Picturegoer (Jul-Dec 1936)

September 26, 1936 IConcluding-I GUARD THE STARS By CHARLES C. BLAIR KI]1E]1IA ASPIRAI^T manage to do by entering bogus expenditures on the books, by overcharging themselves for actual materials purchased, and by drawing actual falaries. To keep Mr. Lovelace from penetrating the deception, one or another of the racketeers always stays by his side, advising him as the star of the picture to hold aloof from the extras and bit players who are to form his supporting cast. Frequently the supporting cast is drawn from the enrolment of a bogus acting school operated in conjunction with the studio or operated by other racketeers -with whom an agreement has been made. Mr. Lovelace, of course, believes these extras are on the pay-roll. Often, however, real players are engaged at low salaries, perhaps even an unsusf>ecting bit player of some prominence, or a former star who is willing to work for very little. Already well inflated, Mr. Lovelace's ego balloons almost to the breaking point when he beholds flashed upon the screen of the projection room the first "rushes" of himself. More than likely he is impossible as an actor, but the fact never dawns upon him. The picture is rushed towards completion. If there is any chance of getting him to make a further cash contribution, the treasury, never fear, soon requires filling. Otherwise the producer contents himself with the original sum. When the picttire is finished, nine times out of ten it is a failure. If not shelved it is released through the very cheajjest kinemas. Occasionally it happens, though, that the would-be star is not without talent, and in that event the picture when released may bring in considerable money for the producer, but not nearly enough to pay Mr. Lovelace's investment out of the pnrofits, particularly as the accounting system is all in favour of the producer. I mentioned earlier the gyp drama schools which pay attention to the talented and untalented alike. These, like Quackie Studios and like fake scenario schools operate within the law for the most part. Victims may sometimes have grounds for civil suits, but usually they have no funds, once the operators have fleeced them and dismissed them with diplomas. This is the tragedy of acting schools — that clients most times jure left both penniless and disillusioned. More than one young girl has been lured from a distant city by acting school advertisements promising jobs iter completion of a course. And more than oae has taken poison in despair, or flung herself with grim irony off the "Hollywoodland" sign erected in 60-foot letters on a craggy mountainside overlooking the film city. For the jobs prove to be in cheap productions and of short du^-ation. Students of acting schools first pay a stiff fee for a screen test. Some racketeers specialise in giving tests only. The test, is, of course, promisingly brilliant, if it is given by a school. Then there are fees for voice culture, fees for exercises to develop poise, fees for acting instructions, fees for this and that. During the course of instructions, students are often persuaded to gain practical experience by acting free of charge in such pictures as Hearts and Darts, starring Mr. Lovelace. At best, students learn little in comparison to the money expended. At worst, what natural talent they may have had is perverted. Similar racketeering tactics are practised by disreputable literary agents. Studios to avoid plagarism suits return unsolicited manuscripts unopened. They prefer to buy only published material and then have it adapted by staff writers. They do, however, read original manuscripts submitted by reputable literary agents, and while the scenario departments can tell the honest agents from the dishonest, the struggling author cannot. Hence the author with a scenario which he believes has screen possibilities and which has been returned from studios unopened, consults advertisements of literary agents in trade journals. If, by chance or intuition, he selects a reputable agent, he is fortunate, his manuscript may sell if it has merit, but will be returned if worthless as screen material. He pays a reading fee — sometimes charged also by honest agents — and he jays to have the manuscript revised and to have it copyrighted. Failing in the end to make a sale, he is urged to take a course of lessons in scenario Left : The alarm sent out by the Chief Clerk is received hy armed officers in a crviser car. Below: Mary Pickford haiuis to Police Chief Blair a cheque for charity in recognition of the protection afforded her. technique at an exorbitant rate. As in the case of the actii^ school client, he may profit soon by the advice received, or he may have wasted his money. In any event, he does not accomplish his purpose by selling the manuscript. Before passing on to touch upon a few of the mail order schemes conducted from filmland, I should like to mention how Beverly Hills as a city has adopted legislation affecting agents and prohibiting studios. While literary agents do not come under the law, employment and theatrical agencies very definitely do. It has been brought to light that in certain other cities there are wretches posing as employment agents who procure girls for white slave operators and supply companies for rich clients. To prevent this happening in Beveriy Hills, all agencies must keep records open to jxjlice inspection and any irregularity is sufl&cient for revocation of license to operate. Unfortunately, however, concerns which would not be allowed to operate in Beveriy Hills can have Beverly Hills mailing addresses. In addition to drama schools giving personal instruct '.on there are others offering to teach aspirants "How to Become a Motion Picture Actress" by mail. In return for sums ranging from £5 to £50 they send out a series of pamphlets on such subjects as "make-up" "registering emotion," "j)Osing for close-ups" and the like. These schools may be located miles away, even in another state, but, can if they desire, operate from Beverly Hills or Hollywood through a mail post-ofiBce box for six shillings a quarter. Not only brazen drama schools operate in this way, but many legitimate and shyer outfits of all types take advantage of the " pulling power" of a Beverly Hills or Hollywood address. A Hollywood newspaperman recently discovered that a North Carolina man who teaches Hawaiian music by mail operates, even in dealing with residents of his own state, through a Hollywood box. A Seattle firm, the reporter found, receives its letters in Hollywood and pays a telegraph company to forward them. Dealers in cosmetics, perfumes, hair dyes, bust developers, love jwtions, and other things which may have romantic jxjssibilities employ an alluring film city address. Astrologers, autograph dealers, jewellers, clothiers, and others who conduct a business by mail find such an address effective advertising. NEXT WEEK ANOTHER MAGNIFICENT SUPPLEMENT! NEXT week's issue of Picturegoer tvill contain a free sixteen-page full photogravure supplement of Ronald Colman's greatest triumph, " A Tale of Two Cities." This movir^ and colourful screen adaptation of Charlez Dickens's historical novel is a worthy subject for our Famous Films series. Every aspect of this great M.-G.-M. production ujill be fully covered. To \ avoid disappointment we advise all our j readers to place their orders early for the demand is sure to be tremendous. T 4 -l