where they, are prepared to provide stage set- tings of all kinds, as well as all kinds of materials for theatres and productions either on a purchase or a rental basis. The firm is well established in the eastern cities. NEWS AT LOEW’S The Fashion News became a regular feature of the bill at Loew’s State Thursday, being given good trailer billing on the week previous. TWO NEW W. B. HOUSES Continuing their policy 1 of the- atre expansion, Warner Brothers are to build two more houses in Southern California, one in San Pedro and the other in Hunting- ton Park. Latter will have 1800 seats. The building will have six- store spaces, total cost being around $500,000. The San Pedro theatre will be a 2000 seater, and the building will have six stores and 12 offices. Cost will be ap- proximately $600,000. B. Marcus Priteca, who was the architect for the Pantages houses, will be archi- tect of the W. B. theatres. CHESTERFIELD ACTIVE George Batchellor, president of Chesterfield Pictures, arrived last week from New York prepared to go immediately into production with six features in sound and dia- logue. Edgar Lewis will direct. The shooting will be done at Tec-Art. ORANGE SHOW ACTS Three hundred acts are being furnished by Ira Ga 3 '- for the San Bernardino Orange Show. Music will be provided by the Interna- tional Orchestra of 20 pieces. BREAK FOB EXHIDS IFC0NFE0E1CES ABE SUCCESSFUL Good cheer for the independent theatre owners was in prospect in at least one respect this week. That is as regards the standardiza- tion of wide film. Word was that the big producers were practically agreed to standardize the film, through conferences now negotiat- ing the various points involved. The move would at least give the theatre owners a better choice of product after they had gone to the expense of equipping their houses with what promises to be the necessary equipment for the next big innovation in picture making. The word was that the pri?- ducers, some of whom at least are thus far against the whole matter of wide film, were getting to- gether in a compromise" of the various new film widths and, when manufacture in quantity lots got under way, would all be using the same size. RKO and Fox are al- ready going into this species of production, with others understood to be ready to follow whenever they deemed it advisable, all their equipment being practically ready. Probably 70 mm Present indications are that the standard width adopted will be the 70 mm. Reason for choice of the latter is that the film manu- facturing companies now put out film in the first process in the 70 width, before cutting it down to the standard 35 mm size. The producers holding out against shooting on wide film have deemed it a most inopportune, mo- ment from an exhibitors' view- point to levy other equipment taxes on them. With a majority of them still under heavy in- creased expenditure for the talkie equipment, it was felt the further burden would have a decided ten- dency to drive many of them com- pletely out of business. However, with some going ahead with the big film, it is felt that all will have to join the procession, pro- vided, of course, that the big pic- tures hold up to the sensation they are expected to make. Bound to One Co. So those who have the interests of the indes at heart insofar as they think it advisable to keep them in the exhibition end, are reported to be making strenuous efforts at standardization to at least salvage for the exhibs the costs which might otherwise mount up to many times the one cost if they attempt to equip for the various size films which are now projected by the various companies. If standardization fails, and an exhib is forced to choose of the many possible differing equipments, he would then virtually be bound over to use the product of the company sponsoring that form of equipment to that indefinite time when he could afford to re-equip his house with a different equip- ment. WARNER BROS. LOOK SET FOR BIGGEST SEASON Four productions are underway, six others preparing to start and an equal number in the hands of the story department at Warner Bros. There is every indication that this season will prove the busiest in Warner history, accord- ing to studio execs. Pictures now in production are: “Viennese Nights,” directed by Alan Crosland, with Alexander Gray and Vivienne Segal in the leading roles. “Dumbbells in Ermine,” from the play “Weak Sisters,” directed by John Adolfi and featuring Bob Armstrong and Barbara Kent. “Courage,” from the stage play of the same name/with Belle Ben- nett, Marian Nixon and Rex Bell featured and Archie Mayor direct- ing. “The Second Floor Mystery,” with Grant Withers and Loretta Young, directed by Roy del Ruth. ■ Productions soon to start are: “Those Who Dance,” with Sue Carol, directed by Ray Enright; “Playboy,” with Frank Fay, di- rected by Michael Curtiz; “Three Faces East,” with Eric von Stro- heim, directed by Roy del Ruth; “Fame,” which is to star Pauline Frederick, directed by John Adolfi; That Newest Story Hollywood has found a new theme and is going to it foot, horse and cannon. It is a cross between the classical recitation of Orpheus and of the Pied Piper of Hamlin. The theme is none other than that of voice sex appeal. Lawrence Tibbett, a Russian Robin Hood who should be de- spised by the aristocracy, nonetheless has such a golden voice that a princess finds it an allure she cannot resist. That’s “The Rogue Song.” Ramon Novarro, a hated Bonapartist, has a golden tenor which makes a noble lady of the Ancien Regime overcome all her scruples of the sans culotte and at last sink into his arms lovingly. That’s “Devil May Care.” Maurice Chevalier has such a potent note in his voice that a queen who has defied a whole nation in refusing to marry, cannot resist