hollywood vagabond 1927 (25)

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August 25. 1 (J2< Hollywood Vagabond Ptu/L Three

The Spirit of Valentino

It is a year now since the passing of Rudolph

Valentino.

It is a year now since the motion picture lost its

most celebrated actor and the world lost a true

gentleman.

It is a year now since the throngs in the streets

of New York stormed the funeral chapel and filed

past the bier of the fallen idol for one last glimpse

of him whose living presence had moved them and

thrilled them and transported them into a world of

rare romance.

It is a year now since we gathered at the Church

of the Good Shepherd in Beverly Hills to pay the final

honors to Rudolph Valenton . . . the actor, the man,

and the friend.

It is a year now since the warm autumn sun beat

down upon the thousands that lined the streets out-

side in a mute and reverent tribute to the man they

knew and yet had never met.

It is a year now since we heard the dying ca-

dences of the requiem.

Yet though the throngs have passed and the suns

of many days have set and the cadences have been

hushed, the spirit of Rudolph Valentino still lives.

Motion pictures today, one year later, evidence

the void left by Rudolph Valentino. In the kaleido-

scopic and swift progress of the photoplay one year

is an aeon of time and the past year has demonstrated

that the vacant chair of Valentino will never be filled.

The sanctity of his memory has not been out-

raged by the acceptance of a successor or imitator.

New faces have come in the world of the films, yet

Hollywood cherishes the celebrity of the name of

Rudolph Valentino.

The genius of the motion picture has enshrined,

for posterity, the sang-froid and the glamour of Ru-

dolph Valentino, who endowed that same artistic

medium with a new sense of drama and a new appre-

ciation of romance.

It is a coincidence that Rudolph Valentino, who

contributed a new word to the American vocabulary,

rose to popularity as " The Sheik " and his last photo-

play was"

TheSon of the Sheik."

There are those among us who prefer to remem-

ber the Valentino of "The Four Horsemen" and

"The Conquering Power." There are those who recall

"Blood and Sand" as his most ambitious work.

Just what the consensus of opinion may be as to

the versatility of Rudolph Valentino, the fact remains

that he was a potent factor in the popularization and

progress of the silent drama.

As the years recede and the memory of his living-

self becomes dimmer and dimmer, time will endow

his name with heroic proportions and the industry

will perpetuate his labors as one of the immortal in-

stitutions of the motion picture.

It is a year now since the passing of Rudolph

Valentino. Yet it seems like yesterday. Such is the

magnetism of the memory of Rudolph Valentino !

32

/ cannot say. and I will not say

That he is dead,—He is jusl away!

With a cheery smile, and a wave of the hand.

He has wandered into an unknown land.

And left us dreaming how very fair

It needs must be, since he lingers there.

And you— you. who the wildest yearn

For the old-time step and the glad return,—

Think of him faring on. as dear

In the love of There as the love of Here;******Think of him still as the same, I say:

He is not dead—he is jusl away!

—JAMES WHITCOMB RILEY



ge Four Hollywood Vagabond August 25, 1927

^9

"^ Th ollywood\agai©ndThe QUALITY Filmpaper

^9

Published by BILLY JOY Edited by FRED W. FOXHAL M. AYRES, Advertising Director A. J. GASCHEN, Comptroller

Published every other Thursday bv the VAGABOND PUB-LISHING COMPANY. Suite 620 Taft Building, Hollywood.California. Telephone GRanite 1859. 20c per copy; by subscrip-

tion $5.00 per year.

WritersWanted!The gentle art of concocting photoplay tides has

given a new impetus during the past two or

years. Once considered a rather trivial moviethe creation of titles is now a ranking

of the industry and a small clique of title experts

fabulous sums for their works. The afflu-

of our leading title writers is the result of the

that has been going on among our foremost

to monopolize the services of these experts.

movie makers have finally realized that titles canor mar the best or worst cinema.

Writing titles offers a new and fertile field of

for the ambitious young man or womanopportunity in the films. For, although the

remuneration of title writers has increased

their number is as yet inadequate to

the needs of the entire industry. There are,

only six to ten outstanding title writers in

business where there should be at least thirty.

