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^T TH OLLYWOO D

VAGABONDQuality Filmpaper $

Edited by FRED W. FOXPublished by BILLYJOY

Volume 1. Number 24 Thursday, August 11, 1927 7 Copyright, 1927. byVagabond Pub. Co.

*+*+++**+^*--*^++--r-r-*+^r***

hiatusA COMPENDIUMOF CLIPPINGS

1

Pursuant to the an-

nouncement made some

time ago, plans have

now been perfected to

publish HOLLYWOODVAGABOND as a

monthly magazine.

The issue of Novem-

ber 10th will mark the

last semi-monthly issue

of HOLLYWOODVAGABOND and the

first edition of themonthly publication will

be published on Thurs-

day, December 1st.

The monthly edition

of HOLLYWOODVAGABOND will be

considerably larger in

size and greatly en-

hanced in editorial con-

tent. A brilliantly col-

ored cover will be one of

the new features and on

the first Thursday of

each month the vivid

colors of HOLLYWOODVAGABOND will grace

the newsstands.

Plans to expand the

activities of VagabondPublishing Company are

also under way and sev-

e r a 1 interesting an-

nouncements will be

made in the next fewissues.

In the meantime.

HOLLYWOOD VAGA^BOND will continue tc

make its appearanceevery other Thursday.

Movies Quit N.Y.;

Local Boom NearDesert Gotham

For West Coast

LON CHANEYHe is "The Man in Disguise" of Fred Fox's

sketch. See Page Seven.

<.(.

r lashes of Qjreat D

The movie makers have

finally quit New York, aftermany years' gossip, pro and

con, as to the suitability of

Gotham as a studio center.

With the transfer of the

Robert T. Kane First Na-

tional units from Manhattanto Hollywood, the last of the

big producing organizations

has located in California.

There are now only one or

two location companies mak-ing pictures in New York,

aside from several other

companies of more or less

renown.

The switch from NewYork to Hollywood has beencompleted in less than a year.

In September, 1926, NewYork was filled with movie

producing companies. Thedecision of Zukor to transfer

the Paramount Long Island

City production units to Hol-

lywood and shut up the stu-

dio at Astoria marked the

beginning of the end, as it

were, for New York as a stu-

dio locale. Since that time(Continued on 0)

2sf

y >

ram a— TURN TO PAGE FOUR

9 '-'



Paqe Two Hollywood Vagabond August 11, 1927

MOVIES AND RADIOWhen the radio craze first swept the nation sev-

years ago a dark and dreary outlook was painted

the silent drama. Newspaper prophets and indus-

prognosticators declared that the handwriting-

on the wall and that the heydays of the galloping-

were near an end.

What has since transpired?

Today we find the movie spreading out and into

corners of the earth. No longer is the theater ex-

frenzy confined to America ; the film magnates

looking over the far corners of the earth and plan-

million-dollar cinema palaces for the hinterlands

f the world.

The radio, too, has progressed.

It has become a habit with us, now, to turn the dial

attune our auditory senses to the gentle nuances

are wafted to us on the ether.

Shrieking sopranos, bellowing baritones, vicious

silly xylophonists, gabby advertising criers,

announcers, screeching organs, pianos and

accessories to mild forms of arson, mayhem, mur-

and orgies of discord have frayed the nerves of all

us. Largo has pursued fugue; fugue has chased

and opera ; and all of them have chased us to

If the sins of the cinema have been gross, likewise

atrocities of the radio have been incessant and

to contemplate. Perhaps the motion picture is

inclined to any great degree of versatility in its

; yet, also, the radio seems to be a one-track formamusement or torture.

The sameness of the average radio program is

incredible. If a program of "classical music''

been prepared by the entrepreneur of the ether,

the listener will be suffocated under a blanket of

most melancholy diapasons of old-time composi-

that it is possible to gather together at one sitting.

If the program calls for "jazz," then every knownof syncopation, from the heart of darkest

to the cabarets of South Wabash Avenue, Chi-

have been scoured to heap a monotony of wild

and flats upon the hapless radio fan. To the

of the radio there seems to be no such thinga sensibly diversified program of musical entertain-

Either it is the long, drawn-out conglomerations

f the largo and medley blacksmiths or the shaking,

bing-bang, slam-crash, plop-wheese, umpah-of the ruffians of syncopation.

Hollywood, as the home of the movies, has been

of dishing up trite entertainment. Los Ange-

may not be the home of the radio, but one thing is

; it is one of the pre-eminent offenders in the

debacle. Hardly an hour of the clay passes, but

Los Angeles contributes its share of howling,

ear-smashing noise over the radio.

The movies have made progress. The radio has

as we have said before, to the point of

ecoming a habit in most homes. Yet the quality of

adio programs seems to have diminished greatly with

ach clay of its existence.

