Page 1 of 4

CAMERA Comedy Clippings, Sept. 29, 1923

Posted: Mon Apr 19, 2010 1:40 pm
by Joe Moore
Well here's starting off a new week with another issue of CAMERA comedy clippings.

This particular clipping is for the mafioso's number one Ben Turpin fan, Steve Rydzewski.

Joe Moore




Ben Turpin, zigzagged eyed comedian, startled the players on adjoining sets at the Mack Sennett studios recently, when they heard him yell at the top of his voice that he had taken poison and was dying. Irene Lentz, his leading woman, joined in with the crying actor and, wringing her hands, pleaded that someone rush help to the suffering comique.
Of course no one would admit when they returned to their work, that Ben had fooled them into believing he was actually in agony, preferring to say they had just come over to see him put his stuff across, in his new comedy special, “Ten Dollars or Ten Days,” under Del Lord's direction.

(Camera Vol. 6 No. 24 pg. 10)

Re: CAMERA Comedy Clippings, Sept. 29, 1923

Posted: Tue Apr 20, 2010 12:58 pm
by Joe Moore

Al St. John moved from comedy to tragedy so fast the other day that he brought tears of terror to the eyes of a sixteen-year-old boy.
The youngster saw St. John's huge car outside the Fox studio. The temptation to joyride was too great. He just couldn't resist. He took it. St. John missed the car and was telephoning the police when a phone call to him said the car was parked in front of a well known Hollywood cafe and occupied by a youngster.
“Grab him,” was the word that went back over the phone. Then St. John and several of the men from the studio rushed to where the seized youth was trying to explain that it was just a prank.
St. John simulated rage and desire for vengeance to such a perfect degree that the youngster cried as he envisioned a long jail term. When the scare had gone far enough he was turned loose and admonished not to joyride in any more cars.

(Camera Vol. 6 No. 24 pg. 12)

Re: CAMERA Comedy Clippings, Sept. 29, 1923

Posted: Wed Apr 21, 2010 11:23 am
by Joe Moore


A new comedy star has made his appearance on screenland's horizon and all other funsters had best watch their step. Byron Shrader is his name and Spokane, Wash., his home. With his father a designer and his mother a well known concert singer in the east, it was but natural that Byron should early exhibit decided artistic ability. Starting as a cartoonist for the Sportsman-Review, young Shrader turned to the making of animated cartoons for the Alexander Film Co., the largest advertising motion picture company in the world. After working there a few years, he became interested in the designing of sets and art titles for the Palco Comedies. A position as assistant director followed, and then came his screen success as a comedy star in the following plays: “Moonshine Madness,” “Good Morning, Judge,” and “Knock “Em Cold.”

(Camera Vol. 6 No. 24 pg. 9)


Has anybody ever heard of this Byron Shrader or any of the comedies he made? Sounds like he was taking the Charley Bowers route into live action comedies via animation.

Joe Moore

Re: CAMERA Comedy Clippings, Sept. 29, 1923

Posted: Thu Apr 22, 2010 1:57 pm
by Joe Moore

New Face Scores In Cruze Film

America Likes him.
Indeed, it is enthusiastically welcoming George K. Arthur, the young English actor, who makes his American film debut as Lem, in “Hollywood,” as a new comedian-a type which promises great things.
Mr. Arthur is the idol of picture fans in England and the Continent, where he first flashed into favor in the title role of H. G. Wells great novel “Kipps.” So thoroughly did the actor imbibe the spirit of his character that he won the sobriquet, “Kipps,” from the admiring public.
Following a suggestion from Charles Chaplin, whom he met in London, that more opportunities lay in Hollywood, Mr. Arthur gave up his established European fame and came to California. The second day after his arrival in the movie capital, he was at work before the camera with Jack Gilbert, and before that picture was completed had been signed to play in James Cruze's production, “Hollywood.” Since his success as the romantic Lem, the actor was selected by Carl Laemmle of Universal to star in twelve pictures directed by the famous cartoonist Hy Mayer.
Arthur's career has been singularly entwined with Hollywood. Harold Shaw, brother-in-law of Viola Dana, directed his first three films with Edna Flugrath, Viola's sister, playing opposite. He also played the lead with Mae Marsh in her two English pictures.
His success is assured, for besides his ability as an actor, he is a jolly, likeable chap, who wins friends as easily as he wins film fans.