In the April 28th issue of HOLLYWOODWalter Anthony, chief title writer for

declared

:

"Title writing is a new art in motion pictures,

functioning of which the public little understands."The title writer doesn't start work until all

forces involved in the making of a picture are

Then the title writer steps in, sees the pic-

and writes the titles.

"This is not so easy as it sounds. The title writerto

see the picture dozens of times and studyscene. His work is as careful as that of theThe tone of his titles is determined both by

type of story and the tempo of the sequence he is

interested in. And he must make the titles

An example of what Mr. Anthonv means by theof titles" is set forth in " The Big Parade " andWu," both excellently handled title jobs.

titling "The Big Parade," Joe Farnham stressed

and the clash of giant forces in most of the

Lotta Woods' titling of "Mr. Wu" wasdirect antithesis, in tone, of Mr. Farnham's titles.

ofFarnham's titles stressed the martial tone,

those of " Mr. Wu " echoed the tinkling of tem-bells.

"Seventh Heaven," titled by Katherine Hilliker

H. H. Caldwell, is another example of a picture

by effective titles. The exquisite picturi-

zation of the love and sorrows of Diane and Chico

is tremendous in the portrayals of Janet Gaynor andCharles Farrell

;yet their utterances, in the titles, and

the descriptive interpolations of the production, con-

stitute a monumental tribute to the dramatic value of

titles.

The construction of fine titles should be no la-

borious task for the person naturally equipped, forthis sort of work. Writing titles should always be

divorced from the work of the scenarist. The work of

the title writer is as unlike that of the continuity

writer as that of the cameraman is from the set de-

signer. The set designer provides the background for

the art of the cameraman. Likewise, the title writer

provides the background for the work of the sce-

narist, although the work of the continuity writer pre-

cedes that of the title writer.

Fine titles should be the rule rather than the ex-

ception in the making of motion pictures. Neither

should there be a dearth of title writers whose work

can command the same remuneration as the Fam-hams, Hillikers, Caldwells, Anthonys and others.

When the producers will recognize the writing of titles

as a creative factor in the production of motion pic-

tures and give the title writers the same encourage-

ment and opportunities that are provided the stars

and directors, then we shall be on the road to con-

sistently fine photodrama.

"Special productions" such as "The Big Parade"

and " Seventh Heaven " are prepared with great care.

Every detail, from settings to finished prints, is em-

phasized for quality. Vast sums of money are ex-

pended to inject showmanly touches into the pictures.

Casts of celebrities are assembled under the guidanceof noted directors and prolonged effort is extended

to create the works as worthy of the theatrical term,

"epics." Usually such productions are provided with

the best the studio can provide, even to the most min-

ute detail. The titles are written by the ace title writer

of the organization and represent the finest work of

the department.

At the same time, a producer will also lavish

thousands of dollars upon the "program pictures" that

THE SILENT DRAMA

[Reprinted by Courtesy of LIFE]



A u on st 25. 192, Hollywood Vagabond Ptun

THE TRUTH WILL OUT F

It seems that the "bolshevik" trade journal edi-

tors, bane of the movie producers' existence, aren't

so far wrong in their scathing criticisms and charges

of trite movie fare as one is led to believe by the de-

precatory gestures that have met their remarks at thehands of the movie manufacturers.

Mr. Frank R. Wilson, motion picture financier

and a man who holds the money bags for several of

the big film companies, has just tossed a sackful of

verbal dynamite into the camps of the producers.

In a story printed in the Film Daily, New York,

Mr. Wilson admits that "mediocrity in pictures is

driving people away from the box office and the

sooner producers realize the fact the better it will

be for all concerned."

As a matter of fact, Mr. Wilson doesn't mince

words at all. At the same time, everything he has to

say about the shortcomings of the films and theirmakers has been said time and again by each and

every one of the independent trade paper editors in

Hollywood and one or two of them in New York. It

will be a very simple procedure for the editor to show

any interested person the files of HOLLYWOODVAGABOND and other journals with which he has

been affiliated and demonstrate that Mr. Wilson is

somewhat tardy in his allegations.

