CAMERA Comedy Clippings, September 15, 1923

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Paul E. Gierucki
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Re: CAMERA Comedy Clippings, September 15, 1923

Postby Paul E. Gierucki » Wed Nov 25, 2009 3:53 am

Attached is a shot of Keaton and crew on the waterfall set. Enjoy!

Image

Paul E. Gierucki
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Re: CAMERA Comedy Clippings, September 15, 1923

Postby Paul E. Gierucki » Wed Nov 25, 2009 3:57 am

One more:

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

Postby Joe Moore » Wed Nov 25, 2009 9:49 am

CAMERA'S WEEKLY WAKE-EM-UP

New York Critics Pre-View “Rosita”

A new jewel is now glistening in Mary Pickford's crown of fame, due to the success of the New York opening of “Rosita,” her latest photoplay, which had its premiere at the Lyric Theatre in the heart of the Metropolitan theatrical district.
Wires to the star from friends in New York as well as from members of the United Artists organization indicate that this film will not only be Mary's best but will prove one of the worth-while cinemas of the year.
Among those who telegraphed their congratulations were Mary Hay, Richard Barthelmess, George and Percy Fawcett, Hartley Manners and Laurette Taylor Sol Lesser, Maud Savini, Mrs. Bertha Case, wife of Frank Case who owns the Algonquin Hotel, and many others.
From Hiram Abrams, president of the United Artists Corporation came the following:
“Press unanimous in praise of your remarkable acting, the magnificent photography, the bigness of the production as well as Lubitsch's direction.”
“Rosita” is understood to be notable as a photoplay for three reasons: To begin with, it represents Ernst Lubitsch's first directorial effort in America. Second, it is the first time has appeared in an adult role throughout an entire picture. And last, the film is distinctive because of the photographic innovations for which Charles Rosher is responsible.
A notable member of the cast with Miss Pickford is Holbrook Blinn, playing the part of the philandering king.
“Rosita” is expected to be released generally in the Fall.
(Camera Vol. 6 No. 22 pg. 10)

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So this was Mary's first picture where she "has appeared in an adult role throughout an entire picture", eh? Then what were all those Biograph films where she played an adult throughout? Chopped liver?

Joe Moore

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Re: CAMERA Comedy Clippings, September 15, 1923

Postby Joe Moore » Thu Nov 26, 2009 5:47 am

CAMERA'S WEEKLY WAKE-EM-UP

Joe Bonner by chance ran into his old partners, Tommy and Mabel Price, with whom he had toured the country in a vaudeville act. The trio have been engaged to entertain radioites for one of the daily newspapers broadcasting stations, doing the old act. While the vaudevillians are in town, Joe is showing them about the studios, and giving them an opportunity to see just why he left the road to settle down in cinemaland where he has proven himself a very clever juvenile actor, as well as a clever funster.
(Camera Vol. 6 No. 22 pg. 10)


May Emory, for years connected with the Mack Sennett comedies, who has of late been appearing in feature length subjects, is the proud possessor of one of the most complete wardrobes of any of the feminine actresses that are now gracing the boards in cinemaland.

Considerable rivalry exists between Monty Banks and Sid Smith, Grand-Asher comedy stars, as to which shall have a house warming first. Both have new homes in Hollywood, but Monty got moved in a bit before Sid's was completed. However, Monty is still holding off and Sid swears he plans to have a party the same night. Probably they'll toss a dollar to see which entertains first.
(Camera Vol. 6 No. 22 pg. 11)

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Joe Bonner bounced around Hollywood in the 1920s working for various comedy producers including Reelcraft, Century and Joe Rock. During his Hollywood tenure he found himself mostly playing supporting roles to a number of comedians including Milburn Morante, Baby Peggy, Max Asher, Jack Cooper, Buddy Messinger, and a Ton of Fun. He did manage to get the leading male role opposite Wanda Wiley in a few mid-twenties Century Comedies.

May Emory can be seen in such Sennett comedies as THAT LITTLE BAND OF GOLD (1915), MADCAP AMBROSE (1916) and TEDDY AT THE THROTTLE (11917).

