CAMERA Comedy Clippings, September 15, 1923

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Ian Elliot
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Re: CAMERA Comedy Clippings, September 15, 1923

Postby Ian Elliot » Thu Dec 03, 2009 7:44 pm

Thank you again for posting these fascinating pieces, Joe. It's interesting, and, one assumes, coincidental, that Jacques Tati would come to be identified by his shortish triangular outer garment thirty years later.

A great still from HORACE GREELEY JR. turned up recently on Ebay, with Harry, June and another player I couldn't identify. It went to someone with deeper pockets than mine.

Joe Moore
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Re: CAMERA Comedy Clippings, September 15, 1923

Postby Joe Moore » Fri Dec 04, 2009 9:35 am

Ian Elliot wrote:Thank you again for posting these fascinating pieces, Joe. It's interesting, and, one assumes, coincidental, that Jacques Tati would come to be identified by his shortish triangular outer garment thirty years later.

A great still from HORACE GREELEY JR. turned up recently on Ebay, with Harry, June and another player I couldn't identify. It went to someone with deeper pockets than mine.


I, too, would tend to think that Tati's choice of coat was coincidental since Harry's use of the coat on film was of such brief duration.

Joe Moore

Joe Moore
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Re: CAMERA Comedy Clippings, September 15, 1923

Postby Joe Moore » Fri Dec 04, 2009 9:42 am

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


Clara Bow, 17-year-old Brooklyn high school girl, has been elected to play the part of Janet Oglethorpe, a society flapper in Frank Lloyd's independent production of “Black Oxen” which is to be released as a First national picture.
Miss Bow recently came to Hollywood as the winner of a Fame and Fortune Contest and following her appearance in “Down to the Sea in Ships” was signed to a long term contract by B. P. Schulberg by who's courtesy she is enabled to appear in “Black Oxen.”
Mr. Lloyd made tests of over a dozen flapper types before he selected Miss Bow whom he describes as vivacious, intelligent, athletic and attractive enough to be the center of interest at any party. The selection of Miss Bow leaves but two characters for “Black Oxen” unfilled-Prince Hohenauer and Mrs. Jane Oglethorpe. Corrine Griffith and Conway Tearle are the featured leads of the production.
(Camera Vol. 6 No. 22 pg. 13)

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Kate Lester was eventually cast as Jane Oglethorpe and the part of the Prince went to Alan Hale.

Joe Moore

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Re: CAMERA Comedy Clippings, September 15, 1923

Postby Joe Moore » Sun Dec 06, 2009 12:37 pm

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

LIKE THEIR MUSIC
A four-tube receiving set has been installed in the scenario room at the Buster Keaton Studios. Here concerts are enjoyed during intervals when Buster's scenario writers, Jean Havez, Joe Mitchell and Clyde Bruckman, feel the need for a respite from the grind of work. The concerts are also a tempting prelude for the daily conference between the scenario staff, Buster, Director Jack Blystone and Lou Anger, Buster's manager.
Radio concerts were first introduced during the working out of the story of “Hospitality,” Buscrican life in 1830, which is now being made to be released by Joseph M. Schenck Productions through Metro. The making of a comedy is a severe nerve-strain. In the discussion over the working out of various situations differences of opinions rose, and time and again Buster played peacemaker by “giving them the air” with his radio.
(Camera Vol. 6 No. 22 pg. 13)

Joe Moore
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Re: CAMERA Comedy Clippings, September 15, 1923

Postby Joe Moore » Tue Dec 08, 2009 11:28 am

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

WANDA HAWLEY FINDS POLITEST MAN
While Wanda Hawley was working before the camera in Egypt, during her just-completed foreign trip, the city of Luxor was visited by the Queen of Belgium. Both of these famous ladies happened to be boarding the same ferry across the Nile to King Tut's tomb; and the screen queen was assisted by Sheykh Sid Achmed el Gabir, of Mena. The gallant Bedouin exclaimed that he would far rather serve her than the hereditary royalty present. That retort, claims Miss Hawley, wins him the Chesterfieldian medal!


Constance Talmadge is taking a short rest at a sea resort after finishing her latest comedy-drama, “The Dangerous Maid.”

(Camera Vol. 6 No. 22 pg. 13)

Joe Moore
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Re: CAMERA Comedy Clippings, September 15, 1923

Postby Joe Moore » Wed Dec 09, 2009 12:19 pm

Ian Elliot wrote:Thank you again for posting these fascinating pieces, Joe. It's interesting, and, one assumes, coincidental, that Jacques Tati would come to be identified by his shortish triangular outer garment thirty years later.

