Screenland (May–Oct 1927)

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Name 'Address Return mail will brine Free Trial Plapao Subscribe to Screenland $3.00 one year $5.00 two years After the war, with that mark of sadness indelibly impressed on his whole character, Fred decided, because of Adolph's belief in him, to go back into pictures. Now it's easy for a man surrounded by a great tragedy to make a dismal failure. But Fred didn't. Sad as he looked he never appeared sorrowful. Humor shone through his conversations always. He forced his personality to be what he wanted it. He changed his very nature. And within a few years, after assisting nearly every director both here and on the west coast, Fred was given the important position of Casting Director. Because of his vast knowledge of people and pictures generally, Fred has been extraordinarily successful. And how he knows people, how he has learned human nature from being thrown constantly with all grades and classes. "He gave a queer laugh at an obscene story and that gave me his number. I knew he wasn't the type we needed for that role", Mr. Fleck said of an unhealthy looking individual who had just applied for a job on the screen. Of another he remarked: "That man isn't any good. He's too darn hearty. When they put up that much front, when they swagger like that, I know for sure they won't be able to do the things they say they can." Personality and only personality is the quality on which Mr. Fleck must pick his people. Hundreds of unknowns storm his gate every day and the only way he can judge them, since he has never heard of them before is by the impression they make on him. Fred Fleck is a great man. So strongly has his personality infected me that if I wanted to go into the movies, if I felt life held nothing unless I could act on the screen, I wouldn't try to see Cecil de Mille or any of those other demi-gods, I would just go to Fred Fleck and throw my whole future at his feet. Because I know, if I have any film talent whatsoever, if there is the slightest vestige of hope in the world for my film career, Fred Fleck will be able to discern it and will give me a chance. He plays no politics, no favorites. He choses his people for what he knows they have. And he doesn't let Four Flushers, Smart Alecs or Double Crossers pass his gate. By their personality he knows them and he is never wrong! If Fred Fleck could change his entire personality, his nature, his very soul to achieve success, you can do the same. If your house has burnt down, if your sweetheart has left you, if your Sunday trousers are frayed and there isn't a dime in the old savings bank, stop looking like you had been weaned on a sour pickle. Give a great rollicking laugh and go out and mop up on this cold-hearted world, just remembering others have done the same. Stenographers seem to think they have the hardest time and I agree with them. Of all the positions in the world from which it is hard to climb, a stenographer has the most difficult task. If you are efficient, your boss wants to keep you forever. He doesn't wish to promote you to an executive position because he will lose his right hand man. If you have ambition and want to rise, the chances are all against you. It takes the most winsome personality, backed by real ability, to get out of a stenographic rut. Ask Sarah Siegel, she knows. Sarah is assistant to the head of the studio's publicity department and so clever is she that her boss says: "Why I could go away for a month and I know the work would continue just the same. Sarah knows exactly how to handle the routine and how to manage people. Her middle name is — diplomacy." When you get a death blow to all your dearest desires, it takes a stout heart and a stouter personality to survive. Gregory La Cava, Paramount's gifted director, received a mortal wound when he discovered that he couldn't paint and eat. He wanted to be a great artist — like Rembrandt and Titian and Michael Angelo. He thought, slept, dreamed, breathed pictures. But he couldn't cat them. The time came when he had no more money to go on. After spending the years of his early youth studying at the various academies in Chicago and New York he had to give up his work. But it was woven into his heart and he couldn't think in any other terms but pictures, pictures, pictures. So he decided to become a cartoonist. With no experience except his general knowledge he drew a comic strip, walked bodly into the office of the editor of the New York World and sold it. Right Off. But that didn't make up for his loss. He wanted to Paint Madonnas, Saints, Magdalenes. Instead he was drawing buffoons. Life's like that. But La Cava went on. From the World to organizing an Animated Cartoon Department for the Hearst papers was his next step. Pretty soon he wrote a couple of two reel comedies and directed them for Charlie Murray. He did the same for Johnny Hines and Chic Sale. And now within a few short years, with most of his heartbreak behind him. you see him climbing to the top of his profession, direct' ing feature pictures: "Womanhandled", "Let's Get Married . "Say It Again", "So's Tour Old Man", "Paradise for Two" and so on. If you went back to La Cava's childhood you would say right off : "That boy hasn't a chance to make good in any artistic field". He was born in the hardboiled town of Towanda. Pennsylvania, in the mining country where men are men and art is the bunk. But that didn't stop Gregory. He started out to be a painter and he is a painter — a Master Artist. For he transcribes life — not to a small canvas hidden away in some musty, dusty museum. But he brings living creations to that universal canvas, the screen where you and I and all may go and see. We don't need an expensive ticket on a luxurious boat. We don't need a passport nor hundreds of dollars to reach his exhibition. His salon is your town and my town. A few cents and a few steps and his pictures appear before our eyes. Gregory La Cava is a true artist. He is the modern Rubens. But he hasn't yet been given the opportunity to paint his masterpiece. But that will come. And in a few years from now La Cava will not be ranked with "other great directors." These "other great directors" will be ranked with La Cava. Because his personality, with all the power and sensitiveness behind it, will have carried him past these modern ones with their trick camera angles back to the strong days of the early Primitives. If a great artist like Gregory La Cava can transform his whole personality to fit in with his everyday life and his everyday work; if a great artist like Gregory La Cava can give up the dearest wish of his heart, is there any reason why you can't overcome the obstacle which is holding you back? Now if I were making a try for pictures there is certanily one man I'd want for my friend. And that's Harry Fischbeck, one of the best, if not the best camera man in America. He's the man that makes ugly women pretty and pretty women beautiful with his new invention the Rotor-Raylo. Alone, Harry came over from Germany when he was only fourteen years old.