Screenland (May-Jul 1926)

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ALL TRANSACTIONS STRICTLY CONFIDENTIAL No Red Tape No Delay WRITE FOR FREE ROYAL CATALOGUE See the thousands of special values in diamonds, watches and jewelry. Send for your copy at oncej ROYAL DIAMOND & WATCH CO. Dept. 1602 170 BROADWAY, NEW YORK Screen News from Broadway —from page 7 ONE of the most popular actors in New York right now is — no, fooled you that time. Not Menjou or Dix or Gilbert, though they get their share, too. It's Chester Conklin. He came east to do "The Wilderness "Woman", with Aileen Pringle; and remained to make another film for Famous. Whether on the set, sporting his far'famed walrus moustache, or as himself, he's the life of the party. You should hear him tell of the good old days when Mack Sennett and Keystone were just stepping out, Charlie Chaplin was glad to get forty a week, and when Mabel Normand, Ford Sterling, and Charlie Murray all worked in the same pictures. Conklin himself was one of the original Keystone cops of blessed memory. He soon branched out, however, and became one of the most prized comics of the time. He remembers when a rain storm used to be the signal for a comedy scene. There was a mud-hole out in front of the Sennett studio, and Mack used to ■say: "Come on, fellows; fall in that mud' hole and get a laugh." When Chaplin, discouraged with the haphazard methods of the time, used to contemplate returning to the stage, Conklin encouraged him to stick it out. After the glory of the Keystone days had faded, that merry coterie of comedians, except Chaplin, were somewhat at a loss; but once more the producers and public have begun to appreciate them; and today you'll find Sterling, Murray, and Conklin playing important parts in feature pictures. It was Conklin who got the credit for taming the fiery temperament of Pola. His an' tics in "A 'Woman of the World" so convulsed the famous star that she entered into the spirit of the thing and never even balked at a location trip — an unheard of thing for her. Chester Conklin is a refutation of the statement that all comedians are tragic in private life. His humor is always working. THE graduating exercises and reception of the first Paramount School took place at the Ritz Carlton, where Jesse Lasky made the address and presented the diplomas to the eight young men and eight young women graduates, and afterwards looked on benignly while the kids danced. It was also the occasion for the first showing of the School's first picture, "Fascinat' ing Youth". Cheering the candidates on were Adolph Zukor, president of the Paramount company; Sam Wood, and Byron Morgan, director and author of the picture; Adolph Menjou, Richard Dix, Lois Wilson, Al Parker, Mr. and Mrs. Chester Conklin, and Mr. and Mrs. Monte Katterjohn. The latter, incidentally, is a beautiful girl who will get into pictures if her scenarist-husband doesn't watch out. The young graduates had plenty of poise. As Josephine Dunn, the pretty little blond ingenue of the copany, put it: "We have survived all the kidding, and here we are!" Charles ("Buddy") Rogers, picked already by James Cruze for a leading role in the big special, "Old Ironsides" , and an ingratiating combination of Charlie Ray, Glenn Hunter, and John Gilbert, doubled in brass • — he relieved the musicians in the orchestra when he wasn't on the dance floor. You watch for Buddy, and for little Miss Dunn, too. She's only eighteen, but looks like a potential Connie Talmadge. And, wonder of wonders, the child has no heavy ambitions for tragedy. She really wants to do light comedy, and hopes she'll have the chance some day. Some smart director should reach out and grab her. She's humorous, sprightly, and unspoiled. The Stage Coach — from page 63 they are talked about. And the drama, with the exception of one bad break wherein a girl who has stolen money puts the blame on her sister, an utterly unbelievable note, is fine and genuine. See it and bring your handkerchief. If you don't use it even once, you're a harder-boiled egg than your correspondent, which we doubt. "THE JEST" About ten years ago, when Arthur Hopkins produced "The Jest" with the two Barrymore boys, we sat enthralled and thought it as fine and colorful a thing as we had ever seen. But, said we, it's lucky for Sem Bennelli that he had the Barrymores and Gilda Varesi in the cast; otherwise, we confided to anyone who was willing to listen, it would probably be just a hick show. Well, the other day somebody told Arthur Hopkins what we had said and he said, "Is that so?" And the first thing you know he did a revival, thinking that he would make us eat our words. Well, we did eat them. For Basil Sydney, in a beautiful blond wig, does as nobly by the role of Giannetto as did John, and Alphonz Ethier is just as swashbuckling a Tsferi as ever Lionel was. Violet Heming makes a beautiful Ginevra, and the ever trusty Ferdinand Gottschalk helps to round out this gorgeous production of a gorgeous play. Maria Ouspenskaya takes the small but vivid role that Gilda Varesi had, but is not the type. A trifle too old, we thought her. "THE CREAKING CHAIR" AS the wise reader has guessed, "The Creating Chair" is a mystery play. Now it happens that we, in common with everybody else, like mystery plays. We might even have liked this one except for the third act, where everything is cleared up, for no reason at all. Also, in that same third act, the guilty one confesses all in spite of the fact that there is nothing really on him. Besides, he makes a long speech which might go well as an editorial in The }\ew Yor\ Evening Journal or even as part of a debate between the Kiwanis and the Rotary. There may be, for all we know, some point to his remarks. But anybody who expects this correspondent to find drama in having a character read from the Congressional Record is just plain cuckoo. "EASY VIRTUE " NOEL Coward's "Easy Virtue", in addition to being a good show, has Jane Cowl in it. Which is our idea of a grand combination. There aren't many fireworks in the show; not even a pistol-shot is fired. Coward's attitude is that your Englishman meets the crises of life in a calm and civilized manner, in which heroics play no part. He has an excellent cast to assist Miss Cowl in that attitude, notably Halliwell Hobbes, Mabel Terry Lewis, Marda Vanne, and Joyce Carey. In addition, he adheres to the theory himself, so that where another playwright might have done things dramatically, Coward is content to do them unostenta