Motion Picture Classic (Jan-Jun 1929)

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RICHARD BLACKSTONE, N-83SFLATIR0N BUILDING, NEW YORK d by id Sett DO YOU REALLY KNOW WHAT HAPPENS Amay.lnfT. startllnK FACTS that Science has actually .lls.nvirid and PROVEN ati(]iit AFTER-DEATH anj LOVED ONES Ei"ic BEYOND itiil for Idc in ttarni.s. Pioneer Press, Dept. 136. Hollywood, Calil. (Continued from page jj) or a villain's ears, these were nailed to the wall. "Topo' the Mornin'" was the appropriate name of the show in which he was rehearsing when the click of cameras first set liis head abuzzing. 'Twixt one thing and another lie quit the stage to join the pioneer band of I^ubin, maker of balking pictures, flere he tarried for many months. And with each succeeding movie featuring his name as hero, he became more enamoured of his new mistress. The movies then are not the movies now. If you worked on a lot in those days, you might be star, director, producer and propboy. Had there been sound, you'd have doubled for off-stage noises. It was all in the day's work. And each man had thrust upon liim the once-in-a-lifetime chance to learn movie-making in all its phases. The Old Faithful Plot KING went to the Balboa outfit in which he, as director, megaphoned instructions to himself as star. In his odd moments he dashed oft a dozen stories. Eacii was titled "Who Pays?" Each had a good plot. The same one. Together he and Ruth Roland co-starred in the series. With this venture complete. King embarked upon his career as a discoverer of screen talent. He sponsored Baby Marie Osborne. And in introducing the first child star in pictures laid himself open to the dire fury of multitudes who have been long-suffering since. Together they played "Little Mary Sunshine" and another equally Pollyannatitled tale. Then King stepped out as a full-fledged producer, directing all his energies to developing the talent of his star. About this time the keen, appraising eye dug up two other potential cinema celebrities. You may have heard the names of Cullen Landis and Douglas MacLean. Stepping back into his directorial character. King guided the destinies of Mary Miles Minter through several pictures, and then megaphoned a bevy of he-man drammers starring the late William Russell. He and Big Bill were the best of pals. Not long ago at Russell's hospitable residence he unearthed some pictures dating back to those days. Bill's muscular arms were stretched above his head, and balanced on his hands stood that dignified, austere gentleman, Director Henry King. Perhaps this epoch of King's career winds up with his selection by Thomas H. I nee to direct the recent find, Douglas MacLean, in "Twenty-Three and a Half Hours' Leave." This production seems to have placed the Virginian's feet definitely upon the road to greatness, and to have faced those feet in the right direction. He was immediately retained to direct H. B. Warner, up until then known only as a stage star, in a halfdozen pictures. Following these, he donned make-up again to co-star with Blanche Sweet in "Help Wanted, Male," which he also directed. Then, after three others starring l^iuline Frederick, King again joined production ranks in an association with inspiration Pictures. David Like Himself UNDER these auspices he made the first of his really memorable photodramas. The first of his creations which is eternal. This was "Tol'able Da\id." And it is interesting to remember that it was Richard Barthelmess' first starring picture. (Juite probably this endeavor is the first favorite of its creator. 'I'here seems to have been something close akin between King and his leading character. It may be that in its composition there is some echo oi the director's b(;yhood. Tluit in David he saw again the boy who was himself back in the golden haze of (Jl' X'irginny. "Tol'able David" set the seal of success on Barthelmess. Four more followed. Then King turned to pastures green and wrought "The White Sister." This was the second of his never-to-be-forgottens. It bears the dual distinction of being the first photodrama in which Lillian (jish ever starred, and the first successful film produced h\ an American company in Italy. The entire picture was made in Rome. Scarcely had an enchanted industry ceased its praise, when King came through with the third of his immortals. Again he turned toward charming Italy, and in Florence filmed "Romola." In this third triumph he made a successful experiment which has since revolutionized motion picture photography. He shot all his picture on panchromatic stock. This was the first time an entire feature production had been photographed on the new, sensitive negative. Now it is in common use. And the formula being used is that originated by King in "Romola." Upon his Napoleonic return from the Italian victories. King immediately associated himself with Samuel Goldwyn. Then, as now, Sam was engaged in the production of photoplays for United Artists' distribution. And it was in this connection that the director evolved the fourth of his magnificent masterpieces. "Stella Dallas" swept the world, riddling records with box-ol^ce bull's-eyes wherever the affinity between screen and projector had been established. As his other efforts were the instruments through which Barthelmess, MacLean, Gish had won their places in the cinema sun, so "Stella Dallas" proved to be the wa\e upon the crest of which that elfin child, Lois Moran, rode to a fixed position in the film firmament. Greater Greatness at Hand WITH "Stella Dallas" King's bigfour cycle became complete. The glory of a lesser man might have been enhanced by his subsequent productions. "The Woman Disputed," for instance, possesses sufficient merit to have elevated another from obscurity to the heights. But even the Norma Talmadge picture was not of that excellence essential to the further gilding of King's laurels. His horizon of life is now purpled with a new dawn. He is about to attain fresh dramatic strength. A fuller directorial maturity is upon him. The flame of his genius will flare to finer fire. What he has done is mere preparation for what he will do. The great work is yet to come. It is conceivable that this is close at hand. Back with Inspiration Pictures, he has completed a picture which may well turn out to be an epic of women and war. As the story of Mars and the masculine principle has been well told upon a thousand screens, so King's latest effort, "She Goes to \\'ar," may delineate the greatest of all dramas from the feminine viewpoint. Again, this one may prove to be one more preparatory stop. The verdict remains with you who are the final judges of all artistic creation. But, whichever the case, watch Henry King. Hag Hollywood, that garrulous old witch-woman, knows all the neighbors well. And stirring the bubbles in the boiling pot of destiny she has droned: " 1 see him lavishing genius on a crucible of celluloid. His best effort is on its way." The green-eyed black .cat purrs. The oracle's voice fades like a sail at sea. But a wraith of words echoes the prophecy: "Something the world will talk about; startling; a thing inspired; just about due." I i 88