Motion Picture Magazine (Aug 1928-Jan 1929)

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Lake St. Dept. 105 Chicago A wall of fame, being the lower side of a dam that Douglas Fairbanks and Mary Pickford have had built upon their Rancho Santa Fe, south of Los Angeles, It is the largest privately owned structure of its sort in the world The Solomon of the Cinema {Continued from page 40) Hollywood. It is Schenck who has rushed to the aid of numberless productions and businesses outside the industry and put them on their grateful feet again. It is Schenck who plays Father Confessor to the pictures and passions of great stars. It is Schenck who is the power behind the throne in Hollywood. Ensconced behind his elaborate desk on the United Artists lot, guarded by secretaries, assistants and managers, no detail is too trivial to escape the attention of this man of the hour. So? That assistant director was promised a raise in salary? He is to get it. There are prop boys who will tell you that Joseph Schenck has yet to break his most unimportant promise. His oral word is as good as many another man's contract. What is this about two stars on the lot quarreling over a certain sensational picture story? It is Schenck who plays Solomon. Neither of them gets it. It will be made with an all-star cast. Everybody's happy. Does Lupe Velez swear too much for a talented young fire-brand who is on her way to a glowing stardom? She must be sent for and talked to. LUPE SWEARS OFF SWEARING "TUPE," said Mr. Schenck, moving him-L / self gently back and forth in a swivel chair back of his desk, "hardly realized what she was saying or doing when she swore like that. She does not speak English so well even yet, and some one must have taught her those words when she understood it less. I called her into this office and told her she must not say such things. Lupe swore? I think she will not swear so much now." Even in Schenck's smiling words there is the note of command. Neither do I think Lupe will swear so much any more. Or not in the hearing of Schenck. You get the idea that Schenck finds the supposedly temperamental babies of the screen docile creatures after all. He has few tales to relate of broken contracts, or open rebellion. Lawyers and doctors play an unimportant part in United Artists contracts. With the problems of Mary Pickford, Douglas Fairbanks, Norma Talmadge, John Barrymore, D. W. Griffith, Lupe, and Camilla Horn you might imagine that Mr. Schenck had his hands full. But he shakes his head in dismissal at the problems and headaches of other producers. "The greater the artist, the less temperament you are likely to encounter," he insists. "Big people must have sense as well as talent, or else they cannot maintain their exalted positions. I don't say that certain flashy and temperamental actors do not get to the top; but they don't stay there. Practically every star of United Artists is a veteran of the screen. THE FORESIGHT OF FAIRBANKS '" I "AKE Douglas Fairbanks: when Doug A first came to the screen and established himself as one of the outstanding personalities, he was running neck-and-neck in popularity with Charlie Ray and William S. Hart. They were in no sense rivals, for they each had their own fields to conquer; but they were equally important. Today, Fairbanks is the only one of that group whose prestige is as great, or greater, than it was then. That is because he has not been guided by blind vanity or temperament. He has been able to read the handwriting on his own wall. There was a time in his career when Doug could easily have gone the way of the others, toward oblivion. Had he insisted on keeping to a repetition of his early successes he would now be merely a name of yesterday. But Doug said to me once, then, 'I'm off on the wrong track. I've got to make a definite switch from the things I've been doing,' and ever after that he made it his aim to give the public something a little different in every picture he has made. "I have heard people say that Mary and Doug are type-actors — just as Hart and Ray used to be. It is true they have established a character, but they have not allowed that character to stagnate and stand still. They have advanced it with the times. Perhaps it is true that Doug is always the athlete and Mary the little girl, but they present these figures in such a variety of background and plot that the public does not grow weary of them. In 'The Mark of f| 96