Screenland (May–Oct 1927)

14 SCREEN LAND ii 'E A step toward the Real Scenario Money with FRANCES MARION America's highest paid screen writer. Miss Marion has written thirteen scripts for Mary Pickford, a half dozen for Norma Talmadge, and in the past year has done the screen versions of "Stella Dallas," Winning of Barbara Worth," "The Scarlet Letter," and The Wind." She has seen too many "Minnie Flynns" come and go before her to miss any of the high spots in their singularly similar stories. She has made practically every one of the characters in her novel so faithful a portrait of an actual "movie" celebrity that many readers will guess the identity of each before they have read three chapters. The title of Miss Marion's book scarcely portrays its excellent qualities. An associate editor of Screenland, after reading this book said: "It has the true atmosphere of the Motion Picture Studios and should interest every screen fan." This book is in its 4th edition. It offers more insight to the screen than any current book. Write for Frances Marion's success: MINNIE FLYNN. Screenland Book Dept. (Desk 5) 49 West 45th St. New York City For the enclosed $2.00 please send me a cow of "Minnie Flynn." Name Whafs Doing in Times Square By Helen X^udlam R Oxy's beautiful theatre is sheltering the exotic Jetta Goudal in "White For some reason it fl[ Anne signing screen "Abie Rose" Las\y million Address r£]iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiitiiiiiiiiiiiiiiiiiiiiiiiiiiiiiMiiniMiiiQ Gold has a very alluring sound — people want to see it, and they aren't disappointed by the way, when they do. Roxy has a sign on Broadway that is as individual as his theatre. Just the name Roxy in gigantic graduated letters and a flash like lightning pointing to the theatre which stands on the corner of Fiftieth and Seventh Avenue. The letters are in white lights and the flash in red. John Barrymore is at home in two theatres on Broadway. A couple of weeks ago he was receiving at three. But "The Beloved Rogue" after holding the Strand for two weeks wandered about to other houses on the Gay White Way and you find it popping up all the time. The others are "Don Juan" still captivating audiences at Warners and "When a Man Loves" at the Selwyn. They do say however, that the great open spaces have been calling so imperatively for a sight of "Don Juan" that it will go out to meet them, so by the time this sees print it will probably have happened. The Capitol Theatre is always a good place for entertainment aside from the picture— they frequently have a soloist there, Miss Celia Turrill, who I understand sang often at Covent Garden, London. Be that as it may be, she has a very beautiful voice, rich in quality and feeling and it floats out to you in pure tones as sweet and clear as the water of a mountain brook. The Capitol ran "The Show" with John Gilbert and Renee Adoree this month, also "Tell It To The Marines" with Lon Chaney, Eleanor Boardman and William Haines. This week Sally O'Neil is capering about in "Frisco Sally Levy". The Strand had "See Tou in jail" with Jack Mulhall one week and this week "The Notorious Lady" with Lewis Stone, Barbara Bedford and Ann Rork is Nichols away the rights of ' s Irish '° lesse the attraction. The Para or one mount accommodated "Casey at the Bat" with Wallace Beery one week and now it is "Afraid to Love" with Florence Vidor and Clive Brook. "Star\e Love" a gripping and primitive picture of the Kentucky mountains caused a riot at the Cameo with every paper in New York giving it marvellous editorials and now a reissue of "The Count of Monte Cristo" with John Gilbert, Estelle Taylor, William V. Mong and Renee Adoree pleases packed houses. "The Fire Brigade" is burning things up at the Loew's State while the perennials such as "The Big Parade", "Beau Geste", "What Price Glory" and "Old Ironsides" reel majestically upon their way. It seemed to me yesterday that Broadway was a little more difficult to navigate than usual and I finally discovered that a crowd had gathered. This doesn't necessarily mean that anything interesting is going on — Broadway has nothing on Main Street when it comes to curiosity. So the unusual crowd didn't pique my interest until I got within a block of the subject of their regard and directly in front of it. Something in the difference in atmosphere attracted my attention — rather as the changing sky line intrigues the interest of the European commuters. Some workmen were putting up a gigantic sign for the opening of "The King of Kings". It is a land mark at that particular point in Broadway, coming as it does at Forty-sixth Street and just at the point where Seventh Avenue crosses the famous cow path so that it is visible for several blocks on four intersecting streets, and the objective of seven directions. Which is certainly a fitting location for -a film, the theme of which draws all men unto it. As though to counterbalance the spiritual flight of Broadway directly next door to the home of "The King of Kings" "Camille" opens at the Globe.