For example, there used to be what we considered

a most notable offering- on one of the Los Angeles

radio broadcasting- stations. It consisted of a one-hour

organ recital each Sunday evening. The organist was

a man whose touch was as soothing as a sunset in the

Vale of Kashmir. With a complete mastery of his art,

his renditions of classical and popular selections were

something that were awaited each week by many radio

fans, to our own knowledge. It used to be our habit

to sit down on a Sunday evening, tune in on this certain

radio station and sit enraptured for an hour, while

the organ recital was being given.

Lo ! our amazement has been great these past fewSundays. No longer is there a delightful program of

dassical and popular airs. The organist has seemingly

lost all of his delightful versatility. Now he gives us

only long-winded selections from famous operas; dull,

sleep-inducing potions of music. His mastery of the

organ, too, has evidently suffered from the new ritual.

He thumps the keys with a heavy gesture of cadence.

All of the soul, the spirit, the resonant, glorious

beauty of his art has been lost. And he is a feature

of one of the largest broadcasting stations in Los An-

geles! It is not his retrogression alone; it is the re-

trenchment of radio, too.

The motion picture may touch some very low

depths of stupidity, but, also, it reaches the great

heights of sublimity at times. The radio seems in a

fair way to settle into a rut.

However, both radio and movie fans have one

consolation. If they don't like what they're getting

they can either get up and walk out of the theater

or hush up the radio by turning the dial.

But who wants to be walking out and turning-

dials all the time?

Distinctive

Furnitureof eueru type

at all prices

atd [ "^

BenHanneseij<&

Be^tidnneseuj Art Studio

1122 II. IDestern Ave. HEmpstead 4105

tiolluiuood, California



August 11, 1927 Hollywood Vagabond Page Thret

=y te?vyayucvysyCcVShQu'c

H O L L Y W O O D *^T "T*H OLLYWOODAGAIOND \AGABOND

VagabondTH OLLYWOODAGABONOHOLLYWOOD

AGABOND

VrH OLLYWOODAGABOND

V

rH OLLYWOOD

AGABONDV

rH OLLYWOODAGABOND

VrH O L L Y W O O D

AGABOND

VrH OLLYWOODAGABOND

VrH OLLYWOODAGABONDHOLLYWOOD

AGABOND

The announcement in the last issue that

VagL L Y W O O D

.GAB ON DEAR BOOK

will be published in December has met

with great enthusiasm in Hollywood.

In response to many inquiries we wish to

state that members of the motion picture

profession . . . directors, players, scenar-

ists, et al . . . may purchase advertising

space in

\/agL L Y W O O D

AGABONDYEAR BOOK

although such advertising is not accepted

for the regular editions.

With engrossing editorial contents, printed

on rich paper in vivid colors, set up in

beautiful typographic form and bound in

imported Morocco leather

VagabondYEAR BOOK

is destined to become the most distinctive

volume ever published in Hollywood.

For further information write, wire or

phone H. M. Ayres, 620 Taft Bldg. GRanite

1859.

VHOLLYWOOD

AGABOND



Four Hollywood Vagabond August 11, 1927

«*9

HOLLYWOODACJAIONO

The QUALITY Flintpaper

*&

Published by BILLY JOY Edited by FRED W. FOXHAL M. AYRES, Advertising Director A.

J. GASCHEN, Comptroller

Published every other Thursday by the VAGABOND PUB-LISHING COMPANY. Suite 620 Taft Building, Hollywood,California. Telephone GRanite 1S59. 20c per copy; by subscrip-

tion *5.00 per year.

ofGreat Drama

Critics of the silent drama scoff at its patterned

They declare originality and versatilitya premium. Producers have been lampooned as

of drivel and the mental workings of the hoi-

that brings millions to the purses of moviehas been the despair of the intelligentsia.

In many instances the accusations are solidly

Yet it seems that to every producer or di-

who cleaves to his task there comes, soon or

the opportunity to redeem himself if he has beenof dullness or stupidity in his work. It may be

spontaneity of genius, but the argot of these gen-seems to recognize no bounds of ridiculousness

sublimity.

William Fox has been accused of making cheapwild-fire melodramas designed to stun the

and lure it into the movie palaces by virtue

its utter ferocity. Yet Fox has made such exquisite

monumental productions as "Lazybones," "7th

and "Sunrise."

Universal has, perhaps, produced every kind of a

picture" that it is possible to devise. But

for each three-score bogey-men that they have loosed

upon the super-critics in the form of dull pictures, they

have produced a work such as a "Home Maker" or a

"Goose Woman."

