hollywood vagabond 1927 (22)

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Volume 1. Number 22 Thursday, July 14, 1927 / Copyright. 102 7, byVagabond Pub. Co.

hiatusA COMPENDIUMOF CLIPPINGS

1s

Have you noticed what aninspiration the northwestcorner of Vine and Holly-wood is?

—o

Now heard along the boulevard:

"Well, when Jesse Lasky told meI'd have to take the cut, I told

him if he performed any rabbinical

operation on my salary he'd just

have to figure on some one else

for my parts — and boy, believe

me, that made him hesitate —in

fact I wouldn't be surprised if myrefusal was the ruination of his

well laid plans. That night whenCecil B. 'phoned me, I was too

darn t ir ed t o talk, so I let my valet

tell him I was in conferencebright and clever —that's me all

over.

The Town Bugle con-test now being held for

the most popular castingdirector is still in prog-ress. As no votes havebeen received nominatingCliff Robertson we wish to

state that he most cer-

tainly IS in the race.

"Let me protect you, Jack," said

Eddie Shafer as he stepped be-

tween the Manassa Mauler andSharkey * * ? ? ? ******

If it takes six months to

make a bottle of ginger-ale,how long should it take to

make one ill. Well, anyway,that's what they say on thebill-boards.

Alice Lake says that these yel-

(Continued on Page 6)

Uncle Sam Spanks

Zukor and AidesGovt, Ukase in

Paramount Case

EMIL JANNINGSPhotoplay character study of ""The Man with the

UFA Eyes"" of Fred Flax's sketch. Seepage 7

Uncle Sam has takenAdolph Zukor and Jesse

Lasky across his knee andspanked them, figurative-

ly speaking.

In other words, the Fed-eral Trade Commission,after a six-year quiz into

activities in the film indus-

try, has laid down the lawto the Famous Players-

Lasky Corporation a n d

has cited three distinct

"don'ts" for the guidance

of this film company.Describing Adolph Zu-

kor as the "dominatingpersonage" of FamousPlayers-Las k y Corpora-tion and, by virtue of thatfact, the dominating fig-

ure in the film industrybecause of the vast ramifi-

(Contir l on Page 2)

aHATT V\i7^^Fi f What Crimes AreOLLYWOOD/ Cvmmimdiu Th Name!

5 i

—TURN TO PAGE FOUR



Page Two Hollywood Vagabond July 14, 1927

Uncle Sam Spanks

Zsikor and Aides

(Continued from Page 1)

cations of Paramount andts subsidiaries, the Feder-al Trade Commission, con-

cluding- its probe, express-

y prohibits Zukor, Laskyand Paramount from

:

( 1 ) Continuing a con-

piracy among themselvesor with others to lessen

competition a n d in re-

traint of trade, etc.

(2) From employing"block-booking" tactics in

he sale of its product, etc.

(3) Acquiring or threat-

ening to acquire theaters

or the purposes of intim-

dation or coercion againstexhibitors.

Meanwhile counsel for

Famous Players-LaskyCorporation have declaredheir intention to carry thefight to the Supreme Court

of the United States.Complaints filed by the

commission against sev-

eral other film companieshave been dismissed, but,

t is believed that the re-

straining orde r placedupon Paramount's practiceof block-booking will, di-

rectly or indirectly, havean effect upon the samemethods as now employedby other big producing-

iistributing organizations.Marcus L o e w has beenquoted as willing to aban-don the block-book i n gpractice on the part ofMetro-Goldwyn-Mayer forany other distributionmethods that may meetwith the approval of ex-hibitors.

For years there havebeen insinuations upon thepart of certain exhibitorsthat

intimidating tacticswere being employed byseveral of the big filmcompanies and the Fed-eral probe was the resultof the complaints. At onetime it seemed that the

NEWBLOOD' IN NEXT ISSUE

The fifth chapter of that engrossing HOLLY-WOODVAGABOND symposium, "More NewBlood in Motion Pictures," will be published inthe next issue, dated July 28th, two weeks fromtoday.

As stated in the last chapter, published onJune 16th, HOLLYWOODVAGABOND will nowturn its attention to promising new directors, sce-

narists, cameramen, executives and other humanfactors in photoplay production, as well as to dis-

cuss the progress made by players previously men-tioned and new candidates for honors or demerits.

"More New Blood in Motion Pictures" hasaroused a wide-spread interest everywhere, notonly among executives in the Hollywood studios,

but also among leading exhibitors and the public,who have great influence in making or marringthe futures of these people. HOLLYWOODVAGABOND has received letters from such dis-

tant points as London, Berlin, Sydney and BuenosAires, asking for detailed information on some of

the people discussed.

HOLLYWOOD VAGABOND'S idea in pub-lishing this series is to encourage the work of ob-scure newcomers and others whose achievementsseem to be overlooked in the fanflare of publicity

for the more prominent people in the industry.

Likewise, it is designed to shatter the day-

dreams of young people whose self-esteem is per-haps not consistent with their attainments, or

rather lack of them.Remember, the Fifth Chapter, "New Blood

in Motion Pictures," in the next issue, July 28th,

two weeks from today.

YOU MAY BE IN IT!

quiz was to be droppedbecause of insufficient

evidence, but shortlythereafter it came to life

again with amazing rapid-

ity.

