Hollywood Vagabond 1927 (5)

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^T TH OLLYWOO D

VagabondFilmpaper £ 3Z*?™;

1, Number 5 Thursday, March 10th, 1927 Copyright, 1927, byVagabond Pub. Co. '

hiatusA COMPENDIUMOF CLIPPINGS

HAM AND EGGS IF—

Provocative reminis-of the ancient

about "if we had

ham we could have

ham-and-eggs if wesome eggs" as aroused

the following epochal

item from Mr.

Landy, First Nat-

studios, Burbank,

:

Although Donald Reed will not

ay the role of a college man in

Moore's coming production

First National "Naughty But

he is one, having attended

idental College in Los Angeles

Hearst-WarnerPud!oeal?

Slight mistake in pub-

copy of Mr. Sam B.

o f Universal

Calif.:Emory Johnson, Universal direc-

has established a new vogue

megaphonists in Holly-

He takes the part of an

and does his directing In

of the camera instead of be-

it.

To the personal knowl-

of the editor, Clar-

Brown did this at

two years ago.

Ups and downs of ath-

in the silent drama, as

from the week's

Reports are. revived that Para-

will film Shaw's "Cashel

Profession" with TunneyDempsey.

MADGE BELLAMYthe successful "Fair Lady in Quandary"

See Page Five

She is

Rumors bagged on Hol-

lywood Boulevard lastnight

_declare that New

York is on the verge of a

wholesale motion picture

exodus.

This report follows in thewake of the recent an-

nouncement of Famous Play-

ers-Lasky Corporation that

they were abandoning their

Long Island City studios en-

tirely for concentrated pro-

duction in the Hollywoodplant.

A deal is reported as nowunder way for the sale of

the giant CosmopolitanStudio in New York to

Warner Bros, for the pro-

duction of Vitaphone film

accompaniments- Hearst hadcontemplated a huge pro-

ducing program at this

studio for his Cosmopolitan

productions before movingto the west coast. The Para-

mount plant on Long Island

will be used by Publix Thea-

tres, a Paramount subsidiary,for the creation and re-

hearsal of theater prologues.

Other reports received

during the week declare

that other studios in NewYork will be converted to

other uses and that the Fort

Lee film plants will be dis-

mantled. All present NewYork production will be

switched to Hollywood, ac-

cording to present indica-

tions.

Hollywood and the Highbrows"-TURN TO PAGE FOUR



Two Hollywood Vagabond March 10th, 1927

Trust Rap Stirs Industry,

Federal Probe Be Hocus-Pocus?Cloud of Hot Air Hasso Price May

Hays Ass'n TacticsHangs Over Movies Make Films Here

Statements made in the

"Monopoly and

Movies," which was

in last week's

of HOLLYWOODhave been

during the past

days by the news of

merger of the Stanleyof America,

Coast Theaters, and

National Pictures.

l three were cited by

journal as partici-

in the theater ex-

hiatus.

However- the real blow

been struck by Frank J.

fighting chief of

Indiana Motion Picture

Owners' Associa-

who asks for a federal

into an alleged

existing in the motion

industry.

The doughty Rembusch is

or less of a stormy

and has caused pro-

and distributors con-

anxiety by his ac-

in behalf of the ex-

not only of his ownbut everywhere. This

move will no doubt

to the frowns worn by

nabobs when the name,is uttered.

Rembusch, in his com-filed with the anti-

bureau of the Depart-

of Justice at Washing-declares that the Hays

and its membersthe entire produc-

and distribution fields,

well as the theater realm.

to the F i I m Daily,

says:

"If a theater owner complains,

character and business is sub-

to assassination. Often if a

owner refuses to buy a pic-

they will send agents into his

to destroy the good-will he has

his patrons, or threaten to

a theater in competition. In

manner they make him buypictures.

"Today no one can find a way to

screen except through the Haysbecause the distribu-

of pictures is controlled by

If all the alleged actress-

es in motion pictures whoclaim to be ex-Follies girls

were lined up shoulder to

shoulder, then how high is

up?If that's true, then how

long would it take you to

compile a complete list of

the broken-down pugilists,

ex-coal heavers, truck driv-

ers and drug stoi'e cowboyswho claim that once upon a

time they almost knocked

Jack Dempsey off his feet in

a thirty-eight round battle

in the dim, dark past?

them. Recently at Los Angeles I

met Edgar Lewis, a producer, whowants to make pictures and he

asked . . . Is it possible to in

any way reach the screen again?