Mr. Adolph Zukor and Mr. Jesse Lasky may be

intent upon producing a certain number of "movies"

each year; they may found "movie schools" and

"junior star systems" and "production cabinets" and"bonus plans" and the other fol-de-rol of the giant

studio organizations, but they will also make a "Wayof All Flesh" occasionally.

Mr. Marcus Loew, Mr. Louis B. Mayer and the

other sponsors of Metro-Golclwyn-Mayer pictures will

eradicate all thoughts of various productions of luke-

warm artistic merit bv making a "Big Parade" or a

"Trail of '98" at intervals.

Even the lesser producers such as the comedychieftains will offer occasional balm for the ferocity

of some of their slapstick. There has been markedevidence of late that Mr. Mack Sennetf and Mr. Hal

Roach are endeavoring to inaugurate a higher orderof satirical comedy. The heyday of the pie-slapping,

pants-kicking, head-whamming drollery is not yet at

end, nor possibly for another decade, but there is, or

seems to be, a conscientious effort to eliminate some

of these crudities.

The question is naturally raised as to why the

spontaneous achievements of these gentlemen is not

the rule rather than the exception. This is answered

by them with the statement that they are trying to

educate their audiences to enjoy a higher type of

artistic photoplay, be it drama or comedy, and that

the process needs must be that of evolution rather

than revolution.The highbrow sniffs disdainfully at this retort and

declares that four good photoplays a year are prefer-

able to forty exposes of the lowest mental processes of

the human race. The difference lies in the fact that

the producer is figuring with a comptometer and the

critic doesn't get off Park Avenue.

In all squabbles of the human entity there is such

A Stranger with an Original Idea Enters Hollywood

[Reprinted by Courtesy of LIFE]



Auy list 11. 192', Hollywood Vtagabond Page Fiv

AGABOND VERDICTS

artment•

of•

Personal•

Critical•

OpinionT here is no such thing as an infallible critic. These

reviews of motion pictures and spoken drama are

personal opinions and should be adjudged as such.

c^p

THREE'S A CROWD, a First Na-

tional picture, starring Harry

Langtfon. Directed by Harry

Langdon.

"Three's a Crowd" is prob-

ably the finest picture HarryLangdon has yet produced.

When previewed at the

Beverly Hills Theater the

other night it was evident

that the picture was too long

insofar as release footage

was concerned. However,there were only two or three

dull spots and the opus as a

whole was vastly amusingand worthwhile.

Langdon, once again the

sad-eyed youth, had the audi-

ence in an uproar manytimes, but the trend of the

comedy as a whole was not

that of rip-roaring farce, but

rather of a subtle satire.

Langdon always manages to

inject pathetic qualities into

his characters and this wasforcefully demonstrated in

his depiction of the youthwho lived in the slum eyrie.

The picture, as a whole, is

built around Harry and it

loses none of its value for

that fact. There are certain

scenes that are carried byLangdon alone that can be

classified as the high spots

of the picture, among them,

the opening of the picture.

The wan and rather droll lad

about to rise from the bed is

a rueful figure and one that

must certainly arouse memo-ries in all of us.

Gladys McConnell contrib-

utes a splendid performance,but it is her scenes wren

Langdon that heightens her

role more than anythingelse. Miss McConnell seemsideally suited as leading

lady to Langdon.

Cornelius Keefe, a new-

comer to the screen, also

does well, and the work of

Arthur Thalasso as the mas-

sive moving-van magnate in-

dicates a brilliant future foraim.

In "Three's a Crowd."Langdon employs several

symbolical touches. Theepisode of the rag doll is well

done, so far as it goes, but it

lacks a satisfactory con-

clusion. There were several

opportunities w here the

motif of the rag doll could

have been more deftly inter-

woven with the escapades of

Langdon's character.

One of the amusing scenes

in the picture showed Lang-

don descending a long flight

of rickety stairs. As a mat-

ter of fact, this scene was

subsequently built to nerve-

wracking proportions. Each

time that Langdon descended

those stairs it was evident

that the audience was wait-

ing for Harry to tumble. The

manner in which this situa-

tion was handled is a most

commendable feature of the

film.

There was one dream se-

quence in the film, wherein

Langdan was about to en-

gage in pugilistic tourney

with Keefe, that was a gem.It was reminiscent, in somerespects, of Cruze's "Beggaron Horseback," and substan-

tiated our contention that

Langdon would be a riot in

such a grotesque comedy a^

Cervante's "Don Quixote,"

2

1- II I I I I' I1

I \ I -

M. J. ENGEL ?

with the same weird settings

and properties.

"Three's a Crowd" is cred-

ited to Arthur Ripley, and it'

that young man can continue

to turn out stories such as

this, he is set. The direction

is credited to Langdon andthe picture demonstrates thai

Harry can get along

directing himself than with

somebody else behind the

camera that is. if he can

make more like "Three's a

Crowd."f. w. F.

