Scanned from the collection of
Dino Everett
Coordinated by the
Media History Digital Library
www.mediahistoryproject.org
Funded by a donation from
David Pierce
*?rif?>
Digitized by the Internet Archive
in 2012 with funding from
Media History Digital Library
http://archive.org/details/internationalpho04holl
TOG
HOLLY
*
W- ' h'
JANUARY -.^IJNETEgj^:
Happy
New Year
«E6.U. S.PAT. OFF
Wesley Smith Simeon Aller
January, 1932
The INTERNATIONAL PHOTOGRAPHER
One
Opening Spectacular new possibilities .....
THE B & H COOKE VARO LENS with
Variable Focus and
Variable Magnification
Zoom up to and recede from subject
without moving camera or scene .....
The Bell & Howell Company announces a development
of first importance to everyone interested in the techni-
cal side of professional motion picture making . . . the
new Varo lens.
This totally different lens opens up a wide range of
new possibilities and spectacular effects. It makes it
possible to "swoop" or "zoom" down on a subject and
to recede from it without moving camera or scene.
"Close-ups" can be taken in sound photography work
without danger of extraneous noise. "Zooming" scenes
from far back to close-up can be taken of actors on a
cliff or other inaccessible locations. The new effects
that skillful camera men will work
out with it are many.
Variable focus, variable
magnification
The new Varo lens is set to focus
on a definite position and is not
focused like the ordinary lens by
moving the lens unit nrarer to
and farther from the film. It is
set normally to focus at 150 feet
to infinity. Supplementary lenses,
screwing into the front of the lens,
are available for changing the focus
for other distances.
After focusing, various elements in the lens are moved
in a synchronized relation, the focal length changing in
smooth progression as the positions of the elements are
shifted.
Shifting is by means of cams designed and cut to
an extremely fine degree of accuracy. Since changing the
focal length or magnification involves changing the iris
continuously to correspond, the iris diaphram is also
operated by a cam at the same time as the lens ele-
ments. A locking arrangement and dashpot device in
the iris mechanism avoids any possible damage to the
iris due to incorrect operation. A "breather" takes care
of displacements of air occasioned by moving the lens
elements.
Shortest focal length of the Varo is 40mm. Longest is
A view of the neiv B & H Cooke Varo
Lens, sho'winy its (jeneral construction.
The neiu Varo Lens in place on a B & H
camera.
120 mm. — a 3x magnification. The
range of the lens is 40 to 50 mm.
at F 3.5; 40 to 85 mm. at F 4.5;
end the complete range of 40 to 120
mm. at F 5.6 and F 8.
Every camera man, every director,
every one interested in technical progress in the motion
picture field, will be vitally interested in the possibilities
of the new Varo lens. This lens will be made on special
order only. Write for price and delivery date.
^3t^
BELL & HOWELL
Bell & Howell Co., 1849 Larchmont Avenue, Chicago, 11 West
42nd Street, New York; 716 North La Brea Avenue, Hollywood;
320 Regent Street, London ( B. & H. Co. Ltd.). Established 1907.
19 0 7—2 5 YEARS OF SERVICE TO THE MOTION PICTURE INDUSTR Y— 1 9 3 2
Two
The INTERNATIONAL PHOTOGRAPHER
January, 1932
ANNOUNCING
The "Artreeves"
NEW TYPE
RECORDING HEAD
'Always One Step Ahead"
ARE YOU IN NEED OF SUPPLIES?
DIRECT CURRENT INTERLOCKING MOTORS
WEDGELITE RECORDING LAMPS
OPTICAL UNITS
MICROPHONES
CABLES
CANNON CONNECTORS
PROJECTION SOUND HEADS
PROJECTORS, PORTABLE AND REGULAR
FILM POLISHERS
CINEX TESTERS
A COMPLETE NEW AND IMPROVED SOUND-ON-FILM RECORDING
SYSTEM WITH A NEW RECORDER OPTICAL UNIT AND AMPLIFIER
WITH AUTOMATIC VOLUME CONTROL
India
MOVIE CAMERA COMPANY
Walker House, Lamington Road
Bombav 4 India.
Foreign Representatives
Australia
COMMONWEALTH FILM LABORATORIES, LTD.
Wilton and Belvoir Streets,
Sydney, Australia.
INTERNATIONAL
PHOTO GPAPHE R
Official Bulletin of the International
Photographers of the Motion Pic-
ture Industries, Local No. 659, of
the International Alliance of The-
atrical Stage Employees and Mov-
ing Picture Machine Operators of
the United States and Canada.
Affiliated with
Los Angeles Amusement Federa-
tion, California State Theatrical
Federation, California State Fed-
eration of Labor, American Fed-
eration of Labor, and Federated
Voters of the Los Angeles Amuse-
ment Organizations.
Vol. 3
HOLLYWOOD, CALIFORNIA, JANUARY, 1932
No. 12
"Capital is the fruit of labor, and could not exist if labor had not first existed.
Labor, therefore, deserves much the higher consideration." — Abraham Lincoln.
Cover — J. B. Shackelford
Pierson Creates Remarkable Books... 4
By Arthur E. Pierson
Ninety Ton Whale Fights All Day.. 8
Dodge Film "More Power to You"
Remarkably Successful Industrial. 10
RCA Photophone Inc. Has Portable.. 11
Roderick Giles, Noise Ketcher 12
By Fred A. (Red) Felbinger
Wonder Box Man Gets Prize Idea.... 14
By John Leezer
Photographing Elephants No Picnic. 15
Cinematographic Annual Presents
Varied Data on Motion Pictures . 17
Chicago 666
By the Sassiety Reporter
CONTENTS
Miami Holds Outstanding All-Amer-
ican Unique Shop 20
By Esselle Parichy
RCA Photophone Recording Com-
plete Sunday Evening Church
Services 22
Just What Is This Filter Factor.... 23
By Emory Huse and,
Gordon A Chambers
Cameramen Again Cross Equator 26
By Bob Bronner
Looking In On Just a Few New Ones. 30
By George Blaisdell
A Profit of $150,000 on $5,000 Should
Soften Squawks 37
When Seen Through Feminine Eyes.. 37
By Clara Sawdon
18 The International Photographer's
Family Album 38
The International Photographer is published monthly in Hollywood by Local 659, I.A.T.S. E.
and M. P. M. O. of the United States and Canada
Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles, Calif., under
the act of March 3, 1879
Copyright 1931 by Local 659, I. A. T. S. E. and M. P. M. O. of the United States and Canada
Howard E. Hurd, Publisher's Agent
George Blaisdell ------- Editor Lewis W. Physioc 1
Ira Hoke Associate Editor Fred Westerberg j
Esselle Parichy - - Staff Correspondent John Corydon Hill
Technical Editors
- - Art Editor
Subscription Rates — United States and Canada, $3.00 per year. Single copies, 25 cents
Office of publication, 1605 North Cahuenga Avenue, Hollywood, California. HEmpstead 1128
McGill's, 179 and 218 Elizabeth Street, Melbourne, Australian and New Zealand agents.
The members of this Local, together with those of our sister Locals, No. 644 in New York, No. 666 in Chicago, and
No. 665 in Toronto, represent the entire personnel of photographers now engaged in professional production of
motion pictures in the United States and Canada. Thus THE INTERNATIONAL PHOTOGRAPHER becomes the
voice of the Entire Craft, covering a field that reaches from coast to coast across North America.
Printed in the U. S. A. l-^Sg^2 at Hollywood, California.
Four
The INTERNATIONAL PHOTOGRAPHER
January, 1932
Pierson Creates Remarkable Books
International Photographer Compiles Graphic
Statistical Record of American Motor
Car Covering- Entire History
Bv ARTHUR E. PIERSON
WOULD you obtain the most ex-
hilarating enjoyment in the
world, next to flying, from the
possession of the latest model touring
car equipped with an elegant canopy
top and glass front, large brass acety-
lent headlights, small kerosene lamps,
pneumatic tires, mudguards, and "a
galaxy of other sterling improve-
ments"?
In the year 1904 the answer would
have been a vehement "Yes." In the
year 1931 the answer to say the least
would be an embarrassed cough.
In between these two answers lies
the romance of the development of
the American automobile. Prior to
my association with motion picture
photography and its usual day and
night rush of production I became
interested in this romance, this his-
tory of the automobile, and was able
to collect considerable data on the
subject.
In the past few months I have
found sufficient spare time to enable
me to arrange all this material in
proper order, resulting in a rather-
unique and complete pictorial history
of the American automobile.
Amazing Figures
When one considers the tremendous
change wrought upon the mind and
habits of man by the introduction of
a means of fast transportation such
as the motor car and the rapidity with
which this change has taken place it
is not hard to understand how such a
romantic history left little impression.
And for the same reason one can un-
derstand how one so readily forgets
the many difficulties and experiences
encountered in an earlier day when
motor cars were younger and not so
reliable.
The same is true of the revolution-
ary improvements offered each year
in the process of perfecting the oper-
ation and performance of the motor
car; all these, too, are taken for
granted today when the ignition key
is turned and the accelerator is
pressed.
Today, when only about forty dif-
ferent makes of American pleasure
cars are to be found on the market,
it will no doubt be surprising when
looking over the pages of the fifteen
books comprising this collection to
note that since the introduction of the
motor car around the beginning of
the present century over eight hun-
dred different makes of gasoline pleas-
ure cars and over sixty different
makes of steam cars have been manu-
factured in this country.
This fact alone offers a vivid pic-
ture of the tremendous process of
elimination and consolidation that has
taken place in this industry.
The latest evolution in the motor
car, as we all know, being constantly
reminded of the fact by the Great
American Billboard, is free-wheeling
and the syncro-mesh transmission
with the silent second gears.
But other improvements that have
been introduced lately and either
taken for granted in the operation of
the car or else completely forgotten
are such things as the air-filter, the
gasoline gauge, the oil rectifier, the
gasoline pump, the balloon tires, four-
wheel brakes, and the straight-eight
type motor. All of these have been
developed for the motoring public
during the last ten years.
Rolling Back History
The decade just previous brought
forth many other startling improve-
ments such as the self-starter, the
eight and twelve cylinder V-type mo-
Arthur E. Pierson
tors, the vacuum tank to replace the
old gravity feed gasoline system, the
chain drive and the fabric gear for
silencing the timing gears, which by
the way were trying to keep pace
with the noise developed by the differ-
ential at the other end of the car;
the sleeve-valve motor, the pressure
lubricator such as the alemite as used
to replace the old hand-turned grease
cups.
The beginning of the latter period
brings forth many interesting ex-
periences of the struggle that man
was having with his newly acquired
mechanical slave. But before pro-
ceeding any further into the romantic
past let me apologize for conducting
you through this history in reverse
gear, the reason being largely due to
the order in which events come to
memory.
A very important and rather touch-
ing bit of history involving the afore-
said struggle with the mechanical
Left, "A new-fangled contraption." Right, "With its noise and cloud of dust'
January, 1932
The INTERNATIONAL PHOTOGRAPHER
Five
1 B llllii rlilll m. * ~~
l*^:: ■'I:-^V-.- .-T^^^^^E
airaSHHPHW
Fifteen-book shelf of scrapbooks on automobiles
beast is brought vividly to my mind
when observing in numerous illustra-
tions throughout the collection a
crank handle hanging out in front of
the radiator.
The erratic personality of each mo-
tor concentrated itself in this crank
handle, which always was conven-
iently placed in such a position that
one was certain of being knocked
down and probably run over in case
the car should accidentally plunge
forward upon first turning it over.
The art of humoring this personal-
ity was known only to the car's owner,
who therefore customarily tried to
get someone else to crank the thing
for him before undertaking the task
himself. The usual procedure in
cranking the motor by hand was to
pull the crank handle up a few times,
at the same time manipulating the
choke wire that protruded coyly
through the radiator.
Some Old Tricks
In case the motor failed to respond
under this gentle treatment the next
thing to do was to attack it more
viciously and spin the handle several
times (if you could), and if this treat-
ment had no effect you would then
stop to rest and praise your little
family treasure.
Another trick sometimes resorted
to in coaxing the motor to start, one
generally used in cold weather along
with pouring a kettle full of hot water
into the radiator, was that of priming
the cylinders — that is, of pouring a
portion of gasoline into the cylinders
through little petcocks located very
conveniently for that purpose on the
top of each and every cylinder as
companions to the spark plugs.
There were times, too, when the
motor won the combat and one spent
some time nursing a broken arm or
wrist, or both.
Along about the same period a
great deal of time was consumed in
the purchase of gasoline due to the
many difficulties involved. The two
facts largely responsible for this sit-
uation were first that gasoline sta-
tions had not yet become so numerous
and fabric gasoline hose had not yet
made its appearance.
Upon entering a station at that
time to take a supply of gasoline
it was necessary first to find the tank,
which was usually under the front
seat, thereby forcing the occupants
to vacate. After deciding on thQ
amount of gasoline needed with the
aid of a measuring stick the attend-
ant then started the long procedure
of hand-pumping the gasoline, one
gallon at a time, into a five-gallon
measuring container.
No Windshield Cleaner
The can of gasoline was then car-
ried to the automobile, where it was
poured into the tank through a large
funnel containing a chamois skin fil-
ter. After all this work was done one
never expected to have his windshield
cleaned nor the tires tested, the latter
operation requiring the use of your
own gauge. A can of water for the
radiator (usually left empty by the
last one it served) could be found
somewhere around the station; that
is, if you were enough of a detective.
This complete operation required so
much time that one generally re-
served it for Saturday afternoon.
Many more amusing tales of that
period could be told if the space per-
mitted. However, in closing this era
let me just bring to mind the struggle
involved in placing the anti-skid
chains over the tires every time the
roads became slightly wet, and the
time and trouble of changing the old
style clincher tires out on the road
while every one stood around and
waited impatiently for their turn at
the pump.
Going back another decade brings
us to the most romantic age in the
history of the automobile, that of its
infancy. Here we find the greatest
and most rapid changes taking place,
Next to Flying*
the most exhilarating enjoyment in the* world comes from the
possession ot a
Winton Touring Car
Winton and Satisfaction are synom mous tern
Price
complete with
canopy top,
full lamp
equipment,
$2500
f.o.b. Cleveland
Wherever automobiles are used, there you will find the Winton
proving its superior merit. The real test is service.
All Winton cars are made under the direct and constant personal
supervision of Mr. Alexander Winton.
A galaxy of sterling improvements detailed in our r904advan.ee
booklet. Shall we send you a copy ? Dec 1903
THE WINTON MOTOR CARRIAGE CO., Cleveland, 0., U. S. A.
NEW YORK BOSTON PHILADELPHIA CHICAGO
Members Association Licensed Automobile Manufacturers
"Quite exhilarating"
Six
The INTERNATIONAL PHOTOGRAPHER
J an nary, 19J2
"Spin it — if you can"
so many in fact that books could be
written regarding them.
This was the period when the pres-
ent type motor car was molded out
of the horseless carriage and every-
one was either thinking or building
automobiles. The air was literally
filled with new and strange sounds
such as the screech of brakes, the un-
muffled gas explosions emitted by the
little engines, and the characteristic
"honk-honk" of the bulb-horn.
Song and Story
People were even singing and danc-
ing to such tunes as "In My Merry
Oldsmobile" and "Get Out and Get
Under." They were becoming auto-
mobile-minded. On the streets and
highways the horse was beginning to
lose his long held place, by having to
either turn out or stop (sometimes
actually running away), when one of
these newfangled contraptions would
go by with its terrific noise and cloud
of dust.
Although there were times when
his majesty the horse would proudly
pass one of these things stalled on
the road with its owner "out and
under" and would hear much to his
pleasure the now familiar phrase of
"get-a-horse" shouted at the unfor-
tunate man.
It is interesting to examine the lit-
erature of that day. One gleans from
it a knowledge as to how man began
to adapt himself to the conditions
that were so foreign at that time but
were to influence his entire future.
Following are listed a few extracts
taken from automobile literature of
that period which prove to be inter-
esting and to me at least very amus-
ing.
According to this extract many cf
us will never become expert drivers.
"I should be distinctly chary of rec-
ommending anyone to drive his own
car if he had never handled a pair of
reins, nor steered a bicycle," confides
one. "No doubt there are such per-
sons among the present ranks of
automobile drivers, but not only may
it be doubted as to whether they are
ever likely to become experts, but it
is also extremely undesirable that any
man destitute of road experience
should gain his first knowledge on a
car."
Just How to Drive
The three factors of speed, distance
and inclination are well taken care of
in this extract. "There is absolutely
nothing more important in the driv-
ing of the motor car than the capacity
to gauge certain factors which are
quite external to the car itself," says
another. "The first of these is speed,
the second distance, and the third the
variation in the inclination of the
road.
"To vary the speed is easy; to
know when is the time to do it is
quite another matter. For example,
ARTHUR E. PIERSON, a mem-
ber of International Photog-
raphers, for seventeen years
has been accumulating and collat-
ing one of the most remarkable
collections of automobile data prob-
ably existing in the world today.
From first-hand information se-
cured from machine manufacturers
and from trade magazines he has
filled fifteen scrapbooks of over
100 pages each.
These more than 1500 pages will
average perhaps ten cuts on each
page descriptive of the 800 gaso-
line and 60 steam propelled auto-
mobiles described in the scrap-
books.
There is a picture of each model
each year of every car manufac-
tured, together with specifications
of each.
So far as the collector is aware
there is nothing comparable to his
assembled material anywhere in
the world.
It is impossible to appraise the
monetary value of the pictorial
history. As it is practically im-
nossible to recreate the data it may
be said to be priceless.
Mr. Pierson until recently was
for more than three years in the
camera and research department of
Technicolor in Hollywood.
a driver may be overtaking a slower
vehicle in front, while at the same
moment a third vehicle is approach-
ing him from the opposite direction.
He has then to gauge the speed of the
vehicle on his own side, the speed of
the one that is approaching, and the
amount of gap that may or may not
be left between the two at the mo-
ment he has passed the one he is
overtaking.
"Incidentally, therefore, he must
also know the speed of his own car
and whether he can safely count on
getting through. Nothing is so useful
in developing this species of judgment
as a course of cycling, because before
the advent of the motor car the cyclist
was the fastest road traveler, and
therefore was constantly confronted
with the threefold problem above de-
scribed."
Some good instructions on the art
of driving are to be found in this one:
"Study the engine and listen sympa-
thetically to its every beat. The same
good feeling should exist between you
and it as 'twixt rider and steed in the
hunting field. Above all, keep atten-
tion concentrated on the business in
hand.
"When the roads are wet and
greasy have the car well under con-
trol. In descending steep hills, where
the vehicle displays a tendency to
side slip, start slowly from the top,
and, unless in a case of urgent emer-
gency, refrain from any sudden appli-
cation of the brakes.
When Skidding Was Young
"I remember once being forced to
do this and immediately the car exe-
cuted a complete semi-circle, not com-
ing to a standstill until her bonnet
pointed in exactly the opposite direc-
tion to which we had been going.
Such experiences are not pleasant and
frequently entail some damage to the
vehicle.
"One of the greatest tests of good
driving is to be able to inspire one's
passengers with a feeling of confi-
dence, especially if they are timid.
When they descend, if they declare,
T did not feel the least nervous with
you at the helm,' the driver may rest
satisfied and desire no higher compli-
ment."
Automobile road maps and direction
signs must have been unknown ac-
cording to this extract dealing with
the problem of how to find one's way
through town. "Carefully consider
the roads before starting," it suggests.
"Avoid as far as possible crowded in-
dustrial centers with their tramway
lines, congested traffic, and greasy
streets.
"It is often easier to find one's way
into a town than through it or out
of it. It is curious that people have
very limited ideas of the locality in
which they reside, and often take it
for granted that you know all the
names of the streets, buildings, hotels
and churches that they are familiar
with, and try to direct you accord-
ingly.
"When passing through a strange
town I frequently take a pilot on
board in the shape of a small boy.
numbers of whom may be found, and
who are only too pleased and willing
to conduct you either to a hotel or
through the town you are passing.
"Let them stand on the step or sit
on the footboard, and instruct them
to give you plenty of notice as to
turns and streets you may run
through. Cyclists as a rule are much
better guides than pedestrians or driv-
ers of horses; the latter do not seem
to understand the conditions and the
requirements of the motorist, and fre-
January, 1932
Tie INTERNATIONAL PHOTOGRAPHER
Seven
quently direct you on the worst pos-
sible roads."
Plugging Leaks
The care of the tires seemed to be
rather important in that day as this
extract seems to indicate. "After a
car has been run a hundred miles or
so," says one writer, "there will be
some cuts, some large and deep, some
small. These should by no means be
neglected, an hour or so should be
spent in cleaning them out and plug-
ging them with cotton wool and solu-
tion, or, better still, with a special
rubber that can be obtained for this
purpose."
Some one may have been trying to
get technical or else start a health-
racket from the sound of this extract:
"From the health point of view I be-
lieve there is nothing so refreshing as
motoring. The exhilaration annar-
ently is not due simply to rushing
through fresh air nor to the vibra-
tion of the car.
"If one were to sit in a draught or
current of air passing at twenty-five
miles an hour one Drobably would be
chilled and rapidly fatigued, or if one
were subjected to vibration of the en-
gine when a car is at rest, the motion
would in most cases produce nausea
and other disagreeable symptoms;
but, on the other hand, the rapid mo-
tion on a car produces the most ex-
hilarating effects, and on people who
have been in indifferent health it acts
like a tonic, nroducing a good appe-
tite and healthy sleep.
"It has been suggested that this
may be due not to the rapidity of mo-
tion simply, but to the fact that per-
sons in traveling are cutting mag-
netic lines of force.
"For example, it is well known that
if a conductor of copper wire be suit-
ably rotated, it will cut through ter-
restrial lines of force, producing a
current of electricity sufficient to de-
flect a delicate galvanometer, and it
is quite possible that some of the
nervous exhilaration in rapid motor-
ing may be due to the cutting of mag-
netic lines, which consequently pro-
duces electrical conditions, and may
account for the exhilarating effects."
Returning to the present day we
find that man has become well accus-
tomed to the gasoline automobile, hav-
ing used around forty millions since
its introduction in this country alone.
Today over twenty million are driven
on our highways and the industry con-
cerned in its manufacture has become
one of the country's largest with an
annual output of over 2,500,000 cars.
Man no longer needs to handle a pair
of reins in order to become a good
motor car driver. In fact, he would
have a hard time to find a pair oz
reins today.
Fairbanks Install
Douglas Fairbanks Jr.'s Christmas
gift from Mrs. Fairbanks, better
known to millions as Joan Craw-
ford, will be a complete double pro-
jector RCA Photophone portable
sound reproducing unit, which was de-
livered at their home in Beverly Hills
on Christmas Eve.
The first programme of sound pic-
tures was presented for the Fairbanks
and a number of dinner guests on
Christmas. Gloria Swanson and Mar-
ion Davies are other players who
have Photophone apparatus in their
homes.
King Charney Goes Over to
Vs Lab as Sales Manager
EGINNING January 1 C. King
jCharnev, who for more than six
years has been head of Agfa's
motion picture interests in Hollywood,
will be sales manager of Universal
Laboratories, Inc., which on that day
will enter actively into the commer-
cial field.
In speaking of his new affiliation
Mr. Charney said it would be his aim
to extend to cameramen every possible
cooperation not only in attention to
negative and dailies but also to the
wider field of release prints. It is
his belief that in the last named divi-
sion of laboratory activity there is
large opportunity for real help.
One of the factors pointing to suc-
cess in his new field of activities is an
arrangement entered into between the
new sales manager and Phil Goldstone
whereby all release prints on the
many pictures financed by the latter
will be manufactured by Universal
Laboratories.
The Reo Motor Company has con-
tracted for the installation of RCA
Photophone sound reproducing equip-
ment in the auditorium maintained
by the automobile company at its
plant in Lansing, Mich.
Through the simple process of initial contact and
genuine co-operation from camera to screen this
company is maintaining its long established policy of
consolidating cordial relations with the men who
photograph the great screen productions of the world
Hollywood
New York
Chicago
Eight
The INTERNATIONAL PHOTOGRAPHER
January, 1932
Ninety- Ton Whale Fights All Day
After Twenty-one Hour Battle Skipper Finds
Cannot Make Dead Whale Trim His Own
Craft and Loses Big Catch
OF THE different kinds of a jam
into which a cameraman may in-
ject himself — or be injected —
there is no end. In the lives of some
men it is one thing after another,
with the unexpected happening.
Recently William (Billy) Williams,
Ernest (Hap) Depew, George Un-
holz, Chuck Geisler and Robert Mil-
ler were on a twelve-day location at
sea — five cameramen and a director
in search of a whale, one or more as
might be necessary for the purposes
of a Sennett comedy. It will be noted
the objective was comedy, yet there
were times in that period of a little
less than two weeks when no fun
could be discovered even with a mag-
nifying glass.
Under the command of Captain E.
D. Erickson the good ship Clemente,
Norwegian built and equipped for
whaling, 110 feet long and all steel,
left San Pedro in November with the
aim of capturing a whale and securing
pictures for a sequence to adorn a
feature.
Dead Engine
In order to save time it was con-
ceived to be a brilliant thought be-
sides chartering a boat also to char-
ter an airplane so the plane might go
forth and hunt a whale and after its
discovery return to base headquar-
ters and report accordingly. The plan
worked perfectly except the whale
didn't understand it and wouldn't wait
for the Clemente to make the trip.
On the second dav as the plane
didn't seem to work out, Director Del
Lord took Billy Williams, Bob Miiier
and one or two others and started out
in an 18-foot Chris-craft, which to
the uninitiated is a speedboat.
After a rather disagreeable and
fruitless hunt in choppy water and
foggy weather in Catalina's mid-
channel and on the return to the base
the speedboat's engine went dead.
When it comes to a real absence of
life not even the well-known door-
nail has a chance to maintain parity
with a dead engine in the middle of
Catalina's channel in a storm.
Bob Miller told how he and his
companions found it convenient to re-
main standing in the cramped quar-
ters of the boat in order to avoid
some of the volume of water that
continually was pouring over the side.
The situation so impressed the skip-
per of a Wrigley tug with two stone
barges in tow that he stood by for
two hours until the break was re-
paired.
The first whale sighted was a large
sulphur bottom. He was chased for
several hours. Once when the vessel
was within harpoon distance fortune
favored the whale. The shaft glanced
off his tough hide without penetrat-
ing, and shortly afterward the big
fellow sounded and disappeared.
The ship did not anchor for the
night, so watch was set and the ves-
sel cruised between Catalina and Cle-
mente, to the south. Bsfore 9:30' in
the morning several whales were
seen. Each of them would blow about
a half a dozen times and then sound
for a quarter of an hour. From 9 to
11:30 things were quiet.
"At the latter hour with Billy Wil-
liams I was standing next to the
Captain," said Bob Miller. "With us
was the Debrie camera, with the two
others at each end of the bridge. A
whale had just sounded.
"That big fellow hadn't been under
water for three minutes when out of
the corner of my eye I saw the gun
swing swiftly around and then came
Above, part of camera and ship's crew
of Clemente. Below, in speed boat,
getting close-up of whale a few min-
utes after it has passed to happy
hunting grounds
the flash of flame and smoke. At the
same time I saw the whale, a mon-
ster, not forty feet from the boat.
Pulling Power
"The fun started. The whale was
90 feet long, and on the basis of a
foot to the ton, easily weighed 90
tons. He had inhaled a seven-foot har-
poon, weighing 175 pounds, and carry-
ing a rope of 480 fathoms or 2880
feet. The connecting line was so grad-
uated as to be about two inches m
diameter at the end.
"The whale went below fast, taking
his line with him. Only the presence
of compensating pulleys and springs
prevented the rope from snapping.
All the time the crew were guiding
the line, off its coils in the hold of
Left, gun with its 175-pound harpoon. Right, close-up of part of underside of ninety-ton whale
January, 1932
The INTERNATIONAL PHOTOGRAPHER
Nine
Billy Williams with Debrie on gun
deck of the whaler Clemente
the ship and throwing water in buck-
ets over the line so it would not burn.
After a mile under water the whak
came to the surface. We knew by the
tug on the ship the captain had made
a good hit.
''Then began an, experience that
falls to very few persons. For twen-
ty-one and a half hours that big fel-
low showed us around Catalina wa-
ters, or until 9 o'clock next morn-
ing, and during most of that time the
ship's engine was in reverse, the bet-
ter to tire out the whale."
After the first two and a half hours
of being towed to an unknown des-
tination, Del Lord had the Chris-craft
lowered into the water for the purpose
of getting some close-ups of the whale
thrashing around in the water. With
him Del Lord took Billy Williams,
Hap Dewey, Johnny Beck, carpenter-
grip, and Bob Miller.
Two Whales
By this time a great many whale
birds and sharks, attracted by the
blood, were following the whale, still
exceedingly lively. The Chris-craft
came close up to the big fellow, or
to within about twenty feet, as they
were making pictures on the port
side of the speedboat.
Bob Miller heard a noise on the
starboard side, and then following a
blow of water he looked around and
saw a whale on that side.
"Here is our whale around on this
side," suggested Miller to Williams.
"You're wrong," replied Williams.
"Our whale is still here. That's her
mate you have over there. It's a good
whale, a whole one."
It was a whole one sui"- enough
and he had come to join his mate
in trouble. Not only that, for the
hour this fifty-tonner ran alongside
the big sidekick most of the time the
little Chris-craft was in between the
two.
"Just like being in bed with two
whales," remarked one of the cam-
eramen. "There was a plenty going
on while we were in between them,
too, much more than the cameras fol-
lowing us on the ship ever could have
recorded."
All that night the whale pulled
around the boat and its passengers.
Owing to the heavy fog it was im-
possible for the officers to tell exactly
where the craft was.
During the evening the captain was
in a reminiscent mood, and as a re-
sult of one of the incidents he men-
tioned Bob Miller for one decided to
keep his clothes on during the night.
That was that when a whale dies he
may charge into anything he sees,
citing an instance where a dying
whale charged into the side of a wood-
en steamer and came through into
the engine room. The tale as related
by the skipper sounded much more
convincing- than it does when told on
shore with the sun shining.
The whale did make one charge
during the night, but the skipner was
waiting for him and so manoeuvred
the craft that the charge was fruit-
less. In fact, it was principally for
that manoeuvring job if needed the
captain had remained on deck.
The next morning every one was
on deck early. Bv this time the whale
was pretty well fagged out. The
sharks were in the water around him
and the sea gulls in the air above
him. Until 9 o'clock nothing hap-
Bob Miller, assistant to Williams
pened of an exciting nature, although
every one knew it was bound to come
— and soon.
Suddenly at 9 o'clock the whale
made a lunge and jumped almost out
of the water and then went straight
down to the full limit of the more
than half mile of line. It was neces-
sary to employ every device first to
prevent the rope from breaking and
then from burning.
Lose Carcass
More than an hour was required to
get the whale back to the surface.
When the huge hulk partly emerged
from the water it was noted that the
seven-foot harpoon had gone through
the whale and the barb was project-
ing through on the other side.
In response to a suggestion of the
director that he would like to have
the whale towed through the water
so he might get some pictures of the
operation, the captain arranged to
comply, first pumping the whale with
air. It seems, however, every one had
overlooked the fact no blood was
coursing through the veins of Mr.
Whale. There was nobody aboard to
trim ship.
When the towing began the tail
settled into the water much like that
Left, close-up of middle part of ninety-ton whale. Right, SS. Clemente, 110-foot whaler, used by camera crew to
harpoon and photograph whales
Ten
The INTERNATIONAL PHOTOGRAPHER
.January, 1932
Above, looking dead ahead from
bridge of Clementc. Lower, camera
crew in speed boat
of the wings of an airplane making a
bank. The whale turned in just the
exact degree the improvised rudder
commanded, and of course the ship
followed its tow and went in a circle,
too. The tail, by the way, was 22
feet across, and when that same rud-
der was turned hard aport it was not
long before the skipper admitted him-
self defeated. He just could not make
the tail of that whale behave.
It was a severe blow to the cap-
tain. It was bad enough to lose his
first whale, to be unable to bring him
into port, and that to be a ninety-ton
finback with oil to the value of $1500,
let alone all the byproducts.
Three days later the skipper got
another whale, a fifty-ton creature
which only survived the harpoon a
single hour. The director decided to
bring it in to Catalina so he could
photograph it from shore.
The projected shots were taken and
the program hardly was completed
when it was decided to hurry the
whale to sea. Even there he kicked
up such a fuss that later one of the
navy vessels was called in with its
one-pound guns. It was reported the
officers and crew seemed to be in a
hurry to go somewhere about the time
the shots took effect — one of the
boys said 'most anywhere other than
that particular bit of ocean would be
quite all right with him.
Dodge Film "More Pozver to You"
Remarkably Successful Industrial
ONE of the finest examples of in-
dustrial motion picture produc-
tion, "More Power to You," re-
cently has been completed by Educa-
tional Talking Pictures Company,
Ltd., at the Metropolitan Studio. It
was produced for the Dodge Brothers
Corporation by arrangement with the
Wilding Picture Productions of De-
troit under the management and direc-
tion of Pat Dowling and Hobart
Brownell, the latter an International
Photographer, of Metropolitan Indus-
trial Pictures.
The subject was 9800 feet in length.
It carried a complete dramatic story
written by Michael Simmons of New
York in collaboration with Dodge ex-
ecutives. Naturally its subject was
the automobile business, the theme in
detail having to do with the manage-
ment of a community Dodge agency,
covering- its own headquarters and
subsidiary agencies in adjacent towns.
The cast is entirely of professional
players, the chief executive of the
local agency being Huntly Gordon —
and finely and convincingly does he
portray the local merchant.
Others among the long list are
Jason Robards, Eddie Woods, Dorothy
Gulliver, Charles K. French and James
Durkin.
The subject was photographed by
Dwight Warren and a regular crew of
cameramen, with the result that from
the camera side the production will
stand comparison with the best Holly-
wood product. The same may be said
about the sound work on the picture —
the equal of the best.
Thus possessing all these profes-
sional factors it may be understood
why a production about the automo-
bile business, one going into sales
policies and being designed for the
company employes rather than for the
public, should for ten reels maintain
strong interest for the editor of In-
ternational Photographer and one of
the magazine owners' chief officials.
Primarily the picture was designed
to exhibit to 10,000 men — the Dodge
executives and the retail dealers and
salesmen handling the Dodge product.
The picture does more than to explain
and demonstrate fundamental selling
policies. Necessarily it must build
morale in every member of the or-
ganization. Even if the cost of the
subject may have extended into six
figures, and there would seem to be
abundant reason why it should, there
will be found justification for the ex-
penditure.
With slight changes, such as the
elimination of the more intimate de-
tails regarding the salesman's ap-
proach to his prospect, the subject
may be converted into one of large
popular interest. There will be a
wide field for it, the only possible
exception being for theatrical enter-
tainment where admission is charged.
The release rjrints, which were the
product of the local Consolidated Film
Industries laboratory, already have
been shown to Dodge executives and
dealers and salesmen. The subjects
first are exhibited in key cities,
employing theatres for forenoon
showings in connection with presenta-
tion of the company's new season
models.
Import Fee for Sound Film
Planned by Czechoslovakia
THE Czechoslovak Ministry of
Commerce plans to subject im-
ports of motion picture sound
films to special permit requirements
and an import fee of 1 per cent of the
value. The import fee of 1 per cent is
to be figured not only on the basis of
the invoice price for sound films but
also on the basis of payments for dis-
tribution and exhibition rights.
Total receipts from these import
fees are expected to amount to ap-
proximately $45,000 annually and will
be used as a special fund to promote
domestic sound film production.
The measure has been suggested to
the Ministry of Commerce by Czech-
oslovak motion picture film produc-
ers, but it is not known when it will
be put into effect. The Association of
Czechoslovak Film Distributors is
preparing a protest against the plan.
Multicolor Laboratory Gets
Busy Under Frank Garbutt
WITH Frank Garbutt in charge,
Howard Hughes' Multicolor
Company is staging a cam-
paign for new business. All of the Sol
Lesser productions, including the
Zane Grey adventure features, will
be processed at the Multicolor plant.
Standard Pictures Corporation, pro-
ducers of independent features, and
Walter Futter, maker of "Curiosities,"
a series of short subjects featuring
John P. Medbury, have signed to
have all their laboratory work done
by Multicolor.
Tom Griffith's adventure feature,
"The Bottom of the Ocean," and Tom
White's travelogue feature, shot on
the famous Huntington Expedition,
also will be processed by Multicolor.
Film Artists and Industry
Plan Exihibition in Prague
THE trade press of Paris states
that at Prague from March 13 to
20 next there will be held the
first film exhibition in Central Eu-
rope. The organization of the exhi-
bition will be in the hands of the
Czechoslovak Cinema Artists' Asso-
ciation and National Film Industry.
Of particular interest will be the
historic section dealing with the doc-
umentary history of the film in Bo-
hemia and Moravia during the past
30 years.
Several new films will be projected
with a view to showing the present
state of production in all departments.
Studio for Prague
Assistant Trade Commissioner
Woods at Prague says the A B Motion
Picture Studio Company has received
permission from the city of Prague to
erect a new studio in Barrandov, a
suburb, and work on the building will
start within a short time.
Tatlenham Out of 666
Local 666 of Chicago advises that
D. T. Tattenham of 7953^ West
Norton Avenue, Hollywood, Califor-
nia, is no longer a member of that *
organization.
January, 1932
The INTERNATIONAL PHOTOGRAPHER
Eleven
RCA Photophone Inc. Has Portable
Will Make Equipment on Large Scale to Sell ^sTngnec^pPTgnsand magazine ad"
"Already a number of cleverly con-
at Popular Prices — Mole-Richardson Will
Handle in Hollywood Territory
AFTER more than a year of in-
tensive research and meticulous
development, RCA Photophone,
Inc., announces the production of an
entirely new portable sound reproduc-
ing unit and has begun its manufac-
ture on a large scale.
Mole-Richardson, Inc., has been ap-
pointed Hollywood distributor for this
apparatus. The two companies are
practically next door neighbors in
Sycamore avenue.
Designed primarily to meet the
ever-increasing demands in the fields
of education and industry, the new
apparatus has been constructed to
serve in any capacity where portable
sound reproducing equipment can be
employed to best advantage.
The entire unit comprises a projec-
tion machine, an amplifier, a loud-
speaker and a carry-case for film and
these have an aggregate weight of
slightly more than 200 pounds. The
projection machine is 19 inches high,
19 inches wide and its breadth is 10
inches.
The amplifier, which is built in a
carry-case having a removable cover,
is 26 inches long, 8% inches high and
11 inches in breadth. The loudspeaker,
which is of the flat baffle type, is con-
tained in a carrycase, the dimensions
of which are 8Y2 by 19 by 14% inches.
Standard 35 mm film is used and
adequate sound reproduction is obtain-
able in a room or hall having a con-
tent of 75,000 cubic feet when using
the 8-inch directional baffle. A 6-inch
dynamic cone speaker is supplied
when the cubic content does not ex-
ceed 12,000 feet.
Good Sized Picture
A picture about 8 by 10 feet in
dimensions is obtained upon the
screen from a throw of 75 feet. The
equipment is AC operated from an
outlet of 105 to 125 volts, either 50
or 60 cycle, single phase power source.
The total power required is approxi-
mately 12 amperes at 100 volts.
Connections between the various
units are made by means of suitable
cables fitted with necessary plugs and
receptacles. For a complete set-up
using one projector only four cables
are required.
One is for the power supply to the
projection machine; one for the power
supply to the amplifier which may be
plugged into a receptacle in the pro-
jector; one to connect the signal cir-
cuit of the projector to the amplifier
and one from the amplifier to the
loudspeaker.
The projector is designed to accom-
modate a thousand-foot standard reel,
a Standard Series I theatre projec-
tion lens with limits of focal lengths
of 3% inches to 8 inches, 1000-watt
110 volt, pre-focused base projection
lamp, and 10 volt, 7% ampere exciter
lamp and a UX868 photo-electric cell.
"We believe our engineers, in colla-
boration with the engineering depart-
ment of the RCA Victor Company,
have produced a portable sound re-
producing unit of exceptional merit,"
said E. O. Heyl, vice-president and
general sales manager of RCA Photo-
phone, Inc. "More than a year's time
was consumed in research and experi-
mentation before our engineers had
obtained the results toward which
they had been aiming.
Popular Price
"They had been asked to develop
and perfect an apparatus that would
measure up to the high standard of
efficiency that has been maintained
by our other types of sound repro-
ducing equipment and, if possible, to
produce it at a cost which would make
it possible for us to place it on the
market at a price that would be at-
tractive.
"This has been accomplished. The
new RCA Photophone portable sound
reproducing unit is now in what might
be characterized as the 'popular price'
class.
"It is well within the means of any
college, university, school, church, fra-
ternal organization or any non-thea-
trical institution that heretofore has
employed silent motion pictures for
education or entertainment purposes.
"The constantly increasing interest
by industrial leaders in sound motion
pictures was a factor which prompted
us to place this new machine upon
the market.. Manufacturers of na-
tionally and internationally advertised
products are beginning to see the tre-
mendous possibilities of the sound
motion picture as an adjunct to ex-
ceived advertising sound motion pic-
tures have been made and presented
with exceedingly satisfactory results
in various sections of the country.
"It is our firm belief that the sound
motion picture will be an important
factor in connection with future de-
velopments in education and indus-
try."
It is understood RCA Photophone,
Inc., will employ dealer distribution
along with its own selling organiza-
tion in introducing its new portable
apparatus.
Audience Demands Certain
Portion of Film Repeated
AT THE recent opening in Bogota
of "The Lights of Buenos Aires,"
starring Carlos Gardel, the audi-
ence became so enthusiastic as to de-
mand that a certain portion of the
film be repeated.
When the management did not im-
mediately accede the audience threat-
ened to wreck the theatre. The the-
atre was saved by stopping the film
and repeating the scene requested.
Audiences in Bogota are noted for
their destructiveness when they are
displeased with a film, but this is the
first time that they have used the
same tactics to express their pleas-
ure and demand that a part of the
film be reshown.
Portugal May Make Talkers
In the interest of the production of
sound films in Portugese, Leitao
de Barros, prominent Portuguese film
producer, has just gone to Brazil to
study the possibilities of an agree-
ment between the two countries.
Mr. de Barros is representing the
Junta of National Education on this
mission and will render a report to
the Portuguese government upon his
return.
New RCA Photophone Inc. portable sound reproducing equipment being
placed in the rear of a small runabout
Twelve
The INTERNATIONAL PHOTOGRAPHER
January, 1930
R
oderictifliles
G
As told by
Fred A. (Red) Felbinger
CHAPTER II
CUMULUS, fleecylike clouds, snow
white lilies, waltz music and
things like that are lap dissolvin
through Roderick Giles' mind one
mornin as he hangs against the
dizzy little blond's desk in the office
of Screen Digest.
By lampin that sick duck look on
the hero's face all the camera snoop-
ers in the joint know this is love. So
does the peroxide frail, but you know,
even Helen of Troy didn't tell Mene-
laus everythin neither, and that wuz
long before men like Roddy wuz wised
up about wimmin. . . .
So Roddy hangs there tryin to work
up enuf John Gilbert in that fishy
stare to bust out and ask the dame
to help him give the bank roll a airin
#
oisQ ketcher
The Kid Himself
that night, when suddenly the big
boss sends out word he wants Roddy
in on the carpet. . . .
Well, Roddy's legs work like a cou-
ple broken springs on a old model T
Ford as he stands before the almighty
one and he has flashbacks to the ole
days of nickel snatchin for the phone
company and gettin hamburgers with
onions for the chief operator when
suddenly the head man snatches at
him:
"Roddy, I like your work! . . . You
is the best soundman we has, and I
am going to send you to Chicago to
work with Pat McCarthy, our ace lens
snooper in that blood soaked terri-
tory."
"/ love youse! Kin I go to the train?"
To the
Sassiety Reporter
And Rod manages to squeeze a
"Yes sir" through his tonsils.
"I want you to grab the Century
this afternoon! Thas all!"
And somehow them cumulus clouds
in Roddy's heart turned into one of
them low ceilins plane pilots is afraid
of, as he thought of little Gertie, the
dizzy blond out there at the informa-
tion desk. Roddy could of imitated a
guy pealin onions or grindin fresh
horseradish as he walked down the
hall to break the news to his little
gift from heaven.
Heaves Garbo Look
So Roddy wipes the dew of Love's
dream lost from his lamps and he
blabs the sad new to Gertie. . . .
Havin experienced the silly passion
before, the platinum babe just heaves
one of them Garbo looks. "Okeh, big
boy," she ses, "never you mind. I love
youse. Kin I go to the train with
you?" Well, the sweet dove of un-
consciousness flies right back to Rod's
heart on that one.
So near train time they is rollin
over to Grand Central, in one of these
high class accident wagons called a
taxi, with the little vamp gurglin the
kind of stuff that keeps song writers
from the bread line and Rod is findin
he is no slouch hisself on the soft
baloney.
So as the eight ball porter shows
Roddy where upper ten is Gertie plays
the ace up the sleeve by cryin, "Gee!
I wish I could get on the train with
you. I always wanted to wire
Mamma from somewhere that I wuz
married!"
And on that one Roderick Giles
gathers hisself a armful of Gertie,
and a little later the jigaboo comes
dashin in the car yellin "All aboard!"
So Gertie gives Roddy another of
them fifteen-foot smacks the censors
cut out for their private collection
and ducks out cryin.
Rod dashes to the back porch of the
train and belches:
"Gertie, I'll write you every day.
. . . And please, you ain't gonna go
out with all them cameramen in the
office any more, is you?"
"Oh, Roddy! Now we are engaged
then, aren't we?"
And as the engineer gives the ole
engine the works Roddy looks like a
hombre with a bad case of Klieg eyes.
The next mornin the Twentieth
Century chugs into La Salle Street,
Chicago, just as slow as a extra fare
train kin chug, and by this time Rod
agin feels the importance of bein a
ace noise ketcher. ... He had hoped
Pat McCarthy, his new button pusher,
wouldn't embarrass him by havin a
brass band at the station to meet
him. ... So this wuz Chicago!
After Red gets by the movie stars
January, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirteen
and politicians what is posin for the
photogs, after gettin off the same soft
coal speedwagon he is on, he looks
around for Pat McCarthy. . . . Finally
he asks one of the photogs if he knows
his new film burner.
Enters Speakeasy
"Oh, Mac? Sure, jest left him over
at Chester's place." And he scribbles
the address on the back of a list of ole
telephone numbers from yesterday's
beauty contest assignment. Well, Rod
doesn't know who this hombre Ches-
ter is, but he gets into one of these
Chicago fender smashing buggies and
rolls over to the address.
He rings the bell and a guy with a
nose like a Jonathan apple and wearin
a apron comes to the door. So Roddy
asks for "Mr. Pat McCarthy, the
Screen Digest cameraman!"
"Come in," says the old maestro of
the beer tap and comb. . . . And Rod
finds hisself for the first time in his
life in one of these million monu-
ments to the eighteenth amendment
... a speakeasy.
Over at the bar sits a bird drinkin
em straight and using beers for chas-
ers (Ches calls em Truck Driver Spe-
cials) and Chester ambles up and
says "Here is a guy to see you, Mac!"
Rod puts the ole Manhattan fourflush
into his stride and sticks out the ole
mitt with the dialogue, "Glad to know
you, Mr. McCarthy! I'm Roderick
Giles, your new sound technician!"
Mac kinda looks him over ala slow
motion 8 to 1 and finally belches
"What do you want me to do, sing
Babv Shoes ? Sit down and have a
drink."
"What'll you have?" chimes in
Chester like a automatic piano on the
contact of a nickel.
"Oh, I'll have a chocolate malted
milk," snaps our hero (they was his
favorite luxury).
"And put a lily in it, Chester —
nothins too good for a noise ketcher,"
sneers Mac.
And so wuz born, or maybe it just
kinda happened, the perfect team of
the movie news snoopin industry.
Settles Down
Rod gets hisself a room and settles
down in the chain store plan of home-
life at the Y.M.C.A. . . . Nightly the
good little boys who room with Roddy
gather round the fireplace to listen to
some baboon tell Horatio Alger tales.
. . . Here wuz spent many a great
night by the good little lads who had
made their way to a big cruel city,
spent in this nice atmosphere. It wuz
just dandy, you know, sort of a nightly
indoors corner Salvation Army meetin,
only the bass drum wuz missin. They
didn't eggsactly hold a collection be-
cause the Y.M.C.A. had other ways to
get a donation from its inmates.
Wun night Roddy is called on to
tell how he had made his way up in
the woild from nickel snatcher to
sound technician. . . . Roddy even
thrills hisself when he gives his own
history of another small lad who made
good in a big way. . . . He even men-
tions the queer critters his callin
forces him to associate with.
"Button Pushers! The poor guys
what had to sell papers when they
wuz kids and jest didn't have the
breaks of book learnin". . . . He even
flatters them a bit by sayin "Well,
they have got guts."
Maybe it is a pretty speech Rod
makes to them hallroom boy pals of
his sittin there before the burnin gas
log, but how wuz Rod to know Pat
McCarthy wuz to stray into that lobby
that particular night to try to line
up a story for Screen Digest on young
kids learnin how to be life savers.
Mac is jest hangin again the desk,
waitin for the flat-chested guy they
calls the physical director to sell him
on the idea of the pitcher, when he
looks over to the nightly gatherin
which was applaudin a orator about
to start a evenin . . . and Mac, bein
a dyed in the wool news snooper,
always took note of all birds he ran
across in search of the stuff called
human interest, what made his callin
so dear to his gin-soaked heart.
So it just happens that Mac's eyes
pan over to a hero of the evenin of
the lobby adventurer's, and the hero
is none other than Mac's noise
ketcher. ... So Mac just kinda for-
gets his mission as he sinks into a
chair in a dark corner . . . and listens.
Mac Blows Up
"Well, the poor yap's gotta do sum-
pin to pass the nights away since he
ain't hot on skirts!" thinks Mac and
he really enjoys this noise ketcher of
his and feels proud so dumb a hombre
could entertain a crowd of guys even
if only in a Y.M.C.A. lobby ... but
when Roddy gets down to mentionin
cameramen and the way he draws a
pitcher of em, Mac can stand it only
so long and finally the Irish in him
turns the blow torch on his blood when
he ups and hollers across the room
"Throw him a fish!" and he walks out.
Well, evrybody looks around and
wonders who the uncouth feller is . . .
except Roddy. Mac's voice kinda
sizzles into them two spaces where
Rod parks the ear phones when on the
job and it isn't wax in em that makes
em tickle either. . . . Rod even for-
gets to take a bow. He just walks
up to his room and he almost forgets
the nightly fiery love epistle to his
gum-chewin blond babe back home in
Manhattan.
The next mornin he sneaks into
the joint which is almost home to
Mac but to others it is the office. . . .
Mac is already there and sumpin in
his eyes tell Roddy everythin isn't
jake eggsactly ... he wonders if
maybe his oration on Button Pushers
last night is stale beer to Mac . . . but
no, Mac busts out:
"Just had the ole man burn up the
wires from New York . . .• said my
interview with Al Capone which I
finally got after two years of pluggin
is ruined. . . . RUINED . . . and laff
this off, you dumb dial twister! . . .
RUINED . . . because there ain't one
lisp of sound on it!"
"Sure, I know that!" fires back our
hero. ... "I could a tole you that
the day we made it!"
"What you mean!" screams Mac.
Well, Roddy kinda gains his com-
posure and he starts to explain, or
maybe we should say, gets started on
explainin.
"Well, you see, I didn't like the way
my mike wuz placed in the scene . . .
so ... I just turned off the sound!"
And all of a stidden everythin goes
black before Rod . . . only this time
he hasn't fainted like the day he got
the job in the gallopin tintype indus-
try. . . . This time sumpin hit him.
"(To Be Continued — Maybe Soon)
Rodd even thrills hisself when he gives his own history
Fourteen
The INTERNATIONAL PHOTOGRAPHER
January, 1932
Wonder Box Man Gets Prize Idea
Producer Asks for Camera Designed to Ignore
Actors with Accumulated Standing- Time
Thereby Aiding- Nullification
By JOHN LEEZER
Editor International Photographer:
THE contest announced in your
October issue has been, from the
standpoint of number of con-
testants at any rate, a great success.
I wish to state that while the idea of
the contest was a good one, it being
m y own, it
would have got
nowhere had it
not been for
the cooperation
of your valua-
ble magazine.
Your readers
s u p p 1 i ed the
only source
from which we
could secure the
desired sugges-
tions.
If you have
entertained any
doubts, however
diminutive, that the Wonder Box
would ever fulfill the expectations we
have led you to expect, you may dis-
miss them entirely. When you are
acquainted with the results of the con-
test you will understand why.
Of course we would not consider
seriously all of the suggestions of-
fered. With only half an eye one
readily could detect the kidding na-
ture of some of the suggested im-
provements for the Wonder Box.
More than one thought there should
be a lunch counter in connection with
the contraption.
A desire to inject a bit of comedy
into the script may have given birtn
to this idea, but I am of the opin-
ion that it was a reaction to the re-
cent death of meal checks. In any
event the Wonder Box is non-com-
petitive in the field of motion picture
apparatus or drug store trade.
An interesting suggestion came
from one of the foremost universi-
ties on the Pacific Coast. The letter
stated that the announcements of the
progress of the Wonder Box had been
read from time to time and while
nothing extravagant had been seen
in our claims for the instrument, it
was not understood why a speed
movement had not been provided for.
The institution is desirous of making
some experiments in the study of
projectiles in flight; particularly the
16-inch shell.
5000 a Second
A movement capable of photo-
graphing 3000 pictures a second
would, in the university's opinion, be
sufficient to enable a comprehensive
study of the habits and idiosyncrasies
of a projectile of that calibre while
on its flight from here to there or
vice versa.
As a matter of fact the Wonder
Box movement is capable of a speed
of 5000 pictures a second and conse-
quently the onceover of a 16-inch or
a 32-inch shell in flight, for that mat-
ter, will present no difficulty what-
ever— except possibly some skill may
be necessary in following it.
"Bill" Sickner, who is a notorious
pam artist, assures me that with the
Wonder Box mechanism it will be a
cinch to follow anything from a 22-
calibre bullet up.
I have, therefore, advised the uni-
versity people to what extent the
Wonder Box can be depended on to
aid them in their ballistic researches
and also explained that our silence
on the aforesaid speed possibilities
had been due to a mere oversight in
enumerating the many more remark-
able features of the forthcoming pho-
tographic marvel.
Reducing the Supply
A cinematographer with whom I
have been on speaking terms for some
time — I put him in the business, in
fact — made a suggestion which indi-
cates to what depth even one of our
craft may sink. He advised that in-
asmuch as we now use acetylene gas
in transforming the negative image
to positive in the Wonder Box we
substitute some lethal gas for the
acetylene.
"Too dangerous,"* I expostulated.
"Some of the operators might get
killed."
"That's the point I'm trying to
make," savs he. "Let some of these
old fossils who ain't working any-
how go to work on the Wonder Box
and when the gas leaked somewhere
they would be out of their misery."
For fear he wouldn't find it soon
enough, I showed the dastardly vil-
lain where the door was. I am get-
ting along in years myself and nat-
urally I resented this attempt to re-
vive the technique of that old scoun-
drel Doc Osier.
Suggestion a Dud
The suggestion, which came as near
winning nothing as any of them, was
from a producer — one of the big ones
at that. For obvious reasons I cannot
mention his name. He stated frankly
he was not competing for a prize, but
inasmuch as so many miraculous
achievements were being perpetrated
in the world of mechanics today he
had ben led to hope for a way out
of a dilemma which had confronted
him and his colleagues for many
moons.
"If you can add a device to your
camera," said he, "I have no idea
how it can be done, but if it is pos-
sible not to photograph certain peo-
ple in a picture then the producers'
troubles will be over and your fortune
made."
Strange as it may seem, George,
the producer had mentioned a matter
not altogether foreign to previous
contemplation on my part. The pro-
ducer's reasons for wanting a film
non-sensitive in certain regions were
somewhat different from mine, how-
ever.
To prove his sincerity, no doubt,
this official went on to explain why
such a camera feature would be de-
sirable or useful to a producer.
Alibi for Producer
"All of us," he said, "have one or
more so-called stars on contract who
for one reason or another may not
be cast in more than one picture in
twelve months. The weekly salary,
however, of $10,000 or more accumu-
lating in the meantime adds $400,000
or $500,000 overhead to the next pic-
ture they appear in.
"If this custom continues, we are
ruined," declared this official. "Make
a camera that will not register these
stars on the film," he pleaded, "and
every studio will make it standard
equipment. All we will have to tell
them then will be, 'We can't use you.
You won't photograph.'
"If you can make it a camera that
won't photograph anybody who wants
more than $1000 a week, SO MUCH
THE BETTER!"
Of course I felt highly flattered at
the gentleman's proposal to make us
the goat and said so.
Please reserve double page in In-
ternational Photographer for the next
twelve issues to carry announcement
extraordinary. Some time during the
coming year we expect the Wonder
Box to make its debut, but if copy
does not reach you before closing
forms on any issue you can sell space
to anyone but George Mitchell or Joe
Dubray or Snyder and Moreno. Better
include Johnnie Jenkins also. Thank-
ing you for the many past favors, I
am,
Very truly, JOHN LEEZER.
Norwegian Invents Process
for Superimposing Titles
A CCORDING to a report from the
/"\ Oslo office, says Trade Commis-
sioner George R. Canty, Leif
Eriksen, of the Norwegian branch of
an American company, has invented a
process for superimposing titles on
film. A great improvement has been
brought about by this invention, it is
stated. Mr. Eriksen has patented his
method and considerable interest has
been shown in it. He has not as yet
disposed of the patent rights.
It is understood the process consists
of printing the titles on the film with
a certain acid so that the printing
appears in white, showing in white
on the screen also. Of course, the
film can be run through the projector
in exactly the same way as before, as
the printing does not interfere with
it in any way.
January, 1932
The INTERNATIONAL PHOTOGRAPHER
Fifteen
Left, elephants getting under way. Center, Clyde De Vinna with elephant man armed with club faces enraged ani-
mals as they tear past his camera, Neal Harburger with still camera being twenty feet behind him. Right, In right
foreground elephant has heard click of grinding concealed camera and walks over and after looking it over kicks it,
putting it out of business. The animals are lined up preparatory to starting rush
Photographing Elephants No Picnic
So Discovered Camera Crew When Assigned to
Shoot Synthetic Stampede Which Proved
Lively Enough to Please All
WHEN a camera troup sets out,
to photograph animals of size
they do not expect a picnic.
Neither did the crew from the M-G-M
studio under Hal Rosson when it
started out to put "Tarzan" on film.
It did not,, however, expect quite as
much excitement as it encountered.
Among the delegated tasks was
securing pictures of stampeding ele-
phants, twenty of them, and to make
it more interesting it just happened
these particular animals didn't have
to win any new battles. Already they
had a reputation, established when in
Canada they took it on the run and
were away for two weeks.
In order the more realistically to
secure the stampede, which incidental-
ly represented the breaking out of
bounds of the big fellows in order that
they might go to the rescue of the im-
prisoned Tarzan, it was planned to
limit the force of the run to about
100 yards. When the dust finally had
settled it was noted the distance was
nearer a half mile.
Clyde De Vinna and William Snyder
among others were so placed as to
record the frightened animals coming
into the camera. They found the ex-
perience adventurous enough to last
them for some time.
In that group of elephants lined up
between the two trees as shown in one
of the stills one of the animals in the
foreground has discovered a clicking
camera a few feet away and puts it
out of business with one whack of his
trunk. The animals are exceedingly
curious. If near a camera cage when
things are quiet one of them will run
his trunk all over and around it in the
effort to learn what the contrivance
is all about.
About a week was spent with the
elephants and about the same length
of time had been scheduled to take
care of the hippos, five of which were
released into a sizable lake. The lake
was about a half mile long and the
same distance wide, with a convenient
cove properly and securely wire
fenced.
Startled Fisherman
About three minutes were required
to get the hippos into the lake. Getting
them out was another matter. Three
weeks was the time. When the visi-
tors decided to enlarge their horizon
they made no effort to disturb the
fence. They simply came ashore and
walked around the terminal.
A member of the club from which
the lake had been temporarily leased
had not heard about the additions to
his favorite fishing ground. That is
he had not up to that moment when
one of the big boys came out of the
water alongside his skiff and snorted
with considerable enthusiasm. It was
found necessary to take the member
home.
One of the property men had an
experience not dissimilar to that of
the member. He did not know the
hippos had hopped the fence, so to
speak. When one of the big heads
came out of the water and the jaws
opened "props" just naturally froze.
The hippo went down and came up on
the other side. Still the man in the
boat gave him no sign of recognition.
Then the animal began circling the
boat. The human came to himself
and started rowing.
It was the first time the hippos had
had a measurable degree of liberty
since they entered captivity, and they
were not inclined lightly to relinquish
it. The refusal of a mother of a three
months' old baby hip to come out cf
the lake resulted in the death of the
infant.
The photographs printed on these
pages were exposed by Neal Har-
burger, who had some experiences
himself. He tells of a Ford truck
which one of the elephants seemed to
feel was in the way. One slap of a
trunk did enough to the car to require
a new fender and radiator.
Left, elephants tumbling over bank. Right, striking shot of animal coming
through glade with dust and, ruin behind him
Sixteen
The INTERNATIONAL PHOTOGRAPHER
January, 1932
CAN YOU AFFORD
TO IGNORE IT?
l\. NEW order is coming into being in the
motion picture industry. Now actors work
with greater comfort . . . less fatigue. The
director's load has been lightened. The cam-
eraman is creating new standards in his art.
The laboratory is turning out better prints.
The exhibitor is getting better pictures.
The reason? . . . Eastman Gray-Backed Super-
sensitive. It is this film which has caused the
far-reaching changes in procedure. Upon /'/
depend the new beauty, the new conven-
ience, the new economy in present-day
motion picture production.
If you are not yet using this revolutionary
negative film, can you afford to ignore its
startling advantages any longer?
EASTMAN KODAK COMPANY
J. E. Brulatour, Inc., Distributors
New York
Chicago
Hollywood
&S2S
<A<
@ream oth Stills
^^L'o^
Photographed by
Alvin Wyckoff
in the
Canadian Rockies
The lake in its clear transparent deptht
Reflects Nature's moods;
The mountains, immutable and still,
Her infinite solitudes.
l'< rse by
llci i nice Conner.
^I^'d,
&\tr
'j-.-v'A'w'
Qream oth Stills
c^HL'o^
$l>
"o6r^v
Alexander Kahle
brings down from
the high Sierras
this flash of
a timid creature
who maybe
sees that bone
across the way
and remarks that
he will take a
nut for his
William N. Williams
photographed this
cub mountain lion
after it had been
treed in Newhall,
twenty odd miles
from Hollywood,
and while the
youngster is
forming his own
conclusions as to
what has happened
to hi in
Gream a th Stills
..^'CU.
An aristocratic
bowwow who feels
quite "doggy"
in the tile
and stucco
bungalow in which
Esselle Parichy
snapped him
over in Florida
Neal Harburger
catches a shot
of a hippo ivhich
required a few
minutes to be
coaxed into
a lake and three
weeks' cajolery
to get him out.
He likes water.
The hay is
being held out
as inducement
.>n*r^.
*°6rV
Qream oth Stills
c*¥±'°*
Chalmer D. Sinkey, Chicago Daily News-Universal Netvsreel staff cameraman, at Seattle, catches this
shot of a dog team as it pauses on the high slopes of Rainier National Park to renew its wind.
January, 1932
The INTERNATIONAL PHOTOGRAPHER
Seventeen
Cinematographic Annual Presents
Varied Data on Motion Pictures
THE second volume of the Cine-
matographic Annual published
by the American Society of Cine-
matographers is now available. With
a total of 425 pages devoted to text
covering 42 stories of interest to
everyone seeking information on cine-
matographic progress and a pictorial
section doubled in size, this annual is
a valuable contribution to the craft it
represents.
In the first article "The Cinematog-
rapher's Place in the Motion Pic-
ture Industry," by Frank Capra, the
author asks a very pertinent question
for which no suitable or logical an-
swer has been found. He says:
"Every now and then some motion
picture executive starts a movement
to keep the name of the cinematog-
rapher off the credit titles of our
films. Why? — is a problem that this
writer has never been able to solve;
for, in my humble opinion, no one —
not even star or director — is more
worthy or deserving of public credit
for his part in making a picture than
the cinematographer."
Howe Writes on Lighting
Lewis W. Physioc traces the mo-
tives underlying the ethical achieve-
ments of mankind in an article on
"Cinematic Teleology" treating of the
cultural impulses and benefits related
to motion pictures.
The all important subject of "Light-
ing" receives interesting and instruc-
tive treatment by James Wong Howe,
the cameraman who won laurels for
himself and his craft in the filming
of "Transatlantic." He brings out the
fact that lighting has advanced from
being only a physical problem to as-
sume artistic and dramatic signifi-
cance.
An illustration on Page 49 showing
a scene taken during the making of
"The Squaw Man" unfortunately per-
petuates the error that Cecil De Mille
made this picture and credited it to
1911. The facts are that Oscar Apfel
made it in 1912 with De Mille on the
sidelines as an apprentice, he never
having previously had anything to do
with pictures.
Some Contributors
Some idea of the scope of subjects
covered can be gained by mentioning
just a few of the articles and writers,
such as, "Transmission Losses in Mo-
tion Picture Lenses and Their Sig-
nificance" by J. F. Westerberg;
"Aerial Cinematography" by Elmer
G. Dyer; "Making Matte Shots" by
Fred W. Sersen; "Improvements in
Motion Picture Film" by Hal Hall;
"Optical Printing" by Lloyd Knech-
tel; "The Evolution of Motion Picture
Film Processing Apparatuses" by
Joseph A. Dubray and "Making
Tests with a Small Camera" by Jack-
son J. Rose.
The last fifty pages of the book are
devoted to "Useful Facts and Formu-
lae."
The cooperation necessary to ac-
cumulate data representing many
years of technical education and prac-
tical application as well as painstak-
ing experiments in research endeavors
between the covers of one book for the
benefit of an entire craft is fittingly
acknowledged in a foreword of appre-
ciation extended to those whose com-
bined efforts have made this volume
possible.
St. Claire and Dr. Meyer
Succeed Charney at Agfa
Succeeding C. King Charney as
head of the west coast business affairs
of Agfa Raw Film Corporation on
January 1, will be E. M. St. Claire,
who will continue as head of the Los
Angeles branch of Agfa-Ansco Cor-
poration.
At the same time Agfa will estab-
lish on the west coast a technical
service bureau under the direction of
Dr. Ing. Herbert Meyer, a technician
of authority, formerly of Germany
and recently of Binghamton.
Eighteen
The INTERNATIONAL PHOTOGRAPHER
January, 1932
Apologizin Public
IOPEN up this month by publicly
apologizin for a story I writ up a
few spasms ago. You know how
I mentioned Emilia Montemuro was
gaga about a Postal telegraph oper-
ator down in Akron — well — it jest
goes to show the power of the press
sometimes.
How wuz I to know by the time it
wuz published Monty would be staring-
fishy eyed at another dame . . . and
here's how it all happened. You know
how when the worthy president
opened up his own celluloid mill he
hired one of them Ziegfeld front row
chorus as high power sekeytaries.
Well,, now, Monty went haywire the
minnit he lamped Mr. David's little
Miss Information and right away for-
got all about Akron, and jest about
the time he is goin good on the hearts
and flower music to the little
brunette in David's film emporium the
new honey lamps my story about
Monty Don Juaning down in Akron.
(David has a high class reception
room in his joint, where he keeps all
the latest magazines, and since the
In Focus — In Spots!
By Fred Felbinger as
The Sassiety Reporter
Eddie Morrison
International Photog. is the best pub-
lished it would be there^
Monte Is Surprised
Well, the little lady picks up the
International Photog. one day and of
course she turns to my newsy page
and all of a sudden she spies the
paragraph which makes her think
maybe Monty ain't doin right by little
Nell.
So that night when Monty rolls up
to her home-fires with the bag of
gumdrops and the vaseline on his
hair he thinks he has hit a eskimo
igloo instead of the home of the Mid-
winter's night dream.
So in case the lady should see this I
jest wanta say Monty was a victim of
my news snoopin and that Akron one
was all over when Monty walked into
David's joint.
I also wanna say that Monty is
mighty bugs about the new little
friend. I unnerstand he has even im-
proved the eyebrows quite a bit and
puts on a clean shirt every day now
. . . Boy, that's love! . . .
SIX-SIXTY-SIX
Tuff Is Right
Things are pretty tuff for some of
the gang when the ball and chain
goes home back east to visit Mama.
Irv Korenman, our newlywed, started
to miss the usual mornin ham and
eggs when his new war department
went home for the holidays, so he
hires himself a high class cook by
the name of Gleason as head kitchen
mechanic. Gleason when he ain't
cookin is a high class noise collector
for Eddie Morrison's film foggin ma-
chine.
Well, Gleason gets up early every
mornin to make the coffee pot boil
over on Mrs. Korenman's nice new
enamel stove. Also if Mrs. Korenman
doesn't get home soon the sink is
gonna break down from the weight
of them dishes Phil is usin in the
practice of his cullinary art...
SIX-SIXTY-SIX
Morrison Dolls Up
Here is a picture of what the well
dressed cameraman will wear this
winter. Mannequin Eddie Morrison,
the Beau Brummel of the tripod jug-
glers, just had his latest winter suit
imported. The suit comes with two
pairs of pants, but Eddie only has one
pair on account it ain't been very
cold yet here this year.
There ain't no pockets in the coat
account cameramen ain't needin 'em
this season because of the depression.
The mittens are especially built to be
worn in speakeasies, as they insure a
better grip on a stein and also are
very useful when its time to buy a
drink as they is mighty unhandy in
gettin change out of your pocket.
This is a big help for cameramen
what is trying to save up enuf dough
to buy a little woman a new coat so's
she can keep warm this winter also.
Eddie didn't buy any winter shoes,
as you can see in the pitcher he is
plannin on runnin around in them
white wool socks awhile, and then
when he wears the bottom off of em
he will use em for spats later.
Sound-proof Cap
The cap is soundproof and helps a
lot while listenin to your noise ketch-
er tell you how to shoot the next
scene. This is strictly the last word
in cameraman's get up. However,
please excuse the equipment Eddie is
posin with in the pitcher.
We had to make the pitcher in a
hurry and couldn't find a modern
sound movie groan box. For the in-
formation of cameramen who might
be new in the game the box Eddie
is posin with in the pitcher is a rare
ole relic of the days when cameras
wuz cameras and before a guy need-
ed a derrick to move em around.
It was called a Ak^ley and you ac-
tually had to turn a crank to get a
pitcher. . .buttons wuzn't heard of in
them days of pitcher takin. They
wuz considered the heaviest thing
ever built, but that wuz before the
movies started to groan — also cam-
eramen's backs from the weight of
the sound boxes.
They wuzi one-man cameras and
did not need the help of a highly ed-
ucated sound engineer to make a
scene, but like all good things they
came to an end.
SIX-SIXTY-SIX
Brickbats
Jest can't wait to tellya: Prosper-
ity has again hit Bob Duggan, the
lightin maestro. Saw Bob hangin up
agin a bar in one of the local speaks
so the lights must be shinin again
over Bob's way... Have you heard
about Lipperts operation yet?? Cost
Lip 18 pounds of bonbons the first
week he was out in the pill pushers
house what with all them blonde and
brunette nurses dashin in to say how-
dy. Lipp wants to go back now, they
wuz so nice to him . . . Charlie Ford
January, 1932
The INTERNATIONAL PHOTOGRAPHER
Nineteen
swung the ax and it hit Herbie
Chung this time and Herb hies back
to servin chop suey...Phil Gleason
and Ralph Saunders sportin two new
coeds — high school coeds, I finds out
when I check. The height of sumpin
or other. . .Red Felbinger sittin in his
office readin International Photog.
and laffin hisself silly over the Sassi-
ety Reporter's column. . .Charlie Goss
sportin a new skimmer, a la rabbi
style... Sid Stern moanin about end
of football season — and no mo' spe-
cials for his lab. . .Jack Barnett is so-
loing wunst again. His sugar has
went sour on him, I hears — .Bull
Philips sued a guy for wreckin his
high power benzine buggy and lost
and now guy turns around and sues
Bull. Aw, well, turn around's fair
play, Bull, anyhoo...Red Kuersten
shows up draggin a camera around,
all dolled up in ridin britches, boots,
mackinaw. But whyinell dontcha turn
your cap backwards, too, Red?...
Prexy Charlie David all dolled up in
what he calls a "pink eye." Honest,
now, Charlie, the Mrs. didn't throw
and hit it with sumpin? .. .Urban
Santone arriving in Chicago and yellin
about no reception. Listen, Urban,
brass bands cost money nowadays...
Lippert sportin collegiate benny.
It's a swell looker. Cost $18. Wuz
along when he bought it. The guy
what sold us the holiday booze last
year is back. Lasts year's wuz punk.
Claims this is twice as good, though.
So's his price. . .Which reminds me
. ..HEP! — HEP!— H E PP Y NOO
YEAR.
New Zealand Theatre Hit
by Bad Economic Condition
UNLESS economic conditions show
a decided change for the better
within the next few months,
says Trade Commissioner Julian IS.
Foster of Wellington, many of this
small motion picture houses in New
Zealand appear likely to be forced to
close their doors.
The attendance on regular wee!;:
nights is down tremendously. It is.
only on Friday and Saturday that
there is any semblance of a crowd.
Many theaters have been reducing
their prices in order to stimulate busi-
ness, but without effective results.
American films continue to domi-
nate the market, but there have been
slight increases in the British films
brought in this year. The majority of
films recently imported from Britain
have been of a decidedly better quality
than those which have been exported
hitherto.
German Product for Season
Estimated at 200 Subjects
ON THE strength of the four
months of the 1931-32 season
that have just elapsed, as of
October 31, the trend of development
of the German film industry may be
examined. The following figures are
now available:
Films trade — shown 51
In hand or completed. ... 53
Promised 60
German production for the current
season is, therefore, estimated at 160
to 170 films. The above figures do not
include foreign films, not even when
such are German dialogue films, but
comprise films produced in Austria
and already released on the German
market. Together with foreign films,
it is expected the total available
number of features will amount to
about 200.
film producers, when shipping films
to Colombia, to send sound-on-film
talking films as they can thus save
the very high duty imposed on discs.
Colombia Increases Duties
A recent presidential decree from
Bogota increased the import duties
on talking and silent motion picture
films from 80 centavos to 1.60 pesos
per kilo; and on phonograph records,
which include the discs used in sound-
on-disc talking films, from 20 cen-
tavos to 2.50 pesos per kilo. Accord-
ingly, it is advisable for American
Promoter Plans New Company
One of the Bogota newspapers, El
Espectador, reports a company is be-
ing formed to produce talker films in
Colombia, with headquarters in Bo-
gota.
Senor Cuellar Chaves, the promoter,
recently returned from Hollywood and
claims to have the necessary staff
and equipment ready to bring to Bo-
gota as soon as he can arrange financ-
ing. However it is believed he will find
it impossible to secure the necessary
financial backing.
For
Quality
Type 324 — 24" Integral Inkie
Use the products of
If It Isn't An @ It Isn't An Inkie.
MOLE- RICHARDSON, INC.
941 SYCAMORE AVENUE, HOLLYWOOD
Twenty
T h
INTERNATIONAL
Connoisseurs
and Bookmen
Assemble at
548 Flagler
Bv ESSELLE PARICHY
ON WEST Flagler Street in Miami
Number 548 is just a number to
most of Florida's annual influx
of tourists, but to the book-lover and
connoisseur of rare and first editions
it marks the most unique shop m
America.
Here one finds cascading volumes
gracing the shelves with history, ro-
mance and adventure from the pens
of famous old Masters lost to the
present-day memory.
Here the rare essence of thought
permeates the atmosphere and lends
itself to complete refinement.
In this unusual book emporium the
walls and ceilings are covered with
original maps out of early pages of
history, and around and about the
place are scattered,, in artistic profus-
ion, museum pieces proclaiming the
glory of far-off lands . . . French,
Egyptian and Cambodian antiquities
mark time in perfect orientation,
while in a secluded retreat an exotic
Buddha from out of a Burmese Tem-
ple sits and gazes in silent perspective
on it all.
Let us get out the old spectacles
and read the titles of some of these
old tomes, out of whose yellowing
pages immortal lines leap like dream
satyrs to gambol upon the mind of
the book enthusiast . . . Look, here
is the Nirvana of the bibliophile . . .
a small pamphlet, yet a jewel worth its
weight in gold, for it is "Tamerlane,"
Edgar Allen Poe's "Tamerlane," writ-
ten in the year 1827, in the poet's six-
teenth year and valued at S7.500 . . .
Here we find "Nova Britannia," the
earliest known pamphlet on Virginia,
published in London in 1609 and worth
$5,000 . . . and yet another old vol-
ume, a "Treatise of Gauging," owned
and studied by Scotland's Peer of
Verse, Robert Burns, with his margin-
al notes and upon the fly-leaf a letter
penned by his eldest son.
Scouting for Books
The lengthy accordeonated script we
see over here proves to be a two-hun-
dred-year-old copy of a Burmese
Bible printed upon a pithy substance
extracted from bulrushes of the River
Nile.
Presiding over these archives of
literature Edward White, the owner,
is indeed a man of scholarly person-
ality, possessing the superb narrative
ability to infuse interest even in the
dullest when he describes the priceless
works in his possession.
The experiences in procuring these
treasures he relates with the verve of
Edward White presides over
archives of literature
Nov* ItlllTANMt'
OFFERING MOST
Excellent fruites hj Planting
IN VIRGINIA.
K\ciliii£ all such a» lie veil
ulfected to further ihe ufl».
.i Hi «k
This earliest known pamphlet on
Virginia worth $5,000 ivas printed
in London seven years before death
of Shakespeare
In a secluded retreat an exotic Buddha sits an
gazes in silent perspective on it all
a true scribe that springs and scrolls the ir
agination. I have seen a dozen czars of Wi
Street, their minds filched from the ticker-ta)
of commerce, deeply buried in the cemetery
concentration while he unraveled his colorf
yarns . . . but let us have Mr. White tell y<
right here a few excerpts from his interestir
sagas in his quest for the elusive first edition
editions that have lain unappraised in the du
of forgotten years:
"In these days of intensified interest in evei
kind of sport and contest I find myself a
preciating more and more the thrills and a
venture of my chosen career. In the san
spirit my friends sally forth with a bag
golf clubs, a rod and reel or gun, I go out <
a rare book scouting tour.
Goes Ahunting
"This past summer while on one of the
hunts I had occasion to stop in the little cr
of Greenville, South Carolina, where I call':
on a lady to look over a collection of old book
which had been relegated to an obscure corm
of the attic. "The first
book I picked up was
Carver's Travels
Through the interior of
North America, worth
$50; the next one was
In complete refinement volumes of famous old
masters grace the shelves of this unique book
emporium
Closl
January, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty -one
y.mitiire of Louis l/,th era lends a French touch
to the ensemble of antiques
lliam Bartram's Travels Through North and
ith Carolina, Georgia and Florida, dated
1, worth $35.
Bargain Has New Meaning
Without looking further I asked her what
wanted for the lot (about seventy-five
ks) and she informed me that she was
111 aware of the value of these books and
Mid not sell for less than $25.
I bought them, had them packed in a carton
3 placed in my car, and dismissed the matter
lirely from my mind till I arrived in Miami,
agine my amazement when looking over my
•chase I discovered encased in a wooden box
t rarest of all American rarities, a first
tion of Edgar Allen Poe's "Tamerlane" in
•feet condition.
'On this same trip I had the good luck to
k up the first book (as far as I can deter-
le) on aviation to be printed in America,
1 the first patent issued for an aircraft of
r kind, dated 1825. This book and patent is
work of the well known Citizen Genet, who
became so unpopular
in America because of
his activities here in
behalf of the French
Revolution.
"During my thirty
Roman vase about 1320 period
?i,Ki?.lAM2
smSsmvU
First edition pamphlet of Edgar
Allen Poe's "Tamerlane" worth
$7,500
iddha
The ivalls and ceilings are covered with original
maps out of the early pages of history
Miami Holds
Outstanding
All-American
Unique Shop
years in rare book collecting I have
made and held to one fast rule: to call
whenever I receive a request to do so.
This rule paid me well several years
ago, when I was asked by a lady to
call at her home and look at a very
rare book.
"Upon arriving I decided that no
book of value could possibly lie await-
ing my attention in such a poor dwell-
ing, as it was nothing- more than a
shack. I was about to start my motor
and drive away, when the little old
lady appeared in the doorway, and not
wishing to appear impolite I entered
and found to my surprise one of the
greatest finds — the complete works of
Josephus and printed in 1477.
"It is one of the only five allowed
to be printed by authority of the
Crown and Church and the only one
of the five that is illuminated. The
book is now proudly displayed in the
New York Public Library.
Comic Relief
There are many instances of comic
relief which brightens up the some-
times heavy atmosphere of my calling.
One day a man entered my store and
asked if I would be interested in an
antique that he had.
"I told him I would be interested in
seeing it and he laboriously pulled
from his pocket a small parcel, which
appeared to lie wrapped in several
thicknesses of printed matter.
"The rare antique was worth about
3 cents, but the wrapper proved to be
a very rare pamphlet. I bought the
parcel for $1 and after learning that
he valued this antique as a pocket
piece I returned it to him keeping
only the wrapper. The man left my
store thinking me demented, in want-
ing the old paper wrapping, but I
later sold this wrapper pamphlet for
$250.
"Another amusing incident con-
cerns a client on the west coast of
Florida, who submitted a list of books
to me which I could readily see I was
not interested in. However, partly
because of her persistence and partly
because I enjoy motoring, I made the
journey, and sure enough it was just
as I expected to find — nothing of
value to me.
"I was on the point of leaving when
I noticed an old pamphlet lying in the
dust of the top shelf. I asked her
what she wanted for it and she gra-
ciously replied that I could have it as
a gift since it was of no value. She
seemed so disappointed in not being
able to dispose of her collection that
I paid her $30, taking away with me
Twenty-two
The INTERNATIONAL PHOTOGRAPHER
January, 1932
thirty books that I had no use for
along with the pamphlet that piqued
my curiosity, never having seen it
listed.
"I later sold this pamphlet to a New
York dealer for $2500, who in turn
sold it to one of his customers for
$5000. Even this was not the zenith
of its worth, for I afterward learned
a ten-thousand-dollar offer was re-
fused for it."
This all goes to prove that there is
romance and high adventure in bib-
liomania, and no line of business more
charmingly demonstrates the fact that
"knowledge is power."
RCA Photophone Recording Complete
Sunday Evening Church Services
FOR THE purpose of demonstrat-
ing the possibilities of sound mo-
tion pictures in connection with
religious observances a complete
church service for the evening wor-
ship has been recorded at the stu-
dios of RCA Photophone Inc. in col-
laboration with Homer Rodeheaver,
music director, who for many years
was associated with the Rev. Billy
Sunday.
Assisting Mr. Rodeheaver in the
first of a series of similar services
that will follow this initial undertak-
ing were Dr. Charles R. Erdman, pro-
fessor of practical theology at Prince-
ton University and pastor of the First
Presbyterian Church at Princeton, N.
J.; Dr. Daniel A. Poling, editor of the
Christian Herald and speaker for the
National Youth Radio Conference, and
the Westminter Choir of forty-two
members of Ithaca, N. Y., under the
direction of John Finlay Williamson.
Palatial Interior
At an invitation showing attended
by a number of church dignitaries,
representatives of the press and oth-
ers, which was held in the private the-
atre maintained by RCA at 411 Fifth
avenue, New York,, the service was
reproduced on the new portable re-
producing equipment: Processional,
Westminster Choir; selection, choir;
congregational hymn, led by Mr.
Rodeheaver; scripture reading, Dr.
Charles R. Erdman; selection, choir;
solo, Miss Lorene Hodap; sermon, Dr.
Daniel A. Poling; selection, choir;
benediction, choir.
The interior of the imposing River-
side Church in New York City was
shown at the opening of the pic-
ture with the exposure slowly dis-
solving into a scene of the vested choir
and Dr. Williamson.
Reading of the scriptures by Dr.
Erdman, the sermon by Dr. Poling
and Mr. Rodeheaver's voice as he led
the congregational hymn were excep-
tionally clear and distinct, while the
several renditions by the choir were
well recorded and just as faithfully
reproduced.
It is the intention of Mr. Rhodeheav-
er, for whom the service was recorded
by RCA, to give the picture extensive
circulation. He recognizes that the
sound motion picture is destined to
become an important factor in con-
nection with future religious services.
Another service will be recorded
within a short time under Mr. Rode-
heaver's plan to induce many other
leading ministers to record their ser-
mons for the benefit of the millions
of churchgoers who would otherwise
be unable to see and hear them.
"To my mind the sound motion pic-
ture is the greatest medium that has
been conceived by which living per-
sonalities can be transported to the
far corners of the earth," said Mr.
Rodeheaver. "Millions of people have
heard many noted church dignitaries
over the radio, and while they have
enjoyed hearing their voices and the
lessons they taught their presence
has been lacking.
Boon for Shut-ins
"Now we can bring those and other
famous personalities into the church
or the school or the home through
portable reproducing equipment.
"We can take them into hospitals
and institutions that care for thou-
sands of shut-ins who heretofore have
been denied this worth-while privi-
lege.
"It is not our purpose to supplant
the existing systems of religious ob-
servance but rather to supplement the
work of ministers by presenting spe-
cial programs for their evening serv-
ices. We believe, in addition to pre-
senting speakers of international rep-
utation both in the pulpit and upon
the lecture platform, that we will be
able to introduce entertaining, inspi-
rational and educational programs
that will be welcomed by congrega-
tions in all communities.
"Having been active in church
work for nearly a quarter of a cen-
tury and having during that time
come in contact with a multitude of
other workers, I am convinced that
our plan is practical and that it will
help to increase the attendance at
evening services. No better method to
bring this much-to-be-desired condi-
tion about has come to my attention
within recent years."
Mr. Rodeheaver will conduct a num-
ber of demonstrations in Philadelphia
and Baltimore and then return to
New York.
One of the possibilities for film of
this character is for Sunday evening
use in residential neighborhoods either
by an exhibitor employing it as
an added feature or by a minister
who finds competition with a keen
exhibitor is thinning his congregation.
It will be interesting to see how the
new idea "catches on."
Soviet Film Industry Faces
Deficit and Reorganization
ACCORDING to the Frankfurter
Zeitung, a leading German daily,
the Soviet Russian film industry
is facing some very disturbing fig-
ures. The past fiscal year is reported
to have closed with a considerable
deficit. Only 63 per cent of the fea-
ture film and 77 per cent of the edu-
cational production program have
been released. Production costs ex-
ceeded previous estimates by 1,500,-
000 rubles.
As a result of the recent reorgan-
ization of the State film organization
22 per cent of the staff was dis-
charged. On the other hand only 40
per cent of the cinema operators
needed are available.
Exhibition in Prague
From March 13 to 29 next a motion
picture exhibition will be held in
Prague. It will be the first of its
kind in central Europe. The exhibi-
tion is receiving the support of local
producers, motion picture players and
theater owners.
West/minster Choir of Ithaca, N. Y., with Homer Rodeheaver, left centre, and
Dr. Finlay Williamson, as they took part in an evening church service recorded
in a sound motion picture by RCA Photophone, Inc.
The Board of Governors of the
Society of Motion Picture Engineers
has voted that the Spring Meeting of
the Society of Motion Picture Engin-
eers shall he held in either Washing-
ton or New York City, with a tenta-
tive date set for May 9 to 12. Choice
between these two cities will be made
by the members of the Society and
January, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty -three
Just What Is This Filter Factor
More Important to Understand What a Filter
Is and What It does and Why Than How
Much Exposure It Involves
By EMORY HUSE AND GORDON A. CHAMBERS
West Coast Division, Motion Picture Film, Eastman Kodak
THE introduction of panchromatic
films into the motion picture in-
dustry necessitated a greater
use of and demanded more knowledge
regarding light filters. The special
information desired relative to filters
was the simple term referred to as
the "filter factor." It is the purpose
of this article fully to define the term
and present tables showing filter fac-
tors for Eastman panchromatic films.
WAVE LENGTHS
RED
G,REEN
BLUE
Figure 1
It is more important to understand
what a filter is, what it does, and why,
than it is to know how much exposure
is required when a filter is used. To
that end a brief discussion of filters
is in order.
Light filters could be called "light
transmitters" or "light absorbers,"
but the word "filter" is applicable to
both transmission and absorption in
that it selectively filters out the un-
desirable light and transmits that
which is desired.
Filters are prepared from organic
dyes which have been especially se-
lected for this type of work. They
are made by coating gelatin contain-
ing a given weight of dye upon pre-
pared glass and, after drying, strip-
ping the gelatin film from the glass.
Filters are supplied in the form of
gelatin film as such or cemented be-
tween two pieces of optical glass.
Facts About Light
A greater understanding and ap-
preciation of filters will be had with
a greater knowledge of some of the
facts concerning light. In the present
day motion picture practice two basic
types of light sources are used, arti-
ficial and natural.
Under the artificial head comes
those sources using tungsten (Mazda
lamps) and those using carbons
(flame arcs). The natural source of
light is daylight, including sunlight.
The present day types of panchro-
matic film, especially the supersensi-
tive, are self-filtered, and accommo-
date themselves to artificial light
without the use of light filters except
in the case of color photography.
This is an intentional phenomenon,
inasmuch as the greater percentage of
scenes "shot" in motion picture pro-
duction are made under artificial
sources of light.
The use of filters, therefore, is lim-
ited almost exclusively to exterior
black and white photography. It is
not desired to convey the impression
that filters are absolutely necessary
in exterior photography, but their
proper use greatly enhances the re-
sults. It is interesting to know why
this is true. The reason is bound up
within certain physical facts contained
under the general heading of light.
Examining Light
With the aid of a spectroscope, an
instrument in which light is examined
after being passed through a prism,
light can be analyzed into its com-
ponent parts. If the original source
of light was "white" the various col-
ors composing it will be seen through
the spectroscope merging into one
another in a continuous band, but if
the light is colored there will be
breaks or absorptions in the band.
Filters produce this latter result,
and it is for this reason that white
light looks colored when examined
through a selectively absorbing filter.
Both daylight and tungsten can be
considered white light in the general
sense of the term in that they both
show, upon spectroscopic examination,
a continuous band of merging colors
extending from the visible violet
through the spectrum to the limits of
the visible red.
However, although these two
sources can be considered white light,
they are not identical because their
relative proportions of certain colors
differ. Daylight is considered white
light in the broad sense of the word
only.
Wave Lengths of Light
Just as in sound we have notes of
different frequencies, i.e., so many
waves per second falling on the ear,
so with light we have different fre-
quencies of vibration falling on the
eye.
Light is considered a wave form of
motion. Since the velocity of light,
186,000 miles a second, is the same
for waves of different frequencies, it
is clear that waves of high frequency
will be of shorter wave length than
those of low frequency.
Experiment will prove that the
wave lengths of blue light are shorter
than those of green light and that
both are shorter than red light. Fig-
ure 1 shows the relative length of the
waves corresponding to the various
colors, the diagram being drawn to
scale.
Since there is a definite relation-
ship between wave length and color,
a scale may be made in which the
different wave length numbers corre-
spond in position with the different
colors in the spectrum. A scale of
this type is shown in Figure 2.
The numbers representing wave
length are expressed in terms of
millimicrons, one being equal to
0.000001 millimeter. Figure 3 shows
actual spectrograms made photo-
graphically of Eastman type two and
supersensitive films expressed in
terms similar to those described
440
480 510 550 575 600 630 650
ULTRA-
VIOLET
H
UJ
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UJ
3
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CD
Z
UJ
UJ
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LI6HT.
INVISIBLE
VISIBLE RADIATION
INVISIBLE
300
400
500 600 700
WAVE LENGTH, mm/*.
Figure 2
800
Twenty -four
The INTERNATIONAL PHOTOGRAPHER
January, 19-J2
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.
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Figure 3 — Upper spectrum, Type
lot
supersensitive
above. These spectrograms show the
relative sensitivity of these emulsions
to various wave lengths.
Filter Transmission
Up to this point consideration has
been given to light and wave length
and film sensitivity. Filter transmis-
sion will now be discussed.
In Figure 4 is presented what is
termed the spectrophotometry curve
of one of the Wratten light filters,
No. 58. This curve expresses the
characteristics of the filter in similar
form to that shown for the films in
Figure 3.
The coordinates of this filter curce
are wave length and density (or
transmission). Density is defined as
I
the common logarithm of — where
T
T = transmission, so that a density of
1.0 corresponds to a transmission of
10 per cent, a density of 2.0 to a
transmission of 1 per cent, a density
of 3.0 to a transmission of .1 per cent,
etc.
Referring to Figure 4 it will be
seen that at wave length 520 this fil-
ter has a density of a little less than
0.3, which is the logarithm of 2 so
that at this point the filter transmits
rather more than one-half the inci-
dent light.
At a wave length of 580 the filter
■1*6 3
has a density of 1.0 and therefore
transmits 10 per cent of the light at
this point and also at the other side
of its transmission curve at approxi-
mately a wave length of 490.
Similarly the transmission drops to
approximately 1 per cent at wave
lengths of 480 and 615. Transmission
in the ultra violet beyond wave length
330 will be eliminated by glass in
cemented filters and lenses, as glass
absorbs ultra violet below this region.
Exposure Factors
With a knowledge of light emission,
emulsion sensitivity, and filter trans-
mission it is quite simple to deter-
mine the exposure (multiplying) fac-
tor of any filter for any emulsion for
any source of light. The data pre-
sented in this article pertain to the
two Eastman panchromatic films, day-
light as the light source, and a series
of practical filters.
The multiplying factor of a filter,
or filter factor, is defined as that fac-
tor by which an exposure without a
filter must be increased when the
same degree of exposure is desired
from the same scene when photo-
graphed through a filter on the same
emulsion.
For example, if a filter has a factor
of 4, then to use it and obtain a prop-
erly balanced exposure it is necessary
to increase the exposure normally
196 a
10% I
too U, 0
200
300
400 500
WAVE LENGTH
600
700
Figure 4
given without a filter by that factor.
Assume that the unfiltered condition
is normal cranking speed, normal
shutter opening, at a stop of f.8 in a
standard motion picture camera.
The filter factor of 4, as previously
mentioned, means that this stated ex-
posure condition must be increased
four times when using the filter. The
usual procedure is an adjustment of
the lens stop allowing speed and shut-
ter to remain constant. To increase
the aperture so that four times the
amount of light gets through the
lens means opening the lens to twice
the aperture, which in this case would
be f.4.
Sensitometric Determinations
Therefore, the same scene pre-
viously photographer unfiltered at f.8
can now be photographed with the
filter whose factor is 4 by opening
the lens to f.4. This reasoning of
course is based upon the fact that the
amount of light passing through the
lens apertures varies as the square
of the opening.
Bearing in mind all of the above
facts the filter factors of several
Wratten filters were determined ex-
perimentally on the two panchromatic
films to daylight. This was accom-
plished by sensitometric determina-
tions on the two films under daylight
quality of illumination for both fil-
tered and unfiltered conditions.
The factors represent the ratio of
speed between the two tests. These
sensitometric results were then ap-
plied practically in a camera and ex-
cellent agreement was found between
the sensitometric and practical tests.
These filter factors were then ex-
pressed in terms of lens stops and
computed into tabular form in the
manner shown in Figures 5 and 6.
It will be observed that these tables
show the filters across the top, the
filter factors across the bottom, while
the extreme left hand column shows
a series of arbitrarily chosen lens
stops under the head "no filter." All
values are expressed in terms of "f"
values. The use of the table is ex-
tremely simple.
Suppose a given scene is to be
photographed on supersensitive film,
both unfiltered and filtered. Suppose
the unfiltered stop to be f.5.6. Sup-
pose further that the filtered expo-
sure was to be made with the G filter.
Select in the first column under the
heading "no filter" the value of f.5.6,
project across the table in the line
showing this value until the column
headed G filter is reached.
Straight Shot Filters
At this point the value of f.3.2 is
found. Therefore, the scene shot un-
filtered at f.5.6 can now be shot fil-
tered with the G filter at f.3.2 and
equally exposed negatives will be ob-
tained, although the filtered scene
will show a different relation between
the sky and foreground, due to the
selective absorption of the filter.
It must be borne in mind that the
values listed in Figures 5 and 6 are
very accurately determined. There-
fore, a lens stop nearest the value
listed for any specific instance will
undoubtedly answer in practical work.
The filters listed in the tables are
Qream oth Stills
H'. ./. Van Rossem plants his camera on the steps of Pebble Beach Lodge on the Seventeen Mile Drive,
Monterey County, California. This is what it saw
(7) ream oth Stills
MSB**
Director Paul Sloane
in RKO's
"The Lost Squadron"
(/ives final word
to Von Stroheim,
who is posed
«s director in
the picture
being made.
Photo by
Fred Hendrickson
Charlie Chaplin
in "City Lights"
by side of park
created in studio
lot for th<'
picture. The trees
were synthetit
or transplanted
and required
continual
application of
green paint
spray — Photo by
Edward B. Anderson
«rt^*u.
@ream oth Stills
ct-^'Os.
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f^^i^H
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1 fj
■HI
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1K11' fl
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Showing an
elevator-camera
at M-G-M
with Edgar Selwyn
directing
Leila Hyams in
mong the Married."
Photographed bg
Clifton L. Kling
£2.
