Evening Star Newspaper, February 26, 1928, Page 53

OT many years ago the leading juvenile of the BY C. E. N screen was Charles Ray. With a large number Of photoplay patrons he was a spe- cial favorite, his particular type | of acting making an appeal! which was altogether different | from that of other film players. Young Ray was at the height of his career when he decided to go | into the movie game for himself.} He was weary of sharing big| profits with producers. So why | not organize his own company. | stage his own pictures and reap | the dollars? It may have been that Ray | listened to the advice of others,| FROM THE SCREEN Post,” Natalie Kingston plays the leading feminine role. She was once a premiere danseuse at New NELSON. f | York’s Winter Garden, and she is also one of the many girls in Vic- tor McLaglen’s “A Girl in Every Port.” * ok % % E Paris theater has a new rule. All dogs must be checked at the door. Lap dogs and_wolf hounds may howl as loudly as they please, but they are in charge of a special uniformed “master of hounds.” % ow % N attempt is being made to harmonize the film art of but the decision was made. and | Germany and Russia. The Derufa he prepared to stage his first pic- | company, a German-Russian firm ture—a screen version of the ! recently organized in Berlin, has story of Miles Standish. | taken up the idea, and the first Hundreds of thousands of dol- | picture to be issued will be known lars were sgem on the produc- as “The Chalk Circle." The story tion. Big things were predicted deals with Oriental life, and some for it. It was expected that young of the scenes were snapped in Ray's personality would carry it. Samarkand, Turkestan. Two even if the picture did not have other pictures scheduled for easly the really big “punch.” The!release are “Vere Mirveva” and actor-producer turned his own “The Locksmith.” bank account into the venture,| The Soviet government of Rus- &nd then he borrowed some more cash, and finally the completed picture was turned over to the distributors. “Miles Standish” was what is known in photoplay circles as a | “flop.” It did not draw enough| money at the box office windows | to pay the extra people. Charles| Ray lost a fortune, and he has| never tried to produce another ' picture. He went back to the ranks of the employed, but since that time he has never been the popular actor that he was before “Miles Standish.” One hears very little of him now. But another screen player has arrived to take the place of Ray. He is William Haines, an actor who, in many instances, reminds one of the early favorite. Haines is not a better screen actor than Ray, however. But he has touched the popular sancy, and. most im- portant, h- :& drawing the cash at the bc: office window. it would seers ihat he has literally stepped in!0 the shoes of Ray. His last picture, “West Point,” ranks with his best. x % TmE are several reasons why the Charlie Chaplin photo- ' {)Iays should be classed among he big money-makers of the screen world. Aside from the fact that the star is the biggest draw- tng card in moviedom, the pic- ures themselves are not expen- sive productions. 'The casts are never large; they are not made up of stars; there is nothing re- markaple about the photography itself, and they are not screened in an elaborate manner. The Chaplinn film is_intended for a monev-maker. It answers that purpode, and it certainly proves that the eiaborate, expensive pro- ductit:ns are not always bargains for the producers. Tne Chaplin pictures are always record-break- | ers. So much time passes between them that the public does not tire of the little comedian and his| antics. H *‘tne Circus” upholds the siand- ard of the Chapln picturcs. It will continue o preak records ali | over the globe, for Charlic is just about s popuiar in other coun- tries as he is in America. s ew BROADWAY is being treated to another of the outstanding German pictures—a photo-drama said to rank with “Variety,” “The Last Laugh” and “The Cabinet of Dr. Caligari.” The latest product of the Ufa Studio is called “The Trial of Donald Westhof,” and 1t follows somewhat along the lines of Theodore Dreiser’s novel, “The American Tragedy.” “Street Angel” is the titie of the