MATA HARI. a National Film, A.

G., Berlin, production imported

by Walter W. Kofeldt, Inc. Star-

ring Magda Sonja. Shown at

Broadway Palace Theater. Los

Angeles.

"Mata Hari," a vivid pic-

turization of the famous spy-

dancer's exploits, brings a

new personality before the

American public. MagdaSonja, in the title role, ac-

quits herself to perfection.

This German importation

is a real achievement andovershadows, by far, "After-

math," which Walter Ko-

feldt had previously im-

ported for American exhibi-

tion. "Aftermath" was ex-

tremely dull and, frequently

stupid, but "Mata Hari" hasa feeling of great drama andmoves along swiftly toward

an imposing climax and con-

clusion.

The cast was well chosen

a n d the direction w a s

smooth. The lighting wasespecially effective and the

settings were most realistic

One of the fine features of

"Mata Hari" was the excel-

lence of its technical direc-

tion. The military details

were accurate and did muchto heighten the effectiveness,

of the drama as a whole.

There were spots in the

story where the unassuagedgrief was too stentorian.

Mata Hari is first shown as

an adventuress of fie e i

amours, yet her sudden love

for the peasant, Gregori

wipes out all of her first

characteristics. Where she

was first a calculating wo-

man, she suddenly becomes a

creature of impetuous emo-tions that plunge her towardher doom.

Summed up. "Mata Hari"

is a most creditable picture

and one that offers much to

both Hollywood and the

public. Let us hope that weshall see more of MagdaSonja in time to come. She

is an artist of magnetic

charm.f. w. F.



Six Hollywood Vagabond August U, 1927

r assing of

une iVlathisJune Mathis, declared the highest-paid scenarist

the industry and, certainly, one of its most brilliant

has been taken from our midst by a sudden

dramatic death.

Brief tributes have been paid by the newspapers

;

customary honors are paid at the bier by filmdom

; and June Mathis is gathering unto memory.

How long will her name be cherished?

It is almost a year now since Rudolph Valentino,

the greatest personality ever brought forth

the motion picture, has passed on. And yet howhis name is recalled in that forgetful world we

Hollywood!

June Mathis, while always a fascinating person-

aroused none of the widespread interest ac-

Valentino. Therefore, if his memory is aroused

here where he lived and moved and

it is a bygone conclusion that her name will

be cherished as constantly as it should be.

Yet the motion picture industry owes a great debt

gratitude to June Mathis that was never fully

during the span of her career.

It was primarily June Mathis, with the courage

a visionary, who assumed a new perspective on ro-

in the silent drama and who had the courage

depict a Latin as a lover rather than as a villain. Be-

the advent of Valentino, the status of the Latin

the silent drama was not exactly complimentary.

were always cast as despicable characters, as

plotters lacking moral finesse, philanderers, roust-black-hands and such.

June Mathis visualized "The Four Horsemen of

Apocalypse" as a great motion picture. Regard-

of what may be said, the bulk of credit for this

success must always rest with the nameJune Mathis. It was June Mathis who had created,

her own mind, the struggling young Valentino as the

of Julio Desnoyers. It was the influence

persuasion of June Mathis that gave Rex Ingram,

his place in the sun, the chance to direct the

story and reach the heights of fame. The spec-

success of "The Four Horsemen," Valentino

Ingram overshadowed the popular acclaim for

Mathis. But it could never detract from the credit

was justly due her.

Those among us who were privileged to meet

to know June Mathis will always picture her as

woman of keen intelligence and an eternal smile.

We can usually form our opinions of people by

their reactions to surroundings, to the problems of the

moment, to their contacts with their fellowmen. June

Mathis always radiated a spirit of kindliness, gener-

osity, sympathy and patience. All of her lovable

qualities were exemplified in that ever-present smile

that animated her whole being. If a person ever

walked into the presence of June Mathis with a spirit

of despondency hovering about him, it was quickly

dispelled by the radiance and optimism of her smile.

That is the mute testimonial that is paid to her mem-ory by many an unknown actor and actress in Holly-

wood who hatj received a word of encouragement

from June Mathis.

It is one of the inconsistencies of life that this

truly illustrious artist should work in the shadow of

applause and then pass away with little more than a

word of sorrow from this great industry.

If we are a people who recognize the immortal-

ity of great achievements, as we claim to do, and,

further, pledge ourselves to perpetuate the memoriesof their creators, as we also have done, then the nameof June Mathis must live among us for many years

to come.

For June Mathis brought fame, honor andprogress to the motion picture and in justice to our

own consciences we cannot permit time to dim her

memory nor the sacrilege of forgetfulness to mar her

legacy of attainment.

June Mathis honor to her name!

