Evening Star Newspaper, February 21, 1926, Page 53

AMUSEMENTS.’ =g GARBO ~ Calundia SUNDAY STAR. WASHINGTON, D. €, FEBRUARY 21, 1926—PART 3. SN —> ELPANOR BOARDMAN Palace EwWS and Comment By W. H. Landvoigt. © who want to make the world good—and miserable—are at it Chicago, where, according to Film Daily, the “Federated Motion ca, Incorporated,” in its efforts to “Christianize some- of Richard 111" aroused the indignation and spurred 1saye, speaking in behalf of the picture Ramsaye declares that the council, in its in- ¥ he situation, “charged that the screen is guilty npted murder, subornation of burglary, arson and other diverting pastimes 1t here, if this be true, is where Mr. Ram- save made tac take of treating the charge seriously. But he did treat seriously, anc g a bit extravagant himself, he did succeed making MK. e out in Istreet, on the oratory of Mr. Terry Ra industry. To begin with, Mr vitation to a of seduction, the movies have been a shining mark The blackmailer always seeks a rich and successes, especially financial suc- al 1z mark for those whose love for money sur- rasses their love He beileves, apparently, that the chief mcentive of the obtrusive reformer is the diversion of some of the golden * tflood that flows into the coffers of the Movie producers, rather than a de- to improve the Movie and to make the world better. All this sounds like an ugly quarrel, with one side calling the other “You're another.” Kk ok ¥ RIMINATION of motion pictures or to make the world better. They simply keep alive « profitless discussion filled with extravagant charges and counter-charges, vithout reaching a sensible solution one way or the other. The motion picture industry has made some wonderfully fine pictures. And also it has made some very atrocious ones. The real problem is to eliminate the itrocious and to direct effort toward the making of those pictures only ich, whether great or nfdiocre, will entertain, amuse or instruct the \merican people without suggesting or in any way catering to bad morals or bad manners. When a builder finds a building defective his effort is xerted toward remedying the defect, not necessarily in tearing down the building. His first attention is given to finding and to singling out the pecific defects to be remedied, and, when that is done, to supplying the proper remedies. This, it is humbly suggested, should be the course fol- towed by every individual and every organization that secks to eliminate supposed evils from the motion picture. Will H. Hays, a directing force in the motion picture world, has told of many instances where photoplays RAMSAYE becanse th Mr. R s, are he has also told of instances when suggestions from these societies, made 1 good faith and with no uiterior purpose, have been gladly accepted and dopted by the producers. Indeed, we have the direct testimony on this ery point of quite a notable organization which started in Indiana avowed- v _as “National Indorsers of Good Photoplays.” This certainly indicates a ingness on the part of the producers to accept and to adopt construc- ive suggestions oftered by those whose good faith is unquestioned. % X ok ¥k BUT in the final analysis, says Mr. Ramsaye, the American people are going to have what they want. The censor has been acknowledged « failure in some faith. Individual opir ensor takes ar e thi ve that American has oved the Movic ions are apt to become narrow. ell. and before he gets through, lo and behold, only what t can be right, and all else is utterly wrong. Censorshi police power based upon fixed and certain laws, i Lept the Movie in a constant turmoil. It is astonishing how many therc are fect to feel, that they have a cort of divine commission to reforn srove things, c¢specially the Movie, and who fight with bitterness ain their own mdividual ideas of how the world should be run. Ofter—far 0o often—the public learns, after a long and trying ordeal, that there is nore of the mercenary than of the moral impetus behind their efforts. * %k x T is coniidently believed that no one yet has suggested an authorized board of critics for the Movie, a board composed of intelligent and well nformed men and women, to preview and criticize photoplays before their public refease, and to offer constructive suggestions for their improvement. Such a board might be immensely helpful. It would not.have the power to actually ban a production after thousands, perhaps millions, of dollars 12d been expended in making it. But if the producer refused to accept reasonable suggestions for its improvement, the criticism of the board might be published widely for the information of the general