Universal Weekly (1924-1936)

Vol. XXIV FEBRUARY 15, 1927 No. 23 UNIVERSAL MOVIEGRAMS RUPERT HUGHES will be master of ceremonies at Carl Laemmle's Sixtieth Anniversary Banquet at the Hotel Biltmore, Los Angeles, on January 17th. * * * EMORY JOHNSON, ever since completing "The Fourth Commandment," one of Universal's big pictures for next year, has been working on a police picture entitled "The Arm of the Law." * * * BEATRICE VAN has completed the adaptation of Owen Uavis' farce, "Beware of Widows," Wesley Ruggles is only waiting until Laura La Plante finishes her role in "The Cat and the Canary" to start production on this Broadway theatre success which starred Madge Kennedy. * * * LYNN REYNOLDS will make one more Hoot Gibson picture entitled "Hey, Hey, Cowboy," before undertaking "The Big Gun" by Richard Barry. The cast of "Hey, Hey, Cowboy" consists of Nick Cogley, Kathleen Key, Wheeler Oakman, Clark Comstock, Milla Davenport, Monte Montague, Jim Corey and Slim Summerville. * * * NORMAN KERRY celebrated New Year's Day by starting "The Claw" by Cynthia Stockley under the direction of Sidney Olcott. * * * REGINALD DENNY'S current feature. "Slow Down," has been changed in title to "Fast and Fu"'"us." This is an original composition by Denny himself. "Michael Strogoff" Proves Big Surprise Picture of Year [I'^roui the N(w York Telegrajili Dec. 26.] The Only Picture on Broadway That Did Not Suffer from Christmas Slump, Says Writer. HOLIDAY week is so much of a bug-bear to motion picture theatres, and all others for that matter, that many a punster has tied up the fact that exhibitors should be really thankful that Christmas comes but unce a year. The slum)j hit Broadway as pe^ schedule this year. And every one of the pictures suffered in diminished attendance with the single exception of "Michael Strogoff," the Univer.sal Film de France that is holding forth at the Cohan Theatre. This production has shown a steady increase in box-office drawing power each day since its opening, and the past week day by day has been more profitable than its predecessors. Strange to tell, the same situation has proven to be the cause in various other communities where "Strogoff" has played. In one case an old-fashioned sell-out on the adventure film. This is probably the first time that such an occurrence has actually happened since the erection of the theatre in question. The consensus of opinion of the New York critics was that the film was too highly imaginative, too melodramatic, too crudely spectacular and heaped high with brilliant color to hold film table-talk of "rhythm," "angles," "the liquid motion of masses," and similar baboonish chatter. But the only ones that "Strogoff" has failed to please seems to be the critics them selves, and evan they enthused over the spectacular shots of the barbarians. The answer is that the general run of people in any community still prefer rich melodrama with plenty of fast action and thrills. They go to the theatre for entertainment, not to be bored, not to be "educated," not to view "the liquid motion of masses" — but to be entertained. Only that and nothing more. The story of "Michael Strogoff," the Czar's courier, is a classic of exciting episode. Every instant in it is crammed to capacity with thrilling action. Those who have read the Jules Verne story will recall the adventures of the handsome Russian officer intrusted by his Emperor with a sacred mission. And the manner in which he jjerforms it, risking his life at every turn to serve his sovereign and his love of a lady. Audiences have proven that the day of melodrama and romance has not yet passed. Lighter film fare may be all right in spots — but for general appeal, the action drama of the "Michael Strogoff" order ranks far and away ahead of all the rest. From present box-office indications the Universal box-office magnet will remain on Broadway longer than was originally intended, thereby holding back the premiere of "Metropolis," heralded as another really great photoplay.