Members Florists' Telegraph

Delivery Association

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August 11. W27 Hollywood Vagabond Page Seven

I HOLLYWOOD JOURNEYS with FRED FOX |

| vagabondia5 iiWe are the music-makers

£? And we are the dreamers ofdreams"

j6 A. W. E. O'SHAUGHNESSY

The Manin Disguise

&

We were speaking of

Lon Chaney.

—o—"Do you think he is

merely a man in dis-

guise? That the scope of

his drama is confined to

picturing hideous, d i s -

torted creatures in dis-

torted surroundings? Or

is there some great idealthat he is trying to pro-

claim underneath it all?"

— —"The disguises are inci-

dental things. He is show-

ing us people who are in

the muck of life. Their

habitations, their habili-

ments, their associates,

their philosophies . . .

how they all induce an in-

verted regard for life and

its manifold beauties.

"His ideal is to demon-strate that all people, no mat-

ter how far they may have

sunk in the mire, have great

and ennobling qualities and

are reaching for the light.

"Sacrifice has been the

moving spirit of all of his re-

cent pictures.

"Sacrifice is the highest

expression of love in the

characters he has depicted.

"Further, it arouses uni-

versal sympathy."

—o

Chaney's name is in-

alienably linked with cer-

tain backgrounds in mo-

tion pictures.

The cathedral of Notre

Spirit of Sacrifice

Dame, or the Kremlin.

Snow and ice and whirl-

ing winds. Shoddy people

tramping the frost-ridden

streets. Desolate attics

and cellars.

Or, maybe, a dive in

Singapore. Or the back

alleys of London.

— —

Lon Chaney is a graphicexample of the great op-

portunities of the motion

picture. Before the days

of "The Miracle Man,"

the name, Lon Chaney,

had gained no prominence

on stage or screen. Over-

night he became an insti-

tution.

—o

Chaney has been re-

garded in certain quar-

ters of the motion pictureindustry as a high -sal-

aried contortionist alone.

But that his conception of

drama is beyond his best

disguises is shown in the

tremendous popularity his

pictures have attained.

His make-ups vary little,

as a whole. His pictures

always strike some newnote.

Chaney's rank as a

great p o p u 1 a r favorite

cannot be disputed. It is

said that he receives more

fan letters than any other

player at the Metro-

Frecl W. Fox

Goldwyn - Mayer studios,

which practically meansthe entire film industry.

One of Chaney's greatest

assets is the fact that he has

been turning 'em out, one

after another, at intervals

that neither tire the public of

his presence or his absence.

Chaney's life has been

beset with numerous vicis-

situdes. In his early years

circumstances were not so

kind. There was struggle

and, perchance, many an

hour of despair.

Chaney, personally, cre-

ates an impression of

sang-froid. But, engaged

in conversation, one can

readily determine that his

ready smile and cheery

"hello" must have knownsome dampening in times

gone by.

Hollywood and the

films offered Lon Chaneya chance to struggle somemore. His adept handling

of make-up, seemingly an

inborn gift, enabled himto create his characters

with more than ordinary

color.

— —At the same time,

Chaney's characters have

never been built on bi-

zarre make-ups alone. Hehas prompted them from

within. He has tried to

picture their mental strug-

gles rather than their out-

ward hideousness.

He has endeavored to

show us that the basest of

humans has a soul and

great qualities that arearoused in exigencies.

His message has been thatlove is all-potent ; conqueringall man-made limitations.

— —Chaney has run the ga-

mut of characters. Lately

he has been a hard-boiled

marine sergeant and a

Chinese philosopher.

"Terror" is the title of

the picture he will be seen

in next. It is a story of

Russia after the downfall

of the Czar and the ad-

vent of Bolshevism.

Chaney is interpreting

one of his most unusual

characters and shouldeasily surpass all of his

past work.

— —There has been a credo

that a successful motion pic-

ture actor must be built alongmatinee-idol lines.

(Continued onPage 10)

cOLLECTORS of

Old Pewter

Brasses and Copper

find much to interest them

at

Hewson Handcraft Studios

25081/2 West 7th Street

LOS ANGELES

Come and Browse Around



Eight Hollywood Vagabond August 11, 1927

Incandescent Lamp Situation^Q3 By Fred McBan, A. I. E. £., I. E. S. ^

el

This is one of a series of lectures bein

can Society of Cinematographers and also

American Cinematographer." I\V. McBan

motion picture production.