public, which, in the final anlysis. would be the judge. This, it would seem, is far better than the arbitrary final judgment of an individual, or of even a small body of individuals, whose idea uppermost is not the betterment of motion pic- tures, but rather the establishment of belicfs or notions as to what pic- » tures should be. * kX K HERE are many people in the world who have an inherent dislike for motion pickures. The reason why they cannot tell—but they don’t like shem. Tt isn't fair for these people to attempt to deprive people who do ‘ike them of the pleasure of seeing them. Everybody di :}:ei something, but it doesn’t follow that because we do not like a thing those who do like it are to be deprived of it. That is not Christianity by a jugful. * k% s take ourselves too seriously. somet , and an ident like the Chicago discussion of the Movie ought to cxcite hearty laughter. Tt has done so, probably, in all but the principals to the discussion, who do not seem to realize how amusing the whole thing is. Thq Facleofit Kiss OST of It makes us forget to laugh “HE greatest American picture product is exemplitied by the “fade- Jut. kiss"—symbol of the truism that ‘all that ends well.” So s: ola D , famous een emotio ist “That last ardent kiss and embrace as the film flickers out is the illus- trated equivalent of saying: ‘And they ived happily ever after.’ ‘When vou are told that in bar- barous lands, where the natives used o rub noses as a sign of affection, hey now emulate the American kiss, ou hegin to realize what a profound world-effect has been wrought by the \mierican happy ending in_motion pictures. F n the universal drama has been given a lighter, more joyous adence b the type of picture in vhich dreams come true. “The coup de mai ~master stroke of practically every screen play is the climax by which obstacles are swwercome, evil is overthrown, and in which virtue and romance triumph. We must concede that this is an in- <piring tonic and an encouraging in- M ce. “Yragedy serves a purpose. Often it drives home a splendid moral or noints out a terrii injustice. But hand, existence is motivated by a power for good In the grand scale, and assuredly we all are responsible for much of our pwn sorrow and our own happiness. “The American screen altered my viewpoint in its favor slowly but sure- ly. After a few months here I began to understand why sordid, melancholy drama could not thrive here. For, by comparison, America offered endless oppertunities for success, for physical comfort, for satisfving a craving for beauty, for the appreciation of human qualities, and, for obtaining the acme of contentment. “It was when I returned to Europe on my last trip that I realized, with a start, my changed attitudg toward the expression of theatrical@motion. T went to see many plays. Some of them were excellent tragic plays, showing an intellectual insight into life. But I felt a growing sense of rebellion” at this emphasis of human misery, the obvious feeding of the people’s self-pity, the cynical insist- ence that life is a hoax, fidelity im- possible, love a sham, and justice non- existent. “I rebelled because I knew different- ly. I had'seen both sides of the issue ates, he claims, where censorship was tried in good | Given an inch, the | to main- | he happy ending leaves a sweeter aste in the soul, and need not neces- <arily be branded as fnartistic. “Once I believed that the happy ending was not (rue (o life and, there- rore, & jarring note to sterling drama [ beleved that it destroyed the artis- o tone of the portrayal of life, e anse snffer vustice and tragedy unquestionably d i Qu the other and weighed each fully. “The tragic play was all right, I felt, but was being overdone to the point of spreading gloom in hearts that might otherwise have experi- enced the share of optimism at hand. Tragedy from the pen of a genius?— 'S Tragedy filled with the wails of sfited, bilious dramatists?--no. ‘Ii was with a feeling of relief that exceeds the Suppl.” | Picture Coun- | The Moving Picture By Robert E. Sherwood HOSE who go, on occasions, musical comedies seldom pay much attention to the libretto, or “book” as it is called—for the good and sufficlent reason that the libretto is usually beneath notice. The music, the dancing, the pretty girls (with or without elaborate costumes), the indi- vidual work of the comedians—these are what make for the popularity of a musical comedy. The so-called plot amounts to zero, being used only to 1ill in the gaps between songs and to | give the musicians a chance to catch to { thelr second wind. Of late, however, comedy librettos, plotless, and stereotyped s they may be, have begun to drift into the movies, and ave emerged on the screen enormous success | “Sally,” with Colleeg More as fits ar, made a fortune fof its producers. Now Miss Moore is about to be re vealed in “Irene” which, when ‘you ! Another ver: and recriminations are not going to improve the quality | |pear in “Battling Butler,” another4 | | i 5 & | bilities have been pre-viewed by socicties who want to improve all pictures, and | {come right down to it, is precisely identical with y. on of the same story, ally, Irene and Mary” (with three Cinderellas instead of one), has handsomely in the box office, ‘he Merry Widow.’ Famous Players is about to start work on a dramatization of Mr. Zieg- feld's celebrated “Follies,” using his ogan, “Glorifying the American Girl,” as a title.” Eddie Cantor is pre- aring to 1 in “Kid Boots on the reen, and W. C. Flelds will make his debut as a star in “The Old Army Game.” Buster Keaton will soon ap- adaptation from the musical comedy stage. Larry Semon is to make “Stop, Look and Listen,” and Corinne will have Fritzi Scheff’s role in Modiste.” It is probable that a veritable de- luge of celluloid librettos will' soon descend upon us. The movie pro- ducers, having discovered the possi- in_these trite but sure-fire stories, will not be slow to exploit ther. Even now ehey are going back through the vears to dlg up such favorites as “The Red Mill,” “Ha - “Watch Your Step others. The best movie plot of them all— “The Chocolate Soldier"—is not yet available, for the reason that it was written by that capriclous Irishman, George Bernard Shaw, who stead- fastly refuses to do business with the film producer 1 The craze for war tinues, w he Big New (¢ ndment, and “Havoc” on view, and “What Price Glory,” “The Unknown Soldier” and a hitherto untitled story of the Marine Corps on schedule. At the same timo (and possibly there is some connection) there exists a sudden and inexplicable tendency toward the lower regions, as evidenced Ly the following current titles: “Iell's Highroad,” “The Devil's Purse,” “Satan in Sable: “Hell Bent for Heaven,” “Hell's Trail,” “Hell's Four Hundred” and “Satan’s Sister.” It looks like a big year for hell, what with one thing and another. Indeed, the inferno is gathering al- most as much publicity these days as that other popular Winter resort, Florida. LR The history of the movie business largely is a record of crazes, started in each case by one outstanding pic- ture and imitated by many others. “A Fool There Was,” with Theda Bara, started the vampire craze. “The Birth of a Nation” started the patriotic craze. “Is Any Girl Safe?” started the immoral craze (and, incidentally, mo- tion picture censorship). “The Spollers” started the Alaska craze. “The Miracle Man" started the re- liglous craze. “Passlon” started the costume craze. “The Covered Wagon"” started the frontier craze. “‘Sally” started the musical comedy craze. “The Big Parade” started the war craze. ‘The movies travel through cycles, each one distinct and each one thoroughly unexpected. Any one who can anticipate these cycles, and can climb aboard the band wagon before it leaves the tent, is bound to gain not only fame but considerable wealth. The sum of $221,000 has already been expended on Rudolph Valentino’s next production, “Son of the Sheik,” although no actual work has been don on the picture as yet. . . . It had better be good. . . , Lionel Barrymore has finished his two-reel comedy contract, and is now appear- ing in “Brooding Eyes. + . The Barrymore brothers seem to have settled down in Hollywood for good. Among the recent openings at New York theaters are Rex Ingram’s “Mare Nostrum,” with Alice Terry and Antonio Moreno (at the Criterion), and King Vidor's “La Boheme,” with Lilllan Gish and John Gilbert (at the Embassy). . . . Most of the movie stars who dwell hereabouts have gone to Florida, “on location,” as they say. (Couyright, 1825 pictures con- ade.” “The “The Crowded st,” “Behind I went to see a number of American screen plays which depicted the clean sweep of true love, which left a song in the heart and a smile on the lips. These screen plays were an antidote. ‘They permitted me to throw off a these musical | polntless | with | { i | { ‘Photoplays | i At the Photoplay Houses This METROPOLITAN —“Tust evening, COLUMBIA RIALTO [ cvening. PALACE—"The Auction Block. TIVOLI—“Sally of the Sawdust.” AMBASSADOR—"Just Suppose ning. ‘“The Torreut Suppose.” Shoy What Happened to Joncs. This Week Week. Shown this_afternoon and g and Showan this afternoon and cvening. Shown this afternoon and evening. Shown this afternoon and eve- CENTRAL—“Wreckage.” Shown