Picture-Play Magazine (Sep 1927 - Feb 1928)

56 Manhattan Medley Photo by Clarence Sinclair Bull James Murray, once a mere doorman at the Capitol Theater, returned to New York as leading man in " The Crowd. " sprained her ankle while on location. It took many visits to the doctor, and numerous sessions off the set before the fair Virginia was able to cast aside her crutches and walk. Once a Doorman, NLow a JMovie Hero. A few years ago, in the doorway of the Capitol Theater, there used to stand a tall blond Irishman with a pleasant smile. Subsequently he removed his talents from the doorway of the Capitol to the entrance to the Piccadilly — now kno^^m as the Warner Theater— across the way. A few weeks ago, the same tall, young Irishman, his smile a little broader than before, stood in the lobby of the Algonquin Hotel, but he was no longer distinguished by the gold braid and buttons of a ticket taker in a Broadway film palace. Clad in a dark-blue serge suit, he had make-up on his face, and was introduced to me as James Murray, leading man in King Vidor's new photoplay, "The Crowd." Just because she overslept, of evading Ihe pi ess and Young Murray is unable as yet to talk about his "career," his "art," or liis "public." He hasn't any public yet, for this is his first picture, "And," says King Vidor, who is the man who found him on the M.-G.-M. lot, "I chose him for the part just because he is like everybody else — the average fellow whom you might come across anywhere. He is exactly what I was looking for — to represent just one of .1 crowd." A Villain in the Flesh. Describing the villain in his story, an author recenth^ wrote, "He was sleek, unctuous, insidious,"' which brings us naturally to the subject of Warner Oland, screen villain de luxe, whose sinister presence hovering around many a lovelorn maiden has menaced the honorable intentions of the "other fellow." Oland's colorful personality has been in artistic evidence ever since the beginning of the grand-film era. We use the word "artistic" advisedly, for in Warner Oland's impersonations there has been none of the crude, obnoxious absurdities which characterize all too many celluloid villainies. Deft, subtle, intelligent, Oland's diableries have rescued numerous inane situations from the slough of the commonplace. So if, on your quest for a screen villain in the flesh, }"ou come across a bronzed athletic-looking giant, with a deep knowledge of Ibsen and a healthful, genuine interest in the world about him, look carefully, for though quite unlike the villain in the story, this may be Warner Oland, wicked man par excellence. Mrs. Coolidge Knew Him When Swarthy, suave, and sane, Antonio Moreno stepped dov/n the gangplank after a trip abroad in which business had been mingled with pleasure, and began to turn his thoughts exclusively to business. Meeting me later over the teacups, he confided to me his earnest desire and intention to become a director. But first, he was going to visit the little town of Northampton, Massachusetts, where, as an ambitious lad, he started his career by reading the gas meters of the more opulent citizens. "I have a kind of a yen," he said, "to look over the scene of my youthful encounters, for I used to tussle regularly with the other youngsters of the neighborhood. I've seen few nf them since, except 3Jr.-. Coolidge." \Vhereon hangs a tale, which you may or may not have heard before. While in Washington sorr.e time ago, iMr. and Mrs. Moreno Continued on page 114 Dolores Costi.4lo was accused having somethins: to hide.