Such independent producers as

Harry Rapf, Herbert Brenon andBennie Schulberg, who were for-

merly independent producers, are

working for the Trust, or perhaps

they would not work. The Inde-

pendents are about all gone and

are now Dependents. Stars, direc-tors, all come under the influence

of the trust in some manner.

"Our former state right marketis now practically past history.

Hundreds of other pictures could

be and are made but the Trust pre-

vents distribution. Formerly our

best pictures came through the

state right market. The trust

causes the theater owner to buyonly their pictures and they fill upall the time and consequently there

is no room for the State Righter,"

etc.

Once again Rembuschhas sounded the clarion

call. But will there really

be a far-reaching federal

investigation such as he

asks?

Or will there be a

hocus-pocus of nonsense

and long, drawn-out flip-

doodle that ends up in

nothing but a lot of talk

and a lack of action?

This doom hangs over

the films and there are a

few who can see it. Un-less something is done the

tentacles of the octopus

will soon close in on the

industry; then it wll be

too late for action, only

tme for regrets. Wake up

!

According to report, a

series of short-reel films

will be made in Holly-

wood by Hasso Price,

German actor and di-

rector.

Price, or Prietzel, as hewas known before applying

for citizenship here, has hadquite an extensive affiliation

with European film com-panies-

He wrote the continuities

of the German films, "At-

lantis" and "Summer Love,"

and in 1923 was assistant di-

rector on "Sodom's End,"the screen version of the

Sudermann novel directed

by Felix Basch at the UFAstudios in Berlin. Price wasalso affiliated with the late

Max Linder when that come-dian made "The Circus

King" in Paris and Vienna.

As an actor, Price played

in "The Madonna at theGate," "The Game of Love,"

"The Viennes Waltz" andother • continental produc-

tions. In 1925 he producedand directed "The BoxerKing" for the Prima FilmCompany; "The Lucky One"for the Prietzel Film Com-pany, and "Batavia" for the

Heiland Film Company.

During 1926, Price cameto America as correspondent

for a German film trade

paper. Coming to Holly-

wood, he worked in thescenario department of the

Mack Sennett studio. Later

he produced "The StudentPrince" on the San Fran-

cisco stage. Among his re-

cent works is an original

story, "Geisha Love," deal-

ing with naval officers in

Japan, which Price may pro-

duce himself at a later date.

Ralston Picked

For Cruze Opus

Esther Ralston will playthe feminine lead in "BeauSabreur," which JamesCruze will direct for Para-

mount. Production begins

in about ninety days.

Great Array of

Writers at M-G-MThe scenario craft is well

represented at the Metro-

Goldwyn -Mayer studios

these days.

Several new writers, Pat-

rick Kearney, Sam Janney,Josephine Lovett, F. HughHerbert, Hans Kraely andJohn Colton are among those

recently given contracts byIrving Thalberg.

Others in the roster are

Albert Lewin, Byron Mor-gan, Frances Marion, Elliott

Clawson, Jack Cunningham,Dorothy Farnum, DouglasFurber, Agnes Christine

Johnston, Bradley King, Ed-ward Lowe, jr., June Mathis,

Lorna Moon, Winifred EatonReeve, Florence Ryerson,

Gladys Unger, WaldemarYoung and A. P. Younger.

Says Italian Films

Fail in Own Nation"Italian films cannot compete

with the American and Germanproductions. The Italian people

prefer the imported pictures and

home-made films are unable to get

play dates, even in the smaller vil-

lages in Itlay."

This is the statement made by

Count Mazzaglia, known as the

"Italian Lon Chaney" because of

his work in "Titus" and other

Italian motion pictures.

Mazzaglia is now in Holly-

wood working under the name of

Dick Valencia. Prior to starting

his film career, Mazzaglia, or Va-

lencia, produced and acted in

stage productions in Europe.

Strayer Directs

2nd "School* Film

"Rolled Stockings," a

story of college life, will be

the second film to be madeby the Paramount school

players. Frank Strayer will

direct. Charles Rogers andRichard Arlen have been

cast.

Emil Jannings' next pic-

ture for Famous Players

will be "The King of Soho,"

a story of Limehouse.



10th, 1927 Hollywood Vagabond aqc Th'iree

the

Right Hand of

Joe SchenckNothing discloses real character like the use

of power. It is easy for the weak to be gentle.

Most people can bear adversity. But if you wish

to know what a man really is, give him power.

This is the supreme test.

—ROBERT G. INGERSOLL.