new Janet Gaynor-Charles Farrcei | picture, which opens in New York with a world premiere March 5. ‘The story was first titled “Lady Christilinda,” and it has a Ne: politan setting. Direction by Frank Borzage. “A Girl in Every Port,” the new Victor McLaglen picture, haz opened at the Roxy, in New York. ' *ox k* M the diary of a movie fan: | ‘At the Columbia a few after- noons ago the rather heavy lady, wearing the long jet eardrops, said: ‘You know, my dear, I just love Emil Jannings. I think he suffers 50 wonderfully!"” “Have you noticed that, al- though Norma Talmadge is just 23 beautiful as ever, the pictures are always diffused when a close- up is made of her face? Could it be possible that Norma has a crow’s foot or two around her eyes!” “Many years ago my first movie hero was Francis X. Bushman Those were the days before he played opposite Beverly Bayne. Baw him in that technicolor film sia first took a hand in the pro- duction of motion pictures, but all attempts have been failures. However, the government still re- tains the distribution rights of ail pictures made in Russia, and it is difficult for independent agencies to take an interest in movie af- fairs. * ¥ ¥ X AROLD LLOYD, who recently completed “Speedy,” is plan- ning three pictures for the com- ing vear. One will be a college story, another will deal with the life of a cub reporter and the other will have a setting in a , mythical kingdom. Work is being started in the West Coast studios. * %ok % HE orchestra of the United | Artists Theater, in Chicago, was playing Zohmer’s “Despair” a week ago last Sunday night, when Richard Zohm, 61, a French horn player, dropped dead. Three of his fellow musicians carried | him from the orchestra pit, while the remainder of the orchestra completed the composition. Mem- bers of the audience knew noth- ing of the occurence. Seven special Fox Films are to be given box office tests beforc they are finally released. The | pictures are: “Four Sons,” “Street Angel,” “The Red Dancer,” “The Tour Devils,” “Mother Machree,’ “Fazil” and “Sunrise.” “The Circus,” the Charlie Chap- lin film, has set a new attendance record in New York. The previous record at the same theater was held by another Chaplin picture. “The Gold Rush.” Statistics from Hollywood show that only one out of 6,000 extra girls averages five days of work 3 ! week. The estimate is made by the Central Casting = Agency. Eight of the 6,000 girls average four days a week, 21 of them have averaged three days and the 5,970 others have worked two, one or no days. But every train into Holly- wood carries more girls to look for motion picture work. Sally O'Neil is to be starred in a Tiffany-Stahl picture, “Satur- day Night.” Ralph Graves has the supporting role. | “Bessie Love has been selected as star of Columbia’s “Broadway | Daddies,” which is listed as one of {the company's outstanding pro- | ductions for the year. With Alan | Forrest. she is also featured in the F. B. O. picture, “Sally of the Scandals.” 1t is reported that Tom Mix has signed a contract whereby he is to receive $8500 per week in vaudeville. Then, upon the ter- mination of this contract Tom plans to go to South America to make pictures, taking Tony, his famous horse, and a technical crew. The movie star's weekly pay envelope while ins vaudeville is said to be $1,000 a week more than was paid Sarah Bernhardt on the same circuit. “Times and salaries have changed—but Tom will probably draw bigger audi- ences than did Bernhardt, Alberto Guglielmi Valentino has | just been discharged from a Hol- lywood hospital, where he under- ! went three operations to correct the lines of his nose. He is a brother of the late Rudolph Valentino and he plans a screen career and a nose with a roman- tic contour. Estelle Taylor, wife of Jack | Dempsey, has started work in “Honor Bound.” a stopy of South- ! ern prison camp life. Hobart Bosworth will have the !star part in a Vitaphone picture, | “The Man of Peace.” Colleen Moore and a large com- any are on location at El Toro, Calif, where they are making “Lilac Time.” Gary Cooper has | the male lead. |a director a thorough last week, where he took the pa:t| Damon Runyon, the sports of George Washington—and I am | yriter, has