Pictures and the Picturegoer (Jan-Dec 1925)

60 Picture s and Picture poer AUGUST 1925 PICTUREGOER'S GUIDE {Continued from page 58.) Pagan Love (Western Import; August 10). An " East is East " drama set in Bowery Chinatown based on an Achmed Abdullah story. Mabel Ballin, Rockcliffe Fellowes, Charlie Fang, and Togo Yamamoto and Nellie Fillmore act well. Director, Hugo Ballin. Sombre screen fare. Paddy-the-Next-Best-Thing (Graham Wilcox; August 10). A re-issue of a charming British screen version of the popular play, with Mae Marsh, George K. Arthur, Eva Moore, Lillian Douglas, Haidee and Marie Wright. Director, Graham Cutts. Excellent entertainment. The Presumption of Stanley Hay (Stoll; August 10). David Hawthorne and Betty Faire, Eric Bransby-Williams, Fred Raynham, Catherine d'Estene and Dora de Winton in an Anglo-Rnritanian story about a bored M.P. and a princess in disguise. Director, Sinclair Hill. Good entertainment. Ridin' Pretty (European; August 17). Western melodrama about an eccentric will and a cowpuncher who has to live up to the terms of it. William Desmond stars. An enjoyable movie. A Romance of Mayfair (Stoll; Aug. 17) A society versus Socialism romance mainly for the unsophisticated. Betty Faire, Henry Victor, George Foley, Ninna Grey, Edward O'Neill, Gertrude Sterrol, Molly Johnson, Temple Bell, Fred Raynham, Reginald Bach, and Eva Belcham. Director, Thomas Bentley. The Saddle Hawk (European; Aug. 31). Hoot Gibson in a romance of the West with plenty of thrills and action. Marian Nixon opposite also Josie Sedgwick, J. Raymond Nye, Chas. K. French, Tote Ducrow, William Steele and Frank Campeau. Director, Edward Sedgwick. School for Wives (Vitagraph; Aug. 23). Conway Tearle, Sigrid Holmquist, Arthur Donaldson, Peggy Kerby, Allan Simpson, Emily Chichester and Alyce Mills in the drama of a poor artist who marries a rich girl. Director, Victor Hugo Halperin. Good entertainment. A Thief in Paradise (Ass. First Nat.; August 31). Elaborate society drama of the South Seas and San Francisco, delightfully played by Ronald Colman, Aileen Pringle, Claude Gillingwatcr, Doris Kenyon, Alec B. Francis and John Patrick. Excellent entertainment. The Truth About Women (Wardour; August 17). A marriage-knot drama featuring Hope Hampton, David Powell, Lowell Sherman, Mary Thurman. Director, Burton King. Fair entertainment. Tongues of Flame (Paramount; August 17). A really fine picture with Tom Meighan at his best. Read the story on page 35. Up the Ladder (European; August 24). Virginia Valli in the story of an inventive husband who neglects his wife who, nevertheless saves him from ruin. Good entertainment. Why Get Married (Unity; August 3). A rather slow moving tale of two suburban families sincerely acted by Andrec Lafayette ("Trilby"), Helen Ferguson, Jack Pcrrin, Bernard Randall, Edwin Booth Til ton and Wm. H. Turner. Director, Paul Cazcncuve. Fair entertainment. INTRODUCING IVOR. course of which, there was an apache dance, a fight with knives, and a most realistic argument, ending in blows between two lady friends of " The Rat." Two gendarmes then stepped on to the set and arrested Ivor Nove'.lo. He struggled fiercely and then made a dart at the hand of one of them and bit it savagely. " Splendid ! " said Graham Cutts. Next to me sat a large fair gentleman, to whom everyone present referred as " the ham and eggs man." I don't know if he is an actor, or a mere journalist like myself, but I do know that I could cheerfully have slain him when he breathed into my ear — " Excellent actor, young Novello. You must meet him." l_Ie charged across to Ivor, who was still peacefully biting his victim's hand, and brought him over in triumph. I am afraid I scowled at them both. I thought you were " The Rat," not " The Mosquito " I said, as we shook hands for the third time. " Anyway, it isn't true to life. No self-respecting mosquito would go for a horny-handed scion of law and order, when there are so many juicylooking calves around." " Don't you know the difference between a bite and a sting? " said Ivor, severely. " But you're right about the calves." " I wonder," he continued, looking longingly at Julie Suter, who, be it known, doesn't wear stockings, " if we might refilm that scene. I'll go and enquire." The ham and eggs man had also vanished, so I sat and talked to the extras, who were an unusually nicelooking crowd, and, if Florrie Fenton, who proved a perfect mine of information be a fair sample, an unusually intelligent crowd, too. She it was who explained the uses of the contrivance on wheels and a section of railway line used by Graham Cutts. " It's to save time," she said. " Before, a medium shot and a close up had. MY TRIP ABROAD A man should be the master and the head of his house. In my country men are always the masters and women arc happier for it. At which juncture Natacha came to my rescue by ordering me to do some important thing, which I forthwith meekly did, and the tea-time talk ended jn a hearty laugh. I have been writing this down between tea and the dinner hour, while Natacha is dressing. The first gong sounds . . . more to-morrow ... I shall make it my business to bring my diary to date before I sail. Nice, October 2nd. Yesterday in my diary I told only what I was doing, inserting scraps of conversation . . . dalliance ... I like Continued from page 17. to be posed separately. But Graham Cutts hates the break in the action, so he invented this movable platform and runs a long shot into a close-up at will." " Yes," said Hal Young, the cameraman, " it spares a whole heap of time and a lot of footage, too." He told me also, that Mae Marsh had a perfect film face and so had Ivor Novello. " It's a pleasure to photograph him, because he takes well from any angle. Have you met him? I think you ought to ; I'll go and find him." For a man of his size and weight, Hal Young is unusually swift in his movements. Before I had time to stop him, he had unearthed Ivor Novello from the depths of a big armchair and brought him up to me yet again. " I say, is this a new kind of game or what? and if so, who's won," said Ivor, extending his hand, with a grin. "VY/e solemnly shook hands again, and commenced to talk about the beauties of Bangor, which is in Wales. And Ivor taught me how to say " How do you do " in Welsh. It sounds like a person of Teutonic extraction with a very bad cold in the head saying " come-out-and-chew." Try it yourself on the first Welshman you meet, and he'll probably be your friend for life. Mae Mar9h, whose scenes had been made first of all because she had to return to America, told me that Ivor Novello had written the part of " Odile " especially for her. " That is why I came over here to play it," she said. " It was commenced when Ivor and I were in " The White Rose." Did you meet Ivor? Or would you like me to introduce you to him? Say. Ivor !" Ivor, who most decidedly has a perverted sense of humour, hurried up at once. " So pleased to meet you," he announced, shaking hands overvigorously. " You've won I think. What were we playing for?" But I fled without saying good-bye. Continued from page 15. to write so ... I suppose if I were a writer I would be what they call an Impressionist . . . things are frequently most graphic when they are barely suggested ... a word ... a fragment . . . and a Whole is created. But probably a diaryist is not supposed to be a writer. . . We are to spend a day or two more here, then drive to Paris to see about taking the boat. Nice, October 3rd. VY/e have changed our plans somewhat. To-day comes a cable from J. D. Williams asking us to meet him at Cherbourg rather than in London, because he has something very important to say to us. (Continued on page 63).