Picture Play Magazine (Sep 1928 - Feb 1929)

114 Advertising Section CHELSEA HOUSE Popular Copyrights Tales of the West, of Love and Mystery and Adventures on sea and land — you can have them now, fresh from the pens of your favorite authors. They are real books, too — no reprints of oldtimers but new books bound in cloth, with handsome stamping and jackets and all for 75 cents. Ask your bookseller to show you some of the books listed below — The Brand of THE QUICK-DRAW KID THE "GOLDEN DOLPHIN" "LOOKOUT" LARAMIE THE TUNNEL TO DOOM Good Books George Gilbert Joseph Montague Paul Bailey Roy W. Hinds THE VALLEY OF THE MONQUIS Arthur Preston THE BLACK SANDER Loring Brent GUN GENTLEMEN David Manning BLUNDELL'S LAST GUEST Albert Payson Terhune THORNTON THE WOLFER George Gilbert THE COASTS OF ADVENTURE James Graham OL' JIM BRIDGER Joseph Montague THE SLEEPING COP Isabel Ostrander and Christopher B. Booth THE BAYOU SHRINE Perley Pcore Sheehan THE SILVER SKULL George C. Shedd THE TRAP AT COMANCHE BEND David Manning HIDDEN OUT Howard Fielding YOUNG LIGHTNING Charles Wesley Sanders THE GLORIOUS PIRATE James Graham SCHEMED AT SANDY BAR George Gilbert THE HOUSE OF DISAPPEARANCES Chester K. Steele ISLAND RANCH Thomas K. Holmes STRANGE TIMBER Joseph Montague THE FLYING COYOTES Raymond S. Spears THE THUNDERBOLT'S JEST Johnston McCulley THE MUSTANG HERDER David Manning MUTINY Frederick R. Bechdolt EA HOUSE FUB05HEK 79 -S NEW YORK CITY 75c 75c It's the Breaks that Make 'Em Continued from page 53 amiss, and the petite Polly Ann was free to dance again. David Selznick, a rising young producer, was her squire on this occasion. Anita Loos saw her and at once wanted her for the role of Dorothy, in "Gentlemen Prefer Blondes," and Polly had the heartbreak of losing one of the most coveted roles of the year. One of her front teeth receded a mere fraction of an inch from its fellows, but just enough to show up dark in the close-ups. Metro-Gold wyn took heart and signed her to a long-term contract, and disciplined the wayward tooth. Loretta Young, the youngest of Hollywood's now famous Youngs, was having the time of her life one night, winning a dancing cup, and not thinking of the movies at all — though she had had experience — ■ when Herbert Brenon saw her and insisted the next day to studio heads that she play the leading role opposite Lon Chaney, in "Laugh, Clown, Laugh \" Reginald Denny, who draws the largest salary of any Universal star, owes his break to the fact that he was a "cheap" actor. Denny had made his mark on the speaking stage, when the actors' strike interrupted his career. He sought employment at the New York studios, and was advised by no less an authority than Joseph M. Schenck that his features made him impossible as a screen player. Tim McCoy thought he was a business man, and not an actor, when he called on studio officials and tried to interest them in his Wyoming ranch as a location for Western pictures. The studio officials thought it was an excellent idea — but they wanted Tim to star in the pictures. June Marlowe won her screen break because she' played the piano. A director lived next door to the apartment house her family occupied, and June practiced three hours daily. The director couldn't very well ignore the noise, and he dropped in one day. Johnny Mack Brown won his screen chance when he planted the pigskin behind the goal posts in a football game at the Pasadena Rose Bowl. Of course the break of the year was that of the blond Ruth Taylor, who won the coveted role of Lorelei, in "Gentlemen Prefer Blondes," after the director, Malcolm St. Clair, had told her she would never do. But there must be a time limit to everything on the screen, even embraces, and the signal, which the audience never hears, for the end of the clinch, is generally the hoarse utterance of the tired director: "Break." The Stroller Continued from page 25 The producer pondered over the situation at some length. "That's the only dog in Hollywood that can play this part," was his final verdict. "We can't stop the picture now. I'll get another director instead." The way of high art in Hollywood seems to be a somewhat rocky one. I observe that the Filmarte Theater, a show house designed solely for the exhibition of artistic motion pictures, has been closed for an indefinite period. Whether it is closed for lack of people who want to see artistic pictures, or simply a lack of the artistic pictures themselves, is a matter about which I have no definite information, although my personal opinion leans toward the latter. There is a strange and somewhat wistful little character in Hollywood, whose life history I should like to write. I do not know his name, or anything about his past life, ambitions, aspirations, or hopes for the future. All that I do know is that apparently he makes his living off his trained goose, christened "Bozo." I have never seen him except in the presence of the goose, and to my knowledge no one else ever has, either. It is a good trained goose — ■ as trained geese go — and its owner rents it to pictures. The animal, or fowl, is evidently his one pride and passion. He will put it through its paces for any chance spectator who happens to be interested. So far as I know, the goose is his only means of livelihood, although I will admit the possibility of his also owning other performing beasts. From what I have observed, he finds the life of a trained-goose keeper an eminently pleasant one.