this afternoon and evening. LINCOLN (Colored)—“Stage Struck.” evening. METROPOLITAN—“Just Suppose.” Richard Barthelmess is the pictured star at Crandall's Metropolitan Thea- ter this week in First National's pro- duction of “Just Suppose,” camera version of the play by A. E. Thomas, which in many of its sequences, it is claimed, reproduces the experiences of the Prince of Wales on his recent visit to Long Island, with Barthel- mess cast as a FEuropean prince. The bill will also embrace the Metro- politan World Survey and a two-reel comedy and a musical program by the Metropolitan Symphony, Daniel Bree- skin, conductor, with a distinctive contribution by Nell Paxton, pipe Lorganist, and Milton Davis, pianist. “Just Suppose” is the romantic story of Prince Rupert of Koronia, Wwho, after a serles of escapades that irk the prime minister, is dispatched to America on a private mission by his father, the king, where he is sub- Jected to the usual round of inter- views, sittings for pictures, social gayetles and the like. Finally the entourage finds itself in the fashion- able precincts of Southampton, where the prince takes part in a whirlwind polo match, and here comes the love element involving a pretty American girl. A surprising denouement makes it possible for the prince to return to America and wed the charming crea- ture of his cholice. The overture will be comprised of selections from Sigmund Romberg’s operetta, “The Student Prince,” and the recurrent theme of the interpre- tative score will be “The Love Song,” by Offenbach, with “A Girl in Your Arms,” from “Sweetheart Time” as the exit march. Also Mrs. Paxton and Mr. Davis will play a group of numbers that range from the classics to current dance and song hits. COLUMBIA—"“The Torrent.” At Loew's Columbia this week, starting this afternoon, Greta Garbo, a continental screen beauty recently brought to America by Metro-Goldwyn, will appear opposite Ricardo Cortez In Monta Bell's production of “The Torrent,” the latest story by V. Blasco Ibanez, Spanish novelist and author of “The Four Horsemen of the Apocalypse. “The Torrent” is described as a’ burden of depression imposed by the fiery love story of gay, romantic Spain heavy, somber plays I had witnessed. | to which Ibanez has brought all his And when I returned to America and|artistry and skill to picture the ro- Hollywood I thought of the power of ! mance of a famous opera singer and the ‘fadeout kiss,’ which can never|a village aristocrat whom she loves. grow old because love can never grow | The picture is said to show one of the old greatest storm scenes ever projected “The ‘fadeout kiss' is an American ! on the screen. institution. Tt Is turned out in quanti- | The cast will include also Gertrude ty production. But the domand always * Olmstead, Edward Connelly, Lucien dditlefield, Tully Marshall, Mack Shown this afternoon and Swain, Lucy Beaumont, Arthur Ed- mund Carew and Lilllan Leighton. Dorothy Farnum adapted the Ibanez story to the screen. A short-length Christle comedy, “Rin-Tin-Can”; the International news reel and Mr. Brusilof's music will be added features. RIALTO—"“What Happened to Jones.” Reginald Denny in “What Hap- pened to Jones,” which will be the attraction at the Rialto this week, is a fastmoving comedy, crowded with situations from which Denny, as Tom Jones, gets himself into almost unbe- lievable complications. Starting with a harmless poker game and rising to one farcical climax after another, the hero is obliged to use all of his wits before he rights himself. Denny, whimsical and plain- tive, in the role, undergoes many trials and tribulations until the un- usual and hilarious ending. > Supporting the star are Marian Nixon, Otis Harlan, Zasu Pitts, Emily Fitzroy, Willlam Austin, Melbourns MacDowell, Frances Raymond, Mar- garet Quimby, Ben Hendricks, Nina Romano, John Elliott, Edward Cecil and Broaderick O'Farrell. The special presentation under the direction of Mischa Guterson is the George Washington University Girls' Gleo Club, an ensemble of 50 voices, trained by Miss Estelle Wentworth, former opera star and vocal instruc- tor. This engagement is commemora- tive with George Washington's birth- day tomorrow. ¥ “Evolution of D‘gl?;" zy iA:K:, V;'lll be played by the Rialto Orchestra for the: overture, and the International News reel and a Buster Brown com- edy, entitled “Buster Goes a-Hunt- ing,” complete the program. PALACE—“The Auction Block.” “The Auction Block,” Rex Beach’s story of modern American life, will be pictured -on the screen at Loew’s Palace this week, beginning this afternoon, in a Metro-Goldwyn produc- tion with a cast of players