Variety (April 1920)

MOVING PICTURES SJ5 ^)^^'?. INSIDE STUFF ON PICTt^ES V^' PtocusBing the Zukor-Brady-Goldwyn. acUvltles led an English plc- • two man to say thla week that the Installation of American studios In England will Just about remove any anticipation which the British pro- ' flucer may have entertarned that he had at last within hla grasp a i^reapon likely to prov-e effective against American technical superiority. ->ipy pjroduclng flUw In England o£ American quality, original stories and Betting," he continued, "It was hoped to forco an entry Into the Amexi- Lcsn market, and It was quite reasonably hoped that exploiting the plc- tare resources of Eurppo with a technically efficient product would iffouee enthusiasm from the American audiences. It is aulte evident that the American producer Intends to do this work hlmselt or pay Bng- jlshmen to make the plcturea under his Instruction.and supervision, and ^lila attitude makes reciprocity in Its original sense a more hopeless ■ proposition than ever, for there will be no novelty to the American audience in viewing the British product when they will be fed exactly the s^me fare from the same source from which they hftve drawn their Durely American pictures heretofore. It eliminates the chance of the .British of entering Into an Anglo-American bargain because the Amerl- •~%ai will be doing what the Englishman hoped to do exclusively. Now ''tbat the American producer has had to pay attention to the criticisms of his proneness to caricature the vei-y countries to which he eitports hto jUniB, with hia characteristic farsightedness he is changing his policy and we are in a fair way to having an Anglo-American film entente •donflistlng of two organizations under the same control. American film 'Quality Is not fixed but progreaalve, and its virtues are erected on orlgl- Vitality and farsightedness, and these latest moves of ^he 'American pro- .'ducers should bring honde to our people that they will have to equip to tiattle as an equal, with knowledge of every move in the gamei There i-tre no short cuts to supremalcy.". i- Lawyers In Nevada say it Is a ridiculous .action brought by Attomey- fOeneral I^eonard B. Fowler to vacate the divorce granted at Reno .• against Owen Moore to Mary Pickford, now Mrs. Douglas Fairbanks. Whatever the obJeSt may be of Nevada's attorney-general In starting the case, it is an annoyance for Miss Pickford and must be defended by her. FOr that purpose she has retained Gavin McNab, of San Francisco, one of the most prominent attorneys west of Chicago. As a matter of fact, ^^ is known here the Nevaxia State government has long been waiting for ' ''sbnie one prominent to proceed against. Prominence was required to ..^vindicate" Nevada, not locally, but nationally. ' "';A New York corporation exporting films on a large scale to Europe ha# -. •» distributing exchange in London. During the last four or five years they have done a tremendous business. The Xondon office paid taxes to the British government, but the volunW of business brought them within ihe meaning of the excess profit taxation law. Up to a year ago the 'British government took 80 per cent, of all excess profits. Now it takes 40 per cent, but according to tho. Chancellor of the Exchequer, Austin Chamberlain, it will be necessary to increase it again to at least CO per cent. While the ^corporation was controlled by New York interests, minority stock was held by several Englishmen, one of whom was ac- tively engaged as manager of the Liondon offlce. tl was decided in New -York that the excess profit tax should be dodged if possible, and the Lon- don manager was Instructed to come to New York for a conference. Sev- eral sessions were held, at which the conversation became heated, for the Englishman refused to become pai'ty to the scheme outlined to him. This consisted simply of moving the ijondon oflflce and stock to Holland, leav- ing the British government to whistle for the taxes, by this time totaling jnany thousands of dollars. Finally the