Picture-Play Magazine (Mar-Aug 1926)

10 What the Fans Think Continued from page 8 "All right. Myrtle," I said, hardly able to control my excitement. 1 decided to cat my lunch early, so as not to keep Myrtle waiting. I went to Hollywood's Montmartre, where 1 was sure I'd see many stars. Oh ! What a thrill ! Next to me was Rudolph Valentino with Nita Naldi and Vilma Banky. Xita was one of my greatest delights. She was so funny and had every one laughing. Libyan Tashman came in with Edmund Lowe, and Nita yelled clear across the room to her. Lilyan came over and their conversation was accompanied by much laughter. Mae Murray came sauntering in, looking quite chic in a smart :.port suit. Viola Dana, with friend husband, came with Ruth Clifford and her husband. Across the room I recognized Dorothy Manners — also of Picture-Play — conversing with Anna Q. Nilsson and Conway Tearle. Conway wore his frown as usual. As I left, I recognized Norma Shearer, Conrad Nagel, Marion Da vies, Norma Talmadge, and Dorothy Mackaill. Dorothy's bob is so becoming ! Only by great force did I finally make myself leave this wonderful place. I must tell about Alary. Miss Gebhart and I proceeded toward Pickfair. Oh! We were seated in Mary's beautiful parlor. I could hardly keep still. I was really to see Mary Pickford. I don't know what I expected, but I was astonished and delighted when a veryblond, diminutive person appeared. // zcas Mary! How thrilled I was to have Mary clasp my hand warmly and say, "So glad to meet you. Jack." Just as we were about to leave, Doug appeared upon the scene with a leap. I jumped, but Mary laughed and said, "It's only Douglas. He's making 'The Black Pirate,' and has been acting like a pirate all day." This was accompanied by a jovial laugh from Doug. Reluctantly we made our departure, and while driving to the Lasky studio, where I hoped to gain admittance, I was kept busily occupied watching all the wonders Myrtle pointed out to me. Louise Fazenda passed us and yelled at Myrtle. Every one seems to know her. We stopped at the Lasky studio and passed through those stately portals when — oh, yes, when "Jack, it's seven fifteen. Get up or you'll be late for school." Only a dream, and I'll never know what I would have encountered within the studio of Famous Players-Lasky. It was thrilling while it lasted, though. Jack McElveny. 960 Iglehart Avenue, St. Paul, Minn. "America's Most Magnetic Lover." At last Ronald Colman is getting credit for being a great artist. "The Dark Angel" was shown at one of Chicago's first theaters a short time ago and the papers gave Mr. Colman a very nice write-up. He was advertised as "America's most magnetic lover." His acting was wonderful in "The Dark Angel." So was Vilma Banky wonderful. I should like to see more of him playing opposite Miss Banky. I like him with Constance Talmadge also. Axn M. Murphy. 3638 Lexington Street, Chicago, 111. Hurrah for the Cowboys! I can't see why everybody is so crazyover society lovers. I am not. I just love wild and woolly cowboys. I would pay five dollars to see Art Acord, Jack Perrin, Tom Tyler, or Bill Cody play. I think they are just wonderful. Nettie Cain. 309 W. Race Street, Martinsburg, W. Va. A Prediction. 1926? It shall be a year of better movies. The seven most handsome men for 1926: John Gilbert, Men Lyon, Rudolph Valentino, Richard Dix, Ramon Novarro, Lloyd Hughes, and Ronald Colman. The favorites shall be: 1st, Lloyd Hughes; 2d, John Gilbert; 3d, Richard Dix. Seven added beauties for 1926: Vilma Banky, Greta Nissen, Esther Ralston, Norma Shearer, Mary Brian, Lois Moran, Joyce Compton, and Gilda Gray. The favorites shall be: 1st, Norma Shearer; 2d, Vilma Banky, 3d, Greta Nissen. These shall have their own fans through 1926: Mary Pickford, Bebe Daniels, Gloria Swanson, Lillian Gish, Colleen Moore, Irene Rich, and Norma Talmadge. Watch these climb: Mae Busch, Doris Kenyon, Carol Dempster, Alice Joyce, and Mary Philbin. The directors for 1926: James Cruze, Cecil De Mille, Ernst Lubitsch, D. W. Griffith, and Victor Seastrom. 1926 looks rosy for: Alice Calhoun, W. C. Fields, Helene and Dolores Costello, Evelyn Brent, June Marlowe, Marian Nixon, Zasu Pitts, Betty Jewel, Diana Kane, Sally O'Neil, and Lilyan Tashman. The two coming comedians : Raymond Griffith and Harry Langdon. Can Valentino come back? 1926' shall find him a great favorite again. I wonder if 1926 will be as I have planned it? Charles Mank, Jr. 226 East Mill Street. Staunton, 111. A Personal Appearance. Rudolph Valentino has just given a personal appearance with his film, "The Eagle," which is now being shown in London. Although I am not one of his own devoted admirers, I thought it worth a two-hours wait at the back of the theater in such a crowd that I could hardly keep my feet on the ground, to see what such a universal favorite was like. I