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In Alaska
a shot is taken
of Carl Ben Eielson
(left), Will E.
Hudson, news man,
and Sir Hubert
Wilkins, explorer
@ream oth Stills
Jimmy Manatt brings from the desert near Castle Hot Springs, Arizona, this striking example of the
giant cactus
January, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-five
EASTMAN SUPERSENSITIVE PANCHROMATIC
Filter Exposure Table for Daylight
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1.6
1.5
2.3
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1.8
1.4
1.7
2.8
2.5
2.3
1.4
1.8
1.6
1.6
1.4
2.1
1.6
3.2
2.8
2.6
1.6
1.4
2.0
1.8
1.8
1.6
2.4
1.8
3.5
3.1
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1.8
1.6
2.2
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1.8
2.6
2.0
1.5
4.0
3.6
3.2
2.0
1.8
2.5
2.3
2.3
2.0
1.4
3.0
2.3
1.7
4.5
4.0
3.7
2.3
2.0
2.8
2.6
2.6
2.3
1.6
3.4
2.5
1.9
1.4
5.6
5.0
4.5
2.8
2.5
3.5
3.2
3.2
2.8
2.0
4.2
3.2
2.3
1.8
6.3
5.6
5.2
3.2
2.8
4.0
3.6
3.6
3.2
2.2
4.7
3.5
2.6
2.0
8.0
7.1
6.5
4.0
3.6
5.0
4.6
4.6
4.0
2.8
6.0
4.5
3.4
2.5
11.0
9.8
9.0
5.6
4.9
7.0
6.3
6.3
5.6
3.9
8.2
6.2
4.6
3.5
12.5
11.2
10.2
6.3
5.6
7.9
7.2
7.2
6.3
4.4
9.3
7.1
5.3
4.0
16.0
14.3
13.0
8.0
7.2
10.0
9.2
9.2
8.0
5.6
12.0
9.1
6.7
5.0
22.0
19.7
18.0
11.0
10.0
14.0
12.5
12.5
11.0
7.8
16.5
12.5
9.3
7.0
Factor 1
1.25
1.5
4
5
2.5
3
3
4
8
1.8
3.1
5.6 10
Figure 5
those used to the greatest extent in
straight photography, filters for night
effects and other unique shots are not
included, as their use is for distinctly
different purposes, and for such filters
balanced exposures are not desired.
It would no doubt be of value if
definite filters could be quoted as the
ones to use in certain definite in-
stances. This cannot be done as con-
ditions under which filter shots are
made vary tremendously.
It is therefore necessary for the
cameraman to size up the situation
and act according to the dictates of
his filter knowledge. It must be re-
membered that to subdue a color a
filter whose coor is the complement
of that to be subdued must be used,
while to lighten a color a filter of the
same color must be used, which filter
fully transmits the desired color and
subdues the others.
It is hoped by the authors that the
facts and data presented in this arti-
cle will be of practical use to camera-
men in motion picture production and
make their use of filters easier and
more effective.
Dollar Line Installs
C. W. Bunn, General Sales Manager
of Electrical Research Products, an-
nounces that eight Western Electric
sound system installations have been
completed on seven round-the-world
liners of the Dollar Steamship Com-
pany. Eight more installations on ad-
ditional steamers of the company are
to be completed in the future.
Australia Now Has Third
Regular Sound News Weekly
THE Australasian Films Limited
of Sydney, one of the group of
firms under Union Theatres con-
trol, reports Assistant Trade Com-
missioner H. P. Van Blarcom of Syd-
ney has announced plans for the pro-
duction of a weekly talker gazette.
This is the third Australian sound
newsreel to be announced in recent
months. Australian Sound Films of
Melbourne in conjunction with the
Melbourne Herald and other papers,
has inaugurated a regular newsreel,
and Fox Films Corporation Limited
has recently announced an all Aus-
tralian movietone reel.
Hoyts Theatres Limited, controlling
or operating approximately 110 houses
throughout Australia and New Zea-
land, has signed a contract for the
opening program of Efftee Studios,
an Australian film producing com-
pany formed about a year ago by one
of the former directors of Hoyt's.
Elephant entertains in calmer moments
members of the "Tarzan" troupe
EASTMAN TYPE 2 PANCHROMATIC
Filter Exposure Table for Daylight
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1.6
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1.5
2.3
1.8
1.8
1.4
1.7
2.8
2.3
2.3
1.8
1.6
1.4
2.1
1.6
3.2
2.6
2.6
2.0
1.8
1.6
1.4
1.5
1.4
2.4
1.8
3.5
2.8
2.8
2.2
2.0
1.8
1.6
1.7
1.6
1.4
2.6
2.0
1.5
4.0
3.2
3.2
2.5
2.3
2.0
1.8
1.4
1.9
1.8
1.6
3.0
2.3
1.7
4.5
3.7
3.7
2.8
2.6
2.3
2.0
1.6
2.1
2.0
1.8
1.4
3.4
2.5
1.9
1.4
5.6
4.5
4.5
3.5
3.2
2.8
2.5
2.0
2.6
2.5
2.3
1.8
4.2
3.2
2.3
1.8
6.3
5.2
5.2
4.0
3.6
3.2
2.8
2.2
3.0
2.8
2.6
2.0
4.7
3.5
2.6
2.0
8.0
6.5
6.5
5.0
4.6
4.0
3.6
2.8
3.8
3.6
3.2
2.5
6.0
4.5
3.4
2.5
11.0
9.0
9.0
7.0
6.3
5.6
4.9
3.9
5.2
4.9
4.5
3.5
8.2
6.2
4.6
3.5
12.5
10.2
10.2
7.9
7.2
6.3
5.6
4.4
5.9
5.6
5.1
4.0
9.3
7.1
5.3
4.0
16.0
13.0
13.0
10.0
9.2
8.0
7.2
5.6
7.5
7.2
6.5
5.0
12.0
9.1
6.7
5.0
22.0
18.0
18.0
14.0
12.5
11.0
10.0
7.8
10.3
10.0
9.0
7.0
16.5
12.5
9.3
7.0
Factor 1
1.5
1.5
2.5
3
4
5
8
4.5
5
6
10
1.8
3.1
5.6
10
Figure 6
Twenty-six
The INTERNATIONAL PHOTOGRAPHER
January, 193®
Cameramen Again Cross Equator
Travel Twenty Degrees North to Singapore on
Vanderbilt Yacht Alva, Now Well on Its
Way Home to New York
By BOB BRONNER
In letters to his father in Hollywood
On Board Yacht Alva,
In the Arafura Sea, bound
for Timor Island and Java.
Sunday, Oct. 18, 1931.
Hullo, Dad:
Thursday Island was the last place
I sent mail from, and that was last
Thursday. It is just as I wrote you,
a small village island at the most
northern point of Australia, on the
Torres Straits, opposite the shores of
New Guinea.
The island consists mostly of the
custom house and is the depot for all
the Great Barrier Reef traffic, which
isn't much. The greatest occupation
is pearl fishing. I could have obtained
some very good pearls cheaply, but I
suppose when I got to the States they
would not be so cheap at that, for the
import duty through customs would
be high, perhaps five or six times
more than I would pay for them here.
We checked out of customs Friday
morning. All the boys on the ship
were anxious to get their American
cigarettes that were put under bond
and sealed uo with all other foreign
goods at Brisbane. I had quite a sup-
ply of my own that I didn't declare
through customs (oversight) and they
would all borrow from me. I was
nearly out myself when we hit Thurs-
day Island.
We can get Old Golds from the mate
for 68 cents a carton, which is cost
price and duty free as we are using
them outside the United States, so
after being checked out we pulled up
the "mudhook" and got under way
again, bound for Timor Island and
Java. We expect to reach Timor Laut
Island first, about 2 this afternoon.
The sea is quite calm, not much roll
or dip.
Anxious for Messages
Al and I are feeling fine and quite
a bit enthused over our prospects of
getting some good pictures in Java.
We hear a great deal about many
places before we get there, and taking
advantage of that we feel a bit ac-
quainted upon our arrival and prepare
our equipment accordingly, which is
all a great help and better than land-
ing blind.
I sent you a radio last night and I
expect you will answer before I finish
or mail this letter. Every time I am
called I think, "Well, there's a radio
from my old pal, Dad."
I am naturally a bit anxious to hear
from you, as your last radio to me
was at Brisbane, Australia, and the
mails are now taking a month to a
month and a half to reach me, but
when I get your letters they are usu-
ally four or five in a bunch, which
gives me plenty of reading matter at
night. So radio me often as you can,
as I like quick word from you. Now
that's ORDERS -- understand, old
top?
These three and four day trips from
place to place are wonderful, as well
as educational and interesting. Then
to loosen our joints when we hit a
port we go ashore and work: grind
out what we feel the Commodore
wants or orders,, at the same time see-
ing the most wonderful sights we
formerly only dreamed about or read
At Bimi in Soiiitilx.iia Bob Bronner is surrounded by natives
of in books. Now we really are learn-
ing how the other half of the world
lives.
I never have any trouble getting to
sleep, as the soothing roll of the ship
seems to act as a sleeping potion. I
expect when I return I'll be so used
to being rocked to sleep you will have
to do the rocking with one of your
old-time lullabys. Remember, I said
"lullabys," and not with a club. I can
read your thoughts ahead, old deah.
We sighted land at 10:30 this morn-
ing and dropped anchor in the harbor
of Timor Laut, a small island about
260 miles off Timor Island, at 12:80
today. We went ashore and shot
stills of the village and natives.
Message from Home
Some Papuans, Javanese and Chi-
nese; an all native island and no one
could speak English, but great was
our joy as we passed a hut we heard
a phonograph playing, "Aloha Oa,"
the singing in English. The natives
all seemed to like it although they
could not understand it. As for us,
we stopped and listened. It was like
a message from home.
We saw our first real Javanese
types today. All are very small and
erect of stature. I stood among a
few and had a picture shot of myself
with them and it made me feel like a
six-footer. I am inclosing the picture
which you can see for yourself, but
listen here, old deah, no wisecracking
about it, see! I know you.
The old men and women practically
have no teeth left; all decayed from
eating betel-nut. Gosh, it is almost
sickening to see them chewing that
stuff. It leaves the mouth a very
deep red, almost bloodlike, the teeth
black, with them spitting all the time.
The younger ones have all real good
teeth, because they haven't started
chewing the nut, I suppose.
Just received your radio in answer
to mine. Attaboy! I was writing
this letter when I got it. I got up
and strutted around like an Aus-
tralian kangaroo.
A marvelous thing, the radio.
Here I am ten thousand miles away
from you and can keep in touch with
you all the time; in fact, in but a few
minutes I can get a message from
you or to you instead of waiting a
whole long month and a half for the
mail; eh, what, old deah?
10 P. M. same day.
Just finished developing the negs,
all 0. K. So to bed, a little tired,
where the finest yacht in the world
will rock me to sleep.
At sea again for Timor Island,
Monday, Oct. 19, 8 P. M.
Up anchor from Timor Laut Island
at 8:30 this morning bound for Portu-
gese Timor, town of Dalli, on the
north side of the island. The southern
half belongs to the Dutch, Nether-
lands. It seems it is divided by a
mountain range. One side belongs to
January, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-seven
Portugal and the other to Nether-
lands.
We are headed in a very calm sea
and running at half speed to get be-
tween two small islands that are not
marked by beacons; a very narrow
channel to navigate.
I have been up on deck getting my
usual sun bawth. I look like a native
now, so tanned up. Also seem to be
gaining a bit in weight, which I don't
want.
The weather is getting hotter every
day as we near the equator, and is
very hot below deck, so I do most of
my work at night as the heat affects
dark-room work and is not so good
for it.
These khaki shorts I am wearing as
you see in the picture are most com-
fortable. I think I'll start the style
in Hollywood, especially in the studios.
Saturday, Oct. 24, 10 P.M.
Dropped off writing for a few days
as there was not much of any special
interest. We are now anchored at
Lambok Island. We made a few stops
at several of the other islands along
the route, but nothing much to write
about . If you will refer to your map
you will find a whole row of small
islands leading to Java.
Lambok Island is mountainous and
also volcanic; in fact, all the islands
about here are volcanic. One peak
reaches over 12,000 feet. There are
many various races here, which con-
sist of Malays, Javanese, negritos and
Papuans, also a tribe called Indo-
nesians. The Papuans have crinkled
hair. Around Timor and Timor Laut
is a group of sixty-six little islands.
I was down in the darkroom all day,
and when I came up to my room at
4:30 P.M. it looked as if a typhoon
had hit the place. My clothes, bed-
ding, suitcases, mattress, in fact
everything was scattered about the
floor, dropped over the sink and
strewn in every fashion over the
room.
I looked about with a wicked eye.
The second mate swears he didn't do
it and so does the electrician, but
these rascals could look you straight
in the eye and tell you the moon was
purple. They certainly put one over
on me, but believe me, not for long.
Revenge, I swear, as I grind my teeth.
They threw cold water on my room-
mate and myself the other morning,
so we retaliated by shaving the hair
off the second mate's chest. Was he
mad! Say, the air was red with
flaming words. It's a wonder the ship
didn't catch fire.
We only laughed at him and said,
"Changee for changee," as the natives
do when they want our old clothes
and we want their trinkets. He later
came down into our room and tried to
get even, but we were prepared for
him and when he sneakingly arrived
he got a good drenching of ice water.
That cooled him off for a while. Oh,
well, we got to have our fun, for
when there is nothing special for us
to do the nights seem terribly long.
Tomorrow we go to Bali Island,
which promises to be more interest-
ing. It is fearfully warm in the day
time and ashore it is hotter than the
place where the devil hangs out.
Friday, Oct. 30.
Well, dad, here I am again. Been
busy as old heck. We were in the
Island of Bali and a very interesting
place.
Bali Island is close to Java, sepa-
rated by a narrow strait, and volcanic.
It, too, has some very high peaks
from seven to ten thousand feet high.
There are many inlets, reefs and
shoals along the coast.
We are now on the Dutch side of
Timor. It is a beautiful sight as one
looks about at a distance at all these
volcanic islands; some smoking and
some extinct. They seem to run in
a row between Timor and Sumba, be-
tween the Flores Sea and the Sumba
Sea. Many crocodiles infest the shores
of these islands and it wouldn't do to
go in and take a swim.
We went into drydock at Souraboya
(how's that for a name — means "sore-
head" in English I guess), Java,
Wednesday. Al and I are now at
Dejokji (another queer name), 200
miles inland from the seaport, and
we are staying at a marvelous hotel.
The scenes are the most wonderful
in the world; many Hindu temples;
seems to be thousands of them. We
shot pictures of the Hindu temples
and native Javanese dances. It is a
very beautiful country, but hot as the
hinges of hades. All I wear is a
shirt, khaki short pants and a sun
helmet.
Weltevreden, Batavia, Java,
Nov. 3.
Al and I just finished a wonderful
dinner at the Hotel Des Idies, from
which place I am writing.
We have worked hard shooting pic-
tures of the native life and customs
and it is very beautiful in some places.
We set the camera up in the back of
a very large Packard and photo-
graphed street scenes from it. Gosh,
but it was hot; 98 in the shade and
the humidity was terrible.
The Hindu temples which I men-
tioned in my other letter were the
most marvelous of sights. They were
built like roof upon roof and many cf
them. Glittering in gold against the
sun made them still more magnificent.
We took many pictures. At one place
I got into a Hindu temple and shot a
picture of the largest Buddha.
It was carved from solid rock and
is over 300 years old. It was one of
the most difficult shots I ever tackled,
as it was all dark in there except for
a small ray of light coming through
a small door through which we had to
stoop to get inside.
I propped the graflex up on a couple
of rocks and gave it a good time ex-
posure, along with hopes and pa-
tience, for it was such a marvelous
piece of work I just had to get a good
picture of it, come what may.
There have been very few photos
taken of it, and these only flashlights.
When the commodore got an enlarge-
ment of that Buddha picture he was
more than pleased, for he had visited
the temple and saw how dark it was
inside and how difficult it was to
shoot.
Intensive Cultivation
Here in Java I do not believe there
is more than ten feet of vacant
ground, for it appears every foot of
ground is used for something to grow
upon.
Rice fields, kapok groves, tobacco,
bananas, cocoanuts, sugar, and I could
ring off a whole list and then I
wouldn't get it all, for no matter
which direction you look you see a lot
of Javanese working in the fields '.-r
walking along the roads with heavy
loads on their heads. There are
plenty of Chinese here, too.
The newer type of buildings are of
modernistic construction, all very
pretty and some of white marble.
Javanese Industrious
This hotel is a marvelous place and
newly built. The next time you travel
and stop at Batavia I will recommend
the place to you. A tasty dinner, fine
string orchestra and the elite of so-
ciety. That's us.
Here, too, it is volcanic. This town
was completely destroyed by volcanic
eruption back about 1870, so I am
told, but you would never think it to
look at it now.
There are very many rivers, which
like mostly all the tropical islands,
overflow to swollen streams during
Bob Bronner in order to show the relative size of Javanese women is photo-
graphed with a quartet.
Twenty -eight
The INTERNATIONAL PHOTOGRAPHER
January, 1932
the rainy seasons, but during drouth
they often dry up completely.
The dry season is from May to
October, and when the rains come on
in November then everybody is happy
(except tourists) and the natives cele-
brate with a jubilee, for it cultivates
and makes everything grow and look
beautiful.
The Javanese themselves are a very
industrious lot, and as I told you, are
constantly chewing betel-nut. The
younger ones seek and seem to desire
education to improve themselves in
everything they tackle.
There are many Mohammedans and
Hindus here also. The Hindu temples
are the most artistic to be seen any-
where.
I bought some more real Batik
(native made cloth) very good pieces,
also a Cress, a native royal dagger to
go with your own collection of Jap
swords. A carved bird of ox horn
only cost me 75 cents Dutch, equal to
35 cents U. S. A.
As I told you I got caught up with
my still developing work, but at pres-
ent writing I am behind again, and
have about ten dozen in the darkroom
to be developed. I shoot them in port
and develop at sea, weather permit-
ting. Therefore I am never really
finished in my work.
Al and I are seeing more of the
world in this cruise than the rest of
the crew or many of those on board,
and although the work is hard it is all
worth it, for as we fly around these
ports and the interior with our
cameras we see more than the ordi-
nary tourist would see in a month.
Wish we could have a month here as
there is marvelous picture material.
Long Inland Trips
In our trip 200 miles into the inte-
rior and all over the native sections of
Souraboya, Solo, Dejokja or Dejokja-
karta, as some call it, and running
about Batavia shooting native life, old
Hindu temples, etc.,. it took us just
four days' time, and it was some
speed at that.
I sent the last letter to you from
Dejokja by way of air mail to Eng-
land it should reach you before this
one.
(Note: Both letters arrived in
Hollywood in same mail at same time.
No time gained. No doubt missed a
steamer.)
Mrs. Gilks is meeting Al in Mar-
seilles, France. I sure wish you could
meet me there, too, and we would
see and tour France together, for I
am getting terribly lonesome for your
company and companionship, you old
blighter!
Our boat leaves here tonight for
Sumatra and Singapore at 12, so I
had better close, as I want to mail
this from here to catch a mail steamer
for the states or some European port
where it will be transferred to the
States.
I have got to hurry and get back
to the boat as it is near 10 P. M. now
and the boat is out in the harbor,
twelve kilometers away.
All main towns in Java are about
six to eight miles inland from the
harbor. Why, I don't know, unless it
is the fear of tropical typhoons.
In the China Sea, Noi>. 5.
We are now in the China Sea bound
for Singapore, from which place I
will mail this. We expect to be there
tomorrow afternoon. Since we left
Batavia, Java, I have been so busy
trying to catch up with developing the
work we did there and in other places
in and around Java that I haven't had
time to take my usual sun bawth.
Java was an interesting place and
we made the most of our stay there.
We had our 16 mm. movies developed
in Souraboya and showed them to
the Commodore last night on the
screen while at anchor off Muntak,
Island of Banka.
He expressed himself highly pleased
with them, and we feel sure when he
sees the 35 mm. or regular stock
he will be still more pleased.
The weather here is hovering
around 90 to 95 in the shade and very
humid. I have been developing in the
darkroom in chemicals at a tempera-
ture of 87 to 90 degrees and have had
very good success in spite of difficulty
in handling.
Al is feeling fine and is well liked
by the Commodore and party.
The Commodore has placed all my
still pictures in a large album and
beneath each print the artist prints
the place they were taken. It looks
beautiful.
I have always wanted to see Singa-
pore and it appears as though I shail
some time tomorrow. I hope it is all
I expected to find there. I have now
filled my second dairy and also a large
writing pad. I don't think I missed
much in jotting down the things I've
seen and the places we have been.
Still rolling along on
the China Sea, Nov. 6.
We are now stopping to dredge a
little bit on the way. Well, here we
are in Singapore. Arrived at 3 P. M.
today. The harbor is large and seems
mysterious as I look through the
heavy fog and rain that greeted us,
as we came through the channel from
the south. The whole harbor is over-
hung with rainclouds coming from
the north.
Singapore Harbor
Sampans and bumboats are crowded
all about the gangway in the rain, as
we are anchored offshore, all trying
to get our laundry and food business.
I can now see the buildings through
the fog, which has lifted a little. It
is all very impressive.
The harbor is nearly filled with
boats of every description, but mostly
freighters from India, China and the
East Indies. Some are just bobbing
up and down in the water idly and not
in use; others busy loading and un-
loading, a remarkable scene.
Al and I are going ashore at 6
P. M. to have dinner at the Raffles
hotel. Upon our return to the boat I
was overjoyed at seeing mail lying on
my desk. I am now in bed legs
propped up holding this pad and writ-
ing an answer to your letters. It
made me very happy to hear from
you.
One of your letters was dated Sept.
1 ; here it is Nov. 7, over two months,
and I don't suppose you will get my
reply until sometime in December. I
should have received it at Brisbane,
but we left before it arrived.
I imagine there will be more of your
letters following me, and after I get
back home they will still follow and
reach me at home where I can sit
beside you and read them.
I also received the letter here which
you sent by way of steamer through
Vancouver. It also missed the boat
at Brisbane and was reforwarded
here. There is more mail coming in
on the 9th and we will probably leave
here on the 10th or as soon as we get
the mail and then our next mail point
will be Port Said, through the Suez
Canal, which you so often told me
about, and then to Cairo, Egypt.
Al and I had a great dinner at the
Raffles Hotel ashore. We went there
in a jinrikisha. It was certainly a
novel experience to look down upon
a trotting human in between the
shafts where a horse ought to be.
It gives one that feeling like we
were grown-up kids and another
grown-up kid was hauling us about
in a wagon, only this was a regular
two wheeled carametta with a car-
riage-hood over the top and a pair of
shafts.
It is small in size, and seats but one
person. It likewise gives one a feel-
ing that something happened to the
pony and you had a man pulling the
rig back, which is almost the truth
only there never was any pony, but
the coolie takes his place.
Fast Coolies
These coolies trot along for miles
and miles keeping up a steady pace,
barefoot, up hill and down dale, and
wear only what I would call a pair of
shorts, and mighty short at that, as
their legs are bare almost to their
hips, as also is their back, chest and
head. The soles of their feet are cal-
loused heavily. The cost of such a
ride was equivalent to seven cents a
mile, American money.
I changed the Dutch guildas into
Singapore dollars that I had been
carrying about with me. A Singapore
dollar is worth around 50 cents U. S.
We got down to the dock about five
minutes before our own boat came to
pick us up and a gang of coolies got
around us and tried coaxingly to get
us to take one of thir sampans. They
would all yell, "sampan, Mister,
sampan!" and started pushing and
shoving and fighting among them-
selves to get in front of us to be
picked out for the ride, but we pre-
ferred to wait for our own launch
which came at 10 to pick us up.
Things ashore as far as we could
see at night were more or less like an
English-Chinese seaport. We did not
get much chance to see much, but will
tomorrow in daylight, and write you
more later as I want to get this off to
you on the first outgoing mail steamer
leaving here and I was just told there
was one leaving in the A. M. So
Olive Oil, until the next letter. With
Ceylon, India,
Nov. 12.
Just finished a three day trip into
the interior and visited the Temple of
the Holy Tooth, at Kandy, Ceylon.
Having a marvelous time. Letter in
January, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-nine
detail following. Tropical rains now
started. We ran through a very-
heavy rain for 5 hours today. We are
now at the Grand Oriental Hotel, at
Ceylon. Love and Merry Christmas
to you and all at 659.
Note — The letter mentioned in the
following paragraph in reference to
Singapore has evidently been lost or
delayed in the mails, as it has never
reached Bob's dad, and it should have
been here before this one.
Enroute to Ceylon, India
Nov. 15.
Well, we had a gay old time of it
at Singapore, as I described in my last
letter of the places of interest of
which so much has been written and
photographed,, and now we are on our
way to Ceylon, India.
The Commodore is a bit anxious to
get back and so am I to see you, yet
I'd love to see more places near here.
We are passing up Mandalay and
North Malay and Siam. I am sorry,
too, for from what I have been told
they are most interesting places.
Your last letter, mailed Sept. 12,
took nearly two months to reach me.
I'm wondering when you will get this.
We left Singapore Nov. 11, Armis-
tice day, at 6 p.m. and arrived at
Penang Island, Straits Settlement,
Nov. 12 at 6 p.m. Penang Island is
near the West Malay Peninsula, about
150 miles off the coast.
It is a well laid out town, more mod-
ern and the native quarter is not as
bad as Singapore but much cleaner.
Al and I went to the Buddhist Temple
and shot pictures of its interior. I
had to give time exposures to them all
and they turned out fine. The interior
of the temple is all marble.
The floors and altars are inlaid with
floral and picture designs. On top of
the altar is the life-size statue of
Buddha and the Disciples, all done in
Italian white marble, and you can
readily appreciate the sight.
These places are the Temple of
Worship, like our churches at home,
but the funny part of it is when we
enter these Temples we do the reverse
of what we would do on entering our
own church.
At horn upon entering, we take off
our hats, but here we leave our hats
on and take off our shoes and leave
them outside. One can readily appre-
ciate the delicacy of the marble floors,
yet they do it out of respect for their
god, Buddha. I still believe its on
account of the floors. Of course the
worshippers mustn't know that.
The native worshippers not only
take off their shoes,, but also wash
their feet and hands before entering,
and this they do several times a day,
I think nine. They enter and all kneel
in rows with their hats on before the
great Buddha, raise their hands above
their heads, then keep them still ex-
tended as they bow forward with the
palms toward Buddha and bend for-
ward until their elbows and palms
touch the floor with head bowed low
until they almost kiss the floor, all
murmuring, then slowly raise their
bodies as they continue to kneel and
repeat the bending forward in unison
many times, chanting all the while as
they do. It is a very interesting sight
indeed. We got some very good photo-
graphs of this place.
Al and I then went to the Chinese
snake temple, about six miles outside
of Penang. The interior of this tem-
ple is very crowded with lattice work
along the walls and ceiling, also a few
pictures and an altar that took up
most of the room.
It did not take us long to learn the
reason for all this lattice work, for
interwoven in it, and atop of the pic-
tures, ceiling and hanging from va-
rious places above the altar or any-
where they could crawl or hang from
where they happen to be when day-
light comes upon them, were real live
snakes, many and many of them.
There are all sizes, some twenty feet
in length. They are all the green
striped jungle snakes. They sleep in
Left, Bob Bronner rides a cow in a Hindu, temple in the interior of Java.
Right, loeomotioyi in Singapore, with a tariff of 7 cents the first mile and
5 cents each additional mile. "No gas," remarks Bob, "with the perfect cold
engine and the latest free-wheeling advantages."
the daytime and crawl about at night.
They are fed at night on raw eggs
that are left in various places for
them. Al and I got some good pic-
tures of them. I had to give time
exposures for the stills.
This snake temple was a very in-
teresting sight, but it wouldn't be just
the place to bring a bootleg drunk.
He would have the hee-bee gee-bees,
for sure.
We then set the Mitchell up in the
back of a large car and drove through
all sections of the town containing in-
teresting street scenes and then had
dinner at the Eastern-Oriental Hotel,
a very modern tropical house.
There was a dance going on, as the
Dollar liner President Garfield was in
(a world cruise boat), but as in all
these bloomin' English places the
dance was formal and very stiff. We
couldn't go as we didn't have our
"soup and fish" on at the time. Try-
ing to get acquainted at one of those
English shindigs is like trying to re-
trieve a letter from a post box after
you mailed it. It just can't be did.
It was Friday the 13th, so maybe that
accounts for it, so up anchor next
morning, the 14th, headed for Ceylon,
India.
Sunday, Nov. 15, at sea.
Developed and printed all day. We
have had marvelous cruising weather
ever since we left Brisbane, no rough
water,, ideal weather, and it gave me
a chance to catch up with developing
and printing.
Only bad feature was the heat of
the sun, but it is getting cooler and
more pleasant as we get above the
equator. I am still developing around
88 to 90 degrees.
Monday, still at sea.
Well, I finally got caught up with
my work and now I can do some long-
delayed experimenting as we won't
arrive in Colombo until Wednesday.
As I look over the bow of the boat
I see a beautiful sight. The bow is
kicking up a lot of phosphorescence
or little fish that give out phosphorent
lights when disturbed, and it all gives
the water a beautiful pale green light
effect.
It was the same at Batavia when
we took a sampan to our ship. As
soon as the oars dipped and we stirred
them up it had the same beautiful
effect.
Tuesday, at Sea, Bay of Bengal.
I just learned that we will be in
Port Said as quick as the mail boat
will, so I will hold this and continue
writing.
I was also informed just now that
we are to go on a trip up to Kandy,
Ceylon, in the mountains. This is
supposed to be the latest resort for
the elite of society.
More society go there than to
Monte Carlo or Riviera, as this place
is reputed to be the most beautiful of
any of the islands anywhere about
here, so that means that I have to get
prepared with all the equipment and
extra film as we are to stay two days.
Kandy is seventy miles into the
mountains from Colombo, and we ex-
pect to be quite cool up there, for a
change.
Thirty
The INTERNATIONAL PHOTOGRAPHER
January, 1932
Looking In on Just a Few New Ones
Karl Struss
DR. JEKYLL AND MR. HYDE
First camera, Karl Struss ; second cameras,
George Clemens, John H. Hallenberger ;
assistants, Charles Leahy, Fleet South-
cott ; stills, Gordon Head; sound, M. M.
Paggi.
FREDRIC MARCH has brought
to the portrayal of Paramount's
"Dr. Jekyll and Mr. Hyde" the
best that he has, and that is much.
But "Dr. Jekyll and Mr. Hyde" will
do much for Fredric March. It has
given him an op-
portunity to em-
ploy to highest
advantage that
marvelous organ
his voice, better
probably than in
any other motion
picture.
The script pro-
vided for this old
tale by Robert
Louis Stevenson,
with adaptations
by Samuel Hoff-
enstein and Perry
Heath, also has
furnished a medium for Director Reu-
ben Mamoulian to display his skill in
the creation of melodrama, in stories
of fast action.
Karl Struss also figures in the sum
of achievement by reason of his skill
in recording on the film the transi-
tions of the chief character from the
good man to the bad and from the
bad back to the good. It is this phase
of the production that will supply the
greatest amount of wonderment on
the part of the public.
Tbe record of accomplishment will
be far from complete if omission is
made of the names of Miriam Hopkins
and Rose Hobart, the former inter-
preting the woman of the street who
loves Jekyll and with the best of
reason fears Hyde and the latter the
woman engaged to Jekyll.
Each of these fills a distinct niche
in the story. The greater opportunity,
of course, goes to Miss Hopkins. Her
portrayal of the London concert hall
entertainer who generally lives by her
wits makes of her a quaintly whimsi-
cal and most appealing creature — one
who in the average male view at least
will provide ample justification for
the lapse of the good doctor in taking
her in his arms, forgetting he had
but a moment before left his affianced.
The story builds up an impressive
answer to those who insist on long
engagements between human beings
of normal impulses and establishes
the distinction between instincts and
impulses. The action plainly shows
the disaster that follows to several
lives in this particular case of delayed
marriage.
Highlights in this tragedy are
many. One is the lecture by Dr.
Jekyll in the academy, a triumph in
conception and delivery. Another is
the love scene between the doctor and
the maid, the declaration by the man
and its reception by the girl.
On its literary side it is a master-
By GEORGE BLAISDELL
piece of such quality that if it be not
from the hand of Stevenson it is
worthy of that master. Well may it
serve as a model for aspiring writers
and incidentally, too, for young
actors seeking the best in interpreta-
tion, in its reading by the two partici-
pants.
SOOKY
Arthur Todd
First camera, Arthur Todd ; second cameras,
Frank Titus, Fred Mayer ; assistants, Ed-
ward Adams. Neal Preckner ; stills, Frank
Bjerring ; sound, Eugene Merritt.
IF THERE be any major criticism
of Paramount's "Sooky" it is that
the principal pathetic sequence —
there are more than one — is a bit pro-
longed. There is too much of it. It
is not a trick to make men and women
cry in a drama.
The trick is to
make them cry or
to attempt to re-
frain from it just
enough to compel
recognition of
story strength
and then give
them relief, if
only temporary,
in the form of a
lighter moment.
In this picture
contrary to his
position in "The
Champ" Jackie
Cooper is not subordinated to an aduR
player. With the diminutive Robert
Coogan as Sooky he heads the show.
There are others ideally chosen who
insure the work of the little fellows —
players like Willard Robertson, who
portrays Dr. Skinner, the father of
Skippy; Enid Bennett as Mrs. Skinner
and Helen Jerome Eddy as Mrs.
Wayne, mother of Sooky. These
three are the adult principals.
The story is derived from the book
"Dear Sooky," by Percy Crosby, and
has been adapted by Sam Mintz,
Joseph L. Mankiewicz and Norman
McLeod. Norman Taurog, who re-
ceived the Academy's bouquet for his
direction of the precedent "Skippy,"
repeated his quality performance in
the present instance. If our recollec-
tion serve this column following the
initial showing praised his handling
of the children in "Skippy."
It is deserving of note that prac-
tically the same cast which portrayed
"Skippy" is seen in the present pic-
ture. In other words, if the present
picture fail to reach the same suc-
cess as was attained by its predeces-
sor it will not be because of a change
in the cast. For that matter there
would seem to be no reason why the
later one should not top the earlier.
It would seem to make stronger de-
mands on the risibilities and also on
the heartstrings.
The main strength of the tale lies
in its being of Every Boy — the lad
who lives in a regular house with a
father and mother who give him the
comforts of home and the lad who
lives across the track in shanty town,
with none of the comforts of home
except such as may be bestowed by an
invalid mother with exceedingly slim
resources.
There is no disagreement as to the
remarkable acting ability of Jackie
Cooper, although there seems to he
difference of opinion regarding that
of the Coogan youngest. Sight should
not be lost of the fact that the latter
is little more than an infant, that he
is called upon to maintain sustained
dialogue in conformity with a rigid
script — and how marvelously does he
do just that ? All in all it would seem
the little fellow has done more and
better acting with dialogue, his age
considered, than has any one so far
on the screen, certainly at least the
equal of any other.
Jackie Searl as Sidney continues
his faithful interpretation of the
pampered and snarling tattletale, the
screen's lightest and perhaps meanest
"heavy." Certainly in most unmistak-
able fashion he creates what he sets
out to do.
There is a wealth of incident in this
story of childhood, a tale that should
appeal to adults with a force almost
equal to that experienced by the littler
folks.
HELL DIVERS
First cameras, Harold Wenstrom, Harold
Lipstein ; second cameras, Reginald Lan-
ning, Harold M*»rzorati ; assistants,
Charles Straumer, Robert Hoag, K. Meade ;
Akeley chief, Charles Marshall ; Akeley
assistant, Albert Scheving ; stills, Bert
Lynch ; sound, Robert Shirley.
HERE is a man's story, one that
every man well may be ex-
pected to talk about not only
for one day after seeing but for sev-
eral days. And in casting this story
of and for men care has been taken
to select for its
leads players who
register with
their own sex
first, one of them
surely and maybe
two ■ — ■ Wallace
Beery and Clark
Gable.
That is on the
screen side. On
the production
side it is a cam-
eraman's picture
— practically a 1 1
the way. It is a
picture of hazard,
and the photographer traveled along-
side the navy men as they swirled
and dipped and plunged — only an
aviator could describe the stunts and
only an aviator could comprehend the
various terms.
It just happens the director, George
Hill, was a one-time cameraman be-
fore he got still further behind the
camera, and has never lost his inter-
est in the possibilities of what may
be accomplished with the combination
of a good cameraman and really
Harold Wenstrom
January, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-one
thrilling things to shoot.
The aerial photography was done
by Charles A. Marshall. While there
have been quite a number of major
productions in which spectacular air
shots bulked large there will hardly
be any question that M-G-M's "Hell
Divers" will rank with the leaders of
these.
It is more than a spectacular mo-
tion picture of the navy's air men in
time of peace. It is a dramatic story,
one that deeply moves, and these sit-
uations that stir are in practically
every instance between not a man
and a woman but rather between two
men, men who deep down underneath
love and respect each other but out-
wardly and vocally hate with jealous
rage.
These two men, Windy and Steve,
Beery and Gable, are both petty
officers and in their rank top their
squadron. The outward feud starts
when it is believed by the elder that
the younger is slated to succeed to
his post on his inevitable retirement.
So they fight, with their tongues and
their fists, whenever the elder has a
chance to get one going.
The women are minimized to an
extent they are almost ignored. Dor-
othy Jordan as Ann and Marjorie
Rambeau as Mame Kelsey, the former
in love with the younger of the men
and the latter with the elder. The
former is a girl of position in the
north and the latter is proprietor of
a resort in Panama. What little they
have to do is effectively done, espe-
cially by the elder of the women.
The support is excellent all the way.
There is Conrad Nagle as skipper of
a flight squadron, succeeding John
Miljan when the latter becomes a cas-
ualty. Miljan is impressive in his
portrayal, and so is Frank Conroy as
the brief chaplain. So, too, is the un-
forgettable ceremony of burial at sea
over which he presides.
The tale is by Lieut. Commander
Frank Wead of the navy, retired.
Harvey Gates and Malcolm B'oylan
adapt the story and James K. Mc-
Guinness and Ralph Graves contribute
additional dialogue.
Much deserving to be said must be
left unsaid by all those who desire to
do justice to the men and women who
have made an excellent motion pic-
ture, one creditable alike to the
studio and especially to the United
States Navy which made it possible.
This magazine in its December is-
sue told under the hand of Charles
A. Marshall how a camera was plant-
ed under a plane and from midair a
mile from the plane carrier Saratoga
recorded the travel of the intervening
distance and the safe landing on
board. The screened result was in-
deed thrilling.
It may be interesting to note the
shift in navy attitude in a short time.
Five years ago the department would
not permit the screen showing of even
a long shot of a plane carrier. In
"Hell Divers" one of these marvelous
craft is pretty near dissected for the
benefit of the public at large — and it
is of vital interest. Chief Camera-
man Wenstrom is to be congratulated
upon the all-around quality of the
work done by himself and his asso-
ciates.
"The production is decidedly an
outstanding example of eye entertain-
ment and education, the result of an
enormous amount of concerted efforts,
and is a tribute to the art, ingenuity
and courage of the cinematographer,"
comments Maurice Kains, a member
of the International Photographers,
who witnessed the showing of the
picture with the reviewer.
"It is a shining example of what
may be accomplished h^ a director
who understands his photography and
gives full cooperation to his camera
crew in allowing them a free rein in
expressing themselves. Mr. Hill was
himself a cinematographer, and this
fact has doubtless influenced the qual-
ity of 'Hell Divers.' To see this pic-
ture is to acknowledge the true value
of the cinematographer in making a
production a box office success."
A WOMAN COMMANDS
First camera, Hal Mohr; second cameras,
William Skall, Milton Krasner ; assistants,
Robert Surtees, Clarence Slifer ; stills.
Emmett Schoenbaum ; sound, Earl Wol-
cott.
AS IF she never had been away
from the screen, Pola Negri
comes back to us in "A Woman
Commands" for Pathe. She comes
back to us at the zenith of her powers
as an actress of tense roles, as the in-
terpreter of women of importance and
position, as one who when in the guise
of a variety artist flouts a king does
so with entire conviction to the be-
holder, and one who when she is mar-
ried to the king easily looks the queen.
And in the several years' hiatus in
her screen work the player has under-
gone no experiences that caused her to
lose any of the finesse that always
has marked her love passages nor is
there any discoverable diminution in
the enthusiasm with which she clings
in the clinches.
The picture that marks her return
to the world screen was shown for
preview in the week before Christmas
at a large theatre, the Ritz on Wil-
shire. The film still was in a fluid
state, subjpect to further cutting as
might be determined following audi-
ence reaction. It is unlikely much
will be done to it, with the possible
exception of quickening the move-
ment in the closing sequence.
The production as a whole is of
magnitude, one that will reflect credit
on every person associated with its
making. Behind the screen these in-
clude Harry Joe Brown, associate pro-
ducer, and Paul L. Stein, director.
Horace Jackson adapted the story of
Thilde Foster. Carroll Clark was art
director. Then after these and others
had done their best Hal Mohr, in
charge of the cameras, put it on the
screen. And how!
The picture attracts in spite of its
being around a two-bit European
kingdom, one of the hardest back-
grounds in which to establish illusion.
Miss Negri is a cafe entertainer in
love with Alex, captain of the guard,
who is shifted to a foreign post.
When the king sees her he falls in
love at sight. . The public baptism of
the son develops into a successful
revolution, the king is deposed and
the woman is sentenced to death.
Roland Young- is the king who takes
Chief Photographer Hal Mohr (right) with Director Paul L. Stein and Pola
Negri follow making of a scene in RKO Pathe's "A Woman Commands."
It is Miss Negri's first talker, and it proved to be a successful one. In the
background are members of the camera, sound and direction staffs. It may
be remarked in passing Miss Negri is regarded by studio workers as one of
themselves — and so stands in their affections. This photograph was exposed
by Emmet Schoenbaum.
Thirty-two
The INTERNATIONAL PHOTOGRAPHER
January, 19-32
his job lightly and for the multitude
most entertainingly. Basil Rathbone
is the very serious captain of the
guard. H. B. Warner is the colonel
of the guard and brings distinction to
the part. Anthony Bushell has a bit
as the aid of the colonel. Reginald
Owen is the prime minister and Frank
Reicher is the general.
The picture is notable for its stag-
ing, both in structures and in cos-
tuming, and in these respects as well
as in others is a delight to the eye.
All in all, "A Woman Commands" is
an auspicious subject in which to
mark the return of a player to the
screen.
MEN OF CHANCE
First camera. Nick Musuraca ; second cameras,
Harry Wild, Edward Henderson. Joseph
Walters, Jr. ; assistants, Harold Wellman,
William Clothier, James Daly; stilh, Rob-
ert Coburn ; sound, Clem Portman.
THERE should be no difficulty
starting a story about RKO's
"Men of Chance," written by
Louis Weitzenkorn, with adaptation
and dialogue by Wallace Smith and
Louis Stevens. The work of these
men has been so
constructed and
interpreted by Di-
rector George
Archainbaud, aid-
ed and abetted by
Art Director Max
Ree and inci-
dentally and im-
portantly by
Photographer
Nick Musuraca,
that from the drop
of the hat until
the curtain is
flashed the fol- ^yicfc Musuraca
lower of this tale
of Paris and New York is "out" so
far as the world at large is con-
cerned.
It is a story of sporting men, of
gamblers, of women who have battled
with the world and have not succeeded
until they meet one of the gamblers,
yet it is a love story and a pretty one.
In its course there is staged a horse
race that proves to be one of the most
thrilling dramatically ever shown on
the screen.
More than that, there are a number
of instances when the heroine, Marthe,
interpreted by Mary Astor, is re-
sponsible with her partner for the
moment for distinct emotional touches,
the tender kind not expected in a
sporting picture — the kind that re-
flect credit on the creators.
Ricardo Cortez is the principal
player on the male side of the house,
with John Halliday an associate with
practically identical importance. Hal-
liday as Dorval is the man who fol-
lows Marthe to the French station
when she is arrested for accepting
attention when a detective offers to
help her allay raging hunger and
there secures her release.
Cortez as Johnny Silk is the gam-
bler who falls in love at first sight
with Marthe and rushes her into a
marriage before she is in love with
him — a more or less minor detail that
very shortly is most satisfactorily ad-
justed to the complete happiness of
two persons.
Dorval is the partner of Farley,
played by Ralph Ince. The two
"bookies" conspire through Marthe to
get back with substantial interest the
quarter million that Silk has taken
from them. They succeed beyond
their hopes and without the slightest
preceding intimation on the part oi
their innocent accessory and victim.
The scene wherein the wife declares
herself to her husband following her
admission of unwitting fault in con-
tributing to his financial ruin and his
brutal denunciation and repudiation
of his wife is one of unusual strength.
In it Miss Astor demonstrates that as
life has touched her heavily in recent
months so too have inevitably and
surely expanded her emotional capac-
ity and dramatic power. It is a mov-
ing scene. The grasp on the man out
front is all the greater by reason of
his complete and continuous submis-
sion to the spell of the picture from
the beginning.
If you would sit in on a delightful
story, one that upsets the tradition a
screen tale may not be both tender
and fast; one that grips and thrills,
set aside any possible vagrant preju-
dice against pictm-es that deal with
sporting subjects or gamblers or horse
racing; set aside any of the attributes
masquerading as pietistic but really
perhaps ascribable to cooling blood
and advancing years or their equiva-
lents and sit in on "Men of Chance."
It will be worth your while.
WORKING GIRLS
First camera. Harry Fischbeck ; second cam-
eras, Harry Merland, William James
Knott ; assistants, Robert Rhea, Lloyd
Ahern ; still, Clifton L. Kling ; sound,
HERE is a picture, this "Working
Girls" of Paramount, which
would seem easily to prove the
truth of every unkind statement that
has been uttered about the motion
picture in the preceding six months.
There are twen-
ty-six names in
the official cast.
Apparently they
mean not a thing.
Paul Lukas heads
them, but he has
nothing to do in
the story — a ver-
itable stick plain-
ly stuck in there
because he has a
name. Which in-
cidentally he will
not have if he is
handed a few as-
signments like
this one.
The tale turns on two sisters who
come to New York and put up at a
sort of Y.W.C.A. One of the sisters
is a plain gold digger and the other
is just a plain sap. As to the latter
it is not even possible to scratch up
a trace of sympathy for her. She is
the victim of the excellence of her in-
terpretation. The gold digger is
human and likable.
Buddy Rogers as Boyd Wheeler is
in the cast, dropped in there in order
that the sap may fall in love with him.
The scowl he wears as a result is
quite understandable out front, and
undoubtedly he will not be blamed by
his admirers.
Harry Fischbeck
Very likely the picture will appeal
to those in that particular range of
the low twenties where the ego is un-
duly magnified. Also possibly women
of any age may be interested. One
male person of thirty years remarked
that any man who ever had kept com-
pany with a young woman who lived
in a Y.W.C.A. hostelry where it was
imperative the lodgers be in at a cer-
tain hour would find some interest in
the picture. And that certainly is
something.
Dorothy Arzner directed "Working
Girls," which is a screen play by Zoe
Akins from the stage play of "Blind
Mice" by Vera Caspary and Wini-
fren Lenihan.
Just to make even more unpro-
pitious the background for the re-
viewers the picture followed imme-
diately "The Ladies of the Big
House," a stirring and gripping story
of life, thereby constituting a con-
firmation of that famous allusion of
"Diamond to dunghill."
The photography? It is excellent,
in all sincerity. When others who
have it in their power to make or mar
a production "go blooey" the camera-
man stands like a rock, cold-blooded
and level-headed.
So far as it lies in his power it is
a motion picture.
DELICIOUS
First camera, Ernest Pp'tner; second camera,
Don Anderson ; assistants, Stanley Little,
John Miehle; stills, Anthony Ugrin ; sound,
Joseph Aiken.
AROUND a sappy title Guy Bol-
ton has written for Fox a story
that easily was worthy of a
better name. "Delicious" is the kind
of a title the writer of sappy songs
would conceive. As in this instance
there is dragged
in a composition
which comes as
near being a
theme song as
producers these
days dare sponsor
it is more than
likely the first
word in the
chorus is the
germ from which
sprung the story
— in other words
the tale was writ-
ten around the
song.
The tale is a typical Farrell-Gaynor
subject, of the poor girl and the
wealthy boy who fall in love at first
sight and after many tribulations on
the part of the girl are married. The
ungentle specimens of humanity de-
vised by the creators of the story are
unable to bring disaster to the girl
or permanently keep the boy and girl
apart.
There is an official representative
of the government revenue service
who plays the role of bogey man, the
villain who still pursues the girl, and
who probably will be unanimously
disowned by the men who draw sala-
ries in that department of Uncle Sam.
Then there is a woman of position
who without compunction destroys a
note which the boy has asked her de-
signing daughter to deliver to the
Ernest Palmer
January, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-three
girl, which action later is followed
by the daughter turning in to the
police the fugitive from Ellis Island.
Then there is El Brendel in a bene-
volent role, that of manservant to the
boy, but the characterization is
marred by forcing the comedian to
sing a song the chorus of which be-
gins "Blah, bah, blah, blah," and it is
not a thing else. It may be funny in
Tinpan Alley; and then again it may
not.
Then there is a welsh rarebit
nightmare that haunts the girl during
her last slumber at sea. It is of the
reception that she gets on entering
the country. As a sequence in a
musical comedy it would be great
stuff, but the man out front is under
the impression he is gazing on drama,
and unless fortunately he has in time
grasped the fact he is looking on a
dream he is likely to be mystified.
In spite of the train of incidents of
which some are here mentioned the
picture has distinct entertainment
qualities, due in large degree to the
personality of the two chief charac-
ters, Farrell and Gaynor. Then forti-
fying the appeal of this factor is the
presence in the cast of a group of
Russian immigrants who take under
their wing the orphan from Scotland.
They are a human and a lovable group
and add the touch of "real folks."
The large band of Farrell-Gaynor
followers will find in "Delicious"
enough to justify putting the subject
on the "must" list.
WOMAN OF MONTE CARLO
First camera. Ernest Haller; second camera,
William Schurr ; assistants, Ellsworth
Fredncks, Perry Finnerman ; stills, Charles
Pollock; sound, Charles Althouse.
LIL DAGOVER in "Woman of
Monte Carlo," her first subject
for Warner Brothers, certainly
is well escorted by male players. At
the head of the cast is Walter Huston
in the role of the commandant, and
he is supported
by a host of ex-
cellent actors.
The story is
that one of the
opening of the
world war so pop-
ular a number o*
years ago and
written by Claude
Farrere and
Lucien N e p e t y.
The continuity
and dialogue are
Harvey Thew's.
It is a very sim-
ple yet compell-
ing tale.
The wife of the commandant, a
woman with a past, joins the families
of other officers in visiting the ship
just in from a four months' cruise.
Shore leave is refused. When Madame
Commandant learns her husband will
remain on shipboard for the night she
is furious. With kindly eye she looks
on a junior officer, one time lover for
some time discarded. The second of-
ficer tries to capitalize the madame's
rage against her husband and is
spurned.
When the war alarm comes the wife
is slow starting for shore and is
Ernest Haller
caught in the room of the junior.
While the second officer is conducting
an inspection, one that satisfies him a
woman is in the cabin, the vessel is
attacked.
There is abundance of melodrama in
this story of France. Michael Curtiz
directs. One of the best scenes is that
of the court-martial of the command-
ant, charged with losing his ship. Rob-
ert Warwick is judge advocate and
makes the brief part stand out. Oth-
ers in the support are Warren Wil-
liam, John Wray, George E. Stone,
Warner Richmond, Reginald Barlow,
Paul Porcasi, Matt McHugh, Ben
Hendricks, Jr., John Rutherford, Ter-
ence Ray, Frederick Burton and
Maude Eburne.
The story is Dagover's rather than
Huston's. She has the appearance of
having been before the public many
years and being outside the average
age bounds that circumscribe a lead-
ing woman on the American scene.
In "The Woman of Monte Carlo" she
is portraying a woman who has been
an adventuress before her marriage.
When in the lines of the dialogue
she is referred to as young and beau-
tiful there is a feeling the feminine
lead would have been advantaged had
the reference to age been omitted.
Brilliant she is beyond question and in
a picture the dialogue of which gives
her a chance should attain real prom-
inence on the American screen.
The picture is strong on technical
effects, particularly that of the battle
between two vessels. The manner in
which it has been put on the screen is
most commendatory. It is probably
the most realistic thing of its kind.
THE CHEAT
First camera, George Folsey ; second camera,
Joe Ruttenberg ; assistants, Charles Saler-
no, Edward Hyland ; stills. Frank Serjeck.
TALLULAH BANKHEAD in Par-
amount's "The Cheat" has a
story designed to fit her person-
ality and particular if undeniable act-
ing ability. It is a strange and har-
rowing tale, as to the latter in one
instance shock-
ingly so. Beyond
all these it is a
strong even if it
be an unpleasant
one on the whole.
But it has been
noted in times
past a tale may
be u n p 1 e a s-
ant, yet if also it
be strong it will
throng theatres
where it is bei:i«-
shown. So very
likely also will n ■& ,
. u ■ -4. • Georqe Folsey
this picture m J a
which the Southern woman divides
honors with Irving Pichel, an actor
whose unusual talents are here em-
ployed to his own personal disad-
vantage. Surely the character of
Hardy Livingston is an unsympathet-
ic one; it is more — it is repellent.
The tale was adapted by Harry
Hervey from an original story by
Hector Turnbull. George Abbott di-
rected. The theme is of the jam a
married woman gets into when she
gambles heavily not only with money
she has not got but currency of which
she is the temporary custodian — and
of course in each instance loses. It is
to Livingston that Elsa is forced to
go for help in a situation packed with
alternative tragedy — either to admit
to her woman friends she is a de-
faulter or go to her death by her
own hand.
That the husband's long awaited
ship should come in the very after-
noon preceding the evening on which
Livingston has summoned Elsa to his
home there to liquidate the obligation
he has imposed in return for his mon-
ey adds materially to the dramatic
tension of the story.
The fact the woman in compensa-
tion has her husband's perfectly good
check for the ten thousand interests
not a bit the man who demands in-
stead a price before which to Elsa
that of Shylock pales into insignifi-
cance.
Livington's brazen proffer of a re-
volver to a desperate woman threat-
ening to kill herself and then his
leaving the weapon where she may
reach it and shoot him seems more
than giving the man an opportunity
to display bravado. It is a dramatic
inconsistency. But the creators of the
story several times in the course of
their work have leaned heavily on the
arm of coincidence and not always
have they taken the time or made the
effort to conceal their tracks.
Harry Stephens has the part of the
husband so thoroughly in love with
his wife that he overlooks one mone-
tary indiscretion after another — and
acquits himself with credit.
The picture was made in New York.
LADIES OF THE JURY
First camera. Jack Mackenzie ; second cam-
eras, Joseph Biroc, Edward Henderson,
Edwin Pyle ; assistants, George Diskant,
Charles Burke, William Clothier; stills,
Donald MacKenzie; sound, George Ellis.
WHILE RKO'S "Ladies of the
Jury" may not be an attack
insidious or otherwise on that
more or less well-known institution
the great American jury, neverthe-
less it does uncover a few of the bar-
nacles that cling
to it in popular
estimation.
The picture is
based on a play
by Fred Ballard,
with adaptation
by Marion Dix
and dialogue by
Salisbury Field
and Eddie
Welch. Some-
body having to
do with its gen-
eral structure
plainly has had
service on one of Jack MacKenzie
these temper straining aggravations.
Director Lowell Sherman must have
come in contact with that man and
absorbed his information, for the
story as unfolded rings true to the
real thing. With the average individ-
ual a little jury experience goes a
long way and lingers long in the
memory.
Edna May Oliver tops the cast and
portrays a woman of position not un-
Thirty-four
The INTERNATIONAL PHOTOGRAPHER
January, 1982'
acquainted with the presiding judge
of a criminal court who enters the
jury box under his authority. Mrs.
Crane is a pushful, insinuating crea-
ture and on the whole decidedly lika-
ble. It is true she does seek to
run any show in which she is a part,,
and of course she starts right in to
run the court.
The judge is frantic even while he
tries to be polite. So, too, are the re-
spective attorneys, who dare not an-
tagonize her. Under the nose of a
bailiff she slips a note to the outside
wrorld that clearly is illegal, even
though it be in the interest of jus-
tice.
When the informal ballot shows
eleven to one for conviction of the
woman defendant the stormy petrel
of the jury really begins work. That's
where the fun starts, the finesse be-
gins to unroll by the ream, and the
foreman of the jury quickly learns
his job is titular only — that the lead-
ership has been assumed by No. 12,
a woman.
The twelve jurors are not just so
many persons with nothing to do.
They all have their day in court so
far as entering an audible appear-
ance is concerned. They have been
chosen with resDect to their capacity
to portray their particular part. Some
of these openly are of a comedy na-
ture, and some are so without seem-
ing to be. It is a goodly gang.
The other members of the jury are
Ken Murray, Roscoe Ates, Kitty Kel-
ly, Lita Chevret, George Andre Ber-
anger, Guinn Williams, George Hum-
bert, Kate Price, Charles Dow Clark,
Florence Lake and Cora Wither-
spoon. Robert McWade is the exas-
perated and harassed judge and Jill
Esmond is the defendant.
HER MAJESTY LOVE
First camera, Robert Kurrle ; second camera,
Al Greene; assistants. John Shepek, Ralph
Ash ; stills, John Ellis ; sound, C. Dave
Forrest.
1-vHERE is a goodly bit of fun in
First National's "Her Majesty
Love," featuring Marilyn Miller.
There are in the dialogue a few ex-
amples of cheap wit and in the action
parallelling instances of bad taste,
few in number
and minor in de-
gree though they
be.
There is one in-
e x o r a b 1 e rule
about pictures. It
reminds some-
thing of the old
saw about water.
For pictures, like
water, cannot
rise above the
source — m e a n-
ing the one man
in the whole or-
ganization re-
sponsible for them and possessing the
power to eliminate as well as to add.
Some women — men are not in the
discussion — thrive on dirt or the at-
tenuated processes from which dirt
eventually is created.
Some women thrive — we are talk-
ing about the public — on wholesome-
ness. Marilyn Miller would seem to
Robert Kurrle
be one of these. It is in her face.
Here through two-thirds of the action
she builds up in those who are seeing
her for the tirst time the very definite
impression of kinship on the screen
with, say, Ann Harding or Florence
Vidor, just to mention two coming
first to mind.
Then in the privacy of her simple
home she is plunged into an undress-
ing act as she changes her garb pre-
paratory to setting forth to celebrate
the evening with her affianced. A
man is not necessarily a prude to get
a jolt from the action just because it
is entirely out of character. The
mental attitude of the observer is
identically the same as though he had
by accident been pushed into the
woman's boudoir. In other words he
could almost hear the production chief
sav to the director:
"Forget the dramatic verities! Put
some 'production quality' in there.
Put in some legs. Have her take off
one pair of stockings and put on an-
other— and let us see what she is
doing when she does it."
And so we do. From that point on
the love story which up to that time
has been of an absorbing sort slips in
its grip. Not so much attention is
paid to Leon Errol as he spills his
sexual subtleties — they are rather ex-
pected and are unlikely to upset those
who still believe family pictures will
return a profit.
Ben Lyon has a likable role as the
younger brother of the two men in-
trusted with the management of large
steel mills. The young man falls in
love with the daughter of the town's
barber, to the distress of the exceed-
ingly large family on the steel man's
side, not in any way mitigated by the
fact the young woman tends bar in
a night club.
Ford Sterling as the elder brother
essays a serious role — and finely does
he portray it. The barber, by the
way, is W. C. Fields, and sound gives
him advantages which he very much
missed when somewhat briefly he was
seen on the screen in the silent days.
He is a real entertainer. Chester
Conkling appears momentarily.
Robert Lord and Arthur Caesar
wrote the continuity from the story
by R. Bernauer and R. Oesterreicher.
William Dieterle directed.
THE QUEEN'S NECKLACE
ONE of the greatest groupings of
beautiful women ever shown on
the screen may be found in
Eclair's "La Collier de la Reine" (The
Queen's Necklace). The picture was
made in Paris under the direction of
Gaston Ravel. It deals with the activi-
ties of Jeanne de la Motte at the
court of Louis 16th and the trouble
the adventuress caused Marie An-
toinette the queen. Some of the se-
quences are in French dialogue, am-
plified by titles in English. The pic-
ture will interest.
The diamond necklace enters the
story when Louis' gift of the precious
stones is declined by the queen be-
cause of the extravagance it repre-
sents. De la Motte, befriended by the
queen, nevertheless plans to capitalize
that friendship to her own financial
benefit and the ruin of the queen.
The reason for the latter indignity
is not quite clear.
Into the disastrous situation precip-
itated by De la Motte is drawn cardi-
nal De Rohan, the chief dignitary of
the church in Paris, who seeks through
De la Motte to be restored to favor
with the queen.
Marcelle Favrel-Chantal is the ad-
venturess and Diana Karenne por-
trays both Marie Antoinette and
Olivia, the latter the woman of the
street employed to impersonate the
queen in the process of "hooking" the
cardinal, played by Georges Lannes.
Jean Weber of the Comedie Fran-
cais is the printer who through his
love for De la Motte is enticed to be-
come an accessory in the felonies of
De la Motte.
There are numerous striking and
picturesque shots of famous French
backgrounds. Also there are large
and finely staged mob scenes, using
that unpleasant term in a motion pic-
ture sense, among these being the
chief parliamentary body. There is
an imposing gathering of the court,
the individuals arrayed in all the fol-
derols of garb that prevailed in pre-
revolutionary days in France. There
are views of the historic backgrounds
that 150 years ago served as the home
of French men and women whose days
were then numbered, although they
knew it not.
There are thrilling scenes at the
close, when De la Motte desperately
struggles to avoid punishment at the
whipping post, the audience being
spared the gruesome details of the
actuality, however.
HUSBAND'S HOLIDAY
First camera, Charles Rosher ; second cam-
eras, Guy Bennett, Clifford Blackstone;
assistants, Thomas Morris, Alfred Smal-
ley ; stills, Junius Estep ; sound, Earl
Hayman.
EXPLOITED in Paramount's "Hus-
band's Holiday" is a philosophy
of marital relations that will
not be accepted by a great majority
of women — or men either if so be the
boot be on the other foot.
An injured wife
refuses to pro-
ceed either legal-
ly or otherwise
against a hus-
band she learns
is entangled with
a single woman.
She does more
than refuse to
proceed. Not only
does she decline
to apply for a
divorce but she
serves notice on
the most interest-
ed party there
will be no divorce.
The story turns on this latter
action. It precipitates the train of
events that lead to the finale, to the
succession of incidents that break up
the alliance on the outside and bring
the husband home to his family.
Logically the denoument will stand
up. It is a simple case of dropping
water wearing away a stone, the plac-
ing of the other woman in the position
of a mistress rather than of a wife;
the subjection to the humiliating
Charles Rosher
January, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-five
thrusts projected by her good but
candid friends that while her pro-
tector gives her much he does not
give her his name, while they insinu-
ate he easily could secure a divorce
because his wife so loves him she
would grant any request made by
him in real earnest.
To the stern and unyielding mother
who injects her own view into the
situation the wife justifies her posi-
tion by magnifying the institutions of
marriage and the family and at the
same time minimizing the relation of
sex, declaring that with the fate cf
two children in the balance she will
not take any step looking to the de-
struction of the family of which they
constitute the chief part.
Clive Brook has the role of the
weak George Boyd and Vivienne Os-
borne that of the strong and unyield-
ing and faithful wife of such singular
convictions. The role of Boyd is one
that somehow does not fit the average
conception of Brook. He does not
look the philanderer. Confirming the
impression is the uneasy, unhappy
appearance that clings to the man
who has left his home. Undoubtedly
this suggestion of being ill at ease
does much to enhance the illusion the
husband will return to his family
later on, in spite of the progress in
the affections of Mrs. Boyd of
Andrew Trask, most sympathetically
played by Harry Bannister, husband
of Ann Harding when in his own
domicile. Bannister proves to be one
of the factors of an interesting story.
Miss Osborne in the difficult part of
the wife makes a distinct hit. She
makes convincing a character that in
less capable hands would have been
as flat as a pancake. Juliette Comp-
ton is the other woman, the one who
is the loser in the fight for a man's
affections even after she has secured
physical possession of him.
Robert Milton directed from Ernest
Pascal's play of "The Marriage Bed,"
as adapted by Pascal and Viola
Brothers Shore.
LADIES OF THE BIG HOUSE
First camera, Dave Abel ; second cameras,
Ernest Laszlo. Don Keyes ; assistants.
Jimmy King-. George Bourne; stills, Fred
Archer ; sound, E. C. Sullivan.
THERE'S a powerful story be-
hind this tale of Ernest Booth
with its added dialogue by Wil-
liam McNutt and Grover Jones. It is
a sober narrative that is put on by
Director Marion Gering. If any
comedy runs with
jgj^ it it is lost to
mk 'm. lowing morning.
Neither will it
likely prove a tear-
ful picture for the
average person.
Somehow the
theme is too big
for that phase of
sorrow, and there's
a plenty of sorrow
Hi in this "Ladies of
the Big House" of
Dave Abel Paramount. The
story expends its
force on the person out front by im-
planting him immovably in his seat,
and there without thought of sur-
rounding events or incidents does he
remain entirely concentrated on the
screen.
There is a newcomer in the cast — ■
Gene Raymond — the young man who
plays opposite Sylvia Sidney in this
story of prison life. He is a distinct
asset to the screen, bringing to it
among other things personality, poise
and acting judgment together with a
sufficient measure of good looks.
Miss Sidney has had allotted her
in the recent past some excellent
parts, but the present one in its pos-
sibilities will come pretty near top-
ping all its predecessors. In its inter-
pretation she employs much restraint,
depending and leaning heavily on the
arts of pantomime to convey a part
of what is passing through her mind.
She is portraying an experience that
would take the smiles out of the life
of anyone, and as a result the grav-
ity of the interpretation well becomes
it.
There is another player who com-
mands attention steadily through the
picture and who in no manner dis-
appoints those who are /acquainted
with her capabilities. That is Wynne
Gibson, portraying the discarded fa-
vorite of a gunman, by him discarded
in favor of Kathleen, the role of Miss
Sidney, but who by her is in turn re-
pudiated. It is the explanation of
why Susie is waiting for Kathleen
when the latter arrives at the prison,
waiting for her with the makings of
a first-class feud.
The picture is massive in its aspect.
You see the heart of a state prison
for both men and women. There is
not just a flash of a great institution
and then close-ups of insignificant and
unrelated corners. The producer has
elected to find somewhere an institu-
tion devoted to the purposes he is at-
tempting to counterfeit on the screen
and then to stay with the structure
all the way. The realism is complete.
There is a long cast. Among the
players are Earle Fox as a gunman,
with a voice that stands out; Rock-
liffe Fellowes, Frank Sheridan, a sym-
pathetic warden, and Purnell Pratt.
When Seen Through Feminine Eyes
By CLARA M. SAWDON
RACING YOUTH
First camera, George Robinson ; second cam-
era. Joseph Brotherton ; assistants, Ross
Hoffman, George Trafton ; stills, Harry
Osborne ; sound, Jesse Moulin.
AUTO racing enthusiasts will find
plenty of action in Universal's
"Racing Youth" to keep them
en the edge of their seats while thrills
of suspense and excitement with
stimulating celerity chase up and
down the column
provided for hu-
mans to handle
such occasions.
This race is a
road classic where
you take all in
high, the bumps,
hills and curves
as you find them.
Earl Snell, who
wrote the screen
play, combined
enough elements
of love, villainy
and comedy to
give each member
of the capable cast a chance to regis-
ter individually in their respective
roles.
Frank Albertson and June Clyde
portray the love interest amusingly
complicated by a case of mistaken
identity. Louise Fazenda, Slim Sum-
merville and Otis Harlan garner in
the laughs which are liberally sup-
plied in a dancing scene.
A plot involving treachery and dis-
loyalty sufficiently complicated to
employ three persons completes the
triangle of emotional interests.
Arthur Stuart Hull, Forrest Stanley
and Eddie Phillips supply the heavy
atmosphere of intrigue, from which,
of course, love emerges triumphant
for the last fade out.
"Racing Youth" fulfills its mission
as a medium of light entertainment
which should satisfy everyone. As
stated before, under the direction of
Vin Moore and the realism supplied
by the camera, this picture delivers
old material with a new wallop all its
own and which future racing pictures
will find difficult to surpass for speed,
action, suspense and thrills.
George Robinson
LOCAL BOY MAKES GOOD
First camera. Sol Polito ; second camera,
Michael Joyce. Thomas Branigan ; assist-
ants, Robert Mitchell, Thomas Riddell ;
stills, Irving Lippman ; sound, C. Dave
Forrest.
REGISTER the fact that First
National's "Local Boy Makes
Good" is Elliott Nugent's story
"The Poor Nut" transferred to film-
land with Joe Brown scoring laughs
after the manner of the rapid fire
precision of a
machine gun and
you have all the
cards laid on the
table. This is one
of those joyous
occasions when
everyone has a
grand time be-
cause the come-
dian's humor
never offends and
when the urge to
laugh arises one
can "obey that
impulse" u n r e-
strainedly — and
one does.
The introduction of a would-be
humorous college story to the screen
is no novelty, but the direction of
Mervyn LeRoy injects the element of
novelty into this picture because it
succeeds in being screamingly funny.
As John Augustus Miller, a serious
minded student on the way to becom-
ing a recognized authority in the
science of botany, Joe Brown is forced
to gaze upon a perplexing world
Sol Polito
Thirty-six
The INTERNATIONAL PHOTOGRAPHER
January, 1932
through glasses of disfiguring bulgi-
ness. Genius in its customary
thoughtless way has a low financial
rating making it necessary for Mil-
ler to spend his spare time as a clerk
in a bookstore. His ability in this
line causes his employer to voice his
opinion very comprehensivey by say-
ing, "It is his privilege to act as
dumb as he does, but he abuses it."
Accident shows up Miller as a sen-
sational runner and destiny elects that
he must run the decisive race which
will put his alma mater in first place,
if won. A natural inborn timidity
and a submerged ego that seems
hopelessly sunk make Miller unre-
sponsive to the idea of becoming a
runner for any reason at all.
Never did an imprisoned ego more
obstinately hold out against sugges-
tions of release. Pleas, threats, in-
sults and cajoleries liberally donated
by John Harrington as the athletic
coach in a desperate situation leave
the ego cold. Psychoanalysis applied
by Dorothy Lee as Julia and embar-
rassingly personal questions regard-
ing his libido leave the botanist's ego
still chained and held prisoner.
Last minute expedients used by
Marge, the girl who loves Miller,
finally show up this reluctant ego as
just another extreme modernist re-
quiring strictly up-to-date methods
to awaken life. An internal applica-
tion of pure grain alcohol and a soul
kiss administered by Marge bring
success, the ego comes to life with a
bang, issues forth from its prison and
carries Miller to victory on the winged
heels of a modern track-meet Mer-
cury. Let it be said in passing that
any ego capable of resisting the
beauty and charm of Ruth Hall as
Marge would deserve to be left im-
prisoned for life.
Miller promptly enlists Marge as a
promised life partner to assist him in
disciplining an ego so newly released
and anxious to make ud for lost time.
At this interesting point the picture
ends with a sequence of laughs.
MANHATTAN PARADE
First camera, Dev. Jennings ; second camera,
Al Greene ; assistant. John Shepek ; stills.
Homer Van Pelt; sound, C. Dave torrest.
Technicolor. Ray Rennahan, first ; Floyd
Lee, assistant.
HOLLYWOOD is taking the last
laugh in Warners' "Manhattan
Parade" as a response to "Once
in a Lifetime" when Broadway was
reaping the chuckles. Designed to
please the eye as an all Technicolor
production a n d
fashioned along
the lines of broad
farce, movieland
hands back a
satisfactory an-
swer to the Rialto
in this picture.
The burden of
keeping the satire
moving falls on
the shoulders of
the comedians,
Smith and Dale.
As the Delton
brothers they ex- n ,
perience no dim- DelK J^mngs
culty in maintaining an almost con-
tinuous sequence of dialogue. In fact,
the story is a recital of their educa-
tion in the different branches of
cheese.
Having made a financial success of a
cheese factory, the Deltons are moved
by a lot of suppressed artistic ambi-
tions to become theatrical producers
on Broadway. After attempting
musical shows, Luis Alberni in the
guise of genius with a great idea but
no funds seems to be the most satis-
factory outlet for the artistic urge of
the ex-cheese makers. They connect,
and the great symbolic epic, destined
to be the triumph of the ages, starts
on its mad and merry way.
Winnie Lightner is found taking
life very seriously at the head of a
costuming establishment. An unfaith-
ful husband, Charles Butterworth, as
head of her research department, and
Bobby Watson as the effeminate cos-
tume designer so aesthetic that two
clashing colors almost wreck him,
only complicate matters for Winnie.
There are a few bright intervals for
her when she is with her young son,
played by Dickie Moore.
The great handicap in putting forth
a satire or burlesque for rmblic con-
sumption is the necessity that every-
one should have intimate "inside"
knowledge of the medium being ridi-
culed thoroughly to appreciate all the
situations. Nevertheless, no matter
how Broadway conscious one may or
may not be there is a goodly supply
of entertainment in this picture for
all.
THE FIVE-YEAR PLAN
FEW films shown at the Filmarte,
the Hollywood theatre featuring
foreign releases, have attracted
more general interest than Amkino's
"The Five Year Plan." In fact, so
much local interest was manifested
that the engagement was extended a
third week.
When a nation with a land area
equal to one-sixth of that of the en-
tire world, with a population topping
one hundred and fifty millions, two-
thirds of whom can neither read nor
write, works out a plan for national
development and advancement involv-
ing every industry, natural resource
and individual, the rest of the world
can not be indifferent to an experi-
ment of such scope and significance.
Watching the unreeling of this pic-
ture showing an educational and in-
dustrial evolution on a scale of such
huge proportions is a fascinating ex-
perience impossible to duplicate in
the portrayal of fictitious or imagin-
ary events. This is Life with a capi-
tal '1' and reality calling forth a re-
sponse from every other human who
is conscious of being: but a tiny part
of a magnificent though little under-
stood whole.
The story of civilization through-
out the ages is confusing to read
about and try to register a compre-
hensive impression of man's progress
without much study and effort.
The magnetic quality of this pic-
ture is that it enables one to take
the leap from camel transportation
to airplane within a time interval of
ninety minutes. You look upon a
group living in an isolated district
who have never seen a railroad or
an automobile stepping into an air-
plane to be transported in a few min-
utes or hours distances representing
days and weeks using camels or
horses.
It was a contagious response of the
audience as a whole to the stimulat-
ing sight of viewing a condition where
the need for people was greater than
the number of people to meet it. De-
velopment of a nation's resources to
give a whole nation employment with
a centralized organization combining
the outstanding scientific, engineer-
ing, technical, professional brains and
ability of the nation pooled to direct
the plan for a specified number of
years is an inspiring vision. It can-
not be viewed unmoved.
One of the points (and there were
several) at which enthusiastic hand-
clapping denoted approval dealt with
the apportionment of millions of gov-
ernment owned farms under central-
ized cooperative management.
Discounting the knowledge that
naturally nothing adverse to the idea
would be shown in a picture released
with the sanction of the Union of
Soviet Socialist Republics there is a
feeling that the response of enthu-
sistic applause would not result un-
less basically and fundamentally there
is something so sound and so abso-
lutely right that there is no denying
it.
The core seems to be healthy. This
is as yet the greatest human spec-
tacle the human race has ever staged,
and speaking from an unbiased and
unprejudiced standpoint influenced
only by the possibilities suggested in
this picture it does not seem out of
place to say this adventure in hu-
manity might appropriately be termed
"a noble experiment."
Time, however, will put the final
seal of apnroval or disapproval on
the plan. And in the meantime the
world at large will do well to watch
with interest a program which can
not go disregarded.
THE RAINBOW TRAIL
First camera, Daniel Clark ; second camera,
Curtis Fetters ; assistants, Bud Mautino,
Lou Kunkel ; stills, Alexander Kahle ;
sound, Albert Protzman.
SEEKING "The Rainbow Trail" in
the company of a Zane Grey hero
and heroine promises in advance
many obstacles to be overcome with
thrilling pursuits on horseback by
those who wish to thwart their hap-
piness. But why
worry? This au-
thor has never
failed to arrive at
a happy ending
against any odds.
The Fox pro-
duction of this
sequel to "Riders
of the Purple
Sage" offers a
capable cast with
Grand Canyon
country exteriors
of insurpassable
beauty and grand-
eur.
Thanks, no doubt, to Philip Klein
and Barry Connors, who made the
Daniel Clark
January, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-seven
adaptation and wrote the dialog, re-
lief from the trials of the principal
lovers enacted by George O'Brien and
Cecilia Parker is provided by Roscoe
Ates, master of the art of stuttering,
and Ruth Donnelly, the widow Abigail,
who is willing again to become a
bride. Roscoe as Ike starts to ask the
widow, "Do you launder?" but gets
hung up on the T and the widow
says "Yes" supposedly to the peren-
nial query of courtship. From them on
Ike is a muchly pursued man, as is
to be expected.
With reference to Minna Gombell,
who depicts Ruth, a woman scorned,
the time of the action could be stated
as 1885 B. W. (Before Wisecracking)
as she has no opportunity to indulge
in the forte which is so particularly
hers. She does, however, demonstrate
her versatility by being effectively
vindictive as the discarded sweet-
heart of the heavy villain.
Dave Howard comes to the mega-
phone for the first time as a full
fledged director in this picture, and it
it a very promising beginning. It was
an occasion of similar importance for
Cecilia Parker, sixteen year old
feminine lead, just embarking on a
film career.
There are still many loyal Western
fans. This picture with a cast of
players where each member fully
meets the requirements of his part
will please all of them. For those not
so Western in their liking for riding
and shooting the camera reproduc-
tions of portions of "one of the
world's greatest natural spectacles"
used as backgrounds for the action
should amply repay them for viewing
this picture.
for the idea. Twenty percent of the
gross goes to the Rockne memorial.
"When the picture was in the cut-
ting it was offered to Metro, but
turned down," Variety says. "Later
the studio became interested. It
wanted the footage for cutouts for
'Stadium.' Wood and Beaumont
turned down the studio's proposition,
which didn't please the powers that
be.
"In checking over booking the stu-
dio discovered later that in quite a
number of spots Metro features had
been sub-billed in favor of the football
feature.
"Both directors were notified that
in the future they should devote all
their picture efforts to Metro, which
doesn't alter the fact that they may
eventually clean up a profit of around
$150,000 'on an investment of $2500
each."
Profit of $150,000 on Investment
of $5000 Should Soften Squawks
CINEMA Crafts of Chicago, in its
issue of December 10, discusses
the much-talked-about Notre
Dame-Southern California football
picture. It quotes a wire from Joe
Petritz of Notre Dame to C. E. Ford
of the Daily Newsreel of Chicago that
M-G-M had been sold exclusive rights
to film the big game with percentage
to Rockne memorial, that News Reel
would be allowed to make pictures but
not Universal studio or other com-
panies.
The story sets forth that at the
eleventh hour a telegram from Sam
Wood announced the need of a camera
crew to shoot the game and that W.
H. Strafford assembled a bunch of
experts. They were Bob Sable,
Charles N. David, Hugo Kersten and
J. C. Richardson. Four equally com-
petent photographers were assigned to
cover late arrivals.
Strafford's instructions from Wood,
says Cinema Crafts, were to meet him
at the gate for credentials, passes and
instructions. The crew were at the
gate at the appointed hour of 11 and
waited for two hours without result.
Then Max Markham took up the
situation with Notre Dame officials
and is quoted as being informed
that "No arrangements had been
made for the M-G-M crew."
Then Strafford's men managed to
get to the sidelines. Bob Sable made
a dicker with Movietone News that
landed him on the photographers
stand. Then through the arrival of a
messenger from Wood and as the
result of much palaver and exchange
of credentials the crew reached the
stand. In the meantime much val-
uable time had been lost.
Here in Hollywood bouquets have
been passing between Wood and the
Chicago cameramen, the former sug-
gesting he did not get an even break
from his photographers and the latter
declaring that under the circum-
stances resulting from inadequate
preparedness he got all that could be
expected.
Perhaps the best answer to any
questions arising from the controversy
is supplied by Variety in its local
issue of December 25, in which it
states that Sam Wood and Harry
Beaumont, Metro directors, are in the
doghouse at their studio because of
their activities in producing with Si
Masters the Southern California-
Notre Dame picture. For once an
employee was in the position of a dic-
tator in a studio controversy.
The story quotes the estimated
gross from the feature, which is in
five reels, to be $300,000 before it
plays out, and that a deal now is on
with New York for national distribu-
tion. The two directors are quoted
as having together put $5000 into the
deal, letting Masters in for a third
Something Happens to Dyer
But Not Just What He Fears
ELMER G. DYER had an experi-
ence recently which he classifies
as among the more unpleasant
of the sensations he has encountered
when off the ground. Three thousand
feet over Carthay Circle Theatre the
motor of his engine went dead. The
cameraman didn't know what Pilot
Garland Lincoln was certain was go-
ing to be done in proper fashion, that
is, a safe landing. The former just
couldn't see how it could be done.
The pilot did it, however, even if
he did land on a golf practice course
and without cracking up — either his
machine, or its human freight or the
course either. Just how he did it will
be told in the February issue of Inter-
national Photographer, which inci-
dentally will mark the beginning of
the fourth year of the magazine's pub-
lication.
The Clearing House
for Cameramen
Professional and Amateur
EVERYTHING PHOTOGRAPHIC
SOLD OR RENTED
Send for Our 1932 Bargain Catalogue
Hollywood Camera Exchange Ltd*
1511 North Cahuenga Boulevard
HOllywood 9431 GLadstone 2507
Thirty-eight
The INTERNATIONAL PHOTOGRAPHER
January, 1932
The International Photographer j
Family Album
■^
TO ESSELLE, MIAMI
Copyright, 1932
By George Blaisdell
To you, my friend, I lift high up
A drink contained within this cup
That from your hand in friendship
raised
Reached out across a pathway blazed
By men who drank both long and
deep —
Who drank till death did follow
sleep . . .
So down the line when I am done
May glide this bond from son
son . . .
And mine to yours may lift high up
A drink contained within this cup.
Hollywood,
Christmas, 1931.
t.)
MURLEN POWERS
THE young woman whcsa picture
is shown here is Murlen Powers,
daughter of Len Powers, guard-
ian of the portals at International
Photographers. She arrived in Hooly-
wood — her first visit anywhere — Sept.
7, which happened to be Labor Day.
There may be prouder fathers than
the one she claims, but he is just
about as proud as it is proper for any
father to be.
Peters of Gold Seal Names
Henry Cronjager Cameraman
DR. H. O. PETERS, president of
Gold Seal Productions, has en-
gaged Henry Cronjager to take
charge of the camera work on the
seven productions he plans to make at
the Metropolitan Studio, where he has
f ffices. The first of these will be "Ave
Maria," which will be filmed on a pre-
tentious scale. The Psychophone, of
which Dr. Peters is the inventor, will
The first day Arthur Rosson entered the studio of Paramount British Produc-
tions Limited he was initiated with some real good ale out of the old-fashioned
pewter mugs. When he returns to Hollywood casually inquire as to what if
any were his reactions from the combination. Rosson, who is shown on the
left, is directing "Ebb Tide," from the story of "God Gave Me Twenty Cents."
On the right of the picture is Philip Tannura, technical
adviser at the studio
be employed throughout the making
of the subject.
The Psychophone is a device for use
in photographing a subject so that
the audience views it from an entirely
different angle, physically as well as
psychologically.
Dr. Peters has been an actor on the
stage as well as a director of motion
pictures. In the latter capacity he
has made many pictures for Ufa and
as many more as an independent pro-
ducer.
Mr. Cronjager is one of the oldest
cameramen in the motion picture in-
dustry, his first work having been
with the Edison company in New
York. He has many notable produc-
tions to his credit.
The Cover Artist
James B. Shackelford
This photograph was exposed during
his recent visit to Utah.
Phone GLadstone 4151
HOLLYWOOD
STATE BANK
The only bank in the Industrial
District of Hollywood under
State supervision
Santa Monica Boulevard at
Highland Avenue
BASS-CHICAGO
Pays Spot Cash for used
Bell & Howell Professional
Cameras and De Brie
Motion Picture Cameras.
Bass Camera Co.
179 W. Madison St., Chicago
January, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-nine
To the Photographic Craft and the Motion
Picture Industry in General
MAX FACTOR
wishes
A Prosperous 1932
MAX FACTOR MAKE-UP STUDIOS
Telephone HOlly 3922 Cable Address "FACTO'
MELROSE
Trunk Factory
UNION MADE Camera
Cases for
UNION CAMERAMEN
UNION MADE Camera Num-
ber Boards
Trunk and Luggage Repairing
Our Specialty
Automobile Trunks, Sample and
Make-Up Cases to Order
GLadstone 1872 646 N. Western
LOS ANGELES, CALIF.
Attention Cameramen
SOMETHING NEW
FOR RENT
Three Mitchell Cameras
Each with complete follow focus device
huilt into camera and entirely foolproof.
Fit blimp or any covering. Inquire at
Ries Brothers, 1540 North Cahuenga Ave.
(GR. 1185), for
B. B. Ray Cameras
(CR 6313)
IIvTEI^S
pricier tfvonltq)*} a>4 ft^Cffvtls in taytimv
Fv^Srons- ftitftaHTrtus jnd miny vtta tffvcts,
cAste youp dealer, op tonite to
GEORGE H.SCHEIBE
PHOTO-FILTER SPECIALIST
Cinex Testing Machines
Cinex Polishing Machines
Developing Machines
Printing Machines rebuilt for
Sound Printing
Special Motion Picture Machine
Work
Barsam - Tollar
Mechanical Works
7239 Santa Monica Blvd.
Hollywood, California
Phone GRanite 9707
Som eth ing Ne w 11
The Kains
Lens Shade
Throw Away Your Finder
Extensions!
Get That Fituler Closer to
the Camera!
Size and Angle of Lens Shade
Now Unlimited
In some cases we will be able to re-
build your old lens shade and in-
clude these new features.
Fred Hoefner
CINEMA MACHINE SHOP
5319 Santa Monica Blvd.
GLadstone 0243 Los Angeles
The new "Local 659" emblem.
Small, chic and attractive. Or-
der from your Secretary or direct
from manufacturers.
J. A. Meyers & Co.
822 South Flower Street
The largest jewelry factory
in the West
Diamonds — Watches — Jewelry
Glenn R. Kershner
First Cameraman
^n~
Back again in that Califor-
nia Country, thank you
Forty
The INTERNATIONAL PHOTOGRAPHER
January, 1932
BUSINESS RELATIONS ARE SATISFACTORY ONLY
WHEN ALL PARTIES INTERESTED
ARE BENEFITED
extends
Season's Greetings
to the Motion Picture Industry, and takes this opportunity to express the hope
that their products and service may contribute substantially toward the realiza-
tion of a mutually prosperous New Year.
Agfa Raw Film Corporation
E. M. St. Claire
Sales Division
Dr. Ing. H. Meyer
T (clinical Division
CLASSIFIED
Alvin Wyckoff
Multicolor
W. A. SICKNER
FIRST CAMERAMAN
COMPLETE
AKELEY
EQUIPMENT
C Rest view 7255 GLadstone 5083
HEmpstead 1128
EARL (CURLY) METZ
3539 Clarington Avenue
Phone: Culver City 3842
Dr. G. Floyd Jackman
DENTIST
Member Local No. 659
706 Hollywood First National Bldg.
Hollywood Blvd. at Highland Ave.
GLadstone 7507 Hours: 9 to 5
And by Appointment
DEBRIE INTERVIEW CAMERA. 35 mm.
with F 3.5 Zeiss lens, fine condition, $150.00.
Universal 35 mm., 200 ft. cap, F 3.5 lens
with tripod, as new condition, $100.00. De-
Vry, 35 mm. F 3.5 lens, as new, $65. Eye-
mo, 35$ mm. with Cooke F. 2.5, as new
$100.00. Barker 35 mm. 200 ft. cap. F. 3.5
lens and projector attachment, both for $37.50.
Zeiss Kinamo 35 mm. F. 3.5 lens, hand driven
model, $25.00 ; motor driven model, $37.50, in
fine condition. Everything photographically,
sold and exchanged. NATIONAL CAMERA
EXCHANGE, 5 South 5th St., Minneapolis,
Minn.
FOR SALE OR RENT— Complete line of
Photographic Equipment ; Projectors, Print-
ers, Motel's, and Accessories, new or used.
Bargains in Mitchell, Bell & Howell, Akeley,
DeBrie. Pathe, Universal, Prevost, Sept, Leica
cameras. Also every variety of Still Cameras.
Specializing in repairs. Hollywood Camera
Exchange, Ltd., 1511 N. Cahuenga Blvd., HO
9431, GL 2507. Open from 8 a.m. to 10 p.m.
FOR RENT— Mitchell and Akeley cameras
fully equipped for sound. Norman De Vol,
6507 Drexel av., OR 7492.
MITCHELL high-speed Camera No. 225. Van
Rossem, 6049 Hollywood Blvd. HO 0725.
Len Galezio
Five Years Akeley Camera
Specialist with Universal
Pictures
Complete
Akeley
Equipment
EXPERIENCED AIR
PHOTOGRAPHER
Phone
North Hollywood 1703-J
ROY DAVIDGE FILM
LABORATORIES
An Exclusive ' 'Daily ' ' La boratory
Quality and Service
6701-6715 SANTA MONICA BOULEVARD
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Hello 1932!
Up On Your Toes and Qet Qoing
— and listen — Little Fellow —
1931QaveUs
EASTMAN
Supersensitive Panchromatic
NEGATIVE
J. E. BRULATOUR, INC.
NEW YORK CHICAGO HOLLYWOOD
To Our F
ur rrienas an
The Motion Picture
Industry We Extend
Our Best Wishes for
a Prosperous
1932
Mitchell Camera Corporation
Cable Address "MITCAMCO"
665 N. Robert:on Boulevard
West Hollywood, Calif.
Phone OXford 1051
mwn
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*E6.U. s.PAT. OFF
SMITH & All IK. LTD.
6656 Santa Monica Boulevard HOllywood 5147
Hollywood, California
PACIFIC COAST DISTRIBUTORS FOR
Du Pont Film Mfg. Corp.
New York City
35 West 45th Street
February, 1932
The INTERNATIONAL PHOTOGRAPHER
One
One of the new Bell Cr
Howell Sou?id Printer
Aperture Sprockets ready
for an examination under
a microscope optical di-
viding head in the Bell &
Howell factory. Only un-
der such a delicate pre-
cision measuring instru-
ment as this dividing head
can the accuracy of its
teeth be tested.
Every sprocket tooth correct ♦♦♦
to .0002 of an inch!
Accuracy . . . accuracy . . . and yet more
accuracy.
That must be the motto pasted above work
benches in the factory that
presumes to build equipment
for the motion picture indus-
try in 1932. It is the motto
above the work benches in the
Bell & Howell factory. The
new sound printer aperture
sprocket is an example.
accurate machine, veteran Bell & Howell
workmen check and double check each sep-
arate sprocket tooth under a microscope divid-
ing head, looking for one that
may vary from the prescribed
limit of tolerance of Plus
.0002, Minus Zero. Let one
tooth not meet this require-
ment, and the sprocket goes
back to be brought up to
Photograph of the new Bel! & Howell
Printer Aperture Sprocket. Its teeth
are cut to an accuracy within .0002 oj
an inch.
standard.
To print on the positive film
the highest frequencies recorded in the sound
negative, the utmost accuracy must charac-
terize the printer aperture sprocket teeth.
To achieve this accuracy, Bell & Howell
Expensive? Yes. But not one
thousandth so expensive as a poor film might
be. The price of the new Bell & Howell
Sound Printer Aperture Sprocket, for installa-
tion on your printer, is $125. You'll want
engineers made extensive experiments with to know all the possibilities. Write for full
minute variations in sprocket teeth. As a information,
result, a special precision machine has been
developed to cut the sprocket teeth exactly as
they should be, to a far closer degree of accu-
racy than was ever dreamed of in the days of
silent printing.
Not to risk all on even this unbelievably
BELL & HOWELL
F ILMO
Bell & Howell Co., 1849 Larchmont Avenue, Chicago; 11 West
+2nd Street, New York; 716 North La Brea Avenue, Hollywood;
320 Regent Street, London (B. & H. Co., Ltd.)
Established 1907
1907—25 YEARS OF SERVICE TO THE MOTION PICTURE INDUSTRY— 1932
"Always One Step Ahead"
ANNOUNCING
NEW TYPE
u^4rtreeves" Recorder
J-(oll\Wood
Motion PicTure/^ujipmenT(o. |Td.
(3416 5ELMA AVE.
CABLE ADDRESS ARTREEVES
HOLLYWOOD, CALIFORNIA. USA
INTERNATIONAL
PHOTO GPAPHE R
Official Bulletin of the International
Photographers of the Motion Pic-
ture Industries, Local No. 659, of
the International Alliance of The-
atrical Stage Employees and Mov-
ing Picture Machine Operators of
the United States and Canada.
Affiliated with
Los Angeles Amusement Federa-
tion, California State Theatrical
Federation, California State Fed-
eration of Labor, American Fed-
eration of Labor, and Federated
Voters of the Los Angeles Amuse-
ment Organizations.
Vol. 4
HOLLYWOOD, CALIFORNIA, FEBRUARY, 1932
No. 1
"Capital is the fruit of labor, and could not exist if labor had not first existed.
Labor, therefore, deserves much the higher consideration." — Abraham Lincoln.
CONT
Cover — The South Seas
L. Guy Wilky
Tally Camera Contender for Honors. . 4
By Ira Hoke
When Broken Bottle Meant Disaster. 6
By The Editor
Roderick Giles, Noise Ketcher 7
By Fred A. (Red) Felbinger
Homeward Bound is Bob Bronner 9
By Bob Bronner
Navajo One Tribe That Multiplies. .. 14
By George Allen
Snow In and Around Hollywood 18
Legions of Wild Animals at Home. . . .19
By WillE. (Bill) Hudson
Sixteen Questions Designed to Test
Admissibility of Salon Candidates. .22
First Instance in New Era Where
Steamship Plans Called for Sound. 23
E N T S
Size of Image as a Guide in
Appraising Depth of Focus 24
By Fred Westerberg
RCA Records Sound on 16mm. Film. . . .25
Chicago 666 27
By Sassiety Reporter
Dead Motor Bad Company Over City. . .28
Looking In on Just a Few New Ones. .30
By George Blaisdell
When Seen Through Feminine Eyes.. 33
By Clara M. Sawdon
German Film Industry Cuts Down. . . .36
By George R. Canty
Art Reeves' Equipment Company
Unique 37
Samuel Gompers High School to be
Equipped with Sound 37
Shakelford Shows Initial Color
Production 38
The International Photographer is published
and M. P. M. O. of the U
Entered as second class matter Sept. 30, 1930,
the act of M
Copyright 1932 by Local 659, I. A. T. S. E. an
Howard E. Hurd,
Editor
Associate Editor
- Staff Correspondent
monthly in Hollywood by Local 659, I. A.T.S.E.
nited States and Canada
at the Post Office at Los Angeles, Calif., under
arch 3, 1879
d M. P. M. 0. of the United States and Canada
George Blaisdell
Ira Hoke
Esselle Parichy
Publisher's Agent
Lewis W. Physioc 1
Fred Westerberg S
John Corydon Hill
Technical Editors
Art Editor
Subscription Rates — United States and Can
Office of publication, 1605 North Cahuenga Av
McGill's, 179 and 218 Elizabeth Street, Mel
ada, $3.00 per year. Single copies, 25 cents
enue, Hollywood, California. HEmpstead 1128
bourne, Australian and New Zealand agents.
The members of this Local, together with those of our sister Locals, No. 644 in New York, No. 666 in Chicago, and
No. 665 in Toronto, represent the entire personnel of photographers now engaged in professional production of
motion pictures in the United States and Canada. Thus THE INTERNATIONAL PHOTOGRAPHER becomes the
voice of the Entire Craft, covering a field that reaches from coast to coast across North America.
Printed in the U. S. A. 1---=4f?<=2 at Hollywood, California.
<r®>
Four
The INTERNATIONAL PHOTOGRAPHER
February, 1932
Tally Camera Contender for Honors
Motion Picture Equipment Manufactured by
Country's Pioneer Screen Showman Is
Revolutionary in Design
By IRA HOKE
Illustrated by James B. Shackelford
NOW comes a pioneer of the
great moving' picture industry
back into the limelight of mod-
ern sound pictures introducing a
moving picture camera so revolu-
tionary and unique that it recalls in
its daring the astonishingly successful
career of its builder, T. L. Tally.
Before we outline the mechanical
features of this ultra-modern camera
let us digress a moment to scan
briefly the eventful career of its
sponsor.
It was back in 1893 that Mr. Tally
first begun the exhibition of moving;
pictures. Then from 1895 to 1902 he
owned and operated Tally's Phono-
graph Parlor at 311 South Spring
street in Los Angeles. In this arcade
he not only exhibited a dozen or more
ear-tube phonographs, for these were
the days when this device was a dis-
tinct novelty, but operated 20 Muto-
scopes and 6 Kinetoscopes.
Birth of "Moving Pictures"
The Kinetoscopes proved to be the
most popular attraction of his estab-
lishment so that when the Edison
projection Kinetoscope was first
placed on the market Mr. Tally at
once visioned its immense amusement
possibilities and in 1903 opened the
first regular moving picture theatre,
at Third and Main streets.
