Inside facts of stage and screen (June 28, 1930)

SATURDAY, JUNE 28, 1930 INSIDE FACTS OF STAGE AND SCREEN PAGE FIVE In Hollywood"-Now By BUD MURRAY A couple of real Broadway style opening's. Ben Bemie’s big beautiful blow-out, brings Broadway’s best to Blossom Room, and Fay Bainter in “Caprice” at the Belasco Theatre. Yes, Ben is formerly of the Winter Garden, and Fay an ex- Shubert star, we were with in “The Dream Girl” in 1923, at the Ambassador Theatre. What a Maestro and what an actress respectively, then and IN HOLLYWOOD—NOW. Ben certainly proved his metropolitan standard, by the galaxy of Broadwayites he attracted to his-f opening last Tuesday at the Blos- Snacks Of Facts George R. Raymond, seen com- ing out of the Blanchard agency— he is also to be seen going in, at times—F. E. Benson figuring how he could best spend five grand—■ if he gets it—M. J. E. McCarthy pricing traveling bags—and walk- ing shoes—Earl Burtnett figuring on some new blood—and a new voice in his trio—Ralph Culver Bennett declaring the glory—Ralph Largay trying to look villainous without smiling through — Philip Morris indulging in gay repartee with Nenette Vallon—and never a laugh—Robert Griffen under new colors—the best part was going home. Lew Cantor reading plays for Universal—E. D. Patterson eating the pig and leaving the whistle— Eddy Eckels peddling the Screen Mirror—Bill Knotts receiving the Board—Ted Doner hanging out a new shingle—maestro de dance— Rudy Wintner back in town after a cool stay in the North—Eddie Peabody getting ready to wave farewell—George Hood looking_ at the box-office with a magnifying glass—Crime has been committed ■—the Hollywood Bowl being dusted off for Karl Krueger. Sam Cohn on the leg—going planting for the Jubilee—Six Hun- dred mugs figuring on how they can crash the benefit—Flo Ziegfeld looking them over along the boule- vard—from a car window—Harry Sugarman crooning into the mike ■—-Bud Lollier out-out-out—Ken- neth Daigneau reading his name in the paper—and failing to recall the incident—Dick Arlen actually autographing a picture—Edmund Goulding tuning up for the mike— and wishing it was over. Charles Ruggles staggering into Hollywood — figuratively, not ac- tually—a mug says he NEVER heard Einstein was a picture di- rector— Ruth Chatterton with a blonde wig— Among the stars present Mon- day to look over the new Motion Picture Relief Fund shop: Alice Joyce, Irene Rich, Leila Hyams, Patsy Ruth Miller, Elsie Janis, Mr. and Mrs. Fred Niblo, Mr. and Mrs. Harold Lloyd, Mr. and Mrs. Antonio Moreno, Mr. and Mrs. Holmes Herbert, Dorothy Mackaill, Bill Hart, Clive Brook, Jack Mul- hall, Johnny Mack Brown, Charles Farrell, Maurice Chevalier, Buddy Rogers, Andie Lawlor, Gary Coo- per, Dan Alvarado, Warner Bax- ter, Eddie Cantor, Lou Ayers, Bil- lie Bakewell, Conrad Nagel, Larry Gray, Frederick March, William Haines, Joel McRey. Kenneth McKenna, Ben Lyons, Rod LaRocque, Douglas Fairbanks, Jr., Dennis King, Lawrence Tib- bett, John Bowles, Douglas Fair- banks, Sr., Chester Morris. Mary Pickford, Bebe Daniels, Dolores Del Rio, Joan Crawford, Ruth Chatterton, Clara Bow, Col- WARNERS FACE CONTRACT JAMS ON RECORDINGS Contract jumping in volume on Warner Brothers contract book- ings is being discussed among ex- hibitors, brought about, peculiarly, by the desire of many theatres for better sound projection. The situation does not reflect discredit on the quality of War- ners’ .recordings, but on the policy of 100 per cent disc production which they have followed until now. In the early days of sound in- stallation, many theatres rushed to put in cheap, so-called “bootleg” equipment. For a while the gen- eral public accepted it without comment, but in course of time as they visited other theatres with high-grade equipment they ob- served the difference in quality and began to confine their patron- age to the better installed houses. When this situation became patent to exhibitors with the in- ferior equipment they grasped the opportunity given them by West- ern Electric a few months ago to change to the special low-priced installation offered them at prac- tically their own terms, and many such substitutions are now being made. This W. E. unit, however, is for sound-on-film projection only. The disc equipment costs a great deal more, and involves considerable cash outlay, which many exhibitors feel they cannot afford. But a large number of these exhibitors find themselves with a lot of War- ner bookings unplayed as yet, hence the notion to jump the con- tracts and book pictures available with the sound-track recording. Warners have recently an- nounced that they will add the film recording in their new pro- ductions, and thus make both methods available to exhibitors, but it will take some, time for these to get into general release and meanwhile the houses with the new W. E. installation must have pictures they