The executive administration of the motion pic-

industry has been augmented in late years by a

group of young men who have done much to ad-

the cause of the silent drama. Their influx has

almost as great, and certainly as noteworthy as

of new thespian and directorial talent.

Predominant among these his position and activity

s been Irving G. Thalberg,

as one of the most

executive minds in

film business. Thalberg

done much to create the

production standards

Metro-Goldwyn-Mayer.

Where Thalberg has been

publicized and sub-

to widespread critical

however, John W.Jr., has been

neglected- Cer-

a man of Considine's

warrants more at-

than has been paid

Considine, as the right-

man of our leading

magnate, Joseph M.

henck, has acquitted him-

with aplomb and credit.

with confidence and

by Mr. Schenck,

Considine has madenotable moves that

done much to change

movie map of recent

onths.

We read in the papers

time to time of certain

hings that Joseph Schenck

has done, or contemplates

doing. Big moves, that

mean the expenditure of

millions of dollars in filmproductions, theaters or

allied ventures. In reality

these things are done by

John Considine. The plans

themselves are outlined by

Mr. Schenck; but a man of

is

not free to work out the

many details and burdenhimself with the responsi-

bilities concerned in bring-

ing these projects to frui-

tion. That is Considine's job,

and if you have followed the

activities of Mr. Schenck for

the past few years, you will

realize that his young lieu-

tenant has had his handsfull.

The son of the Considine

of Considine & Sullivan

theatrical fame, young Con-

sidine has been fitted bynature for his job. He has

the instinctive showman'ssense- He has the rare

ability to commingle photo-

play art and the demands of

the box-office.

Once upon a time, not

so very long ago, John

Considine said to us:

"Sometimes I wonder if

there is public apprecia-

tion for the man behind

the screen; the executive

who is conscientiously

striving to satisfy exhibi-

tors and their audiences;

the man in whose hands

the destinies of interna-

t i o n a 1 celebrities are

placed ; upon whose shoul-

ders the public blame for

mistakes are laid, but who

is very rarely included in

the praise."

Our answer is that there

is public appreciation for

all of this. But the public

must know who the men be-

hind the scenes are, and of

what caliber they are built.

Considine is of our most in-

telligent and aggressive co-

terie. He creates respect byvirtue of his achievements.

It was Considine who gave

Clarence Brown his first big

chance, when he was pro-

ducing Valentino's pictures.

Considine has also given

Gilbert Roland his chance;

and now he will give Rosita

Moreno her opportunity. Wecould go on indefinitely with

a list of names and a com-

pendium of work well done,

but the significant fact is

that Considine himself is

headed for even greater

prominence than he enjoys

today.

Mr. Schenck has given

Considine his chance. In

turn, Considine has justi-

fied his opportunities in a

fine manner. John Consi-

dine is a man who has

been given power. Hehas passed the supreme

test of using that power

with gentility and in win-

ning the respect of those

under him and the ad-

miration of the industry

at large.

Considine is of the stuff

that tomorrow's motion

picture industry will be

made. We need have no

trepidations for its future.

It is in good hands.

"Headwaiter" will be

Adolphe Menjou's next film.

It was written by Ernest

V a j d a. Menjou recently

made "Grand Duchess and

the Waiter," and, latest,

"Evening Clothes."

MR. CARRAGREESThere are a few people

in this world who have the

all-too-rare faculty of do-

ing their own thinking.

Those few were not num-bered among the several

who protested the recent

article in HOLLYWOODVAGABOND. ".Mission

Play Is of Finer Texture

Than 'Miracle'," wherein

the San Gabriel play washanded a nod over Mr.

Gest's opus.

Among the ladies andgents who said we had made

a mistake there was a pre-vlent notion that the"Miracle" was great because

everybody else said it wasgreat. Just like a lot of

sheep.

It may enlighten them to

read the following words by

our good friend, Mr. Harry

Can-

, if they perchance

missed the Los Angeles

Times of last Monday,where they were printed in

Mr. Carr's inimitable col-

umn, "The Lancer."

The Miracle has closed the most

successful engagement of its

splendid career.

It is a great work of art.

I know this because it has passed

an infallible test.

If anything bores me to tears I

always find out that it is a great

work of art.

Judged by this test, the Miracle

is the crowning achievement of this

benighted age.

I loved the first part of the

Miracle. Although you could see

much the same thing in any

Catholic cathedral on any great

day.

But I can't seem to. convince my-

self that the allegorical symbolism

that followed was great art.

The opening scene with the

Madonna in the cathedral was

sweet, dim-lit, solemn tragedy. It

had the subdued note of consecra-

tion—devotion.

