The Picture Show Annual (1931)

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70 Picture Show An run 1 Trilby Clark and Gerald Rawlinson in " The Night Porter." When last I saw Humberston Wright he was Eustace in " Alf s Button," as you see him here. Trick Camera Work PROTHERO LEWIS is famous for his trick camera work. His uncanny knowledge of what one can do with a camera must make lovers of the occult envious In " Elstree Calling " Adrian Brunei handled all sorts and conditions of stars. He is high- brow, but he can be equally accommodating to a world that demands sentiment, jazz, and sob- stuff. His " Man Without Desire" still stands out as a remarkable picture. Donald Calthrop as a Shakes- pearean player was worth watch- ing from my seat in the studio. Gordon Harker and his rough- haired terrier call up many happy memories of days in the old Gainsborough studios, when he played in "A Taxi for Two," wifh Mabel Poultoi?. and John Stuart. In the British Lion Film Studios he became a typical Edgar Wallace characte jn " The Squeaker.'' During the making of Herbert Wilcox's talkie triumph, " Rookery Nook," the sound studio frequently rocked with laughter. In a tent I heard the pipes of the Scots Guards, and \ saw Harold Huth, Cyril McLaglen and Miles Mander, with other officers in the picturesque uniform of the Balaclava period. This Gainsborough picture was directed as a talkie by the distinguished actor and producer, Milton Rosmer. Picture making is a fascinating study, all the more so because the art of film production is still in its infancy. What lies before us t We have sound and the human voice. We have colour and music, and yet we stand on the fringe of one of the most important industries of to- day. The film goes out to all nations, and it is the mightiest agent for good or evil in the world. On the left We see Anton Dolin and Anna Ludmilla in their Eastern ballet in " Alf s Button.'' and aboce Will Kellino directing Nervo and Knox in their " cod " ballet for the same picture.