The Federal order to

Z u k o r and his aides is

somewhat reminiscent of

the probe conducted sev-

eral years ago by the gov-ernment into the affairs

of the Rockefeller Stand-ard Oil interests, whichresulted in the breakingup of the one big companyinto individual enterprisesconfined to states or cer-

tain territories.

If the fight is carried to

the Supreme Court and thedefendants lose, it is be-lieved that Paramountmay circumvent the Fed-

eral order by organizinga more intricate system ofsubsidiary corporat ions.At the same time, the or-

der on the block-bookingpractice will meet withthe approval of the ma-jority of exhibitors whohave rebelled against thesystem almost since its in-

ception.

The findings of the Fed-eral commission relative to

Paramount reads as fol-

lows:"The respondents Adolph Zukor,

Jesse L. Lasky and Famous Play-ers- Lasky Corporation, have con-spired and

confederated togetherand from time to time with otherpersons unduly to hinder competi-tion in the production, distribution

and exhibition of motion picturefilms in interstate and foreign com-merce and to control, dominate,monopolize or attempt to monopo-lize the motion picture industry.'

New Plan To

Whack Costs

Such a terrible yell

arose in Hollywood whenthe producers decided to

chop 10 per cent off sal-

aries that the idea wasdropped like a piece of

hot iron.

For the time being,

anyway.

Jesse Lasky has bethoughthimself of a new idea,

though. Its name is "Emerg-ency Cabinet" —and it's sup-

posed to act as a first aid

kit in the battle against that

dread disease, High Cost, at

the Paramount studios.

Thirty representatives of

the various departmentscompose this "emergencycabinet," and they have"pledged themselves to in-

stitute policies and methodsby August 1st which wouldsolve the

problemof exces-

sive costs."

This cabinet meets in con-clave once a week, so yousee they haven't very manytimes to meet between now'and August 1st. In thosemeetings they're supposedto solve all the high cost ills

of the Paramount studiosand make the bosses, stock-

holders, et al, feel hotsy-totsy.

Meanwhile Mr. Laskysays:

We realize stabilization and re-

duction of production costs are ab-

solutely necessary, but we believe

we can put our house in ordermost effectively by eliminating

waste, extravagance and ineffici-

ency, and at the same time keeporganization morale in the highest

key by leaving salaries untouchedunless we fail in our end to suffi-

ciently cut production costs in

other ways. Then, if the cut is

necessary, we will all take it.

"We are ,"ully cognizant of our

own limitations and of our partial

responsibility for the present situa-

tion, which we frankly regard ascritical.

As the Governor of NorthCarolina said to the Gov-ernor of South Carolina"Thass all ; theh' ain't nomoh.' "



July 14, 192~t Hollywood Vagabond Page Three

An Open Letter to theLondon Bioscope

.... cuid to the British Film Producers

Gentlemen:There is on the desk be

fore us a copy of your spe-cial edition, "British FilmsToday," described as "a sur-

vey of the resources of theBritish film producing indus-

try." It is a meritoriouswork and it is the first of it?

kind we have encountereuthat covers British motionpictures to an adequate de-

gree.

There are certain pointsrelative to the British film

industry that are raised in

your editorial, "Britain's

Great Opportunity," withwhich we take issue.

You state that "the foun-dation of the British film

business is the British cine-

mas," and at the same timeyou declare that the British

film industry "sooner or

later . . . bound to take as

worthy a place as that occu-pied by other British indus-

tries in the international in-

dustrial world."

If British films are to take

their placein the interna-

tional industrial world theymust shape their productwith that goal in mind.

The fault with British

films to date, as we see it

has been that they have beenfashioned solely for local

consumption.There have been instances

where individual produceishave endeavored to inducttouches into their films that

they believed would catchthe fancy of foreign aucu-

ences and become salable in

the markets of the world.So far, no great degree of

success has attended those

efforts and, we believe youwill agree that there must bea radical rearrangement of

British production if the

producers of London hope tc

profit in their efforts to inter-

nationalize.

Our comments on this

matter are, of course, con-

fined to speculation insofar

as actual knowledge of

methods employed in mak-ing British films are con-

cerned. Our views are basedupon a comparison of themethods employed by Amer-ican producers, who domi-nate the markets of the

world, and the results of theexhibition of British films in

America.The most pretentious Brit-

ish films have been basedupon themes that are inter-

esting only to British audi-ences. Events of importancein British life, British his-

tory, Bri ti sh customs, thoseare the ingredients of mostBritish pictures.

Where an American pro-ducer makes a picture thatis built around Americanmodes of life or Americaninterests, that film is usuallyre-edited for the foreignmarket. The bulk of Amer-ican production, however, is

confined to themes that havean international flavor.

