Screenland (Oct 1924–Apr 1925)

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Write today. .AMERICAN SHOW CARD SYSTEM, LIMITED 1 254 Adams Building Toronto, Canada SCREENLJND tells more about the films than any other magazine. You will enjoy your movie evenings more if you read SCREENLJND. In Shadows of Paris, a mediocre picture which confirmed our worst suspicions that Pola Negri was not what she had been, Charles de Roche as the apache stood out like a ray of brilliant sunshine in a cobwebby cellar. Playing second fiddle to la Negri, he managed again to commit grand* larceny; he stole the picture. And then, to his vast relief, Charles de Roche's contract with Lasky expired, and he became a free lance artist. He could pick his pictures, always providing there was a bid for his services. His first picture on the new basis was Love and Glory. He played opposite Madge Bellamy, and at last de Roche had the opportunity which had been denied him. . But still de Roche had not won a big fight in America. Victory came not long ago, however, and at last de Roche can take a deep breath and say, with justice. "I told you so!" The; "you" in the case is Jesse Lasky. Undoubtedly Lasky wondered when he first returned with his "successor to Valentino" if he had not made a mistake. Events proved that he had; the six foot Frenchman was no claimant to the Valentino crown. He became a square peg in a round hole. Paramount plans had no provision made for a young giant who could act, and who was not Apollo-like in a Valentino way. He was neither — heaven help us! — a "typical" leading man nor a "heavy." What in the name of the Great God Film was he? The answer which de Roche insisted on shouting in their ears was that he was an actor! An actor! Jesse Lasky did not forget the virile, smashing young Frenchman whom he had brought over to America, tearing him away from stardom in France, to make of him a third fiddle at the salary of an ordinary character actor. When Madame Sans Gene was decided upon as the next vehicle for Gloria Swanson Charles de Roche was sent for — and offered a new contract. The signing of that instrument was quite different from the ceremony attending the first. Charles If You Write It, We'll Buy provided it is a successful one, is better for the producer than an original story. You can also surmise that there are not enough successful plays and novels to go 'round. Therefore, the picture producer must buy the original story. And that is one all-important reason why there is a market for the original story. But it must be a good one. And so, my good friends — per se, all you have to do is to write a good original story. Here is the rub — only too little appreciated by the young writer. It can not be just a good story. It may not be well written, but nowadays, to get over with de Roche understood English, and hi knew a great deal about making motio pictures in America ; and he knew salarie from the lowest prop boy to the highes paid star. He held trumps. In spit of every handicap with which a fore;gne could enter American pictures, except th handicap of not having the goods to de liver, he had forced himself upon th American screen public, had made hi name mean something besides the ironi title, "successor to Valentino." He had made it stand for acting genius. So Jesse Lasky sent for Charles de Roche. The actor wrote into that contract all the clauses which he knew were his right. And the salary is many times the nominal one which he first had. He saw to it that his costumes were to be furnished — that was one little clause he had overlooked in his ignorance, and he had had to buy all the clothes which his numerous roles called for in every picture he made! Quite an item when one is making only two hundred and fifty ai week and is expected to adorn to a certain standard of living demanded of our screen personages. And Jesse Lasky, who is quick to recognize merit and to make it work for him, sent Charles de Roche on to France ahead of the company, to hire the other actors, because he could save large sums of money through his knowledge of the French motion picture field. He chose the locations, acted as technical advisor, and has the leading male role in what will undoubtedly be one of Paramount'* most pretentious productions of the coming year. A victory? You said it! But Charles de Roche says he will never sign another long-term contract He has learned that it is better 10 sell his .ervices by the picture, so thai brand not the producer alone, will benefit by his increasing popularity. Because I believe he has Won his vie tory fairly, and because I think America has gained an artist in this indomitable Frenchman, I take off my hat to Charles de Roche, nee the Marquis Charles de Rochefort! It — continued from page 25 the scenario editor, it must be different. I It must have, at least, one whale of an idea back of it. Perhaps this necessity 1 is stronger now than ever before be I cause the fount of picture ideas is dwindling. While I am on this idea thing, I want to reiterate that sometimes it is the idea that will sell your story and bring you | fame, even though your story may be badly written. But the idea must be so unique and different that it surpasses even the basic theme of some popular { play or a novel.