(Camera Vol. 6 No. 24 pg. 11)


I couldn't find any confirmation that Arthur ever made any films with Hy Mayer, as referred to in the article above. Mayer had been a prolific illustrator and cartoonist in the late 19th and early 20th century. He entered the film world in 1913 via animation producing shorts for Laemmle that often combined live action with animation. His most well-known series from this period was the "Travelaughs" series. Noted animator Otto Mesmer got his start in animation working with Mayer during these years. By 1920 Mayer had his own production company (Hy Mayer Productions) and he continued producing similar films (notably the "Such is Life" series) until 1926.

Joe Moore

Re: CAMERA Comedy Clippings, Sept. 29, 1923

Posted: Sun Apr 25, 2010 2:47 pm
by Joe Moore
This Week's Theatre Notes

A sensation to the entire motion picture world and to those fans who have seen the first few performances at the Criterion theatre wherein it is being presented, Charles Chaplin's production, “A Woman of Paris,” has, judging from its reception by the Los Angeles press and public, scored the outstanding triumph of the motion picture art.
“A Woman of Paris” is the directorial triumph of a man whom the world has regarded as its greatest buffoon. Now Chaplin has forsaken acting before the camera and given the world a picture that marks a distinct forward step in the cinema. He does not appear in “A Woman of Paris,” but gives Edna Purviance her chance to shine as a star. Miss Purviance is not the only one, however, who has created a sensation: there are two or three others-Adolphe Menjou, and Carl Miller, who have reaped a harvest of favorable comment.
“A Woman of Paris” is the story of a woman's heart, dealing with the supreme problem of the ages. The theme is startling because of the utter simplicity with which Chaplin deals with the basics and fundamentals of life. The story is as old as that of Adam and Eve, and yet presented with a convincing and dramatic understanding. The presentation of the film at the Criterion is accompanied by a musical setting rendered by the Criterion Symphony Artists under the direction of Adolf Tandler.

(Camera Vol. 6 No. 24 pg. 4)

Re: CAMERA Comedy Clippings, Sept. 29, 1923

Posted: Wed Apr 28, 2010 8:58 am
by Joe Moore
Flashes from Frisco by Agnes Kerr Crawford

SAN FRANCISCO, CAL., Sept. 26, 1923_King Vidor and company making “Wild Oranges,” from the screen version of Joseph Hergesheimer's famous novel, arrived in San Francisco Thursday morning for a stay of a week. Owing to James Kirkwood's accident and the re-casting of Frank Mayo to take his role, much of the picture will be retaken. The sequences being made in San Francisco are mostly filmed on a yacht, and several days have been spent well out to sea, with some night scenes near the wharf. Besides Frank Mayo, Virginia Valli, June Elvidge, and Ford Sterling of the cast, some fifteen of the staff are here. Jas. Dugan is the assistant.

Frank Burt and Earl Sibley, who have been doing business for more than a year under the name of the Exhibitor's Exchange, have reincorporated their business as the Artcraft Production Company. They will continue at their offices, 716 Golden Gate building.

The new Cameo Theatre was opened last Friday evening with an invitation performance of Harold Lloyd's comedy, “Why Worry,” which is also the first attraction to be given the public in the new house. The regular opening to the public in general took place on Saturday afternoon.

(Camera Vol. 6 No. 24 pg. 6)

Re: CAMERA Comedy Clippings, Sept. 29, 1923

Posted: Thu Apr 29, 2010 11:05 am
by Steve Rydzewski
Hey Joe! Thanks so much for keeping me up to date with Turpin Tidbits!