heen invited to Holly- certain he is just as handsome a5 wood 1o supervise the filming of he was 25 years ago. And Francis« hig story, “The Geezzr.” The Uni- has 2z grown son playing movic yersal company is producing. lcads now!” Mav McAvoy has heen sued by et the Waldorf mmpanvhlor alleged ¥ Lom everzl | breach of contract. The companv ,‘Rfifi‘m:h}}{fl:gré;{??y;Nir,,‘, asks damages to the extent of siance, the engagement of Nils $110,000, and it states that Miss THE SUNDAY STAR, WASHINGTON. D. €. FEBRUARY 97 2 UART 4 167 ; - | THE- RALSTON- DHOIOPLAY. KATH ERINE CARVER and ADoLPHE MENJOU- C HARLIE CHAPLIN- Columbia Importance of Cameraman. "THE day s not far off, if not already dawned, get richly deserved credit in the magic art of picture making.” That is the opinion of Prank Borzage, the Fox di- rector, In paying tribute to Ernest Palmer, his head cameraman. Borzage regards the chofce of cameraman virtually as important a: the selection of the cast. “Prior acquaintance or tests can glve dea “He usually can judge ability and know what to expect of them. His sets usually are designed by experts—but lighting them is quite an- other and a different thing. “That's where the cameraman comes in. All of the effects depend on his ability to light the backgrounds and the actors themselves. “1 know that smiles often greet those who complain their action in a pieture was ruined by bad photography or that they did better than the screen told But they are right. “The cameraman can make or break | an actor—and a director as well. There {have been numerous examples of it Espectally s this lighting of incal- | culable impartance In shading or accen- | tuating_ make-up, particularly in close. lups, Give the camera—a marvelous instrument—good lighting and it will | tell the story; but if it can't see clearly, i50 to speak, # botched job occurs “The most important’ man as far as Cerne from (GENTLEMEN PREFER BLONDES™ Palace when cameramen will | of the |enlightening comments on varlous re- { capabilities of his cast,” said Borzage. | marks that have been made in this col- the players' |umn on recent occasions | | | |and the truth hurts Little Theater Moving Pictur_e_Album BY ROBERT E. SHERWOOD. Foreign Correspondence. correspondent in England comes the following which is printed here because it contains many interesting and | F “I have read, with some amusement and some pain, your published views on the subject of film production, and the | incompetence thereof, in England. “I am free to confess (under compul- sfon) that most of your statements are true. There can be no denying that 90 per cent of the films shown in Great Britain are American-made and that the reason for this is traceable to the inability of British producers to make pictures that please the public. “It 13 true that the good, honest Brit- ish citizen prefers Norman Talmadge, Harold Lloyd or Clara Bow to any of ths native stars that have been de- veloped In English studios “In short, everything you say is true— ¥lul there is some- thing more that you in America can't !mnxlbly understand or appreciate. ‘That s the growing resentment in England against the colossal and, to our way of thinking, dangerous influence of Your can readily understand what leads them RO! v b ous | to this conclusion. They are thinking M a ifrlendly. but ancnymon | period of Louis XI were reproduced o | of pictures like Colleen Moore's “Flam- Cli Bow productions. But if such movies exert a degrading Influence on English adolescents, then they are just as harmful in their effect on our own high school students here In the States. Our motion pictures reflect what the American public wants—but they don't reflect what the American public is. Not | by several long shots. * ook % American movie fans are sincerely | anxlous for other nations to succeed in film production, and thereby to pro- vide more serious competition for Holly- wood than has ever been provided in the st. Competition being notoriously the life of trade, the fans know that they will benefit materially by an Influx of fine flms from abroad. Not only will the supply of entertalnment be materially increased, but the Hollywood producers, in self-defense, will be compelled to re- form thelr ways and produce better pic- tures. (Copyright. 