headed by Eleanor Boardman, Charles Ray and Sally O'Neil, the star of “Mike.” Hobart Henley, director of half a dozen of Metro-Goldwyn successes, has brought this stirring story to life in spectacular fashion, from a script prepared by the Hattons—Frederic and Fannie—authors of “Lombardi, Ltd.,” and the picture #s said to pro- vide fine roles for all its featured prin- cipals including Charles Ray, who has now definitely . abandoned the country boy type of characterization which he made famous. Auction Block” is the story Jei Knight, a South Carelina whe wins the Adantic Ciy CAROL DEMPSTER | Awmbasrador !Sympflor;y Concerts atRialto. | | THE Rialto announces a distinct in- ! & novation starting Sunday, March 14, for each Sunday thereafter, when symphony orchestra concerts, with an | ensemble’ of 40 pleces, will be conduct- jed by Mischa Guterson. Thesa con- certs will start at 2 o'clock, and the ticket of admission will entitle the holder to remain for the regular sho starting at u'clock. Mischa Guterson has the distinction of being the originator of symphony orchestra concerts in the motion ple- ture houses of America, while he was onductor « the orchestra at Grau- man's Millic ar Theater, Los An- geles, Calif, Saturda morning at 10:15 o’clock the feature picture for the selected wograms for children at Crandall's Civoli Theater will be Jackie Coogan n “Boy of Flanders.” § The public does not quite understand | the opportunity offered in the revival of the j = shown on these chil- | dren’s i Another year “The | Boy ot will be { withdrawn from circulation in this | territory. and then it will be possible | o 1o wet library prints of it from I New York, as has been done with the | Marguerite Clark pictures | ““The Boy of Flanders” was filmed { from Ouida’s original story, “The Dog jof Flanders,” and it is one of the | Jackie Coogan classics, ranking with + his production of “Oliver Twist.” It nay be Interesting to know that the arrangement of short subjects at the opening of the Tivoli performance is i TF I ments in stock companies young Bar- AMUSEMENTS. 1E story of Richard Barthelmess’ career is a monument to tenacity of purpose. | Barthelmess' mother, Caroline Har- ris, was well known on the speaking stage. While his mother was on tour | and while she was playing engage- | thelmees was sent to boarding school. | During early vacations he &pent his | holidays with his mother back stage | at varlous theaters. Later, as he grew older, he sought minor theatri- cal engagements himself, earning a little money to help himself through school. He secured his first real motion picture job as an extra in Blllle Burke's production of “Glorla’s Ro- mance.” He recelved $10 a day for this work. Actually this was not | Dick’s first appearance in front of | the motion picture camera, for while | his mother was playing in a Biograph | picture, Barthelmess appeared in a | single-motion picture scene of Griffith production. This experiencs, | however, had thrilled him, since it | had given him his first glimpse of | Mary Pickford, Lillian and Dorothy BARTHILMESS Metropolitar Richard Barthelmess. Gish and other playe he was destined to After the Billle played as an Bushman-Beverl Romeo and J sarthelmess then v countered great further suddenly smiled upon him. er was a great friend of Mme. Allu Nazimova. In fact it was Caroline Nazimova. to spe: sian star was tion of “W Herbert Breno Burke picture he L in the e pr His moti The Ru pre English. o st a v younger s to s to tide over his Summer. Nazimova phoned for Dick 1 her hotel the ning before to i at the e v e s hotel—and brought of th man they predicte young actor Tm; Fox Theater policy, according | to Film Daily, inc idex | to develop first-run s with | neighborhood and suburban houses to insure the poli of the first-run | houses. The new National Press Club | building to be erected here will con- | tain a Fox Theater. It s said that George Bernard | Shaw refused an offer of a million dollars for the screen rights to his works, made by Samuel Goldwyn some to provide entertalnment for the smaller children, who are likely to tire at the length of the feature pic- ture. i . Screen in,Education. | THE average time of learning | | considerable portion of the infor- mation gained in schools can be cut naterlally, possibly in half, and the | results be’ equal, if not better, when properly constructed motion pictures are used.” according to Dr. Rowland | Rogers, instructor in motion pleture ! production ut Columbia Universit; @ recent report on visual education. Three tests were made recently | under the direction n a New wk public 1 e n-sized New and @ third