Then the story slid off into a

long, tedious nightmare. To tell

the truth, it seemed very much like

a winter garden show—minus the

naked ladies. I was half expecting

to see Al Jolson come out to sing

a mammy song through his nose.

In the meantime the pub-

licity-hypnotized ginks whorave about the Gest opery,

fail to trek to San Gabriel.

It is useless to try to con-

vince people who have no

sense of discrimination ..

especially when they will

not make comparisons on

their own behalf.



Four Hollywood Vagabond March 10th, 1927

HOLLYWOODAGA

The QUALITY Filmpaper

Published by BILLY JOY Edited by FRED W. FOX

ROBERT D. HOBDAY, Director of Finance and Advertising.

RALPH KIMBALL, Director of Circulation.

A. J. GASCHEN, Comptroller

Published every Thursday by the VAGABOND PUBLISHINGCOMPANY, 619-620 Taft Building, Hollywood, California.

Telephone GRanite 1S59. 20c per copy; by subscription

$10.00 per year.

ANDTHE HIGHBROWS

The babbitts among us are rather exasperated

we read the high-falutin' scorn heaped upon the

movie by the highbrows who sit in the judgment

The cynics among us are covertly pleased, and

for further and greater vitriolic doses to be

down Hollywood throats.

As a matter of fact what the average journalistic

and typewriter intelligentsia have to say

the silent drama is nothing more or less than a

of hypothetical monstrosities.

There are times when the critical survey of the

who on most occasions do not quite grasp

subtleties of our finer photoplays, will whip the

producer or director to the vergeof hair tonic

other post-Volsteadian beverages. Their supine

however, are not to be compared with the

appraisal of our allegedly intelligent critics.

proclamations of these haughty ginks are pungent

the spices of highbrowism. Yet, in their superior

they are just as vapid.

There are only four or five critics in America to-

who are equipped to pass judgment on the type

cinematic fare that will please all classes of this

democracy. None of them have exhibited any

of the intelligentsia.

If a motion picture producer listened to the con-

suggestions of all of these smartcritics

hebe tripping over his beard long before he had

a picture. Then the critics would find some-

else wrong with it.

The critical stupidities of these self-appointed,

marvelously self-opinionated, Nestors of the mo-

picture are theoretical alone. It would be eco-

suicide for any film producer to follow their

The highbrow, as represented in these newspaper

magazine minions, thinks only in terms of intelli-

He is not cognizant of the fact that there are

of people who like the same old claptrap over

over againin

motionpictures.

They are the de-of the horse-operas ; and the worshippers of the

impossible, yet eternally popular, "society

But it is for this vast audience that the pro-

is making pictures. Not for the cliques that

in metropolitan theater guilds.

Pigeons,

Long Pants

Dear Pals, Billy and Fred:

Well, pals, for no reason

whatsoever, I take my type-

writer in lap this lovely

Spring evening to indite a

few words, which, I hopeand pray, will have abso-

lutely no bearing on any-

thing. If they do, blame it

on the typewriter; the dog-

gone thing is always goingkind of haywire and writing

words I don't even knowhow to spell.

What I was going to say,

if I remember rightly, is

something about my boss,

Harry Langdon. He kickedme in the long pants one dayfor saying he was the

world's greatest comedian,so I will now make a retrac-

tion of same by stating that

he is only the world's great-

est comedy star.

Now that we have settled

that question, let us turn to

page 336 and -sing that be-

loved old hymn—wait a min-ute, that was another time.

Well, anyway, I will nowwrite something about the

lovely view from my office

window. I used to have twooffice windows, but theymoved the office away oneday on a truck, so now I haveonly one. I remember once

I looked out my office win-

dow when I had two office

windows, and saw two pig-

eons out on the handsomeengraved curbstone makinglove to each other, and I

wrote the sweetest little

piece about them two pig-

eon. All the girls said it

was just wonderful. 1 would

write something now about

a couple of pigeons, only

there are not any pigeons

around just now, as it is

midnight and all the pigeons

have gone where good pig-

eons go about midnight.

Having settled that fowl

question, I will now write

something about how hard it

is to be a press agent. Let's

see, now— Well, I can't

seem to think just how hard

it is to be a press agent, so

let's talk about something

else.

