Picture Play Magazine (Jul - Dec 1929)

100 Continued from page 53 directed in the heyday of his career as a silent-feature genius — a magnum opus, so to speak. Plans were announced recently at a luncheon given for a group of newspaper men, and had a certain awesome character. Joseph M. Schenck, executive head of United Artists, presided. To enliven the proceedings there were songs by Harry Richman, the night-club star. Griffith himself told with emotion, most genuine and sincere, of his intention to relate a human and tender story of the great president, and one could not fail to be impressed by his deep sympathy with the subject. Griffith has wanted to do this picture for ten or twelve years. Prior to that, he had once touched on the idea in "The Birth of a Nation," the assassination of Lincoln being a significant climax in that historic event. Mr. Schenck remarked that in recent years the Griffith efforts had been confined to smaller productions, and that he was not fulfilling the desire of the public that admires his greater achievements. "Mr. Griffith's most outstanding pictures have always spelled something more than mere entertainment," he said. "They are the kind of pictures that are not and cannot be forgotten. He has been the leader in the past, and it is only proper that he should continue to occupy a position of preeminence in the future. The picturegoer expects much more of him than the ordinary director, and we feel that he should have opportunity to make exceptional pictures." Confidence seems strongly felt in Hollywood that the older and more experienced directors will forge ahead in the talkies, not only because of their experience in the studios, but because a majority of them have a knowledge of the theater as well. Old Styles Must Go! Something is going to happen to the formal dress of men in Hollywood. It's in the air. The tuxedo and the full-dress coat are beginning to pall upon the well-attired heroes of pictures when they are socially active. A 'hot summer in Southern California, with wilting collars and shirts, has led to an open advocacy of the change, and surprising as it may seem, Basil Rathbone and Ivan Lebedeff, two of the strictest adherents to Prince of Wales styles, are among the leaders in the proposal. An agreement is being reached by these actors and an associated group for the discarding of conventional garb for the white Eton, or pea jacket, at dinner dances. This jacket is like a full-dress coat, sans tails, Hollywood Higk Ligkts and if adopted will cause an upheaval in movieland traditidns. Also, like the toreador trousers of some years ago, it probably will be adopted by ail the young sheiks, with results both grotesque and amusing. This garb is not altogether unfamiliar at summer dances in the East, but thus far has not penetrated the West. Immortalized in Song. Still very much in the air is the romance of Harry Richman and Clara Bow. They agree and disagree at regular intervals, and frequently have something to say about each other in the newspapers. They are a pleasantly frank pair, and if it is true that the course of true love never runs slickly, then theirs is sure to be a match. One of Clara's latest announcements is that she will go to Europe, and that Richman probably will meet her there. Also she avers, with great seriousness, that she is likely to retire from the screen on marrying. The trend of her theories is the usual one that a wife cannot be a wife and have a career. Richman is evidently devoted, for one of the songs that he warbles these days mentions Clara's name. The song is called "Ga-ga," and one of the lines indicates that the singer has gone so "ga-ga" that he is "being a child and playing with mud pies." Now make of that what you will. At that, it is an amusing and rather clever number. Lillian, the Perplexing. Will Lillian Gish return to the screen — and when ? Puzzlement seems to surround the continuation of her career. The Reinhardt picture she was to have starred in is long since forgotten, and she herself has been absent in Europe for the summer. The latest talk is that she may do "The Swan," once produced by Paramount, with Frances Goldwyn, then Frances Howard, in the stellar role. The story is ideal for Miss Gish, and should be better in a talkie than a silent version. Now the question is, How will her voice record? Studio opinion seems favorable. Heir to Gloria Role. Ruth Chatterton is nothing if not an inheritor of great dramatic roles. In "Madame X" she was elected to do a character that Pauline Frederick once imbued with glamour on the screen, and in "Charming Sinners" she assumed a part for which Ethel Barrymore gained attention on the stage. Now, if nothing happens to disturb present plans, she will be seen in "Zaza," in which Gloria Swanson acquired honors on the silent screen. Strangely enough, there seems some rivalry for this particular picture, because Clara Bow has also been mentioned as its star. Our surmise is that Miss Chatterton will play it. Specters Rise Again. Even from the musty archives are films being resurrected for the interpolation of talkie sequences. That's a new wrinkle, incidentally — musty archives and wrinkles going nicely together. One of the first to be provided with dialogue is "The Phantom of the Opera." Lon Chaney will remain a silent character, but Mary Philbin and Norman Kerry will speak. Chaney not only has thus far declined to become audible, but he is under contract to Metro-Goldwyn. "The Phantom of the Opera" is a Universal film. War and Reprisals. A rift almost loomed in the longtime friendship of Norma Talmadge and Fannie Brice, when the latter was refused permission to enter the stage where Norma was working. The gateman chose to keep her out, because he said he had instructions to "admit absolutely no one." "All right, then, you tell Norma that she can't come over on my set, either," exclaimed Fannie with (perhaps) mock pepperiness, and went away. Very shortly a messenger arrived from Miss Talmadge's stage, urging Miss Brice to return immediately. The two stars joked about it afterward. The Shifting Gang. In the words of a studio wit, a large vacancy occurred in Our Gang when Joe Cobb left to free lance. Joe is the stout boy who has been with the comedy youngsters for six or seven years. Very often he has been their leading actor. However, Joe felt that the far field looked greener, particularly as a rival had come into, the lists, namely Norman "Chubby" Chaney. Chubby is nine years old, sends the scales up to 106, and is just a trifle less than four feet tall. Farina, who is the senior member of the company, was signed again about the same time that Cobb withdrew. It is felt that Farina's vocal powers will guarantee his success.