Y o u r observations o n

American motion picturesare very gracious, indeedYou say that "we do not for-

get that the present proudsupremacy of the Americanfilm has been won by sheeimerit; nor do we wish to

imply that anything but

equal merit, at least, cansucceed in rivalling Amer-ica's position. America is a

competitor of generous spirit

and wide vision. She real-

ises, as she has often statedthrough the mouths of heileading film men, that it is

neither possible nor desir-

able to corner the world'sfilm entertainment. It wouldbe as impossible and unde-sirable for Britain to do so

for any other nation. Anx-iety to obtain for Britain herfitting place on the screen,

of the world should, there-fore, lead no one to write or

think of the British film

movement as antagonistic tc

American films. We believethat America is entirely sin-

cere in her professed desire

to see British films prosper;and we earnestly hope that

the British film industry will

continue to regard America. . . as, in the main, it hasdone in the past ... as a

friendly co-operator in de-

veloping, for the mutualgood of all nations, the

greatest art-industry thatthe world has ever known."We believe that the future

of the industry lies in the

(Continued on Page 10)

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Page Foui Hollywood Vagabond July U, 1927

^?HOLLYWOOD

D ^The QUALITY Filmpaper

Published by BILLY JOYBURL TUTTLE, Contributing Editor

Edited by FRED W. FOXA. J. GASCHEN, Comptroller

Published every Thursday by the VAGABOND PUBLISHINGCOMPANY. Suite 605-606 Taft Building, Hollywood, California.

Telephones GRanite 4690 and GRanite 5902. 20c per copy; by

subscription S10.00 per year.

HOLLYWOOD: What CrimesAre Committed in Thy Name!

Almost since the genesis of the motion picture

industry it has been the practice of ambitious editorsto link the names of photoplay favorites with Holly-

wood mishaps.

Overnight, it seems, murderers, thieves, bootleg-

gers and connivers of many descriptions are endowedwith the mantle of cinema stardom by the daily press,

while, as a matter of fact, their connection with the in-

dustry itself is usually very remote.

This habit has been deplored by all forces that

work for the good-will of the industry at large and, at

various conclaves, representatives of the national press

have pledged themselves to avoid this utter exaggera-tion, but seemingly to small avail.

As we have stated at various times ere this, thekeen relish of Hollywood habitants for publicity hasbrought about many unpleasant paragraphs in thenewspapers at later times when unfortunate happen-ings transpire. It seems to be the penalty that a wordof praise eked from the editor today will be receiptedby a dash of notoriety tomorrow.

The journalists' reasoning, perchance, is that aname that has circulation value in publicity has infin-

itely greater reader appeal when linked with unsavoryand sensational events.

OVast and unending are the crimes that are com-

mitted in the name of Hollywood.For example, during a period of six days not so

long ago, the word "Hollywood" or "film star" figuredas many times in the scare-heads of one of Los Ange-les' largest daily newspapers.

In each instance the event recorded was a mur-der, a bootlegging raid, a murder trial and severalother catastrophes of human frailty that were linkedto the motion picture industry.

In fact, in one night's edition, three main columnheads were devoted to picturing the misfortunes andalleged wickedness of "motion picture stars," whosenames were totally unknown to the industry.

Events that would otherwise occupy only an in-significant corner of one of the back pages are'"playedup" on the main news pages of the press when it is

deemed possible to link the films with the occurences.If that is journalistic enterprise, then the editors

are certainly lax in covering the domestic tribulations

and deeds of violence that can be laid at the feet of

people in other walks of life.

However, the people of the motion picture in-

dustry are aware of this deliberate discrimination andslowly, through the process of organization and tneformation of societies endowed with political power,are manifesting their displeasure at this unwarranted

harassing.Through the medium of this new-found influ-

ence, the motion picture people are at last becomingaware of the fact they are entitled to certain inalien-

able rights as editorial subjects and are speedily dermonstrating their desires in no uncertain terms.

Similarly the new Academy of Motion PictureArts and Sciences could become a most potent factor

toward the realization of the ends of justice.

For years the public has been plagued with theindictments and needless defenses of Hollywood.While lurid fiction, supposedly descriptive of life as it

is lived in Hollywood, has been circulated in almost

every city, town and hamlet of the nation, trashy propa-ganda, ill-advised lecturing and sentimental white-washing has also put the industry in bad taste with thethinking element of the populace.

It is the general conception, in the metropolitancenters of the country today, that Hollywood is an-other community, similar in outward aspects to theaverage town of its size. The public is, perhaps, in-

clined to regard the tales of wild night life in Holly-wood as romantic myths designed to color the sensa-tional aspects of the photoplay in general.

With the possible exception of seven to ten speci-fic instances over a period of fifteen years, there has

(Continued on Page S)

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July 14. 1027 Hollywood Vagabond Page Fir,

AGABOND ^VERDICTSDepartment

•

of•

Personal•

Critical•

OpinionThere is no such thing as an infallible critic. Thesereviews of motion pictures and spoken drama are

personal opinions and should be adjudged as such.*^?

^Q^^Q^^e^^9Q^^Q^^Q^^Q^^Q^^Q^^^Q^>^Q^^KT1LLIE THE TOILER, starring

Marion Davies. A Metro-Goldwyn-

Mayer picture directed by Hobart

Henley.

"Tillie the Toiler" ha^

been roundly slapped bymany critics. In the neigh-

borhood theater where wesaw it, though, this picture

went across like a house?

afire.

The fans, especially the

stenographers and soda-

jerkers, will like Marion in

this opus. She gives to herportrayal of Tillie a touch of

whimsy and spontaneity that

has been lacking in most of

her previous roles. Photo-

graphically, Marion is a raretreat in this picture.