Joe Moore

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Re: CAMERA Comedy Clippings, September 15, 1923

Postby Joe Moore » Fri Nov 27, 2009 10:38 am

First off I wanna thank you guys for the great response to my query about Keaton's filming regarding HOSPITALITY. Hope all of you here in the states had a great Thanksgiving, too.
Now onto today's posting.

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CAMERA'S WEEKLY WAKE-EM-UP

Carl Stockdale, one of the most competent artists of the screen in character roles, will play the role of the bookkeeper, in Bryant Washburn's first picture.


With the Cinema Stars of Today

Where do good movie actors come from? Does any one section of the country contribute more histrionic talent to the silversheet than another, and was the stage the original training school for a majority of the picture industry's well-known players?
These questions are burning ones with numerous fans who follow the careers of the brightest lights in the spectacular cinema firmament and for this reason the following in formation has been compiled for the edification and peace of mind of “ardent fan,”and “admirer” and the scores of others who pen notes to the players of the screen propounding the intimate queries.
William V. Mong, noted character leading man, was born on Chambersburg, PA. Following several years as a district school teacher, he deserted the high lights of education for the footlights of the stage.
Al St. John, Fox star comedian, was born and raised in Santa Ana, Cal. He served as a lifeguard at Long Beach for a few years and it was through his daring in the water that Mack Sennett engaged him for minor parts. St. John rose to stardom quickly.
Charles Jones, another Fox luminary, is a product of Red Rock, Okla. He entered the movies via the cowboy route and since has become one of the more popular stars of the cinema world.
Dorothy Phillips was born and raised in Baltimore, Md. Following a private school and college education she studied dramatic art and went on the legitimate stage at an early age. Today she is a famous star.
Eulalie Jensen, noted featured player, was born in New York, and received her early stage training in musical comedy and vaudeville. She is now in great demand at the Hollywood studios.
King Baggot is a native of St. Louis, Mo. He began his stage career in dramatic stock and is now one of the foremost actors and directors of the movie world.
James Morrison is a product of Matoon, Ill. He is a college graduate and also a graduate of the speaking stage, having begun his career as an actor in vaudeville.
(Camera Vol. 6 No. 22 pg. 10)

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I noted that there was not a single mention about St. John's relationship to Arbuckle in the section on him above.

Joe Moore

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Re: CAMERA Comedy Clippings, September 15, 1923

Postby Joe Moore » Sat Nov 28, 2009 11:27 am

CAMERA'S WEEKLY WAKE-EM-UP

Priscilla Moran in “Daddies” Cast

One of the most important child roles to be given away in recent months was handed to Priscilla Moran this week by “Bill” Seiter, who is to direct David Belasco's great stage success, “Daddies,” for Warner Brothers. Mr. Seiter and Jack Warner have interviewed more than sixty of the screen's most lovable children during the past thirty days, seeking one to play the part of “Sammy” in “Daddies,” and on the very day they were to decide upon their choice, in walked Priscilla and their quest was ended. She was engaged for the important role immediately. Priscilla will be remembered as the little girl who lived with the Coogans for several months and was widely reported to be Jackie's adopted sister. She is a remarkably beautiful child with an almost uncanny natural ability for acting.
Other notables in the large cast of “Daddies” are Monte Blue, Harry Myers, Mae Marsh, Claude Gillingwater and many others. Production will start this week.


The Hercules Film Co., Inc., with headquarters at the Russell studio have just completed their new feature, “Let's Go,” directed by Jack Nelson. The corporation, under California laws, has in its personnel, Otto Poll, Marco Charles, John Charles, Peter Andrews and Wm. Walthein and was organized for the purpose of filming 5-reel features for the independent market. Jack Pello, the star, is well known for his athletic stunts and is supported by a cast which includes Eva Novak, Milburn Moranti, Dick Sutherland, Joe Girard, Billy Elmer and others. Casting is in charge of Marco Charles, who is busy selecting players for the next picture, to start the latter part of September.

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Priscilla Moran also appeared with Lloyd Hamilton in his feature film, HIS DARKER SELF (1924). She can also be seen in the early technicolor feature THE TOLL OF THE SEA (1922) which is available on DVD.