3 delivered by Mr. McBan before the Ameri-

nublished in that society's magazine, "The

here discusses one of the vital phases

;;ja

In order that the filament

the lamp will not oxidize

burn, it is placed in a

in which all air has

removed. A method of

oxidization is to

the air in the bulb

inert gas. To summar-

an incandescent lamp : It

essentially a filament of

material that is able to

by being heated to

by an electric

To prevent t'hit

from oxidizing or

up, it is operated

in a vacuum or in an

of inert gas, not-

hydrogen. In a vacuum

filament suffers by reason

the absence of pressure to

it together and counter-

the tendency for it to

This difficulty can

overcome by the use of

in the bulb, which per-

operating the filament

a higher temperature

causing undue vap-

However, disad-

results in the formheat losses through the

provided by the gas in

cast of straight filament;

with a closely coiled fila-

the loss is small enoughthat in many cases it does

offset the gain in ef-

resulting fromfilament temperature

With the development

of the helically coiled fila-

ment it was found that the

reduction in the rate of

evaporation of the filament

permitted operation at a

temperature which increased

the volume of light to an

extent that more than off-

set the disadvantage of in-

creased energy loss through

conduction and convection

by the gas, convection in this

particular case meaning thetransmitting of heat by gas.

This conduction and convec-

tion loss is nearly independ-

ent of the diameter of fila-

ments of commercial size

and hence in lamps designed

for a definite voltage, those

of the higher wattage are

the more efficient in lighting

values.

The gas in the bulb of

this type of lamp furnishes i

pressure about the filament

corresponding approximate-

ly to atmospheric pressure

and thus it greatly reduce?the tendency of the filament

to vaporize or disintegrate

In the case of a filament

operating in a vacuum the

condition is reversed. Thebasis of pressure favors the

disintegration of the fila-

ment, with the result that

the filament cannot be satis-

factorily operated at as high

a temperature as in gas. It

was pointed out that one of

the reasons for not using an

inert gas in the bulb in the

earlier lamp was the fact

that this gas conducted the

heat of the filament awayvery rapidly. The coiled fila-

ment made it possible to con-

centrate the filament into a

small space at the center of

the bulb, so that its surface

was much less freely ex-

posed to the surrounding gas.and the heat loss through the

gas was thus greatly re-

duced. The principle is the

same as that which makes it

possible for a herd of cattle

to keep warm on a cold day

by huddling together, there-

by reducing the total surface

of the mass exposed to the

elements or weather condi-

tions.

Another factor that wehave to take into considera-

tion is the breakage, or the

fragility of the lamps. The

physical liquidification pointof tungsten is 3.400C or 6,-

152F, yet the lamp must

reach this figure to operate

at the full light efficiency. It

follows from that, that the

nitrogen gas jacket aroundthe tungsten filament mustact as a shock absorber to

take care of the vibration

*T'"

V II I L I P P I N K S BELCH m

?M. J. ENGELThe Largest Assortment of Rattan, Reed and Willi. » I-

in the United States

that will occur when mov-

ing on the sets is made neces-

sary for lighting effects.

I feel at this time that

some form of filter may be

necessary to choke back the

infra red rays that we knowto exist in the case of incan-

descent lamp. I especially

refer to the 3 K.W., 5 K.W.

and 10 K.W. lamp now ad-

vocated for studio use.

The higher the operating

temperature of gas-filled

lamps also accounts for anadvantage in the color qual-

ity of the light. In general

as the temperature of a solid

is increased, the color of the

light it emits grows whiter.

A tungsten filament lamp of

the vacuum type gives a

whiter light than the carbon

filament, primarily because

it operates at a higher tem-

perature. In the same waythe tungsten filament in a

gas-filled lamp gives a still

whiter light because of the

higher operating tempera-

ture made possible with the

use of gas in the bulb. Eventhe light of gas-filled tungs-

ten lamps, however, is not as

white as average daylight,

primarily because they opei-

ate at far less than sun tem-

perature. Where it is de-

sired to produce light ap-

proaching daylight in color

quality, so as to cause colors

to appear approximately the

same as they do under day-

light, the light may be fil-

t e r e d through blue-green

glass. The blue glass, if it

is of proper color content

will screen out the excess of

red and yellow rays with the

result that while the total

amount of light is reduced.

its color quality is mucnnearer to that of sunlight.

Yet another angle is that

of psychology. Most of us

feel that red heat, in which

the incandescent lamp is

very strong, is hotter than

white, green, or blue heat, in

the case of the carbon arc.

To sum up the individual

merits of the incandescentsas against that of the carbon

needs considerable thought

at this time, but since we of

the motion picture business

usually solve our own prob-

lems without outside techni-

cal aid. I don't think that wewill lose any sleep on this.



