Picture Play Magazine (Mar-Jul 1929)

10 Continued from page 8 Of course, it is thrilling to hear a favorite star's voice. I have heard many of the well-known stars speak — Buddy Rogers, Nancy Carroll, Dolores Costello, May McAvoy, Lois Wilson, and others. But they can be heard and enjoyed in short talking sequences just as well as in an alltalking picture. In fact, more so, because the story doesn't have to drag. The producers must think that they can fool the public when one is substituted for a star's voice. When Emil Jannings was supposed to be singing in "Sins of the Fathers," I could tell that another's voice was recorded with the accompaniment. There is a way to tell this. The musical accompaniments are usually accompanied by a crackling sound. When a real talking sequence is inserted the sound is not so loud. I believe this has been true in all movies containing some dialogue that I have seen. And Movietone news ! They'll photograph anything that makes a noise, from those funny, little Mexican beans that hop up and down, to somebody rattling a newspaper. We have to suffer through Al Smith's campaign speeches, Billy Sunday's raving, and the stock market. Here's to the good, old silent drama ! E. M. P. Philadelphia, Pennsylvania. Give Blondes a Chance. Aroused to wrath by the letter in the January issue of Picture Play from A. J. Campbell, I hasten to the defense of my favorite, Conrad Nagel. This writer says that he has never heard Conrad Nagel in the talkies. Then all I can say is, that he "ain't heard nothing yet." Until he has heard Nagel he is not qualified to criticize him. It is a fact that not always do the voices of those who have had stage training register best in talking pictures, although, to be sure, it is usually an advantage, as the actor is given poise and confidence by his stage experience. Although the critic was not especially impressed with Conrad Nagel's voice on the stage, I am positive that he will change his opinion after he has heard him in the talkies. His diction is splendid, his voice sympathetic and magnetic, and his manner charming, and I feel that with the exception of H. B. Warner, who is supreme in this line, and possesses the most superb diction I have ever heard, Conrad Nagel's characterizations have been the outstanding achievements in this new field. As to the "blonde" difficulty of which the critic complains so bitterly, I have not found that Conrad Nagel is always cast with a blonde, by any means, and I have seen practically every picture that he has made for several years past. He has played recently with Renee Adoree, who is a brunette, or at least photographs as such, and Myrna Loy, who, I understand, is a redhead, and, of course, Aileen Pringle, about whose coloring there can be no doubt, and I am sure there have been others not classed in that category so distasteful to this critic. _ It is scarcely fair to condemn a man's sincere endeavors to give the public his best, simply because of his complexion. Margaret H. Heniz. 917 Mutual Building, Buffalo, New York. A Hint to Boyd. When I see a capable actor as William Boyd being cast in such mediocre pictures as "The Cop," and "Power," I feel that the future of the star is not looked to very carefully by those who have him under contract, unless in this particular case the What tke Fans Think desire of William to play this type of role — I understand it's his preference — is so great that he is allowed to continue on. Whatever the reason may be, it's certainly a sad mistake, after playing in the "Volga Boatman" and "Two Arabian Knights." Boyd has lost a considerable amount of his prestige. But here's hoping that by now he has had the opportunity to show us that he hasn't forgotten how to act. Warner Baxter, after playing in "The Great Gatsby," seemed to be gradually slipping into obscurity via the quickies. Like a great many other actors of note, there did not seem to be any demand for his services in the face of the impelling cry f or new talent. Thanks to the talkies there is now a greater demand for some of our old favorites, and after seeing Warner Baxter's portrayal of the Portuguese bandit in "In Old Arizona," I feel as if he has established himself as an actor of exceptional ability. William W. Allen. Overlea, General Delivery, Baltimore, Maryland. Gary Pulls the Heartstrings. Now, what's the matter? I've looked Picture Play over twice and in no place do I find mention of him. The very idea ! Who? Why, Gary Cooper, of course. Please get me straight. I do not think he's an Apollo, nor do I think he's an Emil Jannings, or a John Gilbert, but of all the people I've seen on the screen, and that's been a lot, he's the only one I'd care to know, to be able to say "Hello" to. Is there any one on the screen who can pull the particular heartstring he can, when things don't go right? Or who can make you almost laugh out loud when he smiles? I wouldn't want him to love me, but how I wish he were my brother ! I've written him several times — am writing him tonight to tell him what I thought about "The Shopworn Angel" — and each time have received a picture, for which I am very grateful. And, while I don't even dare think much about it, I always send up a little prayer that some day I shall get a real autograph. I couldn't imagine anything nicer. Now that I've tried to start something, won't lots of you write that you, too, like him very, very much? Marjorie Carman. 