It was here that he first named this
photographic novelty "moving pic-
tures." In this house such short sub-
jects as "Gulliver's Travels," "A Trip
to the Moon" and "The Great Train
Robbery" were exhibited to enthusias-
tic and appreciative groups of spec-
tators.
Then came several years of re-
markable progress, so that in 1906
Mr. Tally was enabled to establish a
theatre at Sixth and Broadway and in
conjunction with this new enterprise
he developed the first exhibitor's film
exchange on the Pacific coast. This
later became the General Film Ex-
change.
Installs First Theatre Organ
In 1910 he opened still another
theatre on Broadway and introduced
the elevating orchestra pit. Not con-
tent with this innovation he installed
in the new theatre, about 1912, the
first organ to be operated in a moving
picture theatre.
This was a gigantic instrument
having some 4,000 pipes, and was the
first four-manual organ on the Pa-
cific coast. This marked the pioneer
of the great movie palaces of today,
and at that time instantly raised the
moving- picture from the class of an
occasional novelty to the field of su-
perior entertainment.
In 1917 Mr. Tally organized the
First National Exhibitors' Circuit,
Detail of the Tallii motion picture camera box showing focusing tube in position
and film and gate flattened out above movement case.
composed of 25 leading exhibitors
from various key cities. Among
some of their featured players were
Charlie Chaplin, Mary Pickford,
Norma Talmadge and Constance
Talmadge.
The familiar First National trade-
mark of a chain encircling the map
of America was an idea of his, repre-
senting of course the pioneer group
of American exhibitors. This group
formed the most successful chain of
its kind ever organized and operated
for many years, until 1928, when it
was sold.
With the sale in 1921 of the First
National organization's local fran-
chise to Gore Brothers and Lesser
and the subsequent leasing of the
Criterion theatre Mr. Tally's name
came off Broadway.
But to be off Broadway is not to be
cut of the movie business, and to
prove this he established himself in
the heart of Hollywood and set to
work on an idea he had long enter-
tained; that is, of developing a mod-
ern moving picture camera. Surely
he has the background; now let us
look at the product.
Camera Revolutionary
Unique in design the Tally moving
picture camera probably embodies a
greater number of original ideas than
any single product of its kind of-
fered within the past decade.
It has come from under the hand
of Theodore M. Ue La Garde, formerly
of Esthonia. Before the war he had
been a camera manufacturer in his
own country, having built more than
200 instruments. He came to Cali-
fornia and opened the Hollywood
Camera Shop.
It was here he and Mr. Tally came
together, and from the ideas outlined
by De La Garde and from a model of
an intermittent movement which he
exhibited in 1929, Mr. Tally became
convinced he was qualified to design
and manufacture the new camera.
The result is that the cameramaker
has been at work on the present in-
strument more than two and a half
years.
At first glance the camera appears
to be upside-down. That is because
the film magazine is situated below
the camera box, instead of on top as
is the case in most cameras. The
chief advantage in the underslung
magazine lies in its equalization of
weight and balance. The camera is
not top-heavy and can be tilted to
any angle without becoming out of
balance.
The camera proper is simple in de-
sign and embodies a minimum num-
ber of working parts and bearings.
The movement is of the cam type and
allows a shutter opening of 240 de-
grees with the film perfectly sta-
tionary before the shutter opens and
after it has closed.
It runs in an oil tight case which
not only insures perfect oiling, but
deadens mechanical noises. Both
movement and aperture plates are
February, 1932
The INTERNATIONAL PHOTOGRAPHER
Five
Left, motor side of the. Tally motion picture camera showing focusing turret and drum segment which supports
camera box on tripod and allows 180 degree tilt. The drum segment houses internally film take-up and feed
mechanism. Centre, loading side of Tally camera showing underslung magazine, magazine take-up and feed sprockets
and simple film loop. This shows focusing tube locked out of the way and the film in position for exposure. Right,
showing how the Tally camera may be pointed either straight up or straight down, thus tilting over an arc of 180
degrees. Note simplicity of silhouette.
made of stainless steel. While light
in general design, it is capable of
turning over as high as ten times
normal speed.
The pull-down claws are four in
number and are easily replaced in
case of breakage while the camera is
on distant locations. Two register
pins insure perfect alignment of film.
When entering and leaving the per-
forations the pull-down pins execute
the entire motion at right angles to
the film plane. That is, there is no
"drag" on top or bottom movements
that would tend to "punch" or injure
the perforation edges.
Quickly Threaded
The pressure plate is built with a
hinge at the bottom edge which allows
both the plate and film to be folded
down out of the way of a focusing
tube which is dropped into position
when the cameraman wishes to line
up a scene. A pressure release is
provided while the film is pulled
down.
This focusing device carries the
usual right-side-up optical system
and magnifies the image about seven
times. As the tube is lowered into
focusing position it automatically
positions a ground glass upon the
focal plane. Light trans at the eye-
piece prevent fogging of the film loop.
The camera is probablv the Quickest
to thread up of any of the 1,000 foot
capacity instruments now on the
market. This is because there are no
sprockets in the camera box. The
film feed and take-up sprockets are
located in a clever free-running trap
at the top of the magazine and are
threaded when the magazine is loaded
in the dark room. It is only neces-
sary, therefore, to slide the magazine
into position beneath the camera box,
turn out a sufficient loop and engage
it with the pull-down pins in front of
the pressure plate.
The film magazine is of the roll-
compensating type; that is, it con-
tains no dividing partition between
the exposed and the unexposed rolls.
This allows maximum capacity with
a minimum of space. The magazine
opens in half from a hinge at its
lowest side, much in the manner of
a large clam-shell.
It offers distinct advantages in
loading and cleaning. Film feed and
take-up is operated directly in the
magazine by a compensating clutch
which eliminates the slipping belt.
As no belt pulleys are necessary the
magazine presents a perfectly flat
surface on the outside, thus guarding
against breakage and assuring com-
paratively small space in carrying
cases.
New Tripod Head
The lenses are arranged on a hinged
turret which may be swung open to
afford access to the shutter. Lenses
are not mounted in individual focus-
ing mounts, but are stationary on
the tui'ret plate. The entire turret
racks backward and forward to per-
mit focusing. Calibration of sepa-
rate lenses is embodied on a single
panel controlled from the right rear
side of the camera. The turret also
supports a Kains louvre-side sun-
shade and mat box.
Because the camera is above the
magazine an entirely new type of
tripod head was designed which em-
bodies several valuable features. The
panoram movement is similar to the
usual friction head. However, a radi-
cal departure is made in camera sus-
pension to obtain the vertical tilts.
Beneath the camera box is a two-
thirds segment of a circular drum, on
the flat top side of which the camera
box is mounted. This drum incloses
the film take-up and feed mechanism
internally, while externally it acts as
a radial track swung from the center
and revolving upon roller bearings
which tilts the camera up or down
through a 180 degree arc.
Blimping Unnecessary
The control handle or "pan arm"
is attached to the periphery of this
drum and may be located at such a
height that it comes naturally against
the shoulder of the camera operator,
where the greatest and steadiest con-
trol leverage is possible.
The entire camera is sound-insu-
lated so that blimping is unnecessary.
The case of the camera as well as
the magazine is covered by a special
rubber compound which thoroughly
absorbs all diaphragm noise.
Shaft bearings throughout are set
in rubber insulated sleeves. The
tripod head is also separated from
the camera base by rubber washers
designed to eliminate vibration noises
between the tripod legs and floor.
The Tally camera has attracted
wide interest among Hollywood cam-
eramen and it promises to be a factor
in the new era of motion picture pro-
duction when the time factor will of
necessity relegate clumsy blimping
devices to the studio attics.
Six
The INTERNATIONAL PHOTOGRAPHER
February, 1932
JVhenBrokenBottle Meant Disaster
Death of Bob Harper Brings to Mind Incident in
New England Country Daily in Which
Noted Yankee Tourist Had. a Part
Harper, Robert R. (48947) — At Lawrence,
Mass., November 22. 1931 ; angina pectoris.
Age 77. — Typographical Journal for Jan-
uary (Volume 80, No. 11.
THIS brief obituary note incon-
spicuous among eighty-eight oth-
ers in the mortuary department
of the typographers' monthly brings
vividly to mind a gathering of
"prints" in the composing room of a
little New England daily — on a brutal-
ly cold Sunday afternoon.
Bob Harper then was a blithesome
and carefree laddie in his middle thir-
ties. If he had any ties no one knew
of them. Like the wind, that "blow-
eth where it listeth," he traveled
where the spirit moved.
So the day before he had slipped
out of Boston and covered the ten
miles to Lynn, deposited his traveler,
and showed up on the Bee. Saturday
afternoon on the little daily always
was quiet. When the paper went to
press on its second edition, around 3
o'clock, the comps grabbed the first
chance to get away from the drudgery
of setting solid minion — now seven
point, if you please — for 30 cents a
thousand ems. And 10,000 of those
meant 450 lines on that 13-pica col-
umn.
Distribution could wait until Sun-
day, which usually would be devoted
to replenishing depleted cases. Eight
hours of typesetting, from 7 o'clock
on, meant quite a lot of time filling
them up. If a traveler hit the town it
was his aim to catch enough distribu-
tion from tired or philanthropic sit
holders to see him through for meals
and bed until he could connect with a
day's work.
So on this Sunday afternoon with
the thermometer flirting with zero
Bob Harper was among those present
on the floor of the Bee composing
room. Through some oversight there
was no coal for the big cylinder stove
planted in the middle of the room.
Trying to work under such circum-
stances was pretty difficult.
Speck a Genius
There were eight or ten in the
party, about equally divided in num-
ber between travelers and natives.
The travelers had little if any money
and the latter had had taken from
them at home if voluntarily they did
not surrender the major part of the
rather slender earnings paid out the
day before.
Among the travelers present was
Speck White, so named because of the
very definitely defined freckles that
covered his face. Speck in his way
was a genius. He was something of a
typesetter, a good one, but even bet-
ter as a writer of emergency stuff.
One of his stand-bys in Boston was
to drop into the office of the "boiler
plate" — the establishment that sup-
plied New England with the stereo-
typed plates in columns so that coun-
try editors could be aided in filling
their paper — and write vivid tales that
flowed smoothly and easily from his
high-powered imagination.
To be sure, like all printers of those
days barring exceedingly rare excep-
tions, Speck did dally with the flowing
bowl, and when it flowed he was rarely
good company.
Another one present was Shorty
Nelson, as short as his name implied.
He was big in the hips and shoulders,
but his head was even out of propor-
tion to these. "Short" replied on one
early occasion when ye present editor,
calling his attention to a domestic
wringer in the stereotype room, asked
him how he would like to be put
through it:
"Well, if you can get my head
through the rest will be easy."
Then there was Billy Conley, the
Massachusetts Traveler, so named be-
cause on one occasion he was reported
to have wandered " 'way, 'way out to
New York," which whether it be true
or not of that intervening 240 miles
provided opportunity for high glee on
the part of Billy's more cosmopolitan
brethren.
Drink Sounded Good
As the afternoon waned and the sun
declined the temperature steadily fell,
and so likewise did the spirits of the
assembled prints. Some one suggested
a drink might serve to raise the tem-
perature. The thought was acted upon
by Speck, who made a most appeal-
ing canvas, frame to frame among
the workers and rather unfruitfully
among those whose presence in the
circle about the stove automatically
stamped them as among the unem-
ployed.
In the presence of a committee
Speck counted 50 cents as the result
of his personal solicitation. He turned
to Bob Harper.
"Robert," he said in his gayest
manner, "hie with me to yonder dis-
pensary, there to aid me in separating
Tom the Tank from some of the best
he possesseth of spirits frumenti."
"Indeed will I," was the cheerful
and prompt response.
In spite of the fears of some of the
natives less acquainted with the ways
of Speck the commissioners returned
safely in a couple of minutes, dis-
playing a quart bottle of whisky as
the two came through the door.
The comps as one man slid off their
stools and took their places on the
line around the stove — still unheated.
This stove, it may be added, stood on
four legs, projecting well out from the
perpendicular of the cylinder proper.
With most elaborate ceremony
Speck passed the quart to Bob, with
the warning that while a quart of
whisky uncorked by a bartender would
on an average return the price of
twenty-two drinks, the present occa-
sion was something different; that
while there were but ten men to be
served there were no single fisted
among them. Therefore he must oe
discreet.
"Verily, that I'll do," softly re-
turned Bob.
He pulled the cork and elevated the
bottle to a horizontal position. As the
deep red liquor flowed down his ac-
customed throat there was no out-
ward indication it could have been
other than milk straight from the
cow — eyes as clear as those of a nurs-
ing infant and features as unmoved
as a sleeping child's.
Gathering murmurs from the circle
warned Bob his time had come. Rev-
erentially he lowered the bottle and
looked at "Short," standing next to
him.
"Gimme the Bottle," Says "Short"
"Mr. Nelson, my dear friend, will
you accept this humble token of my
deep regard?" said Bob, as he failed
to note that some of the liquor had
flowed down the neck and on to the
shoulder of the bottle.
"Cut the gab!" almost shouted
"Shorty." "Gimme the bottle!"
Smilingly Bob handed it over. With
no trace of a smile "Shorty" reached
for it. In his haste he did not note
the slippery sides.
As he took it in his hands the bottle
slipped through his fingers. With a
crash it hit one of the four corners
of the big cylinder stove. So thor-
oughly was it broken not even a single
spoonful could be recovered from the
wreck.
There was a momentary lull in the
conversation that had been very ani-
mated. Somebody reached over and
smacked "Shorty" on the jaw, an en-
tirely unnecessary procedure, for the
perpetrator felt as badly over the
situation as it was possible for any
other member of the party.
Nevertheless one thing led to an-
other, and it was some time before
peace was measurably restored. But
the money was gone. There was no
replacement. The bunch slowly and
sadly turned up their coat collars and
departed for their respective abodes.
It was a week before any of the
boys saw anything funny connected
with that Sunday afternoon disaster.
A Large Order
An intensive scheme to wire all
Russian cinemas with talking film
apparatus is now under way in the
U.S.S.R. Soviets claim it is antici-
pated that by 1932, 75 per cent of the
35,000 cinemas will be installed.
Several new factories for the manu-
facture of talking film sets are now
reported to be in course of construc-
tion and equipment.
February, 1932
The INTERNATIONAL PHOTOGRAPHER
Seven
As told by
Fred A. (Red) Felbinger
CHAPTER III
THE shades of night is fallin
fast, or maybe it's only another
of them typical Windy City
days, when the light gets minus the
actinic rays about noon. Pat McCar-
thy, Screen Digest camera ace in the
boom-boom town, is got himself
draped over the mahogony over at
Chester's — givin Ches a earful of how
the gallopin tintype business ain't
what she used to be since they put
buttons on cameras insted of the
cranks they used to grind and Ches
is busy tappin a new one account it's
the day the bozos from the express
company dashes in with the weekly
paycheck so's they kin deduct the
raise they ain't tole the old lady about
yet.
Over at the Screen Digest office
Roderick Giles is busy parkin his dogs
on the desk because Mac says to
hang around in case sumpin busts.
Also Rod is got the ole eye glued
on the door waitin for the postman
to drop the latest hot one from the
little woman Gertie, back home in
N. Y.
Uncle Sam's errand boy missed on
the call yesterday and Rod's temper-
ature is hittin a new high for tear
the baboon's tracks don't steer over to
the office agin today.
But no, the buzzard is draggin the
ole body in weighted down by a whole
bag of the kind of tripe what makes
good readin in the tabloids when heart
balm suits get under way . . . and
here mixed in with a dozen or so
home office cheer envelopes is one
for our hero.
The mailman staggers from the
fumes of the ten cent store dope the
little flame saturates the fiery balony
in. Rod can't open it quick enuf when
boom ... a pineapple musta gone
off, but No . . . it's jest the words
of little Gertie's scribblin what blows
off the ole high blood pressure in
Rod's bonnet
Gittin Worn Down
"Roddy, Honey" — these is the only
words that blow gently into his eyes —
"I am writin to tell youse 1 am git-
tin worn down plenty sittin here in
the big town bein out of circulation
waitin for you to gather together a
co'upla three bucks to buy a weddin
license and enuf carfare to bring me
in them arms of yours.
"Also, I don't aims to die a soloist
as I gots other ideas to finish before
I listens to the Angel Gabriel's call.
So I decides I is tired of bein a one
man woman and watchin love flicker
through my life on the silver sheet at
a matinee.
"Frankly, Rod, Honey, Gable don't
make my blood boil from a reel down
at the local movie. I got to get my
The Kid Himself
goose pimples in the flesh, so I am
writin to tell you I is very much in
circulation again ... a new sugar
every night for 'yours truly.'
"Hopin you is the same, I is your
true one and only, Gertie.
"P. S. — Anytime you feel you kin
spend the three bucks for a dog li-
cense, drop me a line and maybe I'll
give up the sextet of Don Juans now
crowdin my evenings, x x x" . . .
Rod'll Show Her
And for the first time Roddy felt
why men went for the stuff that put
the bum taste in your mouth the next
A. M. ... He thought his heart acted
like a electric light bulb that fell out
a second floor window and landed on
the concrete below. . . .
Here he was, not even talkin nice
to the operator on the phone for fear
it was cheatin, and this little skirt
back home playin America's sweet-
heart.
Well, he'll show her. So jest as
Ches is gittin enuf gas into the new
barrel Rod ankles in and says:
"Give me a straight one and no
wash!"
Mac looks up, and when he sees the
origin of the dialogue he falls off his
stool. By the time he gets over the
shock Rod is on number two of the
giggle water and when Mac finally de-
cides another man has been born Rod
has planted number five under the ole
belt.
By this time Rod starts to orate to
Ches about wimmen and Ches decides
it's his turn to buy. Maybe some day
if business is good he'll hire a fiddler
to play the accompiniment for these
monologues of his customers, thinks
To the
Sassiety Reporter
Ches, as Rod gets goin on the jilted
tune.
Finally Rod figgers the ole heart
has been drowned enuf so he gets up
to blow . . . and the floor comes up
and smacks him before he makes three
steps!
Well, it's ten P. M. when Mac finally
gets Rod slapped back into shape from
his first bender and finally sinks the
information into Rod's hatrack that
they is gonna go out and cover the
annual Arts Ball for Screen Digest.
On the Wagon
Mac piles Rod into the sound truck
and rumbles up the boulevard for the
big exclusive shindig. Rod is jest
findin out why they calls it poison
nowadays. His stummick is feelin
reminiscent of the old acrobatic act
back in the days when vaudeville was
the go . . . and once Mac stops the ole
truck for a light and winks to a cop
while Rod makes believe he is a sea-
sick guy on a ccean voyage hangin
over the rail . . . only Rod is hangin
out the window of the door on the
truck.
By the time they hits the joint
where the exclusive Arts Ball is being
held Roderick Giles has made reso-
lution number one that he is on the
wagon for good.
S'funny the only thing his mind
runs on now is motormen's gloves . . .
bottoms of bird cages and cotton fields
at harvest time.
So Mac and Rod drag the ole equip-
ment into the lobby of the big art hop
when some bozo in a leopard skin cos-
tume nails em.
"Hey! You can't come in unless you
is in costume!"
So Mac gets together with Tarzan
and is informed they kin find the
The mailman staggers from the fumes of the ten cent store dope the little
flame saturates the fiery balony in.
Eight
The INTERNATIONAL PHOTOGRAPHER
February, 19-12
necessary gat up in a ante room, for
a consideration of ten bucks for the
loan.
So Mac has the costumer doll him
up like a Roman gladiator and he de-
cides maybe he better make a pirate
out of Roddy on account the heavy
underwear Rod wears to keep the
drafts off the ole carcass.
So the Roman drags his Captain
Kidd noise collector into the arena of
artistic sin to record another newsreel
spectacle for ten million movie fans
over the world.
Off the Wagon
Once in a while in order to finish
another long shot Mac has to kick his
pirate in the shins . . . but by the time
Mac feels he is got a story on the ole
celluloid his noise ketcher is comin
around in great shape especially since
some little Cleopatra with the giggles
and what has lost her Marc Antony
to the God of Barleycorn has decided
maybe pirates what twists dials kin
stay awake longer.
Well, when Rod realizes little Cleo
is got him on the make ... he figgers
watahel . . . he'll show Gertie ... no
single standard for him.
So Mack goes to make the airmail
with the story . . . and Roddy goes
for the ookie ookie slanguage of the
little vamp at the Arts ball . . . and by
and by Rod gets sold by the artificial
Nile siren that in order to prove to
her he's a real pirate he's gotta get
some grog into his system and right
away Rod breaks resolution number
one and goes on Bender number two.
S'funny how wimmen wrecks men.
So by dawn it looks like Cleopatra
has worn down Captain Kidd, as Rod
is slumped sleepm agin ths biss
drum while Cleopatra is draggin her
Marc Antony out to a cab.
Finally one of the janitors cleanin
up some of the wreckage what was a
arts ball a few hours ago gets Rod
back on his pins and propels him
toward the door when Rod finally de-
cides Captain Kidd kin handle his own
grog.
So Captain Kidd by the time he
gets to the door feels like he ought
to lead his trusty men into battle
when all of a sudden the costumer
nails him just as he gets to the ozone
with the dialogue:
"Jest a minnit! Turn in your cos-
tume before you leave!"
"Turn in what!" screams Rcddy.
"I vant my costume, vat I only
rented to you, not sold to you."
And the costumer made a grab for
Roddy and Rod felt Captain Kidd was
no piker when somebody tried to
muscle him out of his belongings.
"Gimme my costume!" cries the
costumer.
"Don't be silly! Thish ish mine! I
been wearin thish on many a cruish!
. . . Don't bother me!"
And Rod staggers out in the ozone
with the little costumer dashin after,
and the two of em land on the pave-
ment in nothin at.
Harps Playin
Rod works hisself loose and gets up
jest in time to greet a flatfooted bird
in a blue costume with a tin badge on.
"Gimme that suit! Hey, officer, de
man is stealin my costume!"
"Where doesh he gets thash ba-
lony?" blabs Roddy. "Thish ish my
Sunday suit I got on!"
But the flatfoot makes a grab for
Roddy, and Rod lets one go right into
the flatfoot's kisser . . . and this wuz
Rod's Waterloo.
The copper gets up, gives Roddy
one of them Bull Montana glances,
aims the old meathook carefuly, and
suddenly Rod don't bother much about
the costume.
Rod hears harps plain . . . steam-
boat whistles blastin . . . riveters at
work . . . and wakes up in a small
room with a lot of bars in the door
separatin the ventilation from the
outer hall.
Rod is enjoyin his first visit to the
bastile.
Over at the Screen Digest the
wrong number machine jingles and
Mac answers only to bust out in a
serious attack of giggles.
When he comes around enuf to talk
back into the contraption he says:
"Well, you wouldn't want the guy to
walk down the street in daylight any-
how in that get-up, so maybe you
better keep him there a while. Maybe
it'll make a man out of him to set
down at your station with some of
them other drunks you got parked
there!
"I'll be up later in the day . . . the
Captain's a friend of mine anyway!"
TO BE CONTINUED
Bell and Howell Printing
List of 16 mm. Sound Films
A catalog of 16 mm. sound pic-
tures available through the
Filmo Library has been issued
by the library division of Bell and
Howell. Approximately 500 subjects
are listed.
Many persons will be surprised so
large a number of sound films are
available. The fact that producers
have been so prompt in putting such
a volume of sound releases on the
market in the comparatively short
time since 16 mm. talker reproducing
equipment was first perfected is an
unquestionable indication of the great
importance they are attributing to the
16 mm. sound field.
Like everyone else who is observant
and alert with regard to such matters
they evidently see sound as an in-
creasingly important factor in 16 mm.
pictures.
The subjects in the catalog cover a
wide range. Many are strictly of an
entertainment nature, while others are
educational and informative. The
listing will be of interest not only to
users of sound equipment in the home
but to many others, including educa-
tors everywhere. Business concerns
will find here excellent material to
serve as a sort of appetizer in con-
junction with industrial sound picture
presentations.
All subjects listed are sound on disc.
A copy of the catalog, consisting of
33 mimeographed pages bound in an
attractive cover, will be sent on re-
quest to anyone who sends eight cents
in stamps to defray postage charges.
Requests should be addressed to 1801
Larchmont Avenue, Chicago.
Rod is slumped sleepin agin the bass drum, while Cleopatra is draggin her
Marc Antony out to a cab.
If You'd Start Riot Just
Try Scheme in Hollywood
AN interesting co-operative effort
in behalf of French production
is reported here. It has been
resolved by the Film Trade Press
Association and the Artists' Union to
make each year one super film.
The writers will be responsible for
the scenario and the direction; artists
will give their services free. Pathe
Natan in turn has offered the gratui-
tous use of its studios.
February, 1932
The INTERNATIONAL PHOTOGRAPHER
Nine
Homeward Bound Is Bob Bronner
Globe Girdling- Cameraman Describes Trip from
Ceylon Through Red Sea and Canal and
Into Picturesque Mediterranean
By BOB BRONNER
In Letters to His Father in Hollywood
Kaivdy, Ceylon, Nov. 18.
Well, here we are at the hotel
Suisse in Kandy, 1600 feet above the
sea. We arrived at Colombo at dawn
and went ashore at 9 a.m., shot a few
pictures and took the auto up the
mountains to Kandy. We ran into a
real nice tropical rain up there in
the mountains.
The Island of Ceylon is interesting.
On the way up to Kandy we saw all
kinds of native life, also many planta-
tions. It is a very prosperous island
and has a fine hotel.
Thursday, Nov. 19.
Up and out of the hotel at 8 a.m.
and we set the camera up in the rear
of the car and went about shooting
scenes of Kandy. A beautiful lake we
found up there. We also took a shot
at the Buddhist Temple of the Holy
Tooth. You should see that tooth,
several feet high, but not an inter-
esting photographic subject.
On the road to Anuradhupura
(cough it out, if you don't like it) we
passed through dense jungles of solid
green walls on both sides of the road.
We arrived at Anuradhupura and the
Government rest house.
Friday, Nov. 20.
We went about looking at the ruins
of many Buddhist Temples, and towns
1500 years old, but just a jumble of
rock as far as the camera was con-
cerned. We shot a few scenes of
native life and started on the road to
the coast again. It is the beginning
of winter here or the Monsoon season
in this section of the tropics and it
rained every afternoon.
We went through six storms while
traveling and mighty hard storms at
that. We stopped at Negombo to
shoot scenes of the native fishing
boats, a very peculiar craft with large
lanternlike sails, and the natives could
manoeuver them very well.
We started back in a heavy rain,
and believe me, it was an experience
in itself. The road was very narrow
and dark. When a car comes toward
u,s with its headlight on it is blinding
and they keep switching them on and
off and drive very slow as they near
you and then pull into the brush to
allow you to pass. It is impossible
without the lights to see the road.
One cannot dare drive more than five
miles an hour. It took us four hours
to drive twenty miles into Colombo,
and it was a nerve wracking ride.
Saturday, Nov. 21.
We stopped at the Grand Oriental
hotel and were up early to shoot
around Colombo — street scenes and
native life, and were back aboard the
Alva only to find some six-year-old-
minded so and so had plastered up
my two suit cases and boxes with
a lot of tin can labels. Was I sore?
But I went to bed and slept the sleep
of the just. But wait, I'll learn
who did it and then! Well, it's no
use getting mad. Men must be boys
and boys must be kids, once in a
while.
Monday, Nov. 23.
Up anchor from Colombo Sunday
morning and checked over the equip-
ment. The sea was very calm today,
so I was able to develop five dozen
negs. I cannot get good panchro-
matic stock in this part of the world,
so I am cutting up 8 by 10 super pan
and use it in 4 by 5 and 3x/4 by AlA
Graflex.
Wednesday at sea, bound for Aden.
Yesterday I printed pictures all day
and continued to print this morning,
but had to stop this afternoon as the
sea roughened up a bit for a change.
I don't like the soup in my pockets.
Thursday, Nov. 26.
Today is Thanksgiving and I have
been thinking a lot about you and it
being your wedding anniversary. I
truly wish I could spend the day with
you. Everybody is resting after a
hearty meal on board except those on
watch.
The boys got out a special number
of the Oceanic Mercury today and it
did surely say lots in it again about
me. The artist drew up a cartoon of
Al and me. Al all dressed up, me
Commodore William K. Vanderbilt (right) with Bob Bronner on quarter deck
of Alva at anchor in Monte Carlo
Ten
The INTERNATIONAL PHOTOGRAPHER
February, 19-35.
beside him, with the camera equip-
ment all about me and a lot of ques-
tion marks coming out of the top of
my hat with remarks, "Spying for a
hotel to have a good dinner at."
I haven't found out yet who plas-
tered all those tin can labels on my
suit cases, but leave it to me I will.
We expect to reach Aden, the
southernmost end of Arabia, Saturday
morning, thence through Suez canal
to Port Said, Egypt.
We see some beautiful sunsets
every night now and there are always
clouds in the sky and of the most del-
icate shades possible. As soon as we
hit the Mediterranean Sea we will
realize how close we are to home.
The hops from now on are going
to be long ones and we expect to
cover a lot of ground in a short space
of time. The Commodore has been
around these parts about twenty-five
times, he says, so is not much inter-
ested, but I am. My first trip, why
not?
Well, Dad, we have the Homeward
Bound pennant flying from the mast
head, and it won't be long now.
We expect to be in Nice and Mar-
seilles, France, about Christmas and
New Years, and reach Miami, Fla.,
about Feb. 1, and nothing preventing,
be home about February 25 or so.
My next letters to you should be
from Cairo, Egypt, Port Said, Suez,
and many places before we arrive in
France, and when I arrive in France
they will all be on their way to you.
Sorry, I got to close to catch the mail
boat, so adios, and with a hearty God
bless you and with best wishes for a
merry Christmas and a Happy New
Year to you and all our friends and
the boys of local 659, I am still your
bouncing sailor boy.
Aden, Arabia, Nov. 30
We are now traveling so fast we
keep ahead of the mail boats, so I'll
hold this until we make good connec-
tions instead of mailing it here.
Arrived at Aden, on the Gulf of
Aden, the southernmost point of the
Red Sea, Saturday at 9 A. M.
We went ashore and photographed
the town, which is situated in an ex-
tinct volcano crater.
The place is just a mass of hills and
rocks on the edge of the Arabian
desert. All the hills are strongly
fortified by the British and a strong
air force protects the entrance to the
Red Sea.
The natives use camels as work
animals. They tie them to two-wheel
carts and put packs on their backs
as well.
At Aden they have large tanks
with which to catch the rain water
and store it for the drouth season.
Sometimes they have plenty of water
and other times not enough.
On the Red Sea, Dec. 1
We weighed anchor at 4:30 A. M.
and now are on the Red Sea bound
for Suez and Port Said.
Instead of leaving the ship at
France I will remain on board until
we reach Miami, Fla., as I have so
much packing to do, equipment and
personal effects that I think it would
be best. I would like to tour about
France a bit, but think it best to
stick to the Alva; then I can continue
to do some more experimenting work
which I have in mind. I expect we'll
arrive at Miami about Feb. 1.
We plan to reach Monte Carlo
and Cannes by Dec. 25 and perhaps
remain there until January 4 or 5.
We expect to reach Suez tomorrow
morning and will pick up the mail
there. I hope there is a ton of it for
me. From there Al and I expect to
go to Cairo, Egypt, by car with the
Commodore for an overnight stay.
We have been traveling due north
for the past four days on the Red Sea
and we certainly notice the change in
the weather. It is so cold now I have
to wear my sweater when up on deck,
and a good strong wind is blowing
from the north which makes it still
colder.
Thursday, Die. ■)
Dropped anchor at Suez at 8 A. M.
and went ashore at 10 with all equip-
ment. We loaded it all in a large
touring car and after mailing letters
started for Cairo, ninety miles across
the desert.
At Cairo we went to Shepheard's
hotel, registered and ate lunch. Then
we drove about town to shoot pictures
and obtained some good ones of the
Nile river sailboats called feluccas, a
picturesque craft with the bow raising
out of the water in a circular line and
with high triangular sails.
We happened to see one of the old
water wheels, the ox blindfolded as it
walked around and around patiently
turning the wheel that brought the
water up from the Nile for irrigation.
This is the same irrigation method
used hundreds of years ago.
Streets of Cairo
At sundown we drove down many
small, narrow streets, bazaars lining
each side, with native Egyptians sit-
ting by smoking their native pipes
called hubble bubbles, similar to the
Turkish pipe with the long hose to
draw the smoke through, while the
tall bottle is on the ground near them.
That's what I call "long distance
smoking," or "keeping away from
tobacco."
Our car finally came to a stop
alongside a narrow lane, not wide
enough to drive through. We left the
car, and our dragoman (guide) led us
around many more narrow lanes
among the native shopkeepers all try-
ing to persuade us to buy and look
at their wares.
Cairo, Egypt, is a City of Sights.
Over 500 alabaster mosques are stuck
in here and there in its narrow streets.
The natives wear the fez hat, but its
real name is tarboosh.
The Streets of Cairo is in the Arab
quarter, and what a picturesque place
it is. It is the world's fair and world
exposition all in one. The Monski is
the main street in the Arab quarter of
Cairo. It has some of every nation-
ality in it possible, all in their native
dress and costumes. You can appre-
ciate such a sight. Bazaars are all
over as well as every description of
stores, crowded with people; narrow
streets and stands clear out to the
sidewalks.
Donkeys and camels are passing
amid crowds of men, women and child-
ren ever going to and fro. What a
sight! Tall, very high, beautiful
Mosques, here and there.
It is a babylon of noises . . . bark-
ing of the dogs . . . moans of the
camels . . . braying of the donkeys
. . . shouts of the men at the animals
. . . shouts of the keepers of stalls,
calling your attention to their wares
and bargains . . . walk right up to
you, forcing you to stop by standing
in front of you displaying their goods
. . . yelps of the mothers at their
children . . . yelps of the children
themselves ... a thousand languages
heard and spoken . . . children walk-
ing along side of us, shouting, "Bak-
sheesh! Baksheesh!" and holding their
little hands out for money.
It seems begging is one of the arts
taught children as soon as they are
able to walk.
Narrow, winding, crooked streets
where one can buy anything — such
are the Streets of Cairo.
After a while of all this we turned
in at one of the shops. Inside it
opened into a large warehouse stocked
with Persian nigs.
As soon as we entered the owner
asked us if we would accept his hos-
pitality by having tea with him; we
accepted, and while having tea were
shown a variety of rugs of very rare
Persian makes
After this we went into a perfume
store and were shown the real essence
oil of perfume. The flowers are grown
in the oasis out in the desert. We also
obtained some of what is called
"ambergris," which the Egyptians use
for a tonic.
We had some in our tea, but it
seemed as if it only perfumed the tea,
as there was an oily taste to it, but
had a very sweet scent. I just couldn't
resist taking some of the perfume,
at 5 piastres, (25 cents) a gram. So
back to the hotel for dinner and a
good one at that.
Dinner over, we started out to see
the sights by night. We stopped at
an Egyptian cabaret. On entering we
could see a mass of red fez; hardly
any women inside.
The men sat about at little tables
drinking their wines and whiskys,
while on the stage a dozen men were
chanting to the songs of one girl in
front of them.
This girl left after a few minutes
and others came out ornamented with
silver lace and danced, mostly wig-
gled, much to the delight of the men-
folk in the audience. So back to the
hotel and bed.
The Pyramids
Up and out at 7 o'clock for a chilly
ride to the Pyramids. Whoever has
any idea it doesn't get cold in Egypt
is certainly mistaken. I could have
used an overcoat to good advantage
most of the time.
We photographed the Pyramids,
three of them, a little way outside of
Cairo. They date back to 3,000 B. C.
They rise to a height of approxi-
mately 450 feet and are made up of
more than two million stone blocks
February, 1982
The INTERNATIONAL PHOTOGRAPHER
Eleven
weighing more than two and a half
tons each.
A wonderful view of the Valley of
the Nile may be had from the summit
of the Pyramids. They are indeed a
marvelous tribute to the patience,
skill and real labor of the ancient
Egyptians to have erected these
mountains of solid stone.
On leaving the Pyramids and the
Sphinx we went to the Citadel or Ala-
baster Mosque, being a landscape of
Cairo. It was built on a high bluff in
1166. From there may be seen the
whole panorama of Cairo and a por-
tion of the Nile with the Pyramids
and Sphinx dotting the skyline.
The Citadel Mosque has five round
domes, with two thin like minarets
rising nearly two hundred feet from
the ground. Cairo, with its many
mosques about the city, with their
golden domes still more goldenly lit
up when the sun from a golden sky
casts its rays upon them, brings to
view a beautiful sparkling picture.
Saturday, Dec. 5
Shooting from setup in car; driving
about the city; getting intimate scenes
of native activity — and there was
plenty, for no assistant director was
present to tell them what to do ; it was
all the real thing.
At 2 P.M. we were again on the
road to Suez for a two and a half
hours' cold and windy ride back across
the Libyan Desert.
Suez Canal
We started through the Suez Canal
at 8 A.M. and set up on the flying
bridge with a very cold wind whistling
and making us feel a bit cold. The
Suez Canal is cut through the desert
to Port Said; it is a fairly straight
cut of about 100 miles in length, with
nothing on its banks but a long flat
vista of desert sand as far as the eye
can see on either side.
The Canal is very narrow, only
about fifty yards wide, and one can
stand on the center of the deck while
in the middle of the Canal and throw
anything on the shore, it is that close.
Once in a while a native appears,
practically naked all but a gee string.
What a lonesome desolate place it is.
Desert on all sides of us, and during
the heat of the season as hot as blazes.
We really traveled across the desert
on water, Suez on one end and Port
Said on the other. The sunsets and
sunrises are most beautiful.
It is indeed a beautiful sight to look
in the far distance, across the desert,
toward the setting of the western sun
and see the silhouette of caravans of
a few roaming tribes with their
camels.
When ships are passing each other,
one of them must tie up to posts that
line the sides. Usually the ship head-
ing into the current ties up, to pre-
vent the tide swinging it about.
It takes all of twelve hours to tra-
verse the Canal, and all vessels are
forced to equip with a searchlight
suspended over the bow, of course
being turned on when darkness sets
in.
Port Said
We anchored at Port Said at 8 P.M.
and it was colder than ever.
The temperature of the soup (de-
veloper) came down to within three
degrees of normal today, and what a
relief. Last week the crew were wear-
ing whites, and since reaching Suez
they changed to blues and overcoats,
and heavy ones at that.
Monday, Dec. 7
Up anchor and out of Port Said
into a heavy sea, coming at us head-
on. We are doing a hit of pitching
and taking the spray over our bow
and the wind is very strong. We are
sleeping under two blankets these
nights and wearing heavy overcoats
up on deck. The sea calmed down
about 8 o'clock and we are running
fairly smooth again. We sighted the
lighthouse on Cyprus Island at mid-
night, but didn't stop.
Tuesday, Dec. 8
Sea is smooth, as we are running in
the lee of Asia Minor. All morning
we could see the high snow-capped
mountains of the interior.
Passed the Island of Rhodes at 3
P.M. We did not anchor.
We are now on our way to Athens,
through the numerous small islands
in the Aegean Sea Will probably be
there about 1 P.M. tomorrow.
Wednesday, Dec. 9
Athens, Greece
We dropped anchor at Yiraeus, the
harbor to the City of Greece, at 11:30
this morning.
This is the harbor where the gal-
leys came on raiding expeditions
against Athens. Al and I went ashore
to get okehs for taking our equipment
ashore tomorrow. We had to go to
every government official in Greece, I
believe. Finally we got to the Min-
ister himself and received permission.
Athens is situated about eight miles
inland.
Thursday, Dec. 10
Up at 8 and ashore through cus-
toms at 9 and went directly to the
Acropolis, the hill on which the ruins
of the Parthenon still stand. It was
built about the year 500 B. C, and
being made of marble it seems incred-
ible that all this work could have
been done by the hands alone, on the
immense fluted columns and statues.
We stayed around the Acropolis all
morning trying to get pictures with
the few seconds of sunlight that oc-
casionally broke through the heavy
dark rain clouds. The view from the
hills overlooking the town of Athens,
even in rainy weather, is very beau-
tiful, with the Stadium, Temples of
Theseus and Olympian, Jupiter below,
while on the table peak nearly a mile
away is the Monastery of Saint John,
sitting on top of a sheer bluff.. That's
a sight that holds one spellbound.
It is a marvel, too, how the ancient
Athenians moved all this marble and
terra cotta up the precipice and built
times then all the more credit to
them,
it; and if done by the slaves of those
From the Acropolis we went to a
church built of terra cotta, in the
twelfth century. The dome is in a
good state of preservation. Some of
the mosaics still cling to the walls re-
gardless of the many small earth-
quakes in past centuries, which have
crushed and dislodged but a few.
Friday, Dec. 11
We traveled back to the boat and
up anchor at 8 A.M. from Piraeus
harbor and ran into some rough sea
for an hour until we reached the Cor-
inthian Canal. This is very narrow,
only 80 feet wide, cut through solid
hills of rock. The walls in some
places are over 200 feet high.
The canal was started in the time
of Nero, about the year 50 A.D., and
was dredged deeper by the French in
1870. We had only 15 feet clearance
on either side. We came near scrap-
ing the sides of the boat a few times
when the current started to swing us
around a bit.
We had two tugboats, one forward,
one aft, and they kept us headed as
straight as possible along with the
help of our own engines. I got a
thrill of fear several times seeing the
sides come mighty close to scraping
the rocky walls.
The canal being only three miles
long we saved a whole day by not
going around Morea and also dodged
the rough weather, as the barometer
was quite low and we had word of
storms on the other side.
At 3 P.M. we anchored in a snug
Bob Bronner at ruins of Hindu temple, built about 500 A. D., at Anaradapura,
ninety miles inland from Colombo, Island of Ceylon
Twelve
The INTERNATIONAL PHOTOGRAPHER
February, 19-32
little harbor at Itea, on the mainland
of Greece.
Saturday, Dec. 12
Cloudy, heavy overcast sky, but we
looaded in a boat, then ashore, to
chance the weather for a trip to Del-
phi, a few miles into the hills. No
sooner did we put the equipment
ashore than it started to rain, so we
returned to the Alva. Very cold,
with snow on top of the hills.
There is a museum and an ancient
Greek amphitheatre and temple at
Delphi we wanted to see and take a
few shots of, but the rain kspt com-
ing steadily.
There are two picturesque villages
nestling on the edge of tall precipices,
which we can see from the ship. The
natives of these villages still wear the
ancient costume of shirt and vest with
tassles tied around their knees.
For $10 I received the great sum of
775 Greek Drachmas. It really did
seem like a lot of money until we
started to spend 225 for dinner and
100 here and there, and it soon went.
Sunday, Dec. 13
We went from the Gulf of Corinth
into the Gulf of Patras. The barom-
eter was falling fast and a good gale
started to blow, and we did a bit of
rolling and tossing, so pulled into the
harbor of Patras, and tied up behind
the breakwater with the wind blow-
ing and sending the spray flying from
the crests of the waves.
Patras is the second largest seaport
in Greece, Athens harbor being the
largest. Most of the population turned
out to see us tie up. They lined the
low pier until the wind and spray
drove them to cover. The gale con-
tinued all night.
Monday, Dec. 14
The wind died down so we pulled
out of Patras harbor at 8 A.M., but at
noon the sea and weather became
worse and we anchored in another
snug harbor at Vardiani, Island of
Cephalonia, which is the last island
off the Grecian coast en route to Italy.
We remained until the weather
abated.
Tuesday, Dec. 15
Up anchor at 8 A.M. and bound for
the Straits of Messina, 250 miles
west. The storm has died down and
the sea is fairly smooth.
Wednesday, Dec. 16
Passed through the Straits of Mes-
sina at 1 this morning and now run-
ning up the coast of Italy to Naples.
The weather is a little warmer here.
Thursday, Dec. 17
Enroute to Monte Carlo
We arrived in Naples at 12 noon
yesterday. It was raining most of the
afternoon, so we couldn't go ashore
until 4:30.
Naples is a picturesque city, set
mostly on hills with the majority of
the buildings of very old architecture.
From the harbor, riding in a carriage,
we passed along a medieval castle,
mostly in ruins. The outer walls had
partly fallen away and the huge
arches of the interior could be seen.
After walking around up narrow
side streets, built on the sides of hills,
with the bumpy stones stepped up
every 15 or 20 "feet, and small shops
underneath, we walked back down Via
Roma, the main business street, to
Gumbrino's restaurant and had a
good Italian dinner of spaghetti,
chicken and Chianti.
This morning we could see Mount
Vesuvius across the bay, with a good
deal of smoke belching from its crater.
At 10 o'clock the Crown Prince
Umberto came aboard for a visit. He
left at noon and we pulled up anchor
and got under way for Monte Carlo,
France, running in a moderate sea.
According to the pilot chart we are
in the Tyrrhenian Sea, between Cor-
sica and Italy.
Friday, Dec. 18
Running in a calm sea all day. An-
chored in the harbor of Villa Franche,
between Nice and Monte Carlo. We
are going to change anchor into
Monte Carlo the first thing in the
morning
Today at noon the Alva was full
around the world. That is, she was
back to the same meridian at Keil,
Germany, where she was launched last
March.
So we are finally in France, the
place we have been looking forward
to for a good Christmas.
Al is now packing up, as he is leav-
ing the ship here, to do Europe a bit.
We will stay anchored here until
after the New Yeaf, according to the
latest word.
Everyone seems in good spirits and
happy to be at anchor for a few
weeks after our long trip.
Saturday, Dec. 19
Up anchor from Villa Franche at 8
enroute to Monaco, some 30 miles
east, above the Riviera. A very
rugged coast line, with little coves
and anchorages below the rolling
hills.
Homes are built into the sides of
the palisades, even to the water's edge,
where there is a stone wall or break-
water right in front with the waves
pounding only 20 feet below the house
itself.
Arrived in Monaco at 10:30. Really
a beautiful spot. The red tile roofs
and white buildings make a beauti-
ful panorama around the small U
shaped yacht anchorage.
Went ashore at 11 o'clock and rode
the bus to Nice, 45 minutes drive
from here.
Large parlor car busses run along
the rugged coast. There are three
roads, along the shoreline, halfway up
or the Middle Corniche, and the high
road, which runs along the rim of the
hills.
The scenery is most colorful. The
road winds around all of the inlets
and each half mile presents an alto-
gether different view of the sea homes
and cliffs.
We arrived in Nice and I went di-
rect to the American Consul to pick
up mail.
The binoculars you sent me are
very good and useful to me.
I find I can purchase a Leica cam-
era complete for $68. In the States
I believe it is close to $110 In fact
everything is very reasonably priced.
Monday, Dec. 21
I think it will be fairly lonesome
for me on the return trip, as Al is
leaving Wednesday, and my room
mate is also taking a fast boat to
New York.
Al and I have stuck fairly close to-
gether in work as well as amusements
so I'll miss him. But I wish to say
that of all the business and personal
associations I have had with Al that
I could not wish for a better man as
a working associate or a companion.
I went ashore last night with the
second mate. We walked up most of
the side streets in Monte Carlo. And
what I really mean is up, as all of
Monte Carlo is built on the sides of
the hills. The narrow streets, where
no vehicles are allowed, are made in
terraced steps. Every ten feet or so
there is a step.
At night the exterior of the Casino
is illuminated and has a picturesque
appearance.
The season of Monte Carlo begins
in the latter part of January, so we
do not see many people.
The climate here is, even as we at
home say, "very unusual" for the Ri-
viera. A sharp, cold breeze seems to
be blowing all of the time.
For those it may interest, the side-
walk cafes serve a hot grog with rum
and may be had for 4f., or 16 cents
U. S.
Monaco is the smallest independent
principality in Europe, covering only
eight square miles. The whole area
is commonly called Monte Carlo, as
the Casino is its chief attraction.
There is no land or business tax, as
the proceeds of the Casino are used
for that.. Also any person having
business connections or living perma-
nently in Monaco is not allowed en-
trance to the Casino to gamble unless,
I suppose, on special permit.
I tried out the binoculars on deck
this afternoon. They surely do pick
things out. Thanks ever so much.
Monday, Dec. 28
Received your cable this noon, also
a letter of Dec. 10. It surely is a great
feeling to receive mail that isn't over
a couple of weeks old, as it was two
months old not so long ago.
Al and Mrs. Gilks are on their way
around Europe. They certainly will
have a great time.
Al hired a cab all day Christmas,
and we went riding.
From Monte Carlo we went west to
Mentone, on the Italian border. Then
along the Upper Corniche, a road
built on the rim of the mountains by
the early Roman conquerors.
On one side we could see the blue
Mediterranean and to the right the
snow-capped Alps in the distance. We
traveled through little villages nes-
tling on the tops of steep cliffs, just as
they were years ago as the protection
of the cliffs provided a stronghold
against marauding pirates.
We remained on this road till we
arrived at Nice, where we had lunch
and some more sightseeing.
We visited the Palais de la Mediter-
rainne, the Casino of Nice. It is a
new building, done throughout in a
modernistic style.
Then back to Monte Carlo along the
Middle Corniche, through Villafranche
and Eze.
Better mail this as I have to run
ashore now.
Adios for a while.
Love from
BOB.
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Fourteen
The INTERNATIONAL PHOTOGRAPHER
February, 1932
*.
"*» r*
^fc%>~
3t&
*<?,-
-v
***>-
Strange formation in northern Arizona desert known as the Cabbage Patch. It is near here where were found the
dinosaur tracks estimated to be twenty million years old. Right, head of Navajo family.
Navajo One Tribe That Multiplies
From 5000 Marauders in Eighteenth Century
Indians Have Increased to 50,000 as
Raisers of Domestic Stock
Bv GEORGE ALLEN
IT WAS fortunate in our behalf to
have lived among the Navajos for
a year or more and also to have had
a somewhat clear understanding of
the history and traditions of this
race.
It might be of interest to delve a
bit into the background of these color-
ful nomads of our southwest country,
who are but a few days' travel from
the centers of our great modern civ-
ilization and yet who today are just
as primitive, have the same religious
beliefs and live the same domes-
JN THE November issue of last
year International Photogra-
pher printed an article dealing
with the experiences of the Allen
brothers, William and George, in
their encounters with wild animals
while engaged in exploration trips
such as naturalists and scientists
take.
As coproducers of the Clifton-Al-
len Wild Life Pictures the brothers
penetrate many interesting sec-
tions of the country. In this story
we are privileged to share their
experiences while filming "The
Navajo Witch" among the Navajo
Indians of the Painted desert as
related by George Allen.
Ancient cliff dwelling in the Canyon De Chelly.
tic life that they did centuries ago.
Men that study race migrations say
the Navajo is a Mongol, who ages agu
came from Asia, crossed the Bering
straits, stopping in Alaska a while,
and slowly wandered down the Pa-
cific slope to his present home in the
southwest.
We know of him in the eighteenth
century as a marauding, thieving kill-
er conquering and preying on other
peaceful people of the southwest as
well as many slaves of numerous
tribes.
Change to Pastoral Pursuits
Being nomads and traveling in small
bands the Navajos were a hardy and
virile race at this time, numbering
some 5000. When the Spaniards came
to the southwest bringing sheep, goats
and horses the Indians stole or ac-
quired numerous heads of these ani-
mals. Sensing the importance of these
domesticated flocks as a means to
economic freedom in their ability to
provide food, clothing and an aid to
February, 1932
The INTERNATIONAL PHOTOGRAPHER
Fifteen
Charley High Hat, so named because of his ancient headgear, which was presented to him by Kit, Carson during one
of that famous fighter's campaigns. Right, one of the many corrals found all over the mesas wherein are herded
sheeps and goats.
travel, the Navajos gradually changed
from a warlike people to the pastoral
stage wherein they confined their ac-
tivities to the raising of sheep, goats
and horses.
As a result of this change in their
habits and development, the Navajos
are today a self-sustaining race of
indians now numbering 50,000 and
credited with being the largest tribe
of pastoral Indians in the world. This
record is a truly remarkable feat
when consideration is given to the
arid, harsh country of northern Ari-
zona comprised mostly of great can-
yons, mesas and deserts.
Going on Location
We left Flagstaff in early April for
the back country of the Navajos head-
ing for Canyon De Chelly, the strong-
hold of these Indians, about a five-day
journey from the border of their res-
ervation. We were heading for a
small settlement of hogans and some
five families as the starting point
from which to commence operations.
This remote region far from the
beaten path of the white man would
be ideal for the program we had in
mind. The five families were our
friends, as we had lived among them
at a previous time for some four
months.
Old Chief Charlie High Hat, an an-
cient warrior of 104 years and spry
as a lark, accorded us a great wel-
come.
We aimed to film some of the daily
life and habits of these families with-
out their knowledge of the dreaded
devil box, as they call the motion pic-
ture camera. The more primitive be-
lieve they will die after you have
taken a picture of them.
The still camera,, however, is an en-
tirely different proposition to them
and, if you are their friend, they will
allow shots to be taken with it. So it
was a still camera that was being
used as far as they were concerned
and I might say it was a great bit of
luck for us, as there were no self-
conscious or forced efforts such as a
camera-shy primitive savage indulges
in when seeing a weird box.
General Characteristics
We worked among them for three
or four months and had a great timo
teaching our friends the white man's
ways, they in turn telling and show-
ing us the life they live. They truly
may be termed a colorful race of peo-
ple, generous to a fault, fond of
sports, appreciative cf a good joke
and very intelligent.
Of the many primitive tribes of In-
dians I have visited in the course of
years from Alaska to Central Amer-
ica I like the Navajo best of all. As
is customary with all primitives most
of the things in nature bear a sym-
bol— good or ill omens.
In fact, their lives are bound up
in thousands of superstitions. Hills,
canyons, trees, birds, insects, animals,
clouds, rain, all have a special sig-
nificance either denoting a good or
bad omen. The medicine men are the
appointed masters of the gods to
watch over the tribe and administer
to the evils,, ills, good fortune and all
the other things pertaining to their
people.
Medicine Men's Magic
These men have all the master
tricks of a great magician and then
some. Many of the feats they per-
form would make our sleight-of-hand
Shepherd boy with his bow and arrow.
Sixteen
The INTERNATIONAL PHOTOGRAPHER
February, 1932
artists cry with envy. Supersition is
the background of all their beliefs.
This is necessary in order to make
certain laws effective and in most
cases good comes of it.
The Navajos have a strict mother-
in-law taboo which exists among
them. A husband must never meet his
mother-in-law or any of her sisters
or her mother after marriage.
If circumstances arise that make
communication absolutely necessary
one shouts to the other at a distance,
using the third person. It is curious
to see a man or an old woman hide
in or run from a trading store when
warned by the sibilant hiss "Nis Gaa."
The penalty for the infringement
of this law is blindness. Most Navajos
give no reason for this custom sim-
ply saying that such intercourse is
improper. Several of the old men,
however, say that the practice was
originated long ago by wise men who
wished to keep the mothers-in-law
from making trouble in the homes. It
is worthy of mention to remark that
this same custom prevails among the
nomadic tribes of Mongolia.
Courtship Procedure
Another interesting custom among
the Apaches and Navajos pertains to
courtship. The suitor for a certain
girl rides up to her hogan and ties
his horse before her home. If she
feeds and waters the horse it signifies
acceptance; if she does not do this
after a day or so it means he has
no chance.
Faithless wives in earlier times
were punished by clipping off a por-
tion of their noses which it is easy
to imagine was a painful procedure.
Eating Habits and Beliefs
Navajos as a rule refuse to eat
fish or any sea food. This is due to
their belief that the eating of any-
thing from the sea will cause white
spots to appear on their bodies. They
seldom kill coyotes and certain other
animals or birds because of their be-
lief that when a person dies the spirit
goes to dwell in a deep canyon where
everyone is happy.
Sometimes, however, the inhab-
itants wish to go back to see what
their friends and relatives are doing,
and for this reason there are piles
of coyote skins and owl feathers on
the edge of the canyon which anyone
may don when he wishes to go back
to earth.
This belief makes the Navajos fear-
ful of killing coyotes or owls since
by so doing they might be preventing-
one of their dead relatives from re-
turning to the happy canyon and
thereby cause the spirit to wander
forever on the face of the earth.
Evil Spirit of Desert
The Yan-Tups are believed by the
Navajos to be the evil spirits of the
desert springs. They are supposed to
live in the ground around the subter-
ranean sources of the mountain and
desert waterholes. At night they come
out of their deep hiding places and
sit on the surface of the water sing-
ing in low, doleful voices. Oftentimes
they seize little children who go to
the springs for water and carry them
off to hidden caverns.
The principal activity of the Yan-
Tups is making people sick. The Yan-
Tups still dwell in many of the
springs around the Painted Desert
country. The white man calls them
Epsom or Glauber's salts, or arsenic
springs, but the Navajos still believe
it is the evil spirit of the desert.
High Esteem for Cat and Snake
The Navajos and other mesa tribes
believe that the two most perfect
creatures of the animal kingdom are
the cat and the snake because they re-
main the least changed from the form
they had in the earliest times. Being
so elastic they are able to light on
their feet from any fall the Indian
believes these creatures can adjust
themselves to any new environment
even to the extent of adapting them-
selves to civilization.
This is a correct deduction on their
part. From my experiences as a nat-
uralist I have learned that the snake
is one of the greatest means in the
animal kingdom of preserving the
balance between nature and com-
merce. Without snakes we should be
overrun with vermin, and the indus-
try of farming upon which all other
industry depends would have perished
long ago.
If it were not for the reptile appe-
tite for grasshoppers, mice and small
insect pests that destroy vegetables
we would all be eating mice instead of
grain.
Most all the Indians and some
Americans of the Southwest who
have known this secret keep gopher
snakes as mousetraps. There is no
other country in the world where
there are rattlesnakes, humming birds,
condors and peccaries as are found in
the two Americas.
It is easy to believe almost any-
thing of this strange creature — the
snake — whether one be a primitive or
highly civilized individual. A certain
mystery and romance connect them-
selves with this creation which is so
like us in the major ways and yet so
unlike us superficially.
Also in many of their theories and
beliefs the Navajos may be closer to
the true symbolism of nature and the
correct interpretation to be applied to
men and human behavior than those
who have had their perceptions dulled
rather than quickened by our so-called
"civilization."
Who can speak with irrefutable au-
thority ?
Keyes Opens Studio
Donald Biddle Keyes announces the
opening of a photographic studio at
127 North Larchmont. Before going
into motion picture work he was well
known for his still photography. Mr.
Keyes extends an invitation to his
fellows of the International Photog-
raphers to give him a call.
DELICATESSEN and
RESTAURANT
at 1643 North Cherokee
Near Hollywood Boulevard
Catering to the Most
Discriminating
Good Home Cooked Food,
Kosher and American Dishes
Cold and Hot Foods Prepared to
Take Out. Imported Delicacies.
Fresh Home Made Pastries.
Regular Dinners and a La Carte
As Well as Catering to Clubs
and Private Parties
At Moderate Prices
MR. AND MRS. DAVE
UNGER
The Clearing House
for Cameramen
Professional and Amateur
EVERYTHING PHOTOGRAPHIC
SOLD OR RENTED
Send for Our 1932 Bargain Catalogue
Hollywood Camera Exchange Ltd*
1511 North Cahuenga Boulevard
Open 8 a.m. to 10 p.m.
HOIIywood 9431 GLadstone 2507
4lfr
Happy Island
Yosemite
Enchanted tin trees become
I'n nt usii caught in flight;
While the river is a /ioem
Kill It railed in silver light.
Photo Iiii Harry Blanc
Verse by Bert nice M. ( 'onner
e.*r^r'o„.
@ream oth Stills
e**^?«W
/tc a picture of old
Spain, "Blaze of
Glory," Oliver Sigurd-
son chooses this setting
for a striking still
David Ragin gives
us this shot of the
frontier as taken in
Carmel, on the
California coast, in
the production
"Paid to Love"
e.**^
Qream oth Stills
c***l'0*.
Death scene from the
ending of the un-
forgettable "Journey's
End," photographed
by Gordon Head
Paid Grenbeaux
transfers to film a
setting of Old Mexico,
of the watchman of the
night and his lantern —
and his shadow
c.v-^'o.,
Qream oth Stills
Elmer Dyer contributes this bug's eye view of giant cactus mi the Superior Highway in Arizona, between
Phoenix <nirf Clobe
February, 1932 The INTERNATIONAL PHOTOGRAPHER Seventeen
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Eighteen
The INTERNATIONAL PHOTOGRAPHER
February, 1932
For the Benefit of Those Who Hail from Missouri
HERE are tangible evidences of
the history-making snowfall in
Southern California on the
morning of January i5 last. The
Weather Bureau suggests there has
been nothing of so much importance
in its own field of snow in 54 years.
In the centre of the picture is an
exposure made by Ira Hoke. The
camera was pointed generally from
west to east, from a point a block west
of Highland avenue and looking over
the hills that form the northern
border of Hollywood. In the upper
left hand corner is the home in North
Hollywood of George Meehan, who in-
cidentally exposed the other pictures
on this page. The upper right shows
the point where Laurel Canyon turns
into Ventura Boulevard.
The bit in the lower left reproduces
the crest of the new cut-off to New-
hall and the Ridge route. In the cen-
tre is Rhodes avenue, North Holly-
wood, facing the Hollywood ridge to
the south. At the right is a view of
a North Hollywood orchard.
February, 1932
The INTERNATIONAL PHOTOGRAPHER
Nineteen
Legions of Wild Animals at Home
So Learned Bill Hudson When Bank Quit Cold
with Africa Outside of Swimming Range
and Old Feed Bag Getting Low
By WILL E. (BILL) HUDSON
NIMROD has the record of being
the first hunter that broke into
print. Since that time hunting
stories have had an impoitant place
in trie written history of all races.
Many of these hunting stories were
good, and in the telling, like good old
wine, they improved with age.
As a result when it became possible
for the ordinary individual to get
possession of a motion picture camera
and a few cans of film the proper
thing to do was to dash down to
Africa and shoot up a countryside
tilled with thousands of kind-faced and
easy-going animals.
The next move on the part of a lot
of these camera hunters was to hip-
shoot a few old lions, tigers or hippos;
make a lot of close-ups of agonized
animals and turn over a sec 01 prints
to a high-powered press agent and
proceed to dazzle Bioadway and the
folks back home with a lot of stories
about the dangers of photographing
these various critters.
Some of these pictures were pretty
good just the same. Ever since the
famous Paul Rainey pictures made
such a hit I had a yen to make an
animal parade of my own. The news
game, however, kept me too busy.
About a year ago the news reels dis-
covered that they could worry along
without me, and my old desire to
make a game picture came to life
once more.
A couple of banks went out of busi-
ness, and with them all my money.
There is no way to walk to Africa,
and it is positively too far to swim.
Now that game picture simply had
to be made. I discovered that at one
time North America had more game
than Africa ever had, so I went to
work on a game picture, made, you
might say, in my own backyard.
Don't Fall Overboard
One of the first things I tackled
was a sea lion group. There is a
magnificent herd out on the coast of
Washington, and really I never had so
much fun in my life as I did watch-
ing those animals perform.
They are pretty shy, and to really
get close to them you have to do a lot
of crawling around over wet, slippery
rocks. One thing- you must not do on
these rocks is fall overboard. Such
a happening would be classed simply
as "too bad."
Take your time, however, being
careful to keep out of sight and the
results will justify all the work and
trouble.
Some of the tiny islands nearby are
home for a few million sea birds, so
wiiile I was at it I made some sea
bird stuff. When you make sea bird
pictures be sure and bring along an
old slicker and rain hat. Be suie thsic
they are old ones as they will not be
of any use in polite society afterward.
I found murres, gulls, cormorants
and sea parrots here and a lot of
other birds that I was not sure about,
so I am not going to get technical. 1
am just an ordinary garden variety
of a news cameraman.
Dislikes Light Tackle
One of the funniest things that I
can think of is for some of the boys,
when they gat out on their cwn, is to
hunt up a cub reporter and get an
interview that carefully classifies
them as "explorers-scientists-camera-
men."
Sea birds are graceful in every way,
so by way of contrast I dropped down
to Klamath Lake, Oregon, and made a
pelican picture. I surely got some
contrast to say the least. A fleck of
young pelicians just old enough to
waddle along will surely cure the
blues even during the depression.
As scon as I got my birds and sea
lions in the can I took to fishing. I
covered trout, smelt, and about seven
different kinds of salmon fishing,
Will E. (Bill) Hudson
winding up the fishing orgy with a
week aboard a North Pacific steam
whaler.
Seme of the stories of these light
tackle fishermen are really gocd. The
stories of salmon being so tough and(
full of fight that they almost set the
taekle on fire were common, but really
I had to hustle to get any footage at
all on light tackle fishing that looked
lik° speed to me.
The sport side of smelt fishing on
the sandy river in Oregon is nearer a
clowning performance than anything
I have ever seen in the way of fishing.
They catch smelt in everything from
bird cages to last year's model
B'.V.D.'s.
The commercial smelt fishing in
these streams is sort of a scooping
expedition. The fish run in schools
that are almost solid masses of fish.
The fishermen simply scoop them in
at fifty or sixty pounds the dip. Five
tons is a boat load. Sometimes it
takes five or six hours to load a beat.
Pacific Coast salmon fishing is
strictly a cold blooded business of
killing fish with the most approved
methods that have been developed
after years of experience. The traps
are interesting affairs. Built directly
in the path of migrating salmon
these traps are deadly efficient and
very few salmon would ever get by
to spawn were it not for the fact that
the fish commission close the traps
for twenty-four hour periods each
week.
The most spectacular fishing opera-
tion I think is to see the horse seines
in operation at the mcuth cf the Co-
lumbia River. They catch the b'g
royal Chinook salmon there in those
horse drawn seines and to see them
bring five or six tons of those big
forty-pound salmon at a haul is an
interesting sight.
Wanted Ship to Sink
The big kick of course in my fishing
spree was a week aboard a North
Pacific steam whaler. The weather
was a bit sloppy and we were out six
days before we sighted a fluke. On
the sixth day we had luck and got
three head. We got the first one just
after daylight and the light was too
bad for pictures.
Anyway, I was hoping that we
would never get any and that the ship
would sink, as I am not at times a
very good sailer.
Later in the day wo raised three
head and had two of them alongside
in less than two hours. In the early
days of hand whaling they had seme
long drawn cut battles with these big
creatures, but the modern whaling
gun has taken all the romance out of
the business.
A snowshoe trip into the high Cas-
cades for mountain goats was a trip
somewhat out of the ordinary. I hiked
twenty miles in fifteen feet of snow,
making a climb cf three thousand
feet, to a high summit, the winter
range of a herd cf goats.
I really think the goats had more
fun out of this trip than I did as I
can't imagine anything funnier to a
goat than a fat man on snowshoes
trying to keep right side up with a
sixty pound camera on his back.
The mountain sheep in the Canadian
Rockies were a bit easier to reach
than the goats. It was 42 degrees
below zrro when I made the sheep
picture, so there was no danger of
getting overheated.
There is, however, no royal road
Tiventy
The INTERNATIONAL PHOTOGRAPHER
February, 1932
(^ra
to any of this high mountain stuff,
and if you are really going to get
pictures you have simply got to get
in and drill as you can reach them no
other way. I should own at least
half a dozen goats and sheep as I am
sure that I earned them.
Deer Pictures Difficult
1 had a lot of trouble in getting
deer pictures. Thay are hunted so
ruthlessly that they are not only
scarce, but very shy. After a lot of
watchful waiting I managed to get
some very good shots by salting a
favorable spot.
Coyotes were cornered in a cave
and dugout so that was simply a mat-
ter of pick and shovel work. That
gives me an idea! If business doesn't
get better I will have that much of a
start on the rest of the bunch.
Chipmunks and marmots are such
friendly little fellows that all you
have to do is to get a good supply of
stale bread or peanuts and they will
follow you all over the lot for a free
lunch.
The pronghorned antelope took days
of roasting out in the desert to get
Left, reading down — Bull elk in Wyoming,
Oregon antelope, cub bears wrestling, sea
lions and buffalo national bison.
Below, from left — Salmon, Columbia River
beach, Washington steelhead salmon and
two-seater whale mouth. Photos by Will
E. (Bill) Hudson. Pictures all are en-
largements from motion picture film one
inch wide.
real intimate shots. Down in Sou
eastern Oregon is the last big he
the last of about 40,000,000 he
This herd numbers perhaps 1,1
head in all. Unfortunately they ;
going fast as they can't stand crov
ing by the sheep men.
They range in a high desert platt
that runs about 7,000 feet above :!
level. Your long focus equipm
comes in handy down there. I \
using a 12x/2-inch and I needed
least a 25-inch lens to do the b;
work on them.
Some Animals Shy
When you get the idea that you <
go into the Yellowstone in the su
mertime, and the animals will all p
by in review in an unbroken para
two by two, please guess again,
that is not the case by any means.
wanted moose, elk and bear in
Yellowstone.
Getting bear is a picnic, but ii
mate shots of moose were not so ea
About the only thing that the mo|
will not run from in the sumr.
months is either a squirrel ori
beaver. I tramped around the swan
there until I am sure that I lool
something like a beaver, and to \
outsider would have been accused
acting much like a squirrel.
The moose feed early in the mo
ing and late in the evening, spend:
the most of the day snuggled up
a nice mudhole. That protects th1
February, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-one
om flies and gnats. That also left
le flies and gnats free to work on
e, and what a sweet job they did
ake of it. Nevertheless I have a
t of good moose negative.
Elk pictures were just a repetition
' the moose episode except that I got
uch better negative with a lot less
brk.
Strange as it may seem the only
ling that I set up on during the
itire season that had any real thrill,
om a danger point, was buffalo. For
ime reason the herd I was working
1 was in a bad humor. I don't know
hether their manager was asking
>r a raise or a promise of more hay
>r the coming winter.
I even showed them my card in No.
>9, and a young bull had the nerve
> put me up a tree, where I roosted
itil he got thirsty and ambled off
i a spring to get a drink. I also
nbled, but in the opposite direction.
Beware of Bear
No three-ring circus can furnish the
in that is provided free of charge
? the Yellowstone bear. The bear
l nature seems to be something of a
own, and in addition has the pro-
jrbial government mule beaten in
?ery way when it comes to plain
jrve and cheek.
Theie is no bear living that will
3t get chummy if you have a supply
I food to encourage him to stick
'our.d. In the Yellowstone they
ive not hunted bear for fifty years,
so as a result the bear seem to think
that every car or truck is a candy
wagon being run for their special
benefit.
Tourists stop their cars loaded with
lunch and a garage gets a job re-
building a brand new car. Others
will feed them from their hands and
get chummy, and as a result, serious
injury.
The park department now is feeding
hotel scraps at definitely located feed-
ing grounds. They have a ranger on
guard with a rifle, which seems to
please the bear, as it prevents a lot
of curious tourists from interferring
with their meal hours.
Seriously, however, protection of
our wild life here in the West is an
important problem. We have mil-
lions of acres of mountain and desert
land that will always be more or less
of a wild area. With a little care and
less killing by so-called sportsmen
we always will have wild life for all.
Camera hunting in America I think
has just started, and I hope that the
rifle will soon be hung on the wall
with other relics of an age that has
passed and gone.
Above, from left — Ha'f grown pelicans, baby
pelicans and murre;-cormorants.
Right, reading down — Rocky mountain sheep,
Canadian Rockies, Oregon deer, mountain
goat, Cascade Mountains, Rocky Mountain
grizzlies, Yellowstone, and moose in a
mountain lake.
Twenty-two
The INTERNATIONAL PHOTOGRAPHER
February, 19.i2
Sixteen Questions Designed to Test
Admissibility of Salon Candidates
CAMERA enthusiasts who aspire
to having their favorite prints
exhibited in photographic salons
may profit greatly by the observations
of Wayne G. Winchester in his article,
"Prejudging Your Salon Entries,"
which appeared in a recent issue of
Photo-Era Magazine.
Acting as an assistant in prepara-
tions for a salon showing Mr. Win-
chester had an excellent opportunity
to study the comments of judges in
their decisions on the entries. From
this experience he evolved sixteen
points by which one may prejudge his
own prints before submitting them.
The sixteen points are given as in-
terrogations, the correct answer being
"Yes" in all cases except question No.
2, which should be answered in the
negative.
1. Do the title and the picture hang
together? That is, does the title con-
vey or explain the motive of or rea-
son for making the picture ?
2. Is the print "spotty"? That is,
are there distracting spots of light
and dark which draw the eye away
from the chief interest of the pic-
ture ? Spottiness tends to confuse the
eye and obscure the picture, weaken-
ing its appeal. (Your answer here
should be "No.")
3. Are the edges of the print darker
than the middle portion, helping to
focus the eye within the bounds of
the picture space? Generally, avoid
chair and table legs, knees, arms, etc.,
or any pronounced lines, light or dark,
prominently cutting into the edge of
the picture, as such lines usually lead
the eye out of the picture.
4. Has ths picture aerial perspect-
ive? That is, is the distance graded
into steps of space by means of soft-
ness and lightness, near objects being
more sharply outlined and darker in
tone than objects at greater dis-
tances?
5. Does your picture have roundness
and depth? Can you reach out and
pick up the objects, or walk into the
distance ?
6. Does ycur print have good grada-
tion of tone, with detail in the high-
est lights and deepest shadows ?
7. Is the print strong — that is,
rightly exposed and correctly devel-
oped to give it good brilliance ?
8. Is the color of the print in keep-
ing with the subject?
9. Have you avoided distortion, or
at least all noticeably disagreeable
distortion?
10. Is the composition good? Does
the eye seek some portion of the pic-
ture and rest there, roving calmly
over the details, then returning to this
point of interest?
11. Is the picture one that your
audience will understand and appre-
ciate ? The salon is hardly the place
for prints that cannot be appreciated
by at least some of the attendance.
12. Could you hang the print on
the wall of your room and live with
it for months without tiring of it?
13. Is it neatly mounted? Is the
workmanship clean ? Is the mount
suitable and unobtrusive, quietly set-
ting off the picture, giving the shad-
ows and highlights heightened in-
terest ?
14. Does the print have "feeling"?
Does it arouse your emotions; carry
you out of yourself; give you some-
thing akin to a thrill as you look
at it?
15. Does it carry a message? Has
it a reason for having been made ? A
picture is a means to an end. Does
it accomplish that end?
16. Is the work technically good?
Bell (S-9 Hozvell Announces Issue of
Faro Lenses with Many Advantages
T
'HE Bell & Howell Company an-
nounces a development of first
importance to everyone inter-
ested in the technical side of profes-
sional motion picture making — the
new Varo lens.
This totally different lens opens up
a wide range of new possibilities and
spectacular effects. It makes it pos-
sible to "swoop" or "zoom" down on
a subject and to recede from it with-
out moving the camera or scene.
Chief Two-Gun White Calf, the model for the Indian head on the Buffalo
nickel, and Buddy Longworth shake hands over the camera.
"Close-ups" can be taken in sound
photography work without danger of
extraneous noise. "Zooming" scenes
from far back to close-up can be taken
of actors on a cliff or other inaccessi-
ble locations.
The new Varo lens is set to focus
on a definite position and is not fo-
cused like the ordinary lens by mov-
ing the lens unit nearer to and farth-
er from the film.
Supplementary lenses, screwing in-
to the front of the lens, are available
for changing the focus for other dis-
tances.
After focusing, various elements In
the lens are moved in a synchronized
relation, the focal length changing in
smooth progression as the position of
the elements are shifted. Even though
these elements are changed continu-
ously in zooming, the definition is
criticil at all points.
Shifting is by meanj of cms de-
signed and cut to an extremely fine
degree of accuracy. Since changing
the focal length or magnification in-
volves changing the iris continuously
to correspond, the iris diaphragm is
also operated by a cam at the same
time as th.2 lens elements.
A locking arrangement and dash-
pot device in the iris mechan'sm
avoids any possible damage to the iris
due to incorrect operation. A "breath-
er" takes care of displacements of
air occasioned by moving the lens ele-
ments.
The shortest focal length of the
Varo is 40 mm. The longest is 120
mm. — a 3x magnification. The range
cf the lens is 40 to 50 mm. at F 3.5;
40 to 85 mm. at F 4.5, and the com-
plete range of 40 to 120 mm. at F.
5.6 and F 8. It will be made on spe-
cial order only.
February, 1932 The INTERNATIONAL PHOTOGRAPH
E R
T tcenty-three
Shoot That Next Job
With, a Raytar
And although the theatre screen is a long way from the lot
your picture will get there with all the punch, color and char-
acter that you put into its making.
RAYTAR rates high on speed and coverage. Tests prove
conclusively that no lens equals the RAYTAR in the even
definition that it produces over the entire picture area. Posi-
tive focus gives you accurate control of this superior definition.
The RAYTAR is fully corrected and performs equally well
with arc or incandescent illumination, or with any negative,
"Ortho," "Pan", or "High Speed". The glass will not tarnish-
long life is thus assured. Smart cinematographers will be con-
centrating on RAYTAR. Better try one and convince yourself.
BAUSCH & LOMB OPTICAL CO.
682 St. Paul St.
Rochester, N. Y.
Twenty-four
The INTERNATIONAL PHOTOGRAPHER
February, 1932
Size of Image as a Guide in Apprais-
ing Depth of Focus
BY FRED WESTERBERG
Based on a paper read before the fall meeting of the Society of
Motion Picture Engineers
IN his paper on "The Depth of
Field of Camera Lenses" which
was read at the June (1931)
meeting of the Society of Motion Pic-
ture Engineers, in Hollywood, Arthur
C. Hardy brought out the fact that
depth of focus is inversely propor-
tional to the magnification of the
image.
This simple rule may prove a very
practical yardstick in the appraisal
of depth limitations in photographing
near-by subjects. In the past too
many factors have been involved to
warrant any other method than di-
rect visual examination of the image
on the ground glass. This may still
prove to be the best method in the
heat of battle, yet it may be interest-
ing to see just what hapnens if we
try to judge depth solely by the size
of the image.
Since we can ignore in this process
the troublesome factors of focal
length and distance to subject, the
problem becomes greatly simplified.
All that remains to consider is the
lens stop that is used.
Nearly all scenes in a motion pic-
ture are made at close range, some-
where between a full-length figure
and a close-up. These can be reduced
to a relatively few more or less
standard set-ups, such as close-up,
waist figure, full-length, etc. Incor-
porating these data we get a table as
shown in Fig. 1.
Such a table should prove useful in
several ways :
(1) It indicates at a glance the ca-
pacity in regard to depth of any
particular set-up;
(2) It indicates to what extent stop-
ping down of the lens will im-
prove the depth;
(3) In indicates to what extent a
larger stop is justified under any
given circumstances.
In the past we have been accus-
tomed to considering three variable
factors in estimating depth of focus
and depth of field:
(1) The focal length of the lens
used;
(2) The stop used;
(3) The distance from the lens to
the principal object being photo-
graphed.
We are now able to reduce these
factors to two :
Klangfilm-Tobis Produces
Over 200 Films in 1929-31
ACCORDING to statistical ma-
terial published by the Klang-
film-Tobis, of Germany, reports
Trade Commissioner George R. Canty
of Paris, 191 feature films and 14 edu-
cationals, produced over the Klang-
film-Tobis system, were first run in
Berlin during the period from March
12, 1929, to October 1, 1931. This
number also includes foreign made
pictures.
The Tobis short film distribution
unit has the following product ready
for release: Six melodramas, 6 com-
edies, 14 trick and marionette films,
11 musical, 14 singing films, 11 cul-
tural pictures and lectures, 9 reviews,
and 7 humoristic scenes.
The 1930-31 production includes 3
two-reel sketches, 3 marionette films,
2 sailors' songs (by Prejean, the well
known French actor), 2 musical films,
3 trick films, 4 educationals, 9 vaude-
ville pictures. The number of sound
shorts thus declined to 26 from 78 in
1929-30. Foreign versions of 55 Tobis-
Klangfilm pictures were released.
(1) The relative image size of the
person or persons being photo-
graphed ;
(2) The stop used.
This should make it possible for
any cameraman to acquire without
undue mental anguish an accurate
vet simple grasp of the depth situa-
tion in photographing near-by objects
and to know at any time how much
depth he can rely upon and utilize to
his advantage.
RELATION
OF DEPTH TO MAGNIFICATION IN MOTION PICTURE LENSES
IMAGE DATA
Based on Aperture 6x8 of an inch
At least
TOTAL DEPTH
: one half of total depth available beyond plane
critical focus
of
Magnifica-
tion
Height of Subject
Included at
Point of Focus
Character of Scene
F/2
F 2.8
F/4
F/5.6
F/8
1/11.2
6. 7 inches
Insert of Hands
1 inch
1 .4 inches
2 inches
2 . 8 inches
4
inches
1/15.6
9.4 inches
Action Insert
2 inches
2 . 8 inches
4 inches
5 . 6 inches
8
inches
1/22.4
13 .4 inches
Large Head
4 inches
5 . 6 inches
8 inches
1 1 inches
16
inches
1/35.4
212 inches
Close Up
1 foot
1 4 feet
2 feet
2 . 8 feet
4
feet
1/46
27 . 6 inches
Bust
1 4 feet.
2 feet
2 . 8 feet
4 feet
5.
6 feet
1/55
2 ft., 9 in.
Waist Figure
2 feet
2 . 8 feet
4 feet
5 . 6 feet
8
feet
1/65.5
3 ft., 3 in.
Cutting at Hips
2 . 8 feet
4 feet
5 . 6 feet
8 feet
11
feet
1/77.5
3 ft., 10 in.
Hands Showing
4 feet
5 . 6 feet
8 feet
1 1 feet
16
feet
1/90.7
4 ft., 6 in.
Cutting at Knees
5 . 6 feet
8 feet
1 1 feet
16 feet
22
feet
1/110
5 ft., 6 in.
Cutting at Ankles
8 feet
1 1 feet
16 feet
22 feet
32
feet
1/130
6 ft., 6 in.
Full Length
1 1 feet
16 feet
22 feet
32 feet
45
feet
1/155
7 ft., 9 in.
Medium Long Shot
16 feet
22 feet
32 feet
45 feet
64
feet
fer
Otto Benninger in the picturesque valley of the Big Tujunga catches a film record of this beautiful yucca
plant, which thrives for one glorious season and then fades into nothingness
e.*™y<j,.
<A<
Qream a th Stills
^s
Here is an exterior
from "Three Live
Ghosts," the first sub-
ject directed by
Thornton Freeland —
with Universal'*
"Notre Dame"
structure in left
background
J. M. F. Haase,
navy photographer,
all set to
go places and
photograph
eclipse of sun
nt Honey Lake,
Nevada, two
years ago,
from altitudes
up to 20,000 feet
""Z2J^O£a ■
Gream oth Stills
c*«™<>*
"OORN*"*
Shirley Vance Martin
at Universal uncovers
the rainmaker god
by showing how the
rain was caused to
fall in "The
Resurrection"
Seme from "Panama
Flo," by Elwood
Bi edell, showing
triangle (left to right )
< 'harles flick ford,
Helen Twelvetrees and
Robert Armstrong on
Stage 9 at Put he
St lid in arranged to
mulch i xteriors taken
in Florida
^w^-
Qream oth Stills
jWo*
o6n^
"The Shadow ' given this photograph in the home of Bob Browner. Two nans ago under
in th( Browner horn* Bob's father noted on thi wall tht aged shadow of the youthful soldier and
l,js- son U aph it as h( saw it, of the "Id and bent soldier marching away and youth stepping
lace. Th, , esuli speaks for ii
February, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-five
RCA Records Sound on 16mm. Film
At Preview Photophone Demonstrates Results of
Four Years' Intensive Development of Its
Junior Portable System
ANNOUNCED as the culmination
of four years of intensive de-
velopment and heralded as the
most advanced step in the field of
sound reproduction since the motion
picture screen became articulate, RCA
Photophone, Inc., and the RCA Victor
Company, at a preview and demon-
stration before an invited audience in
its private theatre, 411 Fifth Avenue,
January 21, introduced a new all AC
operated 16 mm. sound-on-film motion
picture projector.
Manufactured by the RCA Victor
Company at its plant in Camden, N. J.,
and referred to as the RCA Photo-
phone junior portable to distinguish
it from the 35 mm. senior portable
which has been on the market for
more than a year, the new machine
gave rather an amazing performance
when its own dimensions and the
dimensions of the slender thread of
film used are taken into consideration.
At the performance with the pro-
jector placed about thirty feet dis-
tant from the screen and the loud-
speaker behind the screen, a picture
about 4 feet by 6 feet in dimensions
and sound of excellent quality were
reproduced with remarkable fidelity.
Industrial leaders, educators, minis-
ters and others who previously had
been privileged to witness the demon-
stration of the new apparatus are
said to have been enthused over its
possibilities in their respective fields
of endeavor.
Weighs 43 Pounds
The RCA Photophone junior port-
able equipment consists of a projector-
amplifier unit and a small loudspeaker
unit. The entire equipment is oper-
ated from any 110 volt, 50 or 60 cycle
AC lighting circuit.
The projector-amplifier unit is 14%
inches long, 13 % inches high, 8%
inches wide and weighs 43 pounds.
The equipment is not removed from
its case during operation, the interior
mechanism being readily accessible
for such adjustments of the projector,
replacement of radiotrons, lamps and
photocells as may be required.
During the actual presentation of
sound pictures the case is closed to
reduce to a minimum extraneous noise
caused by the operation of the pro-
jector mechanism. The projector is
equipped with an optical system which
projects pictures varying in size from
22 inches wide to 16 inches high at a
distance of from 10 feet; to 67 inches
wide by 50 inches high at a distance
of 30 feet.
The picture size recommended for
good illumination is 52 inches wide
by 39 inches high. This size is ob-
tained at a projection distance of 23
feet.
The exciter lamp is a 4 volt, .75
ampere, Mazda lamp and the radio-
trons used in the amplifier are one
UX-868 photocell, one UY-224, one
CY-227, three UX-345s, and one UX-
280. All power for the operation of
the loudspeaker is obtained from the
projection-amplifier unit.
Loudspeaker in Case
The loudspeaker is mounted in an
individual carrying case which is 19
inches long, 16 inches high, 9V2 inches
wide and weighing 21 pounds exclu-
sive of film cases, film reels and film.
Space is provided in the case for the
storage of eight film cans for 400 foot
film reels.
This loudspeaker is of the flat baffle
type with the dynamic speaker unit
mounted behind the screened opening
in the front of its carrying case. A
sufficient volume of sound is available
to meet the requirements of rooms
having a cubic content up to 10,000
feet, or, say, 20 by 35 with 15-foot
ceiling.
The 16 mm. film employed for the
reproduction of sound pictures by the
junior portable contains sprocket holes
on one side only instead of both sides
as are required by the 35 mm. film.
When threaded into the projector, the
sprocket holes are on the right side
of the film. The sound track, barely
FEED
REEL
discernible to normal sight, is at the
left.
"We believe our engineers have
produced a sound-on-film motion pic-
ture projector that will be heartily
welcomed in the educational, indus-
trial and religious field," said Vice-
President and General Sales Manager
E. O. Heyl. "Already several large
manufacturers of internationally ad-
vertised products and a number of
educators and others who have been
privileged to inspect and witness
demonstrations of the new equipment
have manifested unusual interest in
it and its possibilities.
Easily Handled
"Leaders in these fields of en-
deavor, recognizing the value of the
sound motion picture for the dis-
semination of information, long have
awaited the introduction of a port-
able device of proportions comparable
to the RCA Photophone junior port-
able and for that reason we announce
this development of our engineering
organization with considerable pride.
"The combined weight of both the
projector-amplifier unit and the loud-
speaker unit makes the apparatus
easily transportable. The mechanism
of both units being easily accessible,
each can be made ready for operation
within a very few minutes.
"As has been our policy in connec-
tion with the distribution of the RCA
Photophone 35 mm. senior portable,
the junior portable will be marketed
through dealer distribution. The re-
duction of existing 35 mm. subjects to
FEED
SPROCKET
PROJECTION
PROJECTION
OPTICAL SYSTEM
SPEAKER
PLUO
AMPLIFIER
SWITCH
COMPENSATOR
SWITCH
PROJECTOR SWITCH
AND AMPLIFIER
VOLUMt CONTROL
Interior mechanism, of RCA Photophone 16 mm. sound-on-film
portable projector
Twenty-six
The INTERNATIONAL PHOTOGRAPHER
February, 1932
16 mm. prints, along with the record-
ing of sound upon 16 mm. negative,
will make available a tremendous
library.
"Millions of feet of 35 mm. silent
pictures will be reduced to 16 mm.
subjects within the next few years.
Among these are thousands of sub-
jects of particular usefulness to
schools, colleges, clubs and churches.
"The introduction of the RCA
Photophone junior portable makes
possible the presentation of sound
pictures in places that would be in-
accessible to 35 mm. apparatus, and
it is my opinion that before the ar-
rival of 1933 these new machines will
be found in all parts of the world."
Mr. Heyl further announced that
factory production of the junior port-
able had begun and that deliveries to
dealers will begin within the next
thirty days or so.
Gold Mounted Cine-Kodak
Adorns $16,500 Automobile
THE motion picture camera as
an automobile accessory made
its debut at the Automobile
Show in New York — with something
of a flourish. A gold-plated Cine-
Kodak, with a case built into the back
of the front seat, was part of the
equipment of the Duesenberg special
on display.
The camera was a late model com-
pact amateur instrument covered
with the light tan leather in which
the Duesenberg is upholstered, and
with all exposed metal parts gold
plated.
A vanity outfit by Elizabeth Arden
also equipped this $16,500 autmobile.
The purchaser of the Duesenberg
Special always will be able to "Cine-
Kodak as you go," for his camera will
be ready at hand when he is motor-
ing. The built-in case contains room
also for several extra rolls of film.
RCA 16 mm. sound-on-film projectoi with loudspeaker with cases closed
Many of the scenes most desirable
are encountered in motoring.
The gold-plated Cine-Kodak con-
tains enough "narrow gauge" film, at
one loading, to make movies that will
run for four minutes on the screen. It
has finders that permit it to be sighted
either at eye level like a rifle or at
waist level, dependent on convenience.
The lens is a "fast" one, and a
push button operating the camera at
half speed goes still further in per-
mitting motion pictures to be made
when light is not abundant.
Hungarian Houses Close
According to press reports 207
Hungarian cinemas have closed down
The big snow of January 15, 1932 — From the driveway of his home in North
Curson street, between Sunset and Hollywood boulevards, early in the morning.
Harry Vallejo points his camera toward the hills to the north. In latitude the
camera is in the centime of Hollywood; longitudinally it is in the western divisicz.
either temporarily or definitely. At-
tendance has suffered from unemploy-
ment and economic depression to such
an extent that exhibitors are now
unable to meet their obligations to-
ward distributors, who consequently
have refused further to supply them
with product.
GOERZ
CINE LENSES /
come in focal lengths suitable
for either professional or ama-
teur cameras.
KINO-HYPAR
f:2.7— f:3
Speedy, highly corrected
lenses. The absence of flare
and coma produces a screen
picture of remarkable bril-
liance and crispness. Pre-
ferred by discriminating pro-
fessional and amateur cine-
matographers.
CINEGOR
f:1.5— f:2
Highly corrected Superspeed
lenses, Cinegors are unex-
celled for cinematography un-
der conditions of adverse
light and are recommended
for all processes for the pro-
duction of pictures in natural
color.
Catalog IP2. describing
the complete line 0/
Goerz Lenses and acces-
sories will be sent on
application.
C.P.GOERZ AMERICAN OPTICAL Co
319 B EAST 34™ ST. NEWYORKCITy
February, 1932
The INTERNATIONAL PHOTOGRAPHER
CHICAGO
Twenty-seven
(ffl
/ft ^'/
i?eo/ Clubby Wedtlin
WELL, 1932 busts in and right
away it don't look like it's a
improvement on the year what
left most of us holdin the bag with
this balony some wise guys has called
Depression. Instead of spendin New
Year's Day tryin to get the motor-
man's glove taste out of the mouth
and puttin frigidaire applications on
the old hatrack, the gang hadda bust
out early in the P.M. to watch Monte-
muro get hooked up for life with a
ball and chain.
You know the little woman Monty
was sorta gaga about — Well, word
somehow got to him that the January
issue of this here collum sort of had
him on the spot about the affair so
he ups and decides he better blow be-
fore the issue breaks hereabouts, be-
fore the little woman lamps it, so he
decides he's gonna push the roadster
down to Florida and dashes out to
say goobye to the new flame and
when he tells her he's leavin for a
while, and when he mentions Flor-
ida, she ups and moans:
"Oh, Monty! won't that be a swell
honeymoon for us?"
Well, wattahel could Monty do, so
he asks Morrison to witness the life-
time mistake most guys make and
most of the topical film foggers have
to come up for the wake after the
knot is tied.
What a weddin and what a day to
hold it? It's the first where the gang
showed up with bubbly eyes and left
with bubbly eyes. It wuz a swell
ceremony, with Monty pullin the dia-
logue, "I take youse for my awful
wedded wife" (You know Monty has
one of them Joisey brogues), and
with the best man Bubbly Eyes Mor-
rison gittin nervous and lightin a cig-
aret during the ceremony . . .
Well, Morrison's old lady (of five
years) was standin there cryin like
most dames do at weddins, and when
she sees her old man light up the
butt she kicks him one in the shins
what was heard all over the minis-
ter's house. . .
Panic Narrowly Avoided
The ceremony was stopped wunst
to wait until the minister went to the
door to admit Charlie Geis, who had
to bring his frau over also for the
cry.
When the minister said : "Do you
take her for better?" everybody was
like the movies before amplifiers and
sound men was introduced to the
racket, but when he lets go on, "Do
In Focus — In Spots!
By
Fred Felbinger as
The Sassiety Reporter
you take her for worse?" Best Man
Morrison thought of comin home late
and forgetting to save the pay check
for the better half and let out one of
them silly laffs of his which almost
ended things in a panic.
Prexy Charlie David furnished the
bride and probably wuz relieved to
feel Monty wouldn't be clutterin up
his office all day long any more as
the new Missus was little Miss In-
formation in David's film foundry.
After the ceremony, David mugged
the weddin party, but he should of
made a group shot of all the guests,
as you kin sell more prints on groups,
but I guess he figgered on account of
most of em bein cameramen he would
be chiseled for too much prints.
Oh yes! then there was a reception!
And right away the gang got goin
on gettin Monty in good with the
new mamma-in-law, who wuz stretchin
it a point and takin a drink on the
day of the daughter's weddin. . . Jack
Darrock insisted on mixin these per-
sonally. . . The bridal party went out
on their honeymoon about a half hour
after the deed wuz done by the min-
ister, but his film fogging friends
didn't go out until hours later.
SIX-SIXTY-SIX
Ships That Pass in the Night
And they tell me Lippert, the stage
door Don Juan of the film foggers, is
Sassiety Reporter Appears
Quite at Home in Sassiety
IN his concluding paragraph
the Sassiety Reporter re-
marks it is "gittin pretty
bad when a guy has to sit at a
typewriter tellin all about a
guy's weddin."
Those who are fortunate
enough to read the story of the
festivities impromptu and sched-
uled surrounding the Monte-
muros' ceremony undoubtedly
will declare the tale to be one
of the more graphic and true to
life of any of these social nar-
ratives that have fallen under
his eye.
That bit about the shocked
wife who put the toe of her slip-
per into the shins of her agitated
husband just because he forgot
himself and lighted a cigarette
during what to her was the
weepy part of the ceremony is
a pip.
So, too, is that of the mis-
timed chuckle of the friendly
Six-Sixty-Sixer which, uttered
at the peak of the verbal pledges,
nearly precipitated a panic.
back playin Randolph Street agin. . .
This time it's a little hoofer in one
of the local cabarets on the street
what makes Lip miss the nightly
eight hours of winks . . . but what
Another shot by Harry Vallejo, this time from the east side of North Curson.
Twenty-eight
The INTERNATIONAL PHOTOGRAPHER
February, 1982
they didn't tell me was how Lip laid
out plenty bucks for two ducats to
treat the new little flame to a Jolson
matinee only to have the little lady
oversleep and leave Lip standin there
in the cold holdin the ducats till it
was too late to see the finish of the
show even. . . So, jest want to finish
the rumor passin around that Lip
tore up the tickets, and his return en-
gagement on Randolph Street was a
brief one this time. .
anymore when Notre Dame won a
game, so may be them Irish lads fig-
gered they would give the newsmen a
break once again by losing a game.
Also, Mr. Bell, how about all them
west coast birds what bet Notre
Dame would lick Southern Calif, and
have odds on it?
Har! Har! yourself — jest wait till
next year. You can't keep the Irish
down long.
SIX -SIXTY-SIX
SIX-SIXTY-SIX
Alley Warmin Dp
Norm Alley, one of the all-Ameri-
can newsreel aces, is back where he
belongs, standin behind a finder
knocking out topical events down in
Florida, this time for the rooster reel,
after being away for almost a half
year from the ole business. . . Alley
says the ponies don't run as smoothly
for him as the celluloid does through
his camera.
SIX-SIXTY-SIX
The Kidder Kidded
I got a crank letter from Holly-
wood from a bird by the name of
Walter Bell, who busts out with a
ha-ha on what I mentioned in the
December issue on how Notre Dame
was gonna lick Southern Calif. — This
poor baboon says I ought to stick to
film foggin when it comes to fore-
castin the outcome of sports events.
Well! Well! Well! Listen, Mr.
Bell, that jes proves maybe I could
qualify as a expert dopester. Ain't
they always wrong on what they say?
Also it wuz gettin so it wasn't news
Sassiety Netvs Reel
Then Bob Duggan, light impressa-
rio, just had his horoscope read, and
found out what his lucky days were.