George Fawcett, as Simp-kins, the boss, tried to emu-late Russ Westover's cartooncharacter in appearancerather than in spirit. Faw-cett's make-up was perfectbut he grimaced entirely toomuch.

Matt Moore as Mac hadthe spirit of the role but

alas, lacked the dolorous ap-

pearance of the comic-strip

slave. Matt appeared as a

handsome Mac, in spite of

his attempts at appearing

boobish. Hedid

thebest

possible under the circum-

stances.

Claire McDowell, as Til-

lie's mother, was a total

alien, insofar as Russ West-over's pen impression of themother is concerned. Shedid not fill the part at all.

Harry Crocker, as PennyFish, gave a most delightfulportrayal and, more thananyone else in the case, par-alleled the comic - sectioncharacter in appearance.

There was just a shortflash of Gertrude Short asBubbles, but her part waswell handled.

The picture was paddedwith two other charactersenacted by Bert Roach anda little boy, who are unfa-

miliar to perusers of the car-

toons.

The main theme of the

film was weak and the final

phases of the picture in-

dulged in shedding tears

and sorrow altogether not in

the spirit of "Tillie the

Toiler" as it is known tonewspaper readers.

It is difficult to handle the

screen adaptation of comicstrips, for the audienceusually has a preconceivednotion of the principal characters and is critical to theextreme. As a photoplay en-

tirely divorced from the car-

toon, "Tillie the Toiler" is a

fairly entertaining work andshould return a healthyprofit.

However, the consensus of

opinion is that the screen in-

terpretation did not do jus-

tice to the Russ Westoverideas and that perhaps a lit-

tle more time should havebeen devoted to its produc-tion and the selection of thecast.

f. w. F.

2}' II 1 I. I 1' 1' f \ I

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?

KNOCKOUT REILLY. a Para-

mount picture starring Richaro

Dix. Directed by Malcolm St.

Clair.

"Knockout Reilly" is a

good box-office picture andit is also a realistic depictionof the fight game.

The direction is excellent

and the smallest details

have been handled with mi-

nute care. The sequences in

the fight are plausible be-

cause of the relative physi-

cal proportions of the heroand the heavy. It is not theusual movie of a small manlambasting a giant into

oblivion.

Jack Renault, erstwhilesparring partner for Jack

Dempsey and a heavyweightof no mean renown, playsthe heavy and acquits him-self with distinction. Renaultis more than a pugilist; heis an actor, undeveloped in

finished technique as yet ofcourse, who could easily winplaudits as a movie heavyand garner the mazumastoo.

Dix gives his usual inter-esting performance andshould satisfy his many fol-

lowers. This boy has plentyof personality and is rapidly

becoming one of the films'biggest attractions.

Mary Brian is the leadinglady and shows that she ha?gained much in techniquesince the days of "PeterPan." Harry Gribbon andthe rest of the cast fill thebill.

F. W. F.

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qe oix Hollywood Vagabond July 14, 19Z7

hiatus(Continued from Page 1)

cabs are just "flying omelets"

her.

Well, all I gotta say is thatlotta actors better look to

r laurels when this boyoul Walsh gets to doing

stuff before the cameraGloria's picture, "Sadie

ompson."If he does only half as

l acting as he did direct-

he'll wish he were twins—o

Have you seen Mike Boylan's

w Ford?—o

At any rate I hope youven't missed Marion'sck at the beach.

—oDaring. Dashing, Debonair —

what they say about a cer-

auto —but they're all wrongs Johnnie Walker.

Monty Banks parts his

r in the middle —aboutpals he's not so par-

lar.

f he ever fails at making pic-

Samuel Goldwyn might hire

to the noveau-riche as a pre-

nary matrimonial arranger, andrather well, I should imagine.

Hollywood's Damon and Pythias—Menjou and D'Arrast.—

Said Harry Miller as hefell into the arms of his

ever faithful Otis: "Lookout, the Laemmles are

coming."One thing about Leach Cross'

cafe —you pay only for the food-

Leach charges nothing for the

laughs.

—a

Just the same I still

think that Vic McLaglenhas given one of the best

blankety - blank blankety-blank performances of the

year.

What price glory, eh,

Vic?

—o—And a half page ad for

Lucky Strikes announces:"While directing 'The Big Pa-

rade' I had to shout my directions

to hundreds of film players

... I smoked Lucky Strikes,

which seemed to ease and rest mythroat. IT IS WONDERFUL to

find a cigarette that relaxes yournerves and at the same time in-

sures you against throat irritation

—a condition from which film di-

r ect ors a re bound to suffer.

(Signed) "KING VIDOR."

Well! Well!

On 'Wielding Alberta Plays

The Megaphone' Second FiddleThere is a figure of speech

generously employed byphotoplay editors and otheicommentators on the silent

drama when referring to adirector at work.

They say the gent Is

"wielding the megaphone."That is very true in most

cases.

To "wield a megaphone"requires considerable arm-work and little headwork, if

at all.

Manipulators of horse-operas and other perennialspecies of silent drama are

the most steadfast addicts ofmegaphone "wielding."A lavish display of arms,

feet, golf pants and otheraccoutrements of the direc-

torial menage usually ac-

companies the "wielding" ofa megaphone. Also, loudand prolonged bellows to thepoor brutes under the make-up.

