text: CLIMBING UP THE GOLDEN STAIRS FAME AND FORTUNE AWAIT >f. «-X* M tarrnn™. J«® xnntaK 1 M >? *v iRi n Pu. Jffffffi - u r -".f XtiMwiM^Wl- rWnM / I / '/ ■ ■ \ \ \ ; i |j Q 11 \U ”JW'IMI 1 < < uZjßße’^Kw > _^ g - sr^| »»!■«> , *™WF>* bWURW?®' ?3M~xSZn —.JB ■• ■RffKIIU L\iff tj|F' w| i&k// VI MmSk. >(Tm7rT^’ T !•' f iH i i iIU 1 YLm/l v' . ~ /j«OßiMkj2j|SS3> A JB[ES|t W./^MRMPi3^ J JF ll wp.. »fc3na®r*» Jwfflff* 1 ' **" j is■» jiMFWMW>Sii^3 K x>te 'V J I La™?! L A R 1. S^nZiX™ JKfZI > g|■gfllHßß^Bß^^MewlO Rki6jWPl ™ SwflM weaWawwg ->k ihh wmbwvsr k a ■ 31 am ah hb ■‘.c.,* '■ f fl| Ar Bj| IrjSt "** fl BSrTI wW lfci/n ■ Dam I*l' wfl fW 1 . iff Kt \ Hflinl B £JL. WJI BHHr • RrnmMO r flmiwji v Icnirnr a*ib> < > : w£flPlhe< • wiffWl 35jAga if w-m e hp > P jMS Lj 'W® / 4\ ■tx 5 Ury s Avs \ <\ \ 1 * MAfW THO&NEN o U IJl ' | i | j;i ||l . „„ FAME, FORTUNE and the acclaim of thousands await the struggling young players of Hollywood, once they reach the hal lowed precincts of stardom. Above you see some aspirants who are well on their way up the ladder. 1, Lyda Roberti; 2, Rose mary Ames; 3, Shirley Temple; 4, Grace Bradley; 5, Carl Brisson; 6, Irene Hervey; 7, Madge Evans; 8, Pat Paterson; 9, Baby Le Hollywood Giggles The principals in the affair are. Not big names in the movies but the story is one of the funniest coming out of Hollywood in a long time. A film colony matron is said to have invited women friends over for lunch and for two tables of bridge. She planned to have creamed mushrooms and told the cook to prepare enough for second helpings. When the dishes went back, however, the cook called her mistress to the kitchen and apologized—she had set the remainder of the mushrooms on a chair and the dog had eaten them. The incident was passed off with laughs until the cook, laboring under excitement, again summoned her mistress to the kitchen. The dog was lying dead in the front yard. Horrified, the matron called the family doctor, who came right over. After a hurried conference, he went into the living room and broke the news. In the interest of safety, the ladies should have their stomachs pumped out. As the distracted hostess bid the last of her guests goodbye, the gardener in the next yard came over and touched his hat. “I didn’t want to ruin your party, missus,” he said, "but your dog was killed by a car. I put him on your lawn." It’s good for a chuckle, the way June Brewster disposed of a party past the other evening. He was soused to the eyes, but became indignant when anyone mentioned it. “Show me a straight line, and I’ll walk it,” he would shout. "I can walk a straight line as good as anyone here." He kept at it until the party was on the verge of breaking up. Then, June 1 went to the door of the apartment and opened it. Taking a lipstick out of her bag, she drew a straight line on the floor of the apartment, over the door sill and out into the hall. “There, mister,” she said, “Walk that.” Eli Lloyd Hoffman's sense of humor is running away with him, or something—“I know a producer whose ship finally came in—and it turned out to be receivership!” Lou Ashendorf has an idea in “A columnist is a guy who never knows where his next squeal is coming from!” Very amusing about the actor who has been getting into a series of fights. Many wise-cracks have been coined about his exploits, but Sidney Skolsky, diminutive columnist, put it best. “The next one that hits him wins him,” he flipped. Hollywood’s champion stickler for realism is an old Scotchman who has been working with Helen Hayes in “What Every Woman Knows.” The studio has taken pains to secure an accurate background for this picture. They duplicated the railroad station at Kilburne even to the big clock. Finding that the ancient Scot once was a resident of the district, they asked him if the set was perfect in every detail. After comprehensive study, he replied: “Well, yes, except you have the train coming in on time and, in all the 20 years I lived there, I never saw it happen.” Filmdom is getting a great big laugh out of a Swedish skipper’s retort to Lee Tracy. The actor has become so crazy about boats that pals on the set are calling him “Commodore.” He’s looked at dozens to find one that suits and also is within the pocket range. It was on one of these expeditions that he came upon a likely craft, manned by a Swedish captain. “What is the cruising radius of this boat?” inquired Lee. “Well, we manage to go to Mexico without any trouble,” was the skipper’s innocent reply. Axe-Wielder Bing Crosby at the age of 16 took a lumbering job and that he swung the double-bladed axe so manfully that he cut two large gashes in his legs, one above each knee? Loves “Hearts” George Raft will miss any kind of a party to play “Hearts” with his cronies. THE WASHINGTON TIMES. SATURDAY. SEPTEMBER 1, 1934 Roy; 10, Joan Marsh; 11, Helen Mack; 12, Jean Parker; 13, Heather Angel; 14, June Knight; 15, Ida Lupino; 16, Cecilia Parker; 17, Isabell Jewell; 18, Mona Barrie; 19, Madeleine Carroll; 20, Alice Faye; 21, Elizabeth Allen; 22, Claire Dodd; 23, Maxine Doyle; 24, Asta (just a dog, but he has become famous for his role in “The Thin Man”; 25, Jean Muir; 26, Drue Leyton; "Becky Sharp" To Be the First Jack Whitney Color Feature HOLLYWOOD, Sept. 1.