Well, when the first one came around
Bob balanced up the check book and
found he had thirty bucks more than
he thought.
So ole Duggan is sold on horoscope
gals and maybe he's even goin to try
fortune tellers next.
And O'Malley, his aide camp, and
Jimmy Creighton have found a new
lunch counter in a certain spot down
in the Loop which is a honey, ac-
cordin to them.
The Verne Blakeleys put on the
glad rags the other night to entertain
the Charlie Geises and Verne bid
them goodnight with: "I don't wish
you any bad luck, but I hope all the
needles fall off your Christmas tree."
And Charlie Geis puttin on the ritz
for the wife's relations trips on the
offspring's new fire engine and spills
a tray of cocktails in the mamma-in-
law's lap!
Got a letter from Kenneth Eddy,
who cranks em out in cold Zoo Saint
Marie. Ken says things are tough
up that way account of a thing they
calls Depression in his country, and
if they don't get better he's gonna
migrate down to the Windy City.
The only thing tha's good up that
way now, claims Ken, is the fishin. . .
says a fellow can still ketch himself
a good meal. Well, Ken, before you
pull stakes for hereabouts leave me
tell you the only difference between
your country up there and ours here
is that even the fish has quit biting
hereabouts.
Roger Fenimore drops in with the
news that Chicago Film Lab has just
completed the biggest sound studio
in Chi., with Verne Blakely and
Finne doin the foggin in that institu-
tion with Jerry Altifleisch twirlin the
nob on the dials.
Over at Bull Philips' modern sound
studio on South Parkway, things are
hummin plenty also and the sound
newsreels are sandwichin in on Bull's
production activities with their in-
terior jobs. Right now Bull is busy
installing inkie equipment.
SIX-SIXTY-SIX
Setul in Another W eddin
Well, here's hopin things start
rollin soon, so this dull department
kin pass along some hot information
on how the Midwest tripod jugglers
are foggin the emulsion instead of all
this tripe on after hour life. Gittin
pretty bad when a guy has to sit at
a typewriter tellin all about a guy's
weddin . . . .so to bed until next month
Dead Motor Bad Company Over City
So Learned Elmer Dyer When Plane Ran Out of
Available Gas 3000 Feet Above Hollywood
Forcing- Pilot's Sudden Landing-
A<Y man who accumulates 1100
hours in the air is bound to have
many experiences that easily fall
within the category of unpleasant, but
as was intimated in the preceding is-
sue of International Photographer one
of the more unpleasant of Elmer
Dyer's fell recently when flying a
short journey from the Metropolitan
airport in San Fernando valley over
the Hollywood hills to the American
airport in Los Angeles.
Dyer has been flying since 1918,
and many of his flights have been in
government aircraft by reason of co-
operation between the authorities and
producers. This cooperation, too, has
extended to the various branches of
service. For instance, in "Flight" ma-
rines were shown in the production.
In "Dirigible" it was the navy, and in
"The Dawn Patrol" the army was the
branch featured.
In "Hell's Angels" the flying pho-
tographer was in the air more than
100 hours and on "Lost Squadron"
more than 40 hours. Of course in
"Dirigible" whole days and nights
were spent in the air on the Los An-
geles.
Two recent pictures on which Dyer
officiated as the aerial photographer
are "Cock of the Air" and "Sky Dev-
ils," the latter of which has been re-
leased the preceding month.
For the trip over the Hollywood
hills it had been decided to place the
camera in the center section of the
plane, right in back of the motor, so
as to make some reverse shots as
well as some out forward. In order to
place the camera in that spot it was
necessary to remove the gas line from
the tank in the centre section. This is
known as the gravity feed tank, an ex-
pression that will be self explanatory
to those familiar with gas tanks and
motors.
Gauge Shows Gas
The pilot of the Stearman J5, Gar-
land (Line) Lincoln, did not know the
mechanics at the air port had simply
inserted plugs at the outlets when
removing the gas line and that they
had forgotten to replace them or to
notify the pilot accordingly.
Consequently when Lincoln was
ready to take off he merely glanced
at the gauge over the gravity tank
and read figures showing that he had
a supply good enough for an hour and
a half's flying without trouble. It was
the duty of the gauge merely to re-
cord the volume of gas in the tank,
certainly not to give warning that the
gas was not in communication with
the motor.
After getting word from the cam-
eraman that everything was okeh
with him the pilot took off. Ten min-
utes later when already he had
crossed the Hollywood range, which
rises approximately 1800 feet, and
when he had attained an altitude of
about 3000 feet the motor began to
sputter.
"Line yelled back to me to turn
the gas on from the gravity tank,"
said the cameraman in telling the
story. "This was something I often
had done before making scenes out
over the Sierras and coast ranges and
other mountains.
"I went through the same proce-
dure of shutting- off the bottom tank
and then of turning on the top, but
the motor continued to sputter. Line
was yelling, 'Turn on the gas from the
top tank!'
"Then I yelled back at him the gas
was on.
" 'You take the stick,' called Line,
'while I crawl back there and take a
February, 19S2
The INTERNATIONAL PHOTOGRAPHER
Twenty-nine
Elmer G. Dyer, Flying Photographer
look.' He knew I had done some fly-
ing myself. By that time the motor
was not even sputtering. In fact, I
never knew a sputter could sound so
good. So I took the stick and flew the
ship in a gliding position while Line
went back. We had been over Sunset
Boulevard when Line first called, but
now we were over Wilshire — and the
ground was getting nearer. And that
ground seemed a solid mass of tiny
housetops and string-like boulevards.
All Gone Feeling
"Line called back there was an air-
lock in the line somewhere and that
the gas would not come through the
vacuum. In his necessarily more than
hurried inspection he had not noted
the oversight of the ground mechan-
ics. So he came back to his seat and
started looking around for a place to
land.
"To me that was the crucial mo-
ment. I was experiencing that all-
gone feeling you sometimes hear
about. I felt as if I were sitting on a
cloud. I could understand the mental
attitude of that colored brother who
retorted to the remark of a sky-gaz-
ing friend that he'd hate to be way up
there in that plane by saying he'd hate
to be way up there and not be in that
plane.
"Spartan Field, just across Jeffer-
son street, looked to me like the only
hope, but this is probably where had
the plane been under my hand I would
have cracked up the ship and killed
the both of us. From Wilshire to
Thirty-eighth street was a long dis-
tance, and from our then elevation of
2600 feet it is not likely we could with
safety have glided much over a half
mile.
"Line shook his head. 'You can't
stretch a glide,' he said. 'It's a com-
mon mistake to try it and always a
fatal one,' he added. While I was
still turning over in my mind the
thought that it is all over Line sug-
gested I had better start cranking the
camera, that I might get a good shot.
"Right there my worst fears were
confirmed. 'He's figuring on a crack-
up shot,' I said to myself. But I
started turning. The Carthay Circle
Theatre showed up more prominently
than anything in the neighborhood. To
my inquiry as to the advisability of
'bailing out' Line negatively shook
his head.
"As we started to circle around the
first thing that came into my mind
was the identity of the spot where we
were going to land. As we couldn't
make American or Spartan fields it
must be we were going to put the
ship down in the immediate vicinity.
"I noticed near the Carthay a driv-
ing range for golfers. From the air
it looked very small, but I knew from
the way the flag was blowing we had
a stiff wind, which would aid in land-
ing, because we needed all the lift
possible.
Lightly as a Bird
"Having had ten hours' training,
some of it solo, I watched Line's
handling of the ship with deep in-
terest, even if as we neared the
ground without any visible place of
landing that all gone feeling while
perhaps not fading nevertheless was
getting no worse.
"My instructor always had told me
that in the event of my motor dying
and having sufficient altitude to reach
a field I always should keep my ship's
nose toward my objective and never
away, because any headway that is
lost never is regained.
"So I followed Line very carefully to
see how he sailed the last 1500 feet.
By making a sort of a figure eight
or continuing S several times he
easily nosed the ship into the wind
and dropped it down as safely and as
lightly as a bird would land — right
on the golf course.
"Naturally I had been looking down
to see what we were going to run
into and could note plenty of ob-
structions and things and persons to
be avoided, including some piles of
concrete left there following the raz-
ing of a building. But with the aid of
the humans who heard and saw us
coming and sought safety he avoided
all obstructions.
"A crowd quickly collected and
among them was the proprietor of the
course. The latter suggested to Line
that what had been done was contrary
to the rules of the Department of
Commerce. But when the pilot replied
it was a case of bailing out and leav-
ing the ship to its own devices, pos-
sibly of landing on the course with-
out any guidance, the proprietor was
entirely reasonable. Line took off
without difficulty after filling his main
tank.
"It was quite a while later before
Line discovered just what had caused
his trouble, but when he did he used
strong language. Singularly enough,
although I may have been prejudiced,
it did not sound to be exactly like pro-
fanity either.
"And listen to me, brother, if you
are not a flyer and seek excitement,
just try a dead stick landing in a
practice golf course in a crowded
community."
Box lunches to a Hollywood crew arc anathema, but here is a picture of two
West Coast cameramen who traveled 6000 miles to run into that particular
species of abomination and singularly enough seem to like them. On the left
is Robert Martin and on the right is Robert De Grasse. In the center is
Jimmy Sloayie, production manager for Associated Radio — "and a good one,"
according to one of the Americans. The ca/meramen were shooting the horse
races at the Duke of Richmond's track at Goodwood, England, and. had the'
distinction of being the first photographers ever to have a. camera in the*
paddock that has been there for over 200 years. Probably the track was
aivaiting the coming of 659ers — who knows? Bob De Grasse inquires.
Thirty
The INTERNATIONAL PHOTOGRAPHER
February, 19.12
Looking In on Just a Few New Ones
EMMA
First camera, Oliver Marsh : second camera,
Edward Fitzgerald ; assistants, Kyme
Meade, Samuel Cohen ; stills, Sam Manatt.
sound, Anstruther Macdonald.
FRANCES MARION well might
have named her M-G-M story
"Just Between Women." For that
really is the impression one gets from
"Emma," the tale written around and
for Marie Dressier.
It is a story of the home and of
the woman who guides it — who makes
its wheels go around, who cherishes
and nurses the family as an entity,
who even though its members be of
a blood different from hers sees there-
in no reason why she may not take
them to her heart in their maturity
even as she did in their infancy. To
her they never grow up.
The story bulks big in conception
and in execution. Simplicity is its
outstanding factor. Its greatness is
not dimmed — in all probability it is
enhanced — by the fact that not only
does it open with a tragedy but it
closes with one.
In the first instance the death is of
a mother we do not see. She passes
on as a son makes a precarious and
an exceedingly hesitant entrance to
the world. In the second instance
this same son who under the mother-
ly hand of Emma has grown into a
husky young man is killed in an acci-
dent while hurrying across country
to aid the only mother he has known.
For once a producer has been en-
dowed with sufficient courage to per-
mit a tale to develop along the lines
of logic rather than over the well-
worn paths of expediency. Still fur-
ther destroying the happy ending
fetich as shown by the tragedy that
marks the closing is the added action
in leaving Emma surrounded by an-
other large — and growing — family
rather than in the life of luxury of-
fered to her by the family with which
she had lived for a generation.
The story of "Emma" in no degree
qualifies as a "sobber." Pathos it has,
to be sure, but there likewise is an
abundance of fun, and these most in-
terestingly are intermingled. The
large factor in the production is the
veteran who plays the title part, this
remarkably brilliant and lovable
woman who thoroughly convinced she
was all set for the final phase of the
reminiscential stage — of the shawl
and the pot of tea and the knitting —
suddenly discovered the world was at
her feet.
All of this happening was not be-
cause Marie Dressier suddenly had
become good. It was because she had
been good all her long and busy life,
and vitalized by perennial youth that
quality still glowed. In the present,
picture we see a flashback to the Ma-
rie of a generation ago as she sits
at the piano and sings to her bride-
groom in the manner and mannerisms
so familiar to old Broadway.
There's a large cast, and a goodly
number of its members have consid-
erable to do. Jean Hersholt as the
By GEORGE BLAISDELL
head of the sizeable Smith family is
one of these and Richard Cromwell
as the younger of the Smiths is an-
other. Purnell Pratt is seen and ad-
vantageously not in a heavy role this
time but in a benevolent one, that of
counsel to Emma when she is called
into court to defend her life.
Leonard Praskins and Zelda Sears
wrote the adaptation and dialogue of
Miss Marion's story and Clarence
Brown directed.
Arthur Miller
PANAMA FLO
First camera, Arthur Miller ; second cameras,
Jacob Badaracco, Stanley Cortez ; assist-
ants, Clarence Slifer, Cecil Cooney ; stills,
Elvvood Bredell ; sound, Louis J. Meyers.
EXECUTIVES at RKO studio must
have had abundant confidence in
the strength of Pathe's "Panama
Flo" when they arranged a preview at
the Glendale Alexandria in spite of
knowledge that MGM's "Private
Lives" was on the
r e g ul a r bill.
While a majority
of the reviewers
undoubtedly had
seen the Shearer
subject it did not
necessarily follow
all of them had.
Nevertheless the
Pathe product
stood the test,
which was an
achievement in it-
self.
The company
has elected to
feature Helen Twelvetrees at the
head of the cast, with Robert Arm-
strong next on the list. It is likely
many of the persons who see the pic-
ture will come away with the strong-
est recollections of Charles Bickford,
who plays the unusual role of a vil-
lainous heavy who turns out to be the
hero.
Garrett Fort has written and
adapted a story of power, one marked
by an abundance of suspense. Ralph
Murphy has directed. Carroll Clark
as the art director and the studio's
effects department have contributed
materially to the success of the pro-
duction from the spectacular side.
Bickford is shown as a forceful ad-
venturer who elects to spend his time
in the Amazon country in a hunt for
an oil field of fabulous possibilities.
Like the Britishers in the Gold Coast
country of Africa apparently he fol-
lows a rule prevailing there of a quart
of gin and a like amount of Scotch
daily — that is, construing that as a
minimum. In spite of the brusque-
ness of the exploring prospector he is
a likable chap and easily retains the
continuing sympathy of the masculine
follower.
Miss Twelvetrees has the part of a
hitherto on the level American enter-
tainer stranded in Panama who takes
the advice of a resort keeper to "trim"
a visitor packing a wad but in the act
gets caught. The intended victim
thereupon takes possession of Flo,
with the alternative of jail if she does
not acquiesce. Life indefinitely with
McTeague in the jungle seems a
lesser evil than ten minutes in the
Panama hoosegow of which she has
been shown a flash.
Armstrong seemingly is the hero
and a most acceptable one until the
self-unmasking toward the close of
the story. It is one of the unusual
cases where an author chooses to de-
ceive the audience even as Babe has
deceived the screen victim of his en-
gaging personality. It proves a jolt.
It proves also that the rule always to
keep your audience in your confidence
is not necessarily a sound one.
Two others in the cast stand out —
Maude Eburne as Sadie, keeper of a
"place" in Panama, and Paul Hurst,
man behind the bar in a New York
speakeasy.
The production has an abundance of
color, particularly in the jungle and
water scenes and general atmosphere.
It is likely responsibility for the ex-
cellence of this phase of the produc-
tion as well as the more orthodox se-
quences rests largely with the associ-
ate producer, Harry Joe Brown — in-
cidentally one of the best equipped
executives in the motion picture in-
dustry, an equipment the scope of
which the industry has been slow to
recognize.
Often it has been said in and of the
picture business there is such a thing
as a man being too good and too well
qualified in a trade way for his own
good. The field of his activities is
limited to the number of those major
executives who are executives in fact.
To the lesser executive the man of
outstanding ability is anathema — of
him he is scared stiff.
MATA HARI
First camera, William Daniels ; second cam-
era, A. L. Lane ; assistants, Charles W.
Riley, Albert Scheving ; stills, Milton
Brown ; sound, Fred Morgan.
THERE are few smiles and no
laughs in M-G-M's "Mata Hari."
Here is drama in its sternest
mood. It is heroic even as it is piti-
less, merciless, in its conflict. And
when we are speaking of conflict we
are doing so in
the dramatic
sense, of the clash
of wills and pur-
poses between
men and women
acting as under-
cover ambassa-
dors of nations at
war. Vast inter-
ests are at stake
behind the move-
ments of these
men — and women
— and it is that
sense of impend-
i n g clash that
pervades the drama, the atmosphere,
William Daniels
February, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-one
of this story of spies and war times.
It matters not whether Benjamin
Glazer and Leo Birinski have adhered
to history in the telling of this story
of the woman spy who went to her
death because she chose to protect a
lover who knew not the particulars
of her deeper if not baser calling or
professon.
They have conceived a story that
intrigues the beholder, that puts him
under a spell both deep and lasting.
They have conceived a story that
gives Greta Garbo an opportunity for
displaying her gifts as an actress
that never again may fall to her lot.
Those are strong words, and are
written on the evening of the day on
which the picture was seen. They
may be killed in the morning if the
new sun brings a change or modifica-
tion of view.
Direction of this picture of France
was placed in the hands of a native
son of that country, George Fitzmau-
rice. Additional dialogue is credited
to Doris Anderson and Gilbert Emery.
William Daniels photographed the
subject, adding his final touch to the
sum of distinction created by those
fellow-artists behind as well as before
the camera who intrusted their best
to him.
Supporting Miss Garbo is what
very nearly may be described as an
all-star cast. Follow these names :
Ramon Navarro, Lionel Barrymore,
Lewis Stone, C. Henry Gordon, Karen
Morley, Alec B. Francis, Blanche
Frederici, Edmund Breese, Helen Jer-
ome Eddy and Frank Reicher.
"Mata Hari" is a picture to be seen
several times, especially by those who
have to do with the making of pic-
tures, with interest and with profit.
PRESTIGE
First camera, Lueien Andriot ; second cameras,
Milton Krasner, Norman DeVoI ; assist-
ants, Irving Glassberg, Roger Shearman ;
stills, Bert Six ; sound, Earl Wolcott.
WRITING twenty-four hours af-
ter seeing Pathe's "Prestige,"
without however having been
near a screen in the meantime, the pic-
ture of that stirring production still
rides recurrently high. Above others
three figures
stand out — ■ Ann
Harding, Melvyn
Douglas and the
black man Clar-
ence Muse. Then
there are Adolphe
Menjou, splendid
in the part of a
debonnair officer
but without so
much to do in a
dramatic way ;
Guy i Bates Post,
Carmelita Ger-
aghty , Creighton
Hale and Rollo
Lloyd. Nevertheless we come back to
the three, inescapably and absolutely
the centres of interest. Ann Harding
plays a role that all her younger days
she was engaged in perfecting — that
of the daughter of an army officer.
In those days she absorbed the at-
mosphere and what is of greater im-
portance the tradition of the army as
to the course of action when in a
£*%*>
Lueien Andriot
tough spot. Possibly no other player
could have been quite so well equipped
by environment and its related experi-
ences for this particularly difficult
characterization as this daughter of
the army.
Her real opportunities come in the
later sequences of the story of the
army girl who goes into the jungle in
Indo-China to marry an officer already
overdue for relief from the climatic
and other handicaps under which he
had been battling for a year. It is
when the husband breaks under the
strain the woman shows her power.
It is for this sequence and those brief
ones which swiftly follow in its wake
that the picture will rate as one of the
big ones of its month if not longer.
Melvyn Douglas as the officer as-
signed to the jungle and who later be-
comes the bridegroom is a new-comer
to the screen — but who quickly estab-
lishes himself as a desirable addition
to the always short list of young men
capable of larger things on the talk-
ing screen. He acquits himself
notably.
Then there is Clarence Muse, body
servant for the officer, whose devotion
is not lessened when his chief con-
demns him to death. That the sen-
tence is anticipated or rather cheated
because of his defense of his mistress
constitutes one of the great moments
of the story.
The picture is the second of those
Pathe subjects the exteriors of which
were made in Florida under the super-
vision of Harry Joe Brown. It was
directed by Tay Garnett.
There can be no question the jungle
and river scenes well were worth the
effort and time and expense of the
trip to Florida to get them. It dem-
onstrates again nothing can be more
impressive and convincing in outward
appearance than really authentic lo-
cations, the undertaking of which by
producers steadily is becoming less
and less as they continually lean with
increasing heaviness on the compara-
tively inexpensive synthetic stuff.
The tale is an original by Harry
Hervey, Tay Garnett and Rollo Lloyd
doing the adaptation. Francis Far-
agoh wrote the screen play.
DANCE TEAM
First camera, James Wong Howe ; second
camera, David Ragin : assistants, Paul
Lockwood, Jack Epstein ; stills, Raymond
Nolan ; sound, Alfred Bruzlin.
FOX has discovered a most effec-
tive way to whip this depression
thing. In its corkingly good
"Dance Team" mention frequently is
made of a clown. The original will be
recognized as a famous feature of
New York's Hippodrome, one who for
years brought laughter to the verge
of tears to the old and particularly to
the young. Food is sent upstairs to
him and reference intermittently is
made to him. Then comes the story
of his suicide. But never do we see
even the shadow of the clown on the
screen. His name even does not ap-
pear on the credit sheet. Really the
idea among other brilliant thoughts of
the immediate moment may be worth
development.
But seriously among the several
pictures in which James Dunn and
Sally Filers are featured "Dance
Team" perhaps may prove to be the
most popular. Quite likely it will be
among the younger picturegoers. The
story has to do with the hopes and
disappointments of "show business,"
of the glamor and the tragedy.
Edwin Burke has written the adap-
tation from the novel by Sarah Add-
ington. Between these two an excel-
lent motion picture story has been
created. Sidney Lanfield has directed.
The two players named are more
than featured. So much of the dia-
logue and action is accorded to them
it is likely that in no recent picture
has the screen so been monopolized
by any pair as is here disnlayed. This
is far from being an adverse criti-
cism; it is merely noting how little was
allotted the other players when run-
ning over the names in the cast. If a
short cast be a virtue by reason of
concentrating the attention and inter-
est of the person out front then cer-
tainly "Dance Team" may qualify in
another department.
Harry Beresford in the part of the
former monologuist unable to secure
an engagement and also as the friend
of the clown sympathetically plays
the part assigned him. He brings
home to the world at large the fleet-
ing nature of the popularity and pros-
perity of the man who follows the
stage, of the celerity and joviality
with which he disburses money when
it flows in and of the silence with
which verbally and otherwise he greets
adversity.
The picture is well staged and
throughout carries the atmosphere of
a major production.
TWO KINDS OF WOMEN
First camera, Karl Struss ; second cameras,
George Clemens, John Hallenberger ; as-
sistants. Fleet Southcott, Charles Leahy ;
stills. William E. Thomas ; sound, Harry
M. Lindgren.
THERE are some good motion
picture names on the credit
sheet of Paramount's "Two
Kinds of Women." Benjamin Glazer
has written the screen play from Rob-
ert Sherwood's drama "This Is New
York." We may
be sure Sherwood
has been fortu-
nate in the selec-
tion of his adap-
ter. William De
Mille has directed.
These the audi-
ence do not see —
so far as they
personally are
concerned their
work is like the
underground
foundation of a
building; not vis-
ible but most im-
portant. Among those the audience
sees are Miriam Hopkins, Phillips
Holmes, Irving Pichel, Wynne Gibson
and Vivienne Osborne.
Miss Hopkins has a role the an-
tithesis of that she plays in "Jekyll
and Hyde." There it was as a woman
of the street or its equivalent. Here
it is as a carefully reared daughter of
the West, of South Dakota to be ex-
act. No taint of the prude clings to
the young woman. She is a sensible,
wholesome creature, human to a de-
Karl Struss
Thirty-two
The INTERNATIONAL PHOTOGRAPHER
February, 19J2
gree. She is that in spite of her back-
ground as a daughter of a senator
who sees New York through the eyes
of a westerner, from an angle quite
distinct from those of the not unnat-
urally prejudiced resident native or
transplanted.
Yet in a single night Emma Krull
slips into the ways of the New Yorker
when under the escort of Gresham,
played by Holmes, she sees the high-
lights of the big town — and falls in
love with the city as well as with her
companion. She even takes issue with
her father, finely played by Pichel, in
New York to take part on the nega-
tive side in a radio debate having for
its subject the all-around importance
of the metropolis.
It is an interesting theme, one that
will appeal to the country as a whole,
to the small town as well as the big
one. It is a subject that is alive in the
discussions of residents of every state
and probably always will be. That
fact gives life to the story and makes
a most impressive background for the
drama and tragedy that travel along-
side the main theme.
Pichel, Holmes and Wynne Gibson
have unusually attractive and strong
parts as well as Miss Hopkins. Jo-
sephine Dunn has a comical role as a
speechless and almost lifeless drunk,
who walks like an automaton when
adequately supported.
"Two Kinds of Women" is worth
traveling a distance to see.
THE SILENT WITNESS
First camera, Joseph August ; second camera,
Charles Fetters ; assistants, Harry Webb,
Lou Kunkel ; stills, Alexander Kahle;
sound, Albert Protzman.
THERE'S a real murder mystery
in Fox's "The Silent Witness,"
directed by Marcel Varnel and
R. L. Hough. It is the mystery of
who killed Nora Selmer, interpreted
by Greta Nissen. One of the more
interesting phases of the drama is
that the man out front for five-sixths
of the course of the play does not
know there is a mystery.
To him the murderer is as definite
as it is possible for a murderer to be.
The fact that it may be some one
other than the person the audience
knows to be the guilty one, even if
not the one the police accuse, does not
enter the mind. So the possibility of
the crime being tacked on to a third
person comes as a distinct surprise.
The production is to be classed as
a play rather than a picture. It is a
stage performance in its essentials,
and it is a gripping one — unusually
so. The screened performance has the
earmarks of taking a company from
its run in a theatre over to a sound
stage and there duplicating what the
troupe for weeks has been doing eight
times every seven days.
Great interest naturally attaches to
the work of Lionel Atwill, the chief
player, long known to the stage for
his excellent performances in that
branch of amusements. The fame
that has been his on the stage hereto-
fore now will be divided or shared by
that on the screen. The difficulty of
the exhibitor will be to get his patrons
in to see Atwill. Once he has them
started the rest will be easy.
Atwill's performance stands out. It
would be sure to do that if any part
had been provided for him. Just that
has been done. An abundance of op-
portunities likewise has been fur-
nished his associates. Two of these
succeed especially well in making
themselves disagreeable — in character.
One of these is Alan Mowbray as
the prosecuting attorney, bearer in
his cross-examination of the most
aggravating smile imaginable with
the exception of that maintained by
Weldon Heyburn in his role of — well,
New Yorkers have a name for it
whether the Greeks do or not. Any-
way, the gent is one of those who
toils not and if he spins it is nothing
more substantial than yarns, the hard
luck kind that precede a "touch" or
maybe a murder.
Opposing Mowbray in court is
Wyndham Standing as attorney for
the defendant. These two, with Low-
den Adams presiding on the bench as
Justice Bond, comprise a most effec-
tice background for one of the strong-
est court sequences the screen has
known. Any exhibitor will make an
impressive hit with his customers if
he will advertise no entrances will be
permitted during its course.
The courtroom is staged with the
impressive ceremony characteristic of
the London institution. Douglas Doty
adapted the picture from the stage
play by Jack De Leon and Jack
Celestin.
NO ONE MAN
First camera, Charles Lang ; second cameras,
Guy Bennett, Robert Pittack ; assistants,
Thomas Morris, Clifford Shirpser ; stills,
Fred Archer; sound, Earl Haymen.
SATISFYING as a picture is Para-
mount's "No One Man," well di-
rected by Lloyd Corrigan. While
the story is gentlemanly and ladylike
in its unfolding — there are no fist
fights or murders to bolster it, nor are
any needed — it
has had the ad-
vantage of highly
placed and skilled
forbears. Rupert
Hughes wrote the
novel from which
Percy Heath
made the adapta-
tion. The screen
play was the
work of Sidney
Buchman and Ag-
nes Brand Leahy.
The story has
the further ad-
vantage of inter-
pretation by Carole Lombard, Paul
Lukas and Ricardo Cortez, the lead-
ing trio and incidentally as a mat-
ter of fact the triangular interest.
Then there is a good supporting
cast, including George Barbier as
cold-blooded business man father of
the heroine and Virginia Hammond
as the gushing mother Juliette Comp-
ton as the very practical reason for
the husband's division of interest in
femininity and his additional demands
upon and dispersion of his wife's for-
tune, and Frances Moffett as the maid
betrayed but who serves as the link
to hold together the story's emerging
lovers even after a seeming smash.
Charles Lang
The tale is one of wealth and of
those who hang on to those who have
it. The women wear striking gowns,
which they parade through settings
of eye-filling attractiveness. The gen-
eral subject will fall within the cate-
gory of smart society stuff.
There is an element of comedy in
the remarks of the heroine's father,
practical and everyday sort of chap,
who has no patience with his wife's
gushing prattle, nor is there any
doubt in his mind as to the entirely
sinister object of Hanaway's suit for
his daughter's hand and lortune.
There is drama, too, in a number
of well-handled situations — and al-
ways the drama of restraint, the re-
straint that everyday men admire but
seldom achieve when most they
should.
HIGH PRESSURE
First camera, Robert Kurrle ; second camera,
Al Greene ; assistant, John Shepek ; stills,
Charles Scott Wellborn ; sound, Al Riggs.
AS THE title of "High Pressure"
indicates, Warner's picture fea-
turing William Powell is a tale
of promoting. In it is much to com-
mend it as entertainment. While the
fact that the love element is mini-
mized might seem
to indicate femi-
nine interest will
a c c o r d i ngly be
lessened, that
does not seem to
prove to be the
fact. Speaking as
one of the other
side of the house I 3f
there is a feeling
which for some
time following
the opening per-
sists in surviving
that the chief
player is sailing Robert Kurrle
in strange waters.
The story is based on a stage play
by Aben Candel, with the screen ver-
sion by Joseph Jackson. Resort is
had to the ancient expedient of em-
ploying over and over the same re-
mark as implying the speaker is de-
ficient in mental quality and conver-
sational ability when as a matter of
fact every action and other utterance
implies a remarkable coordination of
brain capacity and physical energy.
Then the inclusion of the Warner
contribution to talking pictures in
an orator salesman's list of invention
ten-strikes was an example of ques-
tionable taste in any company pro-
duction and certainly of defective
technique in screen drama.
Nevertheless in a major way the
production carried every outward in-
dication of giving more than general
satisfaction to its house, which hap-
pened to be a large one in spite of
its being the final night at the Holly-
wood Warner's and preceding its
transfer to the Downtown and West-
ern.
If it be not a new Powell to which
screengoers are being introduced at
least it is a greater one, a player in
whom we see the antithesis of the
usually reserved man who speaks with
carefully chosen words. It is of a
February, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-three
character who slams into things with
decisions that are quick — they have
to be.
At the head of the cast is Evelyn
Brent, who most interestingly inter-
prets a feminine character a bit out
of the ordinary. George Sidney is
the partner of the chief player in the
making of synthetic rubber or rather
in the conversations which discuss the
making of it. He plays a typical
New York resident in his characteris-
tic and successful way.
There are other players who help,
John Wray, Evalyn Knapp, Guy Kib-
bee, Polly Walters, Frank McHugh,
Oscar Apfel, and Luis Alberni.
There are serious moments, but
hardly enough to hurt. The produc-
tion truthfully may be described as
comedy-drama. It should be enjoyed
by the throng of men and women who
like Powell.
Jess Stafford and his gang con-
tinue as a notable part of the even-
ing's entertainment, with assistance
from other acts.
CHARLIE CHAN'S CHANCE
First camera, Joseph August ; second camera,
Charles Fetterj ; assistants, Harry Webb,
Lou Kunkel ; stills, Alexander Kahle;
sound. A'ber; Prntzman.
GRIPPINGLY interesting is one
way not inaccurately to describe
Fox's "Charlie Chan's Chance,"
generally released January 24. It is a
question if the title may be said to be
a happy one, in that it implies Chinese
melodrama, and there are those among
film followers who are not exactly ad-
dicts on that particular sort of screen
fare. Frequently in the past it has
partaken of rather lowdown stuff.
Very quickly it is learned that the
title character is a police official from
Honolulu, and the thought comes that
maybe there may be at the moment
some kinds of melodrama less desir-
able than the accepted brand of Chi-
nese.
Nevertheless the minor objections
or mental idosyncracies are forgotten
even as soon as they are come to
mind. The subject is not two min-
utes on its way before the man out
front is glued to his seat by the
sheer pull of one of the best examples
of characterization it is the good for-
tune of the screen to encounter.
Earl Derr Biggers wrote the novel
from which Barry Conners and Philip
Klein extracted the continuity. One
of the most interesting phases of the
dialogue is the English version of
what seemingly are Chinese maxims.
These are uttered continually and
steadily through the course of the pic-
ture by Charlie Chan, finely portrayed
by Warner Oland, characterizing the
Hawaiian police official.
The production is an example of
what may be accomplished in the way
of a talking picture when competent
writers, giving time and thought to
their work, are seconded in their ef-
forts by skillful actors selected to
interpret lines that are not just thrown
together.
The stage is set around New York
police headquarters. The New York
cop who is featured is Inspector Flan-
nery, played by James Kirkwood.
Old New Yorkers will be reminded of
Inspector Byrnes of the nineties and
thereabouts in the prominence that is
given to the inspector in the story.
Then there is Henry B. Warner as
Inspector Fife of Scotland Yard, in
New York at the opening of the play.
He is fraternizing with Flannery and
Chan when word comes that an in-
spector of Scotland Yard, also in New
York on assignment, has been mur-
dered most mysteriously. The three
specialists in crime combine to solve
what looks like a tough nut to crack.
What the three get out of the tale
is apparently every ounce of strength
handed them by the authors.
Other players in the rather large
cast assigned to Director John Bly-
stone include Marian Nixon and Linda
Watkins, Alexander Kirkland, Ralph
Morgan, James Todd, Herbert Buns-
ston, Charles McNaughton and Ed-
ward Peil, Sr.
The director has given close atten-
tion to his realism. One good example
of this is where a Scotland Yard man
in New York desires to speak by
phone with his home office. We see
the steps by which the message is
put through — where the drama verges
on the educational as well as the
realistic.
There is murder in the course of the
story — a couple of them, in fact. Both
of these are committed by means of
deadly gas, which may mean trouble
in some places with the censor girls.
Then there is a spectacular shooting
of an intended murderer by means of
a pistol the powder in which is ex-
ploded through the action of the sun's
rays. A cat stepping on the table
containing the weapon disturbs the
aim and transfers it from the intended
victim to the conspirator.
"Charlie Chan's Chance" should
have a fine chance to make a sizable
record for itself among the season's
pictures. It should win in spite of the
minimizing of the love interest. As
a matter of fact the police interest
dominates everything, which is saying
much.
When Seen Through Feminine Eyes
By CLARA M. SAWDON
TAXI!
First camera, James Van Trees; second cam-
era, Lou Jennings ; assistant, Vernon Lar-
son ; stills, John Ellis ; sound, Robert Lee.
IN BEHALF of variety melodrama
must play its part in entertainment
fare. Such is the nature of War-
ners' "Taxi!" co-starring James Cag-
ney and Loretta Young.
Adapted bv Kuber Glasmon and
John Bright from
Kenyon N i c h Ol-
son's "The Blind
Spot" warfare
being staged by
competing taxi-
cab factions pro-
vides the element
from which re-
sults all the trag-
ic consequences.
This is a pleasant
departure from a
dark moustached
villain pursuing
the heroine.
James Cagney as
Matt Nolan, the young taxi driver,
and Loretta Young as Sue Riley, a
waitress whose father is a veteran
in the taxi business, are the lovers
whose happiness is threatened and
menaced throughout by the acts of
violence and motives of revenge
caused by the taxicab strife.
Matt's method of meeting a threat
is to double up his fist and wade in.
This Vesuvius disposition makes it
easy for him to encounter trouble any
place and the taming of this militant
nature is the task that Sue know-
ingly but gladly undertakes first as
sweetheart and then as wife.
Premeditated wreckings of cabs,
several fistic encounters and two mur-
ders, one accomplished with a gun and
the other with a knife, keep the atmos-
phere charged with excitement and
suspense.
Under the direction of Roy Del
Ruth the action is maintained at a
James Van Trees
lively tempo with touches of humor
brought in at just the right intervals
capably supplied by George E. Stone,
Leila Bennett and Ray Cooke.
Interest is sustained up to the final
climax which, when it arrives, is suf-
ficiently unforeseen to make it com-
pellingly effective and with the de-
nouement bringing the greatest
amount of satisfaction possible, under
the circumstances, to those most con-
cerned.
U.S.C.-TULANE GAME
Chief, Fred Jackman; first cameras, Hans
Koenekamp, John W. Boyle, John Stumar,
Byron Haskin ; second cameras, Ted Lan-
don, Carl Guthrie, Russell Collings ; assist-
ants. Nelson Laraby, Fred Young, Fred
Terzo, John Crouse, Robert Burks, George
Beckman, Bert Willis.
WARNERS had a great idea in
attempting this first filming of
a football game from the first
kickoff to the final play. Then they
went ahead and worked it out with re-
sults so satisfying that many thou-
sands will share in the thrill of its
perfect accomplishment.
The occasion was the New Year's
game between Tulane and the Univer-
sity of Southern California held in
the Rose Bowl at Pasadena.
It is more thrilling and instructive
to watch these five reels than to have
witnessed the actual game. The re-
production of the most interesting
plays in slow motion permits a study
of just what happened denied one in
the speed of the actual performance.
Emphasis also is given to the per-
fect teamwork required, clearly defin-
ing the absolute necessity of perfect
interference together with brilliant
tackle and defense plays which so ef-
fectively pave the way for the spec-
tacular individual performances that
get most of the cheering on the field.
Another outstanding example of
teamwork meriting the highest praise
is that of the camera crew. Not only
were the open field runs shown just
Thirty-four
The INTERNATIONAL PHOTOGRAPHER
February, 1932
as played but the value of the camera
enhanced them by showing the action
from the ends and sides of the field
coincident with the long run. Of espe-
cial interest were the shots of a play
in actual timing from behind the goal
post followed by a slow motion of
the same play from the side. The
touchdowns also were shown in this
same manner with an added shot from
a third angle.
The success of this initial attempt
and the outstanding photography
achieved no doubt wrill encourage fur-
ther films of complete games, there-
by serving the twofold purpose of
gaining for the game of football a
more general understanding of the
science and skill it calls for and de-
velops together with a greatly aug-
mented appreciation on the part of the
general public as to the achievements
possible through the medium of the
camera when guided by skilled hands.
Of course football was intended to
be the featured role, but this is one
of those interesting cases where an-
other element entered in to steal the
show. Teamwork that embodies the
perfect coordination of purpose and
action supplied by each individual unit
to attain the goal sought by the en-
tire group is the idea that registers.
With no intention of serving so seri-
ous a purpose, the picture uncon-
sciously grips one in this way so that
when the tension and excitement of
the dramatic moments wear off the
impression that lingers is — Team-
work.
THIS RECKLESS AGE
First camera, Henry Sharp ; second cameras,
Otto Pierce, Dan Fapp ; assistants, Paul
Cable, Arthur Lane; stills, Earl Crowley;
sound, Frank Goodwin.
EVERY once in a while the bar-
rage of sophistication and crime
motives in screen plays lifts to
show us that back in the lines of de-
fense is the home influence where nor-
mal, self-sacrificing parents with high
ideals for their
children also can
provide a worth-
while theme. Such
a happy interlude
is Paramount's
"This Reckless
Age."
The director,
Frank Tuttle, also
made the adapta-
tion for the screen
from the play
"The Goose
Hangs High," by
Lewis Beach, and
a good account-
ing he has given in the dual capacity.
Discrimination in the selection of the
cast is also marked, each member of
which registers an individual and im-
pressive characterization.
Richard Bennett and Frances Starr
are the parents in the Ingalls home
with Charles "Buddy" Rogers and
Frances Dee, the thoroughly modern
and seemingly irresponsible offspring.
These parents think they are follow-
ing a very worthy plan of self denial
all in the best interests of their chil-
dren. Of course, what they really are
doing is denying this son and daugh-
Henry Sharp
ter any opportunity for personal sacri-
fice and responsibility on which to
build character for themselves. Cir-
cumstance, however, enters in to give
the children a chance to prove them-
selves which, of course, they do most
satisfactorily.
An important personage in the In-
galls household is Rhoda, the general
all-around servant. Played as Maude
Eburne plays it, every line and ges-
ture gets an audience response.
All the young people depicted are
truly the product of a reckless age
for youth, but underneath they are
wholesome and likable. The reckless-
ness is recognized as purely a surface
affliction. When life steps in to ad-
minister a little needed discipline their
energies are simply given direction
along different lines and they come
through in true blue fashion.
Charles Ruggles does not have to
get intoxicated once, but he does have
to carry on with a name such as
Goliath Whitney. Of course, he is
equal to the task, and perhaps as a
reward wins a young and attractive
bride. Any way he does and every-
one rejoices with him.
Peggy Shannon completes the list of
the main characters. As Mary Burke,
the fiancee of the son of the Ingalls
household, it is not difficult to under-
stand why a career in marriage with
her seems more attractive than two
remaining years of college.
Pictures such as this are rare be-
cause they are much more difficult to
produce than sensational or spectacu-
lar ones, but they are welcome inno-
vations, especially when accomplished
with such satisfactory coordination of
effort as herein evidenced.
STEADY COMPANY
First camera, Charles Stumar ; second camera,
Richard Fryer ; assistants, Martin Glouner.
Charles Crane ; stills, Mickey Marigold ;
sound, Joseph Lapis.
WITH plenty of punch in its
theme and rapid action direct-
ing in its presentation Univer-
sal's "Steady Company" contains
much popular entertainment value.
Norman Foster discloses a physique
which previous parts have kept under
cover. While working during the day
as a truck driver, at night he is get-
ting training as a boxer with ambition
to one day become a champion. How
he fights through two contests to los-
ing decisions and enlists the interest
of June Clyde, an attractive tele-
phone operator, in his career supplies
the action that carries the suspense.
J. Farrell McDonald makes only
one brief appearance, but the way he
registers a former champion plead-
ing over the telephone with his old-
time manager to give him a chance to
fight one more match in order to get
money for his sick wife is a perform-
ance not easily forgotten.
Henry Armetta, the Italian come-
dian, takes first honors as the cobbler,
paternal adviser to the young boxer
in the making. Every gesture, facial
expression, voice intonation and even
his walk contribute to and are an es-
sential part of the characterization.
Zasu Pitts, in her own inimitable
manner, gets a laugh for practically
every one of her lines. But, of course,
that is why she gets the lines.
The screen play and dialogue were
written by Earl Snell. Edward Luddy
in his direction passed up no oppor-
tunities in getting the maximum
amount of effectiveness in each and
every scene.
Shown in advance of this picture
at the studio preview was one reel of
the German production "Mountains in
Flame." On a recent trip abroad
Carl Laemmle saw this film. He was
so impressed with it that he arranged
to make an American version of it,
the German star, Luis Trenker, to be
featured in the American cast and
the one reel shown to serve as a back-
ground.
The story deals with a phase of
wartime activities between Austrian
and Italian forces staged in the Alps.
The combat is exceptionally spectacu-
lar engaging as it does men on skiis
and intrenched machine gunners.
The treatment and perfect photog-
raphy of the one reel shown give
promise of a release of unusual nov-
elty and excellence if the accompany-
ing reels can maintain the high stan-
dard of that fur.nishing the back-
ground.
Arthur Edeson
THE IMPATIENT MAIDEN
First camera, Arthur Edeson ; second camera,
Allen Jones ; assistants, William Dodds,
John Martin ; stills, Sherman Clark ;
sound, William Hedsecock.
IN PRESENTING a director and
cast who have figured prominently
in several of the screen's outstand-
ing productions in "The Impatient
Maiden" Universal seems to have
overestimated the
possibilities of the
novel by Donald
Henderson Clarke
from which the
adaptation was
made by Richard
Schayer and Win-
ifred Dunn.
A hospital am-
bulance sum-
moned to attend
a woman who
has attempted
suicide with gas
in an adjoining
flat brings a young doctor and a male
nurse into the flat and lives of the
two girls who discovered the woman.
This accidental encounter leads to
others based on premeditation. Lew
Ayres wins sympathy as the young
physician who is trying to retain an
impersonal attitude toward all women
patients by regarding them solely as
biological exhibits requiring medical
attention until his finances will per-
mit a more personal attitude. Mae
Clarke gives a logical portrayal of
the shattering effect on youth's ideal
of love and marriage when daily sub-
jected to the disillusioning recitals
she hears as the able secretary of
John Halliday, a lawyer who special-
izes on divorces.
Andy Devine completes the quartet
supplying the love interest. He con-
tributes a very amusing characteri-
zation of the nurse who has invented
a straitjacket intended to be effec-
tively restraining to the person wear-
ing it but a financial walkaway for
the inventor.
Under the capable direction of
February, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-five
Through the simple process of initial contact and
genuine co-operation from camera to screen this
company is maintaining its long established policy of
consolidating cordial relations ivith the men who
photograph the great screen productions of the world
Hollywood
New York
Chicago
James Whale the complications in-
volving humor and tragedy provide
varied entertainment until all the mis-
understandings of courtship resolve
themselves into the problems of
matrimony.
THE ROAD TO LIFE
FOR the second time within an in-
terval of but a few weeks, the
Filmarte Theatre is offering its
patrons a Russian film that provokes
unusual interest. Confronted with a
social problem never before encoun-
tered, the Soviet government has
dramatized its experiment in attempt-
ing to convert the "Bezprizormie," or
wild boys, from a menace to society
into an asset in "The Road To Life."
As an aftermath of war and the
general upheaval throughout Russia,
thousands of children lost their
parents and homes. Banding together
they ran in packs similar to wild ani-
mals, getting their food, shelter and
clothes as best they could by stealing
or, if necessary, even killing. Schooled
in every known form of vice, they be-
came a menace of such threatening
proportions that they had to be reck-
oned with.
Refusing to accept imprisonment or
death as a solution, the Soviet gave
much thought to solving the situation
along lines more humane and under-
standing. Recognizing that these
children had been diverted into crim-
inal channels by conditions for which
they were in no way accountable, it
seemed only fair to give them a
chance to change their habits and win
their way back to respect and useful-
ness.
The Soviet remedy for all the ills
of their nation is — Work. Small
groups of the children were influenced
to go to an institution called a "Chil-
dren's Collective."
"The Road To Life," the first Soviet
sound picture, takes almost two hours
to unfold the results of this interest-
ing experiment. Super-imposed Eng-
lish titles assist in understanding the
picture. With complete mastery of
the art of direct simplicity and photo-
graphic skill, the story grips the at-
tention from the start and never lets
it waver or relax.
Nikolai Batalof as the leader in the
experiment to convert the boys fits
the role perfectly. In Europe this
picture was selected as one of the
world's best in 1931. It is being
released in this country by the Am-
kino Corporation.
THE IMMORTAL VAGABOND
PRODUCED with English dialogue
the German UFA picture "The
Immortal Vagabond" shown at the
Filmarte during the third week of
January skillfully tells again a love
story which continues to defy Time by
retaining eternal appeal and charm.
The main theme relies on four prin-
cipals for its development. Anna,
played by Liane Haid, is the daughter
of the village postmaster who returns
the love of Hans Ritter, a hard work-
ing but poorly paid schoolmaster, por-
trayed by Gustav Frolich. Inspired
by his love for Anna, Hans composes
an opera.
Karl Gerhardt as Anna's father
prefers for his daughter the security
offered by Franz Lechner, a success-
ful cattle herder played by Hans von
Schletton, to the financial uncertainty
of a marriage with Hans.
While Hans is in Vienna negotiat-
ing to get his opera produced Anna's
father intercepts his letters. Anna
believing herself forgotten yields to
her father's insistent demands and
marries Franz on the night that Hans
returns with news of the acceptance
of his opera with a substantial money
advance.
Hans goes down to defeat in the bit-
terness of success unshared with Anna
and becomes a vagabond.
A scene of delightful irony is that
showing the village council in session
five years later to decide on the erec-
tion of a monument to the memory of
one of two native sons who have both
won laurels for their birthplace.
The names up for consideration are
Hans Ritter, composer of the opera
"The Mountaineer" that has gained
recognition the world over, and Franz
Lechner, a man whose fame as the
breeder of fancy stock has carried the
name of their community across the
seas.
The direction of G. Ucicky indicates
mastery of the medium of restraint
throughout. The camera is used to
weave atmosphere. Dialogue enters in
only when it is absolutely necessary
with pantomime effectively telling the
story.
Thirty-six
The INTERNATIONAL PHOTOGRAPHER
February, 1932
German Film Industry Cuts Down
Spitzenorganisation Orders Lower Production
Costs, Less Sound Royalties, Fair Tax on
Theatres and a Ticket Control
By GEORGE R. CANTY
Trade Commissioner, Paris
THE recent session of the Spitz-
enorganisation of the German
Film Industry held in Berlin
will be remembered in the history of
film corporations, according- to Ger-
man press reports. Scarcely has a
trade meeting ever shown such unan-
imous efforts and such close connec-
tion among the various branches of
the industry for elaboration of a
common economic program.
The resolutions, as outlined below
in the official communique published
in the press, reflect the conviction
that a cutting down of production
costs, a reduction of sound film roy-
alties, a reasonable entertainment tax
policy, and the regulation of admit-
tance prices and cinema programs
should be the basis of future activi-
ties.
For the first time the German in-
dustry has realized the interdepen-
dence which exists among its branches
and that a rational reorganization of
the trade and the existence of the
entire industry depend on a unified
program to be carried out by one and
all. The following official statement
was, therefore, made in this connec-
tion:
The meeting of the Spitzenorgan-
isation of the German Film Industry
unanimously adopted the measures
suggested by the recent producers'
conference to reduce production costs.
Dr. Plugge, general secretary, ex-
plained in detail the reasons for this
decision.
Salaries have considerably in-
creased as compared with the silent
film era, and film production is bur-
dened with sound film royalties
amounting to 30 per cent of total
production costs.
Furthermore, foreign currency re-
strictions, that obtain in twenty-three
European states, handicap the film
export trade. Only by a common ac-
tion of the several branches of the
industry can these obstacles be over-
come. The following resolution was
therefore taken :
Will Bar Films
"No films will be accepted for dis-
tribution or exhibition, of which the
producer has not fully complied with
the conditions of the Association of
Film Producers concerning salary re-
ductions and the production of which
was not subject to the principles out-
lined by the above named association.
"It is for the Board of the Spitzen-
organisation to decide whether a film
has been produced according to these
principles and, if not, to define it as
not eligible for release."
It was further decided to start an
action against too cheap admittances
and too extensive programs. The res-
olution on the subject reads as fol-
lows:
"The Reichsverband (exhibitors or-
ganization) and the A. D. F. (distrib-
utors union) will instruct their mem-
bers to control admittances in their
respective bailiwicks. In all places
where admittances are too low or
where cinema performances include
too many or too extensive pictures,
the local representatives of the above
organizations will call trade meetings
and seek ways and means to change
this policy which is considered ex-
tremely prejudicial to the film in-
dustry.
"The Spio is authorized by the va-
rious trade associations, upon the re-
quest of local organizations, to send
a Kommissar with special powers en-
abling him to take all necessary meas-
ures to protect the industry against
prejudice of this kind."
The Spitzenorganisation requests
distributors, in cases of reorganiza-
tion or change of ownership of a cine-
ma, to learn the policy of the new
owner in regard to admittance prices
before making a contract. In order
that arbitrary lowering of /admit-
tances be impossible in the future,
some system of control is to be estab-
lished, with the approval of the en-
tire trade, and put into effect in 1932.
To Cut Royalties
Dr. Plugge stated that negotia-
tions had been started with the Tobis
group in order to obtain a 30 per cent
reduction of all royalties (recording-
patents and export licenses) and the
prompt clearing up of smaller ques-
tions and differences of opinion that
had been pending for some time.
Negotiations, in the matter of ex-
change currencies in various coun-
tries, are afoot with the Government
and the Reichsbank so that frozen
credit balances may be cleared either
by direct payment or loans.
It was pointed out in this connec-
tion that a decrease of exports will
jeopardize the quality and even the
existence of the German film, since
production schedules are based partly
on foreign amortization.
Finally the conference expressed
the hope that the authorities, with a
better understanding of the unusually
difficult position of the industry, will
reduce the existing entertainment
tax.
With regard to the decisions on the
arbitrary reductions of cinema ad-
mittances, a commission composed of
representatives of trade associations
has published a scale to be the basis
for future admittance tariffs in cine-
mas located in Greater Berlin.
The cinemas of Berlin are divided
into four groups: Pre-release houses,
1 mark minimum admittance; first-
run houses, 0.80 mark; second-run
houses, 0.70 mark; and all other
houses, 0.60 mark.
If a stage show is included in the
program 50 pfennigs may be added
to the minimum admittances above
mentioned.
No Cut Prices
Any privileged admittances such as
cut price tickets, presents, lottery
prizes, free drinks, etc., included
in the price are prohibited. How-
ever, up to the actual starting of the
first performance patrons may be ad-
mitted to any seats at the minimum
rate of admission.
Immediately thereafter, the regular
admission scale applies. Young peo-
ple are obliged to pay the full mini-
mum rate for regular shows but at
special shows for children and young
people only 50 per cent of the mini-
mum rate for each of the four cate-
gories of theaters is to be charged.
Sound film programs are to include
one feature only.
These decisions were unanimously
adopted and a circular letter to this
effect sent out to members of the
trade.
The measures in question, it is
stated, were taken in the best interest
of all branches of the German film
industry and it is expected that they
will be carried out by all exhibitors.
A delay granted until November
27 was for all Berlin exhibitors to
comply with these instructions, after
which date the entire industry — pro-
ducers, distributors and exhibitors —
is expected to use all means possible
to protect itself against members
who, by disregarding the above in-
structions, place themselves in the
position of nonconformers.
The circular is signed by the Reichs-
verband the A. D. F. (Distributors
Association), two central exhibitors
organizations (Reichsverband and
Schutzverband), and the Association
of Berlin Cinema Theatres.
It is expected that similar measures
will be taken in the provinces by
local trade organizations.
IT appears from reports received
from Trade Commissioner George
R. Canty of Paris that the an-
nouncement made recently with re-
gard to the abolition of the Hungarian
film fund was premature. The parlia-
mentary sub-committee of six which
is cooperating with the Government
in connection with budgetary eco-
nomics did not recommend either the
abolition of the film fund or the dis-
continuation of the Hunnia studios.
The so-called "meter fees" are
levied as heretofore, and protests of
the film trade against this burden
have been of no avail as yet.
February, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-seven
Art Reeves ' Equipment Company Is
Unique Among Film Supply Houses
WITH but five months behind
him since opening quarters of
the Hollywood Motion Picture
Equipment Company, Limited, Art
Reeves has built up an establishment
that in its scope is unique in the in-
dustry. At the company's home in
6416 Selma avenue Mr. Reeves has
developed a plant that it is believed
cannot be duplicated in completeness
anywhere in the world.
Among the equipment prominent in
the display room are the Depue print-
ing machines. One of these is a
double, which prints sound and pic-
ture in a single operation. The other
prints color from both negatives on
double coated positive at one opera-
tion. A board automatically controls
change of light.
This is the first time a color printer
has been put on the market. Previously
it has been necessary for any one em-
ploying color to construct his own
machines.
There are two Mole-Richardson
rifle lights on the floor. Also there
are Cinex testing machines and Cinex
film polishing machines, both of these
elaborate instruments.
Other equipment include H. A. De
Vry's Chicago Portable Projector and
Preddy's sound head for standard
projectors.
In the way of sound devices there
are five Art Reeves recording equip-
ments, with new type recording head,
or camera silencing covers; Cannon
connectors, microphones, interlocking
motors, cables and wedgelights.
The accounting department is well
equipped to take care of a rapidly
growing business. A repair shop with
large facilities adjoins the testing
room.
The projection room with twentv-
foot throw is sound-proofed en walls
and ceiling so that it may be used
for recording. There is a Simolex
projector equipped with sound head
for demonstration. Besides micro-
phones and stands there are loud
speakers and single and double wind
reflectors for microphones.
Victor Announces Series in
Its Model 7 Cine Projector
Victor Animatograph Corporation
announces that the new model 7 Victor
Cine Projector is now available in a
complete series.
Outstanding among the new fea-
tures offered in the Model 7 series is
an improved optical system which af-
fords much better illumination, re-
gardless of the type of lamp used.
A wider speed range and more quiet
operation are other improvements.
The Model 7 Regular and the Model
7G are equipped with the rectangular
base which previously was supplied
only on the Model 3G. The Model
7R has the pedestal base to permit
swinging the rheostat in under the
projector body when placing the ma-
chine in its carrying case.
The well known exclusive Victor
features such as the adjustable shut-
ter which is a constant safeguard
against "jumpy" pictures,, the auto-
matic film trip which affords protec-
tion against film damage and other
equally important refinements are all
embodied in the Model 7 Series.
The price range of the series is
from $175 to $205 for an equipment
complete with carrying case, acces-
sories, tools, etc.
Samuel Gompers High School to be
Equipped with Photophone Sound
THE first step in the recently an-
nounced program to test the po-
;entialities of the sound motion
picture as an aid in teaching in the
New York public schools was taken
January 15 when contracts were
signed for the installation of RCA
Photophone sound reproducing equip-
ment in the new Samuel Gompers In-
dustrial High School for Boys, The
Bronx, which is now under construc-
tion and which will be open in Sep-
tember.
The equipment, one of the recently
introduced all AC operated types,
will be installed in the assembly room
which will have a seating capacity of
724 persons.
Provisions for the installation of
motion picture apparatus having been
made when the plans for the new
building were drawn, the projection
booth and necessary wiring through-
out to the loudspeaker apparatus be-
hind the screen will be modern to the
most minute detail.
Dr. Eugene A. Colligan, associate
school superintendent in charge of the
visual instruction activities of the
New York Board of Education, re-
cently anounced he had suggested ex-
perimenting with sound pictures.
The new school will have a pupil en-
rollment capacity of 1696 boys. In
addition to sound motion picture ap-
paratus the new school will be
equipped with a complete radio com-
munication system with outlets.
QifMft
Depue automatic sound and silent multiple printer, for ivhich the Hollywood
Motion Picture Equipment Company is the local representative
Thirty-eight
The INTERNATIONAL PHOTOGRAPHER
February, 1932
The International Photographer's Family Album
Shackelford Shows Initial
Production of Color Shorts
AT THE Eastman Little Theatre
in the latter days of January
James B. Shackelford showed
to a highly interested group his single
reel, "That Artist Feller." The
subject is in Magnacolor, and on the
color side alone it is a remarkable
example of a motion picture. Tha
photographer, which in this instance
is synonomous with artist, for three
years has been delving in color. His
work in this initial number of a ssrifs
shows his time has been exceedingly
well spent.
The picture covers a trip in Utah
and Northern Arizona seeking out of
the way spots along the northern rim
of the Grand Canyon and Bryce and
Zion Canyons. In order still further
to depart from the usual course the
director-cameraman employed local
characters only, men who have lived
in the country fifty and sixty years.
He went still further in breaking
away from tradition, and instead of
having his characters praise the mani-
fest beauties of the countryside being-
thrown on the screen the spokesman
of the "boys" ridiculed the idea of an
artist traveling hundreds of miles to
get into the canyon and then spend-
ing a lot of time and money and
infinite trouble just to paint what
every one of his neighbors would
agree was just a mass of very ordi-
nary stuff. And all the time the
screen is making a plu-grand liar of
the old settler as it revels in some of
the world's beauty spots.
Luther Reed wrote the dialogue,
which was read and acted off stage
by Gayne Whitman.
*-r ■ -*»'-
Barbara, as photographed by Art
Reeves, her father, in front of her
Hollywood home on the morning of
January 15
Boyle's Color "Stockholm"
For Big Chinese Premiere
ON THE complementary program
of the western premiere show-
ing of "Mata Hari" at the Holly-
wood Chinese is a single reel of John
W. Boyle's "World Wanderings." It is
a scenic in color and was photo-
graphed last summer during a trip of
the director - photographer through
Sweden and Finland. The particular
subject is of "Stockholm, Queen of th2
Baltic," and was selected by Sid
Grauman as a compliment to Greta
Garbo, the heroine of the feature pic-
ture.
Hospitals Not All So Bad
In View of Wally Wallace
AFTER ten days in the Hollywood
Hospital combatting water on
the knee Wally Wallace ex-
presses the view that those of his
fellow-photographers who failed to
look in on him were rather the losers
by the oversight. Wally suggests had
they had an idea how attractive were
the nurses they surely would have
made time to call on him.
"Anyway, it's a grand and glorious
feeling to be walking around again,"
declares the photographer.
Robert Bria,n Benninger, four months
old, son of Mr. and Mrs. Otto Ben-
ninger. — Photo by Otto Benninger
Valentine Returns
Joe Valentine, first cameraman, ha?
returned from an eleven months' trip
to Europe, where he made the grand
tour in the interest of the Fox studio.
With him abroad was his brother
cameraman Charles Van Enger, the
two working independently, as a rule.
For the March issue, Joe promises
a story of some of his experiences —
and it wll be illustrated.
Hollywood Camera Exchange
Has Catalogue First of Kind
THE Hollywood Camera Ex-
change, the active owners of
which are Clifton Thomas and
C. G. McKie, has issued a catalogue
of used cameras and photographic
supplies, professional and amateur,
which is unique in character and
scope. The publication, which con-
tains thirty-two pages 7% by 9 inches
in dimensions, is the first of its kind
in the history of the industry. Re-
quests for copies are coming in from
all parts of the world.
The company executives are in close
touch with the men who make the
motion pictures produced on the west
coast. These include the technical ex-
perts of the leading studios. In this
way they always are informed of the
newest devices and methods obtaining
in Hollywood photographic and tecli-
nical bureaus and are able to give
their clients at home and abroad ad-
vantage of the knowledge so secured.
In the opening page of the cata-
logue visitors to Hollywood are in-
vited to visit the headquarters of the
company. These are situated about
as near the geographical centre of
the picture colony as it is possible to
figure it out. Also they are within
less than a block of the cameramen's
headquarters.
The company makes a specialty of
buying and exchanging photographic
apparatus, and in the conduct of this
department has built up a large mail
business. It does make a point of
making appraisals only after personal
inspection.
Another of the snecialties of the
company is lenses, of which all makes
are in stock.
Janis, daughter of George Meehan,
borrows her mother's gloves as for the
first time in her life she creates a
snow man. Photo by George Meehan
in his North Hollywood front yard.
February, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-nine
To the Photographic Craft and the Motion
Picture Industry in General
MAX FACTOR
wishes
A Prosperous 1932
MAX FACTOR MAKE-UP STUDIOS
Telephone HOlly 3922 Cable Address "FACTO"
Len Galezio
Five Years Akeley Camera
Specialist with Universal
Pictures
Complete
Akeley
Equipment
EXPERIENCED AIR
PHOTOGRAPHER
Phone
North Hollywood 1703-J
W. A. SICKNER
FIRST CAMERAMAN
COMPLETE
AKELEY
EQUIPMENT
CRestview7255 GLadstone 5083
HEmpstead 1128
IDTEHS^
prv^ucv tfwnh^bt an4 ftqMCffats in taytinw
Fgcj Stents- UiffusHrVus and miny vtW tffrcts
cAste youp dealep. or> cupite to
GEORGE H . SCHEIBE
PHOTO-FILTER SPECIALIST
Cinex Testing Machines
Cinex Polishing Machines
Developing Machines
Printing Machines rebuilt for
Sound Printing
Special Motion Picture Machine
Work
Barsam - Tollar
Mechanical Works
7239 Santa Monica Blvd.
Hollywood, California
Phone GRanite 9707
Something New!!
The Kains
Lens Shade
Throw Away Your Finder
Extensions !
Get That Finder Closer to
the Camera!
Size and Angle of Lens Shade
Now Unlimited
In some cases we will be able to re-
build your old lens shade and in-
clude these new features.
Fred Hoefner
CINEMA MACHINE SHOP
5319 Santa Monica Blvd.
GLadstone 0243 Los Angeles
Mitchell Cameras (Late
Models for sound and speed
worh) and Accessories
For Rent
Professional and Amateur
Photographic Supplies
Developing, Printing and Enlarging
Hollywood Distributors for Leica and
All Other German Make Cameras
RIES BROS., INC.
Open 8 A.M. to 9 P.M.
1540 N. Cahuenga. Phone GRanite 1185
Glenn R. Kershner
Phone Culver City 3154
t>n&:
MITCHELL FOR RENT
Forty
The INTERNATIONAL PHOTOGRAPHER
February, 1932
THE RESPONSIBILITY of preserving all
the painstaking care and artistry that goes into
the making of any fine picture rests, in the
final analysis, with the finished POSITIVE.
AGFA POSITIVE FILM is a specialized
product designed to meet the most exacting
requirements and is made available to the
Motion Picture Industry with full conscious-
ness of the responsibility involved.
Agfa Raw Film Corporation
Hollywood Branch
6368 Santa Monica Blvd.
Factories
Binghamton, N. Y.
CLASSIFIED
Dr. G. Floyd Jackman
DENTIST
Member Local No. 659
706 Hollywood First National Bldg.
Hollywood Blvd. at Highland Ave.
GLadstone 7507 Hours:
And by Appointment
9 to 5
MELROSE
Trunk Factory
UNION MADE Camera
Cases for
UNION CAMERAMEN
UNION MADE Camera Num-
ber Boards
Trunk and Luggage Repairing
Our Specialty
Automobile Trunks, Sample and
Make-Up Cases to Order
ADams 3646 1451 E. 57th St.
LOS ANGELES, CALIF.
FOR SALE OR RENT — Complete line of
Photographic Equipment ; Projectors, Print-
ers, Motors, and Accessories, new or used.
Bargains in Mitchell, Bell & Howell, Akeley,
DeBrie, Pathe, Universal, Prevost, Sept, Leica
cameras. Also every variety of Still Cameras.
Specializing in repairs. Hollywood Camera
Exchange, Ltd., 1511 N. Cahuenga Blvd., HO
9431, GL 2507. Open from 8 a.m. to 10 p.m.
$5000 equity in a Spanish double bungalow in
Hollywood to trade in on an up-to-date
M.P. camera (preferably Mitchell) and what
else? Box 252, Universal City, Calif.
FOR SALE — One 75 M.M. Cook Lens F.2 with
Mitchell mount complete. $100.00. J. R.
Lockwood, 523 N. Orange St., Glendale, Calif.
Phone Douglas 3361-W.
FOR SALE— Six 400 ft. Mitchell Magazines
cheap. J. R. Lockwood, 523 N. Orange St.,
Glendale.
FOR RENT — Two thoroughly silenced Mitchell
Cameras. Follow focus device, Pan Astro
Lenses, Freehead. 1000 ft. Magazines. J. R.
Lockwood, Glendale 523 N. Orange St. Doug-
las 3361-W.
FOR RENT: Mitchell Motor, 1000 Ft. Mitchell
Magazines. J. R. Lockwood, Glendale. Doug-
las 3361-W.
WANTED— Mitchell or Stumar Double Arm
Matte Box. J. R. Lockwood, 523 N. Orange
St., Glendale, Calif.
FOR RENT— Mitchell and Akeley cameras
fully equipped for sound. Norman De Vol,
6507 Drexel av., OR 7492.
MITCHELL high-speed Camera No. 225. Van
Rossem, 6049 Hollywood Blvd. HO 0725.
The new "Local 659" emblem.
Small, chic and attractive. Or-
der from your Secretary or direct
from manufacturers.
J. A. Meyers & Co.
822 South Flower Street
The largest jewelry factory
in the West
Diamonds — Watches — Jewelry
ROY DAVIDGE FILM
LABORATORIES
An Exclusive ' ''Daily ' ? La boratory
670 1-67 15
Quality and Service
SANTA MONICA
GRanite 3108
BOULEVARD
arrived/
EASTMAN
SUPERSENSITIVE PANCHROMATIC
NEGATIVE
^EA/?
°l
4
"Cut yourself a „
jBfece of Cake
J. E. BRULATOUR. INC.
11
The upkeep
of Your Camera Equipment is
essential in the production of
first class pictures* There-
fore why not include in your
program for this year the com-
plete checking over and
maintenance of your
equipment by us?
♦ ♦
♦ ♦
Prompt Attention Given
To All Repair Work
♦ ♦
♦ ♦
Mitchell Camera Corporation
665 N. Robertson Boulevard
West Hollywood, Calif.
Cable Address ••MITCAMCO'• Phone OXford 1051
THE <3MP TRADE MARK HAS NEVER BEEN
PLACED ON AN INFERIOR PRODUCT
*EG.U.s. PAT. OFF
Smith & Aller, Ltd.
6656 Santa Monica Boulevard, Hollywood 5147
HOLLYWOOD • CALIFORNIA
PACIFIC COAST DISTRIBUTORS FOR
Du Pont Film Mfg. Corp.
35 West 45th Street, New York City
March, 1932
The INTERNATIONAL PHOTOGRAPHER
One
"Always One Step Ahead"
"ylrtreeves "
Equipment for Dependability
A complete new and improved sound-on-film recording
system with new recorder optical unit and amplifier with
automatic volume control
A Feiv Important Features:
Noiseless Recording
Resistance Coupling
Dual Mixers
Visible Monitoring
Simplicity of Operation
Quality of Workmanship
WE SUPPLY THE STUDIO AND LABORATORY WITH
ANY EQUIPMENT THEY MAY NEED
A CENTRALIZED PURCHASING POINT
EXPERT TECHNICAL ADVICE ASSISTING YOU IN
EVERY WAY
India
MOVIE CAMERA COMPANY
Walker House, Lamington Road,
Bombay 4 India
Representatives
GENE COUR
1029 South Wabash Ave.,
Chicago, Illinois
Australia
commonwealth film laboratories, ltd.
Wilton and Belvoir Streets,
Sydney, Australia
Two The INTERNATIONAL PHOTOGRAPHER March, 1932
FULLY AUTOMATIC . . . QUANTITY PRODUCTION WITH FINEST QUALITY
The New Bell &l Howell Sound
and Picture Production Printer
Order now for fall delivery
Printing both sound and picture at one
operation under fully automatic control
is now a fact. One operator can handle
up to six or more (depending on condi-
tions) of the new Bell & Howell Full}'
Automatic Sound and Picture Produc-
tion Printers.
Definition and crispness previously im-
possible are now made certain, both in
the picture frames and sound track, by
the extreme uniformity of speed and
smooth precision of this new printer.
Higher frequencies of sound can now for
the first time be printed due to full reso-
lution of detail.
Every requirement in modern sound film
production has been anticipated. Notches
in the film are completely eliminated, the
densitometric value of the print being
absolutely and perfectly controlled by
a travelling matte between the printing
light and the negative. Sprocket teeth
are accurate to a tolerance of Plus .0002
Minus Zero. This, and an extremely
accurate mechanical filter, insures per-
fect evenness of speed. Negative and
positive are continuously, automatically
cleaned.
After being set up, the machine needs
only a new supply of positive stock at
the end of each reel. The operator sim-
ply threads the positive stock, pulls a
lever, and walks away. It is impossible
to start it with any gate open, lamp out
of order, or any item out of adjustment.
It stops automatically at the slightest
irregularity.
This new automatic printer is the result of years of be satisfied with nothing short of absolute perfection, it
experimentation in Bell & Howell Engineering Research is now ready for production for fall delivery. Write
Laboratories. Fully perfected by engineers who would for full particulars.
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19 3 2
INTERNATIONAL
PHOTO GPAPHE R
Official Bulletin of the International
Photographers of the Motion Pic-
ture Industries, Local No. 659, of
the International Alliance of The-
atrical Stage Employees and Mov-
ing Picture Machine Operators of
the United States and Canada.
Affiliated with
Los Angeles Amusement Federa-
tion, California State Theatrical
Federation, California State Fed-
eration of Labor, American Fed-
eration of Labor, and Federated
Voters of the Los Angeles Amuse-
ment Organizations.
Vol. 4
HOLLYWOOD, CALIFORNIA, MARCH, 1932
No. 2
"Capital is the fruit of labor, and could not exist if labor had not first existed.
Labor, therefore, deserves much the higher consideration." — Abraham Lincoln.
C 0
NTENTS
Cover — Hopi Indian Looks Over
Los Angeles to Have Film Museum..
27
Painted Desert
By Oliver D. Perreault
Chicago 666
28
"Shooting" Europe Between
By Sassiety Reporter
4
By Joseph A. Valentine
Looking In On Just a Few New Ones
By George Blaisdell
.30
When Shark Lifts Bait From Lens
. 8
Bronner Home Again
in
When Seen Through Feminine Eyes.
.33
By Bob Bronner
By Clara M. Sawdon
14
Brilliant Record Has Chief Elliott
By Fred A. (Red) Felbinger
As Electrician and Executive
36
Reach Agreement on New Aperture
.25
Hollywood Uncovers Prodigy in Its
By Fred Westerberg
Executive of but Eleven Birthdays
36
Uncle Sam Compiles Statistics of
The International Photographer's
Film Theatres All Over World. .
.26
Family Album
37
The International Photographer is published monthly in Hollywood by Local 659, I. A.T.S.E.
and M. P. M. 0. of the United States and Canada
Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles, Calif., under
the act of March 3, 1879
Copyright 1932 by Local 659, I. A. T. S. E. and M. P. M. O. of the United States and Canada
George Blaisdell
Ira Hoke
Esselle Parichy
Howard E. Hurd, Publisher's Agent
Editor Lewis W. Physioc \
Associate Editor Fred Westerberg \
Staff Correspondent John Corydon Hill
Technical Editors
Art Editor
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The members of this Local, together with those of our sister Locals, No. 644 in New York, No. 666 in Chicago, and
No. 665 in Toronto, represent the entire personnel of photographers now engaged in professional production of
motion pictures in the United States and Canada. Thus THE INTERNATIONAL PHOTOGRAPHER becomes the
voice of the Entire Craft, covering a field that reaches from coast to coast across North America.
Printed in the U. S. A. i<
2 at Hollywood, California.
Four
The INTERNATIONAL PHOTOGRAPHER
March, 1932
'Shooting 'Europe Between Showers
Experiences of Hollywood Cameraman When
Facing Petty Officials, Cops, Beggars,
Drivers and Customs Barriers
By JOSEPH A. VALENTINE
Illustrations by the writer
FAR be it from me to try to tell
another cameraman how to shoot
his stuff, but having just re-
turned from nearly eleven months in
Europe for the Fox Film Corporation
perhaps I may be able to pass on a
few hints to fellow-cinematographers
who may have the good luck to get
similar assignments.
At times it seemed that every one
in Europe was determined we would
not get the stuff we went after, but I
soon discovered that by keeping my
temper and using generous quantities
of "salve" I could get most anything
I really wanted.
Hollywood cameramen who have
become accustomed to the utmost in
cooperation from city officials, police
department, fire department and citi-
zens at large have no idea what they
are going to run up against when
they go abroad to shoot background
stuff and atmosphere.
Petty officials who seem to take
keen delight in putting every possible
obstacle in your path; officious cops,
snarling taxicab drivers, beggars
who clamor for palm greasing before
they'll consent to move a foot or two
out of range, and the ever-swarming
horde of curious children and their
mothers and fathers who persist in
getting right in the line of your cam-
era and looking head-on into the lens
present only a few of the minor diffi-
culties you encounter.
Customs barriers, impossible re-
strictions imposed by the laws of the
various countries against foreign
cameramen, working permits, inabil-
ity to speak foreign languages, hap-
hazard express service that delays
shipments of raw film to keep you
going, are a few more incidents in
the life of a camera hound abroad.
And the Floods Came
Added to these difficulties and a
million more that I can't think of at
the moment is the handicap of bad
weather. After you have conquered
all these listed annoyances and finally
are all set to go out and do your stuff
the skies become overcast and a
deluge reminiscent of Noah's famous
shower descends on you.
After all, the studio hasn't sent
you to Europe to get only rain shots,
so all you can do is cover your equip-
ment and retire to the nearest cafe,
order up a seidel of biere and moan
for the sunshine of Hollywood —
mavbe.
Ponta Vecchio, Florence
Of my eleven months in Europe I
think it is a safe bet to say than ten
of them were almost continuously
rainy. Of course, we were assured
that this was "very unusual weath-
er," something I seem to have heard
before around the old home town.
England was soaking wet during
the two months we spent there. If
we hadn't been persistent and stuck
around, waiting for an occasional bit
of sun, our visit to the British Isles
would have been a complete washout.
As it was, we managed to get about
everything worth shooting in Eng-
land, Scotland and Wales, and I was
lucky enough to get several thousand
feet of the magnificent harbor at
Southampton that probably will be
used over and over again during the
coming years.
Two Wet Weeks
A friend of mine wasn't so for-
tunate. He was assigned to get the
harbor and sat around for more than
two weeks, waiting for it to stop
raining and the fog to lift, until he
finally was recalled without ever hav-
ing had a chance to turn a crank.
Labor restrictions are so severe in
Europe that we didn't even try to get
working permits. We were told it
would be a waste of time. So all the
time I was abroad I was presumably
working on my own — just taking pic-
tures for my own amusement.
My assistant, a Scotchman, was
merely a friend traveling with me,
who helped me take pictures. If
they'd ever discovered that I was
paying him a salary we'd probably
both been deported on the first boat
out.
Paris is a cameraman's paradise.
There are so many hundreds of beau-
tiful shots that you nearly go crazy
trying to get all of them on film.
Rainy weather held me up so much
when I first went to Paris that I
chartered an eighteen-year-old Rolls
Royce and an extraordinarily stupid
Cockney chauffeur who had been
driving in France for thirty years
and set out for the Riviera, where we
were assured we'd find plenty of sun-
shine and lots of color.
Alec, the chauffeur, really was a
marvelous driver. I'll have to con-
cede that, but that was the sum total
of his good qualities. Having lived
in France for thirty years with a
French wife, he assured me he spoke
French better than the French them-
selves.
Defining Necessities
My assistant had an academic
knowledge of the language, picked up
in school, but never had attempted
to make himself understood in
French. All I had was Italian,
which I have spoken since I was able
to talk, and English, and a few
words to cover the real necessities,
such as beer, cognac, room, food, etc.
In Paris, it hadn't mattered, as we
always could find someone who spoke
enough English to understand what
we were talking about. But hitting
March, 1932
The INTERNATIONAL PHOTOGRAPHER
■i
Five
Piazza San Marco, with cathedral and Campanile. Right, Norman La Rue, who drove Pershing during the war;
Jack Perry, assistant, and Joseph A. Valentine, who photographed the other pictures shown with this story.
off the beaten track where English-
speaking people are as scarce as up-
to-date plumbing was a different mat-
ter.
Refusing to take a chance on the
sketchy express service I carried
20,000 feet of film and complete cam-
era equipment. It was some job load-
ing all the stuff into the bus, so it
was nearly noon before we pushed
off on a rainy Sunday.
We made Fontainebleau for 1
o'clock luncheon, and I had my first
misgivings when Alec pronounced it
Fountain-blow, with a decided Cock-
ney twang.
It was still raining, so we kept on
going. Somewhere between Avallon
and Saulieu we ran out of gas. We
were about two miles from the near-
est village, so we sat back on our
haunches, and told Alec to rustle the
petrol. He was so dumb that he
hadn't even filled his gas tank before
we started.
Alpine Rave
Our first stop was Chalon-sur-
Saone, where I discovered that Alec's
French vocabulary consisted only of
the words for yes, oil and gasoline.
He okayed our hotel bill, after which
I discovered that the landlady had
added in the date, the year and the
weight of the car.
Straightening that out by using
some picturesque American language
that even a Frenchwoman could
savvy, we pushed on and by 10 o'clock
got our first view of the Alps.
I immediately went screwy, and set
up at a picturesque spot under a
bridge. You can talk about moun-
tains— I've seen all that America has
to offer, and shot most of them — but
the Alps still get my vote.
For sheer magnificence, pictur-
esqueness and all the other ten-dollar
words you can think of the Alps are
in a class by themselves. Of course,
I'm no Columbus. Other people dis-
covered that many years ago, but I
can't help doing a bit of raving on
my own account.
Alec knew some place where we
could get a swell lunch — mountain
trout, "sniles," etc. But by this time
I'd discovered that he had special
spots all picked out, where he could
chisel a rakeoff by bringing a party
of Americans, and I was just bull-
headed enough to insist that we pass
up Alec's highly recommended joints.
We did a lot of shooting that day,
and with that and Alec's uncanny
propensity for turning off on the
wrong road it was 9 o'clock before
we steamed into Chartreuse for the
night. We found a beautiful hotel,
and were forced to sample various
grades of the justly famous liqueur
which takes the name of the town.
Hit High Spots
Really we were in the heart of the
Alps now, and learned that most of
the places we went through were ac-
cessible by auto only three months of
the year. We hit a lot of high passes,
getting up to the glacier line in many
spots, and I did a lot of work with
my 25 millimeter lens. And believe
me, it was swell for that sort of
work.
I got numerous shots from high
plateaus which gave me a depth,
from roaring mountain streams, well
over the tops of the peaks, and en-
abled me to pick up a few stray
clouds for composition.
I always tried for a bit of action
in the foreground, and by talking
fast in Italian and making use of an
occasional word in French from my
assistant we managed to get the na-
tives to go about their haying and
other homely tasks in a natural man-
ner.
Grenoble was our stop for lunch,
and it was so picturesque that I
cruised the streets, shooting through
the back of the car, which we had
slit for the purpose, and got some
great stuff. Then we pushed on
deeper into the Alps, and went over
roads that wound around until we
didn't know whether we were coming
or going.
Alec, of course, never knew, and we
had to keep him straightened out by
yelling our heads off at him when he
persisted in making the wrong turns.
Incidentally, I learned a trick
from Alec and booked him and my
assistant at servant rates at the ho-
tels, just about one-third what I had
to pay for myself. I listed Alec as
chauffeur and my assistant as a me-
chanic. They got the same food,
same beer, etc., and almost the same
class of rooms as I did. That's a
point to remember in cutting down
expenses.
Watchful France
Along the Franco-Italian border
we encountered thousands of French
soldiers. Of course, it was summer-
time, and they were holding their
annual maneuvers, but I couldn't help
notice the miles and miles of side-
tracks on the railways, and the huge
military establishments, which con-
vinced me that France is suspicious
of Italy's dreams of empire and is
all set for a nice brawl at any time
Mussolini gets too ambitious.
I sneaked some shots of the poilus,
and probably would have been tossed
in the can if they'd suspected I was
shooting at them from the slit back
of the Rolls. Also I got some great
shots at Briancon, the French fort-
ress city at the key pass to Italy in
the Alps. This is supposed to be the
highest city in the world, and from
the way we climbed to get to it I'm
willing to admit it. French generals
were all over the place — we weren't
even allowed to get in the same ele-
vator with them at the hotel.
Th next day we wound down (and
up) the valley of the Var, and almost
died of nervous prostration.. Alec
was a hound for scenery, and delight-
ed in calling attention to beautiful
vistas just as we were winding
around lofty crags, with two wheels
hanging over an eight thousand foot
chasm. Of course he wouldn't be
even looking at the road.
We passed a dozen fortified moun-
tainsides, honeycombed with machine
gun nests and artillery emplacements,
guarding the approaches to the
passes. If Mussolini ever tries to en-
Six
The INTERNATIONAL PHOTOGRAPHER
March, 1932
ter France that way he'll get a hot
dose of lead.
This countiy is the most beautiful
I saw on the whole trip. I made
numerous shots, and was fortunate in
encountering- a bunch of French
Senegalese soldiers, guarding one of
the higher passes, which made a
great picture. It can be used for an
endless variety of locales, because of
the picturesque ruggedness of the
background.
Warner Kids Cameraman
We made Nice that night, and
found to our delight that the Riviera
was everything we had expected.
Shots galore, bright sunshine, pictur-
esque vistas — everything. In fact, it
was almost as good as California —
and strangely reminiscent. There
were stucco houses, all the colors of
the rainbow; wide, beautiful streets
studded with palms and tropical
shrubs.
We cleaned up Monte Carlo, Nice
Cannes and the hundred and one
other famous resorts along the shores
of the Mediterranean; skirted the
northern slopes of the Pyrenees, and
finally arrived at Biarritz.
Charley Chaplin was supposed to
be there at the time, and long lines
of people stood outside the big hotel,
waiting for a glimpse of him. When
we set up, trained on the entrance for
a shot of our own with a car, people
flocked around demanding to know
when Chariot would appear. They
seemed to think I had cheated them
when I finished my work and folded
up and departed.
Saw Jack Warner at Juan Les
Bains. He did some of his usual kid-
ding, pretending to get in front of
the camera when he knew* I wasn't
shooting. I didn't recognize him un-
til I had given him an old-fashioned
Hollywood cussing out, and then we
had a good laugh.
I circled up the coast, and finally,
at Bordeaux, came to the parting of
the ways with Alec. He had taken
every wrong road in France by that
time. When I got back to Paris, I
signed up a swell chauffeur, Ducky
LaRue, an American who has lived
in Paris since 1916. He drove for
Pershing for four years and Persh-
ing's parents-in-law, Senator and
Mrs. Warren.
He is a darb — and if you go to
Paris and want a swell driver be
sure and look up Ducky. You'll find
him at the American Legion head-
quarters. He'll cooperate 100 per
cent, speaks excellent French, knows
all the angles and won't chisel.
I used Ducky in Switzerland, Italy
and Belgium, and never had cause
for complaint.
Italy, of course, I looked forward
to with great eagerness. My parents
were born there, and I'd heard about
the wonders of sunny Italy from ear-
liest childhood.
Piling Beauties
We laid around Venice for ten
days, waiting for it to stop raining,
before I got my first shot. Venice,
with its smelly canals, is bad enough
in sunshiny weather, but when it
rains, and there's no place to go, it's
terrible. However, it is gorgeously
beautiful, and I felt the time we
wasted waiting for sunshine was well
spent as I finally got some good stuff.
Florence was a great spot, although
we had to shoot between showers
there again. Milan, Pisa, Rome.
Naples — why name them all? I saw
and shot them, swearing that each, in
turn, was the most beautiful city in
the world.
My Italian stood me in good stead
and I had no difficulty in Italy except.
if anyone asked, I was working for
the official Italian movie company, in-
stead of Fox.
And in Italy you have to be pre-
pared to submit everything you shoot
to censorship by Mussolini before it
leaves the country. Of course there
are ways and means of getting stuff
out, if a person really wants to.
Jack Perry, my assistant, as I said,
is a Scotchman, and certainly went
for Italy in a big way. He turned
Facist his first day over the border,
and bought a black shirt.
"An' why not?" he asked. "It
saves a bonny bit on the laundry."
My advice, in case my eleven
months experience gives me a right
to hand it out, to fellow-cameramen
who go abroad can be summed up
very briefly.
First, keep your temper at all
times. Second, be smart. A little
salve goes a long ways. Third, learn
at least a little of one foreign lan-
guage. It will help marvelously at
the most unexpected times. If you
speak nothing but English you are
due to be trimmed.
Follow these three rules, and you
can't go wrong. But above all, don't
ever lose your temper. I did just
once. And it's a lot easier to get in
jail than to get out. Believe me!
Cathedral of Pisa, Italy
Soviet to Install Fifty
Recording Sets and Large
Number Reproducing Sets
ACCORDING to a report received
from Acting Commercial Atta-
che Douglas Miller at Berlin, the
government in Soviet Russia has been
interested in the development of talk-
ing pictures snee 1926 and from that
time on has had engineers working
on this question. In the year 1930
Meshrabpom Film Company, a soviet
organization, began to work system-
atically at the production of talking
pictures. The organization now has
ten studios with nine recording sets
installed.
There are a number of other stu-
dios in the country, principally at
Leningrad, Moscow and Kiev. The
soviet claim that in 1932 they will
have 50 recording sets installed, all
working on a principle designed by
soviet engineers.
The Woomp Plant at Leningrad is
manufacturing reproducing apparatus
and expects to make several thousand
sets for installation in theatres in
1932. These are all built according to
specifications and designs of soviet
engineers.
A number of talking pictures were
produced by the Soviets in their stu-
lios in the present year. The first one,
"The Way to Life," has been shown
in Germany. Other pictures have been
made, but hardly any have been ex-
ported. They are, of course, in the
Russian language.
The Soviets also are experimenting
on foreign language versions. They
claim to have special inventions re-
garding the width of the film, the
placing of the picture strip on the
film, speed of the reproduction appa-
ratus, etc.
March, 1932
The INTERNATIONAL PHOTOGRAPHER
Seven
Yes, Camera Wings
The DURHOLZ LENS
No . . .
Delays
Loose Lenses
Screwdrivers
Approximations
Special Tripod
Tied Up Camera
Turret Interference
Zooming Shots
When and Where You Want Them
10 second set-up, Mitchell type cup, any camera
Fully focussable, Infinity to 3 ft. as usual.
Always in focus long shot to close-up
Range 40 nun. to 6^ inch, 16 times area
Full automatic sunshatling
Optically corrected rate of image increase
Rugged, All-metal construction, weight 5 lbs.
Zoom in one second or longer, crank or lever
Speed compensated at F/8 full, F/5.6 triple range
Automatic magnification limit if stop is increased
Focal synchronization to lens variation of 1/100 mm.
CORRECT— COMPACT— DIRECT — CONVENIENT
Orders filled in turn. For particulars write
OTTO DURHOLZ
21 MARTIN ST. PATERSON, N. J.
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37 iniii. for new
aperture
Eight
The INTERNATIONAL PHOTOGRAPHER
March, 1932
When Shark Lifts Bait from Lens
And When Deepsea Cruiser Noses Meat Placed
16 Feet from Camera and Brushes Lens
with Tail Lindon Grinds On
WHEN thirty feet under water
in a diving suit and you find
that a shark nibbling at bait
which you happen to know is sixteen
feet from your lens also is swishing
your camera with his tail, how many
guesses do you require as to the
length of that pretty boy?
Or after you have mounted a piece
of liver just under your lens and you
observe a granddaddy shark with
widely parted jaws coming up the
line to look over your works and see
if he can dig up anything to eat, do
you think you will prefer to go home
or will you wait and examine the in-
terior of that cavernous dungeon
which every slow-beating second en-
larges to your not entirely gratified
vision?
And in the immediately foregoing
instance — and especially — just after
you have followed the motions of the
same unexcited and slow-moving
creature as he approaches a dead
cow at rest on the bottom of the
ocean and slipping his jaws over a
leg of the animal from hoof to hip
and with none of it protruding quietly
and easily separates the limb from
the major subject?
But why continue in this vein?
Curley Lindon returned from the Vir-
gin Islands whole in frame and sound
in body — and concededly not unappre-
ciative of being able so to state to
those who may be interested.
With Roy Eslick, director fellow-
cameraman, and Harold McNiff he
was in the Virgin Islands on a pri-
vate commission. The journey lasted
seven months and was most success-
ful in that the cameramen brought
home the things they went south to
get. Incidentally "south" is correct,
as the islands not so many years ago
taken over from Denmark range in
latitude somewhere between ten and
twelve hundred miles below Los An-
geles.
Use Subsea Camera Box
Lindon was in charge of matters
under the surface of the water and
Eslick of those above it. With him
to the West Indies Lindon took along
Paramount's underwater camera box
in the designing of which he had
been a part and with which he had
photographed the submarine scenes
of "The Sea God" off Catalina in
1929.
The contraption is so arranged
that a cameraman may pan or tilt
or both the same as under ordinary
circumstances. As an example a fish
approaching the camera or passing it
may be followed through the water as
long as he is in sufficient light to be
recorded.
This may be a good spot to refer
to what the airmen describe as visi-
bility. When the cameraman was
asked as to the hours available for
his work thirty or more feet under
the surface of the water he said gen-
erally between 9 and 3:30. Before
and after those hours the slanting
rays were responsible for resemblance
to fog. Objects could be followed
from the lens for a distance of fifty
or more feet around noontime. The
exposure usually employed was about
5.6 with a filter in the neighborhood
of Kiy2.
The light's brilliance was enhanced
by the season. The party left Holly-
wood in August and the first work
was done under water. The suit
weighed about 200 pounds and the
camera with its impedimenta about
300. While the latter weight might
be cumbersome to handle on the sur-
face that was not the case in thirty
or more feet of water. There it
could be moved without any particu-
lar difficulty.
While Lindon was below Eslick
was on the barge on the surface
supervising handling of the pumps
and lines. Then there was a native,
Henry of St. Thomas, a lad of
twenty-two years, who was dresser
and pump man — and no one dared
touch either diving suit or pumps but
Henry.
No one attempted to estimate the
comparative and relative rank which
he enjoyed among his fellows by rea-
son of his commission as aid to two
white cameramen, one of whom took
pictures under water. Nevertheless
it was conceded to be something be-
yond the average white man's imagi-
nation.
Henry Errs — Once
To be sure Henry did make one
disturbing mistake, but like a regular
guy he only made it once. That was
his assumption that when he saw
Lindon's head come above the surface
of the water no longer was it neces-
sary to keep on pumping. The omis-
sion quickly was noted and Henry in-
formed that if the air did not con-
tinue uninterruptedly to flow until
the helmet was removed the diver
would smother.
While the subsea cameraman had
had considerable experience off Cata-
lina in the making of "The Sea God"
he discovered on his first descent in
the West Indies there was at least
one experience he had not previously
Left, Henry stands by as Roy Eslich and Curley Lindon say good-bye when latter prepares to descend to photograph
sunken Russian tragedy ship. Right, Lindon and Eslick on each side of camera box dismounted from tripod.
March, 1932
The INTERNATIONAL PHOTOGRAPHER
Nine
Henry adjusting helmet as Lindon prepares to descend — camera box suspended over side. Right, Lindon going over
side at St. Thomas.
encounterd. He had gone below to
set up the camera and get things
ready to shoot. No one had told him
in the event they had happened to
notice it that several sharks were
wandering about in the waters.
Lindon had just released his hold
on the tripod on the floor of the
ocean when he saw not one shark but
three of them cruising in the imme-
diate neighborhood. Never having
been previously introduced to one of
these travelers he stood not on the
order of his going. Nor did he wait
to get hold of the ascending rope.
He hopped the descending one and
started home. He learned afterward
the trio had come after some bait
that had been thrown overboard.
Sharks All Around
When he went over a little later,
all set to receive visitors and as be-
fore bearing a sharp and long knife,
he found the creatures would come
close up to the cameraman but made
no attempt to bother him. Nor was
there occasion during the week that
was spent on the shark stuff under
water to draw the knife. And inci-
dentally it may be added the writer
gathered that not on account of this
circumstance were there any regrets
on the part of the human intruder.
After photographing the "waters
under the sea" the cameramen spent
some time on the surface. They also
paid some attention to surface sharks.
In connection with one of these latter
sources of excitement Henry had an
adventure quite lively while it lasted
It seems on a previous occasion
there had been some question in
Henry's mind as to whether there had
been unanimous opinion that his per-
sonal bravery was beyond reproach.
So when a very much alive ten-foot
shark was pulled into a twenty-five-
foot boat and Henry was asked to cut
off the tail to prevent someone being
killed the black boy without hesita-
tion grabbed the shark by the tail.
Right away he was in the same posi-
tion as that mythical person who
stood in the same relation to the
mv+hieal bull.
The lad was more like a feather in
a wind than an executioner in spirit
or fact. But grimly he held on and
determinedly he slashed. He was
slammed against the side of the boat
and sometimes perilously near out of
it, and out of it there was nothing
resembling the security of a family
bathtub.
But grit won and the weakening
shark lost his tail and his larger am-
bition generally to rip up things.
Whatever taint Henry may have sus-
pected had attached itself to his repu-
tation automatically was removed.
Again he was a man among men —
and the boy was happy.
After completing the outlined work
among sharks the cameramen devoted
much time to tropical fish, coral
formations and sea life. All of the
photography was in black and white.
Amid Ghostly Spars
St. Thomas long has been known as
a graveyard of ships. In the old
days it was the custom when vessels
had outlived their usefulness to strip
them of anything of value which
might be removable and then take the
craft outside and sink them, fre-
quently in water as shallow as thirty
to forty feet deep.
On the floor of the ocean Lindon
photographed one famous derelict.
It was a big iron-hulled Russian
sailing ship which with all sails set
had smashed in on a reef. When the
craft was examined as it stood high
and dry the bodies of thirty-one men
were found. The presumption is the
ship was long becalmed and the crew
ran out of water and died.
After the bodies were removed for
burial a heavy storm knocked the
ship off the reef and still with all
sails set it slid to the bottom at the
foot of it. Here Lindon strolled with
his camera and recorded the proces-
sion of fish that sailed around ghostly
spars and over slimy decks.
To the natives the waters about the
ship are taboo. It is their belief the
spirits of the sailors who died now
roam through the wreck in the form
of eels and fish.
In the underwater life the photog-
rapher encountered in his work
among the sunken hulls were conger
eels, plenty vicious and feared by
divers because of their manner of
flashing out from among rocks and
attempting to bite the divers on the
leg, having the deep discretion, how-
ever, to retreat when disappointed in
finding owing to the diver's suit they
could not inflict injury.
Lindon tells a story of a baby octo-
pus he observed catching fish, al-
though he was unable to photograph
it. The little fellow measured twenty
inches in diameter. After concealing
itself among rocks it sent up one long
feeler with a flexible tip. This tip
he slowly moved until a fish was at-
tracted. Then gradually the feeler
was lowered and as unconsciously the
fish followed the descending bait. The
victim did not realize that another
feeler was creeping up behind him —
that is, until it was too late.
For two days the party was caught
on a reef off the Island of St. John
in a hurricane. Due to lack of pro-
visions, as but a short trip had been
planned, the experience proved de-
cidedly unpleasant.