it, and Maurice becomes king consort. That’s “Love Parade.” Two out of three of these pictures are very good entertain- ment, to-wit: “The Rogue Song” and “The Love Parade,” and the fact that they are here catagoried does not mean other- wise. But it is a warning to Hollywood that the plot of the Irresistible Voice is one which is already commencing to be used overtime, and a wise industry would restrict it to cease where it will do the most good to their ablest singing stars. Otherwise we are going to have another deluge of similarities, not unlike that which finally made many a movie patron, having seen several score slight variations of it, curse the day that “Broadway” was conceived. And college stories were given the same treatment of being sent many times too many to the mill. Of course, a scenario writer assigned to write about a golden - voice first thinks' of such a voice as proving irresistible to the lady’s love. That’s 4 a Hollywood natural which doubtlessly is hard to resist. It’s as obvious a way of selling great respect for the star’s voice to an audience as was Conan Doyle’s method of selling Sherlock Holmes’ keen mentality through the “ohs” and “ahs” of the somewhat dumb Dr. Watson. Humanity is inclined to “oh” where others “oh” and to “ah” where others “ah.” But before long, it looks like a good, bet now, every second-rate singer in Hollywood will be given this plot as a vehicle, and then will come volleys of those unwelcome razz- ing laughs from the audience. It is a plot which should be handled as carefully as dynamite, and about as often. RECORD FIGURES AND WEAR B. 0. IN PICTURE HOUSE WEE Picture house business was on - the up-and-down during the week, some houses doing records and near records and others on the shady side of house averages. The best figures were turned in by M-G-M’s “The Rogue Song” at the Chinese; M-G-M’s “Anna Christie” at the Criterion, and Paramount’s. “Love Parade” at the Paramount. Principal among those in the not-so-good class were M-G-M’s popular priced run of “The Holly- wood Revue” at Loew’s State; U. A.’s “New York Nights” at the United Artist, and First Na- tional’s “Dark Streets” at the RKO Theatre. Lawrence Tibbett’s voice con- tinued to pull them into the Chi- nese at a great rate in the second week of “The Rogue Song.” For a second week it was a record at $36,453, and looks set for many a stanza yet to come. A stage show featuring Abe Lyman’s band has been installed at this house for the run of the picture. Garbo Goes Big Greta Garbo’s first talkie, “Anna Christie,” fulfilled expectations by writing- a new record for the Cri- terion, the Swedish emotional ace pulling in $28,565, with the cus- tomers still stacking up ' during the current week. All-screen pro- gram is in support. Maurice Chevalier in Para- mount’s “The Love Parade,” a tuneful melange of comedy, ro- mance and s. a., did the splendid second week of $30,000 at the Paramount, with a third week to follow. This house is all-screen except for the singing organist, Milton Charles. “Burning Up,” a Richard Arlen vehicle, is to follow. “The Hollywood Revue,” M-G- M picture which had its first run at the Chinese, wasn’t strong on the repeat at Loew’s State. The best it could do was $20,048, some $7000 to $8000 under house aver- age. Fanchon and Marco’s “Trees Idea” was in support. RKO at $16,000 The RKO Theatre went some '$1500 under average with a $16,- 000 week on First National’s “Dark Streets,” having Jack Mul- hall and Lila Lee heading the cast of a stereotyped underworld cop- and-crook film, and the usual num- ber of vaude acts. Rudy Vallee’s Radio Pictures’ vehicle, “The Vagabond Lover,” is the next screen feature, to be followed by Columbia’s “Wall Street,” with Ralph Ince and Aileen Pringle. Norma Talmadge’s first talkie, made for U. A., was weak at the United Artists Theatre, its * sec- ond week bringing in only a mediocre $13,400, and it was taken out in this stanza to make way for “The Locked Door,” now cur- rent. The Warner Brothers houses just about held to average, the downtown spot taking $17,500 with the last week of W. B.’s “Show of Shows,” and the Holly- wood house drawing $14,000 on the last five days of Marilyn Mil- ler’s W. B. picture, “Sally.” Rich- ard Barthelmess’ First National film, “Son of the Gods,” opened at the downtown house with a gala premiere Saturday night, and Pauline Frederick’s W. B. ve- hicle, “The Sacred Flame,” opened in Hollywood. Big Egyptian Week The two-run Radio Pictures, “Rio Rita” and “Hit the Deck,” held up to good figures consider- ing the length of their showings. “Rio Rita” garnered $7434 in its last six days at the Carthay Cir- cle, and “Hit the Deck” did $9500 at the Orpheum in its fadeout week. Ramon Novarro’s M-G-M film, “Devil May Care,” followed in at the Carthay, and “No, No, Nanette” went into the Orpheum. The Egyptian, which is making a habit of having big weeks re- cently, had another with “Sweetie” and the “Ivories Idea,” getting $12,159. The Boulevard slipped down again after a big week with “They Had to See Paris,” and got only $6750 with “The Very Idea” and a stage show. Fox’s “Sunny Side Up” followed. “Sweet Kitty Bellairs,” directed by A1 Green, and “Moby Dick,” star- ring John Barrymore, directed by Lloyd Bacon. Other productions planned for the near future include starring vehicles for A1 Jolson, George Ar- liss and Winnie Lightner. WALLACE RE-SIGNED Richard Wallace has signed a new contract at Paramount. “DECENCY” FOR MAYAN “Decency,” a drama by Arthur Gregor, is booked to open at the Mayan _ on February 24, following “Bambina.” It will have for its cast Brandon Hurst, Pat O’Mai ley and Dorothy Burgess. Robert Milton is directing. Greta Granstedt has been cast in a role in Tiffany’s first picture ■with Benny Rubin.