The theater debacle is rapped by Mr. Wilson with

the remark, "the tremendous amount of money in-

vested in theaters must be protected by quality enter-

tainment which is not being provided." The short-

sightedness of the policy adopted by producers in

closing their own chains of theaters to meritorious

films, irrespective of origin, has worked to their owndetriment. Mr. Wilson's scolding is true, yet comes

late in the discussion.

Mr. Wilson flays the monopolistic strategies of

the producers in declaring that the "efforts of pro-

ducers to annex all available talent has built up a wall

around production, with producers drawing only from

within, thus shutting out and discouraging new ideas

which might provide the betterment in quality which

is now lacking."

That is nothing new. It has been known in Hol-

lywood anywhere from ten to fifteen years. New ideas

are like poison in most of the studios here. The only

salvation for the motion picture industry, if it hopes

to eliminate its mediocrities is to encourage newblood ; new ideas and offer opportunities for progress

to the many capable young men and women who nowfind the studio gates closed to them. The Frank Wil-

sons can go on talking for the next twenty years but

unless there is some concerted action upon the part

of those in power in Hollywood, the trite fare will

continue and the people will continue to be driven

away from the box offices. The optimistic ballyhoo

of the producers does not cover the fact that theater

attendances are on the decrease and not on the in-

crease.

Mr. Wilson further declares, "Production is the

sore thumb of the industry, made so by some of the

fallacious policies now in force at the studios which

have destroyed the community of interest so essential

to quality production.

"Producers must realize that if the industry is

to prosper, motion pictures must improve and they

are not doing so. I do not profess to know the cure.

If I did, I most certainly should apply it to bring

about the bettermentso badly needed at the present

time." The ' conference table ' system also is retarding

progress. It is a case of ' too many cooks spoiling the

broth' with producers feeling that if, for instance,

one man can write a brilliant story, the association

of several other persons on the project would result

in a betterment of quality in direct ratio to the num-

ber employed in its making. This idea is about as

logical as the presumption that if H. G. Wells can

write a story of certain literary excellence, he could

write one three times better if three other writers col-

laboratd on the story with him.

"New ideas are needed from the outside. It is

time for producers to pull down the walls and invite

the world in to help better pictures. Some agency

must be provided to encourage independent produc-

tion, providing the ideas so necessary to protect the

terrific investments in theaters and the only way they

can be protected is through quality entertainment."

Several days after Mr. Wilson's charges had ap-

peared in print, counter-charges were made by va-

rious producers, shifting the blame for mediocre

photoplays upon the heads of the exhibitors. That's

the same' old buck-passing game that has been going

on in the movies for years.

The fact remains, unfortunately, that the movies

WILLIAM RUSSELLand

WILLIAM BEAUDINE

Announce

To Their Friends

the Opening of the

WORLD'S LARGESTAUTO LAUNDRY

THE PAL SYSTEMVine At Willoughby

WEDNESDAY, AUGUST 31, 1927

THURSDAY, SEPTEMBER 1, 1927

ABSOLUTE SATISFACTIONGUARANTEED in the washing, clean-

ing, polishing and lubricating of your



ge Hollywood Vagabond August 25, 1927

Truly

AnObject

of

Art-will be the

^T fn OLLYWOODVagabondYEAR BOOK

planned for distribution before the first

of the year.

In editorial content, photographic repro-

duction and artistic make-up, it will be out

of the ordinary in every sense.

In binding it will be an innovation—finished in the finest of imported Morocco

leather, with individual name plates for

the artists, directors, producers and studio

officials engraved in gold leaf.

In future issues of HOLLYWOOD

VAGABONDfurther particulars will be

given.

In the meantime, a phone call or a letter

will bring a response to advertisers that

will prove interesting, and extraordinarily

profitable.

VrH OLLYWOOD

AGABONDSuite 620 Taft Building GRanite 1859

Homesof

TheStars

In accordance with its plans of indi-

viduality, and in an effort to make

HOLLYWOOD VAGABOND even more

interesting, a new department will be es-

tablished in the next issue covering, in

intimate detail, the homes of the different

stars of filmdom in Southern California.

