The Los Angeles Times from Los Angeles, California • 49

"NAUGHTY BOYS" OF HOLLYWOOD Some Reflections on Cheapness and Vulgarities in Certain Films, and the Proposal to Clean Them Up; Sizing Up "DeviTs Plum Tree" BY EDWIN SCHALLLRT A PROMINENT motion-picture producer has during the past week sssertedtbe advisability of cleaning up the Alma, and to al in- Xvmm, iii i dlcationa hai assumed to lead Vol. XLVI. SUNDAY MORNING, OCTOBER 16, 1927. "THE MERRY WIDOW" AND TERPSICHORE JOIN HANDS AGAIN At the Metropolitan this week is Mae Murray, returning to the stage where, she declares, one can express her true temperament which includes enthusiasm, inspiration, initiative. It is the dance that the star of pictures finds most expressive and most satisfying to the artistic nature and so at eveTy performance change at the Metropolitan all week.

Miss Murray is to be seen in various Terplschorean presentations. Her costumes are declared to be particularly Intriguing. Above are drawings by Staff Artist A. L. Ewlng of Miss Murray.

In the lower left-hand corner is his impression of her as she appeared in her dressing-room conversing with Alma Whltaker. a crusade toward that end. This public does go to the big pictures, so-called, the ones that have extraordinary merit of plot or theme. They have relished such examples of this liner art as "The Big Parade." "Stella Dallas" and "The 8eventh Heaven." "Ben Hur" and others which mark the high apex of worth in the past few years. Admittedly one or the other of these pictures treated of delicate situations, but they did so In a deft and unalloyed way.

That is the thing that really counts the method of doing the thing, not the thing Itself. I HAVE the feeling that John Colton's play, "The Devil's Plum Tree," is bad art. It seems regrettable that this must be said of an effort by a playwright who has shown exceptional skill in dealing in unruly plots with a fine reserve. Even though the themes of Colton's stage pieces are unusually daring, one never has the reaction that he is attempting to write the obviously shocking play, but that after his own Intent he Is sincere. "The Devil's Plum Tree" does not particularly offend, but it the impression in one's mind that Mr.

Colton was not sure whether he wanted to be a moralist or an ironist in this case. The play seems to hang wsver-lngly suspended somewhere between the two. and has a strange air of unreality about It that never for a moment permits you to believe that any of it could really happen. On the other hand It has not the steely edge of clean-cut satire. SOMEWHERE along the line" is expressed a theme that seems to have something to do with the dynamic power of "good" as opposed to "evil." The final line, "A saint they say you grow to like it in time" (the words ruu something like thau would inaicate the suceumbln'a of Mara to regenerative more properly eudaemonlstlc (it's a tough word but worth looking up in this connection) forces over which she had no control.

Certainly she resisted them valiantly during most of the play, but Mr. Colton is sentimental enough to introduce a younger sister's affliction of Idiocy as the motivating force in bringing about the change. Mara's Influence apparently heals this sister and yet the exerting of that influence is something beyond her own persuasion, as one gathers from the chance references to it here and there. It is a curious bit of fatalism that is here exploited, but I wonder if it is going to stir any deep response, or understanding. Certainly it Is ironical enough.

There It no doubt whatsoever that there la much to commend the move. Indeed. It la necessary If Ute motion-picture Industry is to tiourlsn aa in the past. But action in this instance will seai much more impressively tl.au words. It might also be suggested that the place to begin the process or renovation In one's own house.

This is to say that the organization, with which the producer is connected, has not been especially aboye reproach as regards the tone of certain of its own productions. There have been two, or three different instances, at least, where these havo contained episodes that were in the worst of taste, and of a sort undoubtedly to give offense to people who happened to be aware of their intent. NEVERTHELESS, the fault is general. I have seen many pictures during the past year which, while not actually salacious in purpose or content, have certainly ventured into the rank slough of vulgarity in isolated scenes. So prevalent have these pictures become that they might be said to reflect a peculiar attitude of mind in certain parts of the film quarter.

There are directors and writers, as well as producers, who feel that they gain certain emoluments of satisfaction by being able to adopt a "Just see what I have been able to get away with" air, when one of their pictures happens to 6how. Their so-called subtleties often miss fire completely or else yield only a few embarrassed snickers, or the loud guffaw. THOUGH many others might be named, "The Loves of Carmen" (in which the viewpoint was all wrong, "Rookies," "Flesh and the Devil." "Two Arabian Knights" and "The Way of All Flesh" are among pictures that come to mind that have Indulged in distasteful innuendoes, pertaining to animal facts, and other unmentionables. In most instances these could have been eliminated. They added little or nothing to the production as a whole and were made in such a way that they could easily be cut out.