Speaking of Harry Lang-don, who is not only my best

pal, but my severest critic,

you will unquestionably be

glad to know that he has

just made a super-laugh-

epic called "Long Pants." If

you don't believe it is a su-

per-laugh-epic, just look at

any of my recent publicity

stories. When I said, upthere in the second para-

graph that Mr. Langdon"kicked me in the long

pants," that was just a clev-

er way of putting over the

title of the picture so youwouldn't know it. That \t

what is known as adroit

(Continued on Page 7)

For instance, there are 19 studios and 250 pro-

ducing companies in Hollywood alone. They have

$1,125,000,000 invested in plants and productions;

and they have $375,000,000 more invested in rawfilm, costumes, stories and other assets. In the year

1925, $165,000,000 was spent in motion picture pro-

duction in Hollywood, and in 1926, $225,000,000 wasexpended for the

same purpose. The intelligentsiacontributed an infinitesimal amount to this sum; cer-

tainly their paid admissions would not run into six

figures. Where did the money come for all this? Fromthe back country, the hack towns, from out of the

pockets of the Great Mob that is America. Not fromthe theater guilds of Fifth Avenue.

When film audiences refuse to pay money to see

artistry and intelligence in the photoplay, forsake it

for the queues outside the nickelodeons that reap har-

vests on the Tom Mix complex, then certainly it is high

time for the intelligentsia to cast about and determine

. . . not what is wrong with the movies . . . but

whatis

wrong with the American people.Therein lies the herculean task of our scoffers,

cynics and pretenders with the savior faire. In the

meantime ... on with the horse-operas and the

hokum . . . and the billion-dollar payrolls. This is

an industry; not an aesthetic picnic.



10th, 1927 Hollywood Vagabond Page Five

HOLLYWOOD JOURNEYS WITH FRED FOX i

vagabondia^We are the music-makers

And we are the dreamers ofdreams'''

A. W. E. O'SHAUGHNESSY

^4--M^-M-4^4^-»-M--4--M-»-»--*.4.-M-»--M-»-*****-»--«

Fair Lady inQuandary

A poetwould have

it pelting rain.

We cursed the pools of

the mud, and fog

hung over the tree-

It was easy for us to

big, luscious

on a day like

A poet would have

of the elfin tracery

f the eucalyptii against

drenched hills of Bev-

We voiced our furysorrow with phrases

with "hells" and

Our feet were wet, and

spirits were damp.

was a sad day for us

go a-calling on Madgewho had always

springtime and

to us. To-

that was all bunk.A mighty thump on the

of the cozy Spanish

The gr-ru-rumph of

window sash being raised.

a voice

:

"Who's that?"

"It's the Hollywood Vaga-

"Are you sure?"

"Yes, why?""Well, because we've

robbed during the past

days, by two nice look-

young men, too. We're

cautious about wholet in."

We were glad that we

nice looking youngWe immediately for-

that two other nice look-

young men were hold-up

because they volun-

let us in.

She opened the door for

us.

Wefelt conscious of

our soaked shoes, our

water-weary hats and our

dripping coats when wesaw her, all radiant andgorgeously arrayed.

"Isn't this AWFULweather!" she exclaimed.

We felt a lot better after

that. We gave a parting

look out the door and be-

stowed a superior gaze uponthe blue auto that was al-

ready being bathed in giant

rivulets

from thetrees

above.We were glad we hadescaped all that, even mo-mentarily. Let it rain, now;what did we care.

Madge Bellamy was far

different from the girl wehad expected to meet.

The spirit of "Sandy"

and "Summer Bachelors"

had caught us. We knewnow that this girl wasgifted with versatility if

nothing else.

As the conversation rolled

on, we were aware that here

was an actress who had none

of the cocksure suavity that

might have been hers after

her meteoric rise. MadgeBellamy had been in pictures

quite a few years, but it was

only of recent months that

she seemed to be nearing her

goal. We thought it possi-

ble she might have been

aware of the fact. Strange-

ly, she was in a quandary.

"What shall I do next?"

That was thegist

of hertalk.

Madge Bellamy is the

one looming contemporary

of Clara Bow. We have

said that before in these

Fred W. Fox

pages. They have said

that one of the greatest

human properties of the

motion picture is Youth.

If that is true, then MadgeBellamy is worth millions.

For she is the personifica-

tion of Youth. To us she

is a more convincing mad-

cap than Clara.Somehow the deluctable

Bow always makes us feel

as if she were kidding us

with a "Well, this is whatyou want me to be; so here

I am, kid," while Madge hasa vein of sincerity in hermost flapperish moments.

One year from today

Madge Bellamy should be

one of the most valuable

thespic assets of the in-

dustry.