—“Becky Sharp,” and not “The Three Musketeers,” will be his first all-color feature, young Jock Whitney revealed to friends before he boarded a TWA plane for New York. The millionaire socialite, who is bringing the Whitney fortune into motion pictures, declared that the urgency of release date was re sponsible for the postponement of the Dumas story in favor of a screen version of William Make peace Thackeray’s classic novel, “Vanity Fair.” “We felt that hurrying ‘The Three Musketeers’ would seri ously threaten the excellence we hoped to obtain for our first full-length color film,” said Whitney. Mrs. Fiske Played Role The youthful invader of Holly- Charlie Chaplin's "Film No. 5" At Last in Production! HOLLYWOOD, Sept. 1. —An-, nouncement that Charles Chaplin has begun operations on a new screen production bears strong re semblance to that event in shipping ? B B B'- R Wr" : B CHARLES CHAPLIN annals—the building of the new giant transatlantic liner by the British shipping companies. Both are, at the present mo- I ment, known only by cryptic num- ❖wood production realms disclosed ; that his picture would follow the i Langdon Mitchell drama, “Becky Sharp,” which served Minnie Madden Fiske as a starring ve hicle 30 years ago, and in which ' George Arliss, making his second American appearance, played the heavy, George Osborne. Whitney’s plans call for the film to have an early starring date, the company to shoot at the RKO-Pathe studio in Culver City, i The production *staff for the ' picture reads like a page from ; Broadway’s blue book. Kenneth MacGowan, loaned by RKO, will supervise; Dwight Taylor, son of Laurette Taylor, will write the screen play, and Robert Edmund Jones, noted stage designer, will take charge of the technicolor direction. The ship that will soon cut through the waters of the Atlantic is called “Number 534.” The Chaplin film that will soon force its way into the consciousness of civilized life in every country of the world bears the gaunt and highly constructional title of “Picture No. 5.” The names by which the screen play and the ship will finally be known are now being withheld. As with the liner, so with Chaplin’s next picture, have conjectures been made as to the title. Officially, however, it is still nameless. Your guess is as good as an expert’s. The similarity between the queen of ships and the foremost of pantomimists, however, goes further and more deeply. It is the importance of both to the world in general. For an announcement by Chaplin that he has started on a new film is major news everywhere. Following the Chaplin tradition, his new vehicle will be wordless. Chaplin still feels that the ends of art and effectiveness are served by leaving dialogue to the stage and developing the pantomime for which the screen provides such a rich field. He promises merely novel and pleasing sound effects. For the first time in his career, he has prepared a story in all its details before turning the crank of a camera. The production, instead of taking two years to complete, will consume only three or four months. The new Charles Chaplin film will be ready for release through United Artists in January, 1935. "Stars" Star in Garbo Film HOLLYWOOD, Sept. 1.—Much sob stuff has been written about Margaret Mann, the white-haired woman who soared briefly into the cinema spotlight by her grand performance in “Four Sons.” To her credit, the aging actress has never succumbed to self-pity. MARGARET MANN and that is another reason why Hollywood cheers her new break. She plays the Mother Superior of a Chinese convent in Greta Garbo’s new film, “The Painted Veil.” It is not the virtual star part that she enjoyed in the Fox film, but she has a number of important scenes with La Garbo. Anyway, it takes her out of the extra ranks again, and Hollywood is glad. Valuable, Are Cameramen Some reasons why Hollywood stars marry cameramen: There are only 250 in Hollywood. Fifty of these photograph 99 per cent of all current pictures. It is harder to become rated as a cameraman than a star. There have been only 10 new cameramen in the past five years. During that time, 167 new stars have come. A cameraman’s salary runs anywhere from $250 to $600 a week. The average movie life of a cameraman is 25 years. The average movie life of a star is three years. Talaphont Dittrich 7000 27, Mary Carlisle; 28, Katherine DeMille; 29, Mae Clarke; 30, Patricia Ellis; 31, Flush (another dog who, it is promised, will be a sensation in “The Barretts of Wimpole Street”); 32, Frances Drake; 33, Jean Howard. May they be lucky in their search for the elusive pot of gold at the top of the stairs. It’s a long, hard grind—let’s hope they are successful! In Hollywood, with Harrison Carroll, Hollywood, Sept. 1.