in a Jersey rural school. Puplls were divided into | three groups. One group composed of | superior children was taught by the | usual methods only; the second had a | | combination of two periods of instru tion and _three perlods of pictures, | and the third only one study period and pictures. The proficiency rating of the three groups was as follows: The study only division, 30 per cent; the study and motion piotures, 46 per cent, and the one-period study and mo- tion plctures, 75 per cent. - Qe Picture “Stills” in Text Books OTION picture “stills” are about to succeed the conventional photo- graphs as {llustrations for text books, according to Willlam H. Sadlier, text book publisher, of New York City. “‘Our decision to use moving picture ‘stills’ in our future text books has been reached after quite a study of the matter with both teachers and pupils,” sald Mr. Sadlier. ““We have taken occasion to inter- view a number of teachers and many puplls, showing them the conventional illustrations used up to this time in school historles and also some of the moving picture {llustrations, and in | every case the decisions of both teach- ers and children have been in favor of the moving picture illustrations.” bathing beauty contest, becomes the toast of Broadway, and is swept away by the tempestuous wooing of a wealthy young Pittsburgher. He dls- illusions the girl so utterly, however, that she returns to her Southern home, keeping her Manhattan mar- riage secret. IHer husband, who truly loves her, follows in an attempt to win her back, and complications ensue involving a young banker ig- norant of her marriage, and a baby vamp type of girl, too, tries to com- promise the young husband. A Charlle Chase comedy, ‘‘His Wooden Wedding,” the Pathe news reel and orchestral embellishment will be other features. The various play- ers of the masked players’ contest will be pictured on the screen also for the benefit of contestants. - TIVOLI—"Sally of the Sawdust.” D. W. Griffith’s production for United Artists, “Sally of the Sawdust,”” a story of circus life, featuring Carol Dempster and W. C. Fields, with Al- fred Lunt, Efffie Shannon and Marie Shotwell in support, will be the at- traction at Crandall's Tivoli Theater today, beginning at 8 o'clock, together with an Aesop Fable, other short films and pipe organ music. Monday, Richard .Dix in Para- mount’s version of Arthur Stringer's story, . “Womanhandled,” a farce of ‘Western ranch life, with Esther Ral- ston, Olive Tell,- Edmund Breese and Cora Willlams in support. Also Mack Sénnett’s comedy, *Dangerous Curves Behind” and a new release of “Screen Snapshots. Tuesday and Wednes- day, Corinne Griffith in First Natlon- ol's production. “Infatuation,” a film version of W. Somerset Maughan's (Continued on Fowsth Faged | of petures on the years ago. Owen Davis, the piaywright, sued Harold Lloyd, Hal ach and others for $256,000, claiming that the | picture comedy’ infringement ~ of Nervous Wreck.” ‘“Treasures of the Vatican.” Pathe's feature on the artistic aspects of the Vatican, is being shown in San Fran- cisco. “Martin Luther, His Life and Time,” an elghtreel picture whose scenes were made largely in Germany, is| being shown in St. Louis. i Theaters in Buenos Aires. Argen-| tine, are showing as many as 40 reels me program at | an admission charge of 40 centave In cheaper houses the patron a cerit a reel for the show. It 1s reported that Mary and Doug are to make an Alpine picture, “Boots | of Giants,” speclally written for them Plerre Benoit, while they are abroad. It is rumored that Cecil B. De Mille, next year, will make and personally direct a great picturs, in size and im- portance the equal of “The Ten Com- mandments.” But here the rumor stops. Samuel Goldwyn, beginning in April, will make “The Winning of Barbara Worth,” Henry King directing and Ronald Colman and Vilma Banky fea- tured. This is to be a United Artists’ picture and it is to be followed by “Beauty and the Beast” and “The Garden of Allah.” First National believes that Colleen Moore's newest picture, “Irene,” is| the knockout of the year. A capacity audience at a pre-showing of the pic- ture refused to leave the house until a p’rl of the picture, including the fashion parade in colors, had been shown again. Probably this is the first encore recorded in the movies. In her pitiful attempt to remedy soclal - evils by picture propaganda, Mrs. Wallace Reld s said to have made a picture that “goes the limif and that has brought down a storm of criticism. Here is-the instance of & reformer whose mistaken zeal is ikely to injure the motion picture. Now Irme Fazekas, third of a group