Re: CAMERA Comedy Clippings, Sept. 29, 1923

Posted: Thu Apr 29, 2010 11:30 am
by Joe Moore

You're entirely welcome.

I just watched our man Ben last night in the wacky Snakeville comedy VERSUS SLEDGE HAMMERS-1915-Essanay (available from Unknown Video) and will continue to post anything I run across on Mr. Turpin in the future.

Now back to the San Francisco scene in 1923.

Joe Moore

Flashes from Frisco by Agnes Kerr Crawford

After a few days absence, Alice Lake has again returned to San Francisco, and is a guest at the Plaza Hotel.

Al. Conn, who has written the titles for most of the Mae Murray pictures, and many other screen successes, came to San Francisco last week to title “Half-a-Dollar-Bill,” latest picture made by the Graf Productions.

Ruth Roland made a big hit last week as headliner at the Golden State Theatre. Her act of songs with a little speech is opened by the showing of one reel, of bits of her daredevil pictures, specially titled for bringing out the thrills.

(Camera Vol. 6 No. 24 pg. 6)

Re: CAMERA Comedy Clippings, Sept. 29, 1923

Posted: Fri Apr 30, 2010 8:51 am
by Joe Moore
Flashes from Frisco by Agnes Kerr Crawford

San Francisco's waterfront is growing more and more popular each week with the King Vidor company working on it; two more companies arrived to also shoot water stuff. The first arrival was a company from Truart with Jack Dillon directing, and a long list of stars, including Elaine Hammerstein, Wallace Beery, Jack Mulhall, Gardiner Cooper and others. Duke Lane at the camera. They are doing several days work on a ferry boat and other locations. The “Black Oxen” company also arrived on Monday, preceded on Saturday by Frank Lloyd himself and Harry Weil, who is production manager. They started work Monday morning on the docks, and will spend some little time in San Francisco, as many of the scenes of Gertrude Atherton's famous best seller are laid here. The cast includes Corrine Griffith, Conway Tearle, Harry Mestayer and many more names well known to the cinema world. While here Mr. Lloyd is also to hold conference with Mrs. Atherton on the filming of her novel.

(Camera Vol. 6 No. 24 pg. 6)


Sounds like the bay area, in addition to being a popular vacation spot for film folk, was seeing a good bit of actual film work at this point in time.

Joe Moore

Re: CAMERA Comedy Clippings, Sept. 29, 1923

Posted: Sat May 01, 2010 9:37 am
by Joe Moore
Creighton Hale, who recently completed a delightful characterization in Goldwyn's “Name the Man,” directed by Victor Seastrom, is now under the direction of Ernst Lubitsch, now in charge of Warner Brothers' “The Marriage Circle.” Mr. Hale, who was born in Cork, Ireland, and the son of a brilliant actor-director, laid the foundation of his technique under Oscar Asche, one of London's leading directors and the most celebrated “Othello” the world has ever known.


Buster Keaton Productions
Directed by Jack Blystone.
Photographed by E. Lessley.
Story by Mitchell.
Buster Keaton
Nathalie Keaton
Buster Keaton, Jr.
Joe Keaton
Joe Roberts
Kitty Bradbury
Jean Thomas
Ralph E. Bushman
Craig Ward
Jack Duffy

Frank Lloyd Productions
Directed by Frank Lloyd.
Photographed by Norbert Brodin.
Madam Zattiany......Corrine Griffith
The Clavering..........Conway Tearle
Janet Oglethorpe......Clara Bow
Dinwiddie................Thos. Ricketts
Jane Oglethorpe.......Kate Lester
James Oglethorpe.....Harry Mestayer
Prince Hohenhauer...Allan Hale
Dora Dwight.............Clarissa Selwyne
Agnes Trevor............Claire McDowell
Ogden Butler.............Percy Williamson
Oglethorpe Butler......Fred Gambold
Judge Trent................Tom Guise

(Camera Vol. 6 No. 24 pg. 6)