Nobody seems to realize,

adequately, how she hastaken the popular fancy in

the small towns- "Sandy"and "Summer Bachelors,"

with the frivolity andinsouciance of this starry-

eyed creature, has donemore for Madge Bellamythan anything she has ever

attempted before. She hasn't

realized that as yet, though.

If she continues along the

same path for the coming

twelve months, without the

deviation to other types of

roles that many players are

prone to make, exhibitors

who clock their audiences

will soon find her one of

their greatest box-office at-

tractions.

The trouble with Madge

Bellamy for years hasbeen that she has tried to

be something she isn't.

She is Youth.

Youth that is gifted andattractive is a rare com-modity in this business.

Madge Bellamy is

one of itsfew acceptable interpreters.

She is the spirit of themodern girl, retaining theenchantment of the eternal

feminine.

Madge Bellamy shuns theappellation of "doll-face."

Yet her face has all the ex-

quisite beauty of a Dresdendoll. It is a face of captivat-

ing innocence. People canbelieve in a heroine like

Madge Bellamy. She ful-

fills their conception of girl-

hood's charm.

Intellectually, MadgeBellamy verges on the in-

terests of a woman of pro-

found mental capacities.

Her knowledge of liter-

ature is not artificial. She

has run the gamut of the

Sudermanns, the Dreisers,

the Wassermans to the

Scott Fitzgeralds and the

Van Vechtens.

She does not speak of

them with the flippancy of

a self-assured girl trying

to impress one. She men-tions them with something

of a devoted awe andgratitude.

It rather makes one feel

as if she had poured over

books too much; that per-

haps her interests are con-

fined too much to the

literary. Maybe she should

be more of the knock-'em-

dead flapper in real life.

Madge Bellamy feels that

she is at the crisis of her pro-fessional life now, but, as wehave said before, she is not

aware of the great impres-

sion she has made in those

two of her most recent pic-

tures.

She is, perhaps, wondering

whether she should com-

promise with an ideal of

creating herself as a dra-

matic entity rather than a

beloved motion picture flap-

per- If she will forsake the

former and cleave to the lat-

ter, her opportunities to at-

tain dramatic distinction will

follow in the wake.

She must retain that spell,

that new-born interest, in

audiences that has been born

(Continued on Page T)



Page Six Hollywood Vagabond March 10th, 1927

LOOD in the

Great interest was aroused by the symposium

"New Blood in Motion Pictures," which was

in HOLLYWOOD VAGABOND several

ago. In keeping with our promise to discuss the

further, we are herewith giving critical

on several people who are creating interest

their work in the photoplay.

Some of them have been in the profession for

years ; others are comparative newcomers. All,

have done something of interest and promise.

James Murray, picked Susan Fleming, whothe ranks of the

will be seen as lead-

man to Eleanor Board-

in King Vidor's "Thesoon to be released.

should be able to avail

of many more op-

with Metro-Gold-

was seen with AdolpheMenjou in "The Ace of

Cads" is the typical Ameri-

can collegiate type of girl.

She has a startlmgly arrest-

ing personality and should

do big things in time to

come.

Molly O'Day: Watch Her!If little Sally O'Neil thinks she's going to

keep the family laurels to herself, she'd better do

some stepping!

Her young sister, who has adopted the screen

name of Molly O'Day, is sure going to create a stir

among the critics and public when "The Patent

Leather Kid" comes to the theaters.

With us, this is not theory. We have seen a

great deal of the picture and know whereof wespeak. Watch this girl . . . Molly O'Day.

if his work in

picture is of the caliber

Leila Hyams, who wasen with Madge Bellamy"Summer Bachelors,"

that delicate

beauty that makes

Betty Jewel, now play-

ing in a Gary Cooperwestern for Famous Players,

has not fulfilled the promise

of her earlier screen appear-

ances, but if given a role of

some latitude, rather thanthe conventional stuff that

Duello: Mew Film GigoloConsiderable interest has been manifested of

late by casting directors in the Hollywood studios

in a young fellow by the name of Lou Duello.

Of lithe build and sleek black hair, Duello is

the ideal Latin type, and great things are pre-

dicted for him. His accomplishments are two-fold, for in addition to being an actor of verve andrefinement, he is a brilliant dancer, well versed in

all of the intricacies of terpsichore.

stardom. She is of the

Taylor type. Since

the bachelor opus,

Hyams has migrated toand the manifold

of this country.

present she is working at

Lasky studio.

has been handed her, shouldimprove considerably.