23 William Street, Cambridge, Massachusetts. Give Fenton a Big Role. I read with a great deal of interest in February Picture Play the article by Reginald Fenton about his brother, Leslie. It has been a constant source of wonder to me why this splendid young actor has been denied better roles than those given him in recent pictures in which he has played a derelict brother, or has been killed off early in the film. Since "What Price Glory?" I have watched closely the careers of two young actors in that epic, Barry Norton and Leslie Fenton. The former has gone on to leading parts, possessing, surely, no more acting skill or appeal than Fenton, who has been assigned mere bits. Nor am I eager to see him play Clyde Griffiths, in "An American Tragedy," if Dreiser's stark story ever is permitted to be translated into celluloid. Clyde is hardly an appealing figure, being nothing more or less than a moral weakling. While it is a great part for the acting that is in it, it is by no means calculated to endear the actor to the public. Let us see young Fenton in straight leading Toles, such as are given to Arlen, Rogers, Cooper, Novarro, et al., and I make the prediction that he will have a justly deserved place among the stars. New blood is being infused into the films, and here is a born actor who is good to look upon, mobile of feature, and who uses his hands to express emotion just as does Lionel Barrymore, and a few, very few, others. He makes real any part he has to play, however small. In the talkies Fenton should shine forth brilliantly, with his stage experience to back him. Another young actor of real merit is Eddie Quillan, who has the comedy sense of Langdon, Keaton, or Lloyd. Turning from comedians to villains, I must praise William Powell's work in "Interference." He has a rich, colorful voice, besides his neverfailing skill to portray the not-quite-all-bad man of the world. Picture Play has more than justified its claim to be the best magazine of the screen. I hope it will continue its policy of giving praise where it is due, and acknowledging new talent. F. C. Little john. ; 1374 Eighteenth Avenue, San Francisco, California. Ashamed to be "Nice"? From some of the interviews I read, and from some of the pictures I see, I gather that it is something to be ashamed of to be good, or try to be ! What's the big idea? Is it something to be proud of to be gin-soaked, cigarette-stained, seminude, profane, sophisticated and vulgar? Writers and interviewers try to make us think that all girls, in order to seem human, want to play the so-called bad roles in plays or pictures, the good roles being considered too wishy-washy, whatever that means ! Ye gods, why should any one think that virtue hinders good times? Some of the happiest persons I've known, folks that fairly radiate jollity and joy of living, neither drink nor smoke, nor show their ignorance in profanity. For my part, I consider the "good sports" of the flamingyouth pictures naught but vapid, insipid ne'er-do-wells, and not a true conception of real young folks. If some of the portrayals on the screen are supposed to represent he-men — boozing, gambling, cussing — then give us anything else but. Most people are decent enough to want good, clean plays, and that is why, when one such phenomenon does appear, the public can't get enough of it. D. Dorn. Los Angeles, California. Two Favorites Roasted. I laughed at Charles Farrell's attempt to portray a sheik in "FaziL" Never once was he convincing. He is too homely, stupid and dull. All I can say is, as a sheik he makes a better coal heaver, and that's that. Not long ago I also saw "Fleetwing," with Barry Norton as a sheik. That was another big laugh. Barry Nouton is what he is — a mamma's boy and not a man. The producers had better stop making pictures of Arabia, because it can't be done. A sheik, to be convincing, has got to be so beautiful he will make your heart ache. Yes, magnificent, masterful, powerful, cruel — a real he-man and a perfect lover. Rudolph Valentino was the only man who had all the necessary requirements. Rudy was our one and only sheik, and there will never be another. Clara A. Bell. Troy, New York.