August 11, 1927 Hollywood Vagabond Paye Nine

Flashes of Great Drama

a thing as a happy medium. The question is to de-

termine its exact relation to extremes. It is the belief

of HOLLYWOOD VAGABOND that the progress of

the motion picture industry in its thirty years of ex-

istence has been most gratifying, from the standpoint

of both industrialist and artist. If this were an artistic

medium that catered to a few hundred rather than

millions of peoples, its advancement might not possess

such satisfactory aspects. However, in view of the

prejudices of country, color and creed and the ac-

knowledged mundane level of human mental concep-

tions, the motion picture has made striking progress

toward elevating itself both as an industry and an

artistic medium. By this process of evolution it has

maintained its strength as an industry and its integrity

as an art. If the radical tenets of the highbrows had

been adopted there would have been small patronage

for the motion picture today.

Would audiences of ten years ago have madefilms such as "Lazybones," "7th Heaven" or "TheHome Maker" successful both as artistic productions

as well as industrial factors? Hardly so.

A decade ago the spectacle reigned in the world

of the cinema. The clash of masses against gigantic

settings was the motif for the successful photoplay.

Showmanship of that bygone era demanded the lav-

ish use of thespic and scenic resources. Today it is all

changed. A simple story, with the elements of truth

and plausible interpretation, finds favor far beyond

that enjoyed by the super-spectacle of ten years ago.

"7th Heaven," in its life, will carry a more potent and

far-reaching message than was conveyed by "Intol-erance" in its balmiest days. Audiences today have

placed credence in the photoplay as a depicter of

truths. Ten years ago it was regarded as a massive

toy.

In all these ten years there have been flashes of

great drama. From the inception of "The Birth of a

Nation" to "7th Heaven" and "The Way of All Flesh,"

we have seen the motion picture grow as a tremendous

medium to sound the sympathies and the moral re-

actions of humankind. The motion picture of tomor-

row holds in its hands a great potential power as an

adjudicator of national, racial and religious differ-

ences by virtue of its unparalleled resources to createcomplete accord through the all-potent language of

PUBLICACCOUNTING

Your accounting, general and income

tax, is certain to be satisfactory if it is

done in proper form.

It is that class of accounting weoffer you.

A. J. GASCHEN620 Taft Bldg. GRanite 1859

visualization and the appeal to the basic understand-

ings of all peoples.

When critics of the motion picture again sally

against its seeming inaptitude to promulgate their ar-

tistic fads or notions, let them consider, for a moment,

the audiences of this newest art, if such consideration

is at all within the scope of their critical faculties.

Let them consider that for every guild art theaterthere are at least one thousand patronized by the

scorned "boobelariat" and that the former are madepossible by the latter.

When the intelligentsia rule the world, then utter

ait will pervade the silent drama. Until that time

what they may term great drama will come in flashes

in the movies. Within the last ten years these flashes

of great drama have been more frequent. It speaks

well for both motion pictures and motion picture

audiences.

Miller & CompanyJewelers

6369 Hollywood Boulevard

(yust across the street from our old location)

OPEN EVENINGS

AUBURNAMERICA'S FASTEST STOCK CAR

WINS AGAIN !

Auburn won 100-mile stock car race

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was on Salem, New Hampshire, track

and run under supervision of Ameri-

can Automobile Association.

Troutt&HigginsExclusive Hollywood Dealet


GLadstone 3613



Ten Hollywood Vagabond August 1-1, 1927

Vagab@nclia(Continued from Page 7)

This theory has been upset

Chaney, whose forte has

everything, directly op-

and whose popularity

equal to a good two dozen

our most popular screen

—o

Lon Chaney has never

false impressions

himself in the public

He has never built any

conceptions of

own ideals and self.

will be difficult for any-

to point to fan mag-

bromides uttered by

man. He has en-

his professionalwith dignity and in-

Chaney has assiduously

lavish publicity as

others in the industry

sought it. As a result

Chaney remains some-

of a mystery to the

that turns to the popu-

journals for its informa-

on the motion picture

its people.

To them Lon Chaney,

more ways than one, is

man in disguise.

But beyond the veneer

all of that, we find Lon

as a man of quiet

gentlemanly con-

pleasant philoso-

and a great wealth

sympathy.The disguises of his char-

are somewhat of a bar-

between Chaney, the

and his admirers. Like-

the utterances of manyour other celebrities have

a disguise betweenown inadequacy and

searching eyes of the

— —But through the most

disguise of

Chaney there is ap-

a man who has a

respect for

underdog trying to

the light.

Chaney has shown us

neither caste nor cir-

can mar the

that the greatest

in life is love.

And that the greatest

ove of all is sacrifice.

Switci

Writing under the head." 'Cartoon' Movies Lacking

Realism," HOLLYWOODVAGABOND declared in its

last issue that First National

would make a screen version

of George McManus' news-

paper cartoon strip, "Bring-

ing Up Father," with Charlie

Murray in the role of Jiggs.