That Is the way with most of these suggestive or vulgar "touches." (Their technical neme.) They are so Included that In case they don't happen to get by a particular group of censors they may be readily snipped out with the cutting shears. WHAT the whole thing amounts to is a "naughty boy" complex that the Alms have acquired. Something of the same spirit, it maybe, that inhabits the New York stage. For all that it is so trivial as this, there is a deteriorating Influence, and a decadence emanating therefrom. Too.

it might be remarked that when boys get too naughty they are disciplined or else locked up. In the movies this means one of two things, either a falling off in general public appreciation (the ultra-smart pictures do not go well in the smaller towns) or else censorship. And the last-named is always in the movie industry, and outside of it for the big majority of people, perhaps is a most undesirable thing. ARTISTIC handling can dignify almost any theme, provided It is artistic. We are told that there is no room for art in the movies.

Perhaps that is one reason why something lower on the scale, sugges-tlveness rather than suggestion, which is nowadays a natural means to art expression, is chosen to fill Its place. The movies avoid the ennobling or the beautiful because they regard them as highbrow. Their conception of the movie audience is that it is of a much lower mental status than it actually is. Too. it has always been my firm belief that there is a large and representative public outside of that which Is ordinarily drawn to the theater, but that the films have never really sought them out correctly.

LOVE SCENE RECIPE IS DISCOVERED DIRECTOR FINISHES NEW HOME Fred Xiblo Duelling on Mountainous Property in Beverly Tenure Fred Nlblo. one of the first of the motion-picture colony to establish a residence In Beverly Hills, has Just completed a twenty-two-room home in the mountainous part of Beverly Terrace. The house has an elevation of 1000 feet and commands a view reaching to Catallna and the Channel islands. On the grounds are a large pool, children's playground and special croquet lawns. The house was designed by Wallace Neff and Is constructed of Calabasas granite, reinforced concrete and stucco, with red tile roof.

The front veranda is 15x50 feet. While the outside of the building is Spanish, the interior decorations are carried out in English-Spanish style. A feature of the home is the Ben-Hur room, with murals from Mr. Nlblo'8 productions. A curio den, projecting room and billiard room comprise this quarter.

Souvenirs an-l antiques gathered by Mi lnw his stage career are decorations. "KNIGHTS" PRODUCER APPOINTED Relinquishes Position to Act in Neic Capacity for Cinema Arts The picture, "Two Arabian Nights," may go on record as the "first and last personally produced film by John W. Considine. Jr." This despite the fact that open ing at the Million Dollar Theater last week, the film enjoyed a brilliant premiere and Is pronounced successful. The reason is that Considine has been appointed by Joseph M.

Schneck to be vice-president ana general manager of Arts Cinema Corporation. Henceforth all productions in whicii (Continued on Page 17, Column 5) I Cnfolde I Heslater-4 the Artfe tb Camera "JAZZ SINGER" SCORES A HIT Vitaphone and Al Jolson Responsible Picture Itself Second Rate, Says Critic Novarro's Work Liked ''Road to in BY NORBERT LI SK NEW YORK, Oct. 15. Al Jolson la a Vltaphoned version of "The Jazz Singer" opened with appropriate and characteristic ceremonials at Warner's Theater last week, not the least of which was the appearance of Mr. Jolson' in a logs with tears in his eyes and a spotlight on them.

At the end of the picture he cme down the aisle, guarded for some reason by a policeman, and wept from the stage. His tears were tears of hap plness, he said, in a brief speech to the audience, whom he addressed as "folks." There was no doubt of the success of the entertainment at the opening and a long and profitable run is freely predicted for the plc ture. As a picture it is negligible. The Vitaphone and Al Jolson put it over. With every effort, apparently, mad to produce a great picture, the re suit Is.

unfortunately, second rata. This applies to direction, photog raphy and lighting, all the more no tlceable. because the adaptation of the play has been accomplished with more than unusual faithfulness. Jol son's singing is. of course, inimitable and the quality of his voice lends Itself admirably to the Vitaphone.