Photographs depicting the interiors, fur-

nishings, landscaping effects, and other

interesting detail will be used, together

with interesting articles on the newer de-

velopments in architectural motifs.

Articles by the most prominent archi-

tects, engineers and contractors, interior

decorators, landscape engineers and others

will serve to make the department one of

the most interesting in

HOLLYWOOD

The QUALITY Flintpaper



August 25. 1927 Hollywood Vagabond Pdt/c- SlZ\'i;

HOLLYWOOD JOURNEYS with FRED FOX

vagabondia X. We are the music-makers

And we are the dreamers of dreams"

\ A. W. E. O'SHATJGHNESSY

The

. >

We stood on the corner

of Seventh and Broadway,

Los Angeles. It was Sun-

day night.

—o

There is something for-

lorn and melancholy about

Los Angeles on a Sunday

night. Even in the midst

of the throngs that milled

to and fro ; among the un-

ceasing clamor of the traf-

fic bells and the police

whistles; in the kaleido-

scopic glare of the flash-

ing signs that climbed all

over the high buildings ; in

the roar and the rumble

and the intensity of this

city's heart we feltstrangely apart from it all.

—o

Further up the street a

radio loud-speaker wasperched on the canopy of a

moving picture theater. In-

termittent gusts of wild song,

the moans of saxophones

magnified a thousand times,

the noises of the stage thai

were hurtled through this

sinister looking cornucopia

soared in a mighty crescendo

above the whistles and the

bells and the throngs that

milled to and fro.

At times the avalanche of

noise would suddenly cease,

making the noise of the traf-

fic seem dimmer than ever

and the melancholy of the

city even more poignant.

—o

A billboard blazoned on

the roof of a squat building

several blocks away. Afiery legend, "She'll Shake

TICMy Ukelele Lady"the Town!" screamed forth.

Gilda Gray was in town . . .

but not at the theater wherethe radio loud-speaker bel-

lowed.

We must go down the

street and find the theater

where she was shaking the

town . . . but the noise of the

dreaded horn burst out uponus again. Some hoarse-

voiced female jazz-singer

was rendering the popurar

refrain of the hour . . .

".. . ah, yah, my ukelele

lady; my ukelele lady lika

me."

We walked on up the

street and heard the clamor

of the city and were jostled

in the mob that milled to andfro.

And above all, in the in-

sensate fury of the city, the

howling of the cornucopia

bore down upon us . . . "myukelele lady; maybe she'll

sigh; maybe she'll cry;maybe she'll find somebodyelse bye and bye . . . my uke-

lele lady . . . my ukelele lady

. .." and on into a dying

whisper as we marched on

and on down the canvons of

light.

Behind us the giant bill-

board still blazed . . .

"She'll Shake the Town."

—o—

That is one of our most im-

pressive memories of Gilda

Gray. At one theater

was shaking the town ; at an-

other theater they sang of

the ukelele lady; Los Ange-

les, forlorn city, Sundaynight, traffic bells a n d

whistles, flickering lightsand singing cornucopias . . .

yes, the whole town w a s

shaking. — —Samuel Goldwyn's of-

fices at the DeMille studio

are busy as beehives dur-

ing the noon hour.

As we sat in the room con-

versing with Gilda Gray,

that exotic personality who

has risen from the dance

floors of a Chicago cabaret

to the heights of stage and

movie fame and fortune,

there was an endless proces-

sion of people past the door.

— —Arrayed in a costume of

vivid colors that, to our

meager male perceptions,

seemed to be nothing more

or less than a series of

drapes, Gilda Gray told us

of her love for Hollywood

and motion pictures . . .

and, with some persuasion,

about her own self.

—o

" 'The Devil Dancer' is thename of the picture I am do-

ing now. Oh, it is so won-

derful!" (and she spoke

with an unmistakable fer-

vor) "If only all my pictures

will be as fine as this one, I

shall be so happy!