Word has since gone forth

that Metro-Goldwyn-Mayeiwill produce this picture

with J. Farrell McDonald in

the role First National had

slated for Murray; Polly

Moran as "Maggie"; Jules

Cowles as "Dinty Moore";

Marie Dressier as "Mrs.Dinty Moore" ; and Gertrude

Olmstead as the beautiful

Miss Jiggs. The script has

been written by Frances

Marion.

"Let Me Protect You"

Frank M. Flynn

INSURANCEALL LINES

6372 Hollywood Blvd.GR-0469

Q enuine^Antiques

Not Reproductions

Slant Top Desks and

Secretaries

Poster Beds

High Boys

Low Boy

Seroentine, Bow Front,

Chippendale, Shera-

t o n, HepperwhiteChests of Drawers,

and many otherpieces, too numerousto mention.

HEmpstead 8832

Qraber'sAntique Shop

Phest of Drawers, Beds. Daven-ports, Settees. Secretaries. Chairs,

Mirrors. Tables. Etc., Etc.

Upholstering, Repairing.Refinishing

Specializing in Antiques

617 No. Western Ave.

Los Angeles, California

N. Y. Quits Movies

all of the important com-

panies in New York have

been sent to the main studios

here and Gotham is now

practically deserted by the

celluloid tribes.

While production has beengoing along at a steadily in-

creasing pace in Hollywoodthe recent agitation over the

economy measures, together

with the settling down of

the New York units here, has

exerted more or less of a tem-

porary depression on the in-

dustry as a whole. Howeverthere has been a visible pick-

up during the past week andit is believed that within an-

other thirty to sixty days the

Hollywood studios will hnhitting a gait never before

attained.

Every indication, from the

theater and distribution

fields as well as the produc-

ing end itself, indicates that

Hollywood is on the thresh-

old of its greatest boom ;; not

an inflated boom of six

months or a year, but a well-

founded era of prosperity

that will cover many years to

come.

SAVE 2G7C

ON YOUR GAS!

We will make a writ-

ten guarantee to save

you 20 % on your gas

consumption on anymodel car or truck, or

refund your money.

The total expense for

installation is only

$7.50

and, unless you make

the saving we guaran-

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Special terms to fleet

owners, garages and ser-

vice stations. A phone

call will bring particu-

lars.

The Gas-Saver Co.

620 Taft Bldg.

Hollywood, Calif.

Phone GRanite 1859

Correct Style

Expert Tailoring

'Sxclusiue Materials

$

m. a. TRummER. . ^Tailor . .

212 Professional Building


at Sycamore



duaust 11. 1927 Hollywood Vagabond Page Eleven

RICHARD

WALLACEOne of the most brilliant of the in-

dustry's younger directors, now pre-

paring to direct Will Rogers in "A

Texas Steer."

Mr. Wallace's apparel is as distinctive

as his work.

He is a satisfied patron of

QhaferQ^ HOLLY WOOD ~^

830Z HOLLYWOOD DLVD.

Importer of Men s Wear

GARDNEREIGHT - IN - LINE

MISS PRISCILLA DEANsays—

"How to remain slender has long been

the big question, and while I eat what I

wish, I find that this marvelous little ma-

chine keeps me in perfect physical con-

dition. I use the Symmetrizer a few min-

utes each morning upon arising and its

stimulating manipulation fills me with

energy and "pep." Also after a hard day

on location the gentle massage that it gives

is just the thing for tired nerves and mus-

cles. Use of the Sym-metrizer has become a

daily habit with me andI highly recommend its

use to anyone interested."

Sincerely,

PRISCILLA

DEAN.

\&-

Write or Phone fur Illustrated Literature.

THE SYMMETRIZER CO.829 No. Sierra Bonita Ave. GL-0366

Sales

&Service

HARRY ALTER6151 Hollywood Boulevard

HEmpstead 1803

WILLIAM RUSSELL

and

WILLIAM BEAUDINE

will make an announcement

of great interest to all the

MOTION PICTURE INDUSTRY

in the next issue of

Hollywood Vagabond

Watch for It!



Page Twelve Hollywood Vagabond August 11, 1927

Wh ere Service is an Art

'Would that the little flowers were born to live

Conscious of half the pleasure which they give."

—Wordsworth

?

Country Club Flower Shop

FLOWERS FOR ALL OCCASIONSPROMPT DELIVERY

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Amazing

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dered how the Parisian beauties attained that flaw-

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MIRACLE CREAM is harmless to the most sensi-

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MIRACLE CREAM is no clay or liquid powder. Youwill find no exaggerated claims made for it.

Price $2.00

For sale only at

FRANCIS MFG. CO.MAIL DEPT.

404 West Ninth Street

Los Angeles, CaliforniaMILDRED HARRIS

hollywood vagabond 1927 (24)

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