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YagabonoThe

Quality Mmpap*er §Edited by FRED W. FOXPublished by BILLYJOY

Volume 1, Number 1. Thursday, February 10th, 1927Copyright. 1917. by

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hiatusA COMPENDIUMOF CLIPPINGSu

RAPID KULTUR

New touch for the silent

drama, as reported by the

publicity offices of Univer-

sal:

They put roller-skates on a coun-

try schoolhouse full of people in

shooting Hoot Gibson's latest pic-

ture, etc.

Succinct allegory eman-ating from the same p. o. of

Universal

:

Paderewski would indeed have anequal, could Caesar Gravini play

the baby grand as magnificently as

he acts, etc.

Third choice morselplucked from Mr.Laemmle's pronunciamen-tos:

At an astounding price, said to

be the largest ever paid for a horse,

Carl Laemmle has purchased Rex,king of wild horses, from HalRoach.

Belle Bennett Faints

AfterGoldwyn RowPowers Home Put Reeves Eason Directs Star and Producer In

on Realty Mart 'Hoot* Gibson's Next Controversy Over Pact

Pat Powers, producer, plans to

desert Flintridge for a home nearer

his studios. He has placed his

Spanish estate on the market.

"Nine Points of the Law" will

be Hoot Gibson's next picture.

Reeves Eason will direct.

VALENTINO UTOPIA PLANMA Y BE AIRED IN COURT

THE WILD WEST

That the woolly west is

still wild and wicked is

shown by this:New Jersey, Pennsylvania and

Massachusetts are termed "themost tolerant states" of 1926, in areview released by the AmericanCivil Liberties Union.

THE DEATH OF "REALISM"

Epitaph nailed on the

corpse of photoplay realism

by Jesse Lasky

:

"The world is turning back to ro-

mance after a siege of sordidnessthat has been called 'realism.'"

Shortly before his departure for

New York on the trip that ended

in his death, Valentino and Ull-

man are said to have signed an

agreement with the Beverly Ridge

company for the purchase of 110

acres of hills, stretching from Fal-

con's Lair, the Valentino home, to

the Chaplin and Pickford-Fair-

banks estates.

The property was to be cut up

into homesites of five and ten acres

each, and sold to members of the

film colony. Pola Negri was

among those who had agreed to

build on the land, according to

report.

It was the plan of Valentino to

erect a high stone wall, enclosing

the entire tract, with gatekeepers'

lodges at the three entrances. Be-

hind these walls, the residents of

Valentinotown were to live

shielded from the gaze of curious

tourists.

The property was valued at ap-

proximately a million dollars, the

Hanson Finance company holding

a mortgage for $700,000. Valen-

tino and Ullman, when they signed

the contract calling for the pay-

ment of $140,000 within sixty

days, also issued a note for $20,-

000, payable in thirty days.

The note fell due as the actor

lay on his deathbed. Then the

contract expired, Ullman failing to

make good the $140,000. As a

result of this, the Hanson Finance

company foreclosed on the prop-

erty, throwing the Beverly Ridge

company into bankruptcy, accord-

ing to Attorney Andrews.

Beyer, as receiver, has made sev-

eral demands on Ullman for the

amount of the note and the con-

tract. On the advice of Attorney

Gilbert, these have been ignored,

resulting in the notice by Andrews

of court action.

Belle Bennett, star of "Stella

Dallas," was rushed to a sanitar-

ium last week, on the verge of a

nervous breakdown as a result of

a scene "not in the script," staged

in the private office of Samuel

Goldwyn, her producer, it was ex-

clusively revealed to HollywoodVagabond as its first issue went to

press.

Chafing MP.der financial renin

tions of a contract which she has

repeatedly attempted to have recti-

fied, Miss Bennett called on Gold-

wyn to insist on "a showdown,"

according to Fred Windemere, the

director, Miss Bennett's husband,

who was an eyewitness to the

scene.

"Mr. Goldwyn refused point

blank even to discommode him-

self for a moment to look at Miss

Bennett's side of the matter and

started to bellow and roar," Win-demere told the Vagabond inform-

ant. "He completely upset mywife, who heretofore has been

treated on every hand with re-

spect—respect both as a womanand an artist—and in a moment of

forgetfulncss she addressed to Mr.

Goldwyn a remark which I con-

sider to be couched in his ownlanguage, and therefore quite in-

telligible to him. Miss Bennett

is very contritionate—not for the

(Continued on Pago 3)

4"Not6riety, Publicity & Prestigeyy

—TURN TO PAGE FOUR

Page Two Hollywood Vagabond February 10th, 1927

Brown Fulfills Two -Year Prophecy

As "Flesh and The Devil" TriumphsMark these words . . . within two years Clarence Brown will be the

biggest director in the business, bar none . . . Fred W. Fox, Film Mer-

cury, March 6th. 925. *****The Clarence Brown that tomorrow will carry to the heights of

motion ::; Dture cjory has been an industrious and serious apprentice.

strides he nas made in his profession are not only an indication

of public .;; jiiition of one who knows his business but the crystalliza-

tion cf a faith and a will-to-do that has seen many dark days before the

light came.it is hard to develop enthusiasm about people in this business of

up-today and down-tomorrow. Sometimes their mettle does not meet the

test. We believe in Clarence Brown. You will, too. . . . Fred W. Fox,

Motion Picture Director, February, 1926.

