Universal Weekly (1924-1936)

January 15, 1927. Universal Weekly 11 The Editor Visits Universal City Paul Gulick's Impressions of the Capital of the Film World; and Particularly Paul Leni's Production of ''The Cat and the Canary." AT one time when Universal City was first established, visitors were welcome and "a trip to Universal City" was regarded as a splendid way to advertise Universal product. It was, but — it was too successful. Visitors crowded the city, confused its machinery, interfered with production, flattered the artists, wasted lights, prolonged production and generally played hob with the business of making pictures. A halt had to be called. Now anyone who gets into Universal City is really an extremely lucky individual. Personally, I felt very lucky indeed to be invited to spend a month there by Carl Laemmle himself. No matter what has been the impression of Universal City from hearsay, photographs or imagination, the realization is one which is bound to startle, amaze and interest beyond one's fondest dreams. Universal City must be seen to be appreciated. It is spread over so many acres, crawls up so many hills and vales, presents so many vistas and so many corners of the earth going to waste, as it were, that no photograph or drawing or casual glance will reveal one-tenth of its importance, potentiality or versataility. To me it presented memories of many screen triumphs of past years. Bleaching bones of "Foolish Wives," "The Hunchback of Notre Dame," "Merry Go Round," "The Phantom of the Opera" sets lie honorably mouldering beside the gorgeous new sets of "Uncle Tom's Cabin," "Love Me and the World Is Mine," "The Fourth Commandment," "Held by the Law," "The Bargain Bride" and "The Claw." "Where are the sets of 'The Cat and the Canary?' " I finally asked of Tom Reed, who was officially conducting me around the works in the chariot of one Sergei Seriotgia Alexandrovic Petschnikofi". "I hear they ai-e very wonderful." ABOVE— Cloistered hall designed by Leni , for John Willard's spooky play, "The Cat and the Canary." BELOW— Back row, Arthur Edmund Carew, Tully Marshall, Martha Maddox, and Forrest Stanley. Paul Gulick, Gilbert Warrenton, Paul Leni and Boli Hill "You bet they are wonderful," said Tom. "But they are all interiors. This man Leni isn't shooting a single thing nnle«'^ he cin r^nrodace the action in shadows. Come into this enclosed stage and I will show you." So we parked the Russian speed wagun and entered one of Carl Laemmle's huge electric light stages. On the wav to th^ Pfl'il Leni sets we had to thread our way betwc n a I ' \ ' rni . of youths and maidens winding up the first series of "The Collegians" and a sawdust settino in wb'cn Andy Gump and his well-known family were endeavoring to imitate a circus. "Here we are," said Tom, and knocked on the doorway of a protecting canvas breastwork thrown protectingly around the mysterious "Cat and the Canary" sets. No wonder these sets are carefully guarded and a sentinel stationed at the one entrance door. Leni doesn't {Continued on Page 37)