A great still from HORACE GREELEY JR. turned up recently on Ebay, with Harry, June and another player I couldn't identify. It went to someone with deeper pockets than mine.


One thing that I forgot to make note of about this article is that the three silent comedy stars who's appurtenances they use as examples that are well-known to the public are Charlie Chaplin, Harold Lloyd and Lloyd Hamilton. That they picked Hamilton over, say, Buster Keaton and his pork-pie hat, provides us with just another example of how well known and liked Hamilton was at this time.

Joe Moore

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Re: CAMERA Comedy Clippings, September 15, 1923

Postby Joe Moore » Thu Dec 10, 2009 2:57 pm

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


Harry Gribbon connection with Mack Sennett through a period of almost 10 years has made him one of the best known of funsters in two-reel comedies.
Mr. Gribbon only a short while back was given a starring role in a new series of fun-films and he came through with such flying colors that he is destined to do bigger and better things from now on.


MANY NOTABLES IN CAST
Jane Murfin, who with Justin H. McCloskey, directed the Trimble-Murfin Production, “The Sign,” has finished editing and titling this all-star production and it will be given a pre-view within a few days. In the cast are such favorites as may Allison, Rockliffe Fellowes, Edward Horton, who has just completed “Ruggles of Red Gap,” Harry Mestayer, Eddie Phillips, Vera Reynolds, Tom O'Brien and others

(Camera Vol. 6 No. 22 pg. 13)

Joe Moore
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Re: CAMERA Comedy Clippings, September 15, 1923

Postby Joe Moore » Fri Dec 11, 2009 10:29 am

CAMERA'S WEEKLY WAKE-EM-UP

Checking Up On The “I-Told-You-So” Gang

Dempsey vs. Firpo.
At the First National studios there are a half dozen or more actors who are either personal friends of the champion, or who have had such close contact with him as to have felt his husky left.
There is Chuck Reisner, playing villain in “Her Temporary Husband,” being directed by John McDermott, who corresponds regularly with his old pal, Jack.
“He and I used to barnstorm around the country,” says Chuck. “I remember when he would meet all comers-and knock 'em cold.”
“He's a cinch to win. Firpo will come in on him and that's just what Jack wants. Jack, like most champions, is best when he fights block and counter style. I expect he'll teach Firpo something in the way of arm blows. If Firpo's right arm ever feels Jack's left on the muscle it won't be worth much. Sure, Jack will knock him for a row of Argentine ant-eaters.”
Chalk up another for Dempsey from Sydney Chaplin, who is playing a leading ro0le in “Her Temporary Husband.”
“Foreign fighters have no chance with Americans. It was in America where all the modern science of the game was developed. Foreign fighters are more for display to make the fight spectacular. An American goes in to win; it is the American breeding and can't be beat. And I believe Dempsey is a true representation of American determination.” says Chaplin. Firpo should hear the sweet birds before six rounds are fought.”
But here is a vote for Firpo.
“If these two fellows are letting their beards grow as a part of their training-it's Firpo all the way,” believes McDermott. “Each have said they are passing up the barber shop because long beards go for protection. Well, take a look at Firpo's map. Of course if I were betting-that's something else.”
The fight dope on the First National sets is not without authentic source, for in Joe Stanton, Cherokee Indian, who is playing a minor villain part in McDermott's picture, there is a man who has sparred with both of the fighters.
“Firpo can knock out Dempsey. He has the punch. The only doubt in my mind is his ability to take a Dempsey lashing. If he can stand up four or five rounds he'll knock the championship out of America.”
“Fight? Whata fight?” asks Bull Montana, playing in Jealous Fools” being directed for First National by Maurice Tourneur. “Oh, you mean that thing what Firpo's donna know nothing about?” The “Bool” leaves not room for doubt as to what he thinks of Dempsey's chances.”
“I tried to bet that Dempsey would knock out Willard in one round but I couldn't place it,” Owen Moore, playing the leading role in “Her Temporary Husband,” says, explaining that he feels the same way about this fight. “Jack's from another actor who's knowledge of the prize ring came from actual experience in it. Conway Tearle, who is being co-starred with Corrine Griffith in “Black Oxen,” was once a professional welterweight in England. Ten years ago he was considered to be one of the fastest men in his class. Tearle admits that he has placed several bets on Jack, and he's not worried at all about Firpo's chance of dethroning Dempsey.

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Jack Dempsey fought Argentinian Luis Angel Firpo at the Polo Grounds in New York City on September 14, 1923. Dempsey knocked Firpo out cold in the second round but not before a controversial first round in which Firpo actually knocked Dempsey clear out of the ring. Thanks to a very slow count and some help getting back into the ring Dempsey was able to come back but many claimed that Firpo was cheated out of the win and the fight remained controversial with Firpo remaining a hero throughout Latin America.