Rising from the quasi-obscurity

of an assistant director some years

ago, Brown startled the motion

picture industry with a masterful

production of "The Great Re-

deemer." He next drew attention

to himself with his direction of

"The Acquittal," where he proved

himself a stickler for technical de-

tail and the utilization of camera

trickery far different from the dog-

matic tendencies of the times.

However, it was "The Signal

Tower," his noteworthy railroad

melodrama for Universal, that

brought Brown from the vast en-

tity of the practically unknown to

the point where he was an entity

with a name and motif at the box

office. When "T he GooseWoman" had run its course it was

obvious that Clarence Brown wasone to reckcn with in the compen-

dium of directorial masters, native

or foreign.

Overnight, it seemed, Brownhad stepped from his Universal

apprenticeship to the megaphone

on the picture that was destined

to bring back Rudolph Valentino

to the screen. "The Eagle" wasradically different from anything

the memorable Latin had ever at-

tempted before, and in each scene

the new ideas of Clarence Brownwere evident. His production of

"Kiki," which followed immedi-

ately thereafter was one of the

most successful Norma Talmadgepictures ever made. It enjoyed a

two-weeks' run at the Capitol the-

ater, New York (box-office cri-

terion of' the motion picture);

clicking off $74,211 the first weekand hitting a mark of $50,174 the

second week.

Now, right upon the heels of

this sensational run comes the

record-breaking run of Brown's"Flesh and the Devil" at the samehouse. Since the day the Capitol

Theater first opened its doors seven

years ago no picture has ever

played more than two weeks. Thisrecord was shattered when "Flesh

and the Devil" ran into three

weeks with a record of $71,446 the

first week $61,059 the second

week; and $54,550 the third week.

Then to the utter amazement of

the entire film world, "Flesh and

the Devil" was held over for a

fourth week and immediately Clar-

ence Brown had become one of

the first directors of the films and

"Flesh and the Devil" one of the

most noteworthy box-office bon-

anzas of years.

With the box-office, as the com-

mercial indicator of a director's

worth in the motion picture field,

gloriously satisfied, and with

Brown's acknowledged mastery of

artistic photodrama, his position as

one of the top-notchers in the cin-

ema is absolutely cemented.

With further runs of "Flesh and

the Devil" beginning in other met-

ropolitan centers of the country,

all of which r.re expected to be

as sensational as the New Yorkopening, it is believed that "Flesh

and the Devil" will run one of the

highest quick grosses ever made by

any film in the history of the in-

dustry.

In the meantime Brown is mak-ing preparations to top this record

with an even more spectacular pro-

duction of Robert W. Service's

"The Trail of '98," which will be

filmed in Colorado. Report has it

that it will be made on the samemagnitude as "The CoveredWagon," "Old Ironsides," andother big pictures. Brown will, as

usual, be assisted by Charles

Dorian, who has shared in all of

his successes since the first days of

Brown's directorship.

Neilan, Sweet WaitNew Beverly Manse

Marshall Neilan and BlancheSweet have relinquished their

lease on the home of Julian El-

tinge in Edendale and taken uptheir residence at the Ambassa-dor, awaiting completion of the

new Beverly residence they re-

cently acquired.

What'sHappened to"TheAmerican? 9 '

At a luncheon tendered the editors and representatives of

the Los Angeles daily press and various motion picture trade jour-

nals at the Hollywood Athletic Club a few weeks ago, J. Stuart

Blackton, then preparing to start on his first natural-vision pro-

duction, "The American," solemnly announced that this picture

would have its premiere as the opening feature of the magnificent

new Roxy Theater in New York.

In view of this declaration added interest is given to the state-

ment made in last Sunday's Los Angeles Times to the effect S. L.

Rothapfel, sponsor of the New York theater, had announced

Gloria Swanson's first production for United Artists, "The Loves

of Sunya," as the first picture to play the Roxy.

We make bold to inquire of the Messrs. Blackton and Roth-

apfel as to the identity of the picture that will inaugurate the new

playhouse. Will it be "The American" or "The Loves of Sunya"?

Your Fumitur

At«&>

Be-Hannesey Art Studio* • •Complete Home Furnisher

1122 North Western Avenue

Hollywood, Los Angeles, Cal.

Phone Hollywood 3933

IB 24 1827

3

February 10th, 1927 Hollywood Vagabond Page Three

Two Companies in

Alaska Film Race

Universal and Metro-Goldwyn-Mayer are pitted against each

other in a race to bring a big pic-

ture of Alaska to the screen.

Almost simultaneously comes

the news that Clarence Brown,

who is to make Robert Service's

"The Trail of '98" for the

M.G.-M. forces, has started under

way and that Ernst Laemmle is

whipping the scenario for his pro-

duction of "The Yukon Trail,"

by William McLeod Raine, into

shape.