Dancing Under the Ocean
Among the visits was one to the
citadel of Christophe, 3000 feet in the
hills above the sea. Here many good
shots were taken. This relic of Haiti's
black king of many years ago was
described in detail in the issue of
February, 1931, by Esselle Parichy,
another International Photographer.
One incident not recorded on film
was a bit of horseplay on the part of
the cameraman's visiting professional
diver. On the bottom of the bril-
liantly illuminated sea the new-
comer staged an impromptu solo
dance. It was classical stuff and
weird beyond description. The light-
ness of the human body deep below
the surface of the water contributed
to the possibilities.
The diver, poised on a rock, sailed
not into the air, of course, nor yet
into space, either. Rather it was off
the floor of the ocean. As he did so
with his left foot extended a la Pav-
lowa he closed the escape valve for
(Continued on Page 38)
Ten
The INTERNATIONAL PHOTOGRAPHER
March, 1932
BronnerHotne Again
Leaves Alva in Mediterranean at Conclusion
of Globetrotting Vanderbilt Scientific
Expedition — Greeted by Friends
By BOB BRONNER
In Letters to His Father in Hollywood
With Photographs by the Writer
11 P. M.,
Wednesday, Dec. 30, 1931,
Monte Carlo, Monaco.
HULLO Dad:
Just finished running off
six reels of 16 mm. for the
Commodore and his dinner guests.
They were very much enthused
with the views of the places we
have been.
After running up and down the
hills today, seeing half a dozen
Monagasque officials, I succeeded
in obtaining permission to photo-
graph scenes tomorrow and I in-
tend to shoot them in color, weath-
er permitting, as this part of the
country is ideal for color. I was
told there is to be an auto race
through the streets tomorrow, an
annual event, so I may be able to
get some exciting movies.
My impressions of Monte Carlo
as I see it are of colorful build-
ings, steep hills, red tiled roofs
and marvelous seascapes with a
rugged coast line for background.
Also as I gaze about me I notice
nine out of every ten women prom-
enading with one or two and some-
times three poodles or Pekinese
dogs on a leash, guided by French
ladies with flashing dark eyes, and
using the cutest accents imagin-
able, and the men accompanying
them wearing berets.
The Monagasque soldier wears
a uniform similar to our vaude-
ville wooden soldier, with the
sword hanging at the side and red
stripe down the side of trousers.
There are many roadside cafes
and English and so-called Amer-
ican bars scattered over the city.
All the people seem to be trying
to work out a system to beat the
gambling games at the casino
One can see many gigolos in small
ballrooms asking any lonesome
lady to dance.
Thurs., Dec. 31, 6 P. M.
Just returned from a most in-
teresting trip from Upper Cornish.
I cranked out some of the most
colorful views imaginable — little
villages with their red tiled roofs
and varicolored trimmings, backed
with the blue sea, white surf and
Top, eighteen-foot Buddha in Men-
doet Temple in the interior of
Java, Dutch East Indies. Center,
view of part of harbor of Papeete,
Tahiti, South Sea Islands. Lower,
close-up of Nile felucca at Cairo,
Egypt.
its rugged rocky coast. They are
the prettiest views I have seen in
many a day, and I am more than
pleased it was a good clear day
and I had the opportunity of
grinding out quite a bit of color
film
It was certainly worth all the
trouble I went to yesterday to ob-
tain those permits, and it also
pleases me to feel I had spent the
last day of the year very interest-
ingly. . As I look back over the
past six months I cannot hep say-
ing that it has been the most in-
teresting six months of my life.
The second mate and myself are
going to take a ride into Cannes
and Nice tomorrow. I haven't
been to Cannes yet, and I want to
see it, as they tell me it is even
more beautiful than Monte Carlo.
Friday, Jan. 1, 1932.
Jumped into the launch at 11:30
with the second mate and hopped
a bus for Nice and had lunch at
Charley's, The Better Ole, and
then went to Cannes, 20 kilometers
further east along the coast. The
ride to Cannes from Nice is not
as pretty as from Monte Carlo to
Nice, as it runs along a level route
through the farm lands and bar-
ren fields.
Cannes is a much larger city
than Monte Carlo, with quite a
number of English and American
yachts and aso numerous smaller
sailboats of various designs in the
harbor, which makes it all very
picturesque.
There was a town fair going on
as we arrived, and it gave me the
impression of a little California
beach resort with all the conces-
sions run in the same way, but all
real French atmosphere about
them.
In walking along the sidewalks
we had either to go single file or
one of us would have to walk in
the road as the pavement was too
narrow to permit two to travel
abreast.
A great number of shops were
open, so we walked around window
shopping and seeing the sights for
an hour or more, then back to
Nice, where we had dinner, stop-
ping again at the Better Ole, a
very cozy and unique bar and din-
ing room.
Every one seemed jolly and full
of fun and we had an interesting
time. Whenever we pay a bill or
buy something the Frenchmen, as
March, 1932
The INTERNATIONAL PHOTOGRAPHER
Eleven
soon as they receive the francs.
always say with a bow, "Merci,
monsieur, merci," as sort of a
blessing of thanks upon us, I pre-
sume.
We of course use the more harsh
and uglier word "Thanks," with-
out any sentiment. So back to
Monte Carlo, after another inter-
esting day.
Jan. 2 — 9:30 A. M.
We are now pulling up the mud-
hook to be on our way to Ville
Franche, to anchor there for the
day. We anchored at 11:15. The
weather is very cold and goes right
through us. Maybe it's because
our blood has thinned out from the
heat of the tropics.
Sunday, Jan. 3.
Up anchor from Ville Franche
8 A. M. with smooth running to
Marseilles and dropped anchor at
5 P. M., but did not go ashore by
reason of the lateness of the hour.
When I go sightseeing I want to
take my shooting box along, and
I fear they would think the war
was on again if I started using
flashes, and I don't want to lose
my permit.
Monday, Jan. 4.
The Alva went into drydock at
10 A. M. to have the hull' painted
and propellors tightened. Then we
went ashore and strolled around
all afternoon with a watchful eye
for a good shot.
Marseilles is the main commer-
cial port for the south of France
and also the dirtiest and most cor-
rupt town. Perhaps it is because
of the extreme cleanliness of
Monte Carlo and Nice and other
places that by contrast gives me
that impression.
The atmosphere is always full
of smoke and soot from the facto-
ries. We walked up several damp
and musty alleys, and saw some
interesting little shops.
Tuesday, Jan. 5.
I kept myself busy today straight-
ening up around the darkroom and
packing up a lot of souvenirs. We
left drydock at 3 P. M. and anch-
ored in the old harbor while we
refilled our oil fuel and water
tanks from barges alongside. It
took most of the night as our tanks
were nearly empty.
Wednesday, Jan. 6.
Up anchor and out of Marseilles
at 8 A. M. and arrived back at
Ville Franche at 4t30. We went
ashore and strolled about some pic-
turesque streets.
Thursday ,Jan. 7.
Developed and printed all morn-
ing and ran our 16 mm. movies for
the Commodore's guests at 6 P. M.
Then the second mate and I caught
the launch and rode to Nice and
then the bus to Monte Carlo to say
-bye to a friend.
We also stopped off to see
"Tabu" playing at the Beaux Arts
Cinema. It certainly did bring
back memories of the Society Is-
lands.
We had the good luck of catch-
ing the last bus, so back aboard
the Alva at Ville Franche, at 1:30
A. M., for a good snooze. Oh,
what a difference in printing and
developing this morning compared
to what I had to contend with in
the tropics from the tropical heat.
Friday, Jan. 8.
Up anchor at 8 A. M. from Ville
Franche and out into a medium
sea with only a few swells and
again dropped the big hook at
Toulon at 3:30 P. M. Toulon is
the French naval and army base.
There were eight or nine warships
and an airplane carrier at anchor.
The shore line is dotted with forts.
There was also a great number of
negro or Singalese troops.
So you see we are really on the
last lap of our cruise, in prepara-
tion of crossing the great big wide
open water space, the Atlantic.
As far as we know at present
writing we are going to Sete,
France, then to Barcelona, Casa
Blanca, Canary Islands, Bahamas
and thence to Miami. The latest
word is we expect to reach Miami
around February 15, but one can
never tell. So don't you even de-
pend upon this.
Toulon, France, Jan. 8.
I have been on this cruise just
six months today as we left New
York July 8. Here's a part of the
itinerary for the past few days,
since the last letter, dated Dec. 30
and mailed yesterday, Jan. 2. My
last letter I wrote you from one
year into the other.
Saturday, Jan. 9.
There was a storm blowing out-
side the breakwater so we re-
mained at anchor all day. I went
ashore for a while, roamed around
for a few hours and shot a few
more pictures.
On the way back in the launch
the wind blew the spray into the
launch whenever we would step
into a wave head on, resulting in
us getting a good soaking.
Sunday, Jan. 10.
Up anchor from Toulon at 8
A. M. bound for Marseiles.
A strong north wind is blowing
from the Alps. The barometer is
falling and the weather ahead
looks very stormy, so we headed
into Marseilles.
Monday, Jan. 11.
A steady rain has been falling
all night and today, and I took
advantage of it by working down
in the darkroom all day, experi-
menting on some ideas I have in
my noodle
Wednesday, Jan. 13.
The second mate and yours truly
went ashore and snooped about
this afternoon, with the graflex
ever ready to take a worthy shot
Upper, silversmith at his forge in
the town of Boolelang, Island of
Bali, in Dutch East Indies. Cen-
ter, pool in a lagoon near Latouka,
Fiji Islayids. Lower, Fijian home
in process of construction near
Suva, Fiji Islands.
Twelve
The INTERNATIONAL PHOTOGRAPHER
March, 1932
. . . seeking the unusual. We must
have covered in all ten miles. We vis-
ited the Cathedral of Notre Dame de
la Garde. This is a very old place of
worship for mariners and fishermen
since the eighteenth century.
The interior is very impressive, the
walls being inscribed with the names
of ships and sailors rescued from the
storms and hurricanes at sea; also
miniature replicas of vessels suspend-
ed on wires from the vaulted mosaic
ceiling in the altar room.
This cathedral is built on the top
of a high hill overlooking Marseilles
and the sea. From the sea the cathe-
dral can be seen from a great dis-
tance above the breakwater with its
gilded statue of the Madonna on top
of the tower.
We then strolled up the Rue Cane-
biere, the main street of Marseilles,
and through the narrow cobblestone
streets, the sidewalks being lined
with all sorts of markets and shops.
Then after a good meal we went to a
dance.
In the center of the channel on
entering the harbor is the former is-
land fort of Chateau D'lf, later used
as prisons and now only for the visit-
ing public. It is constructed of large
brown rock, with a high wall encir-
cling it, with towers and battlements.
Thursday, Jan. H.
Up anchor from Marseilles at 8
A. M. and then across the Gulf of
Lyons to Sete, a small fishing village.
It is built into the sides of the hills
similar to the town of Ville Franche,
but more built up. As we came into
the harbor to anchor at 3:30 the fish-
ing fleet was returning home from
the day's catch. As it entered the
breakwater it furled sails and coasted
into a landing. It brought in a good
catch of vari-colored fish for the mar-
ket. I was lucky enough to obtain
some pictures of the boats before the
sun went down.
Friday, Jan. 15.
The Commodore again suddenly
decided to go to Paris, this time for
a week or ten days. Seems as if we
never will get closer to home. I am
personaly a bit anxious to get back,
yet I would like to see a few more
places in this old world of ours.
I was just informed the Commo-
dore is detained here indefinitely.
Perhaps until March or later. So the
artist, second Sparks (wireless) and
myself are sailing from Marseilles on
the 20th of January. The President
Harrison is one of the Dollar Line
world touring boats and will make
several stops on the way over before
hitting New York.
I expect to be home about Feb. 5.
You know, Dad, it seems like years
since I've had the pleasure of a real
good scrap with you, so get yourself
in shape.
Bob's Last Letter to His Dad
On Board the President Harrison
Going Through Gibraltar
Jan. 22.
Well, old deah, here I am bound
for home at last. I can scarcely be-
lieve it myself, and no matter how
fast they tell me this ship goes it just
doesn't go fast enough to suit me.
The Alva is still anchored at Sete.
I was glad to leave, yet sorry after
such a wonderful voyage. You know,
one of those feelings that come over
one: "Glad to go and hate to leave."
On board here I have a good first-
class stateroom and very fine meals —
but it is indeed an awful bore to sit
around doing nothing but read, and
I am too restless and anxious to get
back. As I look out upon the ocean
it doesn't seem as if the bloomin' ship
is moving at all, for no matter how
fast a ship goes one cannot tell its
speed unless they really look over the
bow and watch it cut through the
water.
I have my graflex with me, which
seems to have become a part of my
anatomy as I have always carried it
about with me wherever I went this
past seven months. I might see some-
thing to shoot at.
Friday, Jan. 28.
The night before last a gale started
to blow and lasted until this morning,
with a 55 m.p.h. wind and very high
seas. This 600-foot ship drove into
them and shipped water over the bow
and stern; so this all helped to re-
lieve the monotony of the cruise a bit.
We are clear of the Gulf current
now and in the North Atlantic headed
for the Labrador current. So each
day is getting colder and with five
days more to run we have a good
chance of meeting more storms.
Monday, Feb. 1.
Thursday was calm and warm, but
Saturday, Sunday and today it is very
cold and rough, the wind blowing at
about 50 miles and piling up the seas.
The ship is rocking so now that I'm
having a devil of a time writing
this. The bow rises and drops into
another big wave and lifts it right
up on deck.
We have run through at least a
dozen snowstorms in the last two
days, and we are going through a
heavy fog right now, the whistles
blowing every few moments and the
boat creaking all over. I haven't
missed any meals yet — and feel fine.
I go up on the lower bridge every
so often to get the real cold air and
watch the waves and spray come up
over the fo'castle.
I just saw something that reminded
me of something that happened in
Java — and I don't think I told you
about it in my other letters.
A Chink in Djokja, Java, was so
tickled that I came into his store to
buy tooth paste that he gave it to me
as a gift.
I couldn't speak Chink and he no
English, so I made motions of "brush-
ing my teeth," and it seemed so un-
usual to him that he wouldn't let me
leave the place without accepting it.
It may be possible that "the motions"
I made of "brushing my teeth" may
have been the "high sign" of some-
thing or other; a "secret code," for he
seemed unusually pleased. But "D-
jok-a" was on him.
Well, Dad, old deah, this will be
my last letter to you as I expect I
will be more than half way home
across the U. S. by the time it reaches
you. So it won't be long now.
Whoops, my deah!
Feb. 2.
Whoopee! Landed at 5 P. M. to-
day. It feels good to be on land
again.
BOB.
Native village near Apia, British Samoa
Hollywood, Feb. 9.
To Brother Members and Friends
of Local 659.
GREETINGS: After an absence
of seven and a half months on
a cruise of 32,000 miles around
the world, I am happy to be home and
among you all and once again put on
the old harness and settle down to
March, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirteen
studio work, as you may appreciate.
I did not know for several months
that my letters to my father were
being published in The Interna-
tional Photographer, but now I feel
there is little I can add to it other
than that it was a wonderful cruise.
The position itself I obtained
through the courtesy of Al Gilks, first
cameraman and brother member.
During the cruise, in and out of work-
ing hours, I could not have wished for
a better associate, and we have had
some fine experiences together.
Commodore William K. Vanderbilt,
a thorough gentleman, showed us
every possible consideration in the
course of our work. He permitted us
to work out our own ideas as to what
would make the most interesting mo-
tion and still pictures.
I would also like sincerely to thank
all brother members and friends for
their courtesies toward my father
during my long absence; he has told
me all about it.
Robert J. (Bob) Bronner.
Uncle Sam Compiles Statistics of
Film Theatres All Over the World
THE Department of Commerce
lias compiled figures covering the
jstimated number of motion pic-
ture theatres and the approximate
number in foreign markets wired for
sound production. It is understood
that these totals as of December 1,
1931, are not official figures but are
from reliable sources and to those
interested in the information will con-
stitute a fair indication of the status
of each market. Those theatres that
have sound installations are indicated
in parentheses. The estimates are as
follows :
In Europe, 29,316 (11,217), distrib-
uted among the different countries as
follows: Germany, 5200 (2000); Eng-
land, 4850 (4100) ; France, 3250
(1200); Spain, 2600 (380); Italy,
2500 (484); Russia, 1800; Czecho-
slovakia, 2000 (350); Sweden, 1100
(750); Poland, 900 (100); Austria,
745 (300); Belgium, 740 (180); Hun-
gary, 520 (181) ; Denmark, 300 (200) ;
Portugal, 405 (36); Yugoslavia, 370
(107); Switzerland, 325 (140); Fin-
land, 200 (97); Rumania, 400 (135);
Norway, 245 (76) ; Netherlands. 245
(201); Greece, 150 (50); Bulgaria,
138 (35) ; Turkey, 90 (23) ; Latvia,
85 (27) ; Esthonia, 83 (33) ; Lith-
uania, 75 (32).
In the United States, 20,000 (13,-
500).
In Latin America, 5435 (1379), dis-
tributed among the different countries
as follows: Brazil, 1600 (185) ; Argen-
tina, 1608 (402); Mexico, 701 (212);
Cuba, 280 (207) ; Chile, 212 (85) ;
Columbia, 220 (20) ; Uraguay, 125
(76); Venezuela, 123 (16); Porto
Rico, 122 (78); Peru, 100 (36); Sal-
vador, 47 (2) ; British West Indies,
42 (5); Guatemala, 32 (4); Panama,
38 (36); Dominion Republic, 31 (2);
Honduras, 27 (1); Ecuador, 25; Nic-
aragua, 24 (2) ; Costa Rica, 21 (5) ;
Bolivia, 20 (2); Paraguay, 9; Haiti,
9; Bermudas, 8 (2); British Guiana
5 (1); Dutch West Indies, 4; British
Honduras, 2.
In the Far East, 4925 (1529), dis-
tributed as follows: Japan, 1485
(102); Australia, 1500 (825); New
Zealand, 383 (289); India, 675 (87);
Philippine Islands, 300 (65); China,
233 (40) ; Netherland, East Indies,
196. (96); Siam, 42; British Malays,
42 (18); French Indo China, 34 (3);
Ceylon, 24 (4); Fiji Islands, 6; So-
ciety Islands, 5.
In Canada, 1100, (705).
In Africa, 690 (271) and the Near
East 85, (16), distributed as follows:
South Africa, 450 (156); North
Africa, 150 (75); Egypt, 65 (36);
West Africa, 12 (2); East Africa, 9
(2); Madagascar, 4; Syria, 6 (1) ;
Palestine, 25 (6); Persia, 33 (1) ;
Iraq, 7 (3).
Reorganizing Sojuskino
The Sojuskino, a soviet Russian
state film concern, is undergoing a
complete reorganization. A number
of film trusts under state control are
to be created to handle film produc-
tion and exhibition. These will be
divided as follows: Technical, instruc-
tional and educational films; news-
reels; raw film and apparatus; cinema
construction; imports and exports.
Engineers to Hear Papers
on Prints and Photography
PROBLEMS confronting the indus-
try in regard to release prints
and theatre operating practices
will receive special consideration dur-
ing the meeting of the Society of
Motion Picture Engineers to be held
in Washington May 9 to 12 next.
Another session will be devoted to
photographic problems.
It is believed by the society that
the poor quality of release prints has
complicated the work of the operator
and has affected theatre attendance,
and the papers committee plans to
secure the best authorities in the in-
dustry to present papers on this gen-
eral subject. Leaders in theatre
operation also will be secured to de-
liver papers before the session on
theatre operating practices.
Changes This Year
A number of changes have been
tentatively planned for the meeting
this year. There will be no business
sessions on the opening morning of
the convention, this being reserved
for registration and organization
work. On Monday afternoon atten-
tion will be given to the business of
the society and committee reports.
The session of theatre operating
practices is scheduled for Tuesday
afternoon. A session will be held
Wednesday morning at the Depart-
ment of Commerce, where a number
of talks will be given by officials.
The Thursday morning session
will be confined to the problems of
release prints. The photographic
session wil be held Thursday after-
noon. For the evening sessions it is
planned to show previews of motion
pictures Monday and Tuesday eve-
nings.
Interior of Chinese Snake Temple at Penang, Strait Settlements,
Malay Peninsula
Fourteen
The INTERNATIONAL PHOTOGRAPHER
March, 1932
R
oderictffliles
6
As told by
Fred A. (Red) Felbinger
Chapter IV
AND jist about the time the old
guys what used to crank a box
to git a newsreel story gits used
to pushin buttons and puttin up with
noise ketchers along comes another
fly in the ointment to make the game
a pain in the neck ... or some-
where ... all kinda sudden like a
new plague busts into the racket. . .
Endurance fliers! !
The idea is for a coupla dizzy yaps
to go upstairs in some old crate,
labeled Spirit of Goldstein Cloaks and
Suits! or sumpin like that. (They
puts the "spirit" in the front of it
so's the newspapers and newsreels
don't ketch on its a publicity stunt
as well as gittin the poor celluloid
foggers to miss plenty nights of
winks).
Well, here's a coupla yaps what
takes off one mornin at one of the
Windy City flyin fields all set to play
ring around the rosy with the airport
#
oise ketcher
The Kid Himself
for a coupla weeks and their original
idea is to surprise the town with their
brave, noble deed after they gits the
wheels of the crate into the ozone.
So they ain't no newsreeler or even
a still man there to git a impression
on celluloid of what these here bold
birds of the cuckoo looks like for a
worshippin public what gonna clam-
ber out to the field to git sore necks
while they eats stale peanuts and
drinks warm pop, hopin they kin git
in on the big day when the new
heroes of aviation gits their brains
back and comes down to go home with
Ma and Pa.
A Postponed Vacation
Well, jist about the time these two
cuckoo birds is gittin their health up
into higher, fresher air, old Pat Mac-
Carthy is out buyin some fresh fishin
tackle for the two weeks vacation,
and Roderick Giles, ace Noise Ketch-
er and the Sassiety Reporter's favor-
ite hero, is gittin all set to roll back
to New York to put in his two weeks
sayin silly things to Gertie seein as
how Gertie has now promised to give
up the extra boy friends to be gaga
about Rod.
And Gertie has picked these same
two weeks also for the same work-
out. ... So Pat MacCarthy is jest
sayin "So long!" to Rod when in
walks a messenger boy with the good
word to pass up the vacation and
move out to the airport . . . also to
^o/- <"r^
S/s/
'Hey, you dumb noise ketcher, th' plane is gonna come down! What's th'
idea of scrammin?"
To the
Sassiety Reporter
stay there until the two cuckoo birds
come down to roost.
Well, "godam" is the only part of
Mac's feelins that kin be put down
here. . . . Rod, not bein so hard-
boiled as his button pusher yet, jest
breaks down and wets a coupla hand-
kerchiefs with his feelins about the
break . . . and Gertie back in Man-
hattan puts the vacation off a coupla
weeks and makes a coupla extra dates
to keep her lonely heart happy.
So Rod chauffers the old groan
truck out to the airport while Mac
sits next to him and cusses out every
car what they passes that looks like
it holds some hombre going off to the
lakes.
Well, Mac is a vet of these here
kind of assignments since this is the
third one he has been stuck with, so
he stops at the Army goods store and
buys a coupla cots and all wool blan-
kets, what shed the cotton on your
clothes of a night.
All Set for Landin
Also he picks up a pair of bones
and a coupla bottles of giggle drops
because he knows its gonna be a long
wait for these daffy birds to drop
back to where they shoulda stayed;
also Mac feels like maybe this is his
chance to get back some of the jack
he has passed on to the other tripod
jugglers at other wakes.
Well, it turns out that these two
cuckoo birds forgit they is such a
thing as ground below them and jist
fourteen days after Mac paid two
bits for that pair of bones finds Rod
perched in the truck sawin off
winks . . . while Pat is atop the
truck with the groan box all set up
for the landing hopin this is the day
whats gonna end the mess.
Mac is shakin the bones with a
gang of the film foggers kneelin on
the roof of the truck fadin his
dough . . . the bones what first set
Rod back two bits has now got him
in the red for about one hundred and
fifty iron men and Mac is gittin his
first streak of passes since he adopted
these two little ivory cubes.
One . . . two . . . three . . .yeah,
bo ! ... four straight naturals . . .
Mac sees the old pot mount up to
two hundred and twenty bananas.
"Never knew there wuz so much
dough in a gang of film foggers,"
thinks Mac, "and these guys all
tellin me they is out plenty after each
game!" ... So Mac wets his hands
with what the cigarmakers calls a
horrid word, and he rolls them bones
in his mitt all set for jest one more
big natural which he knows is in his
system, when the two cuckoo birds
zoom down to drop another one of
March, 1932
The INTERNATIONAL PHOTOGRAPHER
Fifteen
their silly notes tellin their little
women what to send up for supper.
Right on Mac's Bean
Well, the gang has seen drop down
plenty of these notes which is always
tied to some old wrench or sumpin
heavy so's it don't blow away . . .
they always drops right near the
press gang, too, so's these cuckoo
birds don't miss out on any of the
publicity baloney.
So Mac is about all set to roll em
out for the "two twenty" when all of
a sudden the cuckoo birds miss their
aim and down comes the note right
atop Mac's truck and the wrench
socks Mac right on the old bean.
Mac goes dizzy and the bones fall
out of his hands . . . two aces up. . .
"Snake eyes!" hollers Mac's buddies
as Mac topples off the truck. . . .
When Mac comes to he lamps Roddy
corkin off the winks and Mac knows
that last natural wuz in the deck for
him but them cuckoo birds up
there . . . !*&*$!*
Well, Mac picks up a pail of
drinkin water the gang has set there
and lets go at Rod with it ... no
reason Rod should sleep when a guy
has one lousy break like that . . .
and Rod wakes up thinkin he is
goin over Niagara Falls in a barrel.
Pretty soon the shades of night is
fallin over the airport and the nightly
mob of sightseers is pullin out to the
field to watch the tripod jugglers
make up their bunks right out in the
open . . . Rod has got himself a
washtub rigged up beside the truck
and is wringin out a coupla pair of
socks when all of a sudden he hears
what sounds like croonin from heaven.
"Hello, Roddy dear!" . . . Rod
jumps around.
"Gertie!" . . . and Mac comes
around to the truck jest in time to
lamp one of those Jim Londos holds.
So a little while later Rod and Gertie
has sneaked away from the crowd
what has gathered at the field and
they is sittin there all alone holdin
hands, with Gertie tellin Roddy how
she thought she would take her vaca-
tion and surprise him right at the
field and Rod is eatin up all this
baloney so Gertie gits down to her
real job of what she really came out
to Chi. for.
Gertie Gits Her Man
You know what the northwest
mounted police brag about ... so
jest a little while later Rod gits gaga
enuf to sing them fatal words what
gets guys into alimony clubs, mother-
in-laws and other tripe like that.
"Will you marry me, honey? Now,
while your out here in Chicago?"
Gertie gits one of them expressions
on her pan that they pays high-class
directors plenty of bucks for to
wheedle out of the leadin lady in
these here sex movies, and she gur-
gles "Uh, huh!"
"Gee!" moans Roddy, and he wig-
gles his adams apple like he never
wiggled it before . . . and then he
gathers himself the biggest and hard-
est armful of little Gertie that any-
one ever gathered and jest as he
smacks her on the lips the gang turns
on all the spotlights on the movie
trucks and two thousand aviation
fans on the field sees "Ain't love
grand."
So Rod and Gertie ducks out of
the spotlight and Gert promises to
be out to the field early in the
mornin ... so Rod climbs in his cot
and pretty soon he is dreamin about
weddin bells and things like that and
then he dreams he is flyin on a magic
carpet.
But he is only dreamin it . . .
whats goin on really is jest the gang
carryin him on his cot away from the
press section out on the middle of the
airport. . . .
Rod wakes up jest as the mornin
airmail plane is almost scrapin its
tail on his nose, so he sits up and
sees the press section about half a
mile from his bunk. He dashes across
the field in his XYZs jest as the gang
is havin their mornin eye opener.
Gertie Rolls Up
And about noon Gertie comes rollin
up to him in one swell vacation get
up ... so they gits together and de-
cides to sneak away when Mac isn't
lookin and git married.
"Waukegan is only a half hour
from the field!" cuddles Roddy, "and
we don't need a license there ! . . .
Mac won't miss me and them fliers
ain't comin down today anyhow."
The two love ducks jump into the
rent-a-car Gertie has brought out and
starts to roll away jest as Mac and
the tripod jugglers is gittin the word
from the cuckoo birds' publicity
agent that they has sent down a note
they is gonna make a surprise landin
any minnit.
Well, Mac makes a new record all
his own gittin back toward the truck
and he runs right out in front of a
little roadster and almost gits hit.
"Hey, look where your going!"
belches Mac, and then he sees it's his
dial twister at the wheel. "Hey!
come back, you silly lug! The fliers
is gonna land!"
But Roddy has a heavy foot on the
gas and don't hear him ... so Mac
dashes over to the truck and starts
to chase after Roddy . . . and the
way Mac's old film foggin box swayed
on top of that truck as he rolled aftei*
the disappearing roadster would of
made George Mitchell gloat figgerin
they wuz gonna be another customer
in the field.
Well, Rod and Gertie rolls about a
half mile stealin fishy-eyed glances at
one another when all of a sudden they
has to stop to leave one of them
hundred car freight trains roll by . . .
and they is all set to give her the
works once more for Waukegan when
Mac pulls ur> and yanks Rod out of
the car and hollers :
Why Scram?
"Hey, you dumb noise ketcher, the
plane is gonna come down ! what's
the idea of scrammin? ... I waited
two weeks for — " . . . and Mac is
about to finish when suddenly he
looks back toward the field jest in
time to see the plane kiss the ground.
"Well, I'll be ."
It takes Mac exactly twenty-five
minutes to say it ... he also invents
a coupla new ones Webster and
everybody else never heard of . . .
"Hello, Roddij Dear!"
but the plane is down, and since Mac
only stuck on that airport for two
weeks to ketch it come down he Ag-
gers he might as well pass up the
close-ups, too.
So he climbs into the roadster with
Gertie and Roddy, kinda humbly, asks
where he wuz gonna go. . . . Mack,
still blue in the face, screams . . .
"You drive that truck into town. I'll
take care of you later!"
And as he gives the roadster the
heeby jeebies goin back to town Ger-
tie finally gits up enuf nerve to
squeak: "Mac, where is you takin
me?"
Mac jest keeps on missin hittir
cars ahead of him whats draggin
their brakes at "sixty five" and then
he finally says, slowlike:
"Listen, Babe, I ain't got much
time to chin with you . . . There's a
New York train leavin in about
twenty minutes, and your gonna be
on it. . . . I'm ridin out to Gary on
it with you so's I'm sure your on it
whats more, too!"
(To be continued)
Equipment Passes Fire Test
The most severe test talking pic-
ture equipment tubes could be put
through was applied to the Western
Electric Sound System at the Apollo
Cinema, Nantes, France, when the
theatre burned. The fire occurred
late at night after the last perform-
ance.
The next morning it was discovered
that, despite the terrific heat of the
blaze, the equipment had suffered
little. The film in the lower magazine
was intact and the tubes from the
equipment, although showing traces
of carbon on the outside, were not
blown out and could still perform their
work.
Sixteen
The INTERNATIONAL PHOTOGRAPHER
March, 1932
FOR THE FINEST
PHOTOGRAPHY
OF THE YEAR
ilVER since it was announced, Eastman
Super-sensitive has maintained its lead-
ership in the negative field. It is especially
outstanding when its qualities are en-
hanced by the gray backing.
This year the biggest motion picture
successes, from a photographic stand-
point, will be filmed on Gray-backed
Eastman Super-sensitive. Familiarize
yourself with its use — now. The services
of the Eastman technical staffs are at your
command. Eastman Kodak Company.
(J. E. Brulatour, Inc., Distributors, New
York, Chicago, Hollywood.)
Eastman Super-sensitive
Panchromatic Negative (Gray-backed)
Gream oth Stills
V \<&
"OCR^
Unusual photograph of a set with numerous levels exposed by Robert W. Coburu at the R. K. O. studio.
fc»!^r'o...
S\r
Qream oth Stills
c+^L'O*.
yl lottery den
as we see it in
a First National
picture photographed
by Elmer Fryer
Clifton L. Kling
gets away from
his specialty
of old ocean
and goes into
the desert at
Gitadaloupe, California
Here is a
rainy night
in the studio
ns it is made
by those who
wait not for the
official rainmaker
and as photographed
by Mickey Marigold
The beast of the
jungle tonic* up
for air and for
a dolling up
for the photographer
in M-G-M's "Tarzan"
as shot bg
Neal Harbor ger
&*m."^
Qream a th Stills
e&*5o*.
Palm Canyon,
( 'alifornia
Ih re midst brooding hills
Ancient and scarred they stand-
Redolent with the mystery
Of another race, another hunt.
Photo by Ira B. Hoke
Verse by Berenice M. Conner
Qream oth^tills
^9<T2
Arenac of the Palms,
Elysian Park, Las Angeles
Transplanted to city streets
Young trees, tall and green,
Still breathe of desert places
And long forgotten things.
Photo by Ira B. Hoke
Verses by Berenice M. Conner
.<-"»
Qream o th Stills
^I'o,.
t>6„^
Surf piling in
at San Simeon,
above
San Luis Obispo, Cal.,
facing great ranch of
William R. Hearst.
Photographed by
James Manatt
Here we are in
historic old
Kernville,
where real miners
dug gold and
drank and died
with boots on
by the shores
of Kernville River,
which Don MacKenzie
shows ns
t^'o,.
'«*»»,«
(^ream oth Stills
**?L'o*,
°cRtf"
High up in the
mountains
Lake Tahoe puts on
its winter garb
so that
E. A. Schoenbaum
may lay the picture
in your lap
us you sit
by the fireside
Here is a
id re shot of
a lake in the
High Sierras
us it was
on the day
Homer Van Pelt
leveled his camera
against the
trees in the
foreground
Qream oth Stills
Frank Bjerring brings us a wintry shot from Truckee River, in California
March, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-five
Reach Agreement on New Aperture
Academy and Theatre Circuits Get Together on
Standard Size Designed to Improve
Artistic and Technical Quality
By FRED WESTERBERG
AFTER many months of discus-
sion, experiment and arbitra-
tion, the Academy of Motion
Picture Arts and Sciences announces
that all major studios and theatre
circuits have at last agreed to adopt
a uniform camera and projection
aperture.
This is expected to settle difficulties
that have vexed studio and theatre
men ever since the introduction of
talking pictures and to end the wide
variation in projection apertures
which the studios have had to provide
for and contend with in the produc-
tion of their pictures.
The result will be to enhance the
artistic qualities of the pictures
shown to the public and to correct
many technical deficiencies that are
only too prevalent under existing
conditions.
The necessary research work, con-
ferences and surveys were under-
taken under the sponsorship of the
Academy Producers-Technicians com-
mittee. Most of the details were in
the hands of a special sub-committee
under the chairmanship of Virgil
Miller, cameraman.
Representatives from the various
studios co-operated in the work and
a lively correspondence was entered
into with theatre men in various parts
of the country.
Lester Cowan, executive secretary
of the Academy, also made a special
trip to the east coast in order to pre-
sent the attitude of those engaged in
production and to obtain first-hand
knowledge of the needs and desires
of the exhibitors.
Aperture Specifications
Here are the revised specifications
that were finally adopted to go into
effect on all new productions after
Feb. 15, 1932.
Camera Aperture — Adaptation of
cameras and other equipment to an
aperture of .631 by .868 inch, having
its center line .7445 inch from the
guiding edge of the film. Other
dimensions are indicated in Fig. 1.
When the area reserved for the sound
track is not used it is to be printed
black in the positive.
Projection Aperture — Upon re-
ceiving films with the new frame size
theaters should adjust their projector
apertures to dimensions of .600 by
.825 inch, the center line to be .738
inch from the guiding edge of the
film. Other dimensions are shown in
Fig. 2. In no case should any theater
reduce the height of this aperture.
Screen masks should be adjusted for
a minimum overlap on the screen as
adequate tolerances for shrinkage and
weave have been made in the speci-
fied aperture.
One of the difficulties that slowed
up the negotiations in behalf of a
uniform aperture arose over trying
to maintain a 3 by 4 proportion on
the screen. To maintain a fixed pro-
portion on the screen is manifestly
impossible under present theater con-
ditions without using a wide variety
of aperture shapes. These are re-
quired to compensate for the distor-
tion produced by variations in the
angle of projection.
Problems Encountered
The use of prisms to correct this
distortion was investigated.
This method gave some promise
experimentally, but it had
proved too costly and uncertain
to be of value commercially and
could not therefore he consid-
ered as a way out of the present
difficulty.
The usual procedure of alter-
ing the proportions of the pro-
jection aperture at a sacrifice of valu-
able space on the film was severely at-
tacked. The contention was that the
full height of the photographed
image should reach the screen regard-
less of the angle of projection.
There was only one thing left to
do, and that was to permit the shape
of the picture on the screen to de-
part from the 3 by 4 proportion, the
amount depending upon the angle of
projection.
Projection Angle Complicates
Because most theatres project their
pictures at an angle rather than
straight on, the proposal was made
to reduce the height of all camera
and projection apertures in order to
obtain more nearly a 3 by 4 propor-
tion on the screen under average
theater conditions.
The projection chiefs of the major
theatre circuits proposed a correc-
tion based on a projection angle of
18 degrees, which would reduce the
.744 5'
Figure 1
Camera Aperture and Sound Track Specifications
Twenty-six
The INTERNATIONAL PHOTOGRAPHER
March, 1932
E. H. Amet's laboratory at Waukegan built in 1896, one of the first. The cupola was designed to provide a place
for hanging the film to dry. Right, Amet's camera used by George K. Spoor. Note the spring handle intended to
overcome vibration.
height of the projection aperture, for
instance, from .618 to .590 inch.
Area Paramount
A height of .600 inch, which would
compensate for a medium projection
angle of about 14 degrees, was as far
as the studios would go, however.
They made the contention that it is
more important, beyond a certain
point, to preserve area and height on
the film than to preserve a mathe-
matically exact 3 by 4 proportion in
any particular group of theaters hav-
ing steep projection angles.
Under the new conditions all pro-
jection apertures will therefore have
a proportion of 2.91 by 4. A pro-
jection angle of about 14 degrees is
the only one that will produce the
sacred 3 by 4 proportion on the
screen. The screen wil appear slight-
ly wider when the picture is project-
ed from a low angle and slightly
taller in the theaters with steep pro-
jection angles.
Undoubtedly the revised specifica-
tions that have now been adopted
represent the best adjustment be-
tween photographic and projection re-
quirements on which general agree-
ment between the studios and theater
circuits could be secured at this time.
Both groups have had to make some
concessions, but these fortunately are
of a minor nature and are far out-
weighed by the benefits to be derived.
The exhibitor should feel quite
elated despite the fact that only cer-
tain theaters will be able to project
an exact 3 by 4 picture. This in
itself, however, is not a real handi-
cap. Even the shapes produced at
extremely steep projection angles
should not be open to criticism by
the public. In no case will the pro-
portion on the screen be as square
<fcOP PROJfCTQ-R. XpeR.TUR.Er
.02 6
L__i__
- -*
I
.758
.825'
6fe s
I
I
.olS"
N<Ufr- t>oTTfcD LIN6 SHOWS ?"B.O JE-CTOR. APtli.TOR.E-
Figure 2
Projector Aperture Specifications
as that produced by the original
Movietone aperture.
• The advantage of being able to
stick to one aperture and one lens in
the projection machine is apparent.
From the point of view of showman-
ship the value of being able to pro-
ject the picture under all conditions
as it was originally composed in the
camera must also be considered.
The production forces, too, have
every reason to be happy over the
results obtained. They have been
forced to accept somewhat less pic-
ture area on the film than they had
hoped for, yet there has been a gain
made even if only in width.
The adoption of a uniform aper-
ture, however, covering all types of
talking and silent films is a distinct
boon. So also is the assurance that
composition and headroom will not be
sacrificed under severe projection
conditions. The harm caused by key-
stoning the projection aperture still
exists, of course, but that cannot be
helped a tpresent.
Prejudices Overcome
The efforts in this case to obtain
an impartial settlement, of a contro-
versial issue has been more than just
an engineering project. It has been
largely a diplomatic venture. The
engineering principles have been un-
derstood for some time. Even in tb^
days of silent pictures there was *.
so-called standard aperture, but ther*.
was not a uniformity in practice a»
any cameraman who has had his com-
positions butchered will attest. One
company manufacturing projection
equipment carried as many as 40 dif-
ferent sizes in apertures.
By ferreting out the opinions and
prejudces of all concerned and show-
ing the way to an agreement the
Academy of Motion Picture Arts
and Sciences has rendered a distinct
service to the industry and to the
public.
Company Admits Profits
At the general meeting of the
Nitzsche A. G., of Germany (company
manufacturing projectors and sound
film apparatus), it was decided to pay
a 20 per cent dividend to shareholders.
March, 1932
Th
INTERNATIONAL PHOTOGRAPHER
Twenty-seven
Los Angeles to Have Film Museum
Sponsored by Engineers' Society and Under Lead-
ership of Earl Theisen Exhibit Is Placed
in Exposition Park
LOS ANGELES is to have a mo-
tion picture museum, or rather
it already has such an institu-
tion. Installed in the Los Angeles
museum in Exposition Park is a real-
ly comprehensive exhibit formed dur-
ing the past six years by Earl (Ty)
Theisen as a result of a vast amount
of time and effort.
The Society of Motion Picture En-
gineers has formed a museum com-
mittee and named Mr. Theisen as its
chairman. Those who attended the
convention of the engineers in Holly-
wood last spring will remember the
remarkable display of motion picture
relics assembled by Mr. Theisen.
It was the revelation of the exist-
ence of this practically priceless ex-
hibit from an industry standpoint
that caused President Alfred Gold-
smith of the engineers to create the
museum committee. The Motion Pic-
ture Producers and Distributors in
1926 had tried to organize a histor-
ical collection of equipment, but noth-
ing had come of the attempt.
The Smithsonian Institution of
Washington has been named at vari-
ous times in recent years by eastern
film men as a fitting place for the
installation of a permanent exhibit.
Opposed to that position, however,
has been the attitude of motion pic-
ture men on the west coast, who
insisted the logical situation for such
a museum is the community where
the majority of pictures are made.
It would seem that due to the labor
of Mr. Theisen the west coast has se-
cured the jump on the remainder of
the country. Already there is a most
substantial nucleus for an exhibit
that in the years to come will attract
amusement men from all over world.
Cooperating with Mr. Theisen is
Art Reeves of the International Pho-
tographers and head of the Holly-
wood Motion Picture Equipment Com-
pany, who has been named by Presi-
dent Goldsmith a member of the mu-
seum committee for the west coast.
Also vitally interested and lending
every possible help in forwarding the
project are Dr. W. N. Bryan, direc-
tor of the museum, and Ransom Mat-
thews, curator of the physical de-
partment of the institution.
Chairman Theisen on behalf of the
engineers is asking contributions of
material in the form of relics or
otherwise. These may be sent in
either as gifts or on loan, which will
be carefully mounted and adequately
labeled. In acknowledgment there
will be returned to the contributor a
diploma from the museum. In the
event an owner should desire the re-
turn of a loan he may secure his
property on demand and by returning
his diploma.
Mr. Theisen has reason to believe
there is in existence an abundance of
material of great historical value
scattered over the country and is
anxious its owners be informed of the
opportunity now provided for the
care and preservation of these relics
and at the same time providing a
means for handing down to posterity
the donor's identification with the
early days of the motion picture in-
dustry.
Already efforts are under way to
secure the transfer of the exhibit to
Chicago for the duration of the com-
ing World's Fair. Among those in-
terested in this accomplishment are
President McNabb of the Bell &
Howell Company and Gene Cour of
the International (666) Photogra-
phers, both of Chicago.
Mr. Theisen is the first to collect
film specimens of historical value and
bind them under glass for preserva-
tion and accompanied by complete
data as to origin and identity. The
collection covers a period beginning
with the earliest daguerreotypes and
then in 1845 the creation of negative
by Abel Fletcher through the use of
transparent paper.
From here the chronology comes
down to Edison's first experiment
made by W. K. L. Dickson in 1889.
Among the exhibits is the Magni-
scope apparatus made by E. H. Amet
for George K. Spoor of the Essanay
company in Chicago in 1896. Accord-
ing to Patent Office records Mr.
Spoor made his camera about the
same time. Attention is called to the
fact that on the first camera the
crank has a large handle to eliminate
vibration.
Amet's experiments in sound are
brought to attention by means of ap-
paratus he constructed during his re-
searches between 1911 and 1917, as
shown in an accompanying picture.
His pioneering sound experiments
were largely close coupled disc ar-
rangements. The accompanying photo
is a copy of one of his sound records.
The exhibit must be seen and stud-
ied in order that its comprehensive-
ness may be realized. Anyone desir-
ing information regarding contribu-
tions either in the form of gift or
loan may reach Mr. Theisen by letter
through the Los Angeles Museum at
Exposition Park or Mr. Matthews
at the Museum, Exposition 2196.
As the institution is less than a cou-
ple of hundi-ed yards from the sta-
dium there is certain to be a big at-
tendance at the motion picture ex-
hibit during the coming Olympic
games.
Art Reeves of the Hollywood Mo-
tion Picture Equipment Company,
6416 Selma Avenue, also may be con-
sulted regarding details concerning
an exhibit.
Magniscope made by E. H. Amet for George K. Spoor — the first one made. Right, Amet's talking device, 1911-1917,
with photograph of Mr. and Mrs. Amet at Redondo in 1912. The palm, trees shown in the picture now are thirty feet
in height. Note the microphone of those days and the camera that recorded sound and picture simultaneously.
Twenty-eight
The INTERNATIONAL PHOTOGRAPHER
CHICAGO
March, 1932
fiftA
WELL, I'm rollin along on one
of these extra fare trains,
where a guy kin buy ginger ail,
goin south to New Orleans. Gosh!
How I did hate to yank away from
the Windy City and this heavy win-
ter we is havin in Chi.
I understand the Calif, chamber of
commerce has got scouts up in our
old burg now tryin to figger out how
in hells bells we gits such beautiful
sunny, warm full of actinic ray days
in the ole town what wunst wuz the
death of any movie star what wuz
passin through in January. Say, lis-
ten, I'm still one of them Chicago
oldtimers what kin remember way
back when we used to git 20 below . . .
and like it.
I wuz readin the papers the other
day and I see where they wuz snowed
under out in Hollywood. Gee, I kin
still remember what that good ole
snow looks like.
How we kids used to try out that
new sled we got for Xmas . . . back
in the days when there wuz a Santy
Claus and we never had to spell the
word "Depression" in school .... and
now I gotta open my window of a
mornin when I'm tryin to sleep after
workin all night foggin the film, and
belch at the kids, roller skatin and
playin mibs right here in Chi. in the
middle of January.
Well, here I am on my way to New
Orleans . . . almost missed this extra
fair soft cole burner I is ridin on be-
cause my Ma couldn't find my heavy
underwear which is put away in the
moth balls on account I ain't been
usin em this year, what with all this
here warm weather what has moved
from the west coast for our town.
Calls for Woolens
I need that heavy, all wool union
suits down in the sunny south because
it's jest as cold there as it used to be
up in our ole town of Chi. . . Why even
all their mammy singers have moved
up and I woodent be serprised to see
these here west coast movie snappers
makin a motion to git the studios to
move to our ole town what wunst wuz
noted for our gangsters, but of course
that wuz before the sun started to
shine around Chi.
And since we is on the topic of
sunshine ... I been knowin it for a
long time ... all a guy's gotta do is
admit he is a newsreeler and right
away people look at you sorta sorry,
like you is no good or sumpin.
Journalists give you the go-by be-
cause you is gittin more iron men
weekly, to buy groceries with for the
little women . . . and they is so much
In Focus — In Spots!
By Fred Felbinger as
The Sassiety Reporter
more high class gents in their own
estimation . . . and publicity men's
wifes kinda agree with the journalists
because we gotta drink the publicity
man's stuff when he puts on a stunt
for us.
So most people kinda think news-
reel men ain't up in the class of some
people . . . well, I is a newsreeler . . .
and I kinda admit it, sorta loudmouth
like, and every time I sees where a
newsreeler steps out I ups and brags
about it.
No Unsung Hero Now
Well, I sees in the paper the other
day on the front page where some
newsreel baboon by the name of Floyd
Traynham is assigned to cover the
latest Mississippi flood.
Well, I guess that don't mean
nothin, except it wuz the only orders
he had . . . his outfit wanted him to
fog enuf celluloid to show a couple
million people there wuz enuf high
water down south to scare the natives
up into the attic . . . well that's all
right with Floyd.
I know it ain't no picnic coverin a
flood with a groan box . . . but wata-
hel, orders is orders, so it makes no
nevermind gettin wet feet and a sore
back gittin a collection of high-class
flood scenes . . . it's all in a day's
work for a news snooper . . . but
Floyd kinda went the job one better.
Floyd is rowin around in a old
tub with some jig chaffeaurin the
oars, lookin for a couple real high
water scenes to add color to his story
when he hears a wail come up from
the attic of some southern shanty.
Well, Floyd stops and listens, and if
Floyd smoked maybe he would have
been nonchalant and lit a Murad first
. . . but since Floyd ain't smokin butts
he jest had the nigger row over . . .
and he dug a hole in the roof of the
joint and saved a couple of kids which
was marooned in that attic, and then
he throws in their pet hound to call
it a day.
So he rows the kid refugees to
safety down there in Mississippi and
you know them journalists back in
Chi. was really forced to mention this
on the front page . . . Mind you, right
on the front page, of one of the leadin
Chicago papers and Floyd only one
of these here newsreel cameramen.
Well, I had to bust out and kid
Floyd all about how he is gittin his
name in the papers the other night,
and Floyd kinda admits to me:
"Yeah! It sorta makes a fellow
feel cheap to come back and see where
they is makin a lot of baloney about
a little incident anybody would have
done the same thing about!"
Well, I dunno. Sometimes I kinda
agree with these here high power
journalists about these here movie
newsreelers . . . Funny guys, ain't
they?
SIX-SIXTY-SIX
Burnett Finds It Hot
Then I hears from another of these
topical event grinders down in Trini-
dad ... a guy by the name of Jack
Barnett, also from 666 . . . Jack is on
one of these here expeditions ... I
remember about a month ago Jack
got his orders he wuz sailin — for the
tropics.
So Jack bought lots of fancy clothes
... a coupla pair white flannel trous-
ers, dinner clothes, ridin boots, and
a mess of other baloney used to put
on the dog up around in the Chi gold
coast district, but what ain't much
use when you is hangin over the
rail of some boat movin you over
high seas to cover expeditions.
Well, from the looks of Jack's note
he is now come back to earth, has
forgotten the fancy get-ups and is
now settled down to usin up the ole
raw stock . . . Jack writes:
"In the tropics now! Hot as
blazes! We are nearing a couple of
Central America revolutions so ad-
vise local to cancel insurance as there
may be a special assessment on ac-
count of yours truly!"
Maybe so, maybe so, Jack! but you
know these Chicago crankers ought
to hold their own on a couple "spig
upheavals." What we is interested
in most ... is you still seasick.
SIX-SIXTY-SIX
Duy Off Tuttle
On my day off in the Windy Burg!
. . . Discovered the worthy Prexy,
Charlie David, sittin in the head man's
office of his new film emporium . . .
cryin his eyes out . . . some das-
tardly soul broke into the private
locker of the 666 maestro and stole
the half dozen new socks the little
woman presented our Charlie for
Xmas.
They got a beautiful kitchen set up
out in the ole Essanay studio, and one
kin see Fred Wagner, wearin a cute
pink smock, standin before a electric
gas range bakin a cake because Bill
and Oscar Ahbe is gonna ankle over
to the set with electrician Budde-
March, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-nine
Through the simple process of initial contact and
genuine co-operation from camera to screen this
company is maintaining its long established policy of
consolidating cordial relations with the men who
photograph the great screen productions of the world
Hollywood
New York
Chicago
meyer for tea without bringin Maje
Spoor along because the Maje is busy
givin the studio pet goldfish a clean
bath.
And then I see Fred Geise, who is
now already hitched to the same little
woman for the past twelve years, git-
tin dinner ready for her and scrub-
bin the floors for his little manager.
. . . Greater love hath no man.
All Eyes and Ears
And I hears of O. P. Lippert, our
own Don Juan, givin the Tex Guinan
hoofer the fresh ozone for some frail
what's nuts about horseback ridin . . .
And Lip sneaks out in the ridin boots
of an afternoon, hopin agin hope this
wiggly eared dept. ain't on the in.
Oh! is you blushin when you read
this, Lip? Why don't we get together
some night so's I kin meet Ruthie? . . .
Phil Gleason's resistance toward
wimmin has finally been worn down
and Phil has tottered in a big way. . .
Mollie is her name, a cute little Irish
lass. . . But Phil's button pusher, Ed-
die Morrison, admits Phil ain't got
enuf nerve to git married.
Emilio Montemuro has finally lo-
cated a apartment what pleases Mon-
ty's new mama-in-law.
Sailor George Graham has finally
decided to quit razzin the Marines
while takin his mornin shower. . . .
Wonder why, George?
And someone drops in to remind me
our big light magnet, Bob Duggan,
wuz in business years ago sellin tear
pineapples to police dept., and the
said gossip gives me a earful all about
Bob gittin a mysterious phone call
from the local police department or-
derin Bob to deliver a crate imme-
diately.
So Bob got up in the middle of one
cold sub zero winter night to fill the
order and after drivin from one end
of Chi to the other couldn't find who
phoned him the order. . . What am I
bid, Bob, to clear up this great mys-
tery of four years' standin?
No Collusion Is Right
And then imagine the Sassiety Re-
porter tryin to explain to his noise
ketcher, Robertson, that the local hu-
morist ain't ever met John Corydon
Hill, the International Photog artist,
or that he has ever wrote and tole
Women's Wear Maker Using
Films in Shop and on Road
THAT motion pictures can be
profitably used to display to
buyers a manufacturer's line of
women's garments was demonstrated
in Los Angeles recently.
In this city a manufacturer of
misses' and juniors' dresses and
sportswear employed this method of
displaying its new spring line during
the market week of the Associated
Apparel Manufacturers.
A Bell & Howell Filmo projector
weighing about ten pounds was set
up in a room with rows of seats for
prospective buyers. Moving pictures
of the various garments of the par-
ticular line were shown in colors on
a portable screen.
him his conception of what Roddy
Giles looks like or should look like.
The Sassiety Reporter has now
spent three months explainin it's only
coincidence that Roddy is tall like
Robertson and looks sumpin like Rob
in them cartoons Hill draws . . . and
honest, Rob, I never knew you used
to be a trouble shooter for the phone
company!
Well, as I said before, I is ridin on
a train to New Orleans and I wanta
git this in a envelope before my dial
twister wakes up and reads the last
one, as I got him in a humor right
now to buy my supper in the diner.
. . . Boy! am I hungry? See you next
month.
The first view of each garment
showed it worn by a mannequin at a
distance against an appropriate back-
ground. This was followed by close-
ups of interesting details of the gar-
ment. Then the entire garment was
shown again.
The firm is contemplating the use
of pictures by its traveling salesmen.
The salesmen will carry swatches of
the material, but no garments. Ad-
vantages include the saving of con-
siderable cost in salesmen's samples —
after the original cost of the projec-
tor is defrayed — convenience in show-
ing the entire line, assurance that
every garment will be modeled to the
best advantage with no expense for
models on the road, also elimination
of excess baggage expense. Added to
this is the attraction of a novel idea.
Thirty
The INTERNATIONAL PHOTOGRAPHER
March, 1932
Looking In on Just a Few New Ones
Lee Garmes
SHANGHAI EXPRESS
First camera, Lee Garmes ; second cameras,
Warren Lynch, Roy Clark ; assistants,
Warner Cruze. Milton Bridenbecker ; stills,
Junius Estep ; sound, H. D. Mills.
FORTUNATE indeed is Marlene
Dietrich in Paramount's "Shang-
hai Express." She has the ad-
vantage not only of satisfactory di-
rection and story; there are the
added helps of an unusual cast in
support and pho-
tography that in
places makes its
presence felt. And
as to the latter,
due to uniform
quality in these
days of skill, it
is comparatively
seldom a camera-
man has a chance
to accomplish
something pho-
tographically that
really is out-
standing.
The story is a
novelty in that its entire course cov-
ers a train ride between two Chinese
cities, barring the stops at stations
and the short sequence at the ter-
minal. The trip is made during a
revolution, at the head of which by
the way is Warner Oland as Henry
Chang. It is a remarkable interpre-
tation Oland gives us. It is marked
by a restraint so convincingly as-
sumed as to make it serve as a model
even if wittingly unattainable by
that great majority of male persons
whose bump of patience is identifiable
only by a large dent.
Clive Brook plays opposite Dietrich,
who contributes to the sum of the
general result more than his own in-
individual portrayal. Dietrich is
spurred to the best work she yet has
given, she rises with the quality of
the man who leads the cast. It is a
real team.
Then there is Anna May Wong, per-
fect Oriental in an Oriental part,
speaking Chinese and English, even
as Dietrich converses in French and
in English and maybe in her native
tongue of German. Then there is
Emile Chautard as the French colo-
nel, who speaks only in French. Eu-
gene Pallette adds to the fun with
his betting proclivities as does Louise
Closser Hale as a boarding house
keeper on tour with her small dog.
Gustav Von Seyffertitz is the chronic
and cranky invalid.
Lawrence Grant as the Rev. Mr.
Carmichael, the doctor of divinity
whose narrowness of view in the
opening scenes is reminiscent of the
missionary in "Rain" and suggesting
a similar drop in the scale of morals
before the curtain, rises to the op-
portunities provided by the story and
becomes one of the more interesting
of the characters.
The excellent underlying story is
from the tale of Harry Harvey
adapted by Jules Furthman. Joseph
By GEORGE BLAISDELL
Von Sternberg directs. It's a cork-
ing good picture.
MICHAEL AND MARY
ENGLAND in "Michael and Mary"
has made a real motion picture.
To be sure, Gaumont-Gainsbor-
ough, as generally is the case with
producers in the area immediately
about the British capital, carefully or
anyway has avoided showing us any
of the famous English countryside.
Practically the entire picture is in-
terior, although a bit of it seems to
have been staged inside the British
Museum. Of course, climatic condi-
tions impose barriers on those pre-
paring scripts which cannot be
ignored.
Universal will release in this coun-
try this finely dramatic reproduction
of the A. A. Milne story as adapted
by Angus McFail and Robert Steven-
son. Victor Saville directed and Les-
lie Rowson photographed it. To
American screengoers it will be pre-
sented by Carl Laemmle the elder.
The veteran film man is to be con-
gratulated on the character of the
subject he is sponsoring. Distinctly
is it a thing apart from that type of
Hollywood product not yet unanimous
but increasing in volume made under
the assumption that entirely lost is
that day when no picture is "hopped
up" in a twisted idea of "box office
values" by unnecessarily and publicly
undressing one of its presumably
wholesome feminine characters.
The picture introduces to the Amer-
ican screen Edna Best, an artist of
real distinction and a woman whose
personality and portrayal will be wel-
comed by those who follow what used
to be sometimes known as the silent
theatre. Besides acting ability the
player possesses rare physical beauty
and charm.
To some Edna Best may be remem-
bered as the woman who signed a
contract to appear in a Hollywood
production and after a number of
scenes had been recorded walked off
the set and out of the studio declar-
ing she would not return to Holly-
wood until her husband could accom-
pany her.
After seeing her work in "Michael
and Mary" it would seem the re-
sultant loss distinctly is on the side
of the studio and the American pub-
lic. So far as may be judged by any
one picture there is recalled off hand
on the American screen no one with
whom Miss Best may not be compared
in full equality — which is strong
language especially in view of the
fact it is written four days after see-
ing the production.
Michael is portrayed by Herbert
Marshall, who in life as in the cast
of characters is the husband of Mary,
played by Miss Best. Dramatic abil-
ity of a high order is displayed by
these two persons. The story tra-
verses a period beginning with the
Boer war and carries through until
after the World War, but the two de-
pict always the perfect lovers. It is
reminiscent of that remarkable com-
bined performance of Henry B.
Warner and Frances Starr in "Five
Star Final," only in the English pic-
ture the work of the couple is by far
the major part of the story.
Excellent support is given by Frank
Lawton and Elizabeth Allen, the two
youngsters, and the others in the ex-
ceedingly short cast.
James Van Trees
THE MAN WHO PLAYED GOD
First camera, James Van Trees ; second, Lou
Jennings ; assistant, Vernon Larson ; stills,
Homer Van Pelt ; sound, Al Riggs.
JOHN ADOLFI has done himself
proud in the direction of War-
ners' "The Man Who Played
God," with George Arliss in the name
part. It is a human story and a mov-
ing one — especially in the sequence of
the young con-
sumptive and his
sweetheart and
later of that of
the absconder
and his betrayed
friend. The
drama in these
situations is im-
measurably en-
hanced by reason
of the novel man-
ner in which the
disheartened man
suddenly stricken
with deafness be-
comes aware of a
way in which he still may be of use
in the world — and of the bewilder-
ment of the young people as to the
singular and mysterious source of the
benefaction so providentially laid in
their laps.
The tale is one that was made as a
silent a decade ago with Arliss in the
leading part. It was successful. The
picture just completed in sound should
attain a large measure of success. An
audience at the Warners' luxurious
Western sat through its unfolding
manifestly under the spell of an ab-
sorbing story. It was a house, too,
different from the usual picture gath-
ering in that a goodly proportion of
it had come to hear more than inci-
dentally Jan Rubini with his violin
and Salvatore Santaella at the piano.
It is a remarkable duo indeed and
they provided a major entei'tainment
in themselves. Consequently the house
contained many persons by disposi-
tion more inclined to be picture critics
than picturegoers. Thus the tribute
of tense silence was all the more
notable.
The script was based on Gouver-
neur Morris' short story of "The Man
Who Played God" and the play of
"The Silent Voice" by Jules Eckert
Goodman. The adaptation was by
Julien Josephson and Maude Howell.
Arliss was his usual practically
March, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-one
impeccable self, combining surety and
nicety of touch. Violet Heming as
Mildred was one of the delights of the
picture, wholesome, appealing and
good to look upon. One of the thrills
was Ivan Simpson as the butler who
attracted no more attention than a
butler ordinarily is expected to at-
tract. The situation switched with
amazing suddenness as the butler
grabbed the deaf man just as he was
stepping off the window ledge to the
street far below. And then the but-
ler, in a manner of speaking, told his
employer what a coward he was prov-
ing to be and how he had failed to
meet the test to which he had been
put. It was a thrilling bit and finely
done.
Bette Davis as the ingenue ac-
quitted herself creditably in strong
company. The veteran Louise Clos-
ser Hale as the sister of the leading
character was one of the factors all
the way through the picture, while
Oscar Apfel had much to do in just
a few moments.
BROKEN LULLABY
First camera, Victor Milner; second cameras,
William Mellor, William Rand ; assistants,
Lloyd Ahern. Lucien Ballard ; stills, Earl
Crowley ; sound, Harry Lindgren.
STRANGE story is this of Para-
mount's "Broken Lullaby," pre-
viewed as "The Man I Killed."
It is difficult to understand how any
one could have conceived it much less
written it. Surely no one who had
been closely
touched by the
war, no one who
had lost a son,
for a moment
would have con-
I I - -4ltai #" B sidered broad-
casting the in-
timacies of a sub-
ject which neces-
S^'l sarily would be
^^^^P*^g sacred to a nor-
|h. M ni.-i human being.
^^ jK That leaves the
matter merely
Victor Milner one of commer-
cialization on the
part of those to whom a military
cemetery means nothing more than
just another row of stones.
As approximately only one-half of
1 percent of the population of the
United States was heavily touched
by the battle casualties of the Great
War that leaves 99 Y2 percent who
may follow this subject with detached
interest.
Strong and moving drama this pic-
ture undoubtedly is even though it be
founded upon a contemptible decep-
tion— in the acceptance as their own
son by a German couple of the young
Frenchman who had shot and killed
their only son.
There may be some who will be-
lieve very much overdrawn this mor-
bidly sensitive Frenchman who slow-
ly was losing his mind because under
battle conditions he had shot to death
an enemy. So would this present
writer have believed had not on the
morning of the day on which it had
fallen to him to sit in on "Broken
Lullaby" a former soldier had told
him of a man alongside of him who
had collapsed after shooting a sniper
out of a tree and declared that never
again would he shoot at a human be-
ing— which of course instantly
created that man a menace to him-
self and his comrades and worse than
worthless or useless in the army.
Phillips Holmes is Paul, the young
Frenchman who under the obsession
of his personal experience in the war
goes to Germany to confess to the
parents of Fritz what he has done
and instead falls in love with Eisa,
fiancee of the late Fritz. It is the
girl, making her home with her
parents, who discovers the secret and
prevents Paul from telling his story
or leaving the little town for home.
It is a deeply moving story all the
way, as dramatic as the art of Lionel
Barrymore can make it. It is he who
interprets the role of the father of
the son who was killed. Nancy Car-
soil is Elsa. There is a long cast,
but these are the principals.
The story is from the play by
Maurice Rostand as adapted by Regi-
nald Berkeley, with Samson Raphael-
son and Ernest Vajda doing the
screen play. Ernst Lubitsch directed.
AFTER TOMORROW
First camera, James Howe ; second camera,
Dave Ragin ; assistants, Paul Lockwood,
H. C. Smith ; stills, Bert Lynch ; sound,
George Leverett.
MADE to order for Marian Nixon
is Fox's "After Tomorrow,"
from the stage play by Hugh
S. Stange and John Golden and
adapted by Sonya Levien. Under the
direction of Frank Borzage she splen-
didly fits into it. From the beginning
she takes the center of the stage,
sometimes with Charles Farrell and
sometimes without. Nevertheless it
is around this pathetic figure that
interest clings, a figure of a girl plan-
ning to so arrange matters that she
might marry the man of her choice
but always balked by chance or
cupidity or worse.
The tale on the one side is of a
selfish mother of a boy, who sees him
only as a child devoted solely to her
and never as a man seeking a family
of his own. On the other side there
is an ambitious and extravagant
mother married to a man of ordinary
capacity, solid and steadygoing but
unable to satisfy the continual de-
mands on his purse. The daughter
is caught between these two, loved by
the father and inwardly hated by the
mother as the latter turns for com-
panionship to a younger and dressier
and less scrupulous man than her
legal mate.
Much attention is given to the
character leads in the building of the
story — by no means has the entire
tale been left in the keeping of the
two youngsters. As Willie the father
is that other Willie surnamed Collier
so favorably known to those who
have been a part of New York dur-
ing the preceding generation. Herein
is demonstrated the distinction be-
tween genuine stellar ability and the
cheap imitation too often jammed
down the throats of an unwilling
public through the unlimited employ-
ment of printer's ink. Collier has not
so much to do, but he leaves his im-
press on the story.
Minna Gombell is the wife, the
disagreeable person who treads under
foot both husband and daughter and
makes life a burden not only to her-
self but to every human being she
touches. She goes out of the picture
as unregenerated as ever, a character
consistent for once in its unrepent-
ance.
There is even another character so
unpleasant as to make the auditor
squirm. If a male person displease
or disgust another male person the e
are ways of relieving a mind over-
charged with bitterness. Where the
offending character is female the
irritation is enhanced by reason of
the added helplessness of the male
spectator adequately to express his
reaction.
The interpretation given by Bor-
zage to the part of Mrs. Piper as
played by Josephine Hull contributes
not to the entertainment in a mate-
rial way either on the side of comedy
or drama. The character is an in-
sufferable pest, merely piling on drab
to a tale already abundantly loaded
with grief. For after all the chief
requirement from an amusement pur-
veyor on the part of his customer is
entertainment.
The head of the cast is given a
whimsical role, one that should make
a hit for him with the feminine divi-
sion especially. Farrell plays his
part as is intended, the light and the
serious alternating, and plays it
well.
The picture easily will qualify in
the same family category as the se-
ries of subjects in which Farrell has
been identified — it is wholesome.
STRANGERS IN LOVE
First camera, Henry Sharp : second camera,
Warren Lynch ; assistants, Alfred Smal-
ley, Francis Burgess, Warner Cruze ;
stills, Earl Crowley ; sound, Harold C.
Lewis.
AN out of the ordinary picture is
Paramount's "Strangers in
Love," adapted from William J.
Locke's "The Shorn Lamb" by Grover
Jones and William McNutt. It has
one of these pestiferous dual role
things, of t w i n
brothers, but
somehow it is
made convincing.
Thereby it will
upset some deep-
seated preju-
dices. This result
is due in chief
measure to the
inanner in which
the photographic
side has been
managed, in
those few se-
quences in which
the brothers con-
verse and pass back and forth.
Fredric March plays the bad
brother and the good one. It is the
former who early in the story passes
out of the picture. The good one
stepping into the shoes of the man
who dies from heart failure is kept
busy for the remainder of the drama
trying to pick up the threads of his
Henry Sharp
Thirty-two
The INTERNATIONAL PHOTOGRAPHER
March, 1932
late brother's life and to keep out of
trouble as the result of his imper-
sonation. March's work will confirm
the fast growing- belief that he is
among the topnotchers in his division.
Kay Francis is the secretary of the
bad brother who automatically con-
tinues in the same relation to the
benevolent impostor. The two make
an interesting team, Miss Francis
recording one of her best screen per-
formances. In her character of
Diana Merrow she has occasion to
remark to her strangely acting em-
ployer that suddenly he seems so un-
accountably human. Her own char-
acterization is notable for its hu-
manness.
Stuart Erwin is the pal of Buddy,
the good brother, and helps the latter
when he gets into deep water with
the friends and enemies of the un-
filial twin. Juliette Compton is as
hard and unpleasant as she is expect-
ed to be, or as Director Lothar
Mendes expected her to be.
George Barbier is the genial father
of Diana, and Lucien Littlefield is the
gentle publisher who is roughly treat-
ed when mistaken for a strongarm
in search of a victim. Incidentally
Gertrude Howard as the long time
black family retainer very much has
her big moment.
The picture is excellent entertain-
ment. There is much fun and some
drama, and it is well acted.
BEAUTY AND THE BOSS
First camera, Barney McGill ; second camera,
Kenneth Green ; assistants, William Whit-
ley ; stills, Homer Van Pelt ; sound, Dolph
Thomas.
HERE is a story from the stage,
this "Poor Little Church
Mouse," which Warner Studios
has taken from the hands of Paul
Frank and Ladislaus Fedor and in
turn passed it on to Joseph Jackson
for screen treat-
ment. Regardless
of the manner in
whic'h Jackson
found it he has
so left it that it
will not qualify
as a family pic-
ture. It is a ques-
tion if the stray
"cracks" in it-
there are not so
many in the mat-
ter of number or
offensiven ess —
will attract
enough to offset
those that are thereby alienated. A
few of them are inoffensive and quite
worth while.
Really there is not so much in the
tale in the way of "innerds." The
boss, played by Warren William,
takes a shine to his stenographer and
fires her — with six months salary, etc.
In her place he takes on a frump,
takes her under circumstances ap-
proaching a farce, but no longer
than the first day is she a frump.
The first stenographer is played by
Mary Doran and the latter by Mar-
ian Marsh.
Charles Butterworth is submerged
as a secretary or something to the
male lead and has little to do. David
Barney McGill
Manners has a bit as the brother of
the boss and also indicates his re-
gard for the second stenographer,
who singularly enough holds her book
suspended in the air by the left hand
and in that position when the boss is
dictating 175 words a minute fever-
ishly yells for faster dictation. Quite
plainly Director Roy Del Ruth knows
more about some things than he does
about recording shorthand.
Frederick Kerr, elderly and portly
and as genial as they are made, also
is seen a few times and adds to the
entertainment possibilities.
There is a trace of drama near the
conclusion, marred in a measure by
the same fault noticeable in "Five
Star Final" in that the young woman
at the top of her side of the cast
overplays and overemphasizes her
lines. Long sustained fast and hys-
terical talking seldom contribute to
the effectiveness of a sequence. Even
as the respective directors almost
surely remarked "Great!" at the time
the sequences were shot so later on
does the man out front very likeiy
remark "Not so good."
THE LOST SQUADRON
First camera, Leo Tover ; aerial photography,
Elmer Dyer; second cameras, Harry Wild,
Joseph Biroc ; assistants, Harold Well-
man. George Diskant ; stills, Fred Hen-
drickson ; sound, Hugh McDowell.
FOR once a producer has gone out
of his way to pass up a happy
ending, even when it was indi-
cated by the logic of the situation.
He has gone further. He has made
it a tragedy, a double tragedy in fact,
by sacrificing the
life of the hero of
the tale when
awaiting him is
the newly created
widow of the
murderous and
murdering motion
picture d i r e c tor
who finally has
stopped a much-
belated bullet — a
woman who now
knows she loves
the hero. When
a producer does
anything like
that it comes pretty near falling into
the category of news.
But for all of that RKO's "The
Lost Squadron" rates a big produc-
tion. It is all the greater by reason
of its minimizing of the love interest
and depending for its larger appeal
on the affection of four men one for
another — a situation we rarely see,
due to the not unnatural fear on the
part of the producer that it will not
get over with the larger public. The
producer knows that in these circum-
stances a just so-so story will not
reach first base.
The orthodox love interest is min-
imized because of the greater strength
for each other of the friendship of
the four war flyers, who are picked
up in the beginning during the few
minutes preceding the final armi-
stice, those few minutes singularly
enough and inexplicably as zealously
devoted to killing as had been any of
the period following the declaration
Leo Tover
of war. The unspeakable and in-
comprehensible atrocity of needless
killing is emphasized in the begin-
ning of the story.
On the feminine side there is Mary
Astor as Follette, before the war in
love with Captain Gibson (portrayed
by Richard Dix), but due to her am-
bition marrying a motion picture di-
rector while the old lover is away.
Then there is Dorothy Jordan as The
Pest, sister of Woody, played by Rob-
ert Armstrong, and loved by Gibson
and Red, interpreted by Joel McCrea.
The fourth member of the quartet is
Fritz, the groundman, played by
Hugh Herbert.
The picture is unsparing of the mo-
tion picture director as a tribe. It
shows him at his worst, and that is
saying more than most men will care
to have said about them. In other
words, it depicts him as rating hu-
man life as worthless in comparison
with a spectacular shot. All men and
women who have had experience in
"action" pictures know that occa-
sionally one of the stripe will be un-
covered.
No more competent actor to por-
tray such a person could be selected
than Eric Von Stroheim. No more
ruthless person could be selected,
ruthless in the sense that as an actor
he forgets his own sentiments and
portrays that which is called for in
the script.
The characterization given here
more truly follows the military lines
of the heel-clicking and saluting man-
ner of the German director's staff
than of the typical practice of an
American studio. But it is spectacu-
lar, and it is possible it will be ac-
cepted by the screen goers of Amer-
ica as a true picture of the real Hol-
lywood thing. It is almost a bur-
lesque of the "yes man" type of di-
rector.
Strength is given to the production
as well as many thrills by the com-
bined work of Dick Grace, author of
the story; Art Goebel, Frank Clark
and Leo Nomis, as daring a quartet
of stunt flyers as it is safe to permit
at large at any one time. Wallace
Smith wrote the screen play, while
Herman Mankiewicz and Robert
Presnell contributed added dialog.
Photography ranks high in its qual-
ity, both above and on the ground.
The tragedy at the finish, wherein
Gibson crashes his plane containing
the body of the director, in order to
cover the justified shooting of the
latter by one of his companions, is
forced because of the certainty of
Woody's exoneration by any jury, but
the ending provides a spectacular
finish.
THE GAY CABALLERO
First camera, George Schneiderman ; second
camera, Irving Rosenberg ; assistants,
James Gordon, Robert Mack; stills, An-
thony Ugrin ; sound, Eugene Grossman.
ONE of the more notable contrib-
utors to the entertainment in
Fox's "The Gay Caballero" is
the man who hunted the locations
which later served as the background
for the exteriors. Notable indeed
are these, affording real opportunities
March, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-three
to the camera crew. Those who fol-
low westerns as much for the views
of wide outdoors as for any high dra-
matic quality of the story will be
content with this adaptation by
Phil Klein and Barry Connors of
Tom Gill's novel. Alfred Werker di-
rected.
The story in strength hardly
matches the ability of the players
effectively to put it on the screen.
George O'B'rien lacks the conviction
he usually imparts to his work. He
grins much, more than seems natural
under the given circumstances. Vic-
tor McLaglen is impressive in the
character of the community's de-
fender.
Conchita Montenegro and Linda
Watkins have the two principal femi-
nine roles, neither of the parts sup-
plying the players with any partic-
ular incentive to enthusiasm. C.
Henry Gordon is Morales, the local
bigwig aiming to run out of the coun-
try every one but his own "mob,"
shall we say, and he has a henchman,
another heavy, who most frightfully
qualifies not only as a fierce bragga-
docio but as a bad egg generally.
With the hero, nevertheless, he does
put on one stiff fight. The two make
it realistic enough to suit any one.
Willard Robertson is commander of
a troop of United States soldiers all
set to wipe out a band of natives op-
posed to Morales unless they sur-
render their leader. This murder
business seems like a strange pro-
ceeding on the part of Federal sol-
diers, and of course it is. Uncle
Sam's service men functioning as
peace officers in time of peace are not
massacring prisoners.
In spite of the so-so story and re-
lated handicaps the production is
colorful as to backgrounds and in
their presentation. Likewise there is
an abundance of movement.
THE EXPERT
First camera, Robert Kurrle ; second camera,
Al Greene ; assistant. John Shepek ; stills,
John Ellis ; sound, Charles Althouse.
SIMPLE and wholesome is War-
ner's "The Expert," based on
Edna Ferber's story and play
"Old Man Minnick" and featuring
Charles "Chic" Sale and Dickie Moore.
Julien Josephson and Maude Howell
have made quite
a number of im-
portant changes
in the script as
compared with
the stage play of
a half dozen or
more years ago,
but in some of
these they have
enhanced the en-
tertainment val-
ues of the subject.
Sale has the
role of an old
man from a small
community who
comes to the city to spend the re-
maining days with his son and daugh-
ter-in-law. The tale shows how the
plan fails to work out. There is in-
compatibility between the old man
and the daughter-in-law due to the
Robert Kurrle
HEN you want to
reach the professional
motion picture photog-
rapher directly why not
place your statement in a
medium where it will be
laid right in the lap of the
man you are after.
There is one publication to
which you may intrust your
message and know it will
ring the bell — from west to
east, from north to south —
and of course that is
INTERNATIONAL
PHOTOGRAPHER
«I
A monthly magazine enjoying the privilege
and prestige of second class matter — and meet-
ing the corresponding responsibilities.
former's long-established habits of
freedom in his own home and his in-
ability to accustom himself to an-
other's ways of doing things. It is all
in entire good humor or perhaps lack
of ill-humor, in perfect affection and
without asperity.
Lois Wilson is the daugher-in-law
whose patience is tried by the mis-
guided vagaries of the old man, and
Earle Fox is the son who sympathizes
with both. The only sinister note is
provided by the thieving man and
woman with whom Dickie makes his
home, whose appearances on the
screen are minimized.
There is a goodly supply of com-
edy, killing the accepted rule that
where a child enters importantly into
the picture pathos must predomi-
note.
Contributing to the mirthful situa-
tions are lines provided for the little
fellow, whose many sequences with
the older man constitute real enter-
tainment.
The staging and peopling of the
old men's home are well done by Di-
rector Archie Mayo. Radiated is the
atmosphere of a club rather than that
of what is designed to be a charitable
institution — and adds to the enter-
tainment value. The picture is one
well worth seeing, and especially may
be recommended as one for the entire
family.
Jack Crawford and his band at the
Hollywood Warner's create real en-
Thirty-jour
The INTERNATIONAL PHOTOGRAPHER
March, 1932
tertainment and so do Frank Yancan-
elli and his musical pal.
Gene Dennis and her psychic read-
ings supply a weird and thrilling
touch to the show. Skepticism is
likely to melt before her sincerity —
and if by any chance it is not sincer-
ity then the screen is passing up what
could be its greatest dramatic asset.
Rare drama followed the query by a
young woman as to whether her
brother died a natural death or was
killed and by a young man who never
had known his parents as to whether
either was alive.
LAW AND ORDER
First camera, Jackson Rose ; second camera,
Richard Fryer ; assistants, Walter Wil-
liams, George Trafton ; stills, Shirley
Martin ; sound, Robert Pritchard.
YE citizens who admire western
melodrama don't let escape your
attention Universal's "Law and
Order," adapted from W. R. Bur-
nett's "Saint Johnson" by John Hus-
ton and Tom Reed. We are speaking
of that type of
western on which
has been expend-
ed the same
amount of intel-
ligence and skill
and money as is
apportioned to
any production of
the first class.
Any disrepute
that attaches to
the term "west-
ern" is not be-
cause of any lack
of appeal or in-
terest for the public in the subject
by and large but rather because those
Jackson Rose
with limited purses in Hollywood and
maybe other places between the Pa-
cific and the Atlantic choose to por-
tray westerns when the producing
bug seizes them.
As the stuff in its attenuated form
is made outdoors with the exception
of one or two scant interiors, there
is no large bill for rental of stages
with their heavy electrical charges.
So naturally if there is not enough
money for interiors make it outdoors.
"Law and Order" is a first-class
production. It was photographed by
Jackson Rose and directed by Ed-
ward Cahn. It is a tale of men, and
to all intents and purposes women
are not in it. Let us look over the
men assembled for this tale of Tomb-
stone when it was a gun-toting town
and of the manner in which it was
transformed to an ordinary commu-
nity.
At the top is Walter Huston,
equally at home in two-gun or draw-
ing room roles. Incidentally he is
an extraordinary exception in this
respect in spite of the old-time asser-
tion that a real actor will play any
role assigned him. So he will. Yet
there will be a difference in the level
of his work as a rule if he is assigned
too many radical departures from a
given line. Huston is seen as deputy
marshal of the town and is given an
abundance of opportunity. He is the
real centre of interest.
As pals of the marshal are charac-
ters portrayed by Harry Carey, Ray-
mond Hatton and Russell Hopton.
Opposed to these four are Ralph
Ince, Harry Wood, Richard Alexan-
der and Alphonz Ethier. Russell
Simpson is a well-meaning but at
times timid circuit judge.
Marshall, Noel N. Madison and J.
Carroll Naish the limited appeal of a
study in characterization has been
rounded out to a lavish Oriental
study of general interest.
When Seen Through Feminine Ryes
By CLARA M. SAWDON
THE HATCHET MAN
First camera, Sidney Hickox ; second camera,
Richard Towers ; assistant, Wesley An-
derson : stills, John Ellis; sound, Robert
Lee.
EFFECTIVELY contrasting
Chinese customs and tong war-
fares of the ante-racketeering
days with those of the present, "The
Hatchet Man" provides abundant op-
portunity for settings of Oriental in-
terest and atmos-
phere — a fact
which was not
overlooked by
Warner-First Na-
tional. The cam-
era work, cast
and direction con-
tribute in a
praise worthy
manner to give
this production
the most favor-
able presentation
possible.
The screen play
was written by
J. Grubb Alexander from the stage
success "The Honorable Mr. Wong,"
credited to Achmed Abdullah and
David Belasco. The name of the
screen play is very enlightening as to
Sidney Hickox
the special talent of the honorable
Chinese principal played by Edward
G. Robinson. In spite of the grue-
someness of his art and the fact that
he demonstrates his ability three
times during the action with heads
on the losing side each time, this
character in the able hands of the
chief player retains the sympathy of
the audience throughout.
The transformation of Loretta
Young into a convincing Chinese
daughter is an artistic triumph in the
field of make-up. Reared as a child
in the tenets of old China, later to be
allowed the freedom of American
ways as she emerges into young
womanhood, Miss Young capably re-
flects the reaction of youth under
such circumstances. Leslie Fenton
supplies the younger male interest
which causes her to forget her mar-
riage vows to the husband many
years her senior. As Buddha never
forgets to punish broken promises
suffering and torment are the harvest
that rebellious youth reaps.
William A. Wellman in his direc-
tion avoided the snare of letting too
sombre and tragic a note predomi-
nate. With the able support given by
Dudley Digges, Edmund Breese, Tully
John Seitz
SHE WANTED A MILLIONAIRE
First camera, John Seitz ; second camera,
Arthur Arling ; assistants, Luis Molina,
Bud Mautino ; stills, Alexander Kahle :
sound, E. Clayton Ward and Albert Protz-
man.
DELAYED several months in the
course of production due to the
serious injury to Joan Bennett
as a result of a fail from her horse,
Fox's "She Wanted a Millionaire" is
now ready for release due to the com-
plete recovery of
the featured
feminine lead.
Her individual
beauty, charm,
appeal and abil-
ity have never
been more mani-
fest.
As a factory
A girl, both beauti-
wL K^^ ful and virtuous.
^L whoelectsto
^k ' J| H land million-
aire in the holy
bonds of matri-
mony, Jane Mil-
ler seemingly is pinning her ambition
on a goal quite difficult of accomplish-
ment. Beauty we are led to believe
is no detriment in such an ambitious
program, but virtue is a downright
drawback.
We find the drawback at work in
an opening scene when it causes Jane
to lose her first rich prospect and
necessitates that she start walking
home from an auto ride. This coinci-
dence throws her in the way of a
young son of toil, William Kelley,
who proves to be a real find as a
benefactor on this occasion and sev-
eral times later on.
Jane's beauty brings her to the in-
evitable Atlantic City. At this point
Una Merkel as a wisecracking re-
porter from the Missouri paper spon-
soring Jane introduces some refresh-
ing dialogue and comedy touches.
Miss Missouri walks away with first
honors, and then comes the second
encounter with a millionaire, success-
fully culminating in a trip to the
altar.
James Kirkwood as the millionaire
who has faith in no woman but keeps
on marrying them just to prove them
faithless also has a capacity for jeal-
ousy which is amazing to say the
least. However, there are a great
many amazing circumstances to be
accepted in the course of events.
To Spencer Tracy falls the happy
lot of being the most normal charac-
ter in the group. His sincerity and
personality combine to make William
Kelley a thoroughly likable, human
chap. He juggles love scenes and
humorous situations with equal dex-
terity, employing admirable restraint
in each.
Director John Blystone, the tech-
nical departments and a competent
cast contribute everything possible to
make this picture meritorious enter-
tainment, but even such heroic efforts
March, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-five
cannot make a story plausible or con-
vincing when it is lacking in such
essentials.
FIREMAN, SAVE MY CHILD
First camera, Sol Polito ; second camera,
Michael Joyce; assistant, Robert Mitchell;
stills, John Ellis ; sound, Oliver Garretson.
THE fact that Warners in Holly-
wood held an attraction over the
second week for the first time
in nine months demonstrates quite
conclusively how the home folks feel
about Joe Brown in "Fireman, Save
My Child." While
this First Na-
tional picture
does not as com-
pletely fulfill its
mission in the
comedy field as
have some of the
preceding Brown
features, never-
theless it is a
good laugh tonic.
Reminiscent of
his local stage
appearance in
Sol Polito "Elmer the
Great" Brown
gives an exhibition of baseball pitch-
ing that is as successful in results as
it is unique in form. His training in
the fire department of Rosedale and
his love for conflagrations prior to
his baseball fame work havoc with
his technique on the diamond when
the sound of the siren intrudes dur-
ing a game.
In addition to this conflict there
are heart complications involving
Evalyn Knapp and Lillian Bond as
the competing parties. Guy Kibbee
as Pop registers realistically the
trials and tribulations of a coach de-
pendent upon so erratic a star as
"Smoky Joe." Richard Carle, George
MacFarlane, Virginia Sale and Cur-
tis Benton add to the general fastivi-
ties in bit parts intrusted to them.
Those fortunate enough to attend
on Friday night of the second week
also had the opportunity of seeing
Joe Brown in a personal appearance.
After two very generous appearances
the house would not let him go with-
out giving "Mousie," which he has
made almost a classic and is so identi-
fied with him that he probably never
will shake it in this life.
An added feature was a film dra-
matizing the highlights in the life of
George Washington. This, together
with the regular Jack Crawford or-
chestra and stage show, completed a
bill meriting the crowded houses
which have been in attendance.
THE MERRY WIVES OF VIENNA
FEBRUARY was ushered in at the
Filmarte tunefully and lightheart-
edly by the Viennese Film Oper-
etta "The Merry Wives of Vienna."
While the mood lived up to the title,
it is interesting to note that wives
were noticeable by their absence.
However, there were ten beautiful,
talented young women — all seeming-
ly about the same age but supposedly
daughters of the same father — who
danced, sang and laughed in the en-
tertaining company of Willy Forst.
The latter, by the way, qualifies as a
German Chevalier.
Lee Pary and Cordy Millowitch fea-
tured respectively as the daughter of
a coffee-house proprietor and a
former music hall entertainer main-
tain the high standard of beauty
exemplified by the other feminine
players. Even though costumed in
the unrevealing clothes of 1875 the
discernment of a Ziegfeld is revealed
in the selection of these twelve young
women.
Of music there are only tantaliz-
ing installments which make one de-
sire more. The dialogue, all of which
is in German, evidences the lack of
being hampered by the seven veils of
American censoiship where frank-
ness defers to insinuation and sug-
gestion.
The utter lack of studied or forced
efforts to entertain marks the per-
formance as an unusual exhibition of
spontaneous joyfulness on the part of
the entire cast. There is a plot, but
it does not take itself seriously
enough to remain probable, so is
quickly forgotten.
Geza von Bolvary, Robert Stolz and
Walter Reich, who collaborated so
successfully as director, composer
and scenarist in "Two Hearts in
Waltz Time," have created in "The
Merry Wives of Vienna" another bill
of entertainment which may be rec-
ommended highly as an antidote to
depression blues.
LADY WITH A PAST
First camera. Hal Mohr ; second cameras,
William Skall, Stanley Cortez ; assistants,
Robert Surtees, William Charney ; stills,
Emmett Schoenbaum ; sound, D. A. Cutler.
THE repentance of the sinner and
retribution visited on the trans-
gressor pale into insignificance
when compared with the hours of
boredom and social isolation repre-
sented as the penalty of being alto-
gether too "nice"
endured by the
featured feminine
interest in "Lady
with a Past," the
latest RKO-Pathe
production fea-
turing Constance
Bennett.
As Venice Muir,
a young woman
of great wealth,
presumable beau-
ty and irre-
proachable fam-
ily, who finds her-
self in one of those
paradoxical mazes of existence where
it so often happens that nothing ever
does, Miss Bennett gives a convinc-
ing performance of the woman so
terrifyingly menaced with the danger
of dying from the reflected boredom
which she unintentionally inflicts on
others.
Unable to overcome her habit of
discouraging every man she meets
from getting interested in her with
the query "Have you read any good
books lately?" her heart conquests
remain in the category of ambitions
unrealized but ardently hoped for.
The action moves to Paris, where
Hal Mohr
we find Venice struggling against
fate but still alone enjoying a cham-
pagne cocktail. Inspiration must
have lurked in its depths because a
great idea is born at this juncture
resulting in Ben Lyon being employed
as a gigolo to chart her future path.
How he removes all stigma from
this profession in the charming way
he dispatches his duties, constructs a
questionable past for his client and
delivers her to the man of her choice
still as "nice" as ever, but different,
disclose the metamorphosis of the
heroine from a social dud to a great
success.
In the same manner that Ben Lyon
saves the heroine from the shoals of
boredom so also does he keep the in-
terest of the audience from getting
stranded long before the close of the
picture. David Manners is likable
and pleasing as Donnie Wainwright,
the one who shares the final fadeout
with the star.
There are several instances of en-
livening dialogue which help to re-
lieve the slow tempo of the whole.
The title will undoubtedly act as an
excellent decoy to attract Constance
Bennett fans, however, the chief fault
seeming to lie in the choice of a story
not suitable for screen adaptation.
Argentina Company Formed
for Television Development
AS a result of approximately a
year's study of the possibiities
for television, according to a
report submitted by Assistant Trade
Commissioner Milton T. Houghton of
Buenos Aires, a company has recently
been formed in Argentina under the
title of the Baird Television Limited
(Argentine Company) for the pur-
pose of exploiting in Argentina, Uru-
guay, Brazil and Chile all of the pat-
ents of the Baird Television Co., Ltd.,
of London.
This company will handle all the
apparatus, transmitters, receiptors
and accessories of the inventor John
Lagie Baird, and they intend to es-
tablish in the near future a combina-
tion television and radio telephone
service in these countries.
In Argentina this service will be
established in conjunction with the
local broadcasting station Radio
Splendid. During the past year the
company is reported to have carried
on some very successful experiments
and demonstrations.
Four-Fifths of Russians
1932 Films Will Be Sound
REPORTS from Moscow have it
that 80 per cent of the films
scheduled for production in 1932
will be of the sound category, accord-
ing to Trade Commissioner Canty.
It is claimed the greater part if not
all of the cinema net will be wired by
the end of this year, by means of
domestic sound sets, which are to be
manufactured by a special factory to
be built in the South of Russia.
One of the productions on the
schedule is a feature with four for-
eign language versions which is to
show the European war of the future.
Thirty-six
The INTERNATIONAL PHOTOGRAPHER
March, 1932
Brilliant Record Has Chief Elliott
As Stage Electrician and Executive
BUSY has been the life and wide
the experience of William C.
Elliott, the new president of the
International Alliance and Theatrical
Stage Employes. It has been a life
and an experience that throughout
their courses steadily have been lay-
ing a foundation for the display of
greater wisdom and judgment in the
execution of the multifarious duties
and responsibilities imposed on the
chief executive of six hundred odd
local unions.
While he has not yet attained the
age of fifty years "Bill" Elliott has
been a part of show business thirty-
five years or since he was thirteen
years old. He was born and raised
in Cincinnati, and it was in that city
where he first learned of things and
men theatrical in the job of property
clerk, the bottom of the amusement
ladder.
From this work the youngster was
graduated into the electrical depart-
ment, where in local theatres he took
the switchboard. Then for twenty
years there was work on the road
and association with some of the
greatest amusement enterprises in
the country and the rubbing of el-
bows daily with some of the greatest
actors and actresses, many of them
keen of wit and brilliant of intellect.
Later on his home town was to se-
lect him as business representative
of stage employes, in which position
he was to become prominent in Ohio
trade unionism. Then ten years ago
was to come the appointment of fifth
vice president of the International
through selection by President
Charles Shea. He passed through the
intervening chairs until in 1930 at
the Los Angeles International con-
vention he was elected first vice pres-
ident, succeeding to the presidency
upon the resignation of William Can-
avan a few months ago.
Easy to Meet
The new chief is the possessor of
an unusually sturdy frame, of a
physique that spells capacity for en-
durance whether the work be with
his hands or staged across a confer-
ence table. He is easy to meet, with
the manner and poise of a man whose
life has been spent in close contact
with others in a craft where cama-
raderie is an essential part, a nat-
ural development of the necessarily
unconventional mode of living.
Among the enterprises and players
with which and whom President El-
liott has been associated have been
the Shuberts, Erlanger, Frohman,
Maude Adams, Richard Mansfield,
Marie Dressier in "Tillie's Night-
mare" and Julia Marlowe.
Then there have been the Winter
Garden shows, Shuberts' "Passing
Shows," Henry W. Savage's "Every-
woman" and "Pompom," and "The
Merry Widow." He was with De
Wolfe Hopper and with Marguerite
Clark, the latter of whom will be re-
membered as for years a screen
player under the Paramount banner.
The chief executive produced shows
on the electrical side for B. C. Whit-
ney, and at the old Bijou in New
York produced the electrical end of
"The Right of Way" for Theodore
Roberts, who later was to become one
of the best loved screen players.
In 1903 or 1904 the president was
with Dockstader's Minstrels when the
troup carried on the road what he
believed was one of the first travel-
ing motion picture projectors to be
taken out by a regular show. It was
at that time the custom to project
from the balcony rail, with the film
sometimes being unreeled into a bag
because up to that time the take-up
magazine had not been invented. If
it missed the bag the film naturally
went into the audience in the orches-
tra, where immediately it was a mat-
ter of lively interest and promiscu-
ous handling.
It was in those early days when
Marcus Loew, across the river from
Cincinnati and in the town of Cov-
ington or Newport, opened a picture
show. On account of a scarcity of
assistance the future captain of in-
dustry collected the price of admis-
sion from sufficient patrons to con-
stitute an audience, and then locked
the door and went to the projector
and put on his show.
When the editor asked President
Elliott the first picture show he re-
membered seeing the executive
smiled. It was the Edison studio's
"Great Train Robbery."
At the close of a brief chat the
editor had suggested he was sure the
readers of the magazine would be in-
terested in learning the background
of the new chief of the great body
with which the cameraman are affil-
iated and was told to "Shoot."
In saying good-bye the president
was asked which one among the many
interesting men with whom he had
come in contact in his years of thea-
trical work most stood out in his
memory. The answer was quick:
"J. J. Murdock, of whom I am an
ardent admirer and esteem very high-
ly. I am proud to claim him as a
friend dating back many years."
Hollyzvood Uncovers Prodigy in Its
Executive of but Eleven Birthdays
WE hear a lot about prodigies in
this picture business — of men
who well on the sunny side of
thirty birthdays carry great responsi-
bilities and incidentally carry off
heavy dough every pay day. There
is one Hollywood executive, neverthe-
less, who up to the present has con-
cealed his unusual record in the way
of scarcity in natal visitations. And
he has done that in spite of the gray-
ing locks which would seem to belie
the figures.