1028.) . Earle Lon CHANEY Rialto Chaney as the Hunchback. N a recent interview relative to his memorable performance of “Quasi- modo” in “The Hunchback of Notre Dame,” which is being revived on the | screen in Washiagton this week, Lon ‘Cnm_v paraphrased the great patriot, Nathan Hale. | My only regret is tnat I had but | ‘Quasimodo’ to give my country,” de- | clared the famous star, who is known for his uncanny characterizations of | strange types. “The role of the mis- shapen bell ringer is one that was & great strain on me. I will never be able to perform another part that re- quires so much training in contortions, and so much agility in climbing di: heights, and hanging by an eyebrow Prior to the production of the Victor | Hugo classic in its screen adaptation. at a cost of $1.500.000, it is claimed. Chaney was chosen to play the stellar part, making the helght of markable career an epoch in the art of film production. He had been known for a long time as a master of queer make-up and a contortionist of amazing ability, his first great part being the role of the “Frog” in “The Miracle Man.” The first showing of the Universal superpicture established i as one of [ the really great pictures of the few | really great pictures ever produced. | The great Cathedral of Notre Dame and elght blocks of Paris streets of the rnmmunk‘nuon“‘ ing Youth” or almost any one of the | make scencs for the picture. | "Lon Chaney was supported by a cast | of 67 principals, headed by Ernest Tor- Ivence, Patsy Ruth Miller, Norman | Kerry, Nigel de Brulier, Tully Mar- | shall,” Brandon Hurst and Gladys | Brockwell. In the great mob scenes it is said 3,500 extras were used. Reall Bullstot Used: MOTION picture scencs are not al- | ways “make-believe.” | everybody on the United Artists lot, | with the exception of a director. cam- | eraman and a few actors, recently gave | the John Barrymore set a wide berth during the filming of one scene fn the | star's latest feature, “Tempest,” & story | of the Russtan revolution ! This particular scene called for the | | execution of several people by a ma-| | chine gun squad. The type of gun| used was the Mauser, and as every one with firearms ,knows, the | Mauser machine gun will not work | with blanks. Real bullets are neces- sary | When it was announced that all per- | | familiar his re-| That's why | ! girls Photoplas-rsiThi‘s Week SILENT DRAMA ATTRACTIONS RIALTO—"“The Hunchback of Notre Dame.” This afternoon and eyening. METROPOLITAN—“Old Ironsides. This afternoon and evening. FOX—“Come to My House.” This afternoon and evening. PALACE—“Gentlemen Prefer Blondes.” This afternoon and evening. EARLE—“Serenade.” This afternoon and evening. COLUMBIA—“The Circus” (second week). This afternoon and evening. LITTLE THEATER—“The Iron Horse.” evening. This afternoon and [ | RIALTO—“The Hunchback of Notre Dame.” Picture patrons will have another | opportunity of seeing the massive pro- cuction of “The Hunchback of Notre Dame,” with Lon Chaney in the title role, which is featured at the Rialto Theater this week. In producing “The Hunchback of Notre Dame,” it is said Carl Laemmle believed it would be, like the book, a work with the performante of the an- cient cathedral itself and a picture for all days—days to come—a picture that people would want to sce again and again. Aside from the production . itself, there is the remarkable pe: formance of Chaney as “Quasimod: the deformed bell ringer of the cathe- dral of Notre Dame, to which the star ! gives a vivid impersonation. |~ The production is declared to be cinemagraphically perfect. The sets, | which include representations of the | Cathedral of Notre Dame, the Court of Miracles, Place de Parvis, Palais du Justice, the Bastile and many streets of the period of Louis XI, are genuine replicas of the historic French city. | The cast numbers 75 and includes Ernest Torrence, Patsy Ruth Miller, Raymond Hatton, Tully Marshall, Nor- | man Kerry, Gladys Brockwell and Brandon Hurst. In the great mob | scene 3,500 extras took part. Rox Rommell, conductor of the Rialto Orchestra, has arranged a spe- cial prelude, which, with the Interna-| tional Newsreel and