It is understood that Brown will

film his exteriors in Colorado,

while Laemmle will journey to

northern Canada.

Actor Opens High

Class Tailor Shop

Larry Wheat, former stage

comedian, who has furnished the

comedy in most of Tom Meighan'spictures for the last few years, has

deserted the screen for business,

having opened a fashionable tailor-

ing establishment on Wilshire bou-

levard.

[ary, Doug Addto "Pickfair" Home

Mary Pickford and DouglasFairbanks, who have offered their

home, 'Pickfair," to President

Coolidge as a summer WhiteHouse, are erecting an addition to

the structure, which they will con-

tinue to occupy until their ranch

home near San Diego is completed.

Lent Veidt To

Film 'Chinese Parrot*

Paul Leni's next directorial ef-

fort at Universal will be the

screen version of Earl Derr Big-

ger's novel, "The Chinese Parrot."

Leni, proclaimed a master of fan-

tastic settings, has recently com-

pleted "The Cat and the Canary."

BENNETT,GOLDWYN(Continued from Page 1)

sentiment expressed, but because

of her breach in resorting to the

idiom of her employer."

Monday Miss Bennett left the

sanitarium to start work at the

Paramount studio opposite Emil

Jannings in the German screen

actor's first American made film,

"The Man Who Forgot God," re-

Song of the VagabondBy Don Blanding

West of the sunset stands my houseThere—and east of the dawn;North to the Arctic runs my yard

;

South to the Pole, my lawn;Seven seas are to sail my ships

To the ends of the earth—beyond;Drifter's gold is for me to spend

For I am a vagabond.

Fabulous cities are mine to loot;

Queens of the earth to wed;Fruits of the world are mine to eat;

The couch of a king, my bed

;

All that I see is mine to keep;Foolish, the fancy seems

—

But I am rich, with the wealth of Sight,The coin of the realm of dreams.

. . . from "Leaves from a Grass House."

turning again at night to the san-

itarium, a procedure she is follow-

ing every day. Long rests betweenscenes are giving Miss Bennett an

opportunity to regain her strength.

"Miss Bennett has no choice in

the matter, even if she had to dragherself on the set for every scene,"

Windemere explained. "Mr. Gold-wyn, by the terms of the five-y '*

contract which binds Miss Ben-nett to him in as abject economicslavery as ever there was physical

slavery, can lay off Miss Bennett

twenty-two weeks of the year—which sounds less, but is just

exactly half a year minus twoweeks—without pay and without

the privilege of procuring work onher own initiative. A man whowould demand a grief-numbed

woman sign a contract on his ownterms forty-five minutes before her

dying son was operated upon andinsist on sending her off on loca-

tion the night of the day of her

boy's funeral, as Mr. Goldwyndemanded of Miss Bennett, is in-

capable of a sympathetic under-

standing of Miss Bennett's rights

and prerogatives as an artist and a

woman."

Rumor has it that Goldwyn is

receiving $5000 per week for MissBennett's services, while MissBennett's salary by her contract

is limited to $1000.

"She received that much in dra-

matic stock years ago," Winde-mere declared. "Actually, with

Mr. Goldwyn exercising the twen-

ty-two weeks' layoff clause, her

salary is cut almost in half, giv-

ing her a weekly income of approx-

imately $500 for the year.

"We are not opposed to Mr.

Goldwyn driving a good bargainwith his fellow producers, but byevery sense of justice and equityMiss Bennett ought to benefit in

proportion, through the operationof a sliding scale of remunera-tion."

Several weeks ago Miss Ben-nett, through her attorney, CharlesB. Hazelhurst, appealed to WillHays, president of the Producers'and Distributors' association, for

an adjustment of the contract.

"But," stated Windemere, "Mr.Hays contented himself with re-

porting that Mr. Goldwyn haddeclared himself as satisfied withthe contract and would not agree

to any revision. Therefore, it's

up to Miss Bennett to do herchores, like any good bricklayer

—

even though picture, vaudeville

and legitimate stage offers cometo her consistently every season,

doubling, trebling, quadruplingthe salary she is being paid by Mr.Goldwyn."

Windemere stated that Gold-wyn has not risked a cent on a

production with Miss Bennettsince "Stella Dallas," which wonhim a United Artists release, pre-

ferring to use the great reputation

she has achieved in that picture as

a ballyhoo to "farm her out" to

any producing concern able to paythe price—w h i c h, Windemereadds, never has been less than twoand a half times as much as Gold-wyn paid her.

"And yet," adds Windemere,

"artists' agents are limited to ten

per cent — and fnust have a

license."

j^^.'^iyj:^^»^^^:^|^ jnjTrn toto 35

Melbourne

PORTRAITPHOTOGRAPHER

TWO STUDIOS

1615 North Western Ave. HE-2866

2714 West Seventh St. WA-3952

i^i?aagafiai^i^ftM>M>«ftMfty.ft^^

Page Four Hollywood Vagabond February 10th, 1927

VHOLLYWOODAGABONDThe Quality Filmpaper

Published by BILLY JOY Edited by FRED W. FOXBOB MOAK, Associate Editor

A. J. GASCHEN, Business Manager

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

phone GRanite 1859. 20c per copy; by subscription $10.00

per year.

