Photoplay (Jul - Dec 1933)

Close-Ups and Long-Shots AFTER all the talk aboutGreat Britain's seizingHollywood's film crown — by capturing Hollywood stars and imitating Hollywood production methods — this comment by Jack Buchanan, of the New York and London musical comedy stage and American and British films, has some significance. Buchanan, who has just finished a film in England, in which he triples as producer, director and star, says in an interview with Photoplay's London correspondent: "Speaking from an actor's viewpoint, I say Hollywood is the one place in the world where perfection in picture-making is most nearly attained." And he attributes this to "Hollywood directors as a whole." Ti "T'S all very well to say it's the star who draws 'em .in," he goes on. "In Hollywood it's the director who makes the star. If anybody doubts it, let him reflect on what has happened to the American stars win > have come over here to work in British pictures. "Almost without a single exception, these American stars have been shockingly bad, their performances in the chief role enough in itself to account for the failure of the picture. Yet those same stars — in Hollywood — with capable direction — make 'comebacks' that regain them their lost popularity in England." JUST one man's opinion, but it is strikingly like that expressed by other motion picture actors. Buchanan believes that the greatest weakness of English films — indifferent direction — will eventually be remedied. But meanwhile Hollywood continues its world domination. THE best army will lose a battle with an incompetent general. Eleven star football players are helpless without a good coach. Comparisons like that apparently clinch Jack Buchanan's argument. But what becomes of the tradition that occasionally an actor makes a director? and by the public largely with curiosity, she emerges from this labyrinth as an actress of distinction. Only twenty-two years old, she finds herself entirely at home in the company of as distinguished a casl as either Hollywood movies or the American speakingstage has ever assembled. Tf you want to sec a most promising star in ascendancy, you must not mis., Harlow as Kitty Packard in "Dinner At Eight." Ability is not enough to succeed in this world. It must be attended by character and fortitude. I believe that Harlow has these attributes and that a great career lies before her. May her recent marriage to photographer Harold G. Rosson remove from her life the last trace of tragedv. GET ready, Paris! Mae West is on her way. As soon as Mae finishes her personal appearance tour, she starts for gay Paree where they've simply gone Mae West mad. Not since Gaby Deslys has any one person taken such a hold on the Parisian fancy. Her costumes from "She Done Him Wrong" have taken the fashionable capital by storm, where Mae West parties are the rage of the hour. Her influence will be felt in every little frock and gown that come, out of the fashionable dress shops. "I always did want a duke or something," Mae winks, "so I thought I'd kinda look the place over. I've never been abroad before." CHICAGO is out of the red. "A Century of Progress" did it. In one hundred days the Fair brought over fourteen million visitors. Not a single picture theater is "dark." Mortgages have been lifted, fear of bankruptcy vanquished, and showmen are tossing their surplus money into the banks. Double queues in line for admission twist themselves around the block. What every city, town and hamlet in the United Slates apparently needs is a Fair the year round. JEAX HARLOW is an amazing young woman. Introduced to the screen world four years ago as the epitome of sex; exploited because of her crowning platinum glory; dragged through a terrible personal tragedy, regarded lightly by the critics as an actress, TALK about your choosy stars— aboul your trick contracts! Not even Garbo, Colman or Ann Harding can compete with Primo Camera, the " \ ast Venetian" heavyweight champion who is making his screen debut along with Max Baer in "The Prizefighter and the Lady." 25