As much cannot be said of his act lng. On the stage he employs ill the resources of an accomplished comedian. But in "The Jazz Singer" be acts not at all. From the moment of his appearance he Is the self-assured veteran performer, with no suggestion of the young fellow who Is supposed to be making his way and is yet to become famous Thus Jolson c'scards every attempt at a characterization. However, thl i is a minor criticism.

It is hi per sonality and his singing that will be the big oraw and In neither does he disappoint. "The Jazz Singer" 1 a hit, at least on Broadway, though some doubts are expressed for the appeal of th; Jewish theme outside New York. i JAZZ IS KINO Using and several timet that sum in mechanical innovations, the Capl tol Theater thl weelt threw ovr board its conservative entertainment lu in.ui hi. Lit to luv orchestra pit, movable floor levels and vaudeville, thereby becoming as much like the Paramount Theater as possible. There is no doubt of th ftnftnplnl Jtllrr-AK rtf th rhnncr hilt.

aeploreA by the min0Tity who see in It the relegation of motion Pictures to a purely Incidental plae on ine ijruraiii. The picture this week ts Ramon Novarro in "The Road to Romance," which is considered as chaotic as the gyrations on the stage, but which, nevertheless, is pictorlally beautiful and curiously enough enables Novarro to give a more skillful performance than he does in "The Student Prince," a few blocks down Broadway. The more discerning critics see In the new picture the same defects of "Annie Laurie," both directed bv John 8. Robertson. Thei Is confusion In the massed effects.

It Is not clear which faction is gaining the upper hand in the conflicts shown nor is the simple plot set forth In a way that is easily followed. However, the picture is not one that is supposed to bear relation to reality, but is a story-book romance with exquisite Illustration. Undoubtedly it will prove extremely pleasing to admirers of the star whose unsuspected flair for comedy quite delighted Monday night's audience. "Firemen, Save My Child" had belated opening at the Rtvoli after vtrtually all the first-run houses elsewhere had played it. It can he most gracefully dismissed by saving that It Is rot a critics' picture, even though it must be recorded that audiences are at thts moment bellow-' (Continued nil II.

Column tier contract will have run its ave- yea. course in December. One o. the ort-'nal players with the Oolciwyn j. s.2 wl.i nave had but a single near-great opportunity in that period, fciinor Olyn's "Three WecKs." A traahy picture, it nevertheless served to brl-g out this vivid personal! which, paradoxically, had oeen hiding its light under the Kliegs for five years.

People still tell Mistress Pringle about "Three Weeks." They single it out of two dozen photoplay for pra.se. The producers, suddenly aware that their s.a" miht mean something as the box o.Hce. tried to make It happen again. Immediately they catalogued her as a "type." She must do this role, but not that no. no, never! 'His Hour." from Mme.

Olyn again, followed: and then there were others. But never a second "Three Weeks." Mistress Prlngle liked working in "Body and Soul." It gave her chance to be unsophisticated nce more Preview audiences seemed to enjoy It, she says, except that was me dissent expressed aboiri; the Was it a happy Well, yes, you might call it that: her hu'bend ts killed in an avalnnch-, "Bodv and Soul" was d'reoted by Barker, from the Burt novel, "Th- Brandin- Iron." Barker mi.de au earlier version of the same story, but Mistress Prlngle says a Jsck London short story has been Incorporated In the new film, so it is really a different picture. And that is the situation to date. Somewhere ahead, there may be a great role for Mistress Prlngle. MAE MURRAY "ATTACKS" LIFE ANEW Cultivate Mild Infatuation With Leading Man, Advice of Molly O'Day There's but one to enact a romantic love scene on the screen fall in love with your leading man.

Not too desperately, of course, but for the moment for the week for the picture, regard him as Just the handsomest, the most romantic and charming being in all Hollywood. Ponder over his whimsical ways, his laughing banter, dream of his curly black (brown) (red) hair, his soft brown (cool blue) (slate green) eyes, how tall, how straight, how handsome he is. "Tls Molly O'Day's recipe for making renlistlc love scenes. Molly, of the black hair and black eyes, red cheeks, gay carefree ways, who ts Just 17 and started on what her friends predict Is going to be a brilliant picture career, seemed per-fectly serious with her pronouncement. There may have been a twinkle In her eyes as she said.

"But now, I don't mean one should, oh. seriously fall In love. Be marooned on a sea of emotion, or anything like. That's liable to be fatal, embarrassing, and one doesn't know what. I mean, cultivate a mild infatuation.

