Moving Picture World (Jan-Feb 1927)

MOVING PICTURE WORLD 333 January 29, 1927 IT looks as it the panic is on, theatre wise, in the rush they’re all making to get Vitaphones installed. A tew months ago, when Warner Brothers were having their own troubles, a deal was proposed whereby several of the leading companies were to take over substantial blocks of Vitaphone stock, for a big cash consideration, of course, and get in on the ground floor. But they all wanted “exclusive” rights in certain territories and these the Warner boys, hard pressed as they were, refused to give up. About that time, also, the merits of several other reproducing devices were loudly proclaimed to the world and the “big fellows” decided to hold back and await developments. Now they wish they hadn’t. Within the past fortnight, the attorney of one of the biggest companies is said to have approached officials of the Western Electric Company in an effort to reopen the former negotiations. The answer he got was in effect that as Warner Brothers had had the headaches, they were now entitled to the rewards, if any, and the company he represented, big as it was, would have to come in on exactly the same terms as the little theatre owners. Who says this isn’t a great business ? * As one of the reportorial galaxy who invaded Nathan Burkan’s Fifth Avenue home to interview Charlie Chaplin last week, we were shocked, not to say pained, to find as we took our leave, that some enterprising young newspaperman had left first with our new malacca handled, five buck umbrella. It was some comfort to find that the three pound package of specially blended coffee we were carrying home for the family and which we had placed carefully under our coat had been overlooked. There were present in the Burkan apartment some thirty alleged newspapermen, fifteen or so photographers and one press agent, besides Mr. Chaplin’s immediate entourage and Mr. Burkan, who remained behind in the apartment. We followed the press agent out and whatever our suspicions may have first been, as he did not carry our umbrella, no indictment can be found against him. Consequently, the responsibility for the crime (if any) rubs off on the reporters, for no one yet ever saw a newspaper photographer carrying a storm stick. It grieves us to think that the modern reporter is more enterprising than the old-timer. In our day the prized crayon portrait on the mantelpiece or the family album might been treasure trove to delight our city editor on our return to the office, but an umbrella — never. Our only hope is that it was not a reporter, but some souvenir hunter who “crashed the gate" and copped our parapluie, thinking it was Chaplin’s. * Quinn Martin, film-play critic of the N. Y. World, whose judgment we esteem highly, declares that Emil Ludwig’s “Life of Napoleon,” published by Boni & Liveright, “ought to make a great cinema.” Without doubt he is right, for almost any phase of the great Corsican’s colorful and dramatic career lends itself to cinematic reproduction. But surely, Mr. Martin cannot have forgotten that Abel Gance, most gifted of the younger French directors, is only now completing a film version of “Napoleon,” upon which he has labored for several years past, the American rights to which it has been announced, are owned by Metro-GoldwynMayer ? To have two Napoleons on the screen at the same time, would be almost as bad as having them around in real life, so whatever the cinematic possibilities of the Ludwig history may be, it is to be hoped no producer will rashly at once decide to follow Mr. Martin’s excellent suggestion. * W. E. Atkinson, who safely steered the good ship Metro over many a perilous shoal in the days before Marcus Loew bought that company and before it was known as M.-G.-M., is a man the trade seldom hears about, but who is constantly doing big things. As vice-president and general manager of the Roxy Theatres Corporation, the same job which he held down with Metro-Goldwyn, he is now helping S. L. Rothafel, and Herbert Lubin to complete what will be not only the biggest movie theatre in the world, but one which is going to give every branch of this industry some new things to think about. * Conrad Veidt, great German actor, is with us again, arriving on Monday on the S.S. Deutschland. This time Herr Veidt brings with him his family and some of his most valued household goods, for he intends now to make America his home for some time to come. He goes immediately to Universal City where Carl Laemmle has big plans for him in the Universal production activities of the coming year. * “Laugh Month” now being over and the successful publicity campaign, which preceded it, coming to an end a fortnight ago, Ben H. Grimm has laid aside his editorial cap and bells, as national laugh promoter, and has found a comfortable place for himself with Lou B. Metzger of Universal. Ben will edit the Universal sales organ “U-SellEm,” among other things, and his peppy copy will now be confined to the high-powered salesmen, who extol the merits of “Uncle Carl’s” box office products. Schuyler Grey, who is editing and titling the final episodes of his latest serial “On Guard,” which Pathe is releasing, says that it is a great thing to have the whole U. S. Army behind you, when making a picture. Doubtless, he is right, but in times past and it may be in days to come, a lot of folks would much rather have the army in front of them, than behind. IF Nicholas M. Schenck, Howard Dietz and other M.-G.-M. executives seem a bit elated this week, don't be surprised. Two new Broadway records in the same week for Metro-GoldwynMayer productions is the cause thereof and though new records are by way of becoming an old story with them, all the same they cannot help feeling a proper pride when each fresh one is hung up. This week marked the sixtysecond on Broadway for the “Big Parade,'* which has now outdistanced the sensational record held so long by Cecil B. DeMille’s “Ten Commandments,” and is still going strong. The other record was made by “The I3«g Par&de Flesh and The Devil” with Jack Gilbert and Greta Garbo, which the Capitol held over for a third week, the first time this has happened to any picture in that theatre’s seven years of purveying superior screen entertainment. It is even whispered that this noteworthy picture would be held over for still another week, as far as its attraction powers are concerned, but for commitments already made by Major Edward Bowes, manager of the Capitol, who will watch its passing regretfully. Howard Dietz, however, would tell him not to worry, for M.-G.-M. has several other good ones coming this season, unless our inside information is in error. Metro-Goldwyn-Mayer’s list of forthcoming program releases is said to contain several of real “road show” size and quality. * Harry Aitken, whose vision, a dozen years ago in this business, gave a tremendous impetus to the development of motion pictures in the screen classics made by Mutual and Triangle, companies which he organized and headed, may shortly be in the motion picture limelight again. Rumors persist that a new company, which will take the name of the old Triangle, has been formed, whose activities will be national in scope and will include production, distribution and theatre-operation on a big scale. Harry Aitken has always rated high as an independent and his return to active participation in motion picture matters is sure to augur many interesting developments in the present trend of the industry. In the past he has always done new things in an original way and if the reports current have any foundation on fact, it can be depended upon that many surprises are in store for the industry.