have never been in such a mass of people. The audience of the first performance waited for the second in order to see him arrive, making it impossible for any newcomers to get seats. The crowds at the back of the theater hardly had room to stand, and there were hundreds of people outside waiting to come in. Twenty minutes after he was due to arrive, he came into the royal box above our heads, where onl,y the very front rows could see him. The people penned in at the back tore away the ropes, and every one in the seats rushed to the front of the theater, but he refused to come onto the stage, saying that we should wait for his film first and see if we still liked him. Then, thank goodness, the earlier audience left and we were able to get seats, although the attendants could do nothing with the crowds, and the people who had left their reserved seats and those who had bought expensive tickets were pushed to the front, while those who had bought one-shilling-threepenny tickets sat behind. The film itself is nothing particular, though the Russian uniform suits Valentino very well. Every time he appeared on the screen there was violent clapping, but when the Czarina's order for his death was shown, the audience looked miserable and sighed heavily. Suddenly we heard loud clapping from one pair of hands in the royal box, and we realized that Valentino was cheering his own death warrant. At the end of the film he was at last brought onto the stage. I have heard that he had to get to the theater by climbing over the roof to avoid the people in front of the theater. The audience climbed over seats and fell over each other to see him. His accent is very strange. The mixture of Italian and American could not be thought pretty, but he gave rather a nice, though very nervous little speech, interrupted all through by hysterical women. He began by saying that we could not tell how grateful he felt for our applause, as he had just made a very bad picture which had been criticized cruelly. A woman: "It wasn't your fault!" Valentino explained that he referred to "A Sainted Devil," in which he was neither a saint nor a devil. A woman : "Artistic genius !" He continued to tell us that now that he had joined United Artists, he would try to be both an artist and a producer, and to win back part of the place in out hearts which he knew he had once held. A woman: "We loved you all the time!" He finished, amid shrieks of app^use, by referring to the interrupters: "At any rate, once a Britisher, always a Britisher!" In England, even "A Sainted Devil" could not diminish Rudolph's fan following, and it was a surprise to see such a popular star so nervous and so doubtful whether to laugh at the interruptions or to pretend not to notice them. The papers gave no account of the evening, which was surprising, as this was, I think, the first personal appearance made by a star in London, except for Colleen Moore's "So Big" and "Sally." But, at any rate, Valentino cannot have been disappointed with his reception. Lillian Laxdois. 2 Lancaster Gate, London, W. 2. Warm Praise for Ricardo. In glancing over Picture-Play Magazine, I came across an article by Louise Williams called "Movies and Love." // is one of the truest things ever written. I have an ideal on the screen. The favored one is Ricardo Cortez. To me he is a splendid specimen of manhood. His romantic eyes and clean-cut features are ever pleasing to the eye. And you will admit that, though his plays are not suggestive, yet they fire one ! He was born in the same month as Ldn Chaney and Mary Pickford. and Aprilborn people have wonderful imaginations. So I really think Mr. Cortez and Miss Rubens should be extremely happy, as Mr. Cortez should make a perfect husband. Ricardo Cortez stands for everything that is fine and honorable. If I can't have him in person, I have the pleasure of loving his shadow on the screen. It is my earnest desire and wish that he so construct his life as to reap the benefits that are rightfully his. Ax Ardent Admirer of Rick. Providence, R. L Regarding Love. One cannot help but wonder, during the endless discussions of love and lovers, as the same are presented to us on the screen to-day. It seems regrettable that so much is offered on the screen in the guise of love that in reality is nothing but trash. Love, real love, the only love that is worthy of the name, is in no way connected with socalled physical emotions. Love is a divine emotion. It appeals to all that is fine in our natures and inspires in us a desire to be and to do better. And all thoughts of self are wiped out in the joy of giving and serving. The actor who can portray such love as this and can make it so real and so genuine that it goes straight to the hearts of his audience and strikes responsive chords therein, is indeed both a man and an artist of the highest order.