—The Toby Wing-Jackie Coogan romance grows more amusing. The latest arguments between them is whether Jackie is a good enough mechanic to build a miniature automobile. He guaranteed to do it if Toby would pay for the material. So what? So she did and now Jackie is earnestly endeavoring to make good. Ann Dvorak still hopes to persuade her newly-found father, Edward McKim, to make his home in Hollywood, but the movies probably will be out. Her dad says he has been away. From pictures too many years and is doing all right in real estate. McKim knew all the big stars of the old days. He was a contemporary of D. W. Griffith at the old Biograph studio, and directed early pictures of Mary Pickford, Maurice Costello, Broncho Billy Anderson, John Bunny, and Flora Finch. And he acted with Mack Sennett. Wallie Beery will give his flying skill a real test in “West Point of the Air.” The star has announced his intent to fly the replica of the 1910 Curtis pusher plane, which has just been made at the Metro Goldwyn-Mayer studio. This is the type of machine that Al Wilson used to stunt with in the early days of the movies. The pilot sits out front and has to work gadgets with his feet, hands, and both shoulders. When the plane carries only one passenger, a sack of sand is used for ballast. Wilson owned the last of the old pushers, which has long since been wrecked. The replica was built from photographs and plans under the supervision of a local airplane manufacturer. What well-known agent and former studio executive chartered a boat and disappeared from Hollywood a few weeks ago and has his family worried because of his failure to communicate with them? Nick Foran unearths it-near the merry-go-round on the Santa Monica pier is an ancient penny vending machine which still disgorges postcards of Gloria Swanson, Mabel Normand, and Phyllis Haver as Mack Sennett bathing girls. The Hal Roach invalids are returning and the studio earnestly hopes that the jinx is over. Roach is leaving the hospital following an emergency operation for appendicitis. At the same time, Charley Chase checks out of another hospital where he has been suffering for 10 days with a stomach disorder. Doctors say, that the torn ligaments in Stan Laurel’s leg are healed enough for him to get about. Studio attaches walk around with fear and trembling lest something happen to Irwin Cobb, who has just started another picture. What Paramount director and writer-actor are paying $50 a day for racing tips and claim to be cleaning up plenty of profits? Did You Know— That Pete Smith, MGM’s ace producer of shorts, used to be motion picture critic by day and trap-drummer by night? And never mind the wise-cracks. Previews. By Jimmy Starr, “The Case of the Howling Dog” Hating: Good Produced by Warner Brothers. Starring Warren William. Directed by Alan Crosland. Story by Erie Stanley Gardner. Screen play by Ben Markeon. Dialogue director, Arthur Greville Colline. Photographed by William Ree. Supervised by Sam Blachoff. Well now, mystery lovers, here’s one plot that will baffle the best of the reading public’s sleuths...the heroine is “afraid to tell the truth. If she does, it’s a conviction of murder staring her in the face—and if she lies, well, there isn’t any out— apparently!” Told in a decidedly different manner, “The Case of the Howling Dog” Can be put down in your memo pad as a cinema to see—that is, of course, taking it for granted you’re a mystery thriller devotee. Even if you’re not, it is still a good piece of unusual entertainment. Director Alan Crosland, who is often impressed by his own cleverness, turns out a first-rate directorial job. In fact, much of the credit for the excitement of this must go to his style and treatment. Ben Markson, the scenarist, however, deserves a lot of credit for keeping the climax an absolute mystery to the last. Aside from Warren William doing a better job than is his custom, there isn’t anyone in the cast rating an outstanding adjective, except Gordon Westcott, who, for a brief few moments, delivers one of the best “nervous-type” scenes in many a movie moon. Be sure to catch this one at the beginning—and be certain to get a good grip on your chair. Three. 