Screenland (May-Oct 1928)

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ELGIN WALTHAM BB3 — Newest model Waltham or Elgin nationally famous, gentleman's strap watch. 20 year warranted green gold filled case; radium dial; guaranteed . time-keeper. $1.87 a month. Specially priced DfWAf DIAMOND £> KUTML WATCH CO. W ADDRESS DEPT. 23E, I7Q BROADWAY NY J Laugh and Sunrise, saw the slender girl with the golden hair framing her wistful face and said, pointing to her, "There is 'Marguerite' for Janning's Faust" and so a bewildered but deliriously happy girl found herself suddenly and without any training or preparation slated to appear opposite the idol of Germany's screen fans. The sandwich and pear have disappeared and again Camilla is reclining, an interested spectator, while Frau H — 1 — relates Part 2 of the pajama girl's story. And now came the big night of nights for the youthful leading lady — the world premiere of Faust. A beautiful new dress, throngs of excited relatives and friends, her delighted mother came all the way from Frankfort to witness her little girl's triumph. Flowers, telegrams, letters — and a card engraved with a name she did not recognize as that of even an acquaintance, bearing the request, "My dear Miss Horn. Kindly send to address below two tickets for tonight's performance of Faust." The card, shredded, found a resting place in the waste basket. There were two perfomances that night at the theatre, one at seven and another at nine. The. first showing elicited much applause and Camilla was surrounded by admiring old and new-made friends. She was in her dressing room getting ready for her second appearance before the audience when there was a knock on the door, and the maid opened it to admit a pompous and well-dressed man who bowed stiffly, and announced, "I am Mr. X " the name on the card requesting tickets. "Yes, Mr. X ," said Miss Horn "But I do not remember meeting you." "We have never met," admitted the pompous one, "But I sent you my card with a request for two tickets. I did not get the tickets." Somewhat annoyed by his insistence, the girl said, "But I do not know you. Why, I could not get tickets for my friends — even some of my relatives had to purchase their own. I do not even know you. Why then should I send you tickets?" "Ah, Miss Horn," and the deep voice now held unmistakable reproach, "You do not understand — why, I bought many — many of your pajamas!" After Faust, Camilla had many offers from other producing companies, but until Joseph M. Schenck of United Artists gave her an opportunity to appear under his banner in the United States she was reluctant to make any change. All alone she crossed the wide Atlantic and all alone she crossed the continent to Hollywood. And now, at nineteen and within a week of her arrival in the crowded screen capital, she is playing opposite John Barrymore in Tempest. A Grimm's fairy tale come to life! Scraps for Oblivion — Continued from page 41 in six or eight. So a human being after a battle rarely looks as well as before he has been dismembered. Too many of our finished film books look as if they had been finally edited by allowing a freight train to run over them. All of us must remember scenes we have witnessed in the projection room or at a preview that never reached the public, and cherish memories of marvelous incidents that never can be seen again. Before The Birth of a Ration was finally edited to the form the people watched with such fascination, I had the privilege of seeing it. I sat spellbound for four unbroken hours and did not see how an inch of it could be spared without loss. Yet nearly half of it was thrown away. Griffith and some of the other great directors are like the god, Saturn, who devoured his own godlike children, unless they were stolen away from him in time. Carey Wilson tells me that the most touching thing he ever saw on the screen was never revealed to the public. In Erich von Stroheim's original version of Greed, which followed Frank Norris' story with unusual fidelity, there was the autumnal love-story of an old book-binder and a little old maid who loved each other, yet frightened each other for twenty years in the same boarding-house without daring ever to become acquainted. At last the old man sold his book-bindery for ten thousand dollars and in the insanity of sudden wealth let slip the secret of his love, and scared the old maid into confessing hers. They were married and it rained, of course; but the deluge was sunshine to their blissful eyes. When it came to the final slaughtering of the vast picture to make an evening's entertainment, it was necessary to cut out this whole story. Not a vestige remained. The actor was an old comedian who found his chance for a role of pathetic ten' derness and created a masterpiece. He died unknown and the story entered oblivion with him. Unless somebody should Gee fit, and find it still possible to rescue that little gem, it is gone forever. Charles Chaplin told me when he was making The Kid about a moment of pantomime that brought tears to my eyes for its grotesque realism and strange beauty in ugliness: It was when Charlie, having found the Kid in the ash-barrel, took it to the squalid cellar where beds were rented to outcasts for a pittance. On the next cot to him was a husky thug in an undershirt. He kept scratching himself with such violence that Charlie grew uneasy of his neighborhood. C[ Marceline Day lends her wistfulness to 'The Big City,' her next pic ture with Lon Chaney.