On Monday last, which means Feb-
ruary 29, Edward 0. Blackburn cele-
brated his eleventh birthday — believe
it or not. Just to make the record
sound a bit queerer it was on the
sixth birthday of this lad he signed
up with Watterson Rothaker, some-
thing of a braw laddie himself at the
time, at the latter's w. k. laboratory
in Chicago as sales manager.
The record is further accentuated
or made additionally notable in that
the subsequent five birthdays all have
been celebrated under the banner of
the same up and down industry,
seemingly condemned never to emerge
from Mr. Shakespeare's celebrated
m. and p. stage of infancy, and in that
elapsed time more water has swung
under the bridges than possibly could
have crowded through in any five
years.
The lad whose front elevation has
been so realistically depicted by Art-
ist Glenn Kershner in the accompany-
ing drawing has a most laudable am-
bition. It is so to conduct his comings
and goings that he may with un-
dimmed interest attain his natal ma-
jority, his twenty-first birthday.
Ruling odds are plenty to 1 that
on the morning of February 29, 1972,
the not yet venerable Edward will
for the day forget film or what then
will be taking its place and with his
bag of golf clubs and accompanied by
his infant son or rather his forty-one-
year-old son and his steen-year-old
grandson will, at the wheel of his
fastest plane, fly out to his favorite
course and nonchalantly proceed to
trim the younger generations of
Blackburns at a mere trifle of thirty-
six holes of golf — and maybe thirty-
eight, too.
March, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-seven
The International Photographer's Family Album
Welcome Home Bob Bronner
at Surprise Dinner Party
HOME again is Robert J. (Bob)
Bronner from his memorable
trip around the world as a
member of the photographic staff of
the Vanderbilt scientific expedition
quartered aboard the yacht Alva. His
story of the trip as relayed by his
father and printed in the Interna-
tional Photographer from month to
month has been of deep interest to the
magazine's readers.
The traveler brought back with
him hundreds of photographs that he
had grabbed when off duty afloat and
ashore. A number of these are re-
produced in this issue.
Some of Bob's friends met him at
the train on his arrival earl'y on Feb-
ruary 7. He was in a way expecting
them, but these friends and a few
others caught him very much unpre-
pared at 6 o'clock the same evening
when his dad's suggestion the two
drop in at the Canary Cottage for
dinner was acted on. It was a real
surprise.
Awaiting his coming were Alvin
Wyckoff, president of International
Photographers, and Mrs. Wyckoff;
Ira Hoke, treasurer of the same or-
ganization and associate editor of this
magazine; Mr. and Mrs. Edward T.
Estabrook, Mr. and Mrs. Paul Eag-
ler, Mr. and Mrs. Curtis Cady. Maur-
ice Kains, Mr. and Mrs. W. A. Saw-
don and Mr. and Mrs. George Blais-
dell.
After dinner President Wyckoff in
a graceful blending of humorous and
serious words welcomed home the
young man who had been so far from
Hollywood. Ed Estabi-ook also added
his welcome.
Then for an hour the photographer
told of his experiences in various
parts of the world, of his work on
the photographic side among other
things. There were many questions
asked and answered.
At the conclusion of Bob's talk his
father expressed his appreciation of
the courtesies extended him by the
officers and representatives of the
International Photographers during
his son's absence. He spoke of that
young man's efforts to acquire knowl-
edge of photography and paid high
tribute to the late "Pop" Harriot as
a photographer and a preceptor and
a gentleman for what he had given
to his pupil. Also he expressed his
thanks to Al Gilks, head of the Van-
derbilt photographic staff, for his
selection of Bob as his assistant and
his unfailing courtesy to him
throughout the trip.
Staub Completes Five Years
as Screen Snapshots Maker
WITH the starting of his current
release of Screen Snapshots,
Ralph Staub, the only one-man
company in Hollywood, begins his
sixth year as writer, director, cam-
eraman and editor producing the fan
magazine of the screen for Columbia
release.
During these years Staub has pro-
duced over 400 shorts depicting the
players at home, at work and at play.
Tappenbeck and Culver Open
Photographic Supply Store
UNDER the firm name of Tappen-
beck and Culver two Interna-
tional Photographers have
opened a store in Westwood Village,
for the sale of photographic supplies
and amateur cameras. These are
Hatto Tappenbeck of the Hollywood
organization and Herrin F. Culver of
the Chicago body.
The store is situated at 10858
Weyburn avenue in the El Paseo
Building, opposite the Fox Theatre.
In addition to a full line of Bell and
Howell and Eastman products the
new establishment is equipped to
handle all types of commercial pho-
tography.
There have been provided photo-
graphic darkrooms, a 16 mm. projec-
tion room, photographic reading room
and facilities for cutting 16 mm.
films.
Mr. Culver, who is a charter mem-
ber of 666 of Chicago, was for two
and a half years with Bell and How-
ell in Chicago and in the same city
for a number of years with the com-
mercial firm Jam Handy. During
the preceding summer he assisted
Robert Bruce in making Multicolor
scenics in the New England states.
Mr. Tappenbeck has been con-
nected for ten years with camera
work in the Hollywood studios.
Among these have been Fox, Univer-
sal, M-G-M, United Artists, Multi-
color, Warners and Tec-Art. In
1929 he was in Europe for six
months, doing both still and motion
picture work under assignment from
Fox.
Being a graduate of Stanford Uni-
versity Mr. Tappenbeck particularly
has taken care so to arrange the
working facilities of the store as best
to meet the photographic require-
ments of the thousands of students
of the University of California at
Westwood.
Fashionable San Fratwisco
Hotel Installs Darkrooms
AT the meeting in San Francisco
of Golden Gate Wing of the
west coast International Pho-
tographers recently Irving Auerbach
was reelected steward. Lloyd Coombs
was named assistant steward and Ray
Duhem secretary.
During a visit in Los Angeles in
February Steward Auerbach reported
the preceding year had been a most
successful one for Golden Gate Wing.
Also he said that as a result of his
suggestion to Proprietor George
Smith of the Mark Hopkins Hotel,
situated in the Nob Hill district of
San Francisco, that exclusive hostelry
"Blowing Bubbles" — Lu Ann Cohen, ten months old, daughter of Mr. and Mrs.
Edward J. Cohen, seeks solution of that age-old mystery, puzzling all th<\
seven ages of man — and which upon touch "vanishes into thin air."
Thirty-eight
The INTERNATIONAL PHOTOGRAPHER
March, 1932
has installed two darkrooms for
the convenience of professional and
amateur cameramen guests.
The rooms have been equipped with
all necessary facilities for changing
and loading of negatives.
Anniversary of the Stork 's Visit
MARCH 1— Roman A. Freulich,
Joseph H. Kealey.
2 — Lindsay Thomson.
3 — Kenneth Alexander, Gordon
Avil, Clyde A. Meginness, Ernest F.
Zimmerman.
4— Robert W. Miller, Clifton
Thomas.
5 — Lauron A. Draner, Jack A.
Marta, Jr., Louis Lincoln.
6— August J. Elliott. Kenneth D.
Peach, Richard K. Worsfold.
7 — Warner Cruze, William H.
Grimes, George K. Hollister, Sr., Roy
H. Klaffki, Ernest W. Miller, Guy
Roe, Gilbert Warrenton.
8 — John Ci'ouse, Robert E. Davol,
Earle F. Walker.
11— Roy S. Clark, Harold M.
Wvckoff.
12_Wilton Hill.
13— Neal W. Harbarger.
14 — Phillip L. Moore.
15 — John H. Hallenberger.
16— J. S. Brown Jr.
17 — Martin G. Glouner.
18 — John J. Schmitz.
lP,_Chc-les S. Clarke.
20 — William E. Cornenweth, Knut
O. Rahmn, Emmett A. Schoenbaum.
21 — Edward J. Cronjager.
Catherine, adopted daughter of Mr.
and Mrs. Esselle Parichy, who passed
away January 24 in Miami after a
long illness and was brought to Los
Angeles for burial. Catherine was
thirteen yewrs old and an eighth A
pupil in Junior High. She was a
dancer of ballet and tap, having
studied in California and Florida.
She was a brilliant and most promis-
ing student.
22 — John Breamer, Junius D. Estep,
John J. Jenkins.
23 — Robert Bryan, Jack Koffman,
Ted Landon.
24— Bert C. Lynch, Cliff Stine,
Harry A. Zech.
25 — Charles Bartleet.
27— LeRoy Eslick, Dr. G. Floyd
Jackman, Ray June, Charles B. Lang.
28 — Philip Tannura.
30— Ernest S. Depew, R. H. Hoff-
man, A. J. Stout, William C. Thomp-
son.
Empire Studios in Mexico
Install RCA Photophone
MAURICE A. CHASE, president
of Empire Productions, the
new sound motion picture pro-
ducing corporation which built studios
at Empire City in the Chapultepec
Heights section of Mexico City, has
purchased a complete studio recording
unit from the Mexico Music Company,
local distributor for RCA Photophone,
Inc., and immediately following its in-
stallation will begin the first of 20
feature pictures, 104 short subjects
and a sound news reel for distribution
among Latin American countries and
Spain.
Two studio buildings in a plot of
135 acres are completed and one large
stage is nearing completion. Two of
the studios, administration building,
cutting and projecting rooms and lab-
oratory have been completed. One of
the studio buildings is 60 feet high
and 125 by 208 feet.
Golden Heads Committee
N. D. Golden, assistant chief ol
the motion picture bureau, Depart-
ment of Commerce,, has been appoint-
ed chairman of the local arrangements
committee by W. C. Kunzmann, chair-
man of the convention committee to
prepare for the spring meeting of the
Society of Motion Picture Engineers
to be held in Washington, May 9 to 12.
C. Francis Jenkins, Raymond Ev-
ans, C. N. Nichols, N. Glasser, C. J.
North and N. C. Haefele have been
appointed to serve on Mr. Golden's
committee.
Soviet Scales Film Salaries
The Soviet Russian Department of
Fine Arts has decided that film artists
will be divided into four classes to
receive the following salaries: stars,
300 rubles per month; first class, 370
rubles; second class, 200 rubles; third
class (extras), 160 rubles per month.
Astronomer Claims Invention
A message from Johannesburg,
South Africa, claims that Dr. R. T.
A. Innes has invented a system of
stereoscopy. Dr. Innes was formerly
South African Union astronomer so
that any claim he makes has more
than usual scientific interest.
Lindon Invades Deep Sea
(Continued from Page 9)
his air and the 400 pounds of human
and the diving suit soared with added
buoyancy. As he approached the
neighborhood of another rock he re-
leased his escape valve and as lightly
as a cat glided gently to a perfect
terpsichorean landing. He stepped
down and bowed profoundly. He in-
sisted several times on acknowledg-
ing encores he was sure must be in-
tended.
Many were the attention-compelling
and even mirthful stunts performed
amid surroundings that never looked
upon the like before and may not
again in many a day. The Kiralfis
in the palmy days of "The Black
Crook" probably never conceived its
equal. Lindon admitted it was rare
entertainment.
Introducing Miss Mary Anne Green-
halgh, who on February 4 last
reached the mature age of six months.
That was the day she sent for the
photographer to do his stuff — and
ivhat a chance to do that she did pre-
sent one proud papa, although she
insisted her mother attend as chap-
erone. After Mary Anne had seen
and approiied the photo she admitted
she had intrusted the commission to
Jack Grecnhalgh.
March, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty -nine
For Best Results in Cinematography — Use
Max Factor's Make-Up
"The Preference of the Profession'
Now used in 96% of all Motion
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Max Factor Make-Up Studios
HOLLYWOOD
CALIFORNIA
Am
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ON 1*11 IT
MITCHELL CAMERA CORPORATION
665 NORTH ROBERTSON BOULEVARD
WEST HOLLYWOOD CALIF.
Mitchell Cameras (Late
Models for sound and speed
work) and Accessories
For Rent
Professional and Amateur
Photographic Supplies
Developing, Printing and Enlarging
Hollywood Distributors for Leica and
All Other German Make Cameras
RIES BROS., INC.
Open 8 A.M. to 9 P.M.
1540 N. Cahuenga. Phone GRanite 1185
Glenn R. Kershner
Phone Culver City 3154
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MITCHELL FOR RENT
Phone GLadstone 4151
HOLLYWOOD
STATE BANK
The only bank in the Industrial
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Santa Monica Boulevard at
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The new "Local 659" emblem.
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The largest jewelry factory
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Size and Angle of Lens Shade
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In some cases we will be able to re-
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clude these new features.
Fred Hoefner
CINEMA MACHINE SHOP
5319 Santa Monica Blvd.
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W. A. SICKNER
FIRST CAMERAMAN
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Barsam - Tollar
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7239 Santa Monica Blvd.
Hollywood, California
Phone GRanite 9707
Forty
The INTERNATIONAL PHOTOGRAPHER
March, 1932
There is a Plus Value
m
AGFA Positive Film
Agfa Raw Film Corporation
Hollywood Branch
6368 Santa Monica Blvd.
HEmpstead 9574
Factories
Binghamton, N. Y.
CLASSIFIED
BASS-CHICAGO
Pays Spot Cash for used
Bell & Howell Professional
Cameras and De Brie
Motion Picture Cameras.
Bass Camera Co.
179 W. Madison St., Chicago
For the Safest Results
in Air Pictures Call on
G. Lincoln Air Service
Airplanes for Motion Picture Rental.
Foreign and American airplanes and mo-
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camera ships, Douglas mail planes. Six
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and ships for acrobatics.
Garland Lincoln
Ex-World War Flyer, with Motion Picture
Experience Dating Back to 1913
THornwall 3084 6217 11th Ave.
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PHOTO-FILTER SPECIALIST
Dr. G. Floyd Jackman
DENTIST
Member Local No. 659
706 Hollywood First National Bldg.
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GLadstone 7507 Hours: 9 to 5
And by Appointment
FOR SALE OR RENT— Everything photo-
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ing equipment, and accessories for 16 MM. or
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Prevost, Willart, De Vry, Eyemo, Sept, Leica.
Also every variety of still camera. Specialize
in repairs. Send for Barbain Catalogue. Open
8 A.M. -10 P.M. Hollywood Camera Exchange,
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Telephones: Hollywood 9431, Gladstone 2507.
Cable address : Hoeamex.
FOR RENT— Mitchell and Bell & Howell thor-
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WANTED TO BUY— Cameras, projectors, mo-
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wood 9431, Gladstone 2507. Send for our Bar-
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FOR RENT— Mitchell and Akeley cameras
fully equipped for sound. Norman De Vol,
6507 Drexel av., OR 7492.
MITCHELL high-speed Camera No. 225. Van
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WANTED— To buy raw film stock Type 2 or
supersensitive, either make. HE 8116.
MELROSE
Trunk Factory
UNION MADE Camera
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Trunk and Luggage Repairing
Our Specialty
Automobile Trunks, Sample and
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ADams 3646 1451 E. 57th St.
LOS ANGELES, CALIF.
ROY DAVIDGE FILM
LABORATORIES
An Exclusive "Daily" Laboratory
670 1-67 15
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SANTA M ON I C A
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BOU LE VARD
Brulatour Bulletin
WHAT'S WHAT
EASTMAN FILMS
WHO'S WHO
Fairbanks Off for
Romantic Papeete
Takes With Him a Quarter Million Feet of
Eastman Pan Negative
WHEN Douglas Fairbanks sailed away for Papeete an-
other feature to make, he lugged along with him more
than a quarter of a million feet of Eastman Panchro-
matic Negative specially packed by Brulatour for safe keep-
ing in tropical climates.
And in the event the big boss and Director Eddie
Sutherland and that fine player and good fellow Bill Farnum
get low on film there'll be another quarter million on tap
"just waitin' for the sun to come and git it."
And how that Pan will put on the spot whatever comes
within the long range of its sensitive vision!
CheWorldIsThe
Cameraman's Oyster
Putting It on the Screen
For the Millions to See
Artie Miller
Did last three Helen Twelvetrees
pictures at Pathe and has just finished
one with her at R-K-O. With him as
seconds have been Milton Krasner and
Joe Biroc, with George Diskant and
Clarence Slifer as assistants.
Ernie Haller
Now doing at First National with
Ruth Chatterton "The Rich Are Al-
ways With Us." Billy Schurr is second
and Ellsworth Fredricks assistant. Was
scheduled to start Feb. 29 with Kay
Francis.
Merritt Gerstad
Just finished "Freaks" at M-G-M and
"Night World" at Universal. Second
was Al Jones, with George Bunny, son
of late John Bunny, screen comedian,
and Walter Williams as assistants.
At liberty.
Jack Guerin
At Consolidated Lab the superin-
tendent has been doing his bit by keep-
ing the cameramen cheerful and the
only known way in which a lab super
can do that is by putting it on the
film. As a matter of fact it was J. G.
who really first put the supe in super.
Vic Milner
"Daughter of the Dragon," "One
Hour With You," and has just finished
Lubitsch's great drama "Broken Lul-
laby" or "The Man 1 Killed." Bill
Mellor and Bill Rand, seconds. Lucien
Ballard and Guy Roe, assistants.
Charles Stumar
"Heaven on Earth" and also has
just finished "Mountain in Flames."
Dick Fryer and Jimmy Drought sec-
onds, with Martin Glouner and Johnny
Martin assistants.
Clyde De Vinna
Winner 1930 Academy's award with
M-G-M's "White Shadows in the South
Seas" Now with R-K-O shooting Do-
lores Del Rio in "Bird of Paradise" on
Honolulu location. Was expected to
leave there March 2. May have to
go to Catalina for several days, with
interiors at studio. Eddie Pyle, second;
Charlie Burke and Charlie Straumer,
assistants.
Harry Neumann
Splits time between Universal and
Allied. Hoot Gibson series. Tommy
Galligan is second and Jimmy Higgins
assistant. Just finished "Spirit of the
West."
f
■ l m SJ 'nr
Dan Clark
Just finished "Destry Rides Again"
of Tom Mix series at Universal, with
exteriors in Happy Valley. Norman
De Vol, second; Lloyd Ward, Don
Glouner and George Trafton, assist-
ants. Next picture starts about March
3, for which now hunting locations.
Dwight Warren
Just finished production last week at
Educational.
Sid Hickox
At First National "Hatchet Man"
and "Roar of the Crowd" and has just
finished "So Big." Dick Towers, sec-
ond, and Wesley Anderson, assistant.
Norbert Brodine
Scheduled to start picture at M-G-
M with Director W. S. Van Dyke.
Walter Lundin
With his associate cameraman, Hank
Kohler, all set for the Harold Lloyd
picture now casting at United Artists.
John Seitz
Over at Fox this week with Director
Henry King.
Hal Rosson
Photographing Chic Sale and Jackie
Cooper in "Limpy" for M-G-M.
Hal Wenstrom
Shooting "Huddle" at M-G-M for
Director Sam Wood, with Paul Vogel
as second.
Oliver Marsh
At M-G-M with Director Clarence
Brown. Edward Fitzgerald, second.
During this
period of reduced production
we are maintaining a force of
thoroughly trained mechanics.
Each man is experienced in his
particular branch of work and
with our completely equipped
plant we are prepared to
give prompt attention
to your orders.
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Mitchell Camera Corporation
665 N. Robertson Boulevard
West Hollywood, Calif.
Cable Address "MITCAMCO" Phone OXford 1051
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THE €JP> TRADE MARK HAS NEVER BEEN
PLACED ON AN INFERIOR PRODUCT
*EG. U. S.PAT. Of F
Smith & Aller, Ltd.
6656 Santa Monica Boulevard, Hollywood 5147
HOLLYWOOD • CALIFORNIA
PACIFIC COAST DISTRIBUTORS FOR
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!
April, 1932
The INTERNATIONAL PHOTOGRAPHER
One
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A CENTRALIZED PURCHASING POINT
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Walker House, Lamington Road,
Bombav 4 India
Representatives
GENE COUR Australia
1029 South Wabash Ave., COMMONWEALTH FILM LABORATORIES, LTD.
Chicago, Illinois
Wilton and Belvoir Streets,
Svdnev, Australia
JTplIUvood
Motion PigTure/^ujipmenT(o.|Td.
6416 SELMA AVE.
CABLE ADDRESS ARTREEVES
HOLLYWOOD, CALIFORNIA, US A
Two
The INTERNATIONAL PHOTOGRAPHER
April, 19,12
■
I J 1
bringing
the mountains
to Mahomet...
• General Electric Mazda lamps plus the
Dunning and other similar processes bring
"the mountains" to the studio. These frames
of film suggest the variety of settings which
can now be utilized by the camera man, with-
out loss of realism and without having to move
an expensive cast out "on location."
G. E. Mazda lamps are especially adapted
for this "process" work because their light has
the full colors of the spectrum and the proper
balance of all colors.
They are equally valuable for every lighting
need in the studio. The wide range in types
and sizes of these lamps enables you to light
each scene as best suits its mood and action.
The steady, uniform light of G. E. Mazda
lamps makes them excellent for sound record-
ing. And they lend themselves readily to many
other special cinema applications.
Another reason for the important role G. E.
Mazda lamps play in the life of the camera
man is their DEPENDABLE QUALITY.
General Electric, by constant research and
development at Nela Park, "Lighting Head-
quarters of the World," as well as by exacting
manufacture, assures you of the best lamps
for your purposes that money and brains can
produce. General Electric Company, Nela
Park, Cleveland, Ohio.
GENERAL® ELECTRIC
MAZDA LAMPS
INTERNATIONAL
PHOTO GPAPHE R
Official Bulletin of the International
Photographers of the Motion Pic-
ture Industries, Local No. 659, of
the International Alliance of The-
atrical Stage Employees and Mov-
ing Picture Machine Operators of
the United States and Canada.
Affiliated with
Los Angeles Amusement Federa-
tion, California State Theatrical
Federation, California State Fed-
eration of Labor, American Fed-
eration of Labor, and Federated
Voters of the Los Angeles Amuse-
ment Organizations.
Vol. 4
HOLLYWOOD, CALIFORNIA, APRIL, 1932
No. 3
"Capital is the fruit of labor, and could not exist if labor had not first existed.
Labor, therefore, deserves much the higher consideration." — Abraham Lincoln.
C O N T
Cover — One-Hundred-Inch Telescope
Atop Mt. Wilson
By William Grimes
Mahmoud Letter Revives Memories... 4
By Esselle Parichy
Seeking Natural Beauties for Color. 6
By Oliver D. Perreault
Practical Way of Finding Gamma 8
By Dr. Herbert Meyer
Felix Schoedsack Home from India... 9
durholz descrd3es hls novel lens. ... 10
Roderick Giles, Noise Ketcher 12
By Fred A. (Red) Felbinger
Bell & Howell Celebrates Twenty-
fifth Anniversary 14
Eastman's Death Ends Life Rich In
Material and Cultural Achievement. 15
E N T S
Cameramen Ratify Contract 16
Tribute to George Eastman 25
By Glenn R. Kershner
Just How the Butt Patch is Made. . . .26
By Arthur Reeves
Looking In On Just a Few New Ones. .28
By George Blaisdell
When Seen Through Feminine Eyes.. 31
By Clara M. Saivdon
Chicago 666 33
By Sassiety Reporter
Al Gilks Home Following World
Cruise 35
Paul Perry to Photograph Asian Big
Game Production for Franklin-
Granville 37
The International Photographer's
Family Album 37
The International Photographer is published monthly in Hollywood by Local 659, I. A.T.S.E.
and M. P. M. O. of the United States and Canada
Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles, Calif., under
the act of March 3, 1879
Copyright 1932 by Local 659, I. A. T. S. E. and M. P. M. 0. of the United States and Canada
George Blaisdell
Ira Hoke
Esselle Parichy
Howard E. Hurd, Publisher's Agent
Editor Lewis W. Physioc 1
Associate Editor Fred Westerberg j
Staff Correspondent John Corydon Hill
Technical Editors
Art Editor
Subscription Rates — United States and Canada, $3.00 per year. Single copies, 25 cents
Office of publication, 1605 North Cahuenga Avenue, Hollywood, California. HEmpstead 1128
McGill's, 179 and 218 Elizabeth Street, Melbourne, Australian and New Zealand agents.
The members of this Local, together with those of our sister Locals, No. 644 in New York, No. 666 in Chicago, and
No. 665 in Toronto, represent the entire personnel of photographers now engaged in professional production of
motion pictures in the United States and Canada. Thus THE INTERNATIONAL PHOTOGRAPHER becomes the
voice of the Entire Craft, covering a field that reaches from coast to coast across North America.
Printed in the U. S. A.
at Hollywood, California.
Four
The INTERNATIONAL PHOTOGRAPHER
April, 19.32
Left, Esselle Parichy; center, gigantic statue of Rameses the Great in the Temple of Luxor; right, Nile boatmen ply
between Luxor and Thebes across the river to the City of the Dead.
Mahmoud Letter Revives Memories
Cameraman's One Time Dragoman Philosophizes
of Luxor and Her People in Language That
Stirs Yearning for Egyptian Trek
By ESSELLE PARICHY
Staff Correspondent
With photographs by the writer
THE arrival of a letter from
Mahmoud, my dragoman out of
Luxor, Egypt, sends my thoughts
scurrying hack o'er the exotic trails
of the Nile gods. Periodically he
writes giving me an intimate glimpse
of Luxor today; his letters reflect his
jovial spirit and manly sincerity filled
with the vitality that is all Egypt.
I cherish the fraternity of friendship
that has welded an unbroken tie with
this son of Mohammed.
In today's letter he philosophizes
of Luxor and her people with phrases
that he plucks like brilliant feathers
to adorn his fantastic tales; he in-
trigues my mental screen with kalei-
doscopic pranks and stirs in me an
insatiable desire to trek once again to
this royal land of the Magnificent
Past.
He tells me of old friends, creating
in each a star of his own drama . . .
of Fadlallah, the old ivory carver,
whose toil worn hands miraculously
perfect goblets from live rhino tusks
for the royal mouths of Europe . . .
of Moussa, the snake-charming holy
man, who has administered much of
Left, on the Plain of Thebes sit the Colossi of Memnon in calm and endless patience watching generations come and
go; right, Valley of the Kings, where the Pharoahs lie in magnificent panoply of peace.
April, 1932
The INTERNATIONAL PHOTOGRAPHER
Five
Left, Mahmoud Tahtawy, dragoman, and Mrs. Parichy in the Ramesseitm at Thebes; center, where the earthquake of
27 B. C. played havoc with the pylons and columns of Karnak; right, Monssa, the snake charm-
ing holy man of Luxor, holding a cobra.
his magic to the cobra-bitten inhab-
itants during the last Nile inunda-
tion . . . and he writes of faithful
Achmed, the Nile boatman, who plies
his craft between Luxor and Thebes,
the City of the Dead . . . Achmed,
whose immobile face always seemed
to be a reincarnated frieze off a The-
ban Temple wall.
All these cashmere allurements
carry me back over age-old thorough-
fares where, in the incandescent Past,
Cleopatra and her entourage of Nu-
bian slaves lingered . 4 . to palm-
screened villages of mud huts and
gilded minarets that pierce the crim-
son sky ... to temples crumbling in
silent loneliness lamenting the An-
them of Mankind.
Labyrinthian Streets
In my memory barque, propelled by
the magic of the letter, I drift from
one place to another watching the
rich pageantry of Life in the crowded
labyrinthian streets . . . eating dates
and delicious sweetmeats dripping
with Sudan sweetness while I mingle
with the Egyptian and Bedouin who
wraps himself in fabled mysteries.
Oh! I can so easily visualize all
these scintillating reflections and see
again dancing girls swaying in the
dust and splendor, swaying like lotus
leaves in waters becalmed . . . sensu-
ous dancing girls, full blooming that
the chemicals of Life's formula have
unveiled in exquisite loveliness.
I am drawn by the eerie wail of the
pipe and native drum to the festivi-
ties of Ramadan, where the multi-
tude bends the spirit to the will of
the Prophet in weird rites; mad der-
vishes whirling in the fervor of re-
ligious frenzy until their eyes appear
to be looking through strange un-
barred windows that face on other
worlds than ours, and beyond these
whirling figures I discern the multi-
colored trappings of camels in pro-
cession while the monotonous throb
of the drum quavers in my very be-
ing.
In all my day-dreaming of Egypt
I like best to wander back to the
Valley of the Kings, across the Nile
from Luxor, where in the ancient city
of Thebes so much of the cradle of
civilization is written on her walled
mausoleums.
It is a lonely place, this Thebes,
and seen through the torrid visibility
of Egyptian sunlight a dissolvent
misty sheen seems to envelop the em-
bracing crescent of the Libyan Hills
that hold these tombs in a magnificent
panoply of peace. (Con. on Page 36).
miimi
feL
wmmmmmmamm
Left, Temvle of Queen Hatasu at Deir-el-Bahari, built 1500 B. C, nestles in crags of Libyan Mountains; right, Tubs,
on terrace of Temple of Queen Hatasu, at Deir-el-Bahari, used by ancient Egyptians for embalming.
Six
The INTERNATIONAL PHOTOGRAPHER
April, 193
Natural bridge, Bryce Canyon. Right, another Bryce Canyon view.
Seeking Natural Beauties for Color
Company for Thirty-three Days Searches Zion,
Bryce and Grand Canyons for Wonders to
Delight Lovers of Screen Scenics
Illustrated by OLIVER D. PERREAULT
THIRTY-THREE days devoted
to photographing the beauties
of Bryce, Zion and Grand can-
yons is an experience to be remem-
bered, declares Oliver D. Perreault,
one of the camera crew of the Brown-
Nagel company. Harry Perry as
photographer and Claude Fleming
as dialoguist, who have just returned
from a trip in Europe and the north
coast of Africa, where they made a
series of travelogues in color, were
members of the party that started
out from Hollywood to explore the
big open spaces of Utah and Arizona.
While the troup was recording in
color one of the series of "Romantic
Journeys" Perreault with his still
camera was keeping in mind readers
of the International Photographer.
To these he has brought some re-
markable examples of the physical
beauties of the interesting regions
covered.
Shots of Grand Canyon were taken
from every conceivable angle, also
from the air at about 500 feet below
the rim with plenty of attendant
thrills due to the strong air currents
encountered which made it necessary
to pull up out of the canyon at fre-
quent intervals. In fact, the pro-
cedure can only be recommended as
an experiment and not one that can
be indulged for any great distance
or length of time.
A pack trip with all the 300 pounds
of equipment to the bottom of the
canyon completed the exhaustive
search for interesting views of this
natural marvel which seems to scoff
at the ability of the camera to re-
produce its beauties. . Ribbon Falls
scenes of trout fishing and Hell's
Furnace were some of the results of
the trip to the floor of the canyon.
Record Dances
Bryce canyon and Zion were cov-
ered in the same thorough manner
for every accessible spot where prom-
ising photographic material invited
attention. In Moenkopie village, a
picturesque Hopi settlement not far
from Tuba City, arrangements were
made to photograph several Hopi In-
dian ceremonial dances.
An invitation to pow-wow with the
chief and other ranking officers of
Ceremonial dance, Hopi Indians. Right, Cliff dwellers, Arizona.
April, 1932
The INTERNATIONAL PHOTOGRAPHER
Seven
Bryce Canyon formation. Right, Grand Canyon formation of Queen Bess on throne.
the tribe preceded negotiations for
making the pictures.
In a dimly lighted room everyone
sat around in a circle in the center
of which was a large pan carefully
placed on a large square of oilcloth.
The chief started a large watermeon
around the circle.
Each one received a generous por-
tion of melon, and then for an hour
the time was spent trying to hit the
pan with watermelon seeds with in-
tervals of pow-wowing. After this
interesting conference was over plans
were made for the dances to be photo-
graphed the following afternoon
With an exquisite setting of natura1
beauty, the colorful Butterfly and
Buffalo dances were performed per-
fectly while the camera faithfully
registered everything.
Double Marathon
One Indian lad ran fifty miles
round trip to the Sacred Mountain to
procure a certain sacred weed for use
in the ceremonial costumes. An addi-
tional ceremony was staged in which
Claude Fleming was taken into the
tribe arrayed in an imposing Indian
headdress.
Indian Frank, a Navajo lad, acted
as guide for the Zion sequences in-
cluding an unusual series of scenes
in and about Mt. Carmel Highway
tunnel and great portals.
A return trip was made to the Kai-
bab Forest and Grand Canyon Lodge
for two purposes — one to photograph
the deer which are plentiful, the
other to photograph the white-tailed
squirrels. These squirrels, as wary
as they are rare and beautiful,
proved very trying camera subjects
until it was discovered that pine nuts
could bait them just as successfully
as the squirrels in public parks re-
spond to peanuts. Three days were
consumed in getting successful pic-
tures even with the aid of a bushel
of the fruit of the pinon pine.
In spite of sprained ankles and
strained backs, the results of the
thirty-three days were so satisfactory
and the experiences so memorable
that the entire party would willingly
have retraced their steps on the
slightest provocation. As one of the
party expressed himself, "If we
missed anything then it's because
Nature has created it since our
activities there."
Something New in Albums
Designed by J. Jay Castle
MOST novel and attractive is the
photograph album designed
and executed by J. Jay Castle,
father of Bob Bronner. It was Mr.
Castle who turned over to the read-
ers of International Photographer
the letters received from Bob describ-
ing his around the world trip on the
Vanderbilt yacht Alva.
The book contains many of the
best examples of the young photogra-
pher's work, of special interest being
shots of sunsets exposed in widely
varying parts of the world. His
father is at work on a larger and
much more pretentious album de-
signed to provide for subjects up to
11 by 14 inches in size.
Suspension foot bridge crossing Colorado River at bottom of Grand Canyon. Right, Harry Ferryman, cameraman;
Oliver D. Perreault, photographer of the other pictures illustrating this stoi-y, and the pilot. Note removal of door
in plane so as to make possible photographing Grand Canyon from level 500 feet below rim
Eight
The INTERNATIONAL PHOTOGRAPHER
April, 1932
Practical IV ay of Finding Gamma
THE generally known and widely
used method for determining- the
gamma of a photographic emul-
sion under given developing condi-
tions is based upon the assumption of
a straight line section in the grada-
tion curve.
The extension of this straight line
to the crossing point with the expos-
ure axes forms an angle with the
latter, the tangent value of which is
called gamma. Gamma, therefore, is
a direct measure for the ratio of con-
trast of an emulsion under fixed de-
veloping conditions.
For scientifically exact measure-
ments the assumption that the char-
acteristic curve includes an abso-
lutely straight part is not entirely
correct; but the deviation is so slight
that the objection against the de-
pendability of the gamma value as a
measure of contrast is of a more or
less theoretical nature.
At least the gamma value has be-
come recognized as an important ex-
pressive means for comparing photo-
graphic characteristics in general lab-
oratory practice.
Possible Errors
Recognizing that the method by
which gamma is determined is based
on an assumption which is only ap-
proximately correct, it should be kept
in mind that it will be necessary to
avoid as far as possible any further
source of errors in the application of
the method itself in order that the
final results may not exceed the error
limits already granted.
The possible errors which may be
encountered by using the geometrical
method may be briefly discussed as
follows:
The correctness of the reading of
the densities for the construction of
the characteristic curve is endangered
by the possible inclusion of errors,
which are caused due to the imper-
fection of the human eye and its in-
clination to become easily fatigued.
This makes it necessary in drawing
the curve combining the density val-
ues and in drawing the tangential
line to the straight middle part to
interpolate as a rule. This interpola-
tion, however, is subject to rather
arbitrary judgment, leading very
often to entirely wrong results.
A further possible error, which is
not considered sufficiently in practice,
is caused by the fact that in drawing
the tangential line density values are
very often taken in which already
belong to the toe or shoulder part of
the gradation curve.
Directional Effects
It is known that the results of
sensitometric tests are seriously in-
fluenced by directional effects in the
developer and, furthermore, due to
use and ageing of the developer, these
factors, especially for machine devel-
opment, have to be thoroughly and
individually considered.
Their influence, however, in its
practical effect is far more visible in
By DR. HERBERT MEYER
Technical Division Agfa Raw Film
Corporation, Hollywood
the toe or the shoulder of the curve
than in the straight middle part.
This may result in a decided shift
of the density value which should
mark the start or the finish of the
straight part of the curve, and the
disregarding of these shifts very fre-
quently causes density values being
included in drawing the gamma tan-
gential line, which already belong to
the curved parts of the gradation
curve, thus falsifying the correct
reading of the final gamma value.
To avoid the uncertainty and inac-
curacy of an arbitrary geometrical
interpolation, as well as the possible
source of error mentioned last, a sim-
ple method may be recommended be-
low for determining gamma values
using an arithmetical method.
This method should at least prove
of value as an additional control, even
if one should not decide to use it ex-
clusively for practical laboratory
tests, due to its simplicity and the
saving of time.
Determination of Gamma
This method is also based on the
assumption of a straight line section
of the gradation curve which can
serve for the determination of
gamma. The accompanying chart
refers to the use of a sensitometer
with exposure factor square root of
2, which in practice is rather gener-
ally used.
In the graphical sheets, based on
this exposure scale, one has to plot
density against log exposure in the
proportion 2 : 3.
Therefore, considering this system,
the straight line of a density curve
will form an angle of 45 degrees
(gamma = 1) with the horizontal
axes if the difference between the
densities of two following exposure
steps equals 0.15. If the difference
equals 0.30, the corresponding gamma
value will be 2.0. The gamma values
corresponding to lower, higher and
intermediate density differences can
be easily figured and are given in the
chart.
GAMMA READINGS FOR SENSITOMETER USING
EXPOSURE
SCALE
OF FACTOR
V2
Average density
Average density
Average density
increase between
Gamma
increase between
Gamma increase between
Gamma
2 exposure steps
2 exposure steps
2 ex
posure
steps
.000
.000
.155
1.033
.310
2.067
.005
.033
.160
1.067
.315
2.100
.010
.067
.165
1.100
.320
2.133
.015
.100
.170
1.133
.325
2.167
.020
.133
.175
1.167
.330
2.200
.025
.167
.180
1.200
.335
2.233
.030
.200
.185
1.233
.340
2.267
.035
.233
.190
1.267
.345
2.300
.040
.267
.195
1.300
.350
2.333
.045
.300
.200
1.333
.355
2.367
.050
.333
.205
1.367
.360
2.400
.055
.367
.210
1.400
.365
2.433
.060
.400
.215
1.433
.370
2.467
.065
.433
.220
1.467
.375
2.500
.070
.467
.225
1.500
.380
2.533
.075
.500
.230
1.533
.385
2.567
.080
.533
.235
1.567
.390
2.600
.085
.567
.240
1.600
.395
2.633
.090
.600
.245
1.633
.400
2.667
.095
.633
.250
1.667
.405
2.700
.100
.667
.255
1.700
.410
2.733
.105
.700
.260
1.733
.415
2.767
.110
.733
.265
1.767
.420
2.800
.115
.767
.270
1.800
.425
2.833
.120
.800
.275
1.833
.430
2.867
.125
.833
.280
1.867
.435
2.900
.130
.867
.285
1.900
.440
2.933
.135
.900
.290
1.933
.445
2.967
.140
.933
.295
1.967
.450
3.000
.145
.967
.300
2.000
.150
1.000
.305
2.033
The practical
application of this
3
.22
method, using this chart,
will be dem-
4
.33
onstrated by the
followir
g example:
5
.49
A sensitometric strip (exposure
6
.71
factor V2), the gamma value of
7
.99
which has to be
determined is read
8
9
1.27
in the densitometer, showing the fol-
L56
lowing densities:
1
2
. 9
.14
10
11
1.79
2.05
April, 1932
The INTERNATIONAL PHOTOGRAPHER
Nine
Finding Gamma
This example refers to positive film
and positive development. As indi-
cated by the 'two separating lines, the
density values below .70 and above
1.80 are excluded, so as to be abso-
lutely safe in considering only the
straight part of the curve for the
determination of gamma.
To find the gamma we deduct first
the lowest density above .70 (in this
case .71) from the highest density
below 1.80 (in this case 1.79) and
divide this figure (1.08) by the num-
ber of the corresponding exposure
steps (4). The resulting figure (.27)
represents the average density in-
crease for one exposure step.
1.79 - .71 = 1.08 -h4 = .27.
In the chart we look up this figure
in the left column and will find across
in the right column the corresponding
gamma value.
For other films or different devel-
opers with considerably lower gamma
the density values, which limit the
straight line part, have of course to
be changed correspondingly, which in
any case can be done easily by care-
fully examining the curve material
from former gamma tests, filed in
each laboratory.
This method claims the principal
advantage of avoiding arbitrary in-
terpolation in drawing the gamma
tangential line, and besides this re-
quires decidedly less time in compari-
son with the drawing method.
Felix Schoedsack Home from India
AFTER an absence from the
United States of six months as
a member of his brother's ex-
pedition to India, Felix Schoedsack is
home again in Los Angeles. The
party was engaged in making exte-
riors for Paramount's "The Lives of
a Bengal Lancer."
Departing from San Francisco July
10 last the expedition traveled 10,000
miles by water to Calcutta and then
by railroad another 1500 miles north
to the region of Khyber Pass in the
northwest frontier province. Singu-
larly enough the latitude of this Bit
of country, famous for its belligerent
natives, is practically the same as
that of Southern California.
In the interest of comfort and effi-
ciency it was decided at Peshawar to
charter a tourist car with luggage
van attached. The outfit could be
sidetracked at stations and thereby
avoid the continual packing and un-
packing.
Peshawar was found to be an inter-
esting spot, one with a recent history
as well as traditions and legends. It
is hardly a year since ten thousand
untamed Afridis dropped down from
the hills that line Khyber Pass and
practically laid siege to the town. It
was four months before the tourists
finally were driven back to their
homes.
Felix Schoedsack
Home from India bringing the accom-
panying photographs of Afridi types
While waiting for the weather to
moderate to permit working in Khy-
ber, where last summer as in Los
Angeles the temperature was rarely
high, the expedition moved into
Kohat, about the centre of the North-
west Frontier Province.
What only the large scale British
military maps shows is the series of
odd-shaped areas known as Tribal
Territories situated on the line of
what in the smaller scaled maps ap-
pears to be the Afghan-Indian fron-
tier or boundary. These independent
areas are inhabited by the fierce Af-
ridis, Mahsuds and Waziris.
In these areas are reported to be
50,000 rifles, and the men behind
these weapons stand off the British
and Afghans year after year. Feuds
between tribes and villages and even
families are the usual and not the un-
usual thing. Then again, like some
Americans, they are "ag'in the gov-
ernment," regardless of what its
source of authority may be.
Difficulties placed on the tribesmen
securing rifles has caused these nat-
ural fighters to enter the manufac-
turing field. Through good luck and
by a bit of diplomacy it was made
possible for the Americans to photo-
graph one of these factories in opera-
tion in Kohat Pass.
It is in this Pass that most of the
Types of Afridi hillmen from the northtvest border of India
Ten
The INTERNATIONAL PHOTOGRAPHER
April, 1932
native rifles are made. Nearly every
village makes a few of the parts and
some make complete rifles. The re-
markable thing is that, although
everything is done by hand or with
the crudest machinery, a man still
may buy a barrel in one village, a
breech mechanism in another, and the
remainder of the gun in a third. Al-
though evidently there are no stand-
ard gauges nor fine measurements
used they can all be assembled into an
accurate and serviceable rifle.
A good specimen of rifle costs about
100 rupees, or $30. Prior to the de-
pression it had been three times as
expensive. However, the factory em-
ployed 300 men, all busily working
and turning out about 30 rifles a
week.
Naturally the British are not too
pleased with all these doings, but they
can do nothing about it except to try
to prevent substitutions of native-
made rifles for genuine ones among
the frontier police and to guard care-
fully all ammunition and spare parts
against theft.
Mr. Schoedsack, who is one of the
pioneers in the crusade for the use of
smaller still cameras on location,
brought back many films that were
exposed in his Leica. The six Afridi
types shown in this story were so
photographed.
Durholz Describes His Novel Lens
THE persistent demands upon
motion picture production for
novelty of effects and broader
methods of story-telling have necessa-
rily instituted rapid and revolutionary
developments in technique, writes
Otto Durholz, inventor of the Zoom
lens. . The former rule of a stationary
camera has given place to the more
independent idea of a constant change
in the point of view and increase and
decrease of picture angles.
This new condition has called for
greater ingenuity on the part of the
cameraman and new technical expe-
dients to meet the evolutionary de-
mands.
The motion picture camera is now
placed upon a truck (the so-called
dolly), cranes, tier stacks, etc. The
adoption of the mobile camera was
designed not only for unique effects
but to simplify the editing by provid-
ing for rapid transitions from long
shot to close-up and vice versa; swing-
ing from one set-up through a series
of angles without having to cut the
film.
It readily may be seen that such
operations require a change of focus
to take care of the continual change
of plane. This is necessitated by the
limits of the lens which follows an
optical law that restricts its focal
range — or depth of focus — to the size
of its working aperture. This depth
of focus is further influenced — or de-
creased— in proportion to the near-
ness of the object focused upon.
In exterior work the abundance of
natural light permits of reducing the
aperture, thereby increasing the focal
field, but the awkwardness is aggra-
vated in the studio, where the limits
of artificial light demand the full
aperture or at least F 3.5.
The difficulties are further extend-
ed by the requirements of the sound
department — the cumbersome blimps
and their uncertain devices for the
change of focus which frequently re-
quire camera rehearsals.
It is evident, then, what great ad-
vantages would result from a lens
that will permit of a rapid transition
from long shots to extreme close-ups
and automatically maintain focus
from 160 mm. to 40 mm. or vice versa.
The new Durholz "zoom" lens, as
described by its inventor, is designed
to fill the needs of these new condi-
tions. Below are set forth some of
its features.
Ten seconds set up — The lens is ap-
plicable to any standard camera now
in use. It slips on the Mitchell type
cup mount without the use of any
tools.
Construction — It is rugged and sim-
ple in construction, is all metal,
weighs under 5% pounds, and is 11
inches long. No kit of supplementary
lenses is necessary and other lenses
need not be stripped from the turret.
It is easily carried and requires no
auxiliary tripod parts or counterbal-
ancing of friction head.
Optical features — It compares fa-
vorably with single purpose lenses as
to color and distortion. It gives the
effect of a smooth approach without
the intrusion of mechanical irregulari-
ties. The image increases correctly
from start to finish without the cam-
eraman having to change the rate of
control. Automatic sunshading is
provided to meet the varying position
of the elements of the lens.
Range of focus — From long shots
to close-ups it maintains focus from
160 mm. to 40 mm. and in any desired
footage from 2 feet upward. With
the new sound aperture the range
may be increased to 37 mm. The ad-
justment of the focal point is accurate
to 1-100 part of a millimeter and the
initial focus is maintained throughout
the period of travel. It is fully focus-
able from infinity to 3 feet. Speed is
compensated at F8, full range and
F 5.6, triple range.
Mechanical features — Its drive per-
mits of rapid and prolonged zooming
as it is easily accessible to the camera-
man. For prolonged shifting a crank
is provided which slips on to the cam-
era sunshade arm.
"The development of the lens rep-
resents a cameraman's point of view
combined with an original, scientific
study of the basic principles in-
volved," declares Mr. Durholz.
Types of Afridi hillmen from the northwest border of India, photographed by Felix Schoedsack
!
April, 1932 The INTERNATIONAL PHOTOGRAPHER Eleven
WHAT DOES YOUR PUBLIC
KNOW ABOUT RAW FILM ?
JAIOTHING, perhaps. Yet, whether they're
aware of it or not, people are profoundly in-
fluenced by the photographic quality which that
film gives or does not give them on the screen.
It may mean all the difference between a pic-
ture that goes its quiet, unprofitable way and
one that becomes the talk of the town.
There's no need, these days, to run the risk
of sacrificing photographic quality. Eastman
Gray-backed Super-sensitive Negative, with its
unmatched qualities and its never-failing uni-
formity, costs no more than other films, yet it
helps substantially to head the picture for suc-
cess. Wise the cameraman who uses it... lucky
the exhibitor who runs prints made from it !
EASTMAN KODAK COMPANY
J. E. Brulatour, Inc., Distributors
New York Chicago Hollywood
Twelve
The INTERNATIONAL PHOTOGRAPHER
April, 1932
As told by
Fred A. (Red) Felbinger
CHAPTER V
THE QUEEN! The Queen!" All
the big- sheets is full of pitchers
of her royal highness, or what
you calls her, Rosalia of Asthmania,
arriving1 in America with her dear
daughter for a extended trip, which
is a high-class publicity stunt, so's she
kin git Uncle Sam to help pay off the
war debt. So all the newsreelers is
down to the boat to git plenty yards
of gab from the high power lady.
But she won't talk.
So when her royal nibs decides she
is gonna take in St. Louis as a side
trip the wrong- number machine jin-
gles in the Windy City bureau of
Screen Digest and Pat McCarthy, ace
lense sniper, gits sailin orders for St.
Louey.
Also to git some royal dialogue
from Mrs. Almighty.
So Mac tells his not so ace noise
collector, Roderick Giles, to follow on
the morrow with the noise truck while
he dashes ahead to sell the royal one
on why mebbe she should ooze him
several yards of speech on to his cel-
luloid.
So while the queen is rollin on royal
cushions to St. Louey little Princess
Exnayia is takin a couple side trips
on her own through the Middle West
in the royal chariot, a high power
straight eight juggernaught, with a
good lookin G. man actin as chauffer.
Misses Gertie
Little Exnayia is one of them cud-
dlv babes, but the chauffer bein a guy
what likes the job don't give her a
tumble . . . especially since Exnayia
is kina enjoyin being away from the
royal mamma.
So the next day Rod is rollin along
the highway, c+ Louey bound . . .
The Kid Himself
with the two bottles of giggle water
on the seat beside him that Mac tole
him bring along for him. Also Rod
is kinda got a thumpin around his
heart because he ain't on the in with
Gertie any more since Mac chased her
back to N. Y.
All of a sudden comin around a
curve Rod sees one swell looker of a
frail beside a high power gas burner
givin him the "goin south" sign, so
he stops on dime to listen to reason.
Well, Princess Exnayia is tryin to
make the royal banquet in time so's
mama won't give her royal hell for
bein late, and besides it serves the
chauffer right to have the royal en-
gine go dead, especially since he ain't
given her a tumble and let her have a
little fun stoppin at some of the places
she wants to see.
So she decides she is gonna flag
down the next yap what rolls along
and go on her own.
Our hero don't know he's on the
make by a real princess. . . . Well, the
chauffer kinda gives Roddy the double
0 and right away Aggers the little gal
is safe with him, and evrythin seems
double jake when he finds Rod is
gonna go right through to St. Louey
... so he don't crack to Rod who his
pick-up is.
Rod is givin the ole truck the gun
. . . about 25 miles a hour and figgerin
the gal is sure a looker . . . and evry
few minutes he sneaks another eye
full . . . and he kinda wonders how he
gits so much "it" to draw such nice
lookers. . . . Then he thinks of Gertie.
"Well, this one is better!" Besides
serves Gertie right for givin him the
Right there on Page 1 is Roddy, bareback riding on a merry go round with
Princess Exnayia, in a four-column cut.
To the
Sassiety Reporter
go-by so quick ! . . . and all of a sud-
den Roddy figgers maybe he better
say sumpin!
Giggle Water
So he starts about baseball . . . but
the gal jest kinda grins and dont open
up yet. . . . Well, Roddy figgers she's
a tough one to git in with ... so he
starts on the weather. . . . Well, its
a fine day all right with her. . . . But
Rod don't know the follow up on the
weather starter ... so he drives along
silent like wonderin if he's gonna git
a date out of this babe when they hits
St. Louey.
Exnayia is sittin there thinkin may-
be this is a break for a little fun, even
with this dopey lookin truck driver.
Finally she wonders what's in the
package in the seat ... so she ups
and axes Roddy if maybe she should
hold the package on her lap in case
its got sumpin breakable in it.
"Oh, jest a couple bottles of giggle
water for Mac!" says Rod . . . but he
sees the frail don't savvy, so he ex-
plains:
"Mac is my cameraman, I'm a
soundman, and the bottles are gin for
Mac."
So Exnayia, back in the homeland
of Asthmania, having heard about
our noble experiment, figgers this
must be some of the daffy fluid the
Yanks is consuming . . . also she sees
a chanst to find out what its like . . .
so she ups and asks Rod:
"How about one?" So Rod and
Exnayia have one. . . . The Princess
makes one of them rubber faces when
she tastes it, but she kinder goes for
it. . . . So after a couple they git a
little chummier . . . finally Rod puts
this one to her:
"Say, you ain't from the Bronx,
is you?"
"Bronx? I don't know where the
Bronx is!"
"Well, I thought maybe you was,
by your drawl," says Roddy. "My
name's Roddy, Roddy Giles! what's
yours?"
Ferris Wheel for Her
"Oh! er, I'm Mary Smith!" . . . and
the Princess figgers she ain't had so
much fun since she saw the last rev-
olution fail back home.
Then they have a couple more
snifters and Exnayia finds all about
how interestin Rod's profession of
ketchin noise for dumb button push-
ers is . . . and jest about this time
they is nearing a country fair and
the Princess makes the pass about
stoppin and trying the ferris wheel
and the other rides.
It seems that there is a bunch of
news ^hotogs there makin a politician
what is makin a speech to the hay-
April, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirteen
shakers, and right away they spots
who Rod's girl friend is, but they
don't crack. They jest steals all kinds
of shots of the two on the rides, fig-
gerin this must be a swell scoop for
the Queen's royal temper in the A. M.
So they gets the lowdown on Rod
from the name on the truck and the
license plates and they blows. . . .
Down at St. Louey Mac has got his
lights all set in the banquet hall, but
is reminded by several important
birds wearin yards of gold braid may-
be he can't shoot unless the Queen
says Okeh.
They also tells him he's got to wear
soup and fish to git in. . . . Well, he
right away gits the waiter's uniform
and one for Roddy, and about the time
he finishes he goes to work gittin
wrinkles on where Rod is . . . shoulda
been here long ago . . . and about this
time Rod is on fire over the new find
. . . he's gittin around the point of
tryin a little neckin, and makes a stab
at it.
Daffy Princess
Exnayia Aggers why not . . . the
baboon is better lookin than some of
them silly bald eggs with the mon-
ocles back home . . . which jest goes
to prove what bum stuff we drinks
nowadays . . . even makes Princesses
daffy the first time they tries it. . . .
So Rod gits fisheyed lookin at Ex-
nayia and don't see a curve come up
and spill the truck into a ditch . . .
for a ten yard loss . . . and a two hour
penalty on the march to the goal.
Exnayia is enjoyin one swell attack
of giggles while a farmer with a team
of horses helps Rod git the truck back
on the road . . . and when the Queen
files in the banquet room Mac is
standin by the old groan box all
decked up like a high class under-
taker and he is cussin out his minus
dial twister plenty.
Also he figgers he better shoot it
silent anyhow. ... So when he has the
grips turn on the lights the Queen
says: "Save em!" in royal emphasis
. . . and jest as this happens Rod rolls
up to the hotel with the Princess and
the dirtv ole truck and Rod dashes
for the door in his dirty knickers with
his amplifier and mike and cables on
one arm and Princess Exnayia (which
is still Mary Smith to him) on the
other.
At the door a couple high class gold
braid bouncers nail 'em, but the Prin-
cess spies a G. man on the royal
party and says to give Roddy the go
sign . . . and the G. man figgers may-
be the Princess better pass up the
feed and dash up for a shower or
sumpin refreshin upstairs.
This is jest the time the Queen is
puttin down the royal heel on Mac
shootin ... so the Princess standin
in the doorway hearin the ole lady
goin off on the no publicity figgers
maybe she ought to give Rod a break
for the swell slummin party he gave
her.
Yankee Laff Soup
So she sends up a note to the royal
mamma tellin her she is full of Yan-
kee laff soup and if mamma don't say
okeh on the movies she is gonna bust
in and spoil the whole shindig on
mamma.
/f'^il
'Holy Smokes! Mary Brown — with the Queen!"
Well the Queen gets one of them
royal complexions . . . purple . . . when
she reads it . . . but she kinda figgers
since dear little Exnayia is a chip of
the ole block ... on the female side
of the fambly . . . that maybe after
all she is gonna spill a gold filled
mouthfull into the talkie mike.
So Mac stands there shootin the
story and wonderin how that dumb
noise ketcher got into the joint in that
dirty get up . . . also he knows evry
time he gits a wiff of Rod's breath
from fifteen feet away he's in for a
short measure on his two bottles
injay.
After the affair is over Mac tosses
Roddy under a cold shower in his full
get up figgerin the clothes need the
wettin as much as Roddy anyhow, and
then he calls it a day. . . . The next
mornin Mac reads the mornin sheets
in bed and he gets a awful fit of the
snickers. . . . Right there on Page 1 is
Roddy horseback ridin on a merry go
round with Princess Exnayia in a
four column cut ... so Mac looks
over at the Princess's jester still
poundin the winks, and he figgers
maybe he better keep today's papers
away from his dial twister.
A couple hours later Roddy gits out
in front of the hotel for a little air
to kill the pressure on his bean when
he spies a whole mess of bodyguard
takin the Queen and the Princess out
through the door.
Rod Gets the Shakes
"Holy smokes! Mary Smith with
the Queen!" thinks Rod, and jest then
she looks toward him and he waves
howdy, but Rod's "Mary Smith" turns
up her nose enuf to scrape the ceilin
of the hotel canopy as only a royal
nose kin lift up.
Well, Rod is all balled up, and as
he walks back in the hotel a page
gives him a dime's worth of pub-
licity in the lobby ... so he pays the
dime and the page hands him two
wires.
Well, Roddy gits the shakes as he
figgers the only time he would git a
wire wood be for the sad news he wuz
out . . . maybe Mac reported he
showed up bleary-eyed . . . the lousy
old button pusher ... so he opens
No. 1:
"Congratulations Stop Know we got
the Queen's talk through your excel-
lent contact with Princess Exnayia
Stop Wonderful work young man How
did you do it Stop Walters Editor."
Roddy is dumfounded . . . then no. 2
wire:
"Just saw your mug in mornin
New York papers playin wet nurse
to Princess Stop Listen bozo if you
want to know where you stand on my
love for you maybe you better git
back on one of those horses on that
merry go round and keep on ridin it
Stop As for your little Gertie its ridin
with the first sugar I finds with a
straight eight from now on Stop And
I thought if a gal was a princess she
could be particular Stop Your own
Gertie."
Roddy had to read this one twice to
ketch on ... he wuz right the first
time, only he missed the word "col-
lect." . . . And Roddy decided there
ain't no good comes nohow gittin
mixed up with wimmin, and he wuz
through with 'em.
(To be continued)
'Twas Always Like That in
This Man Dominated World
From Don Eddy's Publicity
HEAVEN may have its rewards
for good wives who land their
husbands in the movies, but
Hawaii's "earthly paradise" is no
heaven to Mrs. N. K. Pakuii. She in-
troduced her husband to King Vidor
while the director was in Honolulu
with an RKO company making scenes
for "The Bird of Paradise."
Pakuii got the job of king in the
picture, thanks to the Missus, and
then "went Hollywood" with a bang.
When the company arrived in Hol-
lywood, Pakuii was with it for a few
interior scenes, minus the Missus.
We ask you, Is that Justice?
Fourteen
The INTERNATIONAL PHOTOGRAPHER
April, 1932
Producers and Cameramen Agree to Lead
Way to Greater Peace
Harry Burns in Hollywood Filmograph
'"pHE two-year arrangement re-
cently completed between the
cameramen and producers seems
to satisfy all concerned. Happily the
spirit of give and take actuated both
sides, and there remains no trace of
impending disturbance in tha ranks
of picture workers. Hollywood Film-
ograph takes this opportunity to con-
gratulate the representatives of both
the producers and the cameramen for
their very evident desire to bring
about complete peace in the industry.
There is evidence that the organ-
ized cameramen fully realize their un-
questionably strong position in the
triumvirate composed of labor, pro-
ducers and capital. As an important
unit of organized labor, the camera-
men give every indication of a full
sense of their responsibility. The men
who acted as spokesmen for the cam-
eramen are to be highly commended
for their excellent conduct through-
out the entire proceedings. They are
a credit to organized labor.
Hollywood has been treated to a
new kind of spectacle: the spectacle
of organized workers, aware cf the
timidity of capital in the face of im-
pending labor disputes; fully con-
scious of their power to close the cof-
fers of financiers by aggravating
their opponents into frenzied warfare
against unionism; in plain words, cre-
ate trouble for all concerned, calmly
and fairly meeting the producers in
honest debate, making all reasonable
concessions, paving the way to endur-
ing peace for all concerned. Briefly,
the leaders of the organized camera-
men upheld all the best traditions of
organized labor.
The new aspect in the matter of re-
lations between Hollywood producers
and picture workers is that presented
by the entrance into the motion pic-
ture field of organized capital, repre-
senting the biggest financial institu-
tions in the country.
This third, new member of the tri-
umvirate is the nerve center of the
entire motion picture industry. Its
reactions to dissatisfaction in the
ranks of organized labor are instanta-
neous and destructive. At the first
slightest sign of impending labor
trouble organized capital closes its
coffers and awaits the outcome. Money
will not invade a field threatened with
labor trouble. The producers know
this. Organized labor knows it. When
they started the recent conferences
with the producers the Hollywood
cameramen knew it. Thinking only
of their followers and the interests
of the men employing them, the lead-
ers of the cameramen made no at-
tempt to use the lethal weapon placed
in their hands the day Big B'usiness
entered the movie field.
This new situation in Hollywood
the producers must seriously ponder
in all their dealings with organized
labor. Their bankers, the big finan-
ciers who advance the loans for their
annual programs, will not loan money
to men at odds with organized labor.
Their position thus immeasurably
strengthened, it is a pleasure to re-
cord that the unionized workers of
Hollywood have acquitted themselves
in a manner leaving no doubt about
their fair-mindedness.
Again we congratulate all con-
cerned.
Our industry's men behind the guns
come forward with a desire to help
ease the sense of depression by a vol-
unteer cut of 10 per cent in their
salaries, within the limitations of the
standard scale, for the period of vne
year.
Various members questioned are
unanimous in their assurance that this
move was more beneficial to the cam-
eramen than to the producers with
whom they have been arbitrating for
the past ninety days.
The producers tried to effect a com-
plete abolition of the "classification"
clause, and asked for a 60 per cent
cut in salaries. The cameramen did
not think that those demands were
entirely fair, so they gathered to-
gether such artists from their ranks
as Jackson Rose, Arthur Edeson,
Charles Rosher, Hal Mohr, Archie
Stout, John F. Seitz, Oliver T. Marsh
and elected to pay a visit to the
executive secretary of the producers'
association, Jack Gain, with their
humble desire to "let's talk it over."
After ninety days, during which there
were insinuations of trick and gen-
eral discomfort within the industry, a
mutual agreement decided that from
March 14, and for the period of one
year, and without disturbing the pres-
ent contract, that the cameramen
would rebate to the producers the
sum of 10 per cent of the scale sala-
ries. This agreement, it was said, did
not affect cameramen holding indi-
vidual contracts with the studios.
Bell and Howell Will Celebrate Its
Twenty-Fifth Anniversary in April
WHEN in 1907 the Bell and
Howell Company was founded
in Chicago by Albert S. Howell
and Donald J. Bell each and eveiy
producer was following his own whim
insofar as size and perforation of film
were concerned. Plots were simple,
and about the only thing to be said
for the motion pictures of the day
was that they showed motion.
Bell and Howell has set many
standards for the industry by design-
ing machinery of quality.
From the very first Mr. Howell saw
the need for standardizing the width
and perforations of film. The multi-
plicity of film types in use made the
distribution of finished pictures diffi-
cult and severely limited. The situa-
tion was little less than chaotic. With
the need for uniformity always Tn
mind, Bell and Howell built but one
type of equipment — that for handling
Home of the Night Winds — By Robert C. Bruce in
of Hollywood"
'Camera Secrets
35 mm. film, which they considered
the correct theatrical size, with what
they considered the most suitable per-
foration.
Although repeatedly asked to build
equipment for special size film with
various perforations, the company
held steadfastly to its purpose. The
35 mm. film became, largely for this
reason, standard for the industry.
In 1907-8-9 the new company de-
signed and built perforating ma-
chines, film printing machines and
motion picture cameras — all for 35
mm. film. Thus the producer could
accomplish results and effects which
added tremendously to the interest
and acceptability of pictures.
In 1917 Mr. Bell's interest was pur-
chased by J. H. McNabb, who at the
time was general manager of the
company. With him as associates
came R. J. Kittredge and C. A. Zie-
barth, the latter now secretary of the
company. Today Mr. McNabb is pres-
ident and Mr. Howell vice president.
Searching for larger markets the
company saw the great appeal that
amateur or home movies would make
to the general public. By 1926 the
worldwide acceptance of the Filmo
camera and projector for amateur
use had reached such proportions that
the company had constructed a new
building, increasing its factory and
office space many times. By 1929
more than 1200 employees were asso-
ciatd with the organization.
April, 1932
The INTERNATIONAL PHOTOGRAPHER
Fiftet
Eastman 9s Death Ends Life Rich in
Material and Cultural Achievement
By CLARA M. SAVVDON
THE passing of George Eastman
marks the reduction by one more
Df that small band of great in-
dustrial and inventive captains whose
work will make the closing of the
nineteenth and the beginning of the
twentieth century one of the famed
periods in the world's history of ma-
terial and cultural progress.
Tracing Eastman's history we find
he had to leave school at the age of
fourteen years to become a wage
earner. He experienced poverty and
hated it enough to plan and save to
escape from it. After twelve years
of uninteresting drudgery he had ac-
cumulated $5000 which financed his
entrance into what became his life
work.
A vacation trip in the 70s acquaint-
ed him with the hardships and thrills
of an amateur photographer of that
day. Intensive study and research
carried on nights after his regular
working day was over resulted in his
mother's kitchen becoming the first
Kodak Research Laboratory.
The initial invention was that of the
dry plate with other developments in
photographic paper and film until the
first Kodak was produced in 1888.
The slogan, "You press the button :
we do the rest," became known all
over the world and was paraphrased
everywhere.
When prosperity and outstandir?;-
success arrived, Eastman proceeded to
mine the gold that can be taken from
leisure hours. Good music, good
books, the theatre, the fun and joy of
outdoor life and sports were as in-
dustriously studied and followed as
photography had been earlier.
Indicative of the rich returns from
his policies regarding work and leis-
ure is one of his philosophies to the
effect that "What we do in our work-
ing hours determines what we have
in this world; what we do in our
play hours determines what we are."
Rochester has many reasons for
remembering George Eastman. The
Eastman School of Music, the East-
man Theater and the Rochester
American Opera Company are among
his contributions to the cultural
growth of his community.
Honesty was Eastman's most out-
standing characteristic. Few rich
men could or would be so frankly
honest about endowments and bene-
factions as he. Of them he brought
out the fact that a rich man does not
give away money; he simply distrib-
utes money that he cannot personally
use. However, Eastman did not con-
sider his responsibility ended when
he supplied the money for an insti-
tution or enterprise.
He realized that the same foresight
which had been useful in accumulat-
ing the money could be useful also to
the beneficiary in formulating a plan
whereby the greatest good to the
greatest number could be accom-
plished with it. In his philanthropies
as in his business, Eastman realized
the responsibilities of leadership and
accepted them because next to hon-
esty his most marked characteristic
was thoroughness.
There was no glorification of work
in his code. His vision enabled him
to appreciate that a balanced life
must include the ability to be indus-
trious and at the same time know
how to make recreation profitable in
cultural growth. He realized that un-
fruitful leisure is one of our great
social problems which is going to de-
mand serious attention from men ca-
pable of leadership. He personally
had many leisure hours, but never
any idle hours, for the thing he most
abhorred was waste of any kind,
especially that of time.
Having this ability to pack twenty-
four hours of living into each day
could not fail to develop an excep-
tional individual. His life is a rich
contribution to the world. Not only
did he establish and conduct one of
the world's greatest enterprises, ac-
quire an enormous personal fortune,
the greater part of which he distrib-
uted in a way to make it permanently
useful, but he has awakened thou-
sands to the beauty of music, litera-
ture and all the cultural arts which
he found and enjoyed in his later
years.
Just as it can be said of few na-
tional leaders that they were able to
be great both in peace and war, so
do few men of great wealth succeed
in being great both in industry and
leisure. George Eastman is a rare
exception of a man able to achieve
greatness in this dual capacity.
Seemingly there was only one thing
he could not do — he could not idle.
George Eastmai
Sixteen
The INTERNATIONAL PHOTOGRAPHER
April, 1932
Cameramen Confirm Contract
with Producers for Two Years
THERE was an open meet-
ing of the International
Photographers on the eve-
ning of March 13. So many of
the members responded to the
call that the spacious assembly
hall of the Knights of Columbus
in Hollywood practically was
filled. The session was called in
order that the membership
might record its decision on the
agreement reached by the cam-
eramen and producers in the
matter of wage scale.
The conferences preceding the
agreement covered approximate-
ly ten weeks.
The meeting of the member-
ship to pass on the result of
those ten weeks' sessions was
called to order at 8:25 and was
formally adjourned at 9:40 — or
one hour and a quarter in dura-
tion. The pact was approved.
That these sessions were ex-
tended over so long a period
hardly can be ascribed to any act
of the cameramen. The com-
mittee representing them went
into the meetings early in the
new year with practically empty
hands. They were not burdened
with requests or "demands," as
the old - fashioned reporters
would express the situation.
npHE impressive battery of
-1 councillors for the produc-
ers, however, was in a different
mood. The agreement under
which the cameramen for more
than three years have been
operating had been subjected to
a microscopical examination by
these councillors, some of them
exceedingly expert in their quali-
fications for so dissecting.
One there was, for instance,
who years ago had been an exec-
utive in a trades union and
whose experience so gained had
been for several years in the
service of the producers.
Then in the background was
the potential figure of the for-
mer international union execu-
tive whose resignation from his
high position singularly enough
coincided with the opening of
the wage conferences between
dflfflnL Jfe
Team work,
(a wordless e<Ut©vial )
From "Teamwork and Cameramen,"
printed in International Photogra-
pher, February, 1931, courtesy of
Foreign Service V. F. W.
the producers and the studio
crafts.
IT IS likely a search of the
world's history of trades
unionism will reveal no parallel
remote or close to the action of
this general on the eve of a
major engagement climbing out
of his army's trenches and slip-
ping across No Man's Land into
the camp of what to many men
motivated by different views of
ethics must have been looked
upon as the enemy.
A generation ago an English
statesman referred to the atti-
tude of France toward his own
country as one of a "policy of
pinpricks." The photographers'
conference committee, inciden-
tally composed of some of the
greatest camera artists in the
world, in combating the ingen-
iously contrived obstacles con-
tinually raised in front of them
understood quite well the mean-
ing of Joe Chamberlain's rather
pointed phraseology.
The obstacles, or the pin-
pricks, hardly could have been
conceived by a man whose train-
ing had been that of a seaman,
for instance.
TJOWEVER, all's well that
•*--* ends well. The cameramen
are prepared in good faith, in
the future as in the past, to re-
spect the bond entered into —
which is that for two years with
the added classification of loader,
representing the bottom of the
ladder, there will be no change
in the present pay or working
conditions with the important
exception that for one year be-
ginning March 14 there will be
a rebate of 10 per cent in pay,
the remission covering all ranks.
The meeting on the evening
of March 13 at Columbus Hall
was well worth attending. It
was a demonstration of the
cameramen's solidarity, if the
Socialists will permit us to bor-
row the most impressive word in
their wide-spreading vocabulary.
It was a demonstration of en-
tire confidence in intelligent
leadership, a leadership based
not on repression either benevo-
lent or violent but rather on full
parliamentary opportunity for
interrogation and for exposition
of opposing views.
It is a singular thing that
while there may have been eight,
possibly ten, negative hands
among all the hundreds raised
when the final vote was recorded,
there was no vocal opposition to
the agreement as presented.
Those who are experienced in
the ways of trades unions under
similar circumstances know such
action in itself was a marked
compliment to the quality of
leadership that had represented
the professional motion picture
cameramen of the west coast:
In which event under most
exasperating circumstances a
committee armed with a strike
order resting in the pocket of
its chairman achieved
through patience and diplo-
macy a peaceful solution of a
situation fraught with hazard
to the economic welfare of
many thousands of persons.
G. B.
Gream oth Stills
c&HHOj.
Beit Longworth shows us a shot as the electrician sees it— a scene for "Bride of the Regiment," photographed
in color, with Vivienne Segal and Allan Prior in foreground
A HA
'°Cr£*
(7>ream a th Stills
c^S^
In Batavia,
Java, in the
Dutch East Indies,
Bob Bronner
catches a
picturesque
canal setting
Other than that
this picture
ivas photographed
near the
Grand Canyon
Ralph E. Yarger
sayeth not — but
it well might be
of the original
Table Mountain
.**^'«u.
'*>CRN?
Qream oth Stills
*9-«"L'cu.
T/iis typical
Hollywood picture,
with its slanting
palm branches so
strong in
resemblance to
the framework
of a suspension
bridge, was shot
by Maurice Kains
from the
Japanese Gardens
Here is the
atmosphere of
the impending
storm on the
desert, caught
by Les Rowley —
where a young
river soon will be
flowing through
the immediate
foreground
*«>*
o\tr
Qream oth Stills
ct^l'o*
£/*
'OCRK**
Three forms of clouds taken from near
Victorville, California
The desert is a canvas
Whereon the gods paint
With magic colors,
Day by day.
Photo by Emmett Schoenbanm
Verse by Berenice M. Conner
4&S*.
a?
Gream oth Stills
^^L'o^,
Location same as on
opposite page
Under their brushstrokes
Swift and clean
They make of reality
An enchanted dream.
Photo by Emmett Schoenbaum
Verse by Berenice M. Conner
c.v^T'ci,
&\tr
Gream oth Stills
cVWOs.
>
If
V ^
F*>
701-fcj>E.&J-
Here is <a
memento from
the turbulent
silent days,
of Agnes Ayres
in the center,
Robert Tobey
photographing
Charles A. Marshall
and his camera
are all set in a
Citrtiss Hell Diver
to take off from
the naval
uirplane carrier
Saratoga
In Switzerland
Charles Stumar
with telephoto
lens is shooting
a love scene
in the snow
and in a tree —
not between a
couple of nuts,
but a couple of
frisky squirrels
Here is a set-up
behind a dog team
near Fairbanks,
Alaska — and if it
be not the work of
Will Hudson
will some one
please let us
know? And maybe
he ivion't
nlHTiHIlWf y-p;^tf™^ - - . i^SSE
A movie investigation that was not iyispired by Senator Brookhart. Nevertheless, it seems to be quite
thorough. The surroundings aire of a national park, where the center of interest is listed in the vital
statistics as a native son. The photograph was exposed by Robert C. Bruce, pioneer motion picture
scenic photographer
The INTERNATIONAL PHOTOGRAPHER
Twenty-five
AENrf P jteteHNtR,
Twenty-six
The INTERNATIONAL PHOTOGRAPHER
April, 1932
Just How the Butt Patch Is Made
Inventor Describes Manner of Operation by
Which Sound Film May Be Cut Without
Loss of Either Track or Action
By ARTHUR REEVES
THE Butt Patch has been orig-
inated since the inception of
sound. Of course this procedure
of cutting, patching, splicing, etc., is
more or less of greater importance to
the man who is recording sound-on-
film. The main purpose of Butt
Patching is to make a patch in the
film without the consequent loss of
either sound track or action.
There are many motion picture
laboratories that are using racks for
the developing of film. These racks
will hold only a certain amount of
film. Hence when a length of film is
wound on one of these racks and its
capacity is exhausted without using
scissors are made with a guide and
pilot pins so that the film may be cut
straight across in the darkness of the
developing room.
Now that the film is cut straight
across as in Figure 2 it becomes
necessary to add another length of
film (leader) to the piece on the rack.
This is done so that we may have a
length of film to fasten the main roll
to the rack. This is accomplished by
fastening to the back (celluloid side)
of the film another short piece having
on one end a metal film patch. This
metal patch holds the films together
by the perforations on either side.
The same process is followed with
Figure 1
up all of the film in that particular
roll, then it becomes necessary to
break the film in the action and sound
track films. The breaking is accom-
plished in the following manner:
The film is first wound on to the
rack until it is full. Then the film is
cut with a pair of scissors. These
the other piece to start it on to the
rack. So far this is common labora-
tory practice.
After the film is dry we make a
patch in the two lengths of film to
join them together in one continuous
roll. These two lengths can be but-
ted together with a patch across their
No. 5
□
o
□
O
o
□
a
a
a
o
a
□
□
a
a
a
□
re 2
a
Fig ti
backs on
Griswold
either a
splicer.
Bell
& Howell or
Describing Process
The procedure of Butt patching is
the same with either machine. For
the sake of clarity let us call the
films by number so that each piece
the more easily may be identified and
thus simplify the explanation.
The two lengths of film to be
patched together will be called Nos.
1 and 2, and the piece of celluloid
(leader) used to make the patch on
the back will be called No. 3. See
Figure 3.
First we place No. 1 emulsion down
on the left side of the splicing ma-
No. 5
Figure 3
Figure b
chine so that it will not be cut off
when the blade at the right side is
lowered. We now place a piece of
clear celluloid (leader) film in the
right side of the machine and bring
the machine down and cement it on
the back of piece No. 1. See Figure 4.
We now take this out of the splic-
ing machine (Nos. 1 and 3) and place
No. 2 on the right side of the ma-
chine, emulsion down as before, so
the end does not project beyond the
cutting edge. Now place Nos. 1 and
3 in the right side of the machine,
April, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-seven
No. 3
EMULSION
No. Z
Figure 5
emulsion down. Allow the celluloid
part, No. 3, to project so that when
the cutting edge cuts it will leave
enough film stock to overlap on to
No. 2. See Figure 5.
We now have two pieces of film
Butted together with another piece
across the back, and we have not lost
any film from the original length.
We have made a Butt Patch, as is
shown in Figure 6.
with the Reichsbahn, successfully has
carried through test demonstrations
of talking pictures in fast trains
while en route. The new box-appara-
tus of Klangfilm, which requires very
little space, was installed in a railway
car and tested in a trial drive with
regard to stability, vibration, and
quality of reproduction.
It was found the apparatus fully
complies with all demands and that
there are no difficulties from vibra-
tion either on the straight line or
in the curves. Outside noises are
easily overcome by means of the large
reserve of sound power.
Further tests are being prepared
that more especially refer to the sup-
ply of current and the practical ap-
plication in various cars.
As soon as the proposed tests have
been terminated, it is stated that
there will be no technical difficulties
to the general introduction of talking
picture shows on international trains
on the continent.
Successful Demonstration of
Sound Film on Railways
ACCORDING to a report received
from Trade Commissioner
George R. Canty at Berlin,
Germany, Klangfilm, in cooperation
Figure 6
Now* ..A motor drive for
BELL & HOWELL EYEMO
To the three lens turret head, the
seven film speeds, the variable area
viewfinder, the permanently built-
in auxiliary hand crank, the power-
ful spring motor, and the fine con-
struction and easy portability which
have made Bell & Howell Eyemo
Cameras favorites of news-reel men
everywhere, has been added an-
other new feature.
Now, Eyemo is offered with a mo-
tor drive which gives thoroughout
an entire 100 foot roll of film the
uniform 24-frames-a-second speed
which is essential when sound is to be "dubbed" in later.
This motor is attached by a simple bracket. Brackets
are supplied to mount it on a professional tripod or on the
lighter B. & H. All-Metal Tripod. The motor can be
detached at any time to use the
camera in the regular way. Or
with motor attached, the Eyemo
can be held in the hand. The mo-
tor can be had to operate on a
12-volt or a 110-volt storage bat-
tery and is extremely compact
and portable. Especially for air-
plane and other work of similar
character, this new equipment will
open up many possibilities. All
news-reel men, explorers, and those
making commercial sound films,
will appreciate its advantages.
BELL & HOWELL CO.
1849 Larchmont Avenue, Chicago; 11 West 42nd
Street, New York; 716 North La Brea Avenue,
Hollywood; 320 Regent Street, London (B. & H.
Co., Ltd.) Established 1907.
1907 — 25 YEARS OF SERVICE TO THE MOTION PICTURE I N D U S T R Y — 1 9 3 2
Twenty-eight
The INTERNATIONAL PHOTOGRAPHER
April, 1932
Looking In on Just a Few New Ones
SCARFACE
First cameramen, Lee Garmes, L. W. O'Con-
nell ; operative cameramen, Warren Lynch,
Roy Clark ; assistants, Warner Cruze,
Charles Bohny ; stills, Eugene Kornman ;
sound, William Snyder.
OUTSHOOTING all of its killer
predecessors Howard Hughes'
"Scarface" finally is being re-
leased to picturegoers. Many ob-
stacles have been raised against it
reaching daylight, especially with the
title by which
eventually it was
decided to let it
go. If the produc-
tion outshoots so
also in the matter
of property does
it outdestroy
everything hither-
to attempted in
the way of a
gangster film.
As it may be
the last of the
present cycle of
gangster stuff it Lee Garmes
might be well in
the interest of history to have a copy
of the picture preserved so that future
generations may see the apex of the
crime wave marking the twentieth
century era of legislative effort at
prohibition — at least, as the dramatist
saw it at the time.
Those there will be who will insist
the picture is overdrawn. If the sug-
gestion be true it will mean simply
that the working out of the story has
been done on a scale of magnitude
perhaps not attained by the events
serving as a foundation for the par-
ticular sequence.
The screen story was written by
Ben Hecht, who has had experience in
Chicago, plainly the intended locale of
the tale. It was adapted from the book
by Armitage Trail. The continuity
and dialogue were done by Seton I.
Miller, John Lee Mahin and W. R.
Burnett.
Under the direction of Howard
Hawks, with Richard Rosson codirect-
ing, the cast furnishes some pleasant
surprises. One of these to those who
know not his work is George Raft as
Rinaldo the killer. Another who looms
large in the drama is Cesca, inter-
preted by Ann Dvorak, sister of Tony
the Scarface, played by Paul Muni.
And Muni is a tower of strength in
himself.
A strange conception is that of
Poppy* played by Karen Morley. ideal-
ly true to type, in her nonchalant,
even sluggish interpretation. Boris
Karloff is seen as Gaffney, opposition
beer baron, and Tully Marshall as the
managing editor.
The newspaper slant, however, is
given small heed. The same statement
is true also of the government and the
police. The latter are in evidence, but
the main conflict is between opposition
gangs. Inez Palange, as the mother
of Scarface, does most creditable work.
Possibly the height of the drama is
reached in the sequence of brother
and sister, as the gangster chides his
flirtatious relative. Face slapping
By GEORGE BLAISDELL
ends in contrition. Sharing the dra-
matic honors of this scene is that
other where later the gangster kills
his former killer because he finds him
with his sister. Afterward brother
and sister fight back the police while
life lasts.
The producer has succeeded in in-
jecting real heart interest into a story
of killers.
George Barnes
THE WET PARADE
First cameraman, George Barnes ; operative
cameraman, Edward Fitzgerald ; assistant,
Thomas Dowling ; stills, James Manatt ;
sound, Gavin Burns.
WHEN M-G-M produces "The
Wet Parade" the importance of
the production as a motion pic-
ture is subordinate to another factor.
It becomes political in a larger sense.
The dominating fact is not only the
high p o 1 i t i c al
ranking of Louis
B. Mayer, head of
the studio, but
even more than
that, his close
personal friend-
ship with Presi-
dent Hoover. We
are bound to be-
lieve that nothing
in the way of a
motion picture on
the prohibition
question that is
sanctioned by Mr.
Mayer will have
been issued without consultation with
his friend the President, particularly
so on the eve of a presidential elec-
tion.
The subject as shown at the Cni-
nese theatre in Hollywood runs for
two hours. There is not a dull mo-
ment in it. Closely as one may follow
the story in the effort to substantiate
a belief there must be in it somewhere
propaganda of some sort the curious
will be disappointed. If either a wet
or a dry can gather any satisfaction
from the subject matter of this pic-
ture he will be easily pleased.
The characters are of the extreme
type — drunkards or teetotalers — the
moderate drinker is not in evidence.
One of the several morals that may
be drawn from the story is that in the
old days a drunkard went to his death
with his eyesight possibly intact; un-
der the present regime he may be
blinded before he has a chance zo meet
his death through poison liquor.
The story opens prior to the war,
with flashes leading to the close and
finally to the stage of prohibition by
statute. Among the interesting inter-
vening sequences are those of the
campaign for president in 1916 with
Hughes and Wilson opposed.
There is a long cast and an excep-
tionally good one. Topping the list are
Walter Huston and Lewis Stone. The
latter shows us the drunkard of the
old regime, who goes to his death
after a lifetime devoted to good liq-
uor; the former, crazy with cheap liq-
uor of the prohibition era, kills his
wife while drunk and goes to prison
for life.
Dorothy Jordan portrays Maggie
May, the daughter of Roger Chil-
cote senior, the character played by
Stone. She is a staunch teetotaler, the
result of the tragedy she has wit-
nessed in her own family. It is a
charming characterization and a most
important one in the story.
Robert Young is Kip, son of Pow
Tarleton, played by Huston. He also
is a teetotaler for reasons similar to
those of the daughter of the Chilcote
family. The love interest centers
around Young and Miss Jordan. The
two meet under distressing circum-
stances for both. Tragedy attends
their courtship and marriage, but nev-
ertheless it is a pretty tale.
Neil Hamilton is Chilcote junior
and follows in his father's footsteps
in the unrestrained use of liquor. Jim-
my Durante is Abe Schilling, un-
doubtedly designed to portray on the
screen the spectacular "revenuer,"
Izzy Einstein, who in the early days
of prohibition made things most un-
comfortable for the retailers of liq-
uor. Durante adds materially to the
drama and the incidental comedy of
the tale.
"The Wet Parade" is one of the
more expensively made productions of
recent months, its cost being appar-
ent. It was directed by Victor Flem-
ing from John L. Mahin's adaptation
of Upton Sinclair's novel.
The picture is bound to be much dis-
cussed. Perhaps after all if there be
any growl coming it will be from the
fanatical dry, as the subject in its un-
raveling declines to concede that pro-
hibition by statute either is a noble
experiment or anything that will re-
flect credit on the country. The old
order is damned plenty,, but perhaps,
after all, that is nothing to what the
production does to things as they are.
GIRL CRAZY
First cameramen, J. Roy Hunt, Edward Cron-
jager ; operative cameramen, Edward Hen-
derson, Russell Metty, Harry Wild, Edwin
Pyle ; assistants, George Diskant, Harold
Wellman, Charles Burke, Willard Barth ;
stills, Robert Coburn, Fred Hendrickson ;
sound, Hugh McDowell.
WHEN R-K-0 decided on the use
of "Girl Crazy" it employed a
title really not so crazy as it
may sound to the ear attuned to the
sexy captions sanctioned by persons in
authority still under the delusion that
the ways of their
immediate inti-
mates are the
ways of the
world at large
rather than mere-
ly of that per-
centage of Holly-
wood which par-
allels the same
kind in other
communities.
So when we
read we are to
see Bert Wheel-
er and Robert
Woolsey in "Girl
Crazy" it is a horse of an entirely
Edivd. Cronjager
April, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-nine
different color. We then are pretty
sure we are in for a series of laughs
instead of only the Lord knows what.
And laughs there really are — a
plenty. There is present a reminder
of the atmosphere that pervaded
"Peach o' Reno." What in the eyes
of serious minded and even avaricious
Chamber of Commerces must be un-
adulterated sacrilege the Great West
of Romance really is kidded — to the
extent that the very bad and wild
natives insist on the removal of the
hat when the word "west" is men-
tioned. Not only is the hat removed.
It is with great reverence laid across
the heart.
Herman Mankiewicz' adaptation ■ f
Tim Whelan's screen play has been
designated to be nothing but non-
sense. With the contributions in
added dialogue by Edward Welch and
Walter De Leon and the interpreta-
tions of Director William Seiter the
effort proves to be riotously success-
ful.
Aiding the two chief comedians are
Eddie Quillan, Mitzi Green, Kitty Kel-
ly, Arline Judge, Dorothy Lee, Stan-
ley Fields and Brooks Benedict. Right
there is a strong cast in itself entire-
ly apart from the headliners.
Fields really is enjoyable as the bad
man. Mitzi tries some of her imita-
tions, usually with measurable suc-
cess. While she imitates Bing Crosby
it hardly can be claimed she improves
him. The dark mystery of that man's
success remains as impenetrable as
ever — to some of us.
If you like your fun in musical
comedy form, bright, smart, not al-
ways painfully ladylike and maybe at
times even robust, don't miss "Girl
Crazy."
ALIAS THE DOCTOR
First cameraman, Barney McGill ; operative
cameraman , Kenneth Green ; assistant,
William Whitiey; stills, Mack Elliott;
sound, C. Dave Forrest.
ONE of the current pictures well
worth seeing is First National's
"Alias the Doctor." Featured
actually and in the casting is Richard
Barthelmess. He gives an excellent
performance, part of his work ascrib-
able to an appeal-
ing story and part
to an inherent
ability. No. 4 on
the cast is the
second of impor-
tance in this
strong drama, its
strength measur-
ably due to the
rare intelligence
and high acting
ability of Lucille
La Verne.
Matter for won-
derment it must
be on the part of
those even slightly familiar with the
identity of men and women who have
given the American stage its position :
Just what is the method followed in
studios in establishing the order of the
names in the cast.
There are long hospital scenes,, but
singularly enough not only do they
not pall on the auditor but they mark-
edly contribute to the drama and the
Barney McGill
tension of the story. The settings and
its terrifying detailed paraphernalia
prepare the house for the tense scenes
to come. The screen gives credit to
Dr. Harry Martin as the technical
director of this sequence which in im-
pressive detail and dramatic power
outranks anything in its field hereto-
fore observed by the present writer.
Norman Foster has the part of
Stephan, the son who illegally per-
forms an operation for which his
foster brother "takes the rap." Marian
Marsh is the sister of Stephan and en-
gaged to marry Carl, played by Bar-
thelmess.
Houston Branch wrote the adapta-
tion from the play by Emric Foeldes,
with Charles Kenyon doing the dia-
logue. Michael Curtiz directed and
Barney McGill photographed — and
they both did their stuff one hundred
percent.
Arthur Miller
YOUNG BRIDE
First cameraman, Arthur Miller; operative
cameramen, Joseph Biroc, Milton Krasner ;
assistants, Georsre Diskant, Clarence Slifer ;
stills, Elwood Bredell ; sound, John Trilby.
CONCEIVABLY there may be two
reasons why a picturegoer should
wittingly sit in on R-K-O's
"Young Bride." One might be an act
punitive as well as penitential on ac-
count of the commission of a measur-
able sin. Another
might be an ei-
fort to acquire
within the limited
space of an hour
a rather compre-
hensive knowl-
edge of the
things that should
not be done in the
writing and mak-
ing of a motion
picture.
The everyday
picturegoer — the
man and woman
on whose quarters
and half dollars the industry as a
whole depends for its dividends — en-
ters the theatre in search of entertain-
ment. One of the aims of entertain-
ment is to lift the person seeking it
out of himself, to enable him to for-
get his own troubles in following the
reasonably cheerful existence of the
characters placed before him.
Tragedy either of the blood or of
the soul is a vital element in the field
of fiction visualized or otherwise. Sel-
dom does a dramatist of standing,
however, set it down unrelieved, for
none better than he knows that under
these circumstances the entertain-
ment quality is likely to be dimin-
ished.
Heroizing a plain windbag is plain
asininity. Here under the guidance
of Director William Seiter a young
man has been caused to make an ass
of himself — an insufferable,, stupid,
loud-mouthed braggart. We are ex-
pected to believe that a girl like Helen
Twelvetrees will "fall" for him. While
in some circumstances the unsophisti-
cated Allie might have done some-
thing like this it is unthinkable that
the "wise" Maisie interpreted by
Arline Judge would have done any
such thing.
Eric Linden as the braggart is made
to outdo his role in "Are These Our
Children?" For his ability to portray
the things that are laid in his lap
Linden is worthy of a better part.
Miss Twelvetrees has a role that will
add nothing to her reputation.
Cliff Edwards has a good part, that
of a wisecracking playboy. Roscoe
Ates has a little to do, but does it
stutteringly well. Polly Walters is
one of the girls, more likable than
usual in that she is not required to be
the entire sap we are accustomed to
associate with her name.
One of the incidents of the produc-
tion is seeing Blanche Friderici not in
her usual part of an ogre but as the
benevolently inclined librarian, the
friend of Allie.
Garrett Fort wrote the adaptation
from Hugh Stange's play. Ralph
Murphy and Jane Murphy provided
added dialogue.
Leo Tover
SYMPHONY OF SIX MILLION
First cameraman, Leo Tover ; operative cam-
eramen, Edward Henderson, Russell Metty ;
assistants, Willard Barth, James Daly,
stills, Fred Hendrickson ; sound, George
Ellis.
THERE are many moving mo-
ments in this story by Fanny
Hurst of a Jewish family in
New York. It opens in the Ghetto,
around Cherry street, down on the
east side, and with prospects of fam-
ily prosperity the
locale shifts up to
West End avenue
and then to Paik
avenue.
The story cen-
ters around Fe-
lix, older son oJ!
the family,, who
begins his study
of medicine in
childhood. It
shows him at the
head of his own
clinic, in which
his ministrations
are given with-
out price where there is no power to
pay. Then we see him moved to a
well-to-do and then to a wealthy sec-
tion, with fortune following.
Ricardo Cortez is Felix, whose
chief happiness in life is in doing
good, in making the most use of his
healing skill regardless of the recom-
pense, if any. It is when Magnus, the
ambitious brother, prevails upon his
mother to suggest to Felix that he
move uptown and begin to make mon-
ey that the happiness wanes.
Irene Dunne is Jessica,, the lame
girl playmate of Felix's boyhood who
later conducts a school on the east
side in which blind chidren are taught
to read. It is between the teacher and
the physician where runs the romance,
interrupted for a period following the
migration to wealthier surroundings.
Cortez shines in the benevolent role
in which we see him. Miss Dunne has
not so much to do prior to the closing
scenes, but she bulks large in those —
and most effectively.
Gregory Ratoff as Meyer, the Jew-
ish father, and Anna Apfel as the
mother supply much of the drama
even as they also are responsible for
Thirty
The INTERNATIONAL PHOTOGRAPHER
April, 1932
more or less of the comedy. For the
tale is not all serious.
Although written around a Jewish
subject the production will have abun-
dant appeal for men and women of
other faiths. Its grip will lie in its
broad humanity, in its magnifying of
the aim to serve even as it minimizes
the craving for gain; in its peek be-
hind the scenes in a home dominated
by traditions and customs of one of
the world's oldest races; in its ideal-
ism rather than in its glorification of
mammon. And there will be found a
blending of comedy and drama, pathos
and tragedy.
Gregory La Cava directs a script
adapted by Bernard Schubert, J. Wal-
ter Ruben and James Seymour.
Richard A. Whiting, and the lyrics to
Leo Robin.
Victor Milner
ONE HOUR WITH YOU
First cameraman. Victor Milner; operative
cameramen, William Mellor, William Rand ;
assistants, Guy Roe, Lucien Ballard ; stills,
Bert Langworth ; sound, M. M. Paggi.
PARAMOUNT'S picture entitled
"One Hour With You" is certain
to be the cause of a lot of contro-
versy. There are going to be strong
opinions vociferously expressed, espe-
cially by those who aim to be the
judge of the
other man's mor-
als. To kindle a
conflagration in-
side the narrow
minded this pic-
ture of Maurice
Chevalier's is
hand - made. Just
incidentally it is
not alone Chev-
alier's picture. It
is, too, Jeanette
MacDonald's in a
large way, and
Genevieve Tobin's
and Roland
Young's and Charlie Ruggles'.
To the man and woman of the
world or to those who may walk a
comparatively straight path them-
selves but nevertheless are endowed
with sufficient humanity to look with
understanding vision on the human
slips of others the production will be
of rare interest.
More than that, it will qualify as a
near great picture — great in its com-
edy, in its love scenes, in the deli-
cacy of its lyrics and music, in the
master touch of its direction, in the
contrast to the usual by reason of the
unmistakable continental flavor.
There will not be much argument
that by reason of the nature of the
dialogue, delicate as that may be in
its phrasing but nevertheless at
times unmistakably risque — as to the
latter much too much or even negligi-
ble according to the individual view-
point— it is a picture for adults. It
is not a picture the average parent
knowingly would place before his
youngsters.
Ernst Lubitsch seldom has had
handed to him a story drawn along
lines so well suited to his back-
ground — and background sometimes
is a large word, an inclusive word.
Samson Raphaelson has adapted
the script from the play by Lothar
Schmidt. The music is credited to
Oscar Straus, with interpolations by
Sol Polito
UNION DEPOT
First cameraman, Sol Polito ; operative cam-
eramen, Michael Joyce, Thomas Branigan ;
assistants, Robert Mitchell, Perry Finner-
man ; stills, John Ellis ; sound, Oliver
Garretson.
ONE of the best illustrations of
the depth of the dumps into
which some motion pictures
have fallen is to be found in the Los
Angeles Theatre. Here is what ordi-
narily would be classed as an insti-
tution, what real-
ly is one of the
most beautiful
show houses in
the country, ex-
hibiting a double
bill afternoons
for 15 cents ad-
mission. Yes, and
there's a news
reel sandwiched
in between the
features.
This is the
house which cele-
brated its open-
ing with the
world premiere of "City Streets," with
the presence of Charles Chaplin, who
brought along as his guest the fa-
mous Einstein — and who incidentally
saw enough of a real crush picture
opening to last himself and his frau
the remainder of their lives.