*Pli [ LI 1' PI N KS CHINA MEXICO BELCH M

M. J. ENGEL

The Largest WuiUni-ni of Kattan. Rml ami Willow l-'urniliiri-

in the I niicil Stales

123-125 N.W.»u-™ In FlirawAi/ip fm Spanish H.mira,,,,„„

I-"- >"=•' Col. N„, u,,... Zorapi* Ii,;,|..t„- M.iiiH ks liUiMnnc 0112

?



age Eight Hollywood Vagabond August 25, 1927

SCHULBERG $100,000; CLARA $1,500

B. P. Schulberg, associate producer for Para-

Famous Lasky, has sold his personal contract

Clara Bow to the company for a consideration

$100,000, we are informed.

Miss Bow was under contract to Schulberg while

was an independent producer and when he aligned

with the Zukor forces, he took her along into

Paramount fold. She is getting a salary of $1,500

week, although she has been elevated from featured

to stardom and is now regarded as one of the

valuable thespic assets of Famous.

While, on the face of the matter, this is an astute

move on the part of Schulberg, yet the ques-

of equity where Miss Bow is concerned still re-

In recent years similar situations have precipi-

controversies between producers and players.

late Rudolph Valentino decided to stay off the

rather than carry out the terms of what he re-

as an inequitable contract. This pact was

before he attained his great success. While

value at the box-office mounted rapidly, Valentino

none of his increased monetary value, being

to the terms of the original contract. He then

on strike.

Reginald Denny, too, threatened to go on strike

his contract with Universal was adjusted. Thealthough not legally bound to do so, in-

Denny's remuneration rather than have himon strike.

In the case of Clara Bow, neither Schulberg nor

the past and present owners of her con-

are legally bound to account for her increased

value to her. At the time she signed the

she was no doubt glad to do so.

"Me and My Shadow"Where is there a nation without a national

song?

Where is there a club without a club anthem?

Where is there a stag party without a

roundelay?

Then isn't it logical that Hollywood, too,

should have its own professional refrain?

The main difficulty, in the past, has been to

select a song that was ideally suited to cinematic

usage. That problem has now been met and

conquered.

Hollywood movie folk, when they enter the-

aters where their own pictures are showing, can

burst out and sing "Me and M-mm-yy Sh-hh-aaa-

dd-oo-ww ! " just the way all the radio singers

are yodeling it.

Just the same, "Me and My Shadow" would

be a great theme for a Harry Langdon picture.

At the same time, it is not only the judicious

showmanship of the producer alone that creates great

box-office attractions. Else any and all players would

be able to equal Clara's popularity.

Clara Bow is a distinctive asset for Paramount,

likely without substitute. She has caught and held

the popular fancy and much of her financial worth to

the company is the result of her own work and per-

sonality.

Ethically, Paramount should rewrite her contract

in proportion to her increased value. Perhaps that

will be done. Let us hope so.

?

\ c i! i i i v !•i \ i

- I! f I i. I I M \

M. J. ENGEL

The Urges! -Yssort nt of Raltan. Reeil aiirl Willow Fornilu^

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Special terms to fleet

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Phone GRanite 1859



August 25. 102, Hollywood Vagabond Page Nine

Title Writers Wantednued from i'

are expected to earn the bread and butter for the

company and dismiss the matter of titling with a de-

precatory wave of the hand. Oftimes it has been our

lot to see an otherwise laudable photoplay marred

by inane titles. While poor punctuation may be

one of the pet antagonisms of some of our critics,

yet that is not the gross fault of the average movie

titles. If a film's titles carry the essence of feeling and

beauty one can readily excuse the trivial mistakes in

punctuation that are prone to creep into such works

at various intervals. The great quality of motion pic-

ture titles should not be in their grammatic constancy,

but in their dramatic consistency. Motion picture titles

that are surrounded by a thousand punctuation marks

do not possess the power to move an audience as do

motion picture titles that have a soul. At the same

time, while we thus stress the most important feature

of title writing we do not condone illiterate scrib-

bling; but grammar is secondary to drama.