other short films, will complete the bill. METROPOLITAN—“Old Ironsides.” “Old Ironsides” is the screen feature at (irandall‘s Metropolitan Theater this week. The intrepid bravery of the New England Yankees who abandoned their homes and families to answer the call | to arms against the pirates of Tripoli in 1804 is recorded in a masterly fashion in this photoplay. The_ pro- duction, which was directed by James Cruz, is based upon an original story by Laurence Stallings, author of “The Big Parade” and “What Price Glory.” ?rr’\d! isbsa!d to ?fler the public much a new in streen technique. s Chat gnes Pictorially it will stand as one of I:lehixrrsc\u“:filporsmg: e R the most beautiful photoplays ever |sheik to marry the girl. He consents Screened. 4o [SIorY, Sbounds in nat-| they are married and the father begs _ me: sincere humanness. | ther ; The"fipiélm" msy be: recommended them to rejoin the circus, which they | unqualifiedly to every one. no matter | ¢ Wwhat, their tastes in seeking entertaine | the ar i meoney somams behind as ment. There is never a dull moment.| gpat might have been. - The direction of James Cruz has been | — voted a notable achievement and the | o - acting of Esther Ralston, Wllllc!:lrx:rl'!: AHEATH ml"!’ Horse. Beery, George Bancroft, Charles Far-| Yesterday “The Iron Horse" opened rell and Johnnie Walker. adds much 8 Week's engagement at the Little The- to the sense of vivid feality which the| ater. This William Fox production picture creates. records with remarkable realism the Added features of the bill are a building of the transcontinental rail- eel Charley Chase comedy entitled road and the incidental romance of s”: news events and atmospheric | tWo young pioneers. Bellamy prelude by the Metropolitan Concert and George O'Brien have the leading Orchestra under Alex Podnos. The romantic roles, while J. Farrell Mac- musical accompaniment for the “Old | Donald is cast in the comedy char- Ironsides” is from an original score | acterization of Corporal Casey. A long compiled by Dr. Hugo Reisenfeld. | cast is supplemented by a regiment of mciiiee | United States troops, 3.000 railway FOX—“Come to My House.” | workmen, 1.000 Chinese workmen. 800 The screen attraction at the Fox Pawnee, Sioux and Cheyenne Indians. Theater this week presents Olive Bordon | 2.000 horses, 1.300 buffalo and 10,000 and Antonio Moreno in a William Fox | Texas steers. John Ford directed. production, “Come to My House,"” while This picture marked the debut of on the stage is a colorful presentation | George O'Brien, son of Daniel O'Brien. entitled “Tally Ho," featuring hunters, | chief of police of San Prancisco. It horses and dogs. The number carries marked the second appearance on the added interest due to the appearance |screen of Madge Bellamy, who had as soprano soloist of Miss Floreine | previously won fame as a stage star, Hurley. a Washington girl who makes |and as a result of his excellent char- her debut this week. acterization of Corporal Casey in this Other attractions will include Chic picture J. Farrell MacDonald. then Sale, the rural comedian. who will also ' only an extra. was rewarded with a take part in the program via the Movie- | long-term contract. tone. an innovation to be preseni!ed in | addition to the regular Fox Movietone, | . 7 . a0d 'the Four Biitmore Boys, a quartet| Doing Well in Europe. that has won much pratse. | (CECIL B. DE MILLE'S Biblical pro- The screen Teature s & modern tale | Coors B 8 S s 1s now of a girl who is s rich she can do just | paing snown in the important cities | as she pleases. The consequences of throughout Europe and in many places this excessive wealth create the climax | (OHEROE PR SO0, e Tew Box- to the story. It is from a m;m:e‘om""'mm story by Arthur Somers Roche, the ! o = | scenario being the work of Marion Orth O PALACE—"Gentiemen Prefer Blondes.” | {he management of that theater expect The program at the Palace this week | 16 picture fo run for seter meet | includes the picturization of Anita [l O G0 Tine film omeé‘ very Loos® famous book, “Gentlemen Prefer | cosstully on the sixteenth of January Blondes.” and on the stage The HIEh in two of the largest citis of the com- Ruth Tavlor plays the pait of Lo- e R