If the same energy that is

spent on this "wielding" wasdeployed to the cerebralcenter and utilized to pro-mulgate quiet thinking, we

On various occasionswe have remarked uponthe sudden rise and recentdecline of little AlbertaVaughn as a movie star.

Now there comes to ourdesk an announcement fromthe First National pressagent, which declares:

Ray Rockett announces that Al-

berta Vaughn has been cast for the

role of Molly in support of Richard

Barthelmess in "The Drop Kick,"

the college football story, etc., etc.

This imbues us with thefeeling that perhaps AlbertaVaughn has chosen the

route to feature stardom asleading lady to our biggerstars rather than as a candi-date from two-reel comedystellar prominence.

Until, on reading further,we discover:—with Virginia Lee Corbin in the

leading feminine role, etc., etc.

should all be much happier—player, director, critic andaudience.

Wielding the brain is pre-ferable to wielding themegaphone.

M^h ere Service is an Art

"Would that the little flowers were born to live

Conscious of half the pleasure which they give."

—Wordsworth

?

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July H. 1927 Hollywood Vagabond Page Seven

HOLLYWOOD JOURNEYS with FRED FOX

vagabondia X%.

'' JVe are the music -makers

& And we are the dreamers of dreams"

¥f A. W. E. O'SHAVGHNESSY

The Man With

The UFA EyesJannings the GiantGerman motion pictures

such as "Variety" and"The Last Laugh" haveprompted a new phrasefor Hollywood lexicon.

Thespians of local or-

igin are heard to speak of

"that UFA expression."

They are referring to theslow tempo, the depictions of

dolor and melancholy andthe animated, beamingsmiles of comedy that dis-

tinguish the broad sweeps of

the Teutonic interpretations.

Jannings has been cata-

logued by them as "the manwith the UFA eyes," for he.

of all the German players,

has been most successsful in

introducing this new. cine-

matic motif.UFA, if perchance the

layman reading thismay not know, is theinitialized name of the mostprominent German film pro-

ducing company, in whoseproductions Jannings first

rose to fame.Directors in Hollywood

are heard to admonish play-

ers about to enact a sadscene before the camera to

"do a UFA with your eyes."

But only Jannings cando that. It is really not a

"UFA expression," rather

the artistry of Janningsalone. —o

Most famous film stars

lose their glamour whenone

meets them in the flesh.

Personalities that the screenreflects as innately sweet arediscovered to be extremelyarrogant and hard-boiledJannings surpasses, in real

life, all of the conceptions

aroused by his work on thescreen.

Our visit with him will remain as one of the mostmemorable chapters in theannals of our Hollywoodjourneys. To converse withJannings is a real treat. Hedoes not confine himself to

monosyllable mutterings a?

do so many of our filmcelebrities. ——We sat in his dressing

room at the Lasky studio.Outside the "lot" was

alive with noon-time activ-ity. Famous stars mingledwith carpenters and execu-tives. They seemed so dis-

concertingly human; herewere no gods on pedestalsOnly hungry actors paddingtoward the cafe.

Jannings would be backsoon; he had just gone out

on the lot. So we sat andconversed with the interpre-

ter, whose fluent commandof German sibilances andAmerican slang were to

make our interview possible.Jannings is mastering theEnglish language rapidlybut for rapidity of speechGerman is still his forte

What German we know is

not adapted to swift usage.—

Jannings entered.

A giant of a man ; oversix feet in height and sturdyof physique.

A broad and happy smile

accompanied the handshakeHe started to speak in Eng-lish, but resorted to German,and the interpreter spoke, in

turn, to us. —Jannings likes America.

Fred W. Fox

He says he is very happyhere. Everybody is so co±-

dial and willing to help, botnon and off the set. Hepraised the co-ordination ofthe American studio and ex-

pressed his pleasure whenwe told him of the great im-pression "The Way of AllFlesh," which we had seenthe evening before, had

made upon us.

——"Everybody thought I

would be 'lost' in theAmerican studios. I amhappy to hear you like this

first Hollywood picture of

mine. I hope the Ameri-can public will like it, too,

and the people back home."You have asked me how

I handle a character to elem-inate as many titles as pos-

sible. In 'The Way of AllFlesh' there are only a veryfew titles. We work to con-

vey thought by the use of

pantomime instead of titles

The character must first behuman; then it is easy to in-

ject the little touches that

will make the use of titles in-

frequent.

"A character like Au-gust Schilling must be a

composite. My idea is to

make each and eveiy per-

son in the audience say,

'That is MY father,' or

'That is somebody I know,'not merely, 'It is SOME-BODY'S father,' or 'Thatis a character SOME-BODY else may know.'

That is the way to get ef-

fective reaction, I believe.

"I do not like the weirdcamera angles of many Ger-man pictures. I like picturesthat are true to life ; not pic-

tures that certain cliques ofpeople may understand. It is

alright to use cinemato-graphic effects when there is

a plausible reason to employthem, but not for the sake ofdetermining how many an-gles a single scene may bephotographed from.

"I like America v e r ymuch. I will stay here for ayear and then will visit mypeople in Germany. I shallprobably come back here to

make this my home."The character I am play-

ing now" (Jannings was at-

tired in the rough sweate;of a typical London slumbully) "is remote from sucha one as August Schilling. It

is a great story. When wehave finished this, we will

make a story of Russia.