NOTORIETY,PUBLICITY& PRESTIGE

The boresome bromidesand altogether puerile jar-

gon of the flimflam press

agent has assailed the mo-tion picture industry nowfor many years. We are

face to face with the pain-

ful realization that our publicity chiefs can attain only

one of two ends . . . they can create prestige, or, they can

invite notoriety.

Times without number these cicerones of free adver-

tising have been reprimanded, with gentility and goodhumor, by editors and newspaper executives everywhere.

However, they have elected to persistently follow their

ruthless course and it is upon their shoulders that the

majority of the industry's newspaper woes can be laid

today.

Obsessed, it appears, with an inescapable yearning

to inject touches of sensationalism in their writings, these

so-termed "publicists," who clamber all over Hollywoodin their heterogeneous array, have brought upon our

heads the wrath of the editorial gods. We have no quar-

rel with the true press agents of the various studios.

While their facile juggling of myriad adjectives and con-

struction of highly impossible events are at times irksome

to the seeker for fact and truth, yet their pastime is merely

harmless play when compared to the wild and even

vicious pronouncements of the unfettered press agents.

Basically, motion picture publicity is not even re-

motely connected with circus press-agentry, despite all of

the arguments to the contrary. The photoplay is pre-

sented in so many thousands of theaters regularly that it

is not necessary for the "public relations counsel" to

arouse the sensibilities and risibilities of the public.

Every producer, every director, every actor or

actress, in fact, anybody in motion pictures who hires a

press agent does so, consciously or unconsciously, with the

idea of creating prestige and commercial value in the

industry and in the public eye. Very rare indeed is the

film person who solicits the acrobatic laudations and edi-

torial silliness as dished up by the stupid and short-sighted

publicity man. Consoling themselves with the thoughtthat they possibly do not know the "inside"' of the pub-licity game they happily accept the trite fare offered bythese gents. But those who have had notoriety pouredupon their heard are much the wiser.

It behooves every individual who has the industry's

interests at heart and who is sincere about self-advance-ment to give this publicity problem serious thought.

Negro PhotoplayWhen an announcement was made, not very long ago, that Cecil

B. De Mille intended to make a photoplay with a cast composed entirely

of negroes, the industry was stirred by wjiat promised to be a real inno-

vation.

The negro has always been represented in the movies by comedywasherwomen ; butlers whose hair stood on end and visages momentarilywhitened at the approach of a Soft-Footed Something attired in a white

sheet or that good old standby, the way-down-south plantation mammywho tossed griddle cakes before the Big City Man Who Went BackHome for a Visit. Never, however, have the negro people had the

opportunity to reveal the wealth of romance that assuredly must be

theirs.

The work of James Lowe in the title role of Universal's "UncleTom's Cabin," which, according to inside report, is of remarkable tex-

ture, again arouses the moot question of the negro and the silent drama.

Once upon a time somebody suggested that a picture be made deal-

ing with the negro in slavery in the pre-Confederate era. This

suggestion, in turn, brings up the question of the negro photoplay south

of the Mason-Dixon line. As a great deal of the revenue of American

motion pictures is taken from such cities as New Orleans, Birmingham,

Memphis, Nashville, Louisville and other southern metropolitan centers,

it is obvious that the producer of such a picture would face an unpleasant

and undoubtedly unprofitable venture where the South is concerned.

Critics claim that while the male negro is gifted with pantomimic

ability, the negress is utterly devoid of any acting ability. Judging from

this a first-rate photodrama with negroes would be principally a mascu-

line enterprise. Just what a group of negro men could accomplish in a

picture is a puzzle.

Reports that a prominent producer was considering a film version

of O'Neill's "Emperor Jones" again gives impetus to this question.

Tempered, as it must be, with racial prejudice, the success of such an

undertaking would certainly be very much in the dark. Yet it is a sorry

thing that such an effort should be beset with so many limitations and

obviously fraught with so many difficulties.

Ben H. Rothwell

REPRESENTING

THE BEST IN

THE PROFESSION

%

Office

Markham Building

6372 Hollywood Blvd.

HE-4878 HE-0064

February 10th, 1927 Hollywood Vagabond Page Five

>tttM fr»ttt«»«t*tt>t«««»M tttM >MMM *«*r»ttttt«*«*fr*?-*"»-t-»-*-»'-

£ HOLLYWOOD JOURNEYS WITH FRED FOX t

vagabondia%" Pf^e are the music-makers

£ And we are the dreamers ofdreams"I ^. JF. E. O'SHAUGHNESSY

The Argosy of aBlonde Girl

Z

The self-satisfied fat man in the

big chair blew a cloud of smoke to-

ward the ceiling. I knew he wasmobilizing words for a question

;

he stared at me rather malevolent-

ly. The four others in the room

shifted on their perches and ex-

pectantly awaited the inevitable ar-

gument.