Tt relet Lee, the blonde gold-digger from e W50 roughout t rrie Little Rock. Ark. where & jury a e | quitted her for holding the gun tb e t for | Sk Str: Jennings, her employer. The | I Cochoslonakin te was enov | judge of the court gives her the fare urn engagement for an indefinite to Hollywood. where she intends to win pedimen s B fame in the movies, it Gus Eisman. the button king. talks her out of th and brings her to New York to be educated. | Under the tutelage of Dovothy Shaw Lorelet learns the gold-digging bustness fast and ability wi bracelets. glz parade of song, dance and musiz its. In everybody's life there are songs that carry an assoclation ¢f memor®: How and why songs are linked with memories is shown appealingly, con- vincingly and entertainingly in “Sere- | nade.” The story concerns the age-old question of whether art and marriage can be reconciled. Menjou is cast as a young Viennese musician who achieves fame and fortune after meeting the beautiful Kathryn Carver, under whose inspiration he writes the masterpiece of the season. The mad adulation of the public turns his head. The wife who stood by him in the days of his strug- gle is neglected, until finally his du- plicity causes a domestic crisis and she iz driven to take sudden and effective action. ‘Throughout the story runs the sweet, haunting love song that was dedicated to the artist's first love. It is a new treatment of the photodrama, and jou's acting, coupled with the adeptness - of the director, is said to mark it as an outstanding production. 3 The usual house features and orches- | tral music complete the program. COLUMBIA—"The Circus.” As a result of record-breaking business during its first-week run, Charlie Chap- lin’s new picture, “The Circus,” will be hslq over at Loew’'s Columbia another week. In this picture Charlie plays the part of a tramp who gets a job as handy man with the circus. He proves to be anything but handy, so he is discharged. | The circus workers strike and Charlie is hired again as a last resort. Then he falls in love with the circus owner's | daughter, but when a handsome young performer joins the circus the young lady, true to form, falls in love with the new performer. Charlie substitutes for the wire walker, is the hit of the show. and his demands for more money are gratified. but he is shortly afterwards discharged - for protecting the girl against the abuse : of her father. He goes away to start life again, but meets the girl, who has likewise left th- circus in order to get away from her ears an armful of diamon Lorelei determines to marry Henry Spoffard. America’s bachelor, and embarks on the s boat with him to Europe. Abard shih | all sorts of complicatfons . but eventually they all arrive in Lorelel tmmediately capt for it seems the further e she trave- els the better luck she h She fina! makes Spoffard marry her, after ex- plaining to him that he has be- smirched her name by taking her around to investigate risque joir n connection with his work as a re former, The stage presentation was created by Frank Cambria, and include entertainers the three Rits brothers, DePace. mandolinist: Bernie bro Moore sisters, Charles Jolley, and the Yuma girls i Eddy, guest conductor, and his Palace Syncopators also will ve featured Short subjects and the Palace Con- cert Orchestra, under Ha Borjes, complete the program. cal Rain. . for R et the ure studios, which notif and where they repor One o r and one for cloudy or ramy motion pic- the director s concerned eventuslly will | Hollywood films on the British people. Unlque Distinction, sons not actually concerned with m«-| EAR! S ather and Vivian Duncan is re- | McAvoy's salary was to have been | ported broken. Buster Keaton’s illness has re- #ulted in his being ordered to th mountains by his physician Jackie Coogan will sall early 1n June for England, where he wiil take part in a series of pictures. | 3t 18 said that James Cruze will produce the pictures independ- ently Clyde Cook and Louise Fazen! zre o take the leading roles in s | new comedy, “Pay as You Enter.” Three daye after her marriage 1o & Los Angeles broker Madge Rellamy returned o the studio %0 | work in a new picture, “The Sport | Girl,” which will be