The news reel in a Florida location
bore the familiar name of Alley at
the camera. Which brings to mind
that our own sassiety reporter Fred
Felbinger already had remarked in
print that his friend "Norm" was
down south giving Florida the o. o.
The features shown were "Union
Depot" from First National and "File
113," produced by M. H. Hoffman.
One of the outstanding factors In
"Union Depot," one action which
clings offensively in the memory, is
the slapping of Joan BlondelPs face
by Douglas Fairbanks Jr. If the act
of a hoodlum admittedly be a repro-
duction of the original play by Lau-
rie, Fowler and Durkin, surely in the
adaptation by Kubec Glasmon and
John Bright and in the writing of the
screen play by Kenyon Nicholson and
Walter De Leon and in the final
scrutiny by the production depart-
ment the crude thing should have been
deleted before it passed into the
hands of Director Alfred E. Green.
Here is a young man who in spite
of the handicap of a well and favor-
ably known name has gone far on the
screen and easily might go far on
the stage. He has the cut of a gen-
tleman, is wholesome and likable. In
an act such as is here complained of
Warner Brothers is not improving the
market value of one of its properties.
Distinctly it is lessening that value,
by causing him to stoop to an act that
palpably is out of character in one of
his general front elevation. It puts a
smear on a picture that otherwise is
a pip.
There are thrills in this story of a
young man rapidly acquiring knowl-
edge of the law, gained like that
Dickens character as defendant in
sundry appearances in court, and the
young woman down and out in a
strange town. It is a human tale even
if it be around a hero whose chief
claim to distinction is the number of
towns he has studied from the inside
of the local jail.
Miss Blondell has a sympathetic
part and carries it with advantage to
herself. Guy Kibbee is the accomplice
of the young man as well as his pal
even though he does double-cross him
when the younger man intrusts to
him what each believes to be a wad
of real money.
There is a long cast. Alan Hale is
the counterfeiter who loses his violin
case and starts the chain of events
that make the story. Then there is
the chief detective who gives an ex-
cellent conception of the work in
hand — who moves quietly, without
braggadocio, is always human and is
thoroughly likable in spite of his
somewhat interfering calling.
The tale bears resemblance some-
what to the oldtime plays in its
prompt and seemingly providential
provision of money when needed —
provided in chunks and without com-
pensating restoration or punishment
in lieu thereof. The lad goes out of
the picture in a suit of clothes he did
not buy and the girl in a dress se-
cured with counterfeit money.
And as the two pass out of the pic-
ture the lad steps down from the mov-
ing train, with the girl going on to
take a job in Salt Lake. That move
is a belated sop to the vociferously
vocal virtuous.
Not so would it have happened in
life. That vagabond lad in love with
the lass saved from vagrancy by him-
self within a few hours, a lass with
a drawing room ticket good for two,
would have stayed right where he
was — if not by his own volition then
most certainly by restraint. For just
that was the ending indicated by all
of the antecedent circumstances.
File 113
First cameraman, Harry Neumann ; operative
cameraman, Thomas Galligan ; assistants,
James Higgins, Monte Steadmen ; stills,
Otto Benninger ; sound, L. E. Tope.
OLD-TIME picturegoers will have
particular interest in M. H.
Hoffman's "File 113" in that it
brings to the screen after a rather
long retirement Clara Kimball Young,
who between fifteen and twenty years
ago easily rated
as one of the
most beautiful
women on the
screen and per-
haps the first in
that division. She
was more than a
handsome young
woman. She knew
acting, whether
in stock or for
the screen. Her
stage training be-
gan practically in
infancy when
with her father
and mother in the heavy dramas of
the day she toured the mining camps
of the west as well as the more pre-
tentious towns.
Harry Neumann
April, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-one
Miss Young plays Mme. Fauvel,
the mother blackmailed by her one-
time husband and alltime crook De
Clameran, played by Roy D'Arcy. Lew
Cody is the famous Monsieur Le Coq,
detective chief in this noted play by
Emile Gaboriau. Comedy is provided
in the dialogue between the chief and
his office assistant Verduret, played by
George E. Stone.
Romance is supplied by William
Collier, Jr., and June Clyde, the bank
cashier and the banker's daughter, re-
spectively.
Chester M. Franklin directed an in-
teresting picture from the screen play
by John F. Natteford.
Ted McCord
CARNIVAL BOAT
First cameraman, Ted McCord ; operative cam-
eraman, Carl Wester ; assistants, John
McBurnie, Judson Curtiss ; stills, Adolph
Schafer ; sound, L. John Myers.
WRITING four days after seeing
a theatre preview of RKO-
Pathe's "Carnival Boat" and
incidentally having seen another rath-
er strong subject in the meantime the
outstanding impression remaining is
of a virile story,
or perhaps it
should be describ-
ed as a very sim-
ple story present-
ed in a virile way.
It is an outdoor
tale featuring Bill
Boyd as Buck
Gannon, a sub
boss in a lumber
camp, with Hack,
portrayed by the
husky Fred Koh-
ler, in a parallel
job. There is a
girl in the case,
played by Ginger Rogers. She is
Honey, a performer on a carnival
boat, and she and young Gannon are
in love.
It is the opposition of Buck's father,
Jim — finely played by Hobart Bos-
worth — to their marriage and the
question as to which of the two young-
er men shall be chosen to succeed Jim
as boss that supplies the theme for
the story.
The tale was written by Don Ryan
and Marion Jackson, with the screen
play by James Seymour. Albert
Rogell directed and Harry Joe Brown
supervised the production.
There are many views of timber
cutting, of the falling and crashing
of giant trees. There are views of
jamming logs at a dam and of sticks
of large size as they tumble down
stream.
Then again flat cars are loaded with
the big timber, with cranes snaking
the freshly cut timber out of the mass
and on to the train. An exciting se-
quence shows a runaway train of tim-
ber, with its airbrake hose discon-
nected.
The climax comes when the two
sub-bosses go to the middle of the
dam to dynamite the logs and free the
jam. It is a real thrill when Buck to
avoid destruction by dynamite leaps
into the whirling stream, later saving
the life of Hack, possibly so he could
chastise him physically for his mur-
derous act.
MIDNIGHT PATROL
First cameraman, Lewis Physioc ; operative
cameraman, Victor Scheurich ; assistants,
Irving Glassberg, Lewis Physioc, Jr. ;
stills, Edward Tanner ; sound, Homer
Ellmaker.
THERE are some unusual slants
in Charlie Burr's "Midnight
Patrol." One of these is the
mingling of one time notables of the
sporting world or screen as part of
the scenery or atmosphere in a pre-
sumably popular
New York night
resort. Seated at
tables a new-
comer is intro-
duced first to
James J. Jeffries
and then to Tod
Sloane, back in
the nineties first
page heroes re-
spectively as
prizefighter and
jockey. Then
Snub Pollard is
introduced as a
comedian. Being
out of character, as was to be ex-
pected, when some one remarks he
wears not the accustomed mustache
the head is turned for a moment and
presto — the old familiar muff is in its
place.
The picture is made for distribution
by Monogram, an independent organ-
ization, and well is worthy of exhibi-
tion on its own in any house. There
is no underlying reason why it should
not. Its producer has been making
pictures for a dozen years. B'efore
that he had served a long apprentice-
ship acquiring the trick of selling
Lewis Physioc
screen stuff — in the Paramount or-
ganization. He has made many pro-
ductions for First National release.
The tale is around a newspaper of-
fice and a detective. It is a normal
subject on each of these ends. On
the newspaper side it is a believable
story, with the reporter an average
type rather than the one in ten con-
scienceless scoundrels with which we
have been surfeited.
The story turns on three persons —
a reporter, a detective with authority
and a girl, the latter a sister of a
girl murdered as she emerges from
Sing Sing on a parole. Regis Too-
mey, Robert Elliott and Betty Bron-
son are the three. When you dimin-
ish that trio to a duet composed of
the first two named you have the real
center of the tale. Thanks to the
script as well as to their native abil-
ity and training the men give an ex-
cellent performance.
Other players are Earle Foxe, Mary
Nolan, Edwina Booth, Edward Kane,
Mischa Auer, Mack Swain, Bill Bai-
ley, Ray Cooke, Wilfred Lucas, Jack
Mower, Barry Oliver and J. C.
Fowler. There are some capable
actors in that bunch.
Christy Cabanne directed from a
script prepared by George Jeske
from a story by Arthur Hoerl, with
dialogue by Charles Edward Roberts.
Some one in this outfit should know
better than to imprison a man in the
New York Tombs "incommunicado."
It is Los Angeles where that relic of
the Spanish inquisition is still allowed
to get by without protest by the "bet-
ter class," in spite of its absolute il-
legality.
When Seen Through Feminine Ryes
By CLARA M. SAWDON
DISORDERLY CONDUCT
First cameraman, Ray June; operative cam-
eraman, Lester White ; assistants, John
Van Wormer, Harry Dawe, Jr. ; stills,
John Miehle ; sound, W. W. Lindsay, Jr.
IT APPEARS to be much easier
to say that gangster and rack-
eteer themes in motion pictures
must take their farewell bow than to
make the statement a fact. Fox in
"Disorderly Conduct," written by Wil-
liam Anthony Mc-
Guire, takes ad-
vantage of the
chance for melo-
drama afforded by
the conflict be-
tween organized
racketeering and
police department
morale to turn
out a strictly plus
box office picture.
Sally Eilers as
Phyllis Crawford
has to play prac-
tically a lone
hand in a large
male cast. These odds are greatly
diminished in time, as several men
are killed before all ends well for
those who survive. She ably exempli-
Ray June
fies the self-assurance and contempt
of law very naturally held by one
whose father easily and frequently
demonstrates that money can tip the
scales of justice whenever the law
threatens his henchmen or his daugh-
ter. Ralph Morgan proves capable
as James Crawford, brains of the
racketeers.
Spencer Tracy as Frank Fay, the
motorcycle cop who is ambitious to
work his way up in the department by
performing his duty and in no way
betraying his office, delivers the sin-
cere, convincing portrayal character-
istic of him. He refuses a bribe, with
a demotion in rank following closely
as his reward due to the influence of
the father of Phyllis.
This injustice changes his ideas re-
garding money, and had he remained
in the same branch no doubt he would
have scaled the heights. Unfortunate-
ly, he is transferred to another dis-
trict where "honest" Tom Manning
wars as industriously against dis-
honesty among his men as he does
against lawbreakers on the outside.
In this environment Fay with his
revised code of ethics improves his
financial rating but is headed for dis-
aster. His friendship with El Brendel
as Olsen during this interval provides
Thirty-two
The INTERNATIONAL PHOTOGRAPHER
April, 1932
comedy relief while the story heads
toward its tragic denouement. Fay's
nephew, played by Dickie Moore, is
the victim of a machine gun before
repentance takes the savor out of dis-
honesty. Fay then proceeds to shoot
his way back to good standing.
Dickie Moore blossoms forth in a
miniature policeman's uniform that
will be the envy of all small boys who
see him.
Ralph Bellamy as the honest police
captain carries a major part so well
that everyone regrets he and Fay
elect to care for the same girl, mak-
ing it necessary for one of them to
lose out.
Allan Dinehart, Frank Conroy and
Cornelius Keefe effectively portray
men who chose to live by their wits.
The excellent direction of John W.
Considine, Jr., clever camera treat-
and rapid action tempo maintained by
the smooth performance of the cast
have delivered entertainment that will
please and hold the attention through-
out.
Karl Stntss
DANCERS IN THE DARK
First cameraman, Karl Struss ; operative cam-
eramen, George Clemens, William J.
Knott ; assistants, Fleet Southcott, Charles
Leahy ; stills, Bert Longworth ; sound,
J. A. Goodrich.
THE play "Jazz King," by James
Ashmore Creelman, comes to the
screen as a Paramount produc-
tion entitled "Dancers In The Dark."
Herman J. Mankiewicz wrote the
screen version, with adaptation cred-
ited to Brian Mar-
low and Howard
Emmett Rogers.
Jack Oakie is
Duke Taylor, the
leader of a jazz
orchestra in a
dancing palace
where a dollar
buys twelve
dances with
charming part-
ners provided by
the management,
if desired.
For a saxo-
phone player
named Floyd, William Collier, Jr.,
seems to be wearing a horseshoe for
luck. Miriam Hopkins as Gloria, one
of the most popular of the dancing
partners, is in love with him and Duke
is his best friend. This friendship is
almost paternal on Duke's part as he
and his mother have befriended Floyd
ever since he was a youngster.
To the accompaniment of popular
rhythms in the midst of swaying
couples love, comedy, intrigue and
murder are introduced and developed.
Gloria and Floyd have double-bar-
reled opposition to their plans for
marriage. Duke objects because he
doubts Gloria's sincerity and ability
to change her ways, and Louie, a
dapper, suave frequenter of the dance
hall, resents competition where he
thought he was prime favorite. George
Raft makes Louie convincingly hate-
ful and despicable.
Eugene Pallette as the sailor Gus
and Lyda Roberti as Fanny have a lot
of good comedy situations of which
they make the most. In fact, Miss
Roberti was very much of an individ-
ual hit with the preview audience es-
pecially after the singing of one jazz
number with everyone wishing for an
encore.
Flashes of Frances Moffett as a
cigarette girl and Paul Fix as her
weak brother, the dupe of Louie, carry
enough conviction to make them re-
membered.
David Burton has so directed that
atmosphere seems to take precedence
over action and players. Admirers of
Jack Oakie will like him more than
PLAY GIRL
First cameraman, Gregg Toland : operative
cameraman, Richard Towers ; assistant,
Perry Finnerman ; stills. Homer Van Pelt ;
sound, Oliver Garretson.
IT SEEMS that producers must
have their little jokes along with
the many serious phases of pro-
viding motion picture entertianment.
There can be no other reason for the
misleading titles so often encoun-
tered. Into such a category falls
Warners' "Play Girl" with credit for
the screen play going to Maurine
Watkins based on a story by Fred-
erick Hazlett Brennan. Adaptation
and dialogue were handled by Maude
Fulton and Brown Holmes.
Having thus disclosed the duplicity
that lurks in this title it will lessen
the shock to learn that the supposed
feminine frivoler is a serious minded
department store employe who reads
romantic thrillers entitled "Merchan-
dising Methods" as her choice of bed-
time stories.
Courageous as she is nature pre-
vents her from getting seriously con-
taminated by her giddy literary lean-
ings through the healthy medium of
putting her to sleep. This happens to
be one of the most logical reactions
that enters the script.
Clerking in the infants' wear de-
partment is represented as an expe-
rience that would make one hesitate
to rush into matrimony. However,
love in the person of Wallie Dennis
enters into the scheme of things and
a whirlwind courtship terminates in
a hasty wedding. The bride then
takes time out to learn she has mar-
ried a gambler. Quarrels, reconcilia-
tions, promises quickly given and
more speedily broken constitute the
next few months of ecstatic wedded
bliss following this disclosure.
Not until the husband learns he is
to become a father does he seriously
forego his propensity for games of
chance. All goes well until an ab-
surd situation is introduced to lead to
a misunderstanding that results in
the separation of husband and wife.
It is unfortunate this picture is an-
noyingly reminiscent of the main sit-
uations of a previous success as com-
parisons are inevitable with judgment
certain to be prejudiced.
Due credit nevertheless goes to the
principals for the sincerity of their
individual portrayals. These include
Loretta Young and Norman Foster
carrying the love interest, Winnie
Lightner and Guy Kibbee contribut-
ing cheer and sunshine and Dorothy
Burgess depicting a personality call-
ing forth adjectives such as slinky,
backbiting and all around disagree-
able.
When all has been said and done
under the direction of Ray Enright
a parting view is projected of the re-
united parents and their two best
friends gloating over the mite of hu-
manity with whom most of the mis-
understandings and fears have been
concerned, thereby conveying reason
to believe and hope the future has
possibilities.
THE PRIVATE SECRETARY
DESIGNED for no other purpose
than to provoke laughs, "The
Private Secretary," a German
musical comedy shown at the Filmarte
as the third atraction during March,
admirably succeeded in being delight-
ful nonsense.
The beauty and ability of Renate
Mueller as singer and actress make
plausible the speedy success of the
country fraulein, Vilma, who comes to
the city presumably seeking a position
but with the ulterior motive of
getting a husband and fortune as the
main reason for the change of resi-
dence.
How she succeeds is just a series of
good natured absurdities involving
principally Herman Thimig as direc-
tor of the bank where Vilma gets em-
ployment and Felix Bressart as Hasel,
an employee who proves a ready ally
to beauty in securing first a position
in the bank and then bringing about
the meeting with a promising pros-
pect for a husband.
A pleasing musical score, excellent
orchestra, vocal solos by the principals
•and by choruses with pleasing har-
monizing effects intermingle with the
comedy situations which, under the
direction of Wilhelm Thiele, follow
each other at a rapid and furious
pace. The ease and naturalness with
which comedy is projected make it in-
fectious to a degree that the audience
seems more fittingly participant than
spectator.
While an understanding of the Ger-
man language undoubtedly clarifies
much of the dialogue, the picture is
pleasing entertainment for all with
the major situations needing no ex-
planation.
Supersensitive Kodacolor
Film Is Issued by Eastman
THE Eastman Kodak Company
announces supersensitive Koda-
color Film in both 50 and 100
foot lengths at no increase in cost.
The new film is claimed to be twice as
fast as its predecessors and capable
of giving a more pleasing rendition of
colors than ever before, independent
of whether lighting conditions are
fair or ideal.
It is important to note the new
film requires a different ratio cap
than has been used in the past. This
is supplied with the film. Kodacolor
movies can now defy the sun and be
produced on dull, slightly cloudy days
or even in the shade according to
claims made for the new film.
Packed with each roll of film is an
exposure guide which gives instruc-
tions how to proceed.
April, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-three
Noise Ketcher as Dog Ketcher
GREATER love hath no man!
Or maybe the title of this
should be "Noise Ketcher turns
dog ketcher!" It goes like this, I
hears . . . Phil Gleason is a noise
ketcher.
Phil wuz a first class bachelor.
Finally along comes the maiden.
Molly is her name. Phil gits high
blood pressure right away and thinks
of June — and — weddin bells — and
things like that.
Well, this here Molly gal bein Irish
owns a irish terrier who is a terror
on gittin lost all the time. So jest
when Phil things he is sittin pretty
on holdin hands with Molly her little
Irish terror gets among the A. W.
0. L.
So Phil gits a phone call from the
little lady askin him if he's got a pull
with the dog ketcher as maybe her
dear little mutt is visitin over there.
So Phil burns up the wires tellin the
local Dog Collector that he's got a
nerve tryin to lock up a noise ketch-
er's gal's kiyoodle.
So finally the local D. K. explains
to Gleason where does he git that
stuff as he aint run down the pet
hound as yet, but maybe he don't hope
he will after the way Phil feels about
him. So Phil sits by the phone draw-
ing a lot of x's and stuff on the phone
pad while he is doin some heavy
thinkin.
Finally Phil gets a headache and a
idea, all at the same time. So the
gang sees Phil chasin up and down
alleys with one of these hear butter-
fly nets hopin he kin prove to his
lady love he is her Galahad, or what
you calls these birds what goes plumb
kuku over a dame. Eddie Morrison
finally helps Phil play detective on
solvin the mystery of the missin
mutt, and after two days heavy
thinkin solves part of the mystery by
up and announcin he thinks some past
rival of Phil's has kidnapped the
hound so's he kin gain the little Irish
lady's favor when he walks in like a
hero with the mutt.
Well, mebbe so, mebbe so ! But
Gleason promises to give the viper a
good trouncin if so.
SIX-SIXTY-SIX
Dyer Regular Guy
Last month when I wuz makin some
shots on the New Orleans Mardi
Gras I sees a guy makin a shot with
a DeVry camera and finally he ankles
over to me and introduces hisself.
Says his name is Ed Dyer.
I always talk to guys with cameras
In Focus — In Spots!
By Fred Felbinger as
The Sassiety Reporter
even if they only got a DeVry and
me with one of them swell groan
boxes. I always been democratic . . .
watahel ... so I lets this bird talk to
me, only I notice he don't shoot off
his mouth about how good he is with
the DeVry like I do when I meets
some amateur bird.
Well, this bird wuz so nice a guy
that when he invited me to come out
to see his place I figgered I would
honor him so's he could say a real
high-class cameraman took a interest
in him. And then I gits out there!
He's got one high-class gallopin tin-
type studio, and all he talks is Tech-
nicolor, which he's been shootin. Then
he shows me his old silent equipment
which he ain't usin right now account
the technicolor he's shootin, Bell &
Howells, Mitchells, etc., piled on top
each other.
Then he runs a couple reels multi-
ple exposure he been makin and ex-
plains how he shot em and wuz I glad
it wuz dark in the screenin room be-
cause the hombre maybe coulda seen
I wusn't eggsactly keepin up on fol-
lowing him on how he does it.
So about the middle of Reel 2 of Ed
Dyer samples I figgers well, a news-
reeler like myself kin git by a while
yet maybe so long his scenes is sharp.
Also I figger maybe I quit bein snooty
on how good I is when I meets birds
I don't know what is carrying De
Vry's. And if any youse birds git
down to New Orleans look up brother
Ed Dyer, 666. He has one grand lay-
out and he's one grand guy to spend
a visit with. Motion Picture Adver-
tising studios is where he fogs his
celluloid.
SIX-SIXTY-SIX
Original Malefactor
And in New Orleans I discovers the
origin of a cameraman's beret. You
know them gal's hats all the button
pushers is wearin now. Well, down
there I sees brother Tracy Mathew-
son all decked up in a beret, and
when I gives him the cackleberry
Tracy ups and advises he bought it
in '16 in Paris, and whats more it wuz
the first one to come into America.
Okeh, Tracy, Okeh, but I wuz the
first button pusher to wear a green
one, anyways.
SIX-SIXTY-SIX
New-Fangled Tan
Brother Jack Barnett, our high-
class explorer into the wilds of South
America, is back agin. His face is
covered with a beautiful coat not of
tan but greenish yellow. Says mal de
The Empire State Express,
a famous pioneer motion
|M picture, photographed in
1896 by Biograph and ex-
jW hibited the opening night
at Hammerstein's in Broad-
way, New York. It is shown
here in the actual size of
the film. To the right
is reproduced a frame from "The Kiss," which in the course of forty feet
demonstrated what that imp May Irwin with her facial contortions and John
C. Rice could accomplish in the way of planting the seed of censorship in the
United States. The picture of the two well-known Broadway players was
photographed at the Edison studio in 1896 and produced a sensation. Some
of the Comstockian Anti-Vice Leaguers who yelled the loudest about its vicious
influence were alleged to have gone the oftenest to see it. Incidentally the
picture represented the first close-up, as the two faces, whether separated or
hooked together, filled the screen. The two subjects form a part of the Earl
Theisen motion picture exhibit at the Los Angeles museum.
Thirty-four
The INTERNATIONAL PHOTOGRAPHER
April, 1932
mer is simply awful, especially when
a guy has twenty-eight days of it.
Jack tells all about huntin alli-
gators by searchlight at night and
plenty good times, but why, oh why,
don'tyou tell the boys all about them
pirates what raided the ship like you
tole your folks in the letters you
wrote them?
Jack also mentions seein Brother
Alley down in Florida. Says Alley is
a real fan-tan expert now besides al-
ways gettin out to the horse park in
time to play a coupla bucks on the
nose for the daily feature race.
Jack wuz along one sunny after-
noon when Norm introduced him to
his new hobby of fishin off the pier.
Bet a buck each time on who would
ketch the next fish. And yoors truly
remembers way back when Alley's pet
hobby wuz breakin in new straight
eights . . . but then of course, they
is the depression.
SIX-SIXTY-SIX
Send in the Dope
All sorts of rumors trickle into
them big wide ears o' mine about how
all I kin do is glorify them newsreel
button pusher friends of mine and
never give a break anymore to the
other baboons what makes livins jug-
glin tripods and foggin film without
snoopin into the lives of the promi-
nents like we newsreel dopes do.
Well, wouldn't I like to git some
dope on the other camera focusers,
tho? Anytime you fellers got any-
thin what's gonna give me some info
on who's who, spill it. We is your
humble servant on bangin out the
news of the poor back-worn tripod
juggler so's his brother members
knows he aint fallen by the wayside
yet.
SIX-SIXTY-SIX
Monthly Budget
All in a month . . . Martin Barnett
has turned publicity man for a near
the loop fillin station. . . . His copy
starts out like this, "Jesse James is
dead! Look at our prices!" . . .
S'funny, Martin only found that out
after he left the newsreels . . . didn't
know it in the days he made out ex-
pense accounts.
Gene Cour is back from the coast.
Understand he attended a confab of
the sister locals . . . ought to have
some interesting dope for the brother
members at the next meetin.
Emilio Montemuro back from his
ride on the fire wagon down at
Aurora the day the ladies took over
the runnin of the town . . . Monty en-
joyed the ride with the goils so much
he had em drive the fire buggy three
miles from the station while he
burned up the old Eastman stock . . .
in the meantime the real Chief burned
up plenty hisself ... a alarm came
in and there wuz Monty joyridin with
the dames all over Aurora . . . well,
a guy's gotta git a pitcher, don't he?
Eddie Morrison A. W. 0. L. now
from all the favorite wet spots in the
Windy village . . . Eddie's secret is he
gits forty quarts of real homebrew
for 46 cents every time he mixes up
a new batch in the kitchen . . . Also
the little woman now sees Eddie
nightly . . . This depression a god-
sent, says she.
Ralph Saunders back from New
York and glad of it . . . says they
spell Depression with a capital D
down thataways.
Billy Andlauer breezes into town
and says howdy over a couple, but
couldn't stay for the one on the house;
had to git downtown on a big business
deal ... I didn't have any deal up,
so stayed and had the one on the
house.
Charlie David borrowed Doc East-
man's Filmo to do a little detective
work . . . Doc has one of them com-
bination locks on the case . . . Some
dastardly soul swung the combina-
tion ... so Detective Prexy David
maybe shoulda been a safe blower in-
stead of a dick . . . maybe he coulda
opened the combination then and got
his pitcher.
Wonder what's ever become of ole
Harry Birch? Harry's the guy what
laffed at the stuff I wrote and used
it ... so if your about filled up with
this hold it agin him and not me.
SIX-SIXTY-SIX
Paging Mr. Gall
Almost forgot about the bird up in
Omaha what wants publicity . . . His
name is George S. Gall, but I don't
know what I kin say about him ex-
cept he don't trust yoors trooly; sends
in his subscription to the mag. but
makes the check out to the local in-
stead of me . . . Well, I got the dough,
anyways, and jest to show they aint
no hard feelins I turned it in . . .
And here's hopin you see I keep prom-
ises also, Mr. Gall . . . Your welcome
. . . Maybe sometime we kin git some
real dope on you.
See where Brother Floyd Trayn-
ham is doin the worryin about tho
Chi. territory for Universal while
Editor Charlie Ford is down in Flor-
ida testin out his new twelve cylin-
der buggy . . . Holy smokes! Do we
have to listen to all that agin, when
you gits back, Charlie?
Saw quite a gang of the 666 birds
twirlin the cranks on the official
pitchers of the Dempsey-Levinsky
ex heavy weight championship out at
the stadium: Prexy David, Shorty
Richardson, Rufus Pasquale, Red
Kuersten and Maurice Hare . . . They
wuz the official cameramen . . . Lip-
pert and me wuz among the unoffi-
cial ones . . . with Eyemos.
Wonder when us newsreelers is
gonna be able to cover them fights
without wearin smoked cheaters . . .
Honestly, now, Prexy David, wuz
you really tryin to spot newsreelers
through them binoculars the pitcher
promoters handed youse? . . . You
didn't need binoculars to find me. . . .
I wuz sittin right below you . . .
S'funny how a pair of cheaters helps
fool even your friends.
Well, I'm kinda nursin one bad cold
tonight . . . Gotta take another snif-
ter of that bonded medicine I got . . .
By next month we oughta have some
decent news on the gang . . . This
slump gotta end soon ... So long.
Crabtree Tells Finn Thing or Two
About Backlighting and Halation
By Editor James J. Finn in February International Projectionist
OUR curiosity aroused by seeing
in an issue of that splendid
publication International Pho-
tographer a picture of a cactus tree
the arms of which were surrounded
by a halo that looked suspiciously like
halation, we proceeded to put J. I.
Crabtree of Eastman Research Lab-
oratories on the spot. Here is his
interesting reply:
". . . The white line or halo sur-
rounding the cactuses in the appended
reproduction is typical of all back-
lighting effects and is caused by re-
flection of the sunlight by the fine
prickles on the cactus. The surfaces
of these behave like a mirror, and in
the case of those which are inclined
at the correct angle, they reflect the
rays of the sun into the camera lens.
This effect is, therefore, not strictly
one of halation which results from
image spreading.
"When a dark object is viewed
against a brilliant light source such
as the sun, an effect similar to hala-
tion is obtained which is caused by
irradiation in the eye itself. The
retina of the eye in this case may be
likened to the photographic film.
Whereas the brain should receive the
impression from the retina of a sharp
line separating a bright area from a
dark area, the brain receives the im-
pression of a fuzzy line. This effect
is well recognized in the literature
on physiological optics.
"Whether we consider the light
action on the retina to be a mere
stimulus of the 'rods and cones,' or
as a chemical reaction, under such ex-
treme stimulation there is either a
diffusion of the chemical reaction
products or a transference of motion
of the vibrating membranes to adja-
cent areas."
Which means that we often see
those things that do not exist, which
may provide a clue to those frenzied
workers in the three-dimensional
field.
Editor James J. Finn is entitled to
the thanks of this magazine for his
kind references ■ — and incidentally
also for extracting from "J. I." of
Rochester the foregoing interesting
comments. The photograph in ques-
tion was in the art section of this
magazine in January last — an expo-
sure of giant cactus by Jimmy Ma-
natt. — Ed.
April, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-five
Al Gilks Home After Two Months
in Europe Follozving World Cruise
AFTER a two months' tour of
Europe following his world
cruise in the Vanderbilt yacht
Alva Al Gilks has returned to Holly-
wood. Mrs. Gilks had met him at
Monte Carlo just before Christmas.
They visited Italy, Austrian Tyrol,
Munich, Nuremberg and Berlin. In
the latter city the cameraman looked
over the Ufa plant, where every
courtesy was extended to him. In the
party were three men, one speaking
Rumanian, another Austrian and the
third English. Mr. Heymann, master
of six languages, took care of all
questions without difficulty. They
met Carl Hoffman, ace cameraman of
the company, and afterward in Eu-
rope the visitors saw two of Hoff-
man's pictures — very finely done, it
was declared.
In Paris the Paramount studios at
the time were closed. At the Pathe-
Natan studios George Benoit was
met. In the course of a ten days'
stay in the French capital consider-
able time was devoted to the display
by American artists at the exposition
in progress.
In London Bob Martin and Bob
De Grasse were visited at Associated
Radio. Henry Gerrard was with
Fred Niblo. Osmond Borradaile, after
eight weeks in hospital following an
automobile accident, was recuperating
from a fractured skull and other se-
vere injuries. Mr. Gilks spent two
days with him and his mother and
his French bride. During the con-
valescence and under orders of his
physician to get outdoors the camera-
man and his bride packed knapsacks
and in gypsy fashion started on a
tour of Spain.
Another cameraman met with was
Willard Van Enger. The latter and
all of his brother members asked to
be remembered to their fellows back
on the Pacific coast.
The outfit was equipped with five
graflexes, one owned by Mr. Gilks,
one by Bob Bronner, his assistant,
and three by Commodore Vanderbilt.
Then there was an 8 by 10 still cam-
era. In motion picture cameras there
was a Bell and Howell purchased by
the commodore just prior to sailing
and equipped for black and white and
color and also a Mitchell owned by
Mr. Gilks.
The returned traveler was keen in
his appreciation of his employer,
whether judged in the latter capacity
or as a man or as a sailor. Inci-
I titer national Projectionist
Has Second Class Privileges
CONGRATULATIONS are ex-
tended to International Pro-
jectionist on the granting by
Uncle Sam's Post Office Depart-
ment of the magazine's application
for the privileges of second class
entry. The announcement is coin-
cident with the appearance of the
initial number of the second vol-
ume. It is a creditable publica-
tion, an honor to the craft it aims
to entertain as well as to reform
and to instruct.
Its front elevation and typog-
raphy generally make it easy to
look upon and its quality of mate-
rial makes it easy to read.
Editor James J. Finn is deserv-
ing of the success and respect his
publication so worthily commands.
dentally in spite of his wealth the
commodore accepted the responsibility
for the forty-six lives on the boat,
with all the time and work involved in
the captaincy of his vessel, including
its navigation.
Incidentally Mr. Gilks, who was a
navigating officer in the navy during
the war, had a chance to brush up
on his navigation. Several times a
day he took the sun and plotted the
ship's position.
Through the simple process of initial contact and
genuine co-operation from camera to screen this
company is maintaining its long established policy of
consolidating cordial relations ivith the men who
photograph the great screen productions of the world
Hollywood
New York
Chicago
Thirty-six
The INTERNATIONAL PHOTOGRAPHER
April, 1932
Mahmoud Letter Revives
Memories
(Continued from Page 5)
Here death seems a transient thing,
yet has endured for a myriad of cen-
turies haunted by the phantoms of
glorified Pharaohs. Here Death is
paramount while Life is but an hour-
glass filled with moments . . . what is
this waiting in the long sleep of death
that holds the minds of the Egyp-
tians?
Do the Keepers of the Gate stand
guard forever over mortals who lie
waiting in motionless attention while
their furtive souls drift through
silent voids like derelicts in the ten-
tacles of obscure darkness, awaiting
the ordeal of Judgment and transmi-
gration to Celestial Heights?
Or is this sleep called death as last-
ing as the stars o'erhead and is it as
silent as the moon in its cool silvery
bed; who knows? "El Maktub Mak-
tub!"* Somewhere I have read "Any-
thing so universal as death must be a
blessing."
The entrance to this spirit-haunted
Valley of the Kings is marked with
two huge Colossi of Memnon. Here
on the plains they sit defying the cru-
elty of Time in calm and endless pa-
tience, watching generations come
and go; viewing through the veil of
years the Synopsis of Life. Ruin and
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destruction have failed to shake the
serenity of these mute gods.
Fertile Morass
Mahmoud writes that now the
waters have receded from the plains
after the annual inundation, leaving
in their wake a morass of humus de-
posited at the feet of these figures
... a morass that brings fertility to
all living and growing things in this
parched land.
With Mahmoud, wise in the mys-
teries of old Egypt, I have seen an-
cient Luxor in all her varying moods
and contrasts. He has filled my veins
with the pulse of Egypt and has
caused to bloom the Amaranth of
Memories in my mental treasury.
"Inshallah"f some day I shall go
back to see this son of Mohammed
... to see ancient Thebes mothering
her secrets ... to ride out into the
desert as the corpse of the night
lowers its shroud to blot out the crim-
son shadows of sunset, and there un-
der the canopy of stars, I will watch
Osiris with his guards dancing
through the Milky Way and I shall
forget the prosaic world and rein-
carnate my dreams.
*"E1 Maktub Maktub!" What is
written is written!
f "Inshallah." If God wills.
RCA Photo phone -Victor Cut
Theatre Equipment Prices
TWO new all AC operated equip-
ments, designed for theatres up
to 4,000 seating capacity, a sub-
stantial reduction in the prices of
three types of apparatus, a further
reduction in service charges and an
entirely new merchandising policy
are announced as the first fruits of
the economies resulting from the re-
cent consolidation of RCA Photo-
phone with the RCA Victor Company.
The two new all AC operated sound
reproducing units, the Standard
Large, for theatres having from
1,400 to 2,500 seating capacity, and
the Standard Super, for theatres
having from 2,500 to 4,000 seating
capacity, are the only standard
equipments operated by AC power
supply that have been designed for
theatres of the capacities mentioned.
The prices of these two equipments
have been reduced.
To Amplify "Scandals"
George White's "Scandals" is going
on tour, taking with it the first West-
ern Electric portable public address
system to make a transcontinental
theatrical trip. The system was in-
stalled during the run at the Apollo
Theatre, New York, and was satisfac-
tory in perfecting sound transmission
and amplification from the stage to
every part of the theatre.
130 W. 46th Street
Cable Address:
New York City, N. Y.
SOUNDFILM, New York
Roxy to Talk
S. L. Rothafel ("Roxy") will ad-
dress the spring meeting of the Soci-
ety of Motion Picture Engineers in
Washington, May 9 to 12. He will
talk on "The Ideal Theatre" and is
expected to describe some of the out-
standing features to be incorporated
in the theatres of Radio City.
April, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-seven
The International Photographer's Family Album
Anniversary of the Stork V Visit
APRIL 1— Harry H. Webb.
3— Jean J. Davenport, Jeff T. Gib-
bons Jr.
6 — George E. Baxter.
7 — Lloyd G. Ahern, Paul K. Lerpee,
Harold Rosson.
8— Russell A. Cully.
9 — King- D. Gray, Edward C. Jones.
10— Friend F. Baker.
11 — Lester Shorr, R. A. Bessette.
12— Charles H. Over.
13— Frank Ries.
14 — Henry Freulich, Pierre Mols.
15 — Harry Jackson.
16 — Frank J. Dugas.
18 — Frank King.
19 — Sam Moran.
Paul Perry to Photograph
Asian Big Game Production
For Franklin-Granville
PAUL PERRY has been engaged
to do the photographic work on
"Fet Nishin" (He who rides the
elephant) to be produced by the
Franklin-Granville Expeditions, Ltd.,
in Northern India and Siam, final ar-
rangements for which have just been
completed. The subject is to have one
of the most ambitious big game back-
grounds ever attempted in motion
pictures.
Previous foreign experience as re-
cent as last year in Morocco, Algeria,
Tunisia, Spain, Germany and France
augments the general qualifications of
Mr. Perry as photographer on an ex-
pedition so exacting as this one is ex-
pected to be.
Captain N. E. Franklin, F.R.G.S.,
well known as an English big game
hunter and explorer, is director of the
expedition.
Captain Franklin, who was a mem-
ber of the Royal Flying Corps during
the World War, has an exceptional
knowledge of life in India through
service of eight years in the Indian
Army.
Fred Leroy Granville will be re-
membered by old time picture men as
one of the leading cameramen before
he left Hollywood to go to Europe to
direct and produce pictures several
years ago. In England he directed
for British International and for
Gaumont in France. He is the only one
from America to penetrate through
the Hogar Mountains to Timbuctu
making motion picture films. He has
produced pictures in Palestine, Arabia
and practically all parts of Africa.
In addition to having been actively
engaged for the past eighteen years in
most of the major studios, Mr. Perry
has done a great deal of scientific re-
search work in color photography and
is the inventor of a three-color process
for motion picture films. He was chief
photographer for more than forty
productions for Paramount.
20— Edward T. Estabrook, Walter
Lundin.
21— Thad Brooks Jr., Daniel L.
Fapp.
22— Walter S. Bader, Byron C.
Haskin, Ray L. Ramsey.
23 — Ernest Laszlo.
24 — Edwin B. Hesser, Gordon B.
Pollock.
25 — Gene O. Hagberg, Leonard
Smith.
26— Kenneth P. Allen, Harry C.
Anderson, Ralph W. Ash, Joseph H.
August, Esselle Parichy.
27— William Rand.
28— Robert Newhard, Charles E.
Schoenbaum.
29— Earl S. Pearsall.
30— Barney McGill.
Ira Morgan W ill Photograph
Adventures and Backgrounds
IRA MORGAN, prominent Interna-
tional Photographer, sailed from
San Francisco March 25 for a
four months' visit in the Philippines,
Japan and China. He will be asso-
ciated with Walter Futter in the pro-
duction of adventure pictures.
Six weeks will be spent in the
Philippines, where among the head-
hunting Igorrotes he will produce
what possibly may be the first pic-
ture of the kind in the islands. Also
in the three countries it is Mr. Mor-
gan's intention to expose 20,000 feet
of film for use in process shots and
for backgrounds.
Bringing the traditions of Coventry
to Hollywood is Janice Gabbani, who
i>i celebrating the arrival of the age
of eight months assumes the role of
Lady Godiva as the very modern
screen colony's most youthful set
would stage such a blinding event.
"I don't want a horse," insists
Janice to Attilio, her father. "I like
this better. I'm starting right now!"
*V
At the beach the sturdy little ones of Emmctt Schoenbaum cluster around
mother to make a film record for two Family Albums
Thirty-eight
The INTERNATIONAL PHOTOGRAPHER
April, 1932
i t
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STATEMENT OF THE OWNERSHIP, MAN-
AGEMENT, CIRCULATION, ETC., RE-
QUIRED BY THE ACT OF CON-
GRESS OF AUGUST 24, 1912,
Of the International Photographer, published
monthly at Los Angeles, California, for April
1, 1932.
State of California, County of Los Angeles-ss.
Before me, a Notary Public in and for the
State and county aforesaid, personally ap-
peared George Blaisdell, who, having been duly
sworn according to law, deposes and says that
TO INDEPENDENT PRODUCERS!
DUNNING SHOTS $175
Our standard price of $350 plus $1.00 per foot for dimming trans-
parency background plates is now reduced to $175 plus the $1.00
plate charge for all shots requiring a backing not larger than 15
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SPECIAL OFFER You may select, WITHOUT CHARGE, locations
from over 50 stock library backgrounds. They include street scenes
in New York, London, Paris, mountain, snow and country roads. We
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process.
DUNNING PROCESS CO.
932 N. LaBrea
Gladstone 3959
Alvin Wyckoff
he is the Editor of the International Photog-
rapher, and that the following is, to the best
of his knowledge and belief, a true statement
of the ownership, management (and if a daily
paper, the circulation), etc., of the aforesaid
publication for the date shown in the above
caption, required by the Act of August 24,
1912, embodied in section 411, Postal Laws
and Regulations, printed on the reverse of
this form, to wit:
1. That the names and addresses of the
publisher, editor, managing editor, and the
business managers axe : Publisher, Interna-
tional Photographers, Los Angeles, California ;
Editor, George Blaisdell, Los Angeles, Califor-
nia ; Managing Editor, none ; Business Man-
ager, George Blaisdell, Los Angeles, Cali-
fornia.
2. That the owner is : (If owned by a cor-
poration, its name and address must be stated
and also immediately thereunder the names
and addresses of stockholders owning or hold-
ing one per cent or more of total amount of
stock. If not owned by a corporation, the
names and addresses of the individual owners
must be given. If owned by a firm, com-
pany, or other unincorporated concern, its
name and address, as well as those of each
individual member, must be given.) Interna-
tional Photographers, Local 659, International
Alliance of Theatrical Stage Employees and
Moving Picture Operators of the United States
and Canada, 1605 North Cahuenga Ave., Hol-
lywood, California ; President, Alvin Wyckoff ;
Vice-Presidents, Roy H. Kla.fki, Archie Stout;
Treasurer and Financial Secretary, Ira B.
Hoke ; Recording Secretary, Arthur Reeves ;
Sergeant-at-Arms, Len Powers. The address
of all the foregoing is at 1605 North Cahuenga
Avenue, Hollywood, California.
3. That the known bondholders, mortgagees,
and other security holders owning or holding
1 per cent or more of total amount of bonds,
mortgages, or other securities are : None.
4. That the two paragraphs next above,
giving the names of the owners, stockholders,
and security holders, if any, contain not only
the list of stockholders and security holders as
they appear upon the books of the company
but also, in cases where the stockholder or
security holder appears upon the books of the
company as trustee or in any other fiduciary
relation, the name of the person or corporation
for whom such trustee is acting, is given ; also
GOEPZ
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and covering power. It is
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Booklet IP4 on request
Lenses and optical systems con-
structed to individual specifica-
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that the said two paragraphs contain state-
ments embracing affiant's full knowledge and
belief as to the circumstances and conditions
under which stockholders and security holders
who do not appear upon the books of the com-
pany as trustees, hold stock and securities in
a capacity other than that of a bona fide
owner ; and this affiant has no reason to be-
lieve that any other person, association, or
corporation has any interest direct or indirect
in the said stock, bonds, or other securities
than as so stated by him.
GEORGE BLAISDELL. Editor.
Sworn to and subscribed before me this
22nd day of March, 1932.
(Seal) HOWARD E. HURD.
(My commission expires Dec. 14, 1932.)
April, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-nine
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HOLLYWOOD
CALIFORNIA
Mitchell Cameras (Late
Models for sound and speed
work) and Accessories
For Rent
Professional and Amateur
Photographic Supplies
Developing, Printing and Enlarging
Hollywood Distributors for Leica and
All Other German Make Cameras
RIES BROS., INC.
Open 8 A.M. to 9 P.M.
1540 N. Cahuenga. Phone GRanite 1185
For the Safest Results
in Air Pictures Call on
G. Lincoln Air Service
Airplanes for Motion Picture Rental.
Foreign and American airplanes and mo-
tors. Airplanes for "crash scenes." Para-
chutes and professional parachute jumpers,
camera ships, Douglas mail planes. Six
French Nieuport 28s, single-seater fighters,
and ships for acrobatics.
Garland Lincoln
Ex-World War Flyer, with Motion Picture
Experience Dating Back to 1913
THornwall 3084 6217 11th Ave.
Glenn R. Kershner
Phone Culver City 3154
asEPs
MITCHELL FOR RENT
Phone GLadstone 4151
HOLLYWOOD
STATE BANK
The only bank in the Industrial
District of Hollywood under
State supervision
Santa Monica Boulevard at
Highland Avenue
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Size and Angle of Lens Shade
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In some cases we will be able to re-
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Fred Hoefner
CINEMA MACHINE SHOP
5319 Santa Monica Blvd.
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In order to appoint represen-
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with cameramen in every coun-
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1611 Cosmo Street
Hollywood, Calif.
Cinex Testing Machines
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7239 Santa Monica Blvd.
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Phone GRanite 9707
Forty
The INTERNATIONAL PHOTOGRAPHER
April, 1932
AGFA Positive Film
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Agfa Raw Film Corporation
Hollywood Branch
6368 Santa Monica Blvd.
HEmpstead 9574
Factories
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CLASSIFIED
BASS-CHICAGO
Pays Spot Cash for used
Bell & Howell Professional
Cameras and De Brie
Motion Pieture Cameras.
Bass Camera Co.
179 W. Madison St., Chicago
The new "Local 659" emblem.
Small, chic and attractive. Or-
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from manufacturers.
J. A. Meyers & Co.
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The largest jewelry factory
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Dr. G. Floyd Jackman
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GLadstone 7507 Hours: 9 to
And by Appointment
FOR SALE OR RENT— Everything photo-
graphic— projectors, printers, motors, light-
ing equipment, and accessories for 16 MM. or
35 MM. film. Bargains in Mitchell, Bell &
Howell, Akeley, De Brie, Pathe, Universal,
Prevost, Willart, De Vry, Eyemo, Sept, Leica.
Also every variety of still camera. Specialize
in repairs. Send for Barbain Catalogue. Open
8 A.M. -10 P.M. Hollywood Camera Exchange,
Ltd., 1511 Cahuenga Blvd., Hollywood, Calif.
Telephones: Hollywood 9431, Gladstone 2507.
Cable address : Hocamex.
FOR RENT— Mitchell and Bell & Howell thor-
oughly silenced cameras. Follow focus de-
vice, pan lenses, free head, motors, 1000 ft.
magazines, and silencing covers. Complete
line in 16 MM. equipment. Open 8 A.M. -10
P.M. Hollywood Camera Exchange, Ltd., 1511
Cahuenga Blvd.
WANTED TO BUY— Cameras, projectors, mo-
tors, printers, 1000 ft. magazines, Holly-
wood Camera Exchange, Ltd., 1511 Cahuenga
Blvd., Hollywood, Calif. Telephones: Holly-
wood 9431, Gladstone 2507. Send for our Bar-
gain Catalogue.
FOR SALE — One complete sound recording
and motion picture outfit, "Double System",
silenced Bell-Howell camera and separate re-
cording head, blimp, amplifier, microphone,
and all batteries complete. C. L. VENARD,
702 S. Adams St., Peoria, Illinois.
FOR SALE— $1500 large Mitchell camera with
complete equipment. J. R. Lockwood, 523
N. Orange St., Glendale, Calif.
FOR RENT— Mitchell and Akeley cameras
fully equipped for sound. Norman De Vol,
6507 Drexel av., OR 7492.
Howard E. Hurd
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Brulatour Bulletin
WHAT'S WHAT
EASTMAN FILMS
WHO'S WHO
Al Gilks Joins Growing Ranks
of Globe- Trotting Cameramen
AL GILKS, newest recruit of the globe-trotting cameramen, has returner]
to Hollywood after covering more than 40,000 miles with Cornelius Vanderbilt
on the Commodore's 265-foot yacht Alva. Although but a year old, all
around the old world which it circled the craft is known for its striking symmetry
and its ability to help the skipper outguess the whims of old nature in unsmiling
mood.
So it was entirely in accord with the
fitness of things that in the Alva's spa-
cious storage quarters there were many
thousand feet of Eastman Super Pan
all set faithfully to record a never end-
ing change of scene and also likewise
to help its cameraman outguess the
whims of that same old nature.
The privileged few who have seen
some of Al's photography readily ap-
preciate his enthusiasm over the entire
trip. He exposed many thousand feet
of that same Eastman Super Pan on
subjects of wide and varied interest.
Just at present he is dickering with a
major studio on a feature production.
What the Cameramen
Are Doing to Hold
Hollywood on Map
Charlie Glouner
Busy head of the camera department at
Universal, is all hopped up over a bumper
crop of peach blossoms at his big ranch.
Charles is a determined guy, and is spend-
ing all of his spare time at the ranch, and
frankly admits that he is guarding the
blossoms against the possible attack of
supervisors.
Virgil Miller
Big boss of the camera outfit at Para-
mount, is hobbling around with a bum
•knee and can't even play golf Ask
him the reason and all you'll get is "Horse
Feathers!"
Bob Kurrle
Is turning in some swell stuff on "Jewel
Robbery" at Warner Brothers-First Na-
tional, after having turned in a creditable
job with "Winner Take All." Al Gre;n
is still Bob's second, while Johnny Shepak
holds down the job as assistant.
Venturini Off for Japan
Dan Venturini, Paramount director, sailed
last week for Japan, carrying with him
a supply of Eastman Super Pan upon
which will be photographed backgrounds
and atmosphere shots for the forthcoming
Paramount production. "Madame Butterfly."
Gregg Toland
Who made an over-night success at
United Artists, has just finished three in
a row at Warner- First National, "Play
Girl", "Man Wanted", and "Tenderfoot".
Scheduled to return to United Artists for
resumption of his success there. Bert
Shipman, his second, and Perry Finn^r-
man, assistant.
Fred Jackman
Has returned from Memphis, Tennessee,
where he supervised the photography of
some very unusual background shots for
the forthcoming Dick Barthelmess picture
at the Burbank studio.
George Barnes
Has been loaned to the Fox Studios, where
he is photographing "Society Girl", being
directed by Sid Lanfield.
Jimmy Howe
Who clicked in a big way and shot his
salary over the scale with "Transatlan-
tic", and then followed with "Surrender",
is now photographing "Man About Town",
which is Director Jack Dillon's first pic-
ture on his new termer at Fox Hills.
Mike McGreal
Johnny Arnold's snappy assistant at M.G.
M., is drawing a lot of scowl from the
still men on the lot. The reason — Mik-
has gone slightly nerts with a Graflex.
and now he knows all about overexposure
'n everything. So far he hasn't hit any
static.
Will Cline
Is splitting his time between Universal,
where he is doing the athletic series, and
Standard, where he is photographing Ben
Holmes' famous classics.
Ten Years a Long Time —
in the Picture Biz
Ten years is a pretty sweet record
for any man to hold with any organ-
ization. Art Lloyd, cameraman at
the Roach Studios, has just rounded
out his tenth year, and isn't even
looking for a job any place else.
Sol Polito
Whose "Five Star Final", "Union Depot"
and other Warner-First National Produc-
tions have made him a photographic in-
stitution on that lot, is now doing a very
interesting picture with Director Al Green
under the title of "The Dark Horse."
Title notwithstanding, there is not a sad-
dle, a pair of chaps, a lasso, nor even a
bale of hay in the entire list of props. Sol
is carrying about with him a rabbit's foot
and a secret yen that Bill Koenig will find
some excuse to send him to New York.
Funny guy, Polito.
Lee Garmes
Whose "Shanghai Express" and other Von
Sternberg pictures skyrocketted Lee to
the top of the ladder, is currently super-
vising the photography of "Strange Inter-
lude", with Norma Shearer at M. G. M.;
after which he will move his outfit to the
Fox Hills Studios, where he starts a long
term contract.
Jackson Rose
Is back at Universal where he made such
splendid impressions with his photography
of "Seed" and "Reckless Living." He is
now doing "Radio Patrol", with Dick
Fryer as his second, and Walter Williams
and Ted Hayes as assistants.
Charles Lang
At Paramount has just finished "Thunder
Below", following his success on "No One
Man". His seconds are Bob Pittack and
Guy Bennett, his assistants Tommy Mor-
ris and Cliff Shirpser.
Ernie Miller
Chief photographer for Fanchon Rover
Productions, is spending his brief time be-
tween pictures on his ranch.
Dave Abel
Has a nice trio to his credit at Para-
mount with "Rich Man's Folly". "Ladies
of the Big House", and the recently com-
pleted "The Miracle Man." His second
is Ernie Lazlo, and Jimmy King is his
assistant.
Charlie Marshall
"The Flying Fotographer" who made such
a swell job of the air sequences of "Hell
Divers" at M. G M.. is giving Paramount
the benefit of his artistiy and experience
on "Sky Bride."
I HE Motion Picture
Industry is moving ahead. There have
been many improvements in quality in
the last few months and we may expect
that when the industry again reaches a
normal production the Technicians will
have kept pace with the times.
The Mitchell Camera Corporation is
assuming its share of the responsibility
and by improved machinery recently
developed and refined manufactur-
ing processes is in a position to
serve the industry better
now than ever before.
♦ ♦
♦ ♦
Mitchell Camera Corporation
665 N. Robertson Boulevard
West Hollywood, Calif.
Cable Address "MITCAMCO" Phone OXford 1051
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In addition to being the outstanding
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Lewis Stone— Jean Hersholt
IN
GRAND HOTEL
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Directed by
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M. G. M. PICTURE
Photographed by
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The Third Consecutive Attraction at
CRAUMAN'S CHINESE
Photographed on
SPlP SPECIAL Panchromatic
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</A1>
INTERNATIONAL
PHOTO GPAPHE R
Official Bulletin of the International
Photographers of the Motion Pic-
ture Industries, Local No. 659, of
the International Alliance of The-
atrical Stage Employees and Mov-
ing Picture Machine Operators of
the United States and Canada.
Affiliated with
Los Angeles Amusement Federa-
tion, California State Theatrical
Federation, California State Fed-
eration of Labor, American Fed-
eration of Labor, and Federated
Voters of the Los Angeles Amuse-
ment Organizations.
Vol. 4
HOLLYWOOD, CALIFORNIA, MAY, 1932
No. 4
"Capital is the fruit of labor, and could not exist if labor had not first existed.
Labor, therefore, deserves much the higher consideration." — Abraham Lincoln.
C 0 N T
Cover — A Corner of the Paramount Lot
By Bert Longworth
Cameraman in Shanghai Under Fire. . 2
When Cameraman Built Fishhouse. . . 6
By Esselle Parichy
Roderick Giles, Noise Ketcher 8
By Fred A. (Red) Felbinger
Mike Levee Organizes Screen Guild
for Production of Quality Pictures. 10
Tragedy Follows News Cameramen. . .11
By George J. Lancaster
How Simply to Develop Sound Film. . .14
By Art Reeves
Picture Pilots Form Trade Body 15
Eastern Cameramen Honor Wyckoff. .16
Amateur Department 25
ENTS
Indian Reporter of Centuries Ago
Wrote Story World May Read Today. 27
Russia to Reprint on Narrow Stock 20
Films for European Issues 27
Cameramen Pledging Faith Anew
Declare Adherence to Leaders 23
Elmer Richardson Sole Hollywoodian
at Washington Convention 29
Looking In on Just a Few New Ones. .30
By George Blaisdell
When Seen Through Feminine Eyes. .33
By Clara M. Saivdon
Chicago 666 35
By Sassiety Reporter
The International Photographer's
Family Album 37
The International Photographer is published monthly in Hollywood by Local 659, I. A.T.S.E.
and M. P. M. O. of the United States and Canada
Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles, Calif., under
the act of March 3, 1879
Copyright 1932 by Local 659, I. A. T. S. E. and M. P. M. 0. of the United States and Canada
George Blaisdell
Ira Hoke
Esselle Parichy -
Howard E. Hurd, Publisher's Agent
Editor Lewis W. Physioc 1
Associate Editor Fred Westerberg S
Staff Correspondent John Corydon Hill
Technical Editors
Art Editor
Subscription Rates — United States and Canada, $3.00 per year. Single copies, 25 cents
Office of publication, 1605 North Cahuenga Avenue, Hollywood, California. HEmpstead 1128
McGill's, 179 and 218 Elizabeth Street, Melbourne, Australian and New Zealand agents.
The members of this Local, together with those of our sister Locals, No. 644 in New York, No. 666 in Chicago, and
No. 665 in Toronto, represent the entire personnel of photographers now engaged in professional production of
motion pictures in the United States and Canada. Thus THE INTERNATIONAL PHOTOGRAPHER becomes the
voice of the Entire Craft, covering a field that reaches from coast to coast across North America.
Printed in the U. S. A. at Hollywood, California.
Vt7
Jss?|
Two
Tin
INTERNATIONAL PHOTOGRAPHER
May, 1932
Cameraman in Shanghai Under Fire
Jimmy Williamson Looks In on Comedy as Well
as Tragedy of Destructive Warfare in
City of Several Millions
^T~^0 BE stranded in a war-stricken
foreign city at the exact antip-
odes of your home town is the
unpleasant experience encountered by
James 0. (Jimmy) Williamson, a
member of International Photogra-
phers, who returned to Los Angeles
from Shanghai during the latter half
of April. Jimmy is glad of the chance
to have made the trip, to have seen
what he has seen and to have encoun-
tered the accompanying experiences —
and to be safely at home. But he
does not want to go back.
His troubles began when his em-
ployer, the man at the head of the
expedition responsbile for the depart-
ure of himself and his four compan-
ions on a journey announced to cover
two years in the making of pictures in
China, suddenly ceased paying sala-
ries, and, unaccompanied by any of
the members of his expedition, folded
his tent and departed for Los Angeles.
This departure was around last
February 1, something like two
months following the cessation of sal-
aries and seven months following the
departure from Los Angeles of the
troupe. In the party were Leonard
Fields, director; Jack Smith, camera-
man; his assistant, the subject of this
story; Garrick Eisenberg, sound man,
and Sidney Lund, laboratory man. So
far as is known the four others still
are in China.
The party left Los Angeles on the
last day of June of last year, sailing
on the President Pierce from San
Francisco the following day. The ship
reached Shanghai August 21. It was
three weeks before picture making
started, in the neighboring city of
Soochow, in a Chinese picture with
the native actors speaking English. It
was planned for American release, as
well as for distribution in China, the
same as all the product designed to
be made by the troup. It turned out
the picture was not completed.
Meet a Typhoon
A few days after the arrival of the
troupe in Shanghai, the members
were visited by a sure-enough typhoon
that remained with them for three
days. The rains penetrated the sup-
posed shelter covering the warehouse
where the equipment was stored, with
the result considerable time was re-
quired to dry out and restore the
paraphernalia to usable condition.
When it was decided to split the
company into two units and to send
the assistant to Peking behind a cam-
era, some cables were sent to Holly-
wood headquarters and authority to
make the transfer was secured from
the International.
Peking is about 700 miles from
Shanghai by air but probably twice
that distance by rail. Here the sec-
ond unit produced a silent picture of
Jimmy Williamson
twenty reels in color. After being
here a month the first unit under Jack
Smith arrived in Peking.
The latter photographed a picture
in sound and color with Chinese ac-
tors speaking English, using as back-
grounds not only Peking but towns
on the frontier of Mongolia.
Williamson also made three single-
reelers, silent travelogues in color, to
Cargo junks and floating homes in Snechow Creek, which runs through Shanghai. Center, scavangers at work in gar-
bage boat before being towed out and dumped where river scavangers ivill salvage more. Circle, floating home of
old woman and baby just drifting about. Right, river scavangers combing bottom of river for bits of food, paper,
rope and other waste.
May, 1932
The INTERNATIONAL PHOTOGRAPHER
Three
Along the Japanese front showing theatre being fired to remove caretakers. A Japanese machine gunner who objected
to being photographed. Japanese barricade on Range Road, Shanghai.
be synchronized later for American
release. These subjects up to Wil-
liamson's departure from China are
still undeveloped and are held by a
finance company as security pending
the settlement of an argument about
money matters. On the return from
Peking about December 1 all equip-
ment was seized by the Star Motion
Picture Company, which had been
formed to make pictures for Oriental
release.
War Closes Sound Studio
Smith shot a black and white sound
picture in the Star studio in Shanghai
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A Chinese funeral.
and Williamson photographed a black
and white sound. Then production
was discontinued for a month until
the conclusion of the celebration of
the Chinese New Year, there being
so much noise the recording of a
sound picture was out of the question.
The coming of the war forced the
closing of the studio because of the
roar of the big guns.
About February 1 the troupe was
forced to face a situation of being
in the middle of a war without funds
and also the larger and more serious
predicament of getting home as best
it could. While salaries on the orig-
inal engagement had stopped about
December 1, the Chinese company had
protected the Ameiicans until Feb-
ruary 1.
Williamson secured two weeks work
with William Jensen, news weekly
cameraman, in his little laboratory.
With Jensen, the American visited
the lines and shot stuff for the Para-
mount news weekly. With newspaper
men he also visited the hot spots. On
two occasions he was on the front
positions of the Nineteenth Route
Army of China.
Mrs. Williamson, who had arrived
in China in October and had joined
her husband in Peking, left for home
in February.
Suffering of People
The members of the troupe learned
for one thing that an American in a
foreign country is just as much a mat-
ter of concern to his own government
as if he were at home. The same
assistance the national government
might extend to an American strand-
ed in Los Angeles it will extend to
one stranded in Shanghai, but not
any more. The American consul will
be very much concerned and will do
everything he personally and private-
ly can, but nationally his hands are
tied.
Nevertheless with diminishing funds
the members of the troupe displayed
a remarkable spirit of camaradarie.
What one possessed was community
property. Up to the time of Wil-
liamson's departure for home the
minimum amount possessed by any
of the party was about 50 cents
American and to that point no meals
had been postponed.
The suffering of the people of
Shanghai beggared description. Some
of the distress was due to cold weath-
er. While Shanghai is situated geo-
graphically practically the same as
Los Angeles, not only approximately
1 r^i"
Jack Smith (right) and Jimmy Wil-
liamson on board steamship Pierce,
en route to Shanghai
Four
The INTERNATIONAL PHOTOGRAPHER
May, 1932
Two old fellows who were business men before the war. Two innocent victims
of war's devastation which has left them homeless, orphaned and utterly
destitute.
on the same parallel of latitude but
also on the 120th degree of longitude,
the temperature on the Chinese coast
drops to an uncomfortable point for
those exposed to the rigors of the
open. Ice was in evidence. Inci-
dentally, over a period of a month liv-
ing in Shanghai is not much cheaper
than in Los Angeles.
During his two months in Shanghai
while hostilities were on, Williamson
noted some striking examples of hero-
ism on the part of the Chinese. Even
in the cases of Chinese boy soldiers
of sixteen and seventeen years of age
it did not seem so much a matter of
conscious bravery as it was an entire
absence of physical fear.
There was an instance of a lad who
had shed his uniform for the garb of
a civilian and known to his comrades
as a sniper. He had conveyed to the
roof of a building extending from one
paralleling street to the next a large
number of grenades that would ex-
plode on contact. These he had di-
vided in a number equally on each
side of the roof.
Lad Goes to Death
It seems he knew or his superiors
knew that at a certain time the Jap-
anese would send troops through
both streets. It was his plan to
deluge the soldiers on one street with
grenades and then to cross the roof
and drop the rest on their comrades,
as they passed through the adjoining
highway.
To Williamson's remonstrance that
the lad would not have a chance for
his life, and to his question did the
lad know that, the informing com-
panion remarked:
"Oh, yes, this fellow know all right
he be killed. He never mind that,
though. He no care. He fixed that
all up with joss man this morning."
When Williamson and a newspaper
man desired to advance from the
fourth Chinese line up to the front
line, they asked the advice of a minor
Chinese officer as to the advisability
of undertaking the trip — if it were
safe.
He replied it was not entirely safe,
because some of the points between
the fourth and first lines were under
observation by Japanese stationed in
high buildings. "But never mind
that," urged the officer; "you can run
across."
The two Americans were somewhat
reluctant. In fact, they were quite
unconvinced.
"Oh, I go first," responded the offi-
cer. "I show you. Suppose they
shoot at me. They not hit."
Under the instructions to go one
at a time, the one waiting until the
other had completed the operation,
they followed the Chinese officer. In
each case as the American came hur-
riendly into the clear and hugging the
ground the machine gun bullets would
tear up the earth behind him, but
not anticipating him and thereby not
stopping him.
One Real Scare
Williamson admits he got a real
scare during his Shanghai visit. That
was when in going through a narrow
street in the Chapei. district he passed
a doorway in front of which was a
matting. As he cleared the doorway
a soldier raised the matting. Simul-
taneous with its raising there fol-
lowed a burst of machine gun fire.
It was a matter of a fraction of
a second, which under the circum-
stances was a long time — for William-
son. It was not until he had made
a hurried inspection of his anatomy
and his clothing he felt reasonably
sure he had missed the burst. But he
did think things about the soldier who
could not take the pains at least to
see if his immediate foreground was
clear.
The American became friendly with
some of the Chinese soldiers. One of
them on one occasion offered him
either a rifle or a machine gun to try
his skill at the Japanese, even point-
ing out soldiers of the latter moving
about in the distance. The offer was
declined with thanks.
Williamson told of going to bed and
watching the flashes of the Japanese
big guns, followed by the scream of
the projectile traveling a line not so
far away from the hotel, and followed
in order by the explosion away off
behind him. For a while he would
listen to the racket and then gradu-
ally slip off to sleep — so to rest in
peace unless by any chance the firing
ceased. In that event the sleeper
quickly would be wide awake.
The returned American told of one
incident that made a deep impression
on him. He saw soldiers bringing
out of a house a Chinese woman who
had been there for several weeks be-
cause she would not leave the body of
her son. She was on the verge of
starvation.
Taking of still pictures was diffi-
cult because of the dense pall of
smoke from exploding guns and burn-
ing buildings.
Through the courtesy of the steam-
ship company, Williamson left Shang-
hai March 5 as a passenger on a
Furness cargo ship bound for Van-
couver.
The pictures with this story were
made by the cameraman on 70 mm.
Eastman panchromatic negative.
Jorge Isaacs Theater with
2000 Seats Opens in Bogota
SYLVESTER J. ROLL, American
Trade Commissioner at Bogota,
Colombia, reports that a new mo-
tion picture theatre called "Jorge
Isaacs" was recently opened in Cali.
This theatre, the finest in Colombia,
is modern in every respect,, seats 2.000
and is equipped with Zeiss Ikon
sound apparatus. The management
has contracted for American products.
It has been reported from time to
time a company would be formed in
Bogota to produce motion pictures of
a national character. The would-be
promoters were reported to be collect-
ing 10 pesos from every person who
wished to get a part in the produc-
tions until the police stepped in. It
is considered most unlikely any such
company will be formed and American
firms have been warned against any
proposals that might be made.
New Studio in Prague
Assistant Trade Commissioner S. E.
Woods of Prague reports that after
building permits were received work
was started on the A.B. motion pic-
ture studio in Barrandov.
Satisfactory progress has been
made, and it is thought the studio
will be completed and ready for use
early this year. The plant will con-
sist of two modernly equipped studios
and laboratory and a hotel for actors
and studio employees.
May, 1932
The INTERNATIONAL PHOTOGRAPHER
Five
"^frtreeves "
Equipment for Dependability
90
feet per
minute exactly
"Always One Step Ahead"
RECORDER MOTOR WITH
AUTOMATIC SPEED CONTROL
Built in
Motor
No Extra
Parts
Write for Particulars
India
MOVIE CAMERA COMPANY
Walker House, Lamington Road,
Bombay 4 India
Representatives
GENE COUR Australia
1029 South Wabash Ave., COMMONWEALTH FILM LABORATORIES, LTD.
Chicago, Illinois
Wilton and Belvoir Streets,
Sydney, Australia
JnplTVWood
Motion Picture/Equipment (o. |Td.
(5416 SELMA AVE.
CABLE ADDRESS ARTREEVES
HOLLYWOOD, CALIFORNIA, US A
Six
The INTERNATIONAL PHOTOGRAPHER
May, 1932
IVhen Cameraman Built Fishhouse
That Was on Discovery the Madame Was Storing-
Rare Specimens of Finny Tribe in Sacred
Precincts of Private Darkroom
Bv ESSELLE PARICHY
WHETHER or not it is a paleon-
tological truth that the early
beginnings of all life originated
in the waters of the earth, the fact
remains that water does exert a mag-
netic pull for humans. To illustrate,
it is amazing how many persons are
fish fanciers or interested in the in-
habitants of the deep.
The first attempts at collecting fish
from their natural environs for the
purpose of observation and pleasure
in Man's estate dates back many
thousands of years when the Chinese
became great lovers of the finny tribe,
producing, in that remote age, exqui-
site breeds the posterity of which to
this day captivates our fancy.
The Telescope Fringe Tail Fish was
the ideal of Chinese art, as it por-
trayed the nearest approach in appear-
ance to their sacred dragon and was
the delight of every Manchu for cen-
turies. Later this Oriental influence
and patience in fish culture became
introduced to the Occidental mind,
and aquatic life was the vogue of
every castle and monastery through
medieval times.
Today fish as pets are not only a
source of pleasure, but are considered
a panacea for tortured nerves. Hos-
pitals are using them more and more
for the benefit of patients in the con-
valescent wait.
Florida is fast becoming a center
for the culture of tropical fish with
many minds and authorities on the
subject; notably among these is T. H.
Campbell, who has spent years in the
science. One of the outstanding re-
sults of his endeavors is the develop-
ment of the jet blapk Mollienisia
Latipinna and the black Gambusia
Holbrookii female.
Mrs. Parichy Exhibits
At the recent annual exhibit of the
Miami Aquarium Society the show
attracted thousands of spectators to
view the exhibits of rare species of
tropical fish from all parts of the
world. Here side by side, in neat
alignment, were aquariums contain-
ing colorful Swordtails from Mexico,
Mouthbreeders from, the Nile, Danios
from the Ganges, Pollyacanthus Dayi
and Paradise fish, natives of Indo-
China . . . fish of all sizes and coloring
from the gorgeous Betta Cambodia of
Siam to the tiny Guppyi of the Gulf
regions ... all dazzling the visitors
hour on end.
Mrs. Parichy (the Madame to me)
is an ardent fish fancier. In the re-
cent show she won sweepstake honors
of thirteen ribbons on her fourteen
entries in the novice class. Her love
of collecting rare fish had acquired
such proportions that, in self defense,
it became urgent I build a fishhouse
as the apartment was cluttered with
fish to the right of me . . . fish to the
left of me ... in the bedroom, in the
bathroom and even penetrating into
the inner sanctum of my laboratory
darkroom which greatly clogged the
wheels of progress in a photographic
sense.
Now, what has grown to be a huge
family of piscatorial pets is safely
lodged in its own dwelling. This sem-
inary of fish has become a rendez-
vous for the rabid fans and one can
hear discussions of the finny tribs
lasting far into the night, while every
day is fish day now.
Photographer Plays Nurse
What is more amusing than to see
two hundred and fifty pounds of he-
man gently netting out fish less than
an inch long with all the tender care
of a mother, and fish culture seems
one hobby that is enjoyed by people
from all stations of life . . . the mil-
lionaire will vie with the truck driver
for supremacy in his respective fish
breeding endeavor.
Today the Madame asked me to play
nursemaid to "Mr. and Mrs. Betta"
(from Cambodia) and their potential
progeny ... it seems that they want
to go to housekeeping and take on
marital responsibilities just when I
have other things to do, so I have
brought the old typewriter down here
where I can combine work and watch-
ful waiting, keeping an eye on each
as it were . . . hence this fish tale.
They are an interesting pair, these
Bettas, . . . her platinum blonde love-
liness being offset by his deep wine
red finnage that sails through the cool
translucent water like a crimson flash
in pursuit of courtship.
Everything is going nicely at this
stage of the game . . . the spawning
is over and the proud daddy is busily
watching the eggs lest they fall out
of the floating bubble nest he had
built to receive them, while the moth-
er, with the indifference of a duty well
done, is leisurely drifting toward a
neutral corner to avoid the ire of
"Mr. Betta," who now wishes to reign
supreme in the care of the "home," so
it is my move to rescue the lady to a
place of safety.
Violent Courtship
All about me from out their pris-
mic abodes eyes peer at me with what
seems to be almost human intelli-
A corner of the seminary of fish where the finny tribe live in perfect contentment. Mrs. Parichy with the winning hand
of thirteen ribbons and silver trophy for sweepstake honors. Another vieiv of the fishhouse.
May, 1932
The INTERNATIONAL PHOTOGRAPHER
Seven
gence. Here I see the Peterophyllum
scalare (commonly called Angel Fish)
that are striped with chocolate brown
vertical bands that extend from the
dorsal fin to the bottom of the anal
fin, that disappear and reappear with
the changing moods and temperament
of the fish.
In shape this fish is flat and taller
than long in size and is considered
the "aristocrat" of the aquarium.
They are most fascinating to watch
as they glide gracefully through the
water, but during the spawning sea-
son their courtship is so violent that
it suggests a duel to the death rather
than a love match of affinities.
Another rough lover of the aqua-
rium is the very rare Panchax Cha-
peri, the male often becoming canni-
balistic during the mating time. How-
ever he is one of the most beautiful
of Nature's handiwork, his markings
being many vertical black stripes on
a smoky blue field, fins and tail edged
with jet black, while the underside of
his mouth is a splash of flaming red
that distinguishes him from his mate.
He hails from the waters of Malabar.
Another interesting group and less
vicious in domesticity are the live-
bearing fish, or those that give birth
to live young, the offspring being
minute bits of life that are able at
once to feed, free swim and take care
of themselves. Under this heading
come the Xiphophorous helleri, other-
wise known as swordtail from the fact
that the male, a jewel of living splen-
dor, has a swordlike anal fin longi-
tudinally striped with iridescent hues.
Unending Panorama
The Guppyi is also of this live-
bearing variety and the smallest; they
are very prolific, often giving birth to
fifty or more young at a time. The
tiny male dons his most scintillating
colors to parade before the appraising
eyes of the ladies. I spend much time
watching the amorous antics of these
diminutive individuals, for they are
my favorites.
There are so many different breed-
ing habits of the tropicals; some hang
their eggs on plants in a form of a
pearl necklace, and some are hatched
in the mouth of the parent. It is a
strange sight to see the little ones
darting in and out of the parental
jaw. Some broadcast them in the
sand and forget about them, while
others dig pits ip the sand, deposit
the eggs and "fan" them with their
fins until hatched, so there are fish to
please every type and disposition of
man.
It is surprising how attached one
becomes to these fish pets, who make
no disturbing noise and only give plea-
sure and restfulness in the hectic
speed of the present day whirl.
It is said that to be a real aquarist
you must be able to stand the world
depression, bank failures and stock
tobogganing with a Joe E. Brown
smile, yet feel heartbroken to the
point of tears upon finding one of your
fish pets "belly-up" (using the fish
vernacular) and departed for the
"Fish Valhalla."
Hollyivood Camera Exchange Opens
Larger Quarters at 1600 Cahuenga
THERE'S a dizzying array of
photographic equipment on dis-
play in the Hollywood Camera
Exchange's new quarters at 1600
Cahuenga. Fronting on the highway-
named the store runs 75 feet along
the northeast corner of Selma. The
spacious floor area is increased in ex-
hibiting values by a twenty-foot ceil-
ing. Here along the north wall are
stacked many varieties of photo-
graphic equipment. All in all it is
believed to be the largest professional
camera exchange in the world. In
addition there is an amateur depart-
ment of unusual scope.
It is not yet two years ago that
Clifton Thomas and Arthur Reeves,
veteran professional motion picture
cameramen and members of Interna-
tional Photographers, started the ex-
change on Chauenga. Later the lat-
ter withdrew actively from the com-
pany in order to establish the Holly-
wood Motion Picture Equipment Com-
pany. Frank Cichon is now associated
with Mr. Thomas.
A large staff has been assembled to
take care not only of the local busi-
ness but of the expanding mail order
trade.
Another department of major im-
portance is that of professional mo-
tion picture cameras, there being
for rental twelve Mitchells and
twelve Bell and Howells. Of profes-
sional tripods there are more than
seventy-five examples.
A projection room is equipped to
show sound as well as silent pictures.
Also there is a machine shop for gen-
eral repairs as well as model and ex-
perimental work.
There are two darkrooms, one on
the main floor and one upstairs, with
testing facilities in each. Upstairs,
too, are cutting and stock rooms. And
when it comes to lenses and still cam-
eras there is an amazing variety to
select from, demonstrating the truth
that rides in the company's slogan of
"Everything Photographic."
New Filmo Goes on Sale at
Record Low Price for Brand
ANNOUNCED for April delivery
was the new Filmo projector,
the Model M, selling at a price
lower by far than that of any previous
Bell & Howell projector.
The Model M is asserted to be a
quality machine built for years of
service and projecting brilliant, steady,
flickerless pictures.
The Model M is mounted upon a
broad, secure, aluminum base, which
forms the bottom of the carrying case.
The neat, sturdy, black fabric leather
covered case is set down over the fully
erected projector and clamped to the
base.
Exterior of Mrs. Parichy's fishhonse. Esselle Parichy writing his fish story in the prismic reflections of the finny tribe.
Individual apartments for each pair and specie.
Eight
The INTERNATIONAL PHOTOGRAPHER
May, 1932
As told by
Fred A. (Red) Felbinger
CHAPTER VI
HISTORY tells all about how a
bunch of smart hombres landed
on a island called Manhattan,
bought the whole piece of land for a
coupla bags of Bull Durham or cheap
stogies from the Injuns what owned
it and then drove the Injuns across
the Hudson River to the west of it.
. . . Well these smart hombres lived
on and on and, in the twentieth cen-
tury now, these Manhattan birds
still thinks there's still nothin but In-
juns across the other side that river,
but every once in a while some Man-
hattan bird strays across that river
and finds out they is white people jest
like themselves over the other side.
Of course now quite a few of them
Manhatteners comes across, but in the
eighties it wuz quite a deed to go over
the other side. . . . Well, there is one
hombre by the name of Perkins what
crossed in them eighties and he got
out to the Middle West.
Of course a guy is gotta be re-
warded for sech a deed, so they named
the spot where he settled Perkins-
burg. . . . Now Perkinsburg is a right
nice place all right . . . you know the
kind of spot where hombres what is
drivin high power straight eights
steps on the gas when they rolls down
the Main street jest to see how much
dust she'll kick up for the natives.
There is a railroad station, but the
guy what rides in the mail car of the
limited is so good at snatchin the
mail bag from the doo-dad by the
depot the engineer don't even havta
trottle down. ... In fack, the only
The Kid Himself
time a train did stop there wuz the
time ole Andy Brown forgot the Lim-
ited wuzn't through yet and walked
right out jest as she rolled through
and the engineer had to stop then to
make out his accident report.
Can't Lock Yourself In
Around the corner from the depot
is the Smith House, a high class hotel
of eight rooms and one bath down
the hall at fifty cents extra, providin
you ain't nervous some yokel might
bust in while you is trying to soap
your back because the door has kinda
settled on the hinges and you can't
lock yourself in for the Sattidy event.
Out of the eight rooms . . . one wuz
occupied by ole man Smith and the
Missus. . . . The southern exposure
room wuz occupied by ole Mirandy
Puffer, a ole maid what decided she
wanted to live downtown where
things wuz kinda hummin . . . knit-
tin and tattin parties . . . she wuz
kinda lonely when Paw passed on to
the pearly shores.
The other six rooms wuz lonely
most of the time . . . except when
some tired salesman got tired of drivin
the ole model "T" through the mud
on a rainy night.
Not that they wuzn't nice rooms,
ole Smith jest had a flash of the artis-
tic and papered the rooms in the most
elegant design of big huge trees . . .
did all the paperhangin hisself . . .
and when he got through them rooms
looked like real forests risin up the
'Boy, you besher be brave . . . Our only hope is to start choppin' our way out!"
To the
Sassiety Reporter
way those trees stood out on that wall
paper.
Well Perkinsburg maybe could a
went by unnoticed, but it so happens
that Roderick Giles, star dial twister,
in the Middle West for Screen Digest,
is rollin over the railroad crossin by
the depot when the axle snaps on the
sound truck. . . . Rod is kinda steamed
up to meet his button pusher, Pat
MacCarthy, up in the north country
to make a loggin pix and Mac is gone
on ahead to line things up . . . espe-
cially the corn sittiation, as Mac Ag-
gers he kin buy a couple gallons extra
to drag back to the Windy burg.
Thunder and Clear Sky
Well, Rod busts out the side of the
truck jest as she settles down on the
railroad main right of way and he
can't even budge the old bus when
all of a sudden the station agent busts
out of the depot wavin his arms and
yellin at Rod kinda high pressure
like. . . . Rod is admirin the rear end
of the truck and he finally looks up
and sees this hombre goin through the
wigwag contortions, so he finally de-
cides he better ankle over and git a
earful of what's ticklin this baboon's
scalp.
Well, Rod lifts up them size elev-
ens of his jest twice when he hears a
crash like thunder behind him . . .
funny, thinks he as he kin see the
sky is full of actinic rays . . . and
why should it thunder with sech sun-
shine around him ... so he looks
around jest in time to see the observa-
tion car of the limited zoom by . . .
well the station agent jest dashes up
full of a attack of astma as Roddy
realizes his truck has been assigned
permanently over to St. Peter up there
at the pearly gates.
When Roddy sees what the limited
has done to Pat MacCarthy's pet
equipment his adams apple starts to
act like the bouncin ball in them thar
Max Fleisher cartoons they shows in
the cinema temples.
Rod throws his arms around the
station agent to hold hisself up. . . .
Pretty soon it sinks in that maybe
he should hurry and wire in his resig-
nation and go west and be a cowboy
or sumpin. . . . Rod kin see Walters,
the editor, turnin handsprings when
the good news comes in over the
wires. . . . Finally Rod gits a idear
maybe he should phone Mac long dis-
tance, collect, and break the news to
him first.
So Rod trapes over to the local
telephone office which is run by the
local gossip in her home . . . well
the wiggly eared hello gal finally re-
members how to git a long distance
wrong number through . . . and about
May, 1932
The INTERNATIONAL PHOTOGRAPHER
Nine
half a hour and two buckets of per-
spiration later Rod starts to tell Mac,
by phone, the ole bus is a washout.
Predicts Murder
The way them words come out
through his tonsils Rod feels like he
been drinkin glue, or sumpin sticky
. . . but when he gits the idea into
Mac's Irish dome at the other end
Parkinsburg operator faints tuning in
on the conversation . . . Mac dusts
off every hot word they illustrates
with asterisks.
"And listen, you cursed dumb, nit-
wit, dial twistin halfwit, you stay
right in that town until I git there!
"Also tell the sheriff, if they have
one there, to git all set for the first
high class murder Perkinsburg is ever
enjoyed!" . . . and the way Mac
banged up that receiver Rod thought
one of his noise ketchin eardrums blew
out.
Well, Rod finally staggers over to
the Smith House and axes for a room
with shower ... ole Smith kinder
opens his mouth on the word "shower"
and says:
"Naw, young feller, it's been a
mighty dry summer; ain't a been .a
shower now for three weeks, but it's
good for the corn hereabouts, you
know!"
But Rod ain't payin much attention
when ole Smith ushers him into the
room with the best forest design wall
paper in the house. . . . "Ye'll find the
bath down t'other end of the hall"
. . . bows Bellboy Smith as he exits
to sit down in the lobby as Manager
Smith.
Rod throws hisself on the bed and
he enjoys the first real cry he is had
since Gertie has tole him she wuz
through permanently. . . . Finally he
decides he better take a bath as may-
be he'll feel better ... so he mushes
down the hall and walks into the bath-
room . . . jest as Mirandy Puffer is
takin off her petticoat for the weekly
ritual. . . . Mirandy leaves out one of
them warwhoops cowboys use at Ro-
deos . . . and Roddy dashes back to
the room jest as House Dick Smith
comes dashin up.
Mirandy hollers how the young
squirt bust in to compromise her, in
the best coat of pink she kin put on
them anemic cheeks of hers'n. . . .
Rod finally explains to House Dick
Smith that he wasn't gallivantin into
the ole maid's privacy ... so ole Mir-
andy gits all a titter with the giggles
when she sees it is only a accident
. . . and not a man bustin into her
life after all.
Pulls Big Sister Act
So about suppertime Rod ankles
into the dinin room, and as he passes
Mirandy she gits another fit of giggles
so Rod gits over to the other side of
the dinin table and pretty soon Flor-
ence, the hired gal, finishes servin
the supper and sits down next to Rod
to help kill the hot groceries she has
prepared.
Florence is one of them sweet coun-
try gals . . . with rabbit teeth . . .
havin heard all about Rod's hard luck
and bein one of them sympathetic
gals she kinda pulls the big sister act
on Roddy and Rod falls for it since
its the first kind treatment his way
that day.
And by the time they gits to the
custard puddin Rod is got hisself all
dated out to a buggy ride by Florence
. . . providin he helps her clean up
the dishes and her other chores. . . .
And a couple hours later, ridin along
a country side road, Rod discovers,
whether it's a "Gertie in a Manhattan
Newsreel office" or "A Perkinsburg
Florence," they is all got a line purty
much the same on the understandin
act, providin a guy gits gaga enuf to
admit he is a single bird what is
lonely.
So Florence finally confides to Rod
she knows where she kin git him a
So he looks around jest in time to see the observation car of the Limited
zoom by.
Ten
The INTERNATIONAL PHOTOGRAPHER
May, 1932
gallon applejack what's got a purty
good kick providin he thinks it would
make him feel better. . . . And Rod
feels like maybe he better git some
spirits into the ole system before
Mac's arrival.
So Florence drives him over to her
Uncle Si's and Rod gits the gallon
and even gits Uncle Si to join in lis-
tenin to his troubles . . . and purty
soon the gallon of applejack is under
the belt of the three . . . and Rod
discovers applejack runs rings around
the ole Windy Burg Injay jest a few
seconds before he takes the count.
Uncle Si bein used to the stuff tells
Florence to turn in and tosses Rod
into the ole buggy and the ole gray
mare drags the two over the roads
back to the Smith House where Uncle
Si drags Rod up to his room and
tosses him in the bed. . . . Also he
brings along another gallon of apple-
jack.
Well, purty soon Rod comes around
and the two settle down to a little
more applejack . . . also the biggest
drunk in Roderick Giles' life. ... So
they gits silly drunk and pretty soon
they both gits the D.T.'s and all of
a sudden Rod lamps the forest scene
on the wall paper and they gits to-
gether and decides they is lost in one
heluva big forest.
Start Choppin Way Out
So they worries and worries and
runs around the room wonderin hows
they gonna git out of that forest alive
again. . . . Finally Uncle Si falls
through the door and he gits up to
spy the fire axe hangin on the hall
wall. ... So he grabs it and staggers
back to Rod with the dialogue: "Thish
ish the denshest forest I ever been
up again! . . . Boy, you besher be
brave . . . our only hope is to start
choppin our way out!"
And Uncle Si starts to swing that
axe like a axe ain't ever been swung.
... Si pecked out half the plaster of
one wall on that first swing . . . also
about six of the best trees on that
wall paper. . . . Ole Smith dashed in
wearin his flannel nightgown jest in
time to see another mess of plaster
go with some more yards of tree wall
paper, also to duck the axe jest as
Uncle Si collapsed.
Rod got going with the axe jest
as ole Smith blew the rest out of the
Perkinsburg siren on a riot call. . . .
Rod completed tearin out the rest of
the plaster jest as the first posse in
Perkinsburg in 16 years wuz sur-
roundin the Smith House . . . every
available shotgun in the surroundin
territory wuz dragged over . . . and
Rod chopped merrily on and finished
up the rest of the room jest as the
posse wuz ready to charge, when all
of a sudden Pat MacCarthy busts in
in his car and has the news handed
him pronto.
"Put down them silly shotguns and
go home to bed!" screams Mac, and
he dashes into the Smith House, up
to Rod's room jest as Rod is gittin
goin on the best high-class cryin
jag what ever happened.
Mac gives him one dirty O.O. and
sings Rod to sleep with one swell hay-
maker. . . . Mac piles Rod next to Si
on the floor and covers the two up
with a blanket. . . . Mac then sits down
over the bed, picks up the ole jug of
applejack, tries it and kinda Aggers:
"Oh well! Accidents will happen! I
guess we kin git a new truck! But
this is heluva swell applejack !"
(To Be Continued)
Mike Levee Organizes Screen Guild
for Production of Quality Pictures
UNDER the leadership of M. C.
Levee, the motion picture indus-
try is going to witness some-
thing new in the making of pictures.
The well known studio man, who has
just resigned as executive manager of
Paramount west coast studio, has or-
ganized the Screen Guild. It will be
modeled generally along lines followed
by the Theatre Guild, one of the few
New York theatrical organizations
and may be the only one to have re-
turned anything resembling a finan-
cial profit during the past year or
two.
Among those who already have
pledged their aid in carrying out the
aims of the guild are Mary Pickford,
Douglas Fairbanks, Cecil B. De Mille,
Frank Lloyd, George Fitzmaurice and
Benjamin Glazer.
Briefly, it is the intention of the
new association to open the doors to
all worthy material in the way of
stories and when the script is ready
to shoot to start it from scratch in a
financial way. Outside of the scenario
department and the president's office
there hardly will be even a skeleton
organization to pile up initial cost on
a picture. In other words, in the
making of motion pictures most of the
expense will start and end with the
production work.
No formal arrangements have been
made as to releasing of any subject
made by the guild, but it is admitted
United Artists is very much interested
in the possibilities of obtaining desir-
able product for its exchange organ-
ization to handle.
Company Finances Itself
It is intended in the main for the
company to finance itself in picture-
making. Less money will be required
to complete a production than is the
usual case. As an example, a fea-
tured player or director or writer or
a cameraman may accept in cash a
percentage of the salary customarily
paid, taking participation trust cer-
tificates in lieu of the remainder due.
The first returns from any picture
after repaying the guild's cash outlay
will go to recompense the holders of
these certificates. When money comes
in after these latter claims are paid
it will be divided according to the
stock interest of the guild and the
owners of the picture. The guild will
make no charge against a production
for the use of its funds. The Bank of
America will administer the affairs of
each production.
Levee now is in the east in consulta-
tion with persons and organizations
regarding his new project. Among
these will be the Theatre Guild, with
which body he hopes to negotiate a
working agreement.
The project was announced by the
founder at a meeting at his home on
the evening of April 2 at which was
present many newspaper and maga-
zine writers about the screen. Since
then he has entertained the screen
writers and also directors and on his
return from New York will give a
reception at his home to the more
prominent screen players. It is ex-
pected at this gathering Mary Pick-
ford will officiate as chairman.
Harry Wilson, the first member of
Levee's staff, preceded his chief to
New York.
The Los Angeles Examiner on April
26 carried a story that in passing
through Chicago Levee remarked in
speaking of the guild:
"Shakespeare's plays and other old
classics are being considered for the
first picture."
Yet when less than three years ago
the editor of this publication sent a
story to a couple of the most progress-
ive magazines in the country to the
effect that obviously very shortly the
screen would be the medium of repro-
ductions of vocal Shakespearean plays
the stuff was returned with the en-
tirely cordial suggestion the material
was quite too visionary. The world
do move, even in the picture business,
"progressive" editors to the contrary
notwithstanding.
French Film Makers Urge
Partial Ban on Raw Stock
from America and Germany
ACCORDING to the German trade
press, reports George R. Canty,
Trade Commissioner, the asso-
ciation of French raw film manufac-
turers is reported to have applied for
restrictive measures against the im-
port of foreign material in view of the
fact that Germany, America and Bel-
gium have succeeded in increasing
their sales to an alarming extent in
the last few years.
The following figures may be of in-
terest: Total raw film imports in 1927,
8,120,000 meters; 1928, 15,000,000;
1929, 19,000,000; 1930, 25,000,000;
1931, 28,000,000.
In 1931 Germany (Agfa) partici-
pated with 13,101,582 meters, America
with 10,415,824 meters and Belgium
(Gevaert) with 4,428,414 meters.
In view of the fact that French re-
quirements amount to 35 million
meters it is obvious the French manu-
facturers are only enjoying a very
small share of the business. The as-
sociation referred to therefore sug-
gests that imports be restricted to the
average figure for 1927, 1928 and 1929,
namely about 15,000,000 meters.
May, 1932
The INTERNATIONAL PHOTOGRAPHER
Eleven
Tragedy Follows News Cameramen
Element of Hazard Frequently Present When
Reporter-Photographer Sets Out to Win
Scoop in Subject and in Time
By GEORGE J. LANCASTER
THE newsreel cameraman's life
contains a large percentage of
wonderment. He starts his day
wondering where he will get his next
story. Then having sent one in he
wonders if it will make the next issue
or if the editors will put their seal
of approval on it as having screen
value.
One of the most general character-
istics of men in news reel work for
any length of time is a dual person-
ality— merry, happy, fond of a joke
and handy with wisecracks out of
working hours, but hard boiled and
intent on getting the story when
working.
This is a game where you get
assignments, tough or pleasant as they
come, with no thought other than to
get the picture. There is no time to
think of danger. Of course, if there is
a chance for a scoop or an exclusive
the thrill of getting on the screen first
outweighs all other considerations.
Each man on the job goes at it in a
two-fisted manner, trying to outdo all
others and deliver the best pictures.
But just as soon as the packages of
film are in the mail business is shelved
and forgotten. Relaxation and a
friendly discussion of the day's work
replace the strenuous efforts expended
in behalf of keen-edged competition.
Tragedy enters in occasionally, for
it is all a part of a newsreel camera-
man's job to risk his life, if necessary,
to cover his assignment.
The writer recalls such an incident
up in Washington in the summer of
1926. Shorty, his brother and I were
all set to get an early start from
Seattle for Longview, where we were
to get the pictures. The weather was
beautiful, typical of the Puget Sound
country. The window in the break-
fast nook had been opened to let in
the fragrant air. At the breakfast
table we received our first warning of
impending tragedy.
Sinister Omen
The birds were chanting their melo-
dious songs when all of a sudden a
frightened sparrow flew through the
open window directly at Shorty,
perching on a light fixture on the wall.
Shorty looked startled and then turned
pale. In answer to my look of surprise
Shorty remarked: "That's a sure sign
of death."
Giving the matter no further
thought we proceeded to Longview. At
that point the highway construction
crew was blasting a ledge into the
side of the mountain high above the
Columbia River on the Washington
side in order to run the highway along
the river instead of winding miles
around the country. The cameras
were to catch the movement and dis-
lodgement of the mountain.
About three hundred feet from
shore a large rock about fifteen feet
high stood to one side from where the
blast was to take place. It was an
ideal set-up to shoot from, so Shorty
and his brother selected it while I
went up the river to get a side angle.
Kinograms was represented by a free
lance in a skiff anchored in midstream
directly in front of the blast.
At two minutes to two warning was
given and cameras began to click. The
earth shook. The mountainside lifted
and slid into the river. Tons upon
tons of rock went down, causing a
huge wave. Shorty, his brother and
the Kinograms man were caught in
the deluge. Their bodies were not
found until five days later. Then I
remembered the sparrow and Shorty's
remark.
They Got the Picture
The cameras were salvaged. The
exposed film in the perfectly airtight
and lightproof magazines, which
proved to be watertight also, was de-
veloped, and the audiences that wit-
nessed the picture marveled at the
shots with no knowledge of the attend-
ant tragic circumstances.
In this magazine last December I
told the details of my assignment to
film the annual caribou migration in
the Yukon country. When I arrived
back in Seattle I found a wire assign-
ing me to cover the Pacific battle
maneuvers. I immediately left for
Port Angelus, where the cruiser
Omaha, flagship of the destroyer
squadron, was lying at anchor.
Having been the only newsreel man
assigned to the job, it would have been
an exclusive had the Navy department
not changed the plans the second day
out. The Omaha and six destroyers
were detailed to search for the Doran
flyers who fell in the Pacific. The
base of operations had been Pearl
Harbor, H. T.
This was back in 1927 and shows
how much traveling was done in a
short time. It was quite a jump
within ten days to hop from shooting
caribou on the Yukon to cruising
around the Hawaiian islands looking
for lost aviators.
To date one assignment has been the
envy of all the profession. That was
Just a flock of cameras waiting to be cranked.
Twelve
The INTERNATIONAL PHOTOGRAPHER
May, 1932
t\
Shooting caribou from steamer
Whitehorse on Yukon River
the Byrd antarctic expedition. Para-
mount had the exclusive on it and
Joseph T. Rucker and Willard Van
Der Veer were the cameramen who
spent two years on the bottom of the
earth to bring back "With Byrd at
the South Pole" which so deservedly
won the Academy award for 1929-1930
as the most outstanding cinemato-
graphic achievement.