Otto Poll was actually the star of the comedy-drama LET'S GO which was released as BATTLING MASON in 1924 (the film's title was probably changed to avoid confusion with the Richard Talmadge action film LET'S GO which was released in the Fall of 1923). By then Poll must have decided not to use the name "Jack Pello" though because he was billed in it, and throughout the rest of his film career, as Frank Merrill.
The athletic Merrill (Poll) had started in films doubling for Elmo Lincoln in Lincoln's Tarzan films and ended his film career starring as Tarzan in TARZAN THE TIGER (1929).
Merrill's Hercules Film Co. was active from the mid to late 1920s mostly making quickie adventure and comedy films. Besides Milburn Morante and Dick Sutherland some other faces familiar to comedy fans that appeared in these films included Eddie Boland, Jimmy Aubrey, Cliff Bowes, Harry McCoy, Gino Corrado and Jack Richardson. Grover Jones wrote and/or directed several of film produced by Hercules. Boris Karloff and Sheldon Lewis were other names that popped up in these Hercules productions.
One of Hercules' later productions was the 10 chapter serial, THE KING OF THE JUNGLE (1928), which starred the man whom Merrill had doubled for just a few years before, Elmo Lincoln. The serial turned out to be a tragic production when British actor Gordon Standing (the cousin of actors Guy and Jack Standing) was mauled by a lion on the set and died the following day. Lincoln was so shook-up by the incident that he retired from films and only returned in the late 1930s to play bit parts.

Joe Moore

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Re: CAMERA Comedy Clippings, September 15, 1923

Postby Joe Moore » Mon Nov 30, 2009 3:00 am

CAMERA'S WEEKLY WAKE-EM-UP

Syd Returns to Screen

Good news for motion picture producers as well as fans comes in Syd Chaplin's declaration that henceforth he will devote himself exclusively to screen acting.
Originally, back in the days when he was a star performer in the London music halls, Syd Chaplin was the older, successful brother, doing his utmost to get a start for his “kid brother,” Charlie. In fact, it was the insistence of the London vaudeville managers that he fulfill his contracts there which kept Syd from coming to this country and gave Charlie the opportunity to display his art in America-and hence came his start in pictures. Later, Syd came over here, too, acted in a number of comedies and directed a few-but was forced to give most of his attention to Charlie's business affairs. Soon he found himself in other business ventures and thus his screen appearances became spasmodic, fed and far between.
Realizing that he must concentrate his efforts, Syd Chaplin has now decided to devote himself exclusively to acting before the camera-and thus another great comedian will come into his own. Especially, he plans to create those roles which afford comedy relief to the highly dramatic plots that are coming into vogue again on the screen. He recently concluded such a part, with Marshall Neilan in “The Rendezvous,” a grim Russian tragedy. At the present time, Syd is a member of the all-star cast making “Her Temporary Husband” for First National Pictures.



Samuel Bishoff, auditing director of Grand-Asher Distributing Corp., whose offices are in New York, is in Hollywood for an extended visit. He was delighted with the development of the organization since its inception and impressed by the amazing growth of Southern California since his last visit a couple of years ago.

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Re: CAMERA Comedy Clippings, September 15, 1923