ready for dis- | tribution early in the Spring | + s s | OM MIX in his screen career has employed many leading | women, and many of these hav Jater gone up the ladder v movic fame. It casting back, one re- | members that among those who Yave appeared opposite Tom are: | Ciars Bow, Ann Pennington, Olive Borden, orothy Dwan, Carmelita Geraghty, Dorothy Sebastian, Bil- Jy Dove, Margaret Livingston, Caryl Lincoln, Helene Chadwick Psuline Btarke snd Natalie Joyee in the lest Mix picture, " Painted $3 000 a week. 1t is now reported that the Erich von Stroheim picture, “The Wed- | ding March,” will be ready for au- ences around the first of March Mary Miles Minter, once well known to photonlay fans, is re- ported back in Hollywood, where has leased an anartment. No arrangements have heen made for her return to screen work Mary Philbin, Tully Marshall Lione! Barrvmore, William Austin and Don Alvarado have narts in the new David Wark Griffith plc- ture, “The Drums of Love” The story is based upon historical in- ridents in Portugal in the seven- teenth century di <h — Next Week's Photoplays FOX - May McAvoy and Conrad Nagel in “Slightly Used” RIALTO Phylis Haver in “Chicago.” EARLE - Jeck Mulhall and Dorothy Mackaill in “The Crystal Cup.” METROPOLITAN Gary Cooper in “The Legion of the Condemned” {be the cameraman. When a director and a cameraman work in perfect har. mony, and both know thelr business, things run smoothly nine times out of ten,” | e, Screen's Ug“cfl Actor. OUIS WOLHEIM, who plays one of the most_important roles in John Barrymore’s latest Unfted Artists pie- ture, “Tempest,” refolces in the fact that there is at least one actor in the | teature who has him beat for homell- | ness Wolheim's villalnous visage, made {famous on the stage i his characters of “Captain Flagg” In "What Price Glory” and in "The Hairy Ape,” as well #s on the screen, Is sald to he beautiful compared to the face of Dick Buther- land, one of the terrorist leaders in “Tempest,” an original story of the Russian revolution Butherland has no competitors as the super-ugly man of the entire film colony, He 18 50 homely that when he walks down Hollywood Houlevard, where strange sights are commonplace, people tirn Lo stare st him as though Tascinated. But his ugliness s his for- tune, und he hns capitalized on it dur- ng the past severnl years. Pleture-goers will remember Buthers Jand i particular for his characteriza- ton of {he executioner In Barrymore's first United Artists pieture, he Re- loved Rogue” and for his role of the ugly tramp In Havold Lioyd's comedy “Grandima's Boy,” | “This resentment has in the past been limited to a few persistent complainers. Now it is spreading and infecting & fors midable number of thoughtful ob- servers, We see our youths and maidens Imitating the modes and manners of America, as shown on the screen, and we don’t like it, We are not keen to have our younger generation absorb the tazz-philosophy which has come into belng wcross the Atlantic, presumably since you initiated the great reform that you call prohibition. “We're now trylng hard to fight back the American film invaston. We've rulbed & great deal of capital, and we're doing our best to lure your stars and directors to London to make British films for British people. We already have Dorothy Gish, 8yd Chaplin, Albert Parker, Rex Ingram and John 8 Robertson, and we hope to get Reginald Denny (a Britlsh subject, by the way) and many others “We may fail again, as we have faled in the past-—but i we do, 1t will not be for want of determined and serious effort,” LR 1 hasten to assure this correspondent (whose name T wish T knew) that he and the British film ndustry have my best wishes for substantial success Furthermore, 1 firmly believe that they have the best wishes of the greal army of movie fans of America. When the British complain that America 18 |m|wum1 thelr youth with its jazs philosophy, they are not being quity falr Lo America ms & whole. One DOLA NEGRI is the only screen star whose hands are speclally lighted! Because of the marvelous mastery of the language of hands possessed by this colorful rtist, special attention is patd to the lghting of her hands so that | every gesture, even the slightest, may