Picture-Play Magazine (Sep 1928 - Feb 1929)

10 i i v. (i Continued from page 8 blue shirt, in the Public Library. He still wears his famous amethyst ring. Victor Varconi, all in gray, going into the Roosevelt Hotel. Blanche Sweet, lately returned from Europe, going into the Montmatre. Tom Mix, in a bright-blue coat and a white, ten-gallon hat, driving his yellow Rolls-Royce over Beverly Boulevard. I hope the editor will allow me to thank the many fans who wrote to me, and whose letters I could not answer. I received more than two hundred letters, and I am only a poor working girl, who has no secretary. Grace Laura Shaver. 1732 North Whitley Avenue, Hollywood, California. She Likes the Talkies. ' Every one is interested right now in the new talking pictures. Very few fans seem to like the prospect. As I live in Los Angeles, I have seen the very first talking pictures, and believe me, thoughat first I was doubtful as to their success, since seeing what improvements are being made on each new talkie, I am for them, just as everybody in Los Angeles seems to be. I recall reading a letter signed by E. V. W., a very true letter, which stated that the fans do not want mere youth without talent. One of the many splendid things about talking pictures will be the correction of this evil. From now on, it will take more than just empty-headed cuties — it will take talented actors, those with acting ability, whose speaking voices are trained the same as stage actors and actresses. They say there is a mad rush on in Hollywood among the picture people — everybody is training his voice for talking pictures. A lot of them have voices that are so affected and give such uncanny insights into their own characters, that it will take a great deal of practice before they can assume a voice that will prove an asset! I have heard a number of them talk in pictures so far, and to date Dolores Costello has the greatest struggle ahead of her, before she overcomes the affected, artificial way she has of talking. "Lights of New York" is Warner Brothers' newest one-hundred-per-cent talking picture, in which you can see Helene Costello, Cullen Landis, and Gladys Brockwell. This picture is so much better than their former talking-pictures, that the whole audience seemed astonished and pleased. Another thing, talking pictures will do, is to bring back many of our favorite oldtime actresses and actors who have a wealth of experience and ability, 'but have been pushed out of pictures by the "cute" kids who have nothing to offer but looks and youth. Take Cullen Landis and Gladys Brockwell, both with years of experience— they easily stole honors from Helene Costello, when it came to talking ability. Both played with an ease and sincerity that made you think it was a stage play before you. I hope they both get the breaks they deserve. Helene's beautiful face fades away when you recall the way the other two "spoke" their parts. Acting ability far outshines beauty from now on. And I must thank William H. McKegg for his letter in the September issue. He wonders why the silver cup was given to Dolores del Rio at the annual Wampas Ball in Hollywood. Well, a lot of other people have wondered, also ! I think it is a general impression, however, that the giving of a silver cup each year, to the girl whose work has stood out as the year's best, has deteriorated into something unworthy, and nobody should regard holding the aforementioned silver cup as being so What the Fans Think very wonderful. I mean, in short, that a bunch of men who are really no judges of merit, being hired press agents, get together each year and decide to exploit a certain girl. If they like her — not her work — well and good. The vast number of fans, I am sure, all would vote for no other than Janet Gaynor, after seeing that superb picture, "Seventh Heaven." I wish William Fox would stop breaking up the team of Gaynor-Farrell. First they teamed him with Greta Nissen, in "Fazil," and then with Dolores del Rio in "The Red Dance." He is absolutely out of place and wasted with either of these girls. He is ideal with Janet Gaynor, and there should be no trouble in finding plenty of tender love stories suitable for these two. He is the boyish lover — the first sweetheart we all have had, and we cherish every role of that kind. How can they cast him other than with sweet Janet Gaynor? Holly from Hollywood. Los Angeles, California. Give Them Proper Roles. I am writing in behalf of three of our most popular actors who, to my mind, are being forced into obscurity, because of poor casting. The three I speak of are Ronald Colman, Give Brook, and Richard Dix. All three are splendid actors, but have had small chance to show their talents, because of the recent trivial, inconsequential roles allotted to them. Consider Ronald Colman. Here is a star capable of portraying a real character, one of great strength and depth — a Sydney Carton, perhaps. And yet, none of his recent pictures, with the possible exception of "Beau Geste," has