"Otherwise, how can you be at all realistic In your love scenes? I don't see. Imagine thlnklne of one's leading man as a cold stick, and acting at all romantic toward it. It isn't natural." Molly Is now working on her third picture for First National and her (Continued on Page II. Column 3) 1 i 1 I She Deserts Pictures for Stage; Public Wants Not Realism But Artistry, Ecstasy, She Says; Rhythm, Beauty, Sex Are Essential BY ALMA WHITAKKR Mae Murray Is about to "attack" life all over again. She has temporarily deserted pictures for the stage and is utterly thrilled about this engagement at the Metropolitan.

"Oh, but it is wonderful to be back among them," she bubbled. "They are adorable to me. You see, they like us to have what they call 'temperament' In the theater enthusiasm. Inspiration, initiative. They know it is the breath of our art.

But in the studios they call it 'temperament' and try to crush it. One has an Idea that thrills one but first one must submit it to two, five, a dozen people, day after day. It Is a dead rag by the time everyone has passed upon It, one's enthusiasm is wilted. But In the theater, that same Idea Is a personal matter. It depends only on one's self." "And if we are a product, as welike this and Mne gave us aplished brain beneath her golden CAREW MAY BE PRODUCER Picture Actor Has Ambitions to Play "Lonely Hearts," Edward Sheldon Play, in Los Angeles Arthur Edmund Carew, motion-picture actor, may revert to his original love, the stage, for a time this winter.

Carew wants very much to do two particular plays, both of them Imaginative, whimsical things, yet possessing, he believes, strong and powerful themes. One is "Lonely Hearts by Edwardally approve of the character who OST amazing to me Is the lack of atmosphere in this play. The dialogue is utter I ly devoid of it. The language is virtually modern. There are precedents for this perhaps in "The Firebrand" but then Colton Is in no wise dealing in this case with so light a romantic theme.

I had much rather. have seen him stick to his period, and his Croatian locale, or at least give us the impression that he was so doing. For all that it was much more of a melodrama. "The Shanghai Gesture," suggested more of a mood, and consequently more of reality. The mood flickers on and off.

and Is so eternally variable In "The Devil's Plum Tree" that there Is never a moment when you are sure of where you are or when you actually come down to it what all the pother is about. Which is wholly unsatisfactory from an audience standpoint. 1 CANNOT become greatly excited over the casting of this play I might say the miscasting. There is Just the sense all the way through the production that the parts should have been played by other people, even though these parts are after their style done in a majority of cases acceptably. Ruth Chatterton seemed to me to play with her role more than she played it, and in view of the fact that I have read a statement I (Continued on Page 17, Column 5) has the leading role.

A LONELY SOIL Sheldon is a cripple. I went to' see him and we talked In a darkened room. Finally, he said. I want to see your face' and so I drew the curtains. Well, we had a very fine talk.

Sheldon has a lovely soul that is the best way I can describe him. He said that I might have the play, but there are some details to be arranged in connection with the Shuberts" claim to it." Carew is enthusiastic, too. about "The Fool," in which the leading role is a prankish clown one. He is most Interested to see how his work in "Uncle Tom's Cabin," as directed by Harry Pollard for Universal, will be received. "I have never before carried such an emotional role," he said.

"It Is a departure from the rather more straight dramatic work I have done and I am anxious to see what will be said Joe Harris, as you probably remember, is the high-strung. Intelligent mullatto husband of Eliza, who because of his nature, his fineness, suffers tremendously from the humiliations to which he is subjected. INSPIRED DIRECTION "If 'Uncle Tom's Cabin' enjoys any measure of success, if the production which took mbre than a year and a half to make and Is based on the novel by Harriet Beecher Stowe which has reigned as a favorite throughout the years, the success will be due to Pollard's inspired dlrec tion," Carew said. He liked the role he had in "The Cat and the Canary." "I'm ithe red herring across the screen," ke said. "In other words, you think I'm the villain, but I'm not.

I'm the bait for jour Interest or curiosity." WANTED-A GREAT ROLE! Aileen Pringle Questions Past; Future Looms as Giant Interrogation Mark few expressive little bouyant, floating movements that promptly us out of drabness, even If we were conferring In an air-tight little office off an alley. "I do not think 1 should give the public realism." Mae went on. "I should try to give them nrttstry and ecstasy. I cannot Imagine life or religion without dancing. To me beauty, rhythm, sex.

are the essence of religion. Goodness should be beautiful and ecstatic. It should be freedom In the best sense. Not a breaking of convention- we are mot free within convention." By which it will be seen that this Mao is fully equipped ar both ends beautiful legs and fpot. very accomplished, and an active, accom- are, we must understand ourselves, our capacity, our Individuality.