Englishman resigned and cabled bis associates In England what was going on and advised tbcra to get out fjrom under. One of the English stockholders happened to be a solicitor, ■and, to protect himself and his friends, notified the authorities of what j,wa8 contemplated. Meanwhile the New Tork Interests sent on*i of their ntunber to London to make the transfer to Holland, but It. w.isi politely .hinted to him that the authorities wera wise to what wa« go«nc on and f that he had better think it over before doing anything- As a result of ' this the company decided that discretion was the better role, and they are now negotiating with the British government with a view to settling ,' up as cheaply as possible. ... i Eric von Strohelm, former Griffith heavy, was getting $150 a week from Itlniversal while he directed the picture then known as "The Pinnacle.' •:Itwas no more completed than Its posfllbllities dawned ^on Carl Laemmle •and he renamed it "Blind Husbands," obviously a better market title. This provoked Mr. von Stroheim's ire Just the same, and he promptly ' let loose the verbal batteries. The matter (as luck would have It) got Into print Names were called. Not the sweet dove notes that float like -the song of the oriole above wooded eastern locations, but harsh, cruel names, such as "low brow," "high brow," 'Hlght wad," and -cheap skate." Then one of the bright young minds, that get up pubUcity stuff tor the country newspapers remarked on Behalf of Universal the real trouble was caused by a brief difference of opinion getting Into the newspapers. Boon nothing more was hoard. As a matter of fact, the matter was pot : staged for the newspapers' boneflt It takes JIO.OOO a week publicity men to put over stunts like that. It was all on the level, and when "Blind Husbands" was finally shown at the Capitol there was seen to be reason for a row, for the feature was great stuff and a good title necessary.. Kecently Mr. von Strohehh's second picture, "The Devil's Pass Key," arrived from the coast. "He's a one-picture man," was the verdict. The thing skidded for the shelf and the director hit the trail east The final settlement was an agreement on von Stroheim's part to recut and retitle . his picture. This he has done, and it is now announced for release, wliile • the trade Is anxiously waiting to see if this director is a flash in the pan «r the real thing. ■. Alice Joyce of all the picture actresses at present devoting superior talents to Inferior stuff Is the one best equipped to do the best that has been left undone. A dramatic critic of the high-brow persuasion recently made this the occa.sion for a speech, but he was from England, so tUat was all the good he did. But fortunately better class exhibitors see ahead and see her opportunity. Her rnly rival is Norma Talmadge, a d thanks to the story-purchasing power In Mr. Schenck's bankroll, she will probal^ follow her present half-and-half policy. Bui good stories are not being handed Miss Joyce. That their dramatic lights and shades aay be brought out they are given Nazimova and one or two others. Who are from the speaking stage and have neither Miss Joyce's nor Miss Talmadgc's klmost magic gift for pantomime. Moreover, Miss Joyce has in addition the capacity for suggesting whether the means to or not— «■ euggt.tlng untouched depths. She seem- never M on to do half what Bhe> is capable of doing. If the comparison does not seem far fetched, it la clearly evident that where Norma Talmadge has a meas- ure of tho surface cleverness, the tricks of charm and manner of a Bern- hardt, Alice Joyce has (at least in a measure) all that latent, rather saddened reserve that flames like an Inspiration from all the great Eleonora Duse does or ever did. What she needs is stories and a di- rector of ability who will be given full swing r-nt.he may bring out all this woman has never shown. If she were to play "Chance" or Beatrice In "Tono Bungay" (though that's probably out) or best of all, the Duchess in Bakac's "La Duchesse de Langeals," we should see. And