Screenland (May–Oct 1927)

80 ENTERTAINING AND INSTRUCTIVE BOOKS The Romance and Reality of Film Life Is Reflected in the Books Listed Below IF you are interested in photoplay writing, .screen acting, directing or production, the books listed below will be of great interest. Each book is handsomely bound in gold decorated cloth cover and will be delivered anywhere in the United States at prices mentioned ; Canadian and foreign orders extra for shipment and duty. SCREEN ACTING (By Inez and Helen Klumph) Tells what the opportunities are and the training required. Tiiis work was developed through the valuable assistance and advice of Lillian and Dorothy Gish, Colleen Moore, Mae Murray, William S. Hart, and other distinguished screen stars, directors and experts. PRICE — $3.00 MOTION PICTURE DIRECTING (By Peter Milne) Of special interest to those in ov intending to enter this field. The author, a well-known critic, was a member of Scenario and Production Department of Famous Players-Lasky Corporation. This work contains data about William C. DeMille. Rex Ingram, Cecil B. DeMille, and other famous directors. . PRICE — $3.00 MOTION PICTURE PROJECTION (By T. O'Conor Sloane, Ph.D., LL.D.) The enormous growth in number of motion picture theatres has created a large and increasing demand for operators. It is an interesting, good paying field and requires but a short time to qualify as a projector. This book includes the fullest details of practice. PRICE— $5.00 PHOTOPLAY WRITING (By William Lord Wright) The author was formerly Editor for Pathe Exchange, and Universal. The book is a thorough and authoritative presentation of this lucrative field for writers. Every year new writers achieve fame and fortune. Complete information on how to write for Motion Pictures and how and where to submit vour ideas. PRICE — $3.00 SCREENLAND (Book Dept.) 49 W. 45th St., New York, N. Y. SCREENLAND The Stage Coach "Allez-Opp" The New York reviewers fell on "AllezOop" and smote it, hip, thigh and sinew. They took the sketches and music and knocked them for a goal. But on attending the second night, we found that things were not as bad as they had been painted. There is a little more swank, we, alas! admit, in being a first-nighter: but by and large, we second — and thereafter-night guys get often a better idea of the show. There is a first night enthusiasm for something good that is so infectious that the beholders scatter adjectives as though they were numberless. The second nighter, as a general rule, finds that a show deserves not all the boosts, nor, on the other hand, all the maledictions that have been heaped on it. J. P. McEvoy did the sketches, and Mac had the handicap of "Americana" upon him. Everything he did has been judged (not consciously, perhaps, but nevertheless definitely) by the swell job he made of "Americana". It is true the sketches of "AllezOop" had not the snap, the punch, nor the speed and humor of Mac's previous stuff. On the other hand, very evidently, while Mac didn't do par, he tried to do a more lowbrow job than he had done before. He was, whether influenced by the fact that the new piece would play at Earl Carroll's or not, helping to round out a dance show. The music came in for a panning, too, because of the "Americana" touch. Phil Charig had done the music for "Why Do Ya Roll Those Eyes?" and "Sunny Disposish" in "Americana". Ergo, the score which Charig did with Richard Myers, was razzed — comparatively. Well, again, part of the indictment is true. On the other hand — though the songs in "Americana" were never done as well as they deserved — the composers and the lyricist get very little help from the cast of "Allez-Oop" in selling their stuff. Practically nobody put a number over. Most of the songs were given to goodlooking girls who could dance. Evelyn Bennett, one of our grand dancers, insists on singing some four numbers; and even Evelyn's twinkling toes and nimble knees — Continued from page 57 don't make up for the lack of a voice. Cliff O'Rourkc has a fine voice, but he sings a song called. "Where Have You Been All My Life?", a piece evidently intended to be done with lightness and buoyancy, as though it were an aria from "Aida". Or, as though it were "The Curse of an Aching Heart." Bobby Watson and Esther Howard did put over a not-so-grand song called, "What Did William Tell?" They put it over because they played it for everything in it — and then added their own personalities. Viewed as a dancing show, and not as a Menckencsque picture of American life, "Allez-Oop" will do. The dances, the girls and the costumes are the best part of it. Which is probably just what the producers intended. "The Manhatters" There is an intimate musical review, "The Manhatters", now playing at the Selwyn. having moved uptown from Greenwich Village. Dave Bennett was called in to stage the dance numbers and give it a professional air. Dave done noble, but the fact remains that the show still belongs in the Village. It is adequate, but it is really thrilling. You don't walk out, but you are not enthralled. Somehow, in the Village, with no pretense of being anything but glorified parlor entertainment, it would have remained a merry thing. There is one Jacques Cartier, however, who does put the thrills into it with two corking solo dances, exceedingly well posed. He manages to get into an esthetic performance some of the thrill of a fifty-yard run through a broken field. How he docs it, we do not know. All we know is that he has something akin to magic in his dancing. Lots of the youngsters of the "Garrick Gaieties" and "Americana" are to be seen here. Dorothea Chard, who has to say some very silly things, is the Bailieff, but Dorothea still looks so cute that you almost forgive her. Doris Vinton dances well. Eleanor Shaler clowns and dances and does both exceedingly well. But to Jacques Cartier — who has the sense to appear only twice, once in each half — go the honors. THE WINNER OF THE CONTEST FOR MARIE PREVOST'S FITTED BAG IS Alfa W. Junge, Braddock, North Dakota whose letter shone with sincerity and whose worshipful attitude toward dainty Marie was made utterly convincing by flashes of droll imagination and a pathos lacking in all self-consciousness. Screen land is very happy to have had a hand in helping Marie Prevost to find this little friend and is glad to convey to Miss Junge Marie's personal gratitude for so staunch an admirer. The fitted bag has been sent to Miss Junge and with it goes our best wishes. It makes us very happy to know that SCREENLAND reaches and pleases just this sort of girl and we join Marie Prevost in expressing our pleasure in sharing with her this adventure. • 1