There are a lot of professional
tricks in this game. It is not at all
unusual for one cameraman to try and
slip something over on the gang to
make a beat.
Anything For a Scoop
One of these tricks is known as "the
Post Office gag." I saw this worked
on a shipwreck assignment on the
beach at Hoquiam, Washington. All
the different newsreel men were on
the job, of course, and later we all
congregated in the postoffice to mail
our packages of film to New York.
One of the boys in the line asked us
how we were going to ship the film,
straight or air mail. Then he remarked
he was shipping his straight as it was
only another ship on the rocks. Walk-
ing over to the mail chute he dropped
in his package.
A cameraman who was wise to this
gag walked over to the chute and
stood near the opening to listen how
the package sounded when it dropped.
It had a decidedly empty like sound.
Not being acquainted with this trick
I asked for information and learned
that the package which was dropped
was a dummy.
The real package was in the smart
guy's car. He wanted us to think he
was mailing straight hoping the rest
of us would follow suit. He would
then beat it over to Pasco, the air
mail terminal, and ship his film to
New York via air, outside handling.
That would put his story in New
York and on the screen about four
days ahead of the others. Then we
could consider ourselves scooped. Get
the angle ?
"Just what do you mean by 'outside
handling'?" I asked.
"Well," was the answer, "that means
the news companies have an agree-
ment with the Post Office department
not to put in the mail bags or through
the regular post office routine pack-
ages so marked by a label provided.
"When the plane leaves the airport
we wire the editor that the plane left
on such and such time. The office
keeps tab on its flight and has a mes-
senger waiting at New Brunswick
Field for its arrival. The aviator
hands the special messenger the pack-
age. He rushes it to the laboratory,
thus saving a day for the regular de-
livery."
If No News, Then Make News
An active imagination is a handy
asset for a newsreel cameraman when
news is scarce. All the news reel
companies are associated with some
local sheet and newspaper tips and
clippings sometimes help a lot when
a story has to be "cooked up." Such
attempts usually involve stunts and
require a lot of hard work in prepara-
tion.
Frequently it takes weeks to work
up a gag. Of course first of all one
must have a fixed idea in mind as to
what would be a thriller or have
screen value for entertainment. The
next thing is to work it out on paper,
contact the person or persons directly
interested in the supplying of what
one would need, which they usually
do to the letter. It appeals to almost
everyone to get into the movies.
One day while driving between
Seattle and Portland on a weekly
scouting trip just to look around and
get ideas I noticed two houses near
the highway being wrecked by three
men. I stopped and asked the owner
if he was wrecking the houses.
"What's it look like, son?" was his
snappy comeback.
"It will take you months at the
rate you are going. I can lay them
flat in half a day if you want me to,"
I replied.
"Tickled to death to have you, but
I can't afford to pay you."
"Okeh," I replied. "Pull the men
off and I'll be back in a few days."
Army Does Wrecking
Following up my plan I got in touch
with the commander of the tank divi-
sion at Vancouver barracks. I told
him about the houses and explained
it would be swell practice for the men
and tanks as well as give the War
department a chance to see how the
training is carried on.
The next day, as a result, the owner
had his houses wrecked; the army got
a good drilling; the public got an
interesting news picture and a cam-
eraman had hatched another idea.
It is undoubtedly a great game, haz-
ardous and fascinating, with little
chance for monotony. However, speak-
ing from the photographer's angle it
does not seem that the news end is
the same as it used to be.
The coming of sound seems to have
eliminated much of the zip, dash and
go. The old rivalries of news cam-
eramen are not so much in evidence
and the races to the screen from the
ends of the earth have apparently all
been run. Nevertheless, it's still a
great game — an experience one can
never forget.
Neivs hounds on a day off, with writer at center of picture
Colombians Show Increasing
Liking for European Films
FOR the first time in many months,
writes Assistant Trade Commis-
sioner Sylvester J. Roll of Bogata,
European films have been shown with
success in Colombia.
"Troika," a Russian film produced
by the German house Hissa-Usonian,
has been playing to full houses and
is regarded as one of the best of the
past year. Another German picture,
"Catherine of Russia," and an English
film, "The Yellow Mask," also have
been popular.
It is reported a large number of
German films have been imported.
May, 1932 The INTERNATIONAL PHOTOGRAPHER Thirteen
what does your public
know About raw film ?
JlNoTHING, perhaps. Yet, whether they're
aware of it or not, people are profoundly in-
fluenced by the photographic quality which that
film gives or does not give them on the screen.
It may mean all the difference between a pic-
ture that goes its quiet, unprofitable way and
one that becomes the talk of the town.
There's no need, these days, to run the risk
of sacrificing photographic quality. Eastman
Gray-backed Super-sensitive Negative, with its
unmatched qualities and its never-failing uni-
formity, costs no more than other films, yet it
helps substantially to head the picture for suc-
cess. Wise the cameraman who uses it... lucky
the exhibitor who runs prints made from it!
EASTMAN KODAK COMPANY
J. E. Brulatour, Inc., Distributors
New York Chicago Hollywood
Fourteen
The INTERNATIONAL PHOTOGRAPHER
May, 1932
How Simply to Develop Sound Film
Equipment Designed Economically to Handle
1000-Foot Lengths of Film Explained
by Expert in Lab Methods
By ARTHUR REEVES
Arthur Reeves
SINCE the inception of sound re-
cording, there have been many
problems to be worked out by the
several crafts responsible for the fin-
ished motion picture. Among these
the question of development facilities
for the 1000-foot
negative or posi-
tive film rolls has
been a difficult
one.
Many labora-
tories have had
to work out their
own methods of
handling these
lengths of film.
The cost of a de-
veloping machine
has been out of reach of the smaller
laboratory, not only the cost of the
developing machine, but the air con-
ditioning of the film also has been a
grave problem costing over $5000.
In order to continue in business sev-
eral small laboratories using the rack
system have adopted a system using a
400-foot rack. This rack has the
same outside dimensions as the 203-
foot rack and will fit the same tanks,
as will be seen by the samples on dis-
play at the Hollywood Motion Picture
Equipment Co.
The average scene nowadays does
not run over 400 feet. When the
scene runs longer than 400 feet it is
split up by the method described in
the last issue of International Photog-
rapher entitled "Just How the Butt
Patch Is Made."
In Figure 1 is shown the standard
200-foot rack on the winding stand.
In Figure 2 is shown the 400-foot
rack on the same winding stand. The
principle is plainly shown, that it is
a rack within a rack. The construc-
tion is somewhat changed. The top
and bottom bar are widened out to a
width of about 4 inches. These bars
are shaped so that the film only rests
on three points, on the top and edges
of the bar. This helps to eliminate
rack flashes by allowing a circulation
under the film at these points.
When the rack is placed in the de-
veloper these hollow spots under the
film allow it to give, and the developer
is not forced into the emulsion at this
point. Of course the width of the bar
does not give as sharp a bend in the
film as did the 200-foot rack.
The inside rack is about an inch
wide and has about the same sharp-
ness of bend as the 200-foot rack.
However, this does not seem to give
rack flashes because it is protected by
the bars of the outside rack when
forced into the developer. The metal
parts are of monel metal. The pegs
which separate the film are of wood.
The center rack is held in place by
two sliding bolts. The spring action
is accomplished by the use of rubber
bards as shown in Figure 4.
In Figure 3 we see the rack ready
to wind. The outside rack is held in
place by a sliding pin while the rack
is wound. When the inside rack is
wound it is locked in place and the
winding is continued around the out-
side rack. Figure 5 shows a rack
with about 350 feet of film on it. This
amount of film was used to illustrate
the racks to better advantage.
By judging from the width of the
film it can be seen how much room
there is between the top bar and the
inside rack, as shown in Figures 6
and 7. They show that there is more
than an inch of space all around.
The rack is shown in Figure 8 from
the end where the inside rack con-
tinues over the outside rack.
There is only one precaution and
that is when it is first put into the
developer, or soak tank, that the
strands do not touch. After the film
has once become wet there is no dan-
ger of the strands sticking together.
Since the inception of the borax de-
veloper very fine negatives have been
developed with this system.
Real Writer Frames Story
Related by Real Comedian
By Arthur Brisbane in Hearst Newspapers
DEMOCRATS, in their love for
each other, recall a story that
Mr. Edward Cantor, young
actor, has told to Horace Lorimer,
young editor.
Mr. Cantor took Mrs. Cantor to see
Clark Gable and, says Cantor, when
Gable took Joan Crawford in his arms:
"My wife, who watched the picture
closely, said 'Phooey.' A few minutes
later, at another passionate scene, she
said 'Phooey' again.
"Well, I thought, here at last is a
woman who sees nothing in Gable.
Toward the end of the picture, when
I heard her say 'Phooey' a third time,
I turned to the star's defense.
" 'Ida,' I protested, 'that's Clark
Gable. Why do you say "Phooey"?'
"She snapped back: 'Keep quiet. I
was thinking of you.' "
j
-HMUHHHHBr |
■ft
Fig. 1
Fig. 2
Fig. S
May, 1932
Th,
INTERNATIONAL PHOTOGRAPHER
Fifteen
Picture Pilots Form Trade Body
Under American Federation Men with Record of
Over 40,000 Hours' Flying- in Films Organize
for Union Purposes
ORGANIZED September 29 of last
year the Associated Motion Pic-
ture Pilots has received its char-
ter from the Air Line Pilots Associa-
tion and thus now is affiliated with the
American Federation of Labor, Cali-
fornia State Federation of Labor,, Los
Angeles Central Labor Council and
the Federated Motion Picture Studio
Crafts.
Among the objects behind the for-
mation of the association are the
maintenance of the high standards of
motion picture flying established in
the past and to create and uphold a
minimum wage scale commensurate
with the hazards of flying for mo-
tion pictures.
There never has been any question
the hazards existed. The hazards
have existed in the main because
when the pilot went aloft to execute
some particularly dangerous evolution
the producer and director responsible
for the orders sending up the plane
remained below with their heels firm-
ly planted on solid ground.
That the hazards do exist was
forcibly brought home to the indus-
try even since the formation of the
Associated Pilots when Leo Nomis,
the first president of the body, was
killed in a crash while making a re-
take.
There is no reason to believe that
under the watchful eyes of the As-
sociated Pilots the hitherto prevalent
policy of hush-hush on motion picture
accident cases will be permitted to
continue. There never has been any
reason why the name of the pic-
ture, the name of the maker and the
name of the director should not be
uncovered and the latter and pos-
sibly also his employer be given an
opportunity to point out to competent
legal authority and to its complete
and entire satisfaction whether the
happening under investigation was an
accident or a homicide.
The association has not yet filled
the presidency left vacant through
the killing of Leo Nomis. The re-
maining members of the body are
Frank Clarke, vice president; "Pan-
cho" Barnes, secretary-treasurer; E.
H. Robinson, Roy Wilson, Al Wilson,
Dick Grace, Frank Tomick, Bob Blair,
Howard Batt, Earl Gordon, Oliver Le
Boutillier, Garland Lincoln, Jack
Rand, Ira Reed, Clinton Herberger,
Dick Renaldi and Tave Wilson.
These fliers represent a highly
trained group of specialists making
available to the motion picture indus-
try the knowledge gained through the
making of pictures since 1917 and
the skill accumulated from over 40,-
000 hours of flying all types of equip-
ment. In those years and hours these
men have learned the importance of
having regard for camera angles and
of making it possible for the camera-
man to record their movements and
so efficiently to do that that the cam-
eraman may "bring home the bacon.*'
The headquarters of the Pilots is
at 1350 Garfield Avenue, San Marino,
Calif. (SYcamore 1011.)
The cameramen are vitally inter-
ested in the success of the new or-
ganization. They welcome to the
councils of the motion picture studio
unions the men responsible for guid-
ing the ships that made possible the
air sequences in the following pic-
tures:
Hearts of the World
The Fighting Ranger
The Ghost City
Eagles' Talons
Air Hawk
The Air Patrol
The Phantom Flyer
Won in the Clouds
Three Miles Up
Thrills of the Air
Young Eagles
Hell's Angels
The Aviator
Rookies
Phantom Express
Mack Sennett Comedies
Learn to Fly by Mail
Broken Wing
Christy Comedies
Fox News
Pathe News
Heartbreak
Cloud Rider
Flying Mail
The Border Patrol
Flying Through
Sky High Saunders
Eagle of the Night
Woman With Four Faces
Air Mail Robbery
Legion of the Condemned Wings
Border Patrol Series
Fanny Foley Herself
Lilac Time
Fighting Marine
Sky Devils
Shadow of the Eagle
Flying Fool
Lost Squadron
Going Wild
Going Up
Air Maniacs
Now We're in the Air
Air Circus
Body and Soul
Paramount On Parade
Air Mail Mystery
Dawn Patrol
Cock of the Air
Air Eagles
Sky Bride
All Men Are Alike
The American
Educational Comedies
Paramount News
International News
Emma
Going Wild
Dirigible
Romances
"30" Below
Man in the Sky
What A Widow
Journey's End
Fig. U
Fig. 5
Fig. 6
Fig.
Fig. 8
Sixteen
The INTERNATIONAL PHOTOGRAPHER
May, 1932
Eastern Cameramen Honor JVyckoff
Bestow Life Membership on President of West
Coast International Photographers as Mark
of Esteem for His Long Leadership
THE west coast International Pho-
tographers have been honored by
their brethren of New York City
in the bestowal by the latter of a life
membership on Alvin Wyckoff, presi-
dent of the Hollywood cameramen.
The notification came to Mr. Wyckoff
in a message from O. V. Johnson,
business representative of Local 644,
under date of April 11.
"After the general body had dis-
cussed rules and regulations and com-
plimentary comparisons had been
made between our representative lo-
cals the name of Alvin Wyckoff was
mentioned," wrote Mr. Johnson in
telling of the last general meeting
of the New York branch.
"The fellows back here seem to
have the idea that you are a pretty
good leader. It is certain that you
are held by them in the very deepest
respect, because before the meeting
had adjournd a motion had been made
and unanimously carried that Alvin
Wyckoff be made a life member of
Local 644, I. A. T. S. E.
"The necessary paper work to place
your name on our records as a per-
manent member is now being pre-
pared and your due card, properly
filled in and executed, will follow
within a few days. I want to extend
to you my heartiest congratulations."
First President
Mr. Wyckoff has been president of
the west coast International Photog-
raphers since the body received its
charter, in August, 1928. He has been
a part of the motion picture industry
since 1909.
It was in that year Mr. Wyckoff
entered the employ of the Selig Poly-
scope Company of Chicago, headed by
William Selig, the first motion picture
company to send a unit to invade Los
Angeles. It was in the year named
Frank Boggs brought a company west
and opened a studio in Olive street.
It was not long afterward when
Mr. Wyckoff was sent to join the
company of Boggs, and he remained
with him until the director met his
death at the hands of the Japanese
Walter Strenge, president Local 6UU,
New York
Alvin Wyckoff, president Local 659,
Hollywood.
gardener employed at the studio. The
cameraman remained with the Selig
studio as long as it was in business.
After being associated with William
Clune the cameramen's chief joined
Cecol B. De Mille, then head director
of the Jesse Lasky Feature Play com-
pany, which later was merged with
the Femous Players.
Was Stage Producer
Here, among other subjects the
photography of which he supervised
were "Carmen" and "Joan the Wom-
an" with Geraldine Farrar, "Captain
Applejack" directed by Fred Niblo,
"Blood and Sand" and other subjects
featuring Valentino, all of the Swan-
son pictures made by De Mille,
"Adam's Rib" and "Manslaughter"
and a series with Pola Negri.
O. V. Johnson, business representa-
tive Local 6Uh-
Transferred to New York to the
Famous Players-Lasky studio there
were pictures by the Russian director
Buchowetzki. Then came tours to
Cuba and to Europe photographing
productions featuring Thomas Meig-
han.
Prior to the beginning of his cam-
era career Mr. Wycoff for some time
was connected with theatrical work.
His entrance into it in a measure
was an accident, due to some unpaid
loans and the sudden discovery if he
desired to preserve his bank roll he
was head over heels in the show busi-
ness.
So organized as Wyckoff and Her-
bert there was a stock company in
Chicago and traveling companies tour-
ing the Stair and Haviland circuit.
In fact, since Mr. Wyckoff left school
in Ann Arbor, Mich., he has been a
part of show business to the present
day.
"I am deeply appreciative of the
honor bestowed upon the west coast
International Photographers by the
New York body," said Mr. Wyckoff
on receipt of the notification, "and I
am even more sensible of the personal
honor that comes to me by reason of
being the instrument through which
the New York brothers have seen fit
to express their compliment. Cer-
tainly I shall treasure that member-
ship card."
French Cinema Field Healthy
Tax figures just published in Paris
give the lie to talk of a trade crisis
in the Franch cinema field. During
the month of October, 1931, the en-
tertainments levy on cinema perform-
ances produced 3,767,000 francs more
than in the corresponding months of
1930.
eS^TAj..
Qream oth Stills
.f^Z'o^
Illustrating the serious preparation preceding the shooting of a sound sequence does this photograph by
Clifton L. Kling taken on a "Street of Chance" set at Paramount. To the left is the juicer or electrician
and to the right the cameraman. Under the microphone in center is the actor and to his right the director.
Qream oth Stills
ct^O*
°CR^
Here in the
background is the
towering daddy of
the forty-eight
United States —
Mount Whitney.
It was photographed
four years ago come
November by Art
Marion with camera
set up six miles west
of Lone Pine
Strange composition
has this photograph
taken in
Monumental Vialley
by Otto Dyar.
If speculatively
inclined call in
a geologist and
learn something
about the disintegration
that has taken
place in bygone ages
Singular description
has the location
where Edward Kemp
exposed this picture
for the Santa Fe
Railway —
Golden Canyon in
Death Valley
On a location
for M-G-M
William Grimes
photographed this
Indian village
near Landers, Wyo.
for a production
taking its name
from the state
««»4.
@ream oth Stills
cH-^L'o^.
Ytiscniitt' Falls
Cascades of loveliness falling
Over the mountain gray.
Liquid silver by moonlight,
(ilea niing prisms by day.
Verse by
Berenice M. Conner
Photo by
Harry Blanc
Qream oth Stills
C&HSOjl
B/-irfa/ Vert F«/?s
Here ifee redman came
(Where we now come in laughter)
In. silent awe to worship
The spirit of white water.
Verse by
Berenice M. Coyiner
Photo by
Harry Blanc
♦♦EN
Qream oth Stills
clWo*
l>TOir
This is a view
of the famous
Diamond Head
(Dead Crater)
at Honolulu,
photographed by
Alexander P. Kahle
Here's a location
picked by
L. William O'Cownell
for a honeymoon in
' 1927. The set was
specially built
in the Oregon
mountain country.
Sixteen days' rain
held the company
for three weeks —
honeymooners' weather
surely enough
.*^'o,.
@ream oth Stills
-SAT/O
A subject that
speaks for itself
and its photographer-
is Art Marion's
exposure from
the Breakwater
at Long Beach,
California.
Certainly the
camera records
the industry
of the sun
A director in
search of a picture
was Edward Laemmle
when he laid his
finder over the
mile high coiintry
of Lake Arrowhead —
where the
clouds and the
forest and the
water have the
color of
the mountain
/*m*-
@ream oth Stills
■
Lindsay Thomson brings us a striking reproduction of the Elks Club in Los Angeles. The structure is char-
acteristic of the city in which it rises and the photograph finely reflects the atmosphere of the business
district
May, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-five
^mareur Department!
Army Photographers Giving Heed
to Possibilities of New Zoom Lens
THE war and peacetime possibili-
ties, in military aerial photog-
raphy, of the new "Zoom" lens
recently developed by the Bell & How-
ell Company for standard motion pic-
ture cameras are attracting the atten-
tion of the United States Army.
This lens was primarily developed
to "zoom" or "swoop" down on a sub-
ject or to recede from it without mov-
ing the camera or scene. For in-
stance, with the new lens, a parachute
jumper can be shot as a "close-up"
all the way down to a landing place,
or he can be photographed alternately
"close-up" and at actual distance. In
such operations the positions of the
lens elements are changed, but the
position of the camera remains the
same.
Lieut. George W. Goddard, director
of the photographic department of
the Army Air Corps at Rantoul, 111.,
has completed a series of airplane
photographic tests of this lens in
flights over Chicago which disclosed
interesting results from a military
standpoint.
It has been established by these
tests that in wartime observation per-
sonnel flying over enemy lines at an
altitude of 30,000 feet, for example,
can readily obtain for minute military
study large detail photographs of cer-
tain locations, such as centers of re-
sistance, munition depots, embarka-
tion points, etc., or take small scale
pictures of large areas for general
observation or mapping purposes.
Engineers Finish Work on
Standards for 16 mm. Film
THE sub-committee of the stand-
ards committee of the Society
of Motion Picture Engineers has
reported its recommendations for
16 mm. film standards, together with
complete layouts for two types of
16 mm. film. These recommendations
are now up for approval and valida-
tion by the standards committee and
the general society.
Before recommendations could be
made it was necessary for the com-
mittee to make a thorough study of
all problems in connection with 16 mm.
film. At present two types of 16 mm.
film are under consideration by the
industry — the first being a film with
one row of perforations and a sound
track on the other side of the film —
the second being the present type,
embodying two sets of sprocket per-
forations.
After detailed study of these two
systems, the committee has drawn up
standard for each type of film, but
has also made its recommendation
favoring one system.
The large scale photographs taken
at this altitude will have the appear-
ance of having been shot at approxi-
mately 5,000 feet.
The lens operation is so simple that
a pilot photographer in a single seater
airplane can change to telephoto ad-
justment and vice versa by merely
moving by remote control a small
lever attached to the lens.
With the development of anti-air-
craft guns and the new high-altitude
planes photography necessarily will
be carried on at exceedingly high alti-
tudes in future wars, and it is be-
lieved the zoom lens will be a military
necessity in both still and motion pic-
ture photography.
In order to obtain uniform scale in
aerial mapping operations over areas
where the terrain changes rapidly, it
has heretofore been necessary to use
several cameras each fitted with a
lens of a different focal length. Now
the zoom lens, installed in a single
aerial camera, will make it possible
for the photographer to compensate
readily for all changes in scale and
altitude during flight.
Films Silent and Sound Being Used
in Great Britain by Advertisers
ACCORDING to a report from
Trade Commissioner James Som-
erville, Jr., London, Great Brit-
ain is directing increased attention to
the use of films, silent and sound, in
educational and publicity campaigns.
National advertisers are using them
not only as salesmen but also as a
means of training salesmen.
The potential importance of the
film in the field of commercial adver-
tising is much greater than in the
United States due to the fact that
radio broadcasting in Great Britain
is not employed in such fashion. Al-
ready there are companies specializ-
ing in the production of publicity pic-
tures as well as others that undertake
the preparation of scenarios for pro-
duction in the studios of the ordinary
entertainment film.
Small five-minute plays centered
around the commodity to be adver-
tised are finding their way into pro-
grams in motion picture theatres in
suburban or outlying districts. These
plays are designed for entertainment
instead of dealing with the various
stages in the production and distribu-
tion of the article, as a study of audi-
ence reactions has disclosed that the
good will of the audience, the poten-
tial consumers, is gained to a greater
Lieut. George W. Goddard, Army Air Corps, Testing Bell and Howell
Zoom lens.
Twenty-six
Thi
INTERNATIONAL PHOTOGRAPHER
May, 1932
degree by films which are not so ob-
viously advertisements.
A recent film that shows what the
well-dressed Englishman wears at the
Wimbledon tennis tournament, the
Derby and Ascot races and similar
functions will be exhibited in other
countries than Great Britain.
Reaching Rural Districts
Traveling vans which give open-
air exhibitions in rural areas not
served by theaters or in public places
are a recent innovation introduced by
a few of the largest and most pro-
gressive advertisers.
These vans, equipped with a dy-
namo run from the motor and with
the picture and sound projecting ap-
paratus incorporated, are sometimes
hired and sometimes purchased by
the advertiser with the trade name
and insignia of the brand or company
appearing on the van. The pictures
shown include commercial films and
also those purely entertaining, such
as the sound cartoon.
At the British Industries Fair held
annually motion pictures are usually
exhibited. One film at the 1931 exhi-
bition dealt with the Port of Bristol
under the title of "The Gatewav of
the West" showing its extensive
trade, vast storage accommodation
and many facilities for handling ev-
ery kind of cargo. It sketched the
history of the port, going back for
2000 years, and including such events
as the sailing of Cabot for America
in 1497.
Political Publicity
During the recent general election
talking films were prepared by the
various political parties and were
found invaluable in enabling the prin-
cipal candidates or most effective
speakers to multiply themselves many
times over in "personal" messages.
Interesting experiments in the use
of films for educational purposes in
elementary schools have demonstrated
their value in this field. They have
been found to have a great memory
value. Examinations held subsequent
to film exhibitions have shown grades
much higher than those conducted
among groups of children taught in
the same subjects by usual methods.
Results have been so gratifying that
it is predicted every school may some
day possess its own library of sound
films similar to present libraries of
books.
Victor New Pocket Titler
Designed to Reduce Grief
NOW you can "title as you go."
The new Victor pocket titler, al-
though complete, is so small,
light and compact it may be slipped
into the coat pocket for use in making
titles between scenes any place at any
time.
It is felt the device will appeal par-
ticularly to moviemakers because of
the ease with which titles may be
made with it, and the fact that it may
be carried about without inconvenience.
The elements of the titler are col-
lapsible and when not in use it folds
up much like a cigarette case. Closed,
the outside dimensions are 1 by 4%
by 7% inches.
Setting the titler up is the work of
a moment. The camera rest consists
of folding standards which are shaped
fcr the camera in such a way that it
is not necessary to adjust or fasten the
camera in place.
Titles may be made indoors or out.
Artificial illumination is not required
in daylight out of doors or inside near
a window. When artificial illumination
is required it is only necessary to hold
a lighted bulb above and near the
front of the camera during operation.
Philadelphia Schools Have
Model 16 mm. Film Library
TYPICAL of the large public
school visual education depart-
ment is that of Philadelphia,
where more than eighty Filmo pro-
jectors already are at work in the
schools. Dr. James G. Sigman, direc-
tor of visual education, has a library
of over 2,000,000 feet of 16 mm. film
at his disposal.
In an article in the Philadelphia
Evening Bulletin he was quoted as
saying: "All the junior and senior
high schools and 40 per cent of the
elementary schools now have motion
picture projectors. The department
is increasing the scope of its work
annually.
"A new service which we have in-
stalled is the taking of pictures of
outstanding events in the various
schools. To date this has been chiefly
confined to sports. Last year we took
forty reels of pictures of track meets,
football games, and other happenings
of interest to pupils."
Victor Reducing Prices on
Models 3 and 5 Cameras
as Well as Adding Quality
THE Victor Animatograph Cor-
poration, Davenport, Iowa, in
announcing its new Model 3 and
5 cameras and its new price policy,
calls attention to the fact the new
prices are not the result of cheapen-
ing or of reducing the completeness of
the product but rather that the im-
provements and additions to the
cameras are as notable as the reduc-
tions in prices.
On the Model 5 Victor there has
been a reduction of approximately
22*/2 per cent in price. All of the pre-
vious features, such as visual focusing,
five speeds, three-lens turret, etc., have
been retained. The new features in-
cluded at the new price are attached
winding crank, which also may be em-
ployed for hand cranking; graduated
adjustafinder for accuracy in "finding"
and centering the image at different
distances; combination visible-audible
film footage meter of extreme ac-
curacy; film loop guard which makes
it impossible to lose the film loop, re-
gardless of the thinness of the film
or length of time the loop has "set"
in the camera; improved collapso-
strap carrying handle; rich, gold-
flecked brown lava finish with satin
black and polished chrome trim and
appointments.
The Model 3, which was the first 16
mm. camera to be equipped with mul-
tiple operating speeds, including slow
motion, and which is internationally
reputed for its ingenious simplicity
and excellent performance, is being
offered with the new collapso-carrying
strap, chrome plated chain-attached
crank and crank clip, and with 20 mm.
P 3.5 fixed focus Dallmeyer Lens at a
price reduction of nearly 35 per cent.
Both the Model 3 and 5 can be sup-
plied with any choice of lens or lenses
that the purchaser may specify. Koda-
color movies may be made with either
the Model 3 or 5 when equipped with
the proper lens and the Kodacolor
filter assembly.
Victor is issuing a title maker designed to fit the pocket and to be available
for use at any time even when away from home.
Bay State Installs Sound
Fourteen Massachusetts state insti-
tutions including eleven hospitals and
three juvenile schools for mental de-
fectives soon will provide sound mo-
tion pictures for the entertainment of
inmates and staffs. Contracts have
been drawn for the installation of
Photophone apparatus. This is the
largest contract of its kind ever con-
summated and closely follows one re-
cently awarded to the same company
for the installation of twelve similar
sound reproducing units in hospitals
and schools by the State Board of
Control of Texas.
May, 19.32
The INTERNATIONAL PHOTOGRAPHER
Twenty-seven
Indian Reporter of Centuries Ago
Wrote Story World May Read Today
ONE of the finest specimens
known of the famous "picture
rocks" of the West is to be found
about twenty-five miles north of
Bishop, situated generally in the east
center of California. As well might
these rocks be called story rocks, or
stone writings, for they represent
some of the earliest attempts in
America to outline in narrative form
a record of the doings of that day
and age.
It was near the junction of Owens
River and Rock Creek in the Owens
River Valley that Ed Witt with his
camera in hand came across this un-
usually legible specimen of stone
writing. The base is of porphyry for-
mation and chips easily.
An authority on this form of writ-
ing estimates the carving was done
in the twelfth or thirteenth centuries,
or seven or eight hundred years ago.
Also definitely indicated is that it was
done by one of a band of Piute In-
dians.
The Piutes, by the way, are all sun
worshippers, and possibly in that re-
spect may rate as the first American
cameramen.
The tribe was responsible for many
kinds of writings, legendary, histor-
ical and of current events. Figuring
much are plant life, particularly corn,
and representations of deer and tur-
key.
The accompanying illustration
shows a band of twenty-four camped
at this location for a period of four
full moons. Turkeys were plentiful,
Students Make and Record
16mm Old-Time Melodrama
U UNIQUE "talker" is being pre-
sented by students of the Uni-
versity of California. A 16 mm.
feature film of two 400-foot reels, en-
titled "Black Revenge," was first pro-
duced by the students without sound
recording. This picture is now being
shown to the accompaniment of dialog
spoken by the members of the cast in
person, together with other sound ef-
fects.
The sound is received by a radio
microphone placed in a room adjacent
to that in which the picture is shown
and from which the screen may read-
ily be seen. The microphone is hooked
up with a regular talker sound ampli-
fier and speaker system.
The first showing of the "talker"
was in the nature of a preview given
in the auditorium of the new Bell &
Howell building in Hollywood. The
occasion was a gala one, and so great
was the demand for tickets that a
repeat performance was necessary.
The picture is a travesty on the old-
time melodrama and has all the regu-
lation characters of this type of ve-
hicle. The students are planning a
second picture.
and there was good fishing in the
lakes.
The drawings show how a party of
four went north to visit another tribe
carrying with them a number of gifts.
After a stay of a moon the group
returned empty handed. Then there
was an eclipse of the moon, looked
upon as an evil omen. The band left
so suddenly the recorder did not have
time to complete his story.
Incidentally it is assumed the visi-
tors had been able to secure the in-
formation they sought regarding the
neighboring tribes and to report ac-
cordingly to their chiefs as to the
best plans for raiding the more pros-
perous.
Russia to Reprint on Narrow Stock
Twenty Films for European Issue
THE German trade press reports,
according to Trade Commissioner
George R. Canty, Berlin, that the
Soviet Trade Delegation in Berlin has
made an agreement with the Weltfilm
Company of that city regarding the
distribution of Russian films reprinted
on narrow stock. For the beginning
it is intended to reprint 20 Russian
full length features which have al-
ready met with success outside Russia,
such, for example, as "Potemkin,"
"Blue Express," and "Storm Over
Asia."
It is further reported the agreement
in question also covers the exclusive
picture distribution rights in all im-
portant European territories.
It should be noted that the Weltfilm
Company is not a purely business en-
terprise, but an organization drawn up
by private individuals cooperating
with the German communist and so-
cial-democratic parties with the aim
of spreading socialistic ideas through
non-commercial channels, such as
clubs, workmens' unions and other
private organizations.
Investigations instituted relative to
the importance of this concern reveal
that the Weltfilm Company has a reg-
istered capital of 20,000 reichsmarks
and is not considered to be of any
large importance. Nevertheless if Rus-
sia plans to do certain things it is un-
likely finances will stand in the way of
their accomplishment.
Fine example of picture rocks photographed twenty-five miles north of Bishop,
Calif., by Ed Witt, who is informed by authorities the writing probably was
done seven or eight hundred years ago
Twenty-eight
The INTERNATIONAL PHOTOGRAPHER
May, 1932
Cameramen Pledging Faith Anew
Declare Adherence to Leadership
IN THE early hours of the morn-
ing of May 2 the members of the
International Photographers of
the west coast pledged anew their
faith in each other and in their or-
ganization. They pledged anew their
faith in their leaders, practically the
same men who have guided their
group through the past four years.
During the preceding hours the
membership of the organization, prac-
tically 750 or one hundred percent of
them, had listened in closest attention
to an accounting of that stewardship
as it was delivered by Howard E.
Hurd, business representative of the
body, who himself had made the
motion to reconsider when none of
the proponents of the measure showed
a disposition to do so.
The occasion for the meeting was
something out of the usual in the rou-
tine of trades organizations. On April
17 there had been declared an assess-
ment of 5 per cent on ordinary earn-
ings for the benefit among other pur-
poses of aiding unemployed camera-
men. The droop in the business world
has been felt and heavily in the pic-
ture industry just as in every other
business.
On the morning of April 18 a num-
ber of members who had remained
away from the assembly in spite of
the definite warning that "at least
one subject of the meeting will be of
great significance to the members"
expressed a desire that the subject
again be brought before a meeting
on a question of reconsideration. The
spokesman for the group included in
his communications to the officers a
list of ten questions regarding the
policy and practices of the organiza-
tion.
It was in recognition of the prin-
ciple that every member is entitled to
give utterance to any complaint or
criticism and to have that utterance
fullv and frankly examined that the
business representative went into the
whole situation created by the peti-
tion for a meeting to reconsider and
the accompanying questions.
There was no mincing of words on
the part of the spokesman for the
cameramen's union. No effort waa
made to avoid the issue that the guild
of photographers is a trades union.
Every effort was made to impress
that fact on the membership.
Following Mr. Hurd's presentation
of the administration's stewardship
for the past four years the floor was
given to Paul C. Vogel, the spokes-
man for those asking for a recon-
sideration and the member declar-
ing his authorship of the ten ques-
tions. Mr. Vogel spoke at length, as
had Mr. Hurd.
The former insisted his questions
had been received in a spirit contrary
to that in which they had been con-
ceived, that in his jotting down of the
random criticisms expressed by cam-
eramen to him in his visits at the
various studios when seeking signa-
tures for the meeting there had been
no intent to suggest anything ulterior
in act or in motive on the part of the
administration either in the past or at
present.
When the question was presented
to the body as to the matter of recon-
sideration the action of the meeting
of April 17 was sustained by an
overwhelming majority.
Interesting Occasion
Before adjournment the meeting
voted that the questions raised by the
protestants should be presented to
the assembly as soon as the board of
executives decided it could be done
conveniently.
Thus what for a couple of weeks
had seemed to some to be a gathering
storm turned out to be what in the
lifetime of a trades union was merely
a vagrant breeze. Nevertheless it was
a mighty interesting occasion while
it lasted.
No stage in Hollywood in any one
day witnesses more real drama than
was unreeled in the meeting of May 1.
Cameramen, like actors, have a keen
conception of the dramatic off stage.
It is a part of their day's work. They
had their fill of it at that assembly.
It was an assembly that undoubted-
ly will go down in the current history
of cameramen as one of its notable
sessions.
And one of its developments was
the statement that since the incep-
tion of International Photographers
its officers and executives have held
669 meetings attended by 8841 mem-
bers. Which should indicate to the
world at large that being an officer
of a progressive trades organization is
something more than sitting down to
a session of cakes and ale.
The late Wallace Reid and his young son Billy photographed at their home in
Morgan Place, Hollywood, about 1919 — From the motion picture exhibit at the
Los Angeles Museum, Courtesy of Earl Theisen.
ACCORDING to a recent an-
nouncement in Panama City, as
submitted by Assistant Trade
Commissioner A. Cyril Crilley, a new
motion picture theatre has been con-
structed by the army at Fort Amador
at a cost of $10,000.
The building is 107 feet long and 53
feet wide and is a fireproof structure
provided with a small stage suitable
for entertainment purposes.
May, 19S2
The INTERNATIONAL PHOTOGRAPHER
Twenty-nine
Elmer Richardson To Be Sole
Hollywoodian at Convention
ELMER RICHARDSON of Mole-
Richardson Inc., of Hollywood,
will be the sole representative of
the picture colony to attend the semi-
annual convention of the society of
Motion Picture Engineers. The ses-
sions will be held in Washington,
May 9 to 12, at the Wardman Park
Hotel.
The local arrangements committee
is composed of N. D. Golden, chair-
man; C. Francis Jenkins, C. J. North,
N. C. Haefle, C. N. Nichols, Raymond
Evans, Nat Glasser and James T.
Corrigan.
Following the convention Mr. Rich-
ardson will visit the R.C.A. Works In
Camden, N. J.; various institutions
in New York and look over the gen-
eral situation, General Electric at
Schenectady, Bausch and Lomb at
Rochester and the General Electric
Lamp Works at Cleveland, Ohio.
Continental Pictures Plans
Both Features and Shorts
SIX features and twenty-six shorts
will be produced during the com-
ing season by Continental Pic-
tures under the management of Tom
White.
All of the pictures will be of a
travel and scenic nature, with stories
being used in the features and native
casts enacting the roles in the partic-
ular locale photographed. The shorts
will comprise human material of the
world-of-travel and are being supplied
by the several staff cameramen of
Continental as well as free lance pho-
tographers stationed in various parts
of the world.
Los Angeles Camera Club to
Stage All-American Salon
PLANS for the eleventh All-
American Salon of Photography
are being worked out and entry
forms shortly will be available. This
year the salon will be hung in the
new clubrooms of the Los Angeles
Camera Club, Studio 5, 2504 West
Seventh street.
The time selected will cover the
period of the Olympic games, thus
giving many visitors to the city an
opportunity to view the Salon. Further
information will be in next month's
International Photographer or posted
on the bulletin board. Entry blanks
will be in the office.
On May 1 the entrance fee to the
Los Angeles Camera club was raised
from $5 to $15.
All IATSE members are invited to
visit the clubroom at any time. An
attendant always is present to show
the place. Regular meetings are held
every Thursday evening. There is
always a good hanging of prints.
Almost every week there is a lec-
ture or print criticism. Monthly
week-end outings are another fea-
ture.
Application blanks and a copy of
the club's monthly bulletin will be
mailed free to those interested. The
telehone is DR 9092.
British Talkers Gain While
New Zealand Theaters Slip
THE following item was taken
from a report submitted by
Trade Commissioner Julian B.
Foster of Wellington: British talkers
are being seen in New Zealand in
increasing quantities and there has
been a decided improvement in the
type of film which they have shown
here during the past year.
The leading motion picture houses
practically all have had large fallings-
off in attendance. Many of the largest
theatres are nightly showing films to
practically empty houses. The only
nights on which there are any real
signs of crowded houses are Friday
Practically no business is being done
in motion picture equipment. The
firms operating now are mainly en-
gaged in servicing,
and Saturday.
Mitchell Shortens Hours
On April 25 the Mitchell Camera
Company instituted a six-hour five-
day schedule for its employes at its
factory in Robertson Boulevard.
The management finds it is han-
dling all types of work promptly. The
schedule was adopted with the aim
of increasing the number of employes
retained on the roll, of benefiting the
larger number.
The Bell 6k Howell EYEMO
New Convenience.. new flexibility in a 35mm. hand camera..
A new standard of convenience and flexibility in 35 mm.
hand cameras is set by the Bell & Howell Eyemo 71-C.
It has truly professional capabilities, with its seven speeds,
ranging from 4 to 32 frames a second and including an
accurate 24-speed, its speed conversion dial giving correct
lens stops for any speed, and its three-lens turret head. It
possesses amateur convenience, with its spring motor, its easy
portability, and its simplicity in operation.
And now, in addition to the spring motor and hand crank,
it can be equipped with an electric motor, 12 or 110-volt,
which gives through an entire 100-foot film the even 24-
frames-a-second speed essential when sound is to be "dubbed"
in later. It can also be fitted with a 400-foot magazine.
This is the ideal camera for news reel, exploration, commer-
cial sound film . . . field work of all kinds. A request will
bring you full particulars.
•
The Bell y Howell Eyemo 71-C, 35 mm. Seven speeds. 3-lens turret head.
Speed conversion dial. Built-in hand crank as well as spring motor drive.
Price, $450 and up. Electric motor and 400-joot magazine extra. Prices
upon request.
BELL & HOWELL CO., 1849 Larchmont Ave., Chicago; 11 West 42nd Street, New York; 716
North La Brea Ave., Hollywood; 320 Regent Street, London (B. & H. LTD. Est. 1907).
1907 — 25 YEARS OF SERVICE TO THE MOTION PICTURE I N D U S T R Y — 1 9 3 2
Thirty
The INTERNATIONAL PHOTOGRAPHER
May, 1932
Looking In on Just a Few New Ones
Leo Tover
STATE'S ATTORNEY
First cameraman, Leo Tover ; operative cam-
eramen, Russell Metty, Joe Biroc ; assist-
ants, Willard Barth, George Diskant ;
stills, Gaston Longet ; sound, George Ellis.
PUT a pin in R. K. O.'s "State's
Attorney" for a rattling good pic-
ture. Don't miss it when this
John Barrymore subject comes to your
neighborhood. It is one of the most
absorbing screen productions of the
month — or of the quarter, for that
month — or if the
quarter, for that
matter. It is pos-
sible, too, that for
the award for the
most notable ex-
ammple of acting
in the course of
the year it may
prove a candi-
date— or candi-
dates. And the
candidates for
honors may not
be considered and
there also is dir-
ecting as well.
And speaking of this dialogue there
is a newcomer to Hollywood on the job
— Gene Fowler, a name known for
years on New York newspapers and
more recently in the world of fiction.
Whether the dialogue be the work of
Fowler and Rowland Brown, his col-
laborator, or of Louis Stevens, author
of the story, honors go to the dialogue
credits for retention of the author's
work even if they were not responsible
for the invention. To the one who
follows dialogue and enjoys sitting in
on a bit of literary quality the lines
here are a treat.
John Barrymore as Tom Cardigan,
the lawyer who becomes district at-
torney, is happily cast. The part
might have been created to fit his per-
sonality. Rarely has he had an oppor-
tunity for so impressive an all-around
display of his stage and screen
powers.
"State's Attorney" is not just a star
story. It is the cast's story. Helen
Twelvetrees is superb in the part of
June, the window-tapping woman who
becomes the companion of the great
prosecutor. The sangfroid of the
woman who follows the oldest of
trades, the sportsmanship, the fierce
even if stolid loyalty when once
touched, are by her brought to life.
William Boyd as Vanny Powers,
whose long friendship with Cardigan
is by the latter nullified once the law-
yer becomes prosecutor, has a power-
ful part. So, too, does Mary Duncan
in the part of Mary Dean, the woman
accused of murdering her husband.
She gives us a haunting picture of the
crime-conscious woman doing her
feeble best to parry the harrowing
thrusts of the prosecutor. It is a ter-
rifying sequence.
Perhaps the best sequence of all is
that at the close when the prosecutor
faces June as a recalcitrant witness.
It is an examination that is as tender
as it is relentless, a battle between a
By GEORGE BLAISDELL
man and a woman whose affection one
for the other is undimmed by the fact
that no longer are they living to-
gether, a hopeless battle on the part
of the woman untrained in the con-
troversial art — one where the woman
is determined to protect her former
lover even as the latter is determined
in the interest of justice to uncover
the truth to his own personal danger.
It is a sequence to put you on the edge
of your seat with a lump in your
throat.
Others in this fine picture are Jill
Esmond, Oscar Apfel, Paul Roulien,
Ralph Ince, Frederick Burton, Ethel
Sutherland, Leon Waycoff and C.
Henry Gordon.
Yes, and George Archainbaud di-
rected— and how.
THE DOOMED BATTALION
First cameraman, Charles Stumar ; operative
cameraman, Jacob Kull ; assistants, Mar-
tin Glouner, John Martin ; stills, Roman
Freulieh ; sound, C. Roy Hunter.
MARVELOUS views of alpine
heights in winter are there in
Universal's "The Doomed Bat-
talion," or "Mountains in Flame," ac-
cording to the original title. That is
merely referring to the pictorial side
of the produc-
tion, in this in-
stance most im-
portant yet only
a partner in the
dramatic and
melodramatic an-
gles of the tale.
While the sub-
ject is a war
story it is mark-
e d 1 y different
from any of that
stripe which have
preceded. More
than that, it is Charles Stumar
different from
any that recently have reached the
screen, at least in the west. The lo-
cale is in the Dolomite Mountains, and
particularly in or near the peaks that
constitute the Austrian-Italian fron-
tier. Here the Austrians battle to
hold back the Italians.
The conviction that rides in the
story is made possible by reason of
the combination of abilities vested in
Luis Trenker. This highly skilled
alpine climber writes a story of high
daring, of fighting a mountain-top
blizzard and a persistent and crafty
enemy at the same time. Then he
{joes out into that blizzard and plays
Florian the hero.
It seems strange after the imme-
diate foregoing that Trenker also
should be a good actor — but certainly
he is. Tala Birell is Maria, wife of
Florian, who after his departure for
the camp up above their home in the
hills bears him a son.
It is that everyday incident that
bears heavily on the story — of this
father away up in the mountains
above his home only four hours re-
moved and containing a son he has
never seen. Do you wonder a soldier
contemplates going A. W. 0. L.? And
Birell is a most appealing wife and
mother — the kind that will penetrate
the heart of the multitude in any race.
So finely welded are the interiors
with the exteriors that it seems im-
possible much of this subject was
made in the west. The only incon-
gruity to the consideration of the sub-
ject as one made in the Alps is the
English dialogue. And this feeling
quickly passes. The story centers
right on Florian and Maria, and
everything else is secondary.
But those swirling and daringly
dipping figures weighted down with
full war equipment as they slip over
the snow will remain long in the
memory.
THIS IS THE NIGHT
First cameraman, Victor Milner ; operative
cameramen, William Mellor, William
Rand ; assistants, Guy Roe, Lucien Bal-
lard; stills, Fred Archer; sound, J. A.
Goodrich.
ONE delightful picture is Para-
mount's "This Is the Night."
Director Frank Tuttle has done
himself proud in his handling of
Avery Hopwood's play "Pouche,"
adapted by Rene Peter and Henri
Falk. George
Marion Jr. did the
screen play and
lyrics and Ralph
Rainger the mu-
sic. Tears there
are not, not even
a trace. Laughs
there are a lot —
and right from
the drop of the
hat; rather it
should be said
from the drop of
the dress, for it is
the catching of yic Milner
an evening gown
in the door of an automobile that
starts the riot of mirth and song that
does not let up until the merry close.
The backbone of the picture and of
the fun is Roland Young and Charles
Ruggles, the former Gerald, an easy-
going bachelor selected by the married
Claire as her chief source of enter-
tainment during the absence from
Paris of her husband Stepan. The
latter of the two is Bunny, just a
mutual friend of everybody — almost.
It is possible an exception may be
made of Stepan, played by Cary
Grant, the husband who changed his
mind about going to America just
after he started from home.
It was this return that so changed
the course of events that instead of
Gerald and Claire, rarely played by
Thelma Todd, going to Venice by
themselves the party was enlarged to
include Stepan, Bunny and Germaine,
the hastily sought-out pretending wife
for Gerald, played by Lily Damita.
The presence of the stranger was de-
May, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty -one
signed to allay the growing suspicions
in the mind of the big husband.
The production shows what may be
done when there is a rare combina-
tion of bright lines and real comedy
talent. The opening is remarkable in
its merriment and movement and
music and fun. One of the great
sequences is where the two comedians
get tangled up with Venetian spirits,
rescind the mutual pledges of affection
that hitherto have held them together
and as quickly reestablish the old
cordiality. The players are on their
toes throughout, and in this respect
Damita does her full share.
Don't miss this picture. Its fun
will help anybody and everybody and
by the same token hurt nobody.
IT'S TOUGH TO BE FAMOUS
First cameraman, Sol Polito ; operative cam-
eraman, Michael Joyce ; assistant, Robert
Mitchell ; stills, John Ellis ; sound, Charles
Althouse.
ONE of the larger accomplish-
ments of First National's "It's
Tough to be Famous" is the in-
troduction to at least a part of the
picturegoing public of Mary Brian.
Of the younger Fairbanks most of us
know the story —
a wholesome
screen player and
capable of really
great things in
the months and
years to come.
No one will be
so assertive as
to maintain his
possibilities as
yet have been
scratched.
Mary Brian to
this one particu-
lar reviewer is a
revelation. She
probably has done things in the past
that match her work in the picture
under review. It just didn't happen
the person talking didn't see her in
those. If there has been any ques-
tion as to her quality, her relative
rank, her portrayal of Janet should
establish her right to walk with the
best.
While the story is one that breathes
of youth from first to last, of a couple
wholesome, impulsive and prone to
say things that cut but equally quick
in contrition and to seek forgiveness,
it is one that will interest and vitally
those of piling years and wider ex-
perience.
The story is of a young man com-
manding a submarine crew eighty
feet under water who insists on his
seniority, on his right to die and not
to live at the expense of the veteran
non com remaining. Just to insure
his authority he slugs the non com,
packs the unconscious man into the
tube and shoots him to the surface.
The officer recovers consciousness in
bed after oxygen and fast-working
wreckers have raised the sub and
saved his life.
The officer wakes to find himself a
hero and promoted. Even his resig-
nation from the service, not quite
clearly accounted for by the way,
fails to stop the acclaim. He is a
Lindbergh all over, and like that same
Sol Polito
young man the new hero loses pa-
tience and temper and occasionally
bawls out overzealous parasites and
others.
There is an abundance of drama
and some comedy in this altogether
interesting adaptation by Robert
Lord of Mary McCall's "The Fish
Bowl." Alfred E. Green directs. Use
is made of stock shots of New York
receptions on water and on land.
Those of the water look old enough
to be a relic of the days of the home-
coming of Admiral Dewey. Those of
Broadway may have been taken at
the time of Lindbergh's return, but
certainly the stuff was "shot." Never-
theless both land and water views
show the big town in holiday mood.
They are worth while after all, hav-
ing the historical value in mind.
Norman McLeod directed. Walde-
mar Young adapted, with Samuel
Hoffenstein collaborating on the dia-
logue, the story by Frank L. Packard
and Robert H. Davis and the George
M. Cohan play.
Dave Abel
THE MIRACLE MAN
First cameraman, Dave Abel ; operative cam-
eramen, Ernest Laszlo, Harry Merland ;
assistants, James King, Robert Rhea ;
stills, Gordon Head ; sound, Eugene Mer-
ritt.
WHEN George Loane Tucker
thirteen years ago made "The
Miracle Man" he builded better
than he knew — or perhaps he did. It
is sometimes rated as the first million-
dollar picture. But long before that
Tucker had di-
rected "Traffic in
Soul s," written
by Walter Mc-
Namara and him-
self. It was made
at a cost of some-
thing like $6,000.
What it returned
in profits after
Universal s u m-
moned courage to
release it ran into
the hundreds of
thousands.
From a single
viewing there is
reason to believe the new and dia-
logued "Miracle Man" will duplicate
the popular appeal of its predecessor.
Instead of Joe Swickard as the Mir-
acle Man we have Hobart Bosworth,
who brings to a most reverential in-
terpretation the skill acquired in a
lifetime on the stage.
Instead of Betty Compson as Helen
we have Sylvia Sidney, of Tommy
Meighan we have Chester Morris, of
Lon Chaney we have John Wray.
Comparisons always are odious, but
the old-timers will make them.
One of the most moving of the
combinations — and there are several
of these — is that of Irving Pichel as
the unbelieving father of Bobbie the
Cripple and Robert Coogan as the
child. The little fellow literally does
what is suggested by Ned Sparks in
the character of Evans as he sees the
child on crutches leading the Frog up
the walk to the door of the Patriarch:
"He'll crab the show."
Much might be written around the
various sequences that dig in deeply
in this great story. It is an unusual
cast, as will be noted from a glance at
these not already mentioned : Lloyd
Hughes, Virginia Bruce, Boris Kar-
loff, Frank Darien, Florine McKin-
ney and Effie Ellsler.
MISS PINKERTON
First cameraman. Barney McGill ; operative
cameraman, Kenneth Green ; assistant,
William Whitley ; stills. Homer Van Pelt ;
sound, C. Dave Forrest.
OF ROMANCE there is not so
much in First National's "Miss
Pinkerton," from the story by
Mary Roberts Rinehart. Rather does
the producer lean more heavily on
the crutch of mystery, of the thrill
that goes with the terrified and mag-
nified scream of a woman, of goings
and comings of figures some of them
shadowy through long halls and many
rooms.
One of the deterrent factors in the
subject is the absence of any audience
interest in the man who meets death
in the opening scenes. To the crowd
it is just a name that has been
snuffed out. To be sure some of the
simpler minded and more gullible per-
haps will be greatly moved by these
not always intelligibly co-ordinated
poppings in and out and the several
times recourse to feminine screams.
If the immediately foregoing sug-
gestion be soundly based it means the
picture will be less successful in the
more urban houses.
Joan Blondell is cast as Miss Pink-
erton, the hospital nurse who seeks
any kind of assignment to escape her
humdrum routine and discovers quite
a bit of excitement when she finds
herself attached to the police and up
to her neck in a murder hunt. The
characterization is designed to be that
of a more or less wisecracking nurse,
one seldom serious even if she be
entirely efficient.
George Brent is on the other side
of the romance fence, but according
to the working out of the story he
is much more absorbed by his duties
as police inspector than he is by the
possibility of a love affair growing
out of his association with the blonde
nurse. Of course this attitude is in
accord with the indicated line of action
for a perfectly good cop.
Lloyd Bacon directs a long cast.
YOUNG AMERICA
First cameraman, George Schneiderman ; oper-
ative cameraman, Chester Lyons ; assist-
ants, James Gordon, J. P. Van Wormer ;
stills, Alexander Kahle ; sound, Eugene
Grossman.
THERE'S a new boy actor on the
screen. His name is Borzage,
and he plays a part which
proves to be quite important in a pic-
ture in which behind the screen are
two other Borzages, one of them being
the veteran director Frank and a
third an assistant director. Certainly
the family works well together — man-
ifests real ability, motion picture
precedent to the contrary notwith-
standing.
The subject is Fox's "Young Amer-
ica," the latest in the current cycle of
"kid stuff" to come out of Hollywood.
William Conselman adapted the tale
from a play by John Ballard. While
much more like a play than a screen
Thirty-two
The INTERNATIONAL PHOTOGRAPHER
May, 1932
story in that it leans heavily on the
long arm of coincidence, in other
words forces situations that may con-
tribute to the drama — and very much
likewise to the pathos — it is a picture
that digs under the skin.
Besides Raymond Borzage as Nutty
there is Tommy Conlon as Art Simp-
son, older of the two lads. While the
latter is excellent in his part the
larger honors seem to fall to the little
fellow by reason of his vivid inter-
pretation of the death scene.
On the adult side there are four
principals — Ralph Bellamy as judge
of juvenile court, Doris Kenyon as
Edith Doray, interested in the work
of that court, Spencer Tracy as Jack
Doray, totally uninterested in the
work which so concerns his wife, and
Beryl Mercer as the grandmother of
Nutty.
Especially striking is the work of
Bellamy as the judge. He never is
seen except behind the bench. There
completely relaxed, even lounging in
his attitude as leisurely and without
heat he considers the shortcomings of
the boys before him, he shows us the
complete antithesis of the formal,
pompous justice which the stage too
often and life sometimes place in
front of us.
Doris Kenyon contributes forcefully
to the feminine and the human side
of the story, even as Spencer Tracy
as the hard-boiled druggist portrays
the other side of the shield.
"Young America" is well worth
seeing. It will benefit as well as en-
tertain many persons in many walks
of life.
THE TRIAL OF VIVIENNE WARE
First cameraman, Ernest Palmer ; operative
cameraman, Larry Williams ; assistants,
Stanley Little, Edward Collins ; stills, Joe
List; sound, Albert Protzman.
THERE'S an abundance of action
in Fox's "The Trial of Vivienne
Ware." Much of it is of absorb-
ing interest, much the larger part in
fact; some of it is not of any kind of
interest — except negative. This is
where at a micro-
phone in a glass
cage overlooking
the courtroom
Skeets Gallagher
and Zazu Pitts al-
ternate in broad-
casting mush for
sub-morons. It is
the kind of stuff
that causes a
spectator to feel
somethink akin to
emb arrassment
for the skilled
and competent
players compelled
to be parties in perpetrating some-
body's idea of comedy.
Joan Bennett is Vivienne Ware, the
girl who passes up the wholesome
looking John Sutherland, played by
Donald Cook, for the stagey Damon
Fenwicke, interpreted by Jameson
Thomas. It does not take her long to
discover that she was right in her
first choice and in serious error in
her second. Also in no time at all she
is plunged into a front seat in a mur-
Ernest Palmer
der mystery the victim of which is
the just discarded lover. So we see
how naturally she is compelled to lean
doubly heavy on the old love who
among his other claims to the interest
of a distressed feminine also is a
lawyer and apparently a good one.
Much of the action takes place in
a court room. What the broadcasters
do not describe or the witnesses and
lawyers talk about is shown on the
screen in retrospective narrative. So
altogether it is a lively picture. If
we might have been spared the irri-
tating intrusion of the broadcasters
it would have been a highly entertain-
ing and quite an exciting subject.
Wiliam K. Howard directed. Barry
Conners and Philip Klein adapted the
screen play from the novel by Ken-
neth M. Ellis. Interpreting the char-
acters was an unusually long cast.
Sidney Hickox
SO BIG
First cameraman, Sidney Hickox ; operative
cameraman, Richard Towers ; assistant,
Wesley Anderson ; stills, William Walling,
Jr. ; sound, Robert Lee.
IN SPITE of the many moving mo-
ments in First National's "So Big"
the feeling remains it lacks the
"bite" that went with the silent ver-
sion made by the same studio in 1925.
Comparisons between a current pro-
duction and one
made in earlier
years are bound
to be unsatisfac-
tory and without
def initeness. In
the first place,
memory is a
tricky thing. The
only real guide as
to the earlier pic-
ture is its relative
standing among
all the subjects
still listed in the
back of the head.
If a subject stand
out among all the hundreds that have
gone before, it is a fair assumption
there must have been something about
it much above the ordinary.
So in analyzing the problem in the
present instance it is likely the answer
will be found in the fact that in the
version featuring Colleen Moore the
producer saw fit to cling to the one
character as the center of interest,
that of the mother, admitting no other
even to nearly equal rank.
In the present instance there are
others the importance of which as
characters has been magnified in the
effort to strengthen the impression of
the tale as a whole, but which really
failed of its object insofar as it scat-
tered the interest. The interest was
scattered among Dallas O'Mara as
played by Bette Davis, a most strik-
ing character, and the boy Roelf
grown to manhood and interpreted by
George Brent.
Barbara Stanwick never has been
more appealing, more moving than she
is as Selina. The only complaint is
that we do not see more of her in
the latter half of the story — more of
her struggles to improve her farm
and more of her triumphs. These are
dimly hinted at in the later phases
of the story, giving the impression
that while it all may have been pho-
tographed when the picture was made
it was pushed out in the cutting room
by the sequences around the more
youthful of the characters.
There is an unusually long cast,
and a representative one. The story is
by Edna Ferber. J. Grubb Alexander
and Robert Lord wrote the screen play
and William A. Wellman directed.
SKY BRIDE
First cameramen, Dave Abel, Charles Marshall
(aerial) ; operative cameramen, Ernest
Laszlo, Harry Merland ; assistants, James
King, Robert Rhea, Glen Strong (aerial) ;
stills, Gordon Head ; sound, Eugene Mer-
ritt.
THERE'S a different story in this
"Sky Bride" of Paramount. In
the beginning if there be a feel-
ing that it is just another airplane
picture, one which chooses for its
rating to rest on the footage devoted
to thrills injected by its pilots, slowly
but certainly with surety there is a
shift in attitude as the drama in this
story by Waldemar Young begins to
come to the surface. The adaptation,
by the way, was made by Joseph L.
Mankiewicz, Agnes Brand Leahy and
Grover Jones.
The theme behind the tale is the
friendship that rides between two
stunt fliers and the near mental
wreck that results to one when in an
imitation dog fight his partner is
killed.
Several individual performances
contribute to the appeal of the pic-
ture. Two of these are by Richard
Arlen and Jack Oakie. The former
is "Speed" Condon, the friend of the
killed flyer. The other is Alec Dugan,
not averse to uttering an odd wise-
crack or two, but nevertheless a most
human and altogether likable charac-
ter. If Paramount continues to give
this youngster a chance to rebuild
himself out of the pit dug for him
with the larger public by reason of
the inane and sappy parts handed to
him Oakie will win a following suffi-
ciently large to bury the comparative-
ly few saps that served as his earlier
audiences.
Arlen has a good role and makes
the most of it. That young man
Robert Coogan continues to do his
stuff to the credit of his native In-
telligence, and he seems to possess his
full share of that.
Some of those who help to make a
good picture, after the writers 01 the
tale and Director Stephen Roberts
have been taken into account — and the
flyers — are Virginia Bruce, Tom
Douglas, and Louise Closser Hale.
The photographic department, espe-
cially the aerial division, contribute
notably.
Very likely Paramount will make
money on this production, for one
reason that it contains a story that
touches the heart as well as causes a
number of sizable laughs, and for
another reason that its casting di-
rector is unlikely to be accused of
having anything in common with a
drunken sailor.
May, 1932
Thi
INTERNATIONAL PHOTOGRAPHER
Thirty-three
When Seen Through Feminine Eyes
By CLARA M. SAWDON
Henry Sharp
THE STRANGE CASE OF CLARA
DEANE
First cameraman, Henry Sharp ; operative
cameramen, Otto Pierce, Frank Titus ;
assistants, Lloyd Ahern, Alfred Smalley ;
stills, Fred Archer ; sound, Harold C.
Lewis.
WHERE there is a story about
mother love and sacrifice there
is also occasion for tears. That
is why a handkerchief within easy
reach is a preparedness measure not
to be overlooked when viewing Para-
mount's "The
Strange Case of
Clara Deane," the
screenplay version
by Max Marcin
made from the
stage play of Ar-
thur M. Brilant.
Wynne Gibson in
the portrayal of
Clara Deane is
called upon to
give the most dra-
matic characteri-
zation of her
screen career. It
is an extremely
difficult part be-
cause she is almost constantly before
the camera and has to undergo the
difficult experience of growing old
through the aid of makeup which at
best seems only an obliterating and
disfiguring process compared with the
lines of character and beauty life
etches in the faces of those touched
by real sorrow and tragedy. How-
ever, her expressive eyes and voice
inflections are at all time adequate.
Totally innocent of complicity in
a holdup perpetrated by her husband
circumstantial evidence sends this
mother to prison. Her four-year-old
daughter thus orphaned by justice is
placed in a welfare institution. The
big dramatic scene of the picture is
where the mother pays the child a
last visit before beginning her sen-
tence.
Cora Sue Collins, a four-year old in
real life, so depicts the grief, fright
and tragedy of this parting that it
merits the muchly abused term "mar-
velous." It is a scene that lingers in
the memory throughout the picture
making that which follows seem anti-
climax.
Pat O'Brien, Lee Kohlmar, Dudley
Digges and Frances Dee take advan-
tage of the few opportunities given
them in an interpretation which sub-
merges everything else in the mother
role. Directors Gasnier and Max
Marcin deserve credit for an ending
that is admirably consistent.
MAN WANTED
First cameraman, Gregg Toland ; operative
cameraman, Bert Shipham ; assistant, Per-
ry Finnerman ; stills. Homer Van Pelt ;
sound, Oliver Garretson.
AN amusing reversal of roles be-
tween husband and wife, she
being the successful business
woman and he the social butterfly, is
the why and wherefore of "Man
Wanted," the first picture presenting
Kay Francis under Warner Brothers'
banner. It is a happy and auspicious
beginning.
Robert Lord and Charles Kenyon,
to whom story and adaptation are
credited, have generously provided
clever dialogue and situations for
everyone. The capable manner in
which Andy Devine and Una Merkel
deliver comedy lines gives them a per-
fect score in laugh totals.
Kenneth Thomson is the pleasure
seeking husband of the efficient Mrs.
Ames, publisher of a high class maga-
zine, played by Kay Francis. David
Manners in an attempt to sell the
publisher a rowing machine finds him-
self engaged as her secretary before
the interview is over. The feverish
speed with which his salary climbs
from $50 a week to $250 testifies to
his efficiency.
Propinquity gets in its deadly work
and suddenly the secretary, who is
engaged to be married, and his em-
ployer, who has a very healthy speci-
men of husband, are confronted with
the fact that they love each other.
This revelation paves the way to a
close-up of profiles that must have
given even a jaded camera a thrill.
Later on the camera registers an
effective comedy bit in showing an
overflowing tub flooding a bathroom
accompanied by the obviously "liquid"
notes of two unseen singers har-
monizing "River Stay 'Way from My
Door." Fiancee and husband accom-
modatingly assist in effecting a happy
ending.
The exceptionally well balanced en-
tertainment this picture offers reflects
credit on the direction of William
Dieterle, the entire cast and the pho-
tography throughout.
THE WOMAN IN ROOM 13
First cameraman, John Seitz ; operative cam-
eraman, Charles Clarke ; assistants, Luis
Molina, Jack Epstein ; stills, Raymond
Nolan ; sound, W. W. Lindsay, Jr.
AFTER quite an absence, dicta-
phones stage a dramatic come-
back in "The Woman in Room
13," produced by Fox from the stage
play of the same name with adapta-
tion by Guy Bolton. It is an action
story ably pre-
sented under the
direction of Henry
King with an all
around competent
cast.
Conflicting love
interests bringing
in their wake sus-
picion and jeal-
ousy, which lead
to false accusa-
tions, and acts of
violence follow in
rapid succession,
climaxing in a
trial for murder
with an innocent
man condemned to life imprisonment.
Before the closing scene the guilty
are uncovered.
John Seitz
Elissa Landi plays the wife of John
Bruce, a man who places his political
aspirations and fondness for the so-
ciety of many women before consid-
eration of his wife. Ralph Bellamy
plays the husband and succeeds so
well in the part that you readily
sympathize with the wife in getting
a divorce from him.
Neil Hamilton is the man with
whom she embarks on the sea of
matrimony for a second time with ev-
ery prospect of happiness until the
husband's father misunderstands the
wife's relations with an opera singer
for whom she is composing and re-
arranging songs. When the detec-
tive, who also happens to be the di-
vorced husband following a new voca-
tion, and the dictaphones get busy
things start happening. Walter
Walker as the father-in-law, Gilbert
Roland as the singer, Luis Alberni as
his manager and Myrna Loy as his
heart interest of the moment with
the moment about over complete the
cast of principals.
With so much story interest and
general ability evinced in the varied
characterizations entertainment
values are present in generous quan-
tities. .
CALIENTE
First cameraman, Arthur Edeson ; assistants,
George Trafton, Jack Eagan ; stills, Dave
Farrell ; sound, Robert Pritchard.
IN "Caliente" Universal presents
a racetrack story which injects
enough individual treatment to
save it from being classified as just
another picture about horse racing.
Andy Devine, Tom Brown and Mickey
Rooney supply
the new punches
to old material.
Marty Black is
a young jockey
who is getting a
bad start by mak-
ing his money
throwing races
instead of win-
ning them. When
he unofficially
adopts Midge, an
itinerant orphan
living by his wits
who proceeds to place his benefac-
tor on a pedestal and idolize him, the
ways of a cheater suddenly become
most unattractive. There is also a girl
played by Maureen O'Sullivan who
contributes her full share to the
jockey's change of heart.
Mickey Rooney undoubtedly carries
away first honors for his realistic por-
trayal of the orphan, with Andy De-
vine a close second as the Information
Kid, who is a source of general an-
noyance to every one but manages to
escape alive. Tom Brown fails to
achieve the complete degree of natu-
ralness necessary to make his charac-
terization of the jockey a smooth piece
of work but nevertheless he carries
the major part of the picture very
creditably.
There are, of course, some thrilling
racetrack shots, and James Gleason as
Silk Henley creates sympathy for a
character designed not to appeal to
those who believe in honesty as a per-
sonal policy.
Earl Snell wrote the screen play
Arthur Edeson
Thirty-four
The INTERNATIONAL PHOTOGRAPHER
May, 1932
from the story by the late Gerald
Beaumont. Under the excellent direc-
tion of Kurt Neumann a picture with
much that is familiar emerges as en-
tertainment which holds the interest
by stressing the new and individual
twists of the story.
NIGHT WORLD
First cameraman. Merritt Gerstad ; operative
cameraman, Allen C. Jones ; assistants.
Walter Williams, George Bunny ; stills.
Sherman Clark ; sound, Harold Smith.
ALL the details of a night club
life are revealed in Universal's
"Night World," the exposure
being dual in nature by turning the
spotlight on the lives of those who
own them and those who patronize
them. Of plot
there is too much.
Not that it thick-
ens too rapidly
but rather it
spreads all over
the place, involv-
ing everyone,
thereby diffusing
the interest to an
alarming degree
of thinness.
Lew Ayres as
Michael Rand
falls heir to the
disturbing and Merritt Gerstad
conflicting emo-
tions following the sensational trial of
his mother, acquitted of murdering his
father in the company of the "other"
woman, and he is seeking the compan-
ionship of liquor as the best way of
reasoning things out for himself.
With this established the action pro-
ceeds in short flashes. Dorothy Peter-
son as the "other" woman gets one
scene with Michael as does Hedda
Hopper in the role of mother. Bert
Roach flashes in and out in his per-
sistent endeavor to find some one in
the club who comes from Schenectady.
Clarence Muse as a philosophic door-
man gives a finished and praiseworthy
characterization.
The night club chorus girls con-
tribute some real entertainment in
dances created by Busby Berkeley.
There is incidental music throughout
written by Fred Neuman.
Boris Karloff is the owner of the
club. Dorothy Revier is his wife who
is having an affair with Klauss, one
of the employes played by Russell
Hopton, these three providing the
drama of the lives concerned with the
inside operations of the club.
Mae Clarke as Ruth, one of the
club's entertainers, befriends young
Rand to introduce romance. George
Raft gets a scene in which to menace
Ruth in his unfailingly convincing
manner.
As the best way out of the many
involved intanglements there is a
grand finale of five shootings. Hobart
Henley directed.
THE HEART OF NEW YORK
First cameraman, James Van Trees ; operative
cameraman, Lou Jennings ; assistant, Ver-
non Larson ; stills, William Thomas ;
sound, Al Riggs.
FROM the standpoint of the person
out front Warners' "The Heart of
New York" is an audience mysti-
fier, the mystery being why money,
James Van Trees
as anyone unfa-
York will know
time and talent were expended on
such flimsy material. The adaptation
and dialogue by
Arthur Caesar
and Houston
Branch based on
a play "Mendel,
Inc," by David
Freeman proba-
bly deserve a
great deal of
credit, as the first
error of judg-
ment was in
thinking the play
had the making
of a motion pic-
ture.
The title is a
perfect misnomer
miliar with New
nothing about it after seeing this pic-
ture and those familiar with it who
attend expecting to revive memories
or bring their knowledge up to date
will be equally disappointed.
There is some plot involving a man
in the plumbing business cursed with
an inventive urge for which he neg-
lects the former, with the result that
rent day usually finds the rent miss-
ing. George Sidney and Anna Appel
give excellent characterizations of the
Jewish parents. One invention, an au-
tomatic dishwashing machine, proves
successful and solves the financial
troubles of the group only to bring
unhappiness in another form as Papa
Mendel refuses to leave his beloved
East Side, while Mamma Mendel and
the children move up near Central
Park West or Riverside Drive or
somewhere that costs money.
Just when the plot gets industrious
the comedy team, Smith and Dale,
break in to discourage it. They have
a certain wisecracking facility and do
manage to inject a few laughs. Aline
MacMahon, a very fine actress, is
wasted on an inconsequential part.
Someone remembered that the for-
mula calls for some love interest, for
which Ruth Hall and Donald Cook
are employed, but no one remembered
about it long enough to develop it.
Marion Byron as Mimi, the youngest
daughter, is one of the rare bright
spots permitted a few brief flashes.
Mervyn Leroy had the hard job of
trying to direct this hodgepodge of
situations and bushels of dialogue.
TWO SOULS
THERE is no halfway measure to
a German film. If it is a light
musical comedy it is the essence
of froth and joyful nonsense; if it is
heavy drama it is the substance of
powerful intensity and serious pur-
pose. "Zwei Menschen" (Two Souls),
shown at the Filmarte early in April,
is an impressive story of thwarted
love resulting in tragic consequences.
Gustav Froelich is the youth,
Rochus, born into a family where
tradition dictates that the first born
shall serve his king and the last
born consecrate his life to the
church. Judith, played by Charlotte
Susa, is the sweetheart of Rochus.
How a mother's vow separates the
lovers by forcing the boy to enter a
monastery provides the main dra-
matic theme.
Exteriors of the Tyrolean Alps and
interiors of mediaeval monasteries
and castles provide settings of massive
grandeur and sombre dignity which
effectively enhance the tragic note
that pervades the unfolding of the
story.
The extreme restraint of the prin-
cipals and slow tempo of the action
severely tax the reactions of an Amer-
ican audience accustomed to less re-
straint and speedier technique. Never-
theless it offers an interesting con-
trast in methods of interpretation
which in this picture were directed
by Erich Waschneck.
English translations accompany the
German dialogue to enable those not
familiar with the language more un-
derstandingly to follow the story.
SCATTERED LEAVES
By Fred Westerberg
THE Swedish film "Scattered
Leaves," shown recently, at the
Filmarte Theatre in Hollywood,
reminds one of pajama clad under-
graduates painting the town red.
For those who can understand the
Swedish language this film is a riot
of sheer monkey business in which
the foibles of the Hollywood manner
are grotesquely mirrored in broad
and shrieking satire.
For those who do not understand
the Swedish language the spirit of
"Hail, Hail, the Gang's all here" is
entirely missing. All that is left for
such persons is a headache and an
insatiate craving to leave the theater
on all fours.
No, "Scattered Leaves" is not a
good picture. It was probably not
meant to be a good picture. The fun
of dressing up in Hollywood's long
skirts was after all the main thing.
What a swell time they must have
had!
In one scene the orchestra played
standing in water up to their waists
while a bevy of girls danced on the
beach. And do you know at the finale
the girls marched right out into tht>
water like West Point cadets.
Another scene was awfully cute.
They made it once their way and
then again a la Hollywood with lots
of American flags and cunning little
trinkets and the snappiest girls danc-
ing chorus you ever saw thrown in
for good measure.
They even showed how careful you
have to be about every little detail in
shooting an automobile wreck for in-
stance. The man who was supposed
to have been in this wreck was
smudged, just so, and carefully
placed in the middle of the wreckage.
They even placed a soft pad under
his cheek where it came in contact
with the rough steel.
And talk about hard boiled — in one
scene on a great big high bridge a
man shoved a girl over the side, just
like that, because her voice irritated
him. They didn't say if they used a
dummy for the long shots or not.
If the Swedes think they can kid
Hollywood out of using the dear old
hokum they are ca-ra-zy. Skoal!
May, 19-12
The INTERNATIONAL PHOTOGRAPHER
Thirty-five
By The Sassiety Reporter
SPRING kinda busts in on the
Windy City tripod jugglers real
suddenlike with the first high-
class blizzard of the season. . . . Well,
the way that thar snow clambered
down a hombre's neck it made you
feel like it wuz a breath of the kind
of weather they been havin out thar
on the coast all winter . . . only their
Chamber of Commerce aint syndicatin
any stills on it as yet.
Well, anyhow, I'm pushin my way
agin the wind in this here blizzard
. . . and the way I is breathin in the
wind makes me think I is got the
asthma when I bumps into sum lug
what can't see where he is goin . . .
so after tossin a couple high-class
musn't use words at the baboon I
looks up to see I is insultin none other
than the worthy Chief Executive of
666 . . . Prexy Charlie David.
Well, now, Chuck is been one of
In Focus — In Spots!
By Fred Felbinger as
The Sassiety Reporter
these delicate white collar guys what
stays in of a day like this since he
gave up the effort of foggin neg for
newsreels and went out on his own-
so right away I figger Charlie must
have sumpin on his mind beside that
old battered skimmer of his to be out
sloshin around in the snow.
Well, the old maestro of 666 tips
me off to the fack he is got the spring
wanderlust and is on his way to one
of these shootin gallery tintype stu-
dios to git a couple three for a
quarter portraits of hisself mugged
so's he kin git a passport. ... I kinda
wonder why Charlie wants the pass-
port . . . maybe the sheriff is after
him and he feels like he oughta blow
. . . but no, I know business ain't
that bad yet with him.
To the Promised Land
Also I knows a guy don't need a
passport to go to Hegewish or Cicero,
so after a little high-class gold fishin
old David admits he is got his heart
on a trip to Jerusalem to produce a
high-class talkie on the ole promised
land . . . says he's gonna take Two
Fisted Jerry Altifleish along to be
his Roddy Giles, only Jerry knows all
about Life and Injay just as well as
he knows them amplifier nobs.
So if they is gonna see a trail of
sin runnin through the Holy Land
over there I guess they might as well
pay no never mind as it'll only prob-
ably be Charlie David foggin a mess
of super sensitive and Jerry pickin
up stray noise at the same time. . . .
Charlie axed me what I wanted for
a souvenir from the Holy Land. . . .
/
\
You Are The Judge/
CONSOLIDATED stands alone
in the field as a Leader in
Quality, Dependable Service
and Conscientious Personal
Contact .
TElcMEnJ^^IMMlIjSffijiSK
\
NEW YORIC
HOLLYWOOD
eo-exgEJEs-
/
Thirty-six
The INTERNATIONAL PHOTOGRAPHER
May, 1932
Well, in case he goes through Turkey
and if he is got space enuf why it
will be all right if he bundles me back
one of these here Turkish Harems
they have got so plenty of over there.
. . . Also, Charlie, please make it
blondes if you kin get them. . . .
Thanks. . . .
SIX-SIXTY-SIX
Entering Sound Grief
All them boys of the ole school here
in 666 is goin baloney and junkin
the cranks on their boxes for motors
now. . . . Sound they calls it, I guess.
. . . Maybe they is gittin lazy on
twirling a crank and figgers it is so
much easier to push a button. . . .
Listen, you poor yokels, when you put
a button on your groan box instead
of a crank and start monkeyin with
that noise business of the celluloid in-
dustry you ain't savin yourself any
effort.
You know with every motor you
put on the camera you also accumu-
late one of these here high class tech-
nicians, dial twisters, so maybe you
better think it over awhile, Mr. Billy
Strafford, Mr. Verne Blakeley and Mr.
Roger Fenimore, as I understand you
all is got your eye all set on goin
into the sound grief business. . . .
Hope you gits a good sound man.
SIX-SIXTY-SIX
Bullish Bull
And talkin about silent guys takin
the veil on sound Billy Andlauer is
now commutin between Kansas City
and Chicago makin a series of
Sound Industrials. . . . Bull Phillips
is workin his noise ketcher Bauers
night and day now battin out good
high-class noise quality for Billy. In
fack, a newsreel baboon can't git in
at Bull's studio hardly any more to
shoot a interview. . . . No wonder
Bull walks away from the gang when
they starts to sing the Depression
Blues.
SIX -SIXTY-SIX
Optional Dual Drive
Social gossip trickles in from Flor-
ida all about Editor Charlie Ford's
vacation trip that aways. . . . First
of all Charlie broke in that new Au-
burn of hisn drivin down there. . . .
Briefly, the new can kin do the fol-
lowin contortions, Charlie's trip
proved. . . . Won't skid on icy roads
when he leaves all the air out of the
tires. . . . Don't burn any gas at all
. . . goin down hills with the ignition
off. . . . Has duo drivin . . . front and
rear seat, providin the missus is
along . . . but anyhow the big news
on this trip was that while down in
Florida Editor Ford wuz entertained
on Commodore Jack Barnett's yacht.
Jack wuz just returnin from a ex-
pedition to South America, and since
the yacht kinda took the waves on
high the owners took another boat
back makin Jack head man on the tub.
. . . Well, Jack figgered Commodore
wuz a good enuf title, only later he
changed it to Captain . . . said it wuz
easier to spell ... so when Charlie,
Jack's head man, got aboard to look
over how Jack looked after 28 days'
seasickness Jack sure had the galley
slaves do some tall anklin servin a
couple cool ones.
Jack has now, however, put the ole
sea hat away in the moth balls and
is dashin around with a Akeley agin
. . . knockin off red riots, etc., around
the Windy Burg.
SIX-SIXTY-SIX
666 Tops Notre Dame
A bunch of the 666ers fogged a
couple of cans of raw stock on Hunk
Anderson lickin them Irishmen of
Notre Dame back into shape so's Calif,
will be a pushover for them next year.
. . . The gang went down the first
day of practice to record how Hunk
gives orders to his Irish terrors, but
when the 666 button pushers got goin
on givin Hunk orders on how to do the
next scene . . . Hunk couldn't get a
word in edgewise so the 666 team
won the first one of the season agin
Notre Dame, but after lookin over
Hunk's material guess this is the only
he is gonna lose this season. . . . The
666 team was composed of Eddie Mor-
rison, Phil Gleason, Tony Caputo,
Ralph Saunders, Wayman Robertson
with yours truly playin draw back or
sumpin on the 666 team.
Hunk admits the worst workout
them Irish lads gits is when the movie
gang starts to bust in for the annual
trainin pix. ... If this smart hombre
out there on the coast by the name of
Walter Bell should lamp this, I jist
wanta offer him odds two to one them
Irish is gonna lick them Southern Cal.
sissies next season. . . .
SIX-SIXTY-SIX
Four Quiet W eeks — in Chi
Four quiet weeks in Chi. happen
like this . . . Rufus Pasquale asittin
in the Union office waitin for a four-
some to make a card game. . . .
Montemuro the newlywed gittin royal
hell from the new little woman for
stayin downtown with the boys on
blizzardy eves. . . . Used to be able
to come out nightly before they wuz
hitched.
John Herrmann, the new face in the
Windy Town, gittin another tin badge
for his collection of police stars. . . .
This one from the Chief of Police out
in Evanston . . . flashin it to all the
other boys . . . the other boys all
wonderin what good it'll do him, after
all. . . . Phil Gleason still full of
goose pimples over his little lady. . . .
The Little Lady all burned up because
Phil ain't writin her when on the
road.
R. H. Ray drops in from St. Paul
to take in a meetin . . . informs the
gang the boys up there in the land
of the Swedes is still snowed in the
labs, battin out prints, but all set for
the Spring epidemic of shootin film.
Rumors hereabout that Norm Alley
vacationin in Florida with a heavy
sound camera for Pathe about due
back on the home stampin grounds.
. . . Lippert sportin a new babe
around the bright hangouts agin. . . .
Toots is her name. . . . And yoors
trooly workin frantically to fill this
page so's he kin go git a haircut be-
fore someone pulls the chestnut about
gittin me a fiddle. . . . And so to the
barber's for a snooze till next month.
CONTRACTS for the installa-
tion of sound reproducing equip-
ment in twelve state institutions
in Texas have been awarded RCA
Photophone, Inc.
Everything Photographic
for Professional and Amateur. New
and Used, Bought, Sold, Rented and
Repaired. Camera Silencing.
Send for Bargain Catalogue.
Hollywood Camera Exchange, Ltd
1600 Cahuenga Blvd., Hollywood
Tel.: GL. 2507 — HO. 9431
Cable Address, HOcamex
Open 8 a.m. to 10 p.m.
May, 19Si
The INTERNATIONAL PHOTOGRAPHER
Thirty-seven
The International Photographer's Family Album
Anniversary of the Stork V Visit
MAY 1— Max Fabian, Max D. Heller,
John W. Leezer, Bud Mautino,
Arthur Reeves, Ray Rennahan,
Jack F. Warren.
2 — Harry Perry, Vernon Walker.
3 — Judson Curtiss, Leo Hughes.
4 — Joseph Brotherton, Harry Forbes.
6 — Lucien Ballard.
7 — Perry Evans, Raymond C. Ries,
Frank W. Titus, John Weiler.
8 — George Hommel, William Stuart
Thompson.
In their wanderings over the old
earth cameramen make strong and
loyal friendships among those who
have served with them even as they
have served for them. A striking in-
stance is that of Esselle Parichy and
Mahmoud Tahtawy , his dragoman
during an Egyptian visit in 1930 and
who has just named his first-born
child in his honor.
"I have experienced a great diffi-
cidty in taking a nice photograph of
my little baby, Zinab," writes Mah-
moud. "The expert photographers are
now away, and the child seems unde-
sirous of having her photograph
taken, every effort made to keep her
quiet in front of the camera having
been in vain. However, I inclose the
best snap that coidd be taken. In
three days more than fifteen film were
spoiled because the child ivas always
moving her feet and hands and we
got very tired taking this photograph.
"At last I brought six small boys
with a drum behind the camera; they
are clapping their hands and singing
and she looks to them, because the
camera was in front of the boys till
■we took one today.
"Every one now knows her as Es-
selle and she listens to any one calling
her by this name, so her title is now
Esselle."
9 — Wallace Cheuning, Kay Norton.
10— Nelson C. McEdward.
11 — David Kesson.
13 — Paul Ivano, Lewis W. Physioc, Jr.,
Henry Sharp.
14 — Fred Terzo, Blaine Walker,
Charles S. Welborn, Victor
Scheurich, Al M. Greene, Arthur
A. Lane, Richard Davol.
15 — Al W. Prince, Allen M. Davey,
Verne R. Rucker, Jack Russell.
16 — Gaston Longet, Jesse F. Ivey,
Adolph L. Schafer.
17 — Maurice Gertsman, Fred Grossi.
19— Edgar Lyons, Walter H. Castle.
20 — James E. Woodbury.
21 — Glen MacWilliams", Harold Mar-
zorati, Edward L. Pilkington,
Clarence B. Hewitt.
23— Pliny W. Home, Nelson W. Lar-
aby, Clarence Bull.
24 — Chester A. Lyons, Paul Mohn.
25 — Michael Doyle, Jr.
26— George B. Guffy, Ira B. Hoke,
Faxon M. Dean, Louis De Angelis,
27 — Lee Garmes, George Nogle, T.
fWrT
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M-R 126 Perambulator and M-R 118 Tilt Head
PERAMBULATORS
INDISPENSABLE— in making the various kinds of truck-
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CONVENIENT — in affording maximum mobility otherwise
unwieldy camera equipment.
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as a stationary tripod or when traveled.
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of Quality
MOLE-RICHARDSON, INC.
HOLLYWOOD, CALIFORNIA
New York Representatives
Motion Picture Lighting Co. Long Island City, New York
Thirty -eight
The INTERNATIONAL PHOTOGRAPHER
May, 1932
Martin LeClede, James R. Palmer.
28 — James Diamond.
29 — Les Rowley, Frank T. Lowery,
Gregg Toland.
30— Roy Tripp, John S. Stumar, Wil-
liam V. Draper.
31— Ernest Haller.
Spare Copies Requested by
International Photographer
ANY subscriber who has copies of
the following issues of Interna-
tional Photographer which he
can spare will confer a favor on the
editor by so notifying him: For 1929,
April, August and September. For
1930, July.
These copies are wanted to com-
plete two reference files, one for the
office of the magazine and the other
for the Los Angeles Museum motion
picture exhibit in Exposition Park
under the chairmanship of Earl Thei-
sen.
French to Photograph Fires
For Use in Training Classes
FILMS of famous fires are in future
to form part of the training cf
French firemen, states a press re-
port. The Paris fire brigade has been
presented with a cinema camera
mounted on a side car, and this is to
be used whenever big fires occur.
The films so obtained will be ex-
hibited before young firemen in order
to demonstrate the various methods
of fire fighting now employed. Also
they will be studied by the staff of the
regiment of "sapeurs pompiers" who
may thus detect faults in technique
and suggest improvements.
The cinema also is to be used to re-
construct by means of animated draw-
ings some of the great fires of the
past. The films taken by the side car
will be reproduced in sufficient num-
bers to enable them to be shown be-
fore every important fire brigade in
France.
IS on-Inflammable Stock Set
for French Use in October
ACCORDING to a report submit-
ted by American Trade Commis-
sioner George R. Canty it now
definitely is understood that as of Oc-
tober 1 next the French Government
will enforce its decree making com-
pulsory the use of non-inflammable
stock in public film exhibition. This
decree is ten years old and its opera-
tion has been postponed six different
times.
It is understood all films censored
prior to the date named will be ex-
empt from the terms of the decree in
question, but that those submitted to
censorship thereafter will be subject
to its terms. No plausible reason is
known for the decision of the Govern-
ment to enforce the decree at this
time, and there is considerable opin-
ion that local film politics are con-
nected with it.
All trade interest, it is understood,
will do whatever is possible to have
the decree postponed again, includ-
ing Agfa and Gevaert, German and
Belgian companies respectively, that
supply film stock to France.
real regret on the part of his con-
freres.
Mr. Stout was one of the commit-
teemen negotiating the recent scale
contract with the producers.
Short Wave Radio Enters Films
For the first time in the making of
a sound motion picture short wave
radio communication was maintained
between a ship at sea and the studio
lot in Hollywood, with a new inten-
sity meter, in the recent filming of
the "Corsair," a United Artist pic-
ture.
Archie Stout Resigns
Archie J. Stout has resigned as
third vice-president and member of
the board of executives of Interna-
tional Photographers. His action was
taken on account of pressure of pri-
vate business and was the cause of
Someth ing Ne w 11
The Kains
Lens Shade
Throw Away Your Finder
Extensions!
Get That Finder Closer to
the Camera!
Size and Angle of Lens Shade
Now Unlimited
In some cases we will be able to re-
biiild your old lens shade and in-
clude these new features.
Fred Hoefner
CINEMA MACHINE SHOP
5319 Santa Monica Blvd.
GLadstone 0243 Los Angeles
Lahyn-Filma, a sound ov film studio in Turku, Finland
May, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-nine
For Best Results in Cinematography— U se
Max Factor's Make-Up
"The Preference of the Profession'
Now used in 96% of all Motion
Picture Studios EVERYWHERE
Max Factor Make-Up Studios
HOLLYWOOD
CALIFORNIA
MELROSE
Trunk Factory
UNION MADE Camera
Cases for
UNION CAMERAMEN
UNION MADE Camera Num-
ber Boards
Trunk and Luggage Repairing
Our Specialty
Automobile Trunks, Sample and
Make-Up Cases to Order
ADams 3646 1451 E. 57th St.
LOS ANGELES, CALIF.
Phone GLadstone 4151
HOLLYWOOD
STATE BANK
The only bank in the Industrial
District of Hollywood under
State supervision
Santa Monica Boulevard at
Highland Avenue
mTEHS
Tvy Sttnw- DitfuriTVc
cAsk ijoup dealep, or o/pite to
GEORGE H.SCHEIBE
PHOTO-FILTER SPECIALIST
Alvin Wyckoff
Glenn R. Kershner
Phone Culver City 3154
^Dn
MITCHELL FOR RENT
Cinex Testing Machines
Cinex Polishing Machines
Developing Machines
Printing Machines rebuilt for
Sound Printing
Special Motion Picture Machine
Work
Barsam - Tollar
Mechanical Works
7239 Santa Monica Blvd.
Hollywood, California
Phone GRanite 9707
BASS-CHICAGO
Pays Spot Cash for used
Bell & Howell Professional
Cameras and De Brie
Motion Picture Cameras.
Bass Camera Co.
179 W. Madison St., Chicago
AGFA Positive Film
Uniformly Reliable
Agfa Raw Film Corporation
Hollywood Branch
6368 Santa Monica Blvd.
HEmpstead 9574
Factories
Binghamton, N. Y
Forty
The INTERNATIONAL PHOTOGRAPHER
May, 1932
TO ALL CAMERAMEN!
We Absolutely Remove
CELLULOID SCRATCHES
From Original Negatives
No charge for a demonstration job.
You must see it to believe it.
Phone GLadstone 3959
DUNNING PROCESS CO.
LAP DISSOLVES DUPES WIPEOFFS
CLASSIFIED
Mitchell Cameras (Late
Models for sound and speed
work) and Accessories
For Rent
Professional and Amateur
Photographic Supplies
Developing, Printing and Enlarging
Hollywood Distributors for Leica and
All Other German Make Cameras
RIES BROS., INC.
Open 8 A.M. to 9 P.M.
1540 N. Cahuenga. Phone GRanite 1185
In order to appoint represen-
tatives we want to get in touch
with cameramen in every coun-
try.
T
CONTINENTAL
NEWS REEL
1611 Cosmo Street
Hollywood, Calif.
W. A. SICKNER
FIRST CAMERAMAN
COMPLETE AKELEY
EQUIPMENT
CRestview 7255 GLadstone 5083
HEmpstead 1128
Dr. G. Floyd Jackman
DENTIST
Member Local No. 659
706 Hollywood First National Bldg.
Hollywood Blvd. at Highland Ave.
GLadstone 7507 Hours: 9 to 5
And by Appointment
FOR SALE OR RENT— Mitchell and Bell &
Howell silenced cameras. Follow focus de-
vice, pan lenses, free head, motors, 1000 ft.
mags, silencing covers. Complete line 16 mm.
equipment. Open 8 a.m.-lO p.m. Hollywood
Camera Exchange, Ltd., 1600 Cahuenga, cor.
Selma. Cable Hocamex.
FOR RENT— Mitchell and Akeley cameras
fully equipped for sound. Norman De Vol,
6507 Drexel av., OR 7492.
Leica Camera
FOR SALE— Leica Camera fitted
with 35 mm, 50 mm, 90 mm, and
135 mm lenses, Universal View
Finder, Fodis Range Finder, 8
Extra Magazines, Winko Angle
Finder, 3 Copying lenses, Film
winder, Cine Matte Box and filter
holder, etc., in Professional Case.
Also Correx Developing outfit and
Enlarging Camera. The whole
works at a good bargain.
JACKSON ROSE
c/o International Photographers
For Sale or Trade
MODEL 70D
FILMO 16 M.M.
camera with 1. 2 and 4 inch lenses,
Kodacolor attachment. First class in
every respect. Want! late model Eyemo
or cheap for cash.*
JACKSON ROSE
c/o International Photographer
FOR SALE—Mitchell Cam-
era, complete, with 4 400-ft or 2 1000
ft. mag. Friction head or straight
head. Follow focus device. Finder
bracket. Chromium plated aperture
plate. B. B. RAY, 930 S. Genesee,
Hollywood, Calif.
ROY DAVIDGE FILM
LABORATORIES
An Exclusive "Daily" Laboratory
670 1-67 15
Quality and Service
SANTA M ON I C A
GRanite 3108
BOULEVARD
Brulatour Bulletin
WHAT'S WHAT
EASTMAN FILMS
WHO'S WHO
Gerrard Home From England
After Year in Large Studios
ANOTHER Hollywood cameraman has returned to his native heath after
demonstrating to his British brothers that Eastman super-sensitive pan-
chromatic negative carries a lot of real weight in helping to build cine-
matographic reputations.
During the past year Mr. Gerrard photographed three features for British
International and two features for M. G. M. Mr. Gerrard is one of the oldest
staff cinematographers of the local Paramount Studios, having served at the
local lot for about eight years. As we go to press negotiations are being car-
ried on between Mr. Gerrard and another major studio whereby he will be
assigned an important feature, which will be in production for ten or twelve
weeks.
GOLD FRAME u
What the Cameramen
Are Doing to Keep
Hollywood on Top
Ralph (Whataman) Staub
When we were a little boy we remember
a low, lovely lilting tun? called "Whist-
ling Rufus." The lyric told a story about
a very clever guy who was a on?-man
band. Now we find his counterpart in
Ralph Staub, who really is a one-man
producing unit. Mr. Staub operates at
the Columbia Studios, where ha produces
the popular "Screen Snapshots." Ralph
writes his own stories, selects his own
cast, directs the action, and then takes
his place at the camera and takes care
of the photography.
From the camera he jumps to the mik~
and does his own particular style of
"Walterwinchell"; and from there he goes
to the job of editing. Thus far we have
had no information that Ralph has actu-
ally helped sell the pictures nor has he to
our knowledge ever operated the projec-
tion machine for the exhibitor who buys
them.
James C. Van Trees
Jimmy (to you) Van Trees is at least
unique among the successful cameiamen
on the West Coast in that he never ob-
jects to a lay-off. (Believe it or not, J.
Don Ripley.) The real reason is Jimmy's
delightful ranch and mountain lodge high
up in the hills on the Sespe River, above
the town of Fillmore, seventy-five miles
north of Hollywood. We've forgotten
whether Jim's ranch is 1,200 or 12.000
acres, but after falling in step with Jim-
my for his ideas of a two-hour hike,
we're willing to take Hollywood figures
and let it go at that. Incidentally, fish-
ing season opening May first has made
Jim the most popular guy on the Warner-
First National lot. Even supervisors give
him the nod.
Glen MacWilliams
One of the oldest (in