why not? eaUac, even in this country. Is a household word,'and who belter than ■Vice Joyce ^Ith her face, soft and warm and gracious as a summer nlBht, plastic as the light movement of a breeze across the water—who better than she could nilmlo for all the world the languor and clmrm and passionate, splendid regret of the heroine of the gieatest love etory Senlus ever gave to the world. The ravens that soar over tho picture field are croaking over the rc- ,turns on William S. Hart's pictures. Guessing is active about the west- ern «rariatic star. He let it be known he would return to the speaking stage. Then comes word he is to make a few more pictures. In bold let- (^VP^. "?i. V ""'"ff «' l^'s latest feature is the statement from him that ^Uils is the best picture I have ever made." AU the signs of the passing are In evidence. The testing out of the market is too marked to occasion even this slight reference, but whether or not Hart is pulling as once he did m pictures, there la no doubt In anyone's mind that he will have ror a life-time a secure place in tho mind of every casting director for legitimate playhouses. Always a sterling actor and one who knew his business, his absence from Broadway since he went wlt;i Ince in the old ^^,^\ ,^ ^^ *'**'* conunented on and regretted. Meanwhile, "The Ton Gate ■ is going great, though his last two pictures fell off. . Gossip at a clubhouse the other day—a place where tho managers and others powerful behind the scenes gather for their afternoon tea and toast—turned on the possibilities of making an Income by vwitlng and dh-ectlng for others. Was there much in it? The two well known cases of John Emerson and Anita Loos were cited. Then attention was di- rected to George *'Itzmaurlco and Oulda Bergere, and much of the bus- iness credit for their successful venture wltli Paramount was given to the lady. Their Joint contract, it seems, calls for $1,000 a week, and $5,000 for each original story accepted during the first year. Four are to be submitted. Paramount engages to accept at least one. There's $67,000 sure for a year's work. For the second year the weekly stipend jumps to $1,500, with $7,500 for stories accepted, and one must be taken. The third year the rate Is $2,000 a year ind $10,000 a story. Going som*, we'd say. • . . When the Watertown, N. T., folk saw "A Pool and His Money" (Selz- nick), made at Alexandria Bay, they found that ihe cutters had taken out many of the scenes which the cast spent three wcks in obtaining. The winter scenes for which the company braved Northern New York In January to .secure wuld almost be counted on the fingers. Incident- ally, Watertown fans learned a bit about the mysteries of producing. They knew a little railroad station In the picture was a boat house on Wellesley Island, while the gate from which guests emerged after visit- ing the castle was In reality several miles distant, on another island in the St. Lawrence. *■ The reflex of the notoriety given the proposed advance of the legit box office scale to $5 next.season, might have been foun^ in the remarks of two women, evidently discussing the new picture policy at the Criterion, where the scale Is $1 top. "They want a dollar to see that picture," said one of the women, neither of whom is In the show business. "They do, eh?" replied tHe other. "Well, I can see four pictures for that money.'* CLARA KDHBALL YOUNG WINS IN HIGHER COURT A decision handed down last Fri- day by tho Appellate Division of the Supreme Court confirmed tho latter court's previous order to va- cate a $76,000 attachment on Clara IClmball Young's personal property stored in the Liberty Storage Warehouse and also affirmed ' an order vacating the summons In a $25,000 suit brought against Miss Y9ung by the C. K. Y. Film Ckurpo- ratlon on the ground of breach of contract. ^ The court maintained lilss iToung is a resident of Los Angeles, By a previous contrapt, .M^ss Young was to render her aervicSiS exclusively for the plaintiff cor- poration up to August 31, 18^^' Another agreement was exeoutcitt last aunmier setting aside-the: prd« ceding contracts, to permit Miss Young's acceptance of engageni,enta with ot^er corporations. In retuipi she agreed to pay the C. K. Ti Film Corporation a sum of $26,000^ for each production she made for «ti« other conipany, up to teii ' HaVo: Ing completed "The Byes of Toiith^' for the Equity Pictures Corpor^'' tton as the first production ua^er this new agreement, the O; K. T. people sued to recover tho sum in question. * . The picture star Vas defended by Charles-R. Pearce of the Lewis 4); Kelsey ofllce. • ''"''*i.l'i .