of European playwrights, has| been signed by Paramount to write a uorir&for Pola Negri and other | original In the search for realism, Soseph Schildkraut, Seena Owen and a half hundred other screen performers nar- rowly escaped drowning in a hurri- cane off the coast of California, while making scenes for “Shipwrecked” in & wind-jammer. And yet it may be only a press agent’s story. Friends of Dolores Costello sent her the following telegram’ after the first showing of “The Sea Beast”; “You are one, of the screen's greatest artists.” ’ Dolores, daughter of the famous movie matinee idol, Maurice, replied: “So’s my old man.” Buster' Keaton is credited with a dictionary for screen people. His definition of “‘scenario writer” is “‘one who can improve on the works of Shakespeare, Milton, Anatole France and Charles Dickens.” = There are others, according to Film Daily, just good. Lols Weber is to direct Mary Philbin in “The Star Maker,” with ‘Warner Oland in the cast. James Kirkwood 1s to play the title role of “The Wise Guy,” which s to be made for First National release. Laura La Plante is to be featured with Einar Hanson and a notable cast in “Beauty in the Box,” Melville Brown directing. Letty Flynn has finished “The Tradio Copy’ based on Gerald Beau: I Mo | rolted | morningz on the Capitol Limited, vi .latest story, Filmog&is mont's story Kitten and King.” Bert Rou ton, D. C., cation. 1In in musical cc a stock and from the: tures in 1914. 1+ was born in Washing where he received his e 8 he went on the stage er he joine laying comedies into motion pic next effort will be Girl,” from an origi ron Morgan. ct the new film. idy has been cast e in Allan Dwan's ¢ ked,” fror e Loi~ Beer Miss Daniels’ “The Palm B nal story by Kenton will dix ¥ Helen Jerom for a prominent r Paramount picture Beach's st n_Sin ce Turner W. C. Fields has closed his appea ance with the eld Follies and re- turned from Chicago to New York to begin his film career as a_comedy star for Paramount. Mr. Fields has visited the Long Island studio to confer with ward Sutherland, his dlrector, o the filming of “It's the Old Army ne.” Louise Brooks has been cus for the principal feminine role opp: site Fields. Walter the Hie 3 reen, with his wi Was! ton la of s into the B. & O. A special musical Crandall’s Metropolitan weels will e offered b: pipe ore planist. ttx E ¢ this 1 Paxton Davis be played are “Don’'t Wake Me (Introduc ing “Let’s Make Up”), “Sweetheart of Sigma Chf" (interpolating “Old-Fash foned Wife”) and “That Certail Party.” Two Rex Beach novels are cominz to the screen almost simultaneousl this season from the Metro-Goldwy studios in California—one, “The Bar rler,” which is awaiting release locally and the other “The Auction Block which Hobart Henley has brought t the screen and which comes to Wash ington today. Sally O'Neil, the Mar shall Neilan “find,” who was recently starred In Neilan's production of “Mike,” has a prominent role in “The Auction Block.” arles Ray. the creator of may famous country-boy roles, Is making his debut as a Metro-Goldwyn star op i leanor Boardman in Tloba: production of “The Auc by Rex Beach. Ray has dis continued his own producing activities For the great storm scene in Ibane: “The Torrent,” Metro Goldwyn engineers, under Directo: Monta Bell's supervision, erected « “property” town on the banks of a river, Into which thousands of tons of damned-up water were hurled at the proper time to make one of lhf most spectacular episode of its kind ever flmed. Not®all Spanish beauties are bru nettes, says V. Blasco Ibanez, autho of “The Torrent,” which enabled the blonde Gertrude Olmsted to enter the cast au naturel, without recourse to has signed another fo Enar Hdnson, Swedish screen and stage actor, whose first appearance in this country will be with Laura La Plante in “The Big Night.” “Roxy” has purchased Victor Her bert’s musical library from the com poser’s daughter, Ella Herbert, and it will be installed in the new Roxy theater. Fhotography of players without make-up has proved successful, de- clares Director Allen Dwan, in “Sea Horses,” in which none of the male members of the cast used make-up and Florence Vidor used only a bit of powder. Superior lighting effects and improved camera devices are said to have contributed to the success of the experiment. Buster Keaton is reported to have sustained painful bruises recently when he fell from a prize-fight ring, one of the sets for his new-picture. An addition to the first-string sec- tion of the svmphony orchestra at Crandall's Metropolitan Theater is Fred Starke. violinist-dir until recently the foremost orchestra leader % Richmond, Vie