The same is true of

Gladys Hulette, whosefailure to follow up her re-

markable work in Barthel-mess' "Tol'able David" andsubsequent films, has always

been somewhat of a mysteryto us. Her work is stampedwith finesse and understand-

ing.

Paul Ellis, whose por-

trayal in "The Bandolero"

fication of pep and would be

a wow if given a real chance

in collegiate stuff.

Erik Arnold, whose un-

forgettable portrayal of

the dying German soldier of

When Harry Langdon's new picture, "LongPants," has passed before the public gaze it will

have to its credit the introduction of a new screen

siren.

She is none other than Alma Bennett, sloe-

eyed and voluptuous, who leads the hapless Harry

a merry chase in this picture. Alma, while not a

newcomer to the films, has never had a chance

such as this. It should put her over with a bang.

several years ago was indic-

ative of native ability, has

not accomplished in the

intervening months what weexpected of him. At the

present time Ellis is playing

in "Belgrano," a story of the

Argentine being filmed at

the Tec-Art studios. It is in

films of this type that Ellis

excels. Perhaps he will stage

a sensation.

While Joan Crawford

of Metro-Goldwyn-Mayerstarted out with great gusto

"The Big Parade," was one

of the high-lights of that

picture, is good leading mantimbre. Erik recently fin-

ished a part with GeorgeO'Brien in Murnau's "Sun-

rise," at the Fox studios.

George Rigas, one of

the screen's most distinc-

tive character actors, merits

parts greater than those he

played in Griffith's "ThatRoyle Girl," or "The Wan-derer. Gesticulation,

soin-

dispensable to many of our

Kails: A Rival for MeiafouArmand Kaliz is a personage more familiar

to the stage than to the screen. But in his few ap-

pearances in the silent drama he has revealed

himself as an actor of poise and discrimination.

Since the heyday of Menjou there have been

several actors of varying quality who have en-

deavored to encroach upon Adolphe's domain.

None have distinguished themselves. But Kaliz is

a man who can bestow insomnia upon Menjou ifhe has the chance.

in "Sally, Irene and Mary,"she has not followed up con-

sistently. However, we are

expectantly waiting to see

what she does in the next

few months-

A practically unknownyoungster, who seems to

possess all of the necessary

requisites for screen success

is Colette Mazzoletti, nowworking in the "Collegian"

series at Universal. Colette,

who is an accomplished

dancer, has intriguing eyes

and a rather languid beauty.

However, she is the personi-

character artists, has noplace in his thespic reper-

toire. Subtlety and reserve

of movement are his strong

points. Rigas has recently

returned from New Yorkand, no doubt, will soon

come forth again in an inter-

esting role-

Allene Ray is content to

be queen of the serials.

Since she has firmly estab-

lished herself in this type ofproduction she, no doubt, has

no yen to be a feature star.

Yet it would prove interest-

( Continued on Page 7)



10th, 1927 Hollywood Vagabond Page Seven

New Blood vagabondia(Continued from Pat:.- •:

|

to see what effect she

have on many of ourseven-reel favorites

she tried their stuff.

Another candidate for

role of Harold Teen in

comic-strip adaptation

First National will film

young Art Winkler, who is

close runner-up to Eddie

as a potential bet for

First National selecting

Art's chances haveconfined to a smatter-

of bits and small parts in

pictures.

Mathew Betz, who wasin 'The Unholy

and several other

has done noth-

to date that adequatelyup the promise of his

However, it is a safe

that when Barthelmess

Leather K i d"the screen, Betz will

established as one of the

popular character

in the films. In the

film, Betz plays

prizefighter's manager andhis role with real-

dexterity.

Reginald Sheifield gave

indication of bring-

a

newand

morenatural

of "heavy" to the screen

seen with Barthelmess

"Classmates." Sheffield

the snob with eclat.

no more has beenof him since.

Two children, both boys,

also come to the fore

remarkable rapidity of late.

One is Wendell Phillips Frank-

five years of age, who made his

film appearance in "The

Commandment" with Belle

Since then he has been

a "Hoot" Gibson picture and

report is that the kid is en-

with the divine fire.

Mickey McBan is more of a vet-

trouper. He has been vir-

brought up in the glare of

Kliegs. Mickey's work in

Return of Peter Grimm,"

one of the highlights of the

season.

An actor who has been

victim of "toughover a long period of time

"Tiny" Sanford." It seems that

jinx will follow him for all

to come. His part as the

lead in Charlie Chaplin's

Circus" is declared to be of

caliber that if and when the

is released, "Tiny" will

the talk of Hollywood.