"What makes you think MarionDavies is an actress?" he rumbled.

"My common sense" was mysarcastic retort.

"Don't you agree with me that

she is over-publicized?" he crack-

led, with a jaunty movement of

his head.

"Yes, I do but at the same time,

what has that to do with her abil-

ity? Did you see "Lights of OldBroadway," or, say, "Little OldNew York"? Most people thought

it was a lot of box-office flim-flam;

but, to me, there were a few fleet

moments in those pictures whereMarion showed ability that verges

near to genius. Furthermore, I

don't think she puts much stock in

the gobs of publicity, the giant set-

tings, the rich-ivorded talk of news-

paper minions."

"Have you ever met MarionDavies?" he asked, with a triumph-

ant leer.

"Never met her; only saw her

twice in my life!' was my hasty

answer, "what makes you so posi-

tive Marion is, as you claim 'over-

advertised?' Just because youread a lot of sentimental hooey in

the papers and have probably seen

her in a couple colossal films whereshe is practically smothered in sets

and mobs?""Well," he started, rather hesi-

tantly, "I have never seen MarionDavies do such work as a JohnGilbert in a 'Big Parade' or a Belle

Bennett in a 'Stella Dallas' or, say,

a Dick Barthelmess in a 'Tol'able

David' or a Jannings in 'Variety.'

God, you know what I mean

;

something that reaches the heart,

not a lot of architecture and a cut-

back of Attila devastating Europe.

If Marion Davies is as good as

you say she is, why dosen't she dosomething that is impressive in

sheer simplicity? Do they have to

prop up her pictures with silks andsatins and a half-million dollars

worth of background to get her

over? Answer me that!"

"Well, that is one of the mys-

teries of the motion picture busi-

ness. The people that makeMarion Davies' pictures evidently

know what they're doing, because

if they weren't successful they'd

soon change their tactics. I agree

with you, though; I, too, wouldlike to see Marion make a picture

that would be a triumph for her

ozun individual self; an achieve-

ment, not by circumstance of her

surroundings, but by the sheer

artistry of her own work; a pic-

ture where one could forget the

vastness and the elegance of the

picture and be arrested by the act-

ing of the girl herself."* * *

The conversation ran to other

things. There was a dense, blue

haze about the face of the roly-

poly philosopher. He was lost in

a reverie. I knew now that here

was not a slave to public arrogance.

This man was a dreamer. Under-neath all of his braggadocio, his

swank, and his vitriolic argument,

I knew that he, too, had as muchfaith in the ability of MarionDavies as I had myself. He, too,

had often wondered why this

blonde girl had not stepped out andshown the world what she could

really accomplish. He puffed furi-

ously at the shortening cigarette.

The others talked on in a mono-tone. Suddenly the fat man stirred

and looked my way. A smile hov-

ered over his face. He got up andwalked over to my chair.

"Say," he said, "why doesn't

somebody write the things about

Marion that we have said here.

I think she'd be glad to hear about

our conversation ; I think maybethere are many other people whowould like to tell her the samethings, but lack opportunity, or,

even the courage. She is a girl

with an open mind ; I think she

would wlecome the criticism of

friends as much as, I am sure, she

resents patronage. Why don't youput these things down on papersome day, eh? Why not?"

"Yes, I will . . . some day," wasmy half-absent reply. "Some dayI will write about this. I think

Marion will be interested. . .

"

With that the fat man passed

out of the room, with a trail of

blue smoke stretching like a ribbon

behind him.* -* * *

HPHE fugitive enthusiasm of that

conversation has returned to

me many times since that night.

To me there was nothing unctuous

or garrulous about the things wediscussed. Perhaps we were stir-

red by the ever-human spirit of re-

senting unjust criticism.

To us, for some unknown rea-

son, Marion Davies was a blonde

girl on an argosy. She was trying

to evade, to surmount, the arti-

ficialities of motion pictures; the

idea that one of her pictures mustbe so big and so grand to do her

justice.

We wanted her to do somethinggreat, something fine, something

that would make critics and audi-

ences go into raptures over her

work and not into tantalizing trib-

utes over some eighty-five foot

doorway or voluptuous drapery.

We wanted her to do these

things because we would then have

the joy of saying to the world,

"We told you so ! Marion Davies

is an actress." We wanted her to

make a "Stella Dallas," a "Big

Parade," a "Marriage Clause," a

(Continued on Page 6)

SHAFER'g

We take this oppor-tunity to extend oursincerest thanks and ap-preciation to all ourcustomers during thepast year. Our grati-

tude for your patronagecan only be exceededby our good wishes for

your future and success.

Clarance BadgerNoah BeeryMathew BetzJack BlystoneMonte BlueFrank BorzageF. X. BushmanHarry CrockerBebe DanielsRoy D'ArcyJack DaughertyChas. FurthmanRalph GravesJames HailKenneth HarlanRay HattonHoward HawksKenneth HawksJack HoltLefty FlynnCharles KenyonRobert LeonardL. LittlefieldM. LivingstoneMontagu LoveP. McCoIlough"VV. McDonaldMajor T. J.