"I do not think I will be'lost' in the studios ofAmerica. I believe we will

make even better pictureshere than I have had be-fore. The resources are sogreat, everything is so vastand efficient; there is un-derstanding and friendl-iness.

"I am very happy."

—o

We left Jannings as thestudio was going to workagain.

Famous stars came pad-ding by again, minglingamong carpenters and exec-utives. There was not muchdissimilarity in their expres-sions. Jannings was anima-tion ; that's what these peo-

ple lacked. —O

Visions of the AugustSchillings, the "LastLaughs" and the "Varieties"were aroused again. Andthe eyes, with their merrytwinkle or their vst sorrows. . . the eyes of Jannings . .

"The Man With the UFAEyes."

When one has met EmilJannings one has been in the

presence of a great artist

When we walked out of thestudio a feeling of edification

possessed us.——This was Jannings . . .

Jannings the giant ... a

giant among men and a

giant among actors.



age Eight Hollywood Vagabond July 14, 1927

HOLLYWOOD: What Crimes Are Committedin Thy Name!

(Continued from Page 4)

en nothing of a scandalous nature emanating fromollywood that involved people who were really

nown to the theater-going public. Unknowns, who by

tue of their residence or even more distant con-ction with Hollywood at some vague time have beenllyhooed as famous stars and "sold" to the public as

ch in their connections with murders or other acts

violence, have usually been recognized for their

e selves by the majority of the populace.

Today the reader who glimpses the word "Holly-

ood," "film star" or other cinematic designation onface of the daily newspaper is inclined to be bored

d immediately knows that he is being bilked by the

tor.

The real crimes that are committed in the nameHollywood are those that are perpetrated by these

urnalists who are totally devoid of ethics and a sensediscrimination.

As they refuse to give any consideration whateverthe cause of Hollywood and the motion picture in-

stry, it is high time that our people employed everyitical power within their reach to remove them fromice and to exact justice from the sources where it

n be obtained . . . speedily and effectively.

That source is to be found in the offices of the

blishers who are inclined to rate theater advertising

an intrinsic part of the revenue of the influential

etropolitan newspapers.

If the motion picture people are to be subjected to

dignities and assaults, let them likewise employ boy-t to attain their just ends.

WANTED

avenport Back

In Hollywood

Delbert E. Davenport, edi-

and publicist, has re-

ned to Hollywood after ansence of three years ands opened publicity offices

the Markham building.

He was at one time editor

the Photoplay Journal of

iladelphia and later gen-l press representative in

at city for the Shuberts.oming to the west coast, heas engaged as special pub-st for Mary Pickford andouglas Fairbanks, later

unding his own publicity

reau in this city.

He was also later editor ofe "Camera!" magazine, agedecessor to Fred Fox, and

unded the HollywoodFilmograph" when it was a

ily newspaper.In the east, Davenport has

en connected with the pub-ty offices of the Fox Filmorporation and has also en-ged in other noteworthy

editorial and publicity proj-ects.

The present dearth of ablefree-lance publicists in theHollywood territory is mini-mized to a great extent bythe return of Davenport.

? 1' It I L I I' I' ! \ I

Lincolm, Gardner 90 orPierce - Arrow Phaeton,'as or 'afr, on advertisingdeal. Must be in A-shape. Call Fred Fox,Hollywood Vagabond,GR 4&9© or GR 59©a.

JAMESHALL

One of the screen's newest and mostpopular leading men, who has just

completed the leading role opposite

Bebe Daniels in "Swim, Girl, Swim."

Mr. Hall's immaculate attire stampshim as a man of discriminating taste.

He is a valued patron of

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July 1-1, 1927 Hollywood Vagabond Page Nirn

Is Mr. Lasky Dan Cupid Nabs

Film Publicistam'

Speaking before the re-

cent Paramount conven-tion at New York, Jesse

L. Lasky, production na-

bob of the organization,

declared

:

"We (and when I say 'we' I meanthe entire motion picture industry)

have been making pictures, for in-

stance, for various high-priced andunreasonable stars, also directors

whose names and reputations werea mirage rather than a reality. Nolonger will we be dazzled by the

false brightness of names that wecreated. No matter who the star

is, no matter how famous the direc-tor, we now can tell him to deliver

—and deliver our way —or get out."

While there may be anantagonistic note to this

pronunciamento, at thesame time one wonderswhether the words haven'tbeen uttered for publicity

purposes rather than in

dead earnest.

Big names, box-office rep-utations, personalities, call it

what you will, that is whathas made Paramount a mo-tion picture factor and it will

be absolutely impossible forMr. Lasky and his co-work-ers to disregard the fact, nomatter what they may haveto say in conclave. If thecompany lost its array ofstars, directors and others to-

morrow the good-will of thename Paramount mightcarry on to a certain extent,but not as a leader in the in-

dustry. The human equa-tion will make or break thefilm business. Mr. Lasky

knows this, too.As to "high-priced and un-

reasonable stars and direc-

tors whose names and repu-tations have been a miragerather than a reality" theyhave been made mirages byproducers such as Mr. LaskyIt has probably come to thepoint where the producershave begun to believe whattheir own press agents writeabout their own players andhave been suddenly jolted

out of their day-dreams bymounting production costs

having nothing to do withplayers' salaries.