But he is now facing the grim

of the picture being de-

. from Page ")

with "Sandy" and "SummerBachelors."

Then when she is ready to

try something more ortho-

dox and consonant with her

ambitions, she will have afollowing of worthy propor-

tions.

Madge Bellamy has

been regarded by manyas "just a beautiful kid."

laved a long time ere the public

sees it. Unless a quick settlement

of the Chaplin sorrows swings the

pendulum of luck toward "Tiny"

Sanford.

"Buddy" Post, who created at-

tention with his work in King

Vidor's "Wild Oranges" and,

then, various other films, also

merits a big chance. It seems that

an ogre has also been lurking on

Buddy's trail.

Ralph Forbes, well-known on

the stage, seems destined for screen

fame shortly. His real chance will

come in "The Trail of '98," the

next Clarence Brown production

for Metro-Goldwyn-Mayer.

The film colony is also watching

Harry Crocker, erstwhile assistant

director with Charlie Chaplin, who

will be seen with Marion Davies

in "Tillie the Toiler." Mr.

Crocker is a handsome young fel-

low and an intelligent actor as

well.

"Let Me Protect You"

Frank M. Flynn

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She is more than that.

She is inspired by a beau-

tiful ideal and propelled

by an ambition thatshould not die.

In motion pictures nowand then we see players who

put "tone" into their work;sometimes it comes onlyonce in a career. It is some-thing transcendental aboveall else they have done, or

anything that others havedone. Barthelmess did it in

"Broken Blossoms" and"Tol'able David;" Gilbert

did it in "The Big Parade,"and there are many other in-

stances.

The same epochal role

awaits Madge Bellamy.

Our prediction is that it

will be a glorification of

modern youth. For MadgeBallamy has done moreto create understanding

for Youth than any other

single player on the

screen. That, alone, is a

great achievement.

And it warrants an evengreater opportunity. Thatopportunity is not far ahead.

Write this in your book of

cinematic prophecies.

(COMING NEXT WEEK! FredW. Fox will interview Cecil B. DeMille . . . what will he say aboutthe man who deserted the bath-tubs of Vine street for the Bible ofCulver City?

PIGEONS

publicity, and you can readall about it on page 64 of thelittle blue book. That's

where I learned it from. Theonly trouble with that sys-

tem is that if the editor don't

know it, neither will either

of the readers.

Well, that hasn't got any-

thing to do with whatever it

was we were talking about,

of course. If any. So if youdon't mind, I have now writ-

ten two pages and a half andthere is a raven sitting on

mystudy door looking like a

Red Raven Splits, and it is

getting either kind of late or

kind of early, so I think I

will go home and go to bed.

Good night, lads and las-

lies of Vagabondland, and I

hope to see each and every

one of you at the Templenext Wednesday afternoon,

when I will demonstrate mymarvelous disappearing act

without the aid of trick or

artifice.

Painlessly, if at all,

DON EDDY.

j

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Eight Hollywood Vagabond March 10th, 1927

The Joy

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Taxes—Nowand Hereafter

J ITH the approaching March 15th

and penalties for additional taxes

so often assessed on the motion pic-

ture industry, or excess taxes paid, all lev-

ied because of lack of study or attention

to the requirements and deductions that

pertain to earnings of incomes, more

thought and study of individual condition

are necessary to prevent either an excess

tax with its additional penalties, etc.

The cinema profession is particularly

subject to costs of producing income

through many channels, such as deprecia-

tion of wardrobe, as the circumstances war-

rant; management cost, publicity expense,

advertising and personal appearance ex-

pense, etc.

Traveling and automobile expense be-

comes a business expense instead of per-

sonal expense, when for business purposes

relative to earning of income. The profes-

sional man has his expenses for books, sub-

scriptions to professional magazines, socie-

ties, etc., all of which, when representing

his business overhead, is a factor to be con-

sidered in the tax form.

Interest, all taxes (except income taxes

and street assessments), losses, bad debts,

contributions, losses on sale of capital as-

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er's thought and study to protect himself

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Sources of income are more easily identi-

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tothe taxpayer for

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Taxes do have to be paid, so that the

"Ides of March" now, or the month here-

after, are not the most pleasant times for

thoughts on taxes. But, too, the other manpays and pays and pays, so forget the

worry and be glad when the wet season

is over.

Henry W. Bullen

Public Accountant and AuditorFederal, State and Local Taxes

HOLLYWOOD 3642

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Hollywood Vagabond 1927 (5)