McCoyWalter McGrailGeorge MarshallShirley MasonGeorge MelfordPatsy Ruth

MillerJames MurrayConrad NagelVivian OaklandGeorge O'HaraPat O'MalleyDanny O'SheaJohn PatrickMarie PrevostGilbert RolandJobyna RalstonWesley RugglesJos. SchildkrautLou SellerBill SeiterLarry SemonNorma ShearerNed SparksBilly SullivanE. SutherlandRich. TalmadgeSam TaylorRichard ThorpeJos. HenaberryErnest TorrenceHector TurnbullBobbie VernonJohnny WalkerMillard WebbTim WhelanTed WhildeEarl WilliamsShirley WilliamsD. F. Zanuck

Qhafer'SHOLLYWOOD

6367 Hollywood Boulevard

Page Six Hollywood Vagabond February 10th, 1927

'Window Panes* in

New York Showing

"Window Panes," a stage play

by Olga Printzlau, noted scenario

writer, will open for a one-week

run in Brooklyn next Mondaynight, prior to its showing at a

Broadway theater in New York.

Miss Printzlau is now in the east

to be present at the showing.

An interesting history surrounds

this play. Ten years ago it was

written in scenario form and sub-

mitted to various film producers.

It was consistently rejected. Whenit had been rewritten as a stage

play, the second act was presented

at the Mummers' Workshop here

in 192, with Conrad Nagel, Claire

McDowell, Clarence Burton and

Frankie Lee.

Other stage vehicles written by

Olga Printzlau include "Manna,"from which the American Legion

receives fifty per cent of the re-

ceipts by stipulation of the author

;

"The Jay Walker," and "TheSting," which has just been sold

to A. H. Woods and Martin Beck.

"Camille," the Norma Tal-

madge film, is lhe latest script to

be written by Miss Printzlau.

•^^rr

During 1927, fifty million feet

of raw film will be consumed by

Metro-Goldwyn-Mayer, according

to an estimate made by officials of

that plant.

A Complete Stenographic

Department

We Type Scripts, Plays

and Parts

6282 Hollywood Blvd

HEmpstead 6812

Looking for

A Home?For Sale

Listed in the mainoffice of the Frank Me-line Co., Inc., you willfind a wide variety ofresidential properties

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varied as to location,size, architecture andprice. Many of thesemay be had with orwithout the furnishings.

For RentIf you are seeking a

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Nell Sang-ster orAlice Moak

THE FRANK MELINECOMPANY, Inc.

Main Office706 South Hill Street

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Coming

Next

Week!

"SHALL WE RIVALTHE RIVIERA?"

An engrossing

article by

PAULFRANCISCOLUPOrenowned authority on

arts and decoration

I:

vagabondia(Continued from Page 5)

"Flesh and the Devil." We still

want her to do this. We hope that

"Tillie the Toiler" is a great pic-

ture ; we have heard that it is. If

it is not, then we want Marion to

try again. We believe in her.

We believe in Marion Davies

where our traditional faith in the

Mary Pickfords, the Norma Tal-

madges and the Lillian Gishes has

ceased.

Why? We will tell you why. . . because Mary Pickford,

Norma Talmadge, Lillian Gish

and those others have already

shown us what they can do.

Genius loses its lustre when it be-

comes too accessible. We have

never seen what Marion can really

do, by virtue of her own innate

acting ability.

To the rank and file of motion

picture people this may sound like

an arpeggio of inverted critical

judgment. Yet we are challeng-

ing you who claim that MarionDavies is not an actress.

It is the orthodox and thor-

oughly silly viewpoint of so manyself-opinionated critics of the silent

drama that bars this girl's namein the compendiums of the screen's

really fine actresses.

As for the toxic welter of the

publicity cheka and the newspaper

harpies who are running amuckwith their stupid laudations, this

will never swing public opinion to

Marion Davies, the actress. It is

up to the girl, herself, to prove her

own ability through roles and ve-

hicles that give her full sway anddo her true justice.

As for the trite apothegms of

the critical brotherhood, matureor senile, they can never do MarionDavies any harm. Some day they

will be treated to the ignominy of

washing their scorn in the ink of

their own praise.

That is, if they are candidenough to admit their mistakes.

Gather

pOR YEARS the

name "Arm-strong" in Hollywood

has been associated

with good food. It is

here that the visitor in

the city rubs elbows

with the stars of sha-

dowland — for Arm-

strong's is known the

country over.

ARMSTRONG'S"The Best the Market Affords"

6600 Hollywood Boulevard

Only For"Distinctive

HOLLYWOOD VAGABOND has been cre-

ated solely for distinctive people. Its appealis for a custom-built audience . . . the custom ofdemanding the ultra-fine in all things.

We pledge ourselves to

not plague you with bore-some reading. We willserve the adherents of brev-ity and the zealots of smart-ness. If you find yourselfin this category, we invite

you to join us.