There are title writers who mistake flourish for

dramatic effect. They load an otherwise fine picture

with flowery descriptions, heroic verbal gestures and

saccharine sorrows. Brevity is the soul of most well-

written titles. It is the title writer who can condense

the feeling of a hundred words of great literature

into ten or fifteen words of titles who really con-

tributes something worthy to the industry. The woods

are full of alleged title writers who can write long-

winded sermons on a photoplay and its various char-

acters. Titles should neither overwhelm the picture

nor play an insignificant role. There are certain places

in a picture where certain titles, fashioned in certainwords, are not only logical but essential. There is no

guesswork with a title writer who is an adept.

Comedy, too, has its own needs for titling. There

are certain comedy title writers who are adapted to

this one style of photoplay. Comedy of the rip-snort-

ing style needs titles of the same tempo and there are

a few title writers in the comedy studios who have

become so facile that they can dash off titles for an

entire picture in a few hours.

Another phase of title writing that seems to have

been accorded small significance is the printing of

the titles. Each picture has a certain motif that the

title typographer should convey in the printed word.It is often best that a title writer who is familiar with

PUBLICACCOUNTING

Your accounting, general and income

tax, is certain to be satisfactory if it is

done in proper form.

It is that class of accounting we

offer you.

A. J. GASCHEN620 Taft BIdg. GRanite 1859

the different typographic fonts adaptable to the mak-ing of film titles should indicate the motif to be car-

ried out in printing the cards. This is another phase

of titling that is equal to the accuracy of punctuation,

but also secondary. Metro-Goldwyn-Mayer prepares

its screen titles for legibility and beauty and they add

to the pictorial value of the production as a whole.

Just where the dearth of capable title writers is

to be allayed remains to be determined. The past few

months has seen the entry of several new candidates

for title writing honors. The majority of the new-

comers have been recruited from metropolitan daily

newspapers. This is probably as logical a place as any

that might be suggested. The writer on a daily

newspaper comes into contact with drama in manyforms. His first lesson in writing is brevity. Brevity

and drama are the requisites of every successful title

writer.

Miller & CompanyJewelers

6369 Hollywood Boulevard

( jfust across the street from our old location

OPEN EVENINGS

Captain Bob Roper[William E. Hammond]

announces to all of his

friends in the motion picture

industry the opening of

Wilshire Physical

Culture Studio

for the proper physical con-

ditioning of men and women

FUTURE ANNOUNCEMENTS IN

THE VAGABOND

WILL BE OF INTEREST TO YOU

4©8 So. Western Ave. FItzroy 0836



Ten Hollywood Vagabond 'utj u st 25, 1927

Vagato©sidla(Continued from Page 7)

"It is laid in exotic set-

it has more than color-

effect or sensuousit is real drama, a

intriguing story. I am

re the public will like it.

"I do a most interesting

in this picture. It is a

dance ; weird lighting

and languid tempo

it even more effective

the screen. Here are

pictures of the sets;

some stills from the pro-

.

."

— —Mr. Gil Boag, with a boy-

enthusiasm, listened to

trill of conversation. Mr.

is Gilda Gray's man-and, certainly not least,

husband. He is a mana tremendously likable

not the gruff

that is usually dis-

in movie managers.

Gil Boag has been a real

in the ascension of

Gray to the heights.

—o

Gilda Gray told us of

other interesting de-

ils in connection with "The

Dancer." She spoke,

a naive and entrancing

of her philosophies

life and her ambitions in

theater.

She recounted how she

first come into the lime-

in New York, when a

night audience, witness-

her rendition of the

"shimmy," hadher as a new "find"

the theater.

She told, too, of the manyhopes that surround her

picture career. To

Gray, seemingly an ar-

being, there is no arti-

One senses a womanhas endured hardship,

and struggle to

her goal. Gilda

is, perhaps, the perfect

to the world of the

to those who knowthe perfect friend.

With the beauty of the fig-

that the audiences ad-

there is also the beauty

soul.

"The Devil Dancer" will

Gilda Gray as morea terpsichorean doll.

It will bring her to us as

actress of versatile accom-

— —"She'll Shake the

. . . once again we

A Tale ofTwo Scripts

eintiarei wves

Two amusing stories are

told on the Boulevard about

two famous Hollywood scen-

arists employed at two of the

largest studios. Both are

women.

