Picture Play Magazine (Mar-Jul 1929)

Holl^ood HigK Lights 59 Sue Carol obtained her freedom from the Douglas MacLean organization, which sponsored her debut. At all events, injunction was refused to the MacLean concern, which means that Mis& Carol is at liberty to go on working for Fox. The story of this fight is too long and complicated to recite here, though its settlement probably means a great deal for Miss Carol professionally. In any case, she is playing in a picture called "The Exalted Flapper." And we'll say that the title ought to suit Sue. A Husband's Duty. The vicissitudes of the husband whose wife is cultivating her voice ! Rod La Rocque gayly told them to us not long ago. He says that Vilma Banky is zealously studying Shakespeare, spending every free moment learning the lines by heart, and striving to perfect her pronunciation of them. "And I'm the audience!" said Rod, somewhat ruefully, "but I am giving her all the encouragement I can." Case of Diminution. Another of the strange title transitions : "Broadway Musketeers" becomes "Broadway Babies." Alice White is the star. More Revivals. Requests for revivals of films in talkie form are waxing insistent, according to one of the studios. Among pictures named for remaking with dialogue are "The Phantom of the Opera," "The Hunchback of Notre Dame," "Ben-Hur," "When Knighthood Was in Flower," "Male and Female," "The Merry Widow," and "Scaramouche." What is your choice? Noisy Intrusions. Airplanes are fine in their place, but that place is not overhead when an outdoor talking scene is being made. There is reported to be some friction between the films and the aviators on this score. It seems to be a favorite custom of the fliers to come buzzing along just at the time that everything is set for a scene, and baleful but ineffectual looks are cast skyward at these moments, though the plight of those on the ground is hopeless enough. Meadow larks also caused much disturbance recently, while William Boyd and Carol Lombard were working on some exteriors in the early morning for "High Voltage," in Culver City. To drive the birds away, a round of pistol shots was fired by the technical men of the troupe. It silenced the overenthusiastic carolings of the feathered folk, but woke up the residents of the neighborhood and brought the police, called by fearful souls — who thought that some desperate racketeering was going on. The officers found nothing in the city laws, however, that prohibited shooting at meadow larks. It just wasn't done. A Lyrical Argument. Another cause for debate has arisen. One company has announced that it will make grand operas, including "Pagliacci," "Cavalleria Rusticana," "Faust," "Martha," "Tales of Hoffman," "Carmen," and "Aida." A high official of another company has stated that any attempt to make grand operas at the present time is ridiculous. This should make a popular vote on the subject right in order. Lupe now a Stella. Lupe Velez made such a distinct hit with her comedy in "Lady of the Pavements" that it has been settled that she will be starred. We hope it means a lot for her, because she really has bright talent and has had a struggle to establish herself individually, because of a rather readily noticed resemblance to Dolores del Rio. In "Lady of the Pavements" she exhibited a marked departure in her work. For this, D. W. Griffith, whose skill in bringing out the new in actors is unending, is to be thanked. "D. W." is still one in a thousand. Comiques Are Concerned. Comedians of the first rank are worrying more about talking pictures than anybody. Charlie Chaplin has virtually decided against having any vocal efforts in his feature, "City Lights." And now we learn that Harold Lloyd is somewhat doubtful about the expediency of speaking lines. Both these fun makers have a highly developed art in their comedy, and it would perhaps be a great mistake to turn away from this familiar medium into channels doubtful and unknown. Still they are both in a quandary at times, we understand. Temperament Approved. Jetta Goudal is justified. Settlement of her suit against Pathe, dating from old differences which she had with Cecil DeMille at that studio, reveals that she wasn't regarded by the court as the bad, little, temperamental star she was supposed to be. She received a judgment of $31,000 cold cash. There are interesting phases to the Goudal suit. The judge, in rendering the decision, indicated that artists have more rights intellectually than is ordinarily presumed, and that they can't be treated as menials and ordered about at pleasure. Among the very pertinent statements was the following: "It cannot be said that in an employment of this character obedience of 'theirs-not-toreason-why' type is required. The reasonableness of the orders, as well as the effect of noncompliance are to be considered." This might be construed as a blow to the so-called czaristic methods that occasionally are advocated in the management of players. Insulting Competition. Rivalry has exhibited itself all of a sudden in the case of Hollywood's "insulters." "And who," you will ask, "are the 'insulters'?" Yes, that's just it. They really do need explanation. An "insulter" is a professional actor who, as a side line, furnishes amusement at banquets, dinner dances, teas, and other film functions, by making what might be termed laughably offensive remarks about those present. [Continued on page 94] V I -J 1 I i L . Richard Arlen has a hard fight in "The Man I Love," just as he has had in real life.