SubscriptionRates

1 year, $10.00

6 months, 85.00

3 months, $2.50

JHOLLYWOOD VAGABOND,

i 619 Taft Building,Hollywood, California.

tEnclosed herewith find $

Jsubscription to the HOLLYWOOD

for a months t

VAGABOND.J

* Name

JAddress

j City State t

February 10th, 192'/ Hollywood Vagabond Page Seven

^Htmn ttm t t t ttMMi i Mimftt tttMt t ttt t Mni i ttt t t t tt ti ntH i niinHM t tM tt tttt t HHut ii n i tj

jHail to the Vagabond/May Its Ideals Be Immutable a?id Its Quality Constant

ANTHONY COLDEWEYnow writing for

Warner Brothers

CLARENCE BROWN

EUGENE O'BRIEN

HARRY LANGDON"Long Pants"

DON EDDYWith Harry Langdon

PRISCILLA BONNER

FRANK CAPRAWith Harry Langdon

ARTHUR RIPLEYHarry "Langdon Productions

HERBERT SUTCHAssistant Director

Gladstone 6233

WILL T. GENTZIntensive Local andNational Publicity

Suite 619 Taft Bldg.

IVAN KAHNFinds for the Screen

JACK RICHARDSONCharacters

Phone 592-465

ALAN HALEDe Mille Stndios

VAN PELT BROTHERSProductions

MAXWELL SHANESupporting

Warner Brothers

BELLE BENNETT

"SUICIDE""Ridiculous!""Perfectly absurd!''

"Nobody will ever pay 20c for that!"

"Keep your bankroll!"

Those, dear readers, are just a few of the choice,

happy, brightly optimistic orations that have beenpoured in mv eager ears since the day the first plans

for HOLLYWOOD VAGABOND were outlined.

The quotations are not a monologue; and, really, I

never knew that the great god, Gloomy Gus, had so

many sycophants in this town.It was significant to me that the people who

poured the gloom in stentorian tones down my blush-

ing ears were folk who have, for some reason, not

made their mark in their chosen fields. Every oneof those who had an encouraging remark to makewere people of consequence and position. From this

one can draw an object lesson of rare value . . . that

the spirit of optimism is too scant in Hollywood andthat the pessimistic outlook is the contributing factor

to the majority of our failures. The man with the

will to do can overcome all obstacles and accomplishthings. To him there is no such thing as failure. Tothe man with the pessimistic outlook there is cer-

tainly no future, because he hasn't the energetic force

to visualize and create a future for himself.

It shall be one of the ambitions of HOLLY-WOOD VAGABOND to destroy this evil influence

of pessimism; to wage a relentless and unceasing bat-

tle upon the spirit of "it can't be done." To the

exponents of "tough sledding'' and "sure suicide" wecan only say . . . you set your own limitations; don't

be governed by dogmas, for dogma is a dead thingin this day and age.

If we had listened to the pessimists, HOLLY-WOOD VAGABOND probably would never havebeen (which might be just as well, after all, accord-ing to some). However, we take stock in optimism;because it radiates from success and successful peo-ple. Those are the type of people we like. Aboutthe rest we don't particularly care.

BILLY JOY, Publisher.

A Home,But Different

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!M. truling- out cm a BeverlyHills street lined with artis-tic anil cowtlv residences, Is uten-room house of Mngtlati

design. His first floor con-tains a large drawing roomwith fireplace, dining- andbreakfast room-, sun parlor,kitchen and scrrants1 quar-tern.

From an entrance hall abeautiful stairway lends tofour master bedroom*, eachwith large closets, two lit*'

bOt lis, two cedar closets withcedar drawers U*r fars andbedding, and a targe sleep-Ing porch.

Into the construction ofthis home DAS gone tin- bestmaterials t h e m u r k e t

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tures and hardware through.out are original and unique.The house is Located at

607 Ilillcrest road and is

open foH inspection from1 I :30 a. m. to .". p, m. daily.Take an architect or engineerwith you. Have him t bor-ough! j* Inspect the building,then ask the price. It will

surprise yon.

MURDOCK ANDBOLESBULDEIiS

Phone TrTnrtiwall «!77<:

Wishing The

Vagabond All

the Success

in the World

Lorrin Andrews1100 C. C. Chapman Bldg.

Los Angeles

CHARLES S. DUNNING

ranlte 7862Publicity

528 Santa Monica Blvd

FRED WINDERMEREDirector

Gladstone 8G24

A. McARTHURAssociate Producer

Monty Banks

F. RICHARD JONESDirector GeneralRoach Studios

C. R. SENTNEYBuilding—Financing—Real Estate

450 North Beverly DriveOX. 1415

JOSEPH JACKSONNow Free Lancing

GR. 7881—2007% CaliuenKa Ave.

CHARLES RAY

PEARL RALLFubllclty

6318 Hollywood Blvd.—GIi. 0067Residence—Rochester 5797

FRANK FLYNN"Let Me Protect You"

320 Murkhnm Blihj.—GRanlte 04C9

DAN KELLYCasting Direclor

First National

HELEN CARRSecond Leads

OX. 4728

RUTH STEWARTSecond Leads

GR. 1859—WA. 3451

Everyone Is Casting

by Film

«&?

