Screenland (Nov 1925–Apr 1926)

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One pupil has earned over $5,000 writing in his spare time— hundreds are selling constantly to the leading publishers. 150 page catalog free. Please address The Home Correspondence School Established 1S97 Springfield, Mass. mnrF angnHaaBgaa SCREENLAND John Roche (Continued from page 27) easy as describing personality, of course. And Roche does have appeal. He portrays the romanticism and camaraderie of a line' age reputed for those traits; and they are coupled with an elusive something which a lifetime of unusually keen observation and diversified experience has brought him. Always a deep reader, he has profited by it, and it is this last addition to the aggre' gate of his charms which brought him ready entree to the inner circle of the Hollywood intelligentsia. It is in this latter group that you will find his closest friends, and he is seldom seen at parties or in places where the roysterer hangs out. The opera, symphony concerts, the theatre, vocal recitals, Shakespearean or other classical recitals, yes. There he and his mother always can be found. For those two are inseparable. Back of his love for music one finds a baritone well-trained and of a quality unusual. A singer? He began in a church choir in his home town at the age of nine. Then the movies were in swaddling clothes; there was but one show in the town. The showman heard of what was then a startling innovation and which now is history— the illustrated song. With his program of eighteen reels a week at $18 weekly came a set of slides with Words attached, and a badly torn and battered copy of the ballad. He sought out Roche and, after quite a little protest from his mother, hired him to sing the songs. And every night the townsfolk heard a childish treble hitting all the high spots in the ceiling as the sweating operator in the cheesecloth "booth" changed spools of film. The time came when the treble broke and deeper notes (and sometimes squawks) rasped through. But Roche persisted and while audiences squirmed and suffered trajped a voice that finally became the talk of all the countryside. The family moved to Rochester; he sang there in cathedral and in synagogue as well. Then came an offer from a hotel man, a progenitor of the "music with your meals" campaign. And Roche sang solos with the orchestra accompanying. Elsie Janis sat at dinner with her producer, Charles B. Dillingham, in that hotel one night and heard Roche sing. The youthful Roche knew nothing of the New York theatrical manager and if in his voice that night there rang a note of unhappiness and longing, it was the artist in him crying out against noisy waiters and clattering guests. But to everyone one day comes luck. Once at least the break comes your way and Roche on the "chequerboard of nights and days" moved to Broadway with Miss Janis' company. Here came success again — or rather a full series of successes. Vocal accompani ({William S. Hart comes bac\ to the screen in "Tumbleweeds." ments to rows of twinkling legs gave way to melodrama in a stock company and later to serious and major parts in yearly stage successes. Then came the war. John and his three brothers went over-) seas. And like a great number of our veterans, he doesn't talk much of his life there. When he came back he played the lead in "R.U.R." and other stage successes and then bits in a couple of films in New York. Came next a contract with Louis B. Mayer, the emigration west, one picture — and a broken contract because the next; part offered seemed unfit. ] Then Roche free-lanced — and with freelancing came for the first time in his life discouragement. Love for pictures and thei making turned to loathing overnight. And in his anger at conditions he renounced tin films and all their makers and bough tickets for New York. He packed hi trunks and called a baggage man and paii the gas man and the phone bill. He wa through; he soon would shake the dust o Hollywood from his feet and join the hos of eastern knockers. Then the phone rang. Lady Luck hai rolled the dice and turned a seven. It wa First National. They wanted him. He tol them that they were too late, he didn' want the part, he couldn't play it even he wanted, and other argument and protest1 But they insisted. Richard Tully wanteij him in "Flowing Gold" and they must hav him. And they got him — for who can bal: when Lady Luck has thrown the dice? Roche still is in Hollywood. For with hi portrayal over, another came his way am then another until finally this last contrac with Warner Brothers was concluded. No^ he's signed for five years more, but aft' that — quien sabe?" The Greatest Story of the Sea— from page 25 purely fictitious character of London, Paris and Deauville. Since I was writing a series of five-minute dressing-room interviews for a Sunday paper, that book-title provided an idea. "How would you like to play that part?" "I couldn't ask for anything better," said Marmont, watching Chinatown through the window. "With a few good lyrics and some dance numbers it would make a great musica JL comedy," I suggested. "Of course, playin | it as straight comedy 'Lord ]im would sin you down to the ground, too.. That seen where — urn — er — er The rest was stammers; for Marmont's e.^J pression convinced me I was out of in literary depths, as cub-reporters generall are. A call-boy who tapped at the don and announced "Curtain call, Mr. Mat Ik!