can use. leen Moore, Billie Dove, Alice White, Pauline Garon, Carmel My- ers, Lois Wilson, Janet Gaynor, Bessie Love, Laura La Plante, Sue Carroll, Mary Brian, Mary Astor, June Collier, Louise Fazenda, Ruth Roland, Gloria Swanson, Marion Davies, Vilma Banky, Louise Dres- ser, Marie Dressier and Hedda Hopper. Gus Eysell taking promotion nicely—he’s the type that would— Joe _ Santly as m. c. at the “Swing High” premiere — Helen Twelvetrees, Fred Scott, Dorothy Burgess, Little Billy also there— whatever became—there goes the fire department— som Room. For instance, the three (we think), greatest male entertainers of the stage and screen, were there and each did a little bit. None other than A1 Jolson whom we had the pleasure of being stage direc- tor for with “Whirl of Society,” in 1912, and “Big Boy,” in 1924-S, and Eddie Cantor, of Follies and Winter Garden, and Mons. Maurice Chevalier. And stuttering Joe Frisco, ' was there. Each did a little something, and we cannot go into detail regarding the many specialties, etc., but it was the “biggest show on earth.” Florenz Zeigfeld (you remember him), opposition to Winter Gar- den, and Jack Warner and Mrs. Jack Warner, our pupil, and an- other pupil, Laura La Plante. Joe McCarthy, who is now writing at Fox and may we add, was our best man 11 years ago. Joe looks great. And a couple of the best song inventors, Jerome Kern and our friend Sigmund Romberg, “Rommy” as we knew him in the Winter Garden, and what tunes that man writes, never mind where he gets them, they sound novel and new, and kind readers, so many more of the hoi-poloi were there but we must stick to the idea of only mentioning the new- comers whom we worked with or for, and who are IN HOLLY- WOOD—NOW. And so we will stroll into the Brown Derby the next day for lunch and let you in on a table we spied, where Eddie Buzzell, that marvelous little comedian and actor, and Tommy Dugan, a young fellow wfio takes us back to the old White Rats clubhouse, with Danny Healy and Jack Inglis, whom we had out here in “Good News,” Tommy is the bane of a picture director’s life, because he knows enough to call a spade a spade when it comes to “comedy situations.” There is Ben Bernie and the family, all smiles, and why shouldn’t he be, after that opening the night before. We had our protege, Tut Mace, with Ben at the Egyptian last week, and Ben sure* put the plug in for a well- known dancing school IN HOL- LYWOOD—NOW. Rite next to us Mrs. Jack War- ner and Mrs. Rufus LeMaire, look- ing like a couple of flappers. Two more friends, Oscar LeVant and Sydney Claire, a couple of the younger set of “themie” boys, now writing at R-K-O. Charley King, with a pair of smoked glasses. Guess Charley is in pictures, al- though we go back with him to days long ago with Geo. M. Cohan, say about 1909. One of the most pleasant sur- prises we have 'had in weeks, is the welcome sight of an old timer, yes way back to the “variety” days and good old Hammerstein’s, when an act there by the name of Billy Gould and Valeska Suratt was a sort of habit, because every month or so, they were billed for two or three weeks. Well Billy Gould, looking as chipper and as dapper as ever, breezed in with a big “Noo Yawk” hello. Bill left here about seven months ago, but just couldn’t stand that atmosphere. We’re glad to see him back. We must mention how Rose Per- fect, who was with us in “Scan- dals” of 1927, warbled a couple of numbers, at Ben Bernie’s opening, and three movie directors were killed in the rush. What a voice! Dropped into B.B.B.’s dug-out, and the event was “Cauliflower Nite.” At one table, nothing but “pugs” and fite managers, includ- ing Dan Carroll, of Boston, and “Honeyboy” Finegan, his protege, also Benny Whitman, our L. A. Referee, and Frank Moran, with whom we gabbed about the old Pittsburgh days, when Frank picked up our boy friend Tom Bod- kins, now general manager for Earl Carroll, and formerly with Messrs. Shubert, and made Tom a “big shot.” Frank certainly looks in the pink. Then there was Doc Mace, the state boxing com- mission’s able doctor, who tells the fighters if they are fit to fight. At the Legion Friday night fights, noticed Ruby Keeler (our pupil), and Abe Roth, that sterling referee (and would you believe it, our pupil). Jackie Fields and Mushy Callahan were plenty peeved to know about Abe dancing, and threatened to be in next week, for a competition match (not with gloves). Bill Woolfen- den and George Riley, of the Riley and Heller comedy and singing team. Yes, George is our pupil, too. First thing you know the edi- tor will accuse this columnist of advertising, so we will say there’s two of our dearest boy friends, the “Siamese Twins,” Bobby and Bertie (Woolsey and Wheeler). They are pupils of The Mosconi Brothers who run a good dancing school, too, IN HOLLYWOOD— NOW. A very fine surprise for us this week, a very