Only so can we please. I do not want to do things my way Just for myself. I want to please. I have had 90,000 letters from picture fans and I know how I please them. They have an idea of me chiffons, orchids, perfume, rhythm.

NO WALTZ That is why I fought so hard for the waltz In "The Merry Widow." Without the dance, It was nothing. But Mr. Von Stroheim said no, it must be drama, vlthout the dance. I battled for that dance. It is not the stiff, sedate waltz of these days, but a light-hearted, bouyant dance curls.

D.tltlMf (OI.OKS I commented upon her daring of colors. Here at 9 o'clock In she was wearing oraiii' chiffon In flowing lines, topped by yellow coat which most of us would never have dared combine with it. "The colors in flames," she elucidated. "And flame Is life. Thut is why we burn candles In churches.

Color Is as necessary to me as fooo." The artist who accompanied me glowed with approval as he gazed lltvtn t.hlR vltl rvthmlr Mn- Mur ray, with her dancing eyes, her preuy pouted lips, her expressive face and (Continued on I'Hge II Column 4 1 In tllc annals of motion pictures there are few stories stranger than I that of Aileen Prlngle, actress and htRh priestess of hlghbrowlsm in Holly wood' wh08e UteHt Bh8tlow PPrance. made for the trade (lowbrows not excluded) and marketed this week at Loews State Theater. Is called "Badr CINeMATCALLY SPAKNe Sheldon, who did "Romance" for Doris Keane. Another is "The Fool" by Sem Benelll. author of "The Jest." Rights to "Lonely Hearts" are in the possession of the Shuberts but Carew is negotiating with their agents now.

Channlng Pollock, auth-thor of the play, "The Fool," holds rights to Benelll's play of the same name, but in this instance, too, Carew feels that he can secure the play from Pollock. Why this longing to return to the spoken drama when things are going favorably In the picture field? For Carew not long finished work in the role of Joe Harris in the big production, "Uncle Tom's Cabtn." has an Important part in "The Cat and the Canary," opening at the Criterion Theater this week, and was given most favorable mention by New York critics Just last week for his work. THE PART IMPORTANT It Is not the stage, nor the films which holds paramount interest," Carew explains. It is rather the role I portray, what It takes from me. my feeling." Lonely Hearts' tells the tale of a little lad.

lonely for a mother's tnve. sensitive and imaginative. It takes him from boyhood through manhood, through the strongly dra matic and critical moments of his life. There is a lovely lady who keeD annearlng in a vision before him and it is she who Influences him in what he does and with her are the strong emotional scenes of the drama. But she never speaks, she is Jtwt a vision.

"I read the play some time ago and fell in love with it. but when I went to secure its rights, I found that Edward Sheldon had Imposed the restriction that he must person 1 and foul." Mistrets Prlngle is enjoying her rst vacation since January 15. How ong It will last and what her next assignment will be, she does not know. She questions the past and the future looms as a gigantic interrogation mark. Her vexing problem crystallizes Itself into a crying need which finds expression in three words: 'A great part." Lowbrow Hollywood defines It in wo: "A break." "There are great women in history," lscovers Mistress Prlngle.

"and I int to play them: Caterlna Sforza, i Tofca, Lucrezla She has been playing sophisticated women in a series of sophisticated comedies opposite Lew Cody. The titles. "Adam and Evil." "Tea for Three," "Mixed Marriages." tell the story. The public responded with bravos and bravas to the first and may be expected to respond twice more when the latter are released. It looked almost as though something eventful something big.

had happened for her at last. Something, at any rate, a little nearer the goal. And then well, then Lew Cody's contract with Metro-Ooldwyn-Mayer expired and was not renewed. A team whose possibilities had only begun to be realized was thus cut in twa'n. Nov official plans are swathed In secrecy.

Mistress Pringle was offered a splendid role In a New York stage piayperiod style, and the kind she would have liked to do: but officials said no. thev wer afraid not. So she turned it down. 4 I 1 III '7T 1 1 -I V. V' ill 1 "MOON OF ISRAEL? ri sisters in A 1 of papis' 3 Broadway Chilton Sills in 'hmd-bow WXWt: Topsv anova V.

gLThart Hala.ee jr boulevard icxlto 1.