Joe Moore

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Re: CAMERA Comedy Clippings, September 15, 1923

Postby Joe Moore » Sat Dec 12, 2009 10:25 am

CAMERA'S WEEKLY WAKE-EM-UP

A SMALL WORLD
Meet again on “The Isle of Paradise”; this is the story of Robert J. Horner and Richard P. Young, Hollywood film folk. Some years ago, Horner, then scenario editor for a producer in Chicago, purchased a funny story from Richard P. Young, the a free lance writer. Leaving immediately afterward for the Coast, Horner lost track of his new acquaintance.
And now they are to begin together again in “The Isles of Paradise” a feature film production starring George Chesbro, to be directed by Horner, and cut by Young.


PLAYS IMPORTANT PART
Beautiful Hazel Deane, said by many to possess the most magnetic personality in pictures, has been chosen to portray an unusually vivacious part in Bryant Washburn's first Grand-Asher production “Try and Get It.” In this delightful farce, plays the part of a modern flapper, who finally succumbs to the wiles of Edward Horton, to perfection.
Both Cullen B. Tate, director, and Bryant Washburn are delighted with Miss Deane's work and predict a big future for her.
(Camera Vol. 6 No. 22 pg. 15)

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Robert J. Horner spent most of his motion picture career (he may or may not have died in 1935-there's a very interesting bio on him at the IMDB) directing, writing and producing low-budget films (mostly b-westerns).
I could find no information on Richard P. Young.
I doubt this film project mentioned here got made. At least I could find no evidence of it.

TRY AND GET IT did get made but as for anyone "finally succumbing to the wiles of Edward [Everett] Horton", well, that just stretches credibility a bit too far.

Joe Moore

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Re: CAMERA Comedy Clippings, September 15, 1923

Postby Joe Moore » Sun Dec 13, 2009 3:08 pm

CAMERA'S WEEKLY WAKE-EM-UP

Noted Author Is Here On Visit

The first step toward the making of “The Winning of Barbara Worth” by Principal Pictures was taken yesterday when Harold Bell Wright, the author, met Edward F. Cline, director, at Principal Pictures studio and began a series of conferences in which the scenario department of the Lesser organization will participate.
Harold Bell Wright, accompanied by Mrs. Wright, arrived from Tucson, Arizona, and registered at the Ambassador Hotel, Los Angeles, where they will remain about two weeks.
Daily meetings with the scenario department of Principal Pictures and with Mr. Cline, are scheduled, the plan being to get Mr. Wright's cooperation in laying out the scenario just as was done in the case of “When a Man's a Man” which is now completed.
Mr. Lesser's determination is to parallel in the picture he is to present, the motives and spirit, and action of Mr. Wright's epic story of the reclamation of the desert, so that when it is produced it can go forth with the approval of the author.
“That Mr. Wright accurately gauges the taste of the American Public”, says Mr. Lesser, “is demonstrated by the millions of readers he has won with his fiction. If he can win millions of readers for his books,” continues Mr. Lesser, “it is because he touches their hearts and arouses their enthusiasms. There is no reason why these salient qualities of Mr. Wright's novels should not be caught by the camera. That is why we are inviting his cooperation and why we are so happy he is giving it to us in such abundance.”
(Camera Vol. 6 No. 22 pg. 15)

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While we here at the Comedy Mafia are focused on the work Harry Langdon was doing for Sol Lesser's Principal Pictures Corporation at this point in time, back in 1923 the much bigger story was the fact that Lesser has landed the rights to a number of Harold Bell Wright's books.
Now-a-days most people don't realize what a huge author Wright was in terms of sales and popularity. It was estimated in 1945 (the year after Wright's death) that of the best selling authors in the United States between 1665-1945, Wright ranked only behind Charles Dickens, Erle Stanley Gardner, Walter Scott and Gene Stratton Porter in number of best-sellers (and he was tied with James Fenimore Cooper) and his total sales were higher than both Cooper and Porter.
Wright lived in Tucson, Arizona from 1916-1935 where a number of the streets on the east side of that city are still named after his fictional characters (taken from the 19 books he turned out between 1902-1942).
Lesser stuck by Wright as a source material in his productions well into the talkie era although he never did make THE WINNING OF BARBARA WORTH, instead finding it more profitable to sell the rights to Sam Goldwyn for a whopping $125,000 plus.

Here's very good site for more info on Wright.

http://www.hbw.addr.com/index.htm

Joe Moore


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