Scenarist No. 1, who col-

lects fat prices for writing

script, was preparing a con-

tinuity for one of the

younger generation of direc-

tors. Evidently believing

that she had already at-

tained the sober old age of a

production supervisor, sheinjected the following in lieu

of action in one of the

scenes:

"It is suggested that the director

inject several subtle comedytouches here."

The scene had nothing

whatever to do with comedy,

it is declared, but the scen-

arist probably figured that

she would collect her check

anyway.

Scenarist No. 2, whoseknowledge of the film busi-

ness is probably equal to

that of her facetious sister,

wrote, as an addenda to one

of her script scenes

:

"It is suggested that this scene

be shot on extra-heavy panchro-

matic stock to bring out the dra-

matic effect."

What she meant is vague,

but at any rate it gave the

cameraman something to

think about for a while.

Then they talk about the

"literature" of the screen !

Max Reinhardt is going

into the movies.

All we need to do now is

induce George Bernard Shaw

to hop the first boat for Los

Angeles.

Joe Schenck has an-

nounced that Reinhardt will

come to Hollywood some

time before December for a

stay of about six months.

The Berlin stage wizard will

produce a film for United

Artists based on a modernstory by his associate, Ru-

dolph Kommer.

When the picture is fin-

ished it will no doubt be

shown in the Chinese The-

ater here, glorified by Sid

Grauman's prologue.

saw the blazoning bill-

board. Again the muted

strains of Hawaiian in-

struments poured into our

ears from a giant radio

horn that loomed before

us. Traffic bells clanged

;

lights flickered ; w e

walked on d o w n the

street.

"My ukelele lady" . . . and

how!

THE TRUTH WILL OUT I

(Continued from Page

being dished up to the public are, on the average,

inane and tawdry and will soon kill off the public

yen for the films altogether unless the producers, dis-

tributors, exhibitors, ot al, wake up to the fact thatthey are involved, share and share alike, in the re-

sponsibility for better pictures.

Let us hope that Mr. Wilson's remarks stir things

up a bit and induce results. The chances are, how-

ever, that the pot will simmer for a while and then

everybody will settle down to the manufacture of the

same film fodder.

?!' H I L I I' I' I

'

fl i: L I I M

?

M. J. ENGELThe Lar^esl Assortment of Rattan, Reed and Willow r'urnitun

in the I niled States

Furnhhinp fur Spanish Homes

Savujo Rujs Zurap,- Draperies Hammocks



August 25, 19Z Hollywood Vagabond Page Eleven

RAYMOND

HATT ONThis inimitable comedian has scored

another great hit in "Firemen, Save

My Child ! " in which he is co-starred

with Wallace Beery.

Mr. Hatton's facile comedy touches are

a delight to all. He stresses quality in

his apparel, too.

Naturally, he is a patron of

^HAFERV^ HOLLYWOOD ^6307 HOLLYWOOD BLVD.

Importer of Men s Wear

MISS PRISCILLA DEANsays—

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the big question, and while I eat what I

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dition. I use the Symmetrizer a few min-

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stimulating manipulation fills me with

energy and "pep." Also after a hard day

on location the gentle massage that it gives

is just the thing for tired nerves and mus-

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I highly recommend its

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Sincerely,

PRISCILLA

DEAN.

Write or Phone for Illustrated Literature.

THE SYMMETRIZER CO.215 Haas Bldg.

219 W. 7th St. at Broadway. VAndyke 2784

GARDNEREIGHT - IN LINE

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Distinctive

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Holluwood, California



Page Twelve Hollywood Vagabond August 25, 1927

W h ere Service is an Art

"Would that the little flowers were born to live

Conscious of half the pleasure which they give."

—Wordsworth

?

Country Club Flower ShopFLOWERS FOR ALL OCCASIONS

PROMPT DELIVERY

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HOLLYWOOD LOS ANGELES

Amazing

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Price $2.00

For sale only at FRANCIS MFG. CO.

MAIL DEPT.404 West Ninth Street

Los Angeles, CaliforniaMILDRED HARRIS

hollywood vagabond 1927 (25)

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