SCREEN LIBRARYSERVICE, INC.

5751 Hollywood Blvd.

GLadstone 6141

Page Eight Hollywood Vagabond February 10th, 1927

mmm;>:• ^ i m ffifP^- .ii i!;

"^; ^ iiin i ini ii i i n n iiiiiiiiiiiiimiii i i i iiiiiiiiiiiiiiiiiiiigiuiiwi miiiiiiiiimiii i i m m

Where the Arts and Sciences

Will GatherHOLLYWOOD is now assured of its own Lambs

Club! Organized under the laws of the state,

the California Lambs Club, Incorporated, of

Hollywood, dedicated to the purpose of providing an

exclusive rendezvous for representatives of the cultural,

professional and business life of Southern California,

is to have a beautiful home at Franklin and Whitley

avenues, in the heart of the film capital.

THE land has been purchased, the contract for the

erection of the building has been awarded to

Meyer &. Holler, of Los Angeles, architects and engi-

neers of recognized standing, and designers of theaters

and club buildings.

FINANCIAL requirements are so far projected as to

make it unnecessary for the board of governors to

extend the privileges of the Lambs Club to any but those

it most desires as members.

IT IS with pardonable pride that the executives of this

institution announce that the limited membership

will comprise a roster of names equivalent to a Blue

Book of those prominent in the world of fine arts, the

sciences and business.

WE trust that our efforts will add one more brilliant

jewel to the lovely diadem of social activity that

Southern California wears so becomingly.

The California Lambs Club

E.J.

OF HOLLYWOODPost Company, Fiscal Agents

building, Hollywood

HEmpsteadll23

Board of GovernorsWALLACE BEERY, Stage and screen

star.

MR. L. E. BEHYMER, "Impressario,"President Gamut Club, President In-ternational Artist Club, Director BayCities Music Association, Trustee U.S. C.

SAMUEL R. BLAKE, Judge of theMunicipal Court.

MONTE BLUE, Stage and Screen Star.

JOHN BOWERS, Stage and screen star.

TOD BROWNING, Director Metro-Goldwyn-Mayer Studios.

CHARLES COLE, Executive Offices,

Pantages Theaters.C. C. CRAIG, Director General of"Julius Caesar" productions. Presi-dent Business Men's Association ofHollywood.

DONALD CRISP, Vice President Writ-ers' Club of Hollywood and Authors'League of America.

MAURICE DeMOND, President, TheBreakfast Club.

WILLIAM DESMOND, stage and screenstar.

JOHN L. FLYNN, Deputy AttorneyGeneral.

CHESTER M. FRANKLIN, DirectorUnited Artists' Studios.

W. I. GILBERT, Counsellor-At-Law.REX B. GOODCELL. Lawyer, FormerJudge of the Superior Court.

C. S. HUTSON, President C. S. Hut-son & Co., President West Side Bank.

A. D. S. JOHNSTON, Retired capital-ist, Pasadena.

JOHN F. KANST, Kanst Art Galleries,Hollywood. Vice President Art LandClub.

ARTHUR KEETCH, Judge of the Su-perior Court.

BURR McINTOSH, Publisher, Actor,Lecturer.

ORRA E. MONNETTE, President Bankof America.

E. W. MURPHY, President Johnson,Carvell & Murphy.

SIDNEY OLCOTT, Screen star and pro-ducer.

DR. GEORGE PARRISH, Health Com-missioner of Los Angeles.

BEN H. ROTHWELL, Artist, Producer,Author and Personal Representative.

LOUIS P. RUSSILL, Judge of CountyCourt.

DR. HARLAN SHOEMAKER, SecretaryLos Angeles Medical Association.

DR. ALBERT SOILAND, Radiologist;Senior Admiral of Staff, PacificYachting Association.

J. W. SPRADLING, retired capitalist.

HAROLD J. STONIER, President LosAngeles Advertising Club. ExecutiveSecretary to President University of

Southern California.GEORGE VON ELM, National Amateur

Golf Champion.ROBERT G. WEAVER, PresidentWeav. , Mason Co.

CYRUS J. WILLIAMS, Motion pictureproducer.

P. H. L. (DOC.) WILSON, Ex-Com-modore Newport Yacht Club. Special-ist in production of water scenes,"Black Pirate" and "Sea Hawk" mo-tion pictures.

S. H. WOODRUFF, Hollywoodland;Community builder.

Board of PatronessesMrs. Carrie Jacobs Bond.Mrs. Chester Wallace Brown,Mrs. Ralph Mallette Burdick.Mrs. Bertha Lincoln Henstis.Mrs. Lieland Atherton Irish.

Miss Leatrice Joy.Mrs. Kollin B. Lane.Mrs. Helen Matthewson Langrhlin.Mrs. Celeste Nellis-Ryus.Miss Anna Q. Xilsson.Mrs-. Edgar Norton.Miss Dorothy Phillips.Miss Sally Rand.Miss May Robson.Miss Antoinette Sabel.Mrs. Elizabeth Lee Shepherd.Miss Anita Stewart.Mrs. Joseph Zuckerman.

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