given him the slightest chance to show the real, scope of his ability. In "Barbara Worth" he was a mere piece of scenery, and in "The Magic Flame" and "The Night of Love" he was forced to portray trite emotions and actions. Why must he always be the romantic lover? Leave the loving to be done by those whose talent lies only in this line. Won't some producer please wake up to the potent dramatic possibilities of Ronald Colman? Sydney Carton, in "A Tale of Two Cities" would be ideal for him, and certainly he is capable of doing it. And Give Brook. Another unusual personality wasted through being forced to play stereotyped roles. Indeed it is almost ludicrous to see him play such roles, for his own character makes the hero's seem ridiculous by contrast. There is such a whimsical humor about him, one feels he must be laughing up his sleeve at the improbable and unnatural actions of the asinine hero. He has such a charming, reserved personality that it surely is worth the producers' while to find him suitable roles. And he can act when given half a chance. Witness his success in "Underworld." A few less of regulation roles such as in "Hula" and "The Devil Dancer," and more such character parts as in "Underworld," and he will show himself to be one of our most interesting players. And last, turn a sympathetic eye toward Richard Dix — a fine dramatic actor relegated to the ranks of the mildly entertaining comedians. Until I saw him recently at a special showing of "The Vanishing American," I had thought of him as a comedian of average ability, but since seeing that film I am entirely convinced that his greatest talent lies in the dramatic field. His finely restrained, sympathetic work in the aforementioned film surely ranks him as a dramatic actor of uncommon ability. Really excellent dramatic ac tors are few and far between, and to let one be obscured in comedy — dreadful ! Not that I wish to condemn comedies, but leave the fun-making to those whose sparkling talent is suited to it. And so, let's see Dix in drama again, even if he will be a loss to comedy, because there's no denying but that he'll be a worthy addition to the dramatic ranks. Alice L. King. 536 Lowell Avenue, Palo Alto, California. Too Much Is Too Much. It was not until one of my pen pals sent me a 1918 movie magazine that I realized what truly marvelous improvements this industry has made during the last ten years. The magazine contained photographs of several prominent actors, who look younger to-day. There is only one thing that needs attention now — that is the "funnies," the majority of which are absolutely ridiculous. Those silly films always ruin an otherwise enjoyable evening forme. If I were' president I'd have every comedy thrown out — especially Chaplin's. How he is allowed to remain on the screen is a mystery to me. But now comes the announcement that we are to have talkies. Seeing that it is the fan who spends his hard-earned money to see the stars, don't you think the producers would think of us before attempting such a thing? Just recently I heard Dolores Costello. She may be beautiful on the screen, but when it comes to talking, she'll have to take a back. seat. There are ver}-, very few whose voices have been properly trained. It will serve them right if they make a miserable failure out of the whole thing. I am certain of one thing — they will rob the screen of that fascinating mystery that always appealed to me. Now, with the able assistance of the magazines and the newspapers, we shall know more about the stars than they will themselves. I like restful music when I go to a movie, not the artificial kind that comes out of a box. If I want talking, there is always the stage. My only hope is that the equipment will be so expensive the fifteen-cent movie house can't have it. There I shall spend my evenings seeing beautiful women and bold men on the screen, without the screeching, hard-boiled voices to wreck the harmony. Let the producers take warning that one has to be an artist to talk properly, and if they claim that there are people who can talk and act properly, with little or ho training, then I shall begin to believe in fairy tales. God grant that the talking pictures will be heard no more. Helene C. Braeuner. 210 French Street, Buffalo, New York. Norman Speaks His Mind. I certainly wish to join in the howl against talking pictures. I have nothing to add to what E. W. wrote in the September Picture Play, except that many people seem to be in favor of talkies, simply because they have the idea that anything that is scientific progress is good. If 3'ou will be so kind as to permit me space, I should like briefly to state the things I disagree with, both in fan letters and in the contents of the magazine. For one thing, I do not see where G. C. got his idea about Barthelmess' puny muscles, as shown in "The Patent Leather Kid." I saw nothing puny about him, in the least, and G. C. should consider that prize fighters' muscles, while solid and Continued on page 12