It will be a sad-lookingmess of players that will bethumbed down by the ideaas expressed by Mr. Lasky

Mr. Joseph C. Blair,

who indites fancy odesabout film folk for the pa-

pers, has met his Water-loo.

Joe is about to acquire a

better half in the person of

diminutive Agnes Mansfield

daughter of Mr. and MrsJ. M. Mansfield of Holly-

wood. The wedding will takeplace on Sunday, July 24thand it is expected that a

horde of editors will seek re-

venge at that time by em-ploying all of the ancienttactics essential to ade-quately plaguing a newbridegroom.

After all, Dan Cupid is

the world's greatest pressagent and Joe will pay duehonors to the big bow-and-arrow man for a few weeksduring which time the Blairs

will honeymoon in the Pa-cific northwest.

In the meantime Joe is

working so energeticallythat he has to stop now amianon to pour a pailful of

water on his smoking type-writer.

Much luck, kid! andhere's hoping we sock youwith a bundle of rice

!

that they will "have to de-

liver —and deliver our way—or get out."

If that is the policy actuat-

ing the present Paramountproduction program, thenthe mediocre caliber of Para-mount pictures that we haveseen lately may be accountedfor. When individual ex-pression is smothered underexecutive time-clocks and a

thousand rules for this andthat, then it is high time to

abandon efforts to make fine

photodrama and begin turn-

ing out sardines again. Ofcourse, the art of sardinepacking needs no artists. It

all depends upon what MrLasky is seeking for Para-mount exhibitors.

The confession set forth in

Mr. Lasky's statement thatproducers have been "daz-

zled by the false names ofnames that we created" is anindictment, in itself, of themental processes of the menwho have created these samenames.

Excitement Keen In Hollywood

Over Dempsey-Sharkey Battle

Excitement is running at fever pitch in

Hollywood today.For, one week from tonight, Jack Dempsey

will climb through the ropes at the YankeeStadium, New York, to battle Jack Sharkeyin what is predicted will be one of the mostcolorful fights in pugilistic history.

Dempsey is the favorite in biggest drawing card in thethe betting in Hollywood, &i

he is in most sections of thecountry. Jack, who is re-

garded more or less as a lo-

cal product by virtue of hit

residence in Hollywood andhis many friends in the film

industry, is being backed tothe limit by movie cash.

The consensus of opinionas it has been determined in

a quiz conducted by HOLLY-WOODVAGABOND in thestudios and other gatheringplaces of the film people, is

that Dempsey will score aknockout victory over Shar-key within six rounds. Manyclaim that the fight will beover inside of two roundswith Dempsey the victor.

While Dempsey has notengaged in a ring battle

since he lost the champion-ship to Tunney at Philadel-phia almost a year ago, hehas been training in the Ven-tura mountains here for sev-eral months and is nowwinding up intensive train-

ing at Saratoga Lake, N. Y..for the Sharkey bout. Demp-sey has not been very activein the ring for three yearsand many ascribed the ios?

of the Tunney titular meet to

that

fight game and, by far, themost popular. He has com,stantly pushed Tunney outof the headlines and hasgained a tremendous newfollowing since he lost hiscrown.

The bets are being madethat when Dempsey againmeets Tunney, as Hollywoodis positive he will, he willbatter the ex-marine tooblivion with his renewedmight.

With Dempsey again onthe championship throne, hewould immediately becomethe greatest figure in figmhistory and a tremendousbox-office attraction in thering, on the stage or in thefilms.

Collectors of . . .

Old PewterBrasses and Copper

find much to interest themat

t fact. However, when ij it , , ok left California for the "ewson Handcraft StudiosJac

east several weeks ago he

was in great shape and hassince been polishing up his

ring form in the hills of NewYork.

The rise of Sharkey hasbeen s u d d e n. Accreditedwith great powers of speechSharkey has become one ofthe most interesting figuresin the squared ring today,not only for his requted fis-

tic prowess, but also be-

cause of his outspoken confi-

dence in his might. How-ever, the lad may sing a dif-

ferent song after his encoun-

ter with the Manassa mauler.That he will is the wager be-

ing made in Hollywood, withfew to take the Sharkey enoof the bets.

Dempsey is probably the

2508% West 7th Street

LOS ANGELES

Come mid Browse Around



age Ten Hollywood Vagabond July U, 1927

An Open Letter to the"London Bioscope"

(Continued from Pag-e 3)

welding of an international

rganization, not necessarily-

ominated by any one na-

on, where each and everyountry that is sincere in its

esire to advance the cause

f the photoplay in the des-

ny of the world, will con-

ibute its energy and its tal-

nt to promulgate the wel-

re of all concerned.HOLLYWOOD VAGA-

BOND concurs with the

London Bioscope" in its

eclaration that the British

lm industry is on tne

hreshold of new and greater

evelopments, such as haveot yet been realized by the

udios overseas.At the same time, in dem-

nstration of its faith andesire to cement cordial re-

tions between Americannd British producers, HOL-LYWOOD VAGABOND be-

eves that such criticism

s it offers here will be ac-

epted by the "London Bio-

cope" and the British pro-

ucers in the friendly spirit

which prompts its writing.