Postby Joe Moore » Tue Dec 01, 2009 7:59 am

CAMERA'S WEEKLY WAKE-EM-UP

Makes Ready For Busy Fall Season

Under the direction of Norman Manning, studio manager for Principal pictures Corporation, the first few dollars of the company's appropriation for studio expansion, are being put into circulation.
A new dressing room building has just been completed, of the one-story bungalow type. It is the last word in modern construction and the large airy rooms are completely equipped with every known convenience for donning the make-up. The fifteen additional rooms are divided into three star suites, two large rooms for extra players and seven singles.
Also a new high-powered generator has been installed to take care of the additional “juice” required for the increased production activities.
Manning, a landscape artist of no mean ability, has been laying out the grounds surrounding the executive offices, and rows of brilliant geraniums, smooth green lawns and young pepper trees serve to make this studio one of the most attractive in Los Angeles.
Fifteen acres of ground adjoining the Pickford-Fairbanks studio on Santa Monica Boulevard, comprise the Principal Pictures lot. The studio was formerly owned by Florence and King Vidor, but was taken over by Sol Lesser and his associates early last Spring. It is here that the Harold Bell Wright novels are being filmed. “When a Man's a Man,” featuring John Bowers and Marguerite De La Motte, has just been finished and is now in the cutting room. The second Wright story to be screened, “The Winning of Barbara Worth,” starring Florence Vidor, will go into production early in October.
Eddie Cline is at present busy on the big stage directing Bennie Zeidman's production for Principal Pictures, “The Good Bad Boy,” featuring Joe Butterworth and Forrest Robinson. Harry Langdon and his company are in the midst of the second two-reel comedy of his series, under the direction of Alf Goulding, with June Marlowe playing opposite the star.
Principal Pictures Corporation, though a young organization, has made terrific strides in both the production and distribution ends of the motion picture business, and promises to become a recognized leader in the industry.

(Camera Vol. 6 No. 22 pg. 12)

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More info on what was going on with Principal Pictures at this point in time.

The info on Langdon corresponds with the bit from from the Oct 1923 NYT that Ian previously mentioned (in the June 30, 1923 CAMERA thread). So it would seem pretty certain that Langdon's second Principal short to be filmed was A TOUGH TENDERFOOT (HORACE GREELEY, Jr.) and that June Marlowe was his co-star.
BTW, for any of you who are still trying to put a face to the name June Marlowe, she played the teacher, Miss Crabtree, in several delightful early 1930's Our Gang shorts.

Joe Moore

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Re: CAMERA Comedy Clippings, September 15, 1923

Postby Joe Moore » Wed Dec 02, 2009 4:24 am

Today we have quickie interviews with Colleen Moore, Sylvia Breamer, Virginia Browne Faire and a still photographer identified only as "Mr. Bird." Anyone know what the full name of this gentleman might be?

Joe Moore

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CAMERA'S WEEKLY WAKE-EM-UP

One-Minute Interviews With Famous Film Folk
By MALCOM STUART BOYLAN

“Miss Breamer, you are of Australian birth. Now, do you think that there is any temperamental difference between the Colonials and the British that might influence one's work on the screen?
“Temperament, I believe, originates with one's parents and imme3diate associates, rather than with geography. The British are restrained emotionally in comparison with the Latins, for instance, but between the British of England and the British of the colonies there is no difference of mannerism that could be noticed on the screen.
“Miss Enid Bennett, a beautiful and gifted actress, is an Australian by birth. But I do not believe that an observer could watch her art from a theatre seat and learn the place of her birth.
“The silent drama is internationally incognito because of its silence. There is no accent to identify one's geographical origin. It is entirely a matter of appearance.
“In “Thundergate,” as an example, Owen Moore looks entirely Chinese when that is the requirement of the story and half-caste when the trend of the drama changes. Mr. McKim might be British, Italian, Celtic or French.”
Miss Breamer shared prestige with the all-star cast of First National's “Thundergate” and is now playing an important role in “Her Temporary Husband” for that company.

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“Miss Moore, what do you think of the strange international situation between Italy and Greece?
“ I think as little as possible about it, and with apprehension. For a young girl to impose her views on the public on such a serious subject would be taking unfair advantage of the freedom of the press.
“Girls with whom I went to school would not be asked to express an opinion on a matter that bewilders a statesman. I am asked because the public has been kind enough to recognize me as a screen player.
“Even if my publicity director knew enough to intelligently answer the question in my behalf, I would not allow my opinion to be thrust upon thinking adults.
I pray, devoutly, that the difference between nations will not lead to war. I do not like Greek restaurants; nor do I like spaghetti, but I should dislike to see anyone fighting about it.”
Miss Moore has just finished the leading role of “Flaming Youth,” filmed under the direction of John Francis Dillon from Warner Fabian's novel and offered as an Associated First National picture.