be_recorded by the camera In her latest picture for Paramount, “Three Sinners,” which Rowland V Lee I8 directing, Pola Negri pantomimie art. The cameraman and electriclans on the set see to it that Mghts are arvanged to cateh every turn and twist of those speaking hands. Misa Negri belleves that the hands, sec- ond only to the face, are the greatest alds to the soreen player, — e Reinhardt to Direct. LILLIAN GISH, who has been a house gueat of Mary Pickford and Douglas Falrbanka during her threo-week atay in Beverly Hills, Calif, haa returned to New York to remain until the first of March The star has announced that she will make “The Miracle Woman," her fivat plotura for United Artists, some time in April, according to plans outlined and completed in a conference she had with Joseph M. Bohenck, prealdent ot United Artista, who 15 bringing Max Reinhavdt to_Hollywood to direct Miss Qlsh In “The Miracle Woman" makes | more than usual use of her remarkable | scene remained on the set at their own | peril—-that bullets might ricochet and sult in real casualties, instead of reel ones—there was & scramble for safety. Hundreds of rounds of bullets were fired (nto a wall, behind which was ® steel plate. Of course, the “vietims™ of the exccution were not in the line of fire, but through the employment of double exposure and novel camera {angles, the scene ts declared realistic When mpest” 18 shown in ters, audiences will seo rows of vies tims mowed down by the spurts of machine gun five. It is sald to be one of the most convineing bits of action ever Introduced on the silver sheet, . Bartender's Haircut of 1890, A comb 18 no mean task in these days of short-cropped ends. Harry Woods took four weeks to do it and when he fintshed the job his wite wouldn't speak to_him - publie. Harry Is the bartender in Fred son's new Paramount picture, | Sunset Legton " He 18 8 feet 2, and ordinarily s admitted to be & very fine- tooking man, He let his halr grow, had the barber out it In a circle In the back, with his neck shaved below, Then he bought a ar of halt grease, parted his shiny locks on the side, combed them farward and held the center down while he brushed the side back. This left & point in the middle of the forehead and alight curla mt the ends on the temples - | l thea- | CQUIRING an 1890 bartender's hatr | —“Serenade.” | Adolphe Menjou is the featured | i “Serenade.” the photoplay farle Theater this week The s | entation features Whitey Kaufmy and his Victor Orchestra tn thetr & | successful week, in the Edward | man Broadway revue. “In the Avmy of the re. s were made s of the en Denies Atheist Request. telegraphed D to as the “Four o proposad fim Mille i part wowld cause ineale movenent, as 1 woalt mevit MUltitudes. especially the YOURE. 10 a8~ pSociate trreliglon with ety The American Asoclation for the Ad- vancement of Athelsm, lne, protests producthur of this anti-athelstie pies | ture, And on dehalt of membders in every | State of the Unfn and millions of W | organtsd atheista, condemns the prvs- frmtion of art by the perversion ot truth W the Interest of ehurches, and ved o seet to forve bellef fn s owd | Perhans at their instigatin. Showdt doetrine, 1 make o attempt to show | Yo ieceed 1o foster prejudice agaist A cOnneotion Between fnumorality nd | Us We shall evervwhers juoiest show- Athelsm. What 1 will show in “The | I of the flm Quelloas (Ul B8 the evil of intalerance, | “The Devily Augel™ a los Angeles for which both bellevers and athelsts | branch of the natiunal aganisatkn, may jusily be eritioleed | wiote De Mille i simitar veln, and Charles Smith, president of the added. "We &0 not puopose to stand American Assoclation for the Advances Lidly v - and Nm“ this withowt ment of Athelsm, frequently referred spreading our stand 0 the workh®* REl‘l\'lNfl to a formal puotest by the American Association for the Advancement of Athetsm, demanding that he abandon production of “The Qodless Qirl," Ceait B, De Mille has tssued A statement denying the res quest “This pleture, written by Jeante Macpherson, 18 i no way to be oo sidered an attack on Athelsm,” stated De Mille. “lts main theme is & protest ainst vialence perpetrated by any i searsanronss oemanns sonapure &