America has always been

uick to recognize and re-

ward talent discovered in

oreign studios. Negri, Lu-ound, in Hollywood, a great

estiny awaiting them. Theower of the American pho-

oplay has been augmentedy their innate ability and

he result has been a motion

icture that has been suc-

essful because of its ef-

cient American production

nd its interpretation of new

Yet the work of these

Germans has first command-d attention in Americahrough the work they have

done in the studios of Berlin.These German pictures haveeen patterned to commandnternational appeal. Theyhave been acceptable to the

American exhibitor andhave been shown with suc-

ess at the box-office.Hollywood, too, has

drawn heavily upon the Brit-

sh ranks for new talentoth directors and players.Their success in the Amer-can studios, we believe, hasbeen more pronounced thanhat which resulted fromheir work in London.

There are today any mm,ber of other players and di-

ectors in the British studio?who would meet with instananeous success in America.

For instance, there is ayoung English actress by thename of Estelle Brody and a

young leading man by the

name of Pat Aherne whomwe venture to say. wouldmeet with immediate favoiwith American audiences if

they were presented in Brit-

ish films that appealed to

the American taste. Thereare many others, too, but wecite these two as specific ex-amples.

In an endeavor to pro-mulgate American interestin these capable young Brit-

ish players and directorsHOLLYWOOD VAGA-BOND is now communicat-ing with the leading produc-ers of London for informa-tion about their players, di-

rectors and pictures.Distributing alliances can

be speedily effected betweenAmerican and Bri ti sh pro-ducers and distributors if

the British producers willonly inject an internationalappeal into their product.

HOLLYWOOD VAGA-BOND welcomes letters

from British producers, dis-

tributors and others of theBritish film industry who araendeavoring to shape theirproduct with the interna-tional market in mind.

Through the interchangeof ideas, the discussion ofmutual problems and, per-haps, the advice of leading

American producers on Brit-

ish problems, we believethat HOLLYWOOD VAGA-BOND and the "London Bio-scope" may prove valuablefactors in forming a clearerunderstanding and perhapsin establishing the British

film industry as, not merelya British enterprise, but aninternational institution.

Toward this end we pledgeour co-operation.

Sincerely yours,HOLLYWOODVAGABOND.

Member Florists' Telegraph

Delivery Association

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July 14, 1927 Hollywood Vagabond Page Eleven

ANNOUNCEMENT!

«5

I; • :>u are IN FIC'I I Rl s in an? capacity

you will be interested in the STORY—CON-TINUITY —A C T I O N —DIRECTION -

ACTING—NEW FACES—SHOTS—LIGHT-ING—PHOTOGRAPHY— COSTUMING—SETTING— LOCALE and that "Different"

note of

"MATA HARI"The Red Dancer

with

MAGDA SONJAThe latest Walter W. Kofeldt, Inc., importa-

tion from the studios of National Film A-G Berlin.

AMERICAN PREMIERE starts Saturday,

July 16th.

The Management

BROADWAY PALACEBroadwav near Seventh

GARDNEREIGHT - IN - LINEConquers Los Angeles' Most FamousHills in High Gear, Also IncludingMicheltorena Street, Baxter Street,

Fourth Street (Hill to Grand), GrandAvenue (Turning From Fifth Street)

To prove that the supreme performance of theGardner Eight-in-Line was not due to '.rick

driving, we prevailed upon Louise Fazenda to

drive the car over the hills. This popular WarnerBrothers star had never in her life driven aGardner. Yet she topped Micheltorena Street(one of th~ hard'st and most famous test hills in

the city) in HIGH gear at 23 miles an hour!No trick driving to that!

HARRY ALTERGARDNER SALES

6151 Hollywood Boulevard

HEmpstead 1803

GrabersAntiqueShop

DEALERin all kinds

. of.

ANTIQU E

FURNITURE

1 ~ou are cordially

invited to

Visit Our Store

We can help

you add to the

BEAUTYa n c i

CHAR Mof your

Home

UPHOLSTERINGREPAIRING

REFINISHING

Specializing in

ANTIQUES

Phone

HEmpstead 8832617

No. Western Ave.



Page Twelve Hollywood Vagabond July 14, 1927

Unusual Uahtcs

V^

20 Per Cent Discount

During July on All

Furs or Remodeling

Now is the time to se-

lect that new fur coat

while our stock is

complete. A small

payment down will

hold any article till

needed.

Remodeling and Storage7038 Hollywood Boulevard HEmpstead 5906

TTou can V beat the Dutch

DUTCH CLEANERS& DYERSa

HEmpstead 9566 5615 Hollywood Blvd.

Amazing

Miracle CreamYou simply apply it evenly to your face, allow it to

remain 30 minutes, then wash it off with a pieceof ice.

A miracle will take place —your complexion will bea thing of loveliness, like porcelain. I've often won-dered how the Parisian beauties attained that flaw-less complexion ; now I know.

MIRACLE CREAM is harmless to the most sensi-

tive skin, nothing in it that could not be used on ababy's tender skin. A trial will convince you.

MIRACLE CREAM is no clay or liquid powder. Youwill find no exaggerated claims made for it.

Price $2.00

For sale only at FRANCIS MFG.MAIL DEPT.404 West Ninth Street

Los Angeles, California

CO.

MILDRED HARRIS

hollywood vagabond 1927 (22)

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