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“Miss Faire, would you rather the publicity department would describe you as a spectacularly beautiful girl with a profound intellect, or as a nice girl, moderately pretty, who is trying to get along?”
“The latter!
“Bad advertising has killed more picture players than lack of publicity.
“Blatant blithering about screen folk must be getting fearfully tiresome to the general public. It is to me. I would much rather be known as a sincere worker with a possibility for success than as a simpering doll for whom fame and fortune has been prescribed by destiny.”
“Miss Faire, what can you say about your latest picture?”
“Nothing. I did not under stand that it was to be the purpose of this brief interview to discuss any definite production.”
Miss Faire has just finished an important leading role in First National's production “Thundergate,” directed by Joseph de Grasse from Sidney Marshall Small's story, “The Lord of Thundergate.

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“Mr. Bird, of all the hundreds of beautiful women you have photographed, whom do you consider the best subject?”
“That is an unfair question and to answer would probably abrogate my insurance.
“each has some elusive charm which is not always captured by the camera. Many of the most charming have a face for every hour and a mood for every minute.”
“ Mr. Bird, Associated First National has three young women under contract with whom you are in frequent professional contact. Surely, Miss Colleen Moore, Miss Sylvia Breamer and Miss Virginia Brown Faire are first on your list of beautiful women?”
“Not necessarily. I did not understand that this informal chat was to be diplomatic?
“Miss Moore, for instance, is too animated; too fleeting in her almost innumerable expressions to be a perfect subject, for a camera that requires a motionless moment. When portrairs are made exclusively by the motion picture camera, Miss Moore will be the perfect subject.
“Miss Breamer, is statuesque. She must be photographed only in dignified poses and her beauty is so delicate that it is sadly influenced by lights. She is difficult to photograph but the effort is well worth making.
“Miss Faire is a charming subject, but she thinks so deeply that it is not always easy to change her mood to suit the moment's requirement of the still camera. I like to photograph her in the low tones of old painting.”

(Camera Vol. 6 No. 22 pg. 11)

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Re: CAMERA Comedy Clippings, September 15, 1923

Postby Joe Moore » Thu Dec 03, 2009 4:24 am

CAMERA'S WEEKLY WAKE-EM-UP

Langdon Brings Famous Coat to Screen

Harold Lloyd and his horn-rimmed spectacles-Charlie Chaplin and his bamboo cane-Lloyd Hamilton and his checkered cap-and Harry Langdon and his triangle overcoat. The short, flaring overcoat of Harry Langdon is as familiar to vaudeville fans as those other appurtenances are inseparable from the screen comedians. And Langdon has brought the overcoat with him to the screen. Or I should say, overcoats, for his wardrobe actually boasts eight.
It is an easy matter for a screen comedian to determine what is funny and what is not. He need only sit down in the projection room and examine his screen self at leisure-and the comedian himself generally knows better than anyone else what is funny. Whether or not a certain piece of wearing apparel, and the manner of wearing it will cause laughter, is decided before the picture leaves the projection room. Of course we don't always agree with the decision.
But the stage comedian can't see himself. He's got to try out his ideas on an audience that has paid good money to be made to laugh. The measure of applause-or-otherwise-that he receives from these first audiences decides whether or not his “stuff” is funny.
Harry Langdon had a slight advantage over his brother stage comedians. He was for many years a cartoonist, and knew pretty well what looked funny to people. A cartoon of his once made such a hit that Langdon set himself the task of discovering what it was about this particular figure that made it so funny. It wasn't the pose; it wasn't the face, or the hat-it was the lines of the overcoat!
He forthwith adopted the style for himself for his vaudeville acts, with such success that the Langdon overcoat is as well-known to vaudeville audiences as the acts themselves, “Johnny's New Car,” and “After the Ball.” A tailor in Chicago makes all the overcoats.
Langdon is busy now on his second two-reel comedy for Principal Pictures Corporation under the direction of Alf Goulding. June Marlowe plays opposite the star.

(Camera Vol. 6 No. 22 pg. 15)

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Well, obviously, Langdon's overcoat never became as identified with his screen personality as they seemed to think it would at this early stage of his film career.
Also further confirmation of June Marlowe as Langdon's leading lady.

Joe Moore


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