CAMERA Comedy Clippings, September 15, 1923

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Joe Moore
Associate
Posts: 332
Joined: Sat Jun 06, 2009 12:17 pm

Re: CAMERA Comedy Clippings, September 15, 1923

Postby Joe Moore » Wed Jan 13, 2010 9:33 am

Pulse of the Studios

For Week Starting Monday, Sept 17

VITAGRAPH STUDIOS. 1708 Talmadge. W. S. Smith, Mgr. 598-131

Larry Semon Productions.

WARNER BROS. STUDIOS, 5842 Sunset Blvd. Holly 4181

Warner Brothers Productions.

Director: Mal St. Clair Star: Wesley Barry Cameraman: E. B. Dupar Ass’t Director: Geo. Webster Type: “George washinbgton, Jr.” Progress: 7th Week

Director: Johnny Hines Star: Johnny Hines Cameraman: Chas. Gilson Ass’t Director: C. Hines-Roth Type: “Conductor 1492” Progress: 8th Week

Director: Wm. A. Seiter Star: Marsh Gillingwater Ass’t Director: Tenny Wright Type: “Daddies” Progress: Scheduled

Ernest Lubitsch Productions.

Director: Ernest Lubitsch Star: All-Star Cameraman: Paul Perry Ass’t Director: Flood Blanke Type: “The Marriage Circle” Progress: 5th Week

WORLD EDUCATIONAL FILMS. Box 818, Sta. “C”. Los Angeles

Director: Eliason Star: Baby Betty Cameraman: Wm. Field Ass’t Director: F. M. Abbey Scenarist: Robinson Type: “Haunts of Hiawatha” Progress: 5th Week

(Camera Vol. 6 No. 22 pg. 18)

____________________________

I see that Larry Semon Productions appears to have nothing in production at Vitagraph at this time. Does anyone remember if he was finished at Vitagraph by this time?


I couldn't find any info on World Educational Films although judging by their "address' the "studio" seems to be operating out of a PO Box. I suspect that the film's star Baby Betty may be the child actress Betty Eliason who had appeared in Tod Browning's MAN UNDER COVER the year before.

Joe Moore

Joe Moore
Associate
Posts: 332
Joined: Sat Jun 06, 2009 12:17 pm

Re: CAMERA Comedy Clippings, September 15, 1923

Postby Joe Moore » Sun Jan 31, 2010 10:08 am

Hi guys.

Sorry for the long delay in finishing up the postings for this issue of CAMERA but here with an extra big posting is the wrap-up.
Rob Farr should have this issue's clippings archived at mug-shots in a few days and I'll be back with clippings from a new issue that I'll start posting here.

Joe Moore

________________________________________--


Flashes From Frisco by Agnes Kerr Crawford

Thomas Meighan, his wife Francis Ring, Al green, Director, and thirty members of his company will be here this week for several days working on the waterfront in the picture “Woman-Proof,” which is being made from a story written especially for Meighan by George Ade.

Earl Williams, his wife, and Constance Talmadge, are guests at the St. Francis. Earl Williams came to do a dock-side scene for a picture, and Constance Talmadge “Just Came along,” she says, for a little holliday.

(Camera Vol. 6 No. 22 pg. 6)

CAMERA'S WEEKLY WAKE-EM-UP

Abraham Carlos, who had originally planned to leave for New York Labor Day, left Saturday and will take with him the prints of his super special “The Unknown Purple, “ adapted and directed by Roland West from his stage play and “Fast Freight,” starring Richard Talmadge.

(Camera Vol. 6 No. 22 pg. 9)

Who’s Who and What’s What in Filmland This Week

DEMILLE TO CAST SOON
William de Mille will return to the studio within the next ten days to start production work on his forthcoming paramount picture. “Evert Day Love,” adapted by Clara Beranger from Julian Street's novel. “Rita Coventry.”

Mme. Rose Dione, who plays the part of Mme. Florio in Bryant Washburn's “Try and Get It,” his first picture for Grand-Asher, was in many plays with Sarah Bernhardt and during the war served as a red cross nurse.

Richard Talmadge has finished “Fast Freight,” a five-reeler, and his first starring vehicle on his new contract with Abraham Carlos who has signed him for three years. Mr. Talmadge, who before his stardom doubled for all the stars, performed in this picture every kind of daring feat against the handicap of a sprained ankle that laid him up for three weeks. Among those who supported him in “Fast Freight” were Tully Marshall, Aileen Percy, George Nichols, Bruce Gordon, Al Freeman, John Steppling and others. W. K. Howard directed.

MEIGHAN IN “WOMAN-PROOF”
Although Thomas Meighan is in California and George Ade is several thousand miles away in Indiana, both are working steadily on “Woman-Proof,” the Ade story in which Meighan is now starring for Paramount, under the direction of Alfred E. Green.
Ade keeps in constant contact with Meighan and Green by letter and telegram during the production of his stories, of which “Woman-Proof” is the third to star Thomas Meighan. Tom Geraghty is production editor and the cast includes Lila Lee, Mary Astor, Robert Agnew, John Sainpolis, Louise Dresser, Edgar Norton, Charles A. Sellon, George O'Brien, Vera Reynolds, Hardee Kirkland, Martha Maddox, “Bill”Gonder and “Mike” Donlin.

(Camera Vol. 6 No. 22 pg. 14)

POSSIBLY ABOUT YOU

San Francisco and its justly famous waterfront will serve as a background for some important action in Thomas Meighan's latest Paramount Picture, “Woman-Proof,” which George Ade wrote as a screen starring vehicle for Meighan. The entire company will spend several days there. Alfred E. Green is again handling the megaphone. Tom Gerhaty is production editor and the cast includes Lila Lee, Mary Astor, Robert Agnew, John Sainpolis, Louise Dresser, Edgar Norton, Charles A. Sellon, George O'Brien, Vera Reynolds, Hardee Kirkland, Martha Mattox, “Bill”Gonder and “Mike” Donlin.

Douglas Fairbanks, Jr. has completed the Turkish episodes of his first starring picture, “Stephen Steps Out,” and is now engaged in an important sequence of scenes with Theodore Roberts as the other principal.

Ben Bernie's orchestra, one of the big time vaudeville attractions, was used in several scenes of Bryant Washburn's :Try and Get It,” his first Grand-Asher production. Bernie brought his remarkable aggregation of musicians direct from a local theatre where they are appearing under his leadership on a specially constructed stage at the Grand Studio dispensed sweet or jazzy music while the cameras rolled.

(Camera Vol. 6 No. 22 pg. 22)


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