fine m. c. and a cracker-jack singer of songs, dropped in to our studios; little Nat Spector, whom we had in our first revue in Los Angeles two years ago. Nat is now at the Boulevard, where the Bud Murray California Sunbeams are breaking in for Fanchon and Marco. And don’t forget that the “Dummy” newsboy in (front of Henry’s knows everyone in HOLLWOOD— NOW, and is the only one in Hollywood who NEVER puts any- body on the pan. BOOKED COST The Blanchard Agency has booked many of the cast for “Jazz Cinderella,” a Tec-Art Chester- field production, among them being Dorothy Phillips, Frank McGlynn, Murray Smith, Evelyn Hayes, Freddie Burke Frederick and George Cowl. Also in prominent parts are Jason Robards and Nancy Welford. CANTOR IS SIGNED Lew Cantor, Broadway producer, who came here recently with plans for the production of “Top Hat,” this week signed with Universal as an associate producer. CHRISTIE SIGNS ROSS Nat Ross has been signed by A1 Christie to direct the first Christie Comedy for Educational release. Ross directed thirty-six two-reeler pictures for Universal, known as the Collegians, as well as “College Love,” an all-talking feature. He recently completed two Murray and Sidney two-reeler all-talking comedies, “In Old Ma- zuma,” and “Poison Ivee.” M-G-M STUDIOS AT PRODUCTION PEAK WITH 20 Twenty productions, both Ameri- can and foreign, are in process of completion at the Culver City plant, breaking all past records for summer production by that com- pany. An average of eight pro- ductions under way at once has been maintained by M.-G.-M. for months, and will be continued throughout the summer. Current activities include the first Grace Moore starring pic- ture based on the life of “Jenny Lind,” “Way For a Sailor,” star- ring John Gilbert; “Forward March,” starring Buster Keaton; “Remote Control,” starring Wil- liam Haines; French language ver- sion of “Olympia,” with Andre Luguet; King Vidor’s “Billy, the Kid;” “The March of Time,” M- G-M all-star eye and ear show; “Like Kelly Can,” all-star; and “The Great Day,” starring Joan Crawford. Directors preparing include Jack Conway, preparing “The New Moon” as a starring vehicle for Lawrence Tibbett and Grace Moore; William C. De Mille with the well-known best-seller, “The Passion Flower;” Lionel Barry- more, who will direct “Never the Twain Shall Meet;” George Hill, preparing for “The Dark Star,” in which Marie Dressier and Wallace Beery will appear; Edgar McGre- gor and Nick Grinde, who did “Good News;” Charles Brabin and Arthur Robison. RIVERS AT EL CAPITAN SAN FRANCISCO, June 26.— Walter Rivers succeeds A. Fulton Gillaspey as press agent at the Fox El Capitan, continuing also as lo- cal representative for a trade pa- per. Gillaspey is doing publicity for the Wagnon houses, the Em- bassy and Davies. NEW KTM PUBLICIST John Joseph Quinn has been added to the staff of KTM, to function as sales manager and pub- licity man. He has been long as- sociated with radio, and helped De Forrest put the first radio on a dirigible. This particular experi- ment was not successful, but later he was the first man to talk by radio-telephone, talking from the dirigible C-4 to President Wilson, who was at the time on the “George Washington” on his second trip to Europe in 1919. He was later in charge of the Goodyear Blimp. DOGS POISONED Jack Roshier’s famous dog act is wiped out. Activities of a dog poisoner in his neighborhood took in Jack’s dogs, and Big Boy was the only one saved. He, however, is blind and will not be able to work again. Jack is looking for some new dogs. WALTER S. WILLS STUDIO OF STAGE DANCING 7016 HOLLYWOOD BOULEVARD GLADSTONE 9502 PROFESSIONALS TAUGHT BY PROFESSIONALS Enroll now for new adults’ classes in Tap, Acrobatic, Soft Shoe, Eccentric, Waltz Clog, Musical Comedy, Ballet. Children’s Classes Start June 30 SPECIAL SUMMER RATES EARLE WALLACE Always Busy Developing Dancing Stars but Never Too Busy to Create and Produce Original DANCE ROUTINES and REVUES That Sell Belmont Theatre Bldg., First and Vermont Phone Exposition 1196 Los Angeles, Calif. T* k A ’AlURF-ftil Associates and Faculty: Gladys Murray Lafe Page Mary Frances Taylor SUO MURRAY pajEnaagiaaa 3636 BEVERLY BLVD. — Los Angeles — Tel. DU. 6721 PRACTICAL DRAMATICS—Stage and Screen ALL STYLES OF STAGE DANCING—BAL- LET, TAP, OFF - RHYTHM, ACROBATIC HARVEY KARELS VALLIE SCHOOL OF DANCING 7377 Beverly Blvd. OR. 2688 GEORGE and FLORENCE BALLET MASTER AND MISTRESS Formerly 68 Successful Weeks Producing Weekly Changes in Australia’s Largest Theatre THE STATE, SYDNEY Producers Desiring Originality WRITE or WIRE Permanent Address; INSIDE FACTS, Los Angeles SALES RENTALS SCENERY STAGE PRODUCTIONS PRESENTATION SETTINGS COMPLETE STAGE EQUIPMENT FABRICS — RIGGING — SCREENS J. D. MARTIN STUDIOS 4110-18 Sunset Boulevard HOLLYWOOD, CALIFORNIA OL. 1101 ALLES pismr MA. 1681 -224 E. 4th St., Los Angeles- MA. 1682