* ' .•■■•" " ■-•.'■■-jj ■ ' .■■'■■■'A y .■>!^' \;t V;,*^ J; >-^:^---4; !;^, BEPKB8BMTINO AMERICA'S LEADING PLAYERS ■nunft Saim Savlil I>roctor' M»Ud« OUb^rt B«airlc« yfagtn .WUl T. CBKttartMt MAloolm Fftisett Oraea D, Fl^a* . Alio* Flemlns WlUIam J. KelshtoK Behnyler Ladd Frank An<U:««a XvlM Anilrus iltxf AitiBUm. •.■'*■,'' Tiitb ATeiT Z/eon B. BroWB Ilomalne A. Calltadar SooaliS Call Maurlcs Caoa Charlott* C»rt«r . TKdia&s cm^tiistAa Batty Roai^ Clark -William Etia» Xlzzle Svana Uorgan Farley Oertruda Fowlef Amelia Qardfter Souelaa uardeii' Mary Ward Bolton Walter Bftwa Harry Bowa Floronea nuntlDftoa Wallace Jackaoa Eiio Jonelt Valentine Jorx Allan Kelly Arthur Klein Cbarlea .Lamtt Geofgatte'Marcal ' Jean Patrl^ulii Berenlca Parker BUaabeth Patterson Loulaa Frlca Fnuicia roweD Mortoa Adkloa Honnonla Shona Sdltta Wy^na Mattblaon Bdltb Sbayna v Julia Bruna ^ Bdi^ln StraWbrtdsa - Cbai-lea TroTrbrldga Jobn Randall Henry C, Uortlsaar Mary Servoaa .Constance Beaanuktf Charlaa Comptoa .Kathfrlna Qnf ?Cbarlei« OottbolC ■' <Ktbelbart UtUtm -• ' ■WtlUatn SaymonC Helen F. Sincer Jonph Singer Bdgar StebU Jobn Storey .';' s . C. Nick SUrk MUldel Turner William VirilllaiBS ''' .>. Leah WInalow Wailaea Wlddaoomb ■Walter Baldwin, ir. Dorotby Bottn Dorothy Bernard i ^llv* nrcwnell i^mfa A, BoelieU T.aura Burt Geors* Connor Frank Cbitipton ■ ^ Dorothy Cummlosa Oertruda pallaa jr. Hammond Dalley UarrUon' Olbba AUya Glltyn Adda Oleason y Grace QrUwold Marie Baytfea Mary Bampton I^ulaa .Hamilton I>ynn Bammond Btttb Hammond Oeorfa McQuarr!f .1/ Donald Cameron QlaSya Hurlbnt Vanla HarlnoK Minna Oomball Panl UeAltlatar : Sonia Berova Clark SUvemall Howard Bloat John Btokaa PhtlUpa Toad, ... Chat-lea Darrob . Frank Milla Laora NaiaoB HaB Adela;BIo6'd Nolan'Xaary;^ Karsaret Leonartl Catberlna Lexov Arnold Lucy Mabal Maurel ■Mersa Maratoal Albert RcM Helta Ralratr "FIorancaRlttanhoWHt ■■',:.:.<■ Blila Riser !..[■': ,Wm. Stanlataa Bomaln* . ';- Anita Rotba . '. Clarence Rocfcefellav 'Ha^el Sexton MacIseSurteea ' '; Frank L. Bylveater Adeilna O'Connor Tbomaios Chnrlea Thurabx W. A.Whltecar BthalWrigbt JeealeBualey l,oonora Bradley I,llllaa Brennard Richard Berboa Lucy Beaumont Wm. C. Beach Harda Dauba M. Bather Oavia . . Helen Dea Ifonda Robert T. Halnaa Dora Davldaon Jamea Da Vara Uercedea Deamora iflnnla Boprea X X. Hutqhlnaom arte UaXon .Wm. C. HaaaoS ,Conat|,VioaUoUna«ux JTamaaVtr. Uorrlsos OUvaQIWar Robart Ober B. I>. Duana . . Marlon B. oyar lladiira Bdiaon Artbur'Blilot Buntoa qiUptt Katherlna SInrftnat John Harrlnston'. Marion Holoombe 'ArtbtirHohl Fradarlok Maoklyni. BaUa Mitchell . Tohn MHjan Idalfalla AUiAMcDarmett l.ivl£Vr» _ ~X.aoBora OttlBger nugenaOrdwsy -Vlvlanna O^borna Mand Ream Stover Kathorlna Sayra Paulina Seymour Zyllah Inea Shannon Bdward Van Sloan Francl^H. Vardl Rae Nuanoa Victor Ruth Vivian . Beatrice Warren Ann WarrlnstoB Kellla Peek Baundera Bttcenle Woodward BdmoBia 1. Nalley Stanley Dale MaryHushea J. Palmer CoDIni Kobart Vaughn Marlon Fullar JobnC. KIds HENRY UfUMH says: "We wish to commend you on the general excellence of your terr yico," AlSff HATMAN MTb: "^e con- sider the Packard Library Is of great value to the manager," PACKARD LIBRARY DIRECTORS: ADA HUMBERT, Dramat^o CMting Director J. B. PELTON, Pbotegrsphlo Director FRED RYCROFT, Musical Casting Dinactor E. T. W. ANDER80N| Rewarch Director CHI8M0RE PACKARD, General Manager 229 West '42nd Street Nm Ydrk '■'■.''.O'i^ -■ ■.'..'.■.*ti! r^ m m m . ..%v!'^