The Moving picture world (January 1920-February 1920)

February 7, 1920 THE MOVING PICTURE WORLD 879 Rubbernecking in Filmland A PROUD week. Filmland is the subject of flattering pieces in the press, not written by press agents. Articles anent our greatness adorn the fair white surfaces of the Morning Editions, and the Evening Green Sheets pat us on the back with thirty-six point pyramid heads. The Chamber of Commerce has stepped out with a statement that deluges the public with data, flabbergasts it with figures, and staggers it with statistics of the magnitude of the Movies. We quote a few of the figures. The forty studios located in our fair city and the environs immediately adjacent are valued at more than twelve and a quarter million dollars. Ten thousand people find more or less work in the film plants. Three hundred and eighty-four thousand six hundred and fifteen dollars and six bits are paid out at each weekly walk of the studio ghosts. And that is not all. Cannot Supersede the Orange. We are greater than the orange. The orange has long been the symbol of California's greatness. Other things have tried to supersede the orange, but they have always failed. The lemon tried to squeeze its way to the top in vain. The fig fizzled out after a short fight. The grape gasped its last long ago. The bean was winded early in the race. The prune, after worming its way along the course for years, dried up and quit. We quote from an editorial in the Evening Herald : "Fifty millions of dollars is the estimate placed on the value of the films produced in this city in a year. That is approximately equal to the entire value of the orange crop of Southern California." It remained for the movies to push the orange from its proud perch. I went out to Brunton and called on Harry Rapf, manager of the western «nd of the Selznick organization, one day this week. Mr. Rapf has two productions going at full blast — "Blind Youth," under the direction of Ted Sloman, and "The Chil Avaunt Thee ! Proud Orange. Hail! Hail! The Movie as California's New King. By Giebler dren of Destiny," with George Irving at the wheel; and by the time this gets into print, Wesley Ruggles and Owen Moore, who have just arrived on the Coast, will be shooting on Owen's new film, "His Word of Honor." Gets a Good "Butt." Mr. Rapf said he feels that both "Blind Youth" and "The Children of Destiny" are going to be superfine productions when they are finished, and suggested that I go over to the studio and have a look at the sets. He cracked open a new box of cigars, and I lighted up the first smoke that I've picked up since Christmas that didn't taste, look and smell like a holiday rope, and went over on stage five, where "Blind Youth" was on the fire. Alfred Green started to make "Blind Youth," but got sick, and Ted Sloman, who had just finished directing Bessie Barriscale, and was getting himself all set for a little rest, was called in to finish it. McGrall Is Some Actor. Walter McGrail, who plays the lead in the picture, and Claire McDowell were working out a scene when I arrived. Mr. McGrail was wearing a dressing gown. According to my mind, any actor who can be dramatic in a dressing gown is some actor, and Mcgrail was getting away with it in great shape. It's hard to judge a production by a little peep at a little of the action in the studio, but there was that air of smooth work, confidence in the director, and an atmosphere of everybody being satisfied witn their parts, and all doing their darnJest, that you do not see in every film when it is being made. Taking all this, and the fact that "Blind Youth" is a big story, into consideration, I am willing to back Harry Rapf up in his statement that the film is going to be a whale, whether he ever gives me another cigar or not. They've got a dandy cast for the story; in addition to McGrail and Miss McDowell, there are Colin Kenny, Ora Carewe, Leatrice Joy, Clara Horton, Leo White, Joseph Swickard and Buddy Post. Bear of a Musician. "Blind Youth" was the only one of the Selznick productions I was able to see, however. When I got over to the stage where George Irving is making "The Children of Destiny," with Edith Hallor in the leading role, the place was deserted. But I'll get George yet, see if I don't. After this I met George Hackathorn, leading juvenile, who told me about having just finished a good part in Lois Weber's latest production, and George and I stepped in on the glass stage and watched William Park directing Bessie Barriscale in a Greenwich Village story about a musician who was a bear on the fiddle, but didn't have gumption enough to keep from falling for the stuff of the lady heavy of the piece. A story with kids in it and a lot of tender stuff about the woman who understood and brought happiness out of misery by her understanding. A fine vehicle for Miss Barriscale. Forrest Stanley plays the opposite lead, and the fiddle. Thomas Holding is the husband of the lady heavy, played by Dorrthy Cummings. The four kids are Stanton Williams, a fat, cute little rascal, Mary Jane Irving, Gloria Holt and True Boardman. Does that name bring back memories? This True Boardman is the little son of the True Boardman of fame in "Stingaree," and many other films. The '4\ Now That We've Got 'Em All Here Together We're Gonna Spill the Whole Thing About these picture folk who will make Pathe's serial, "The Mad Talon." From left to right are: George Seltz, director; William N. Bailey, male lead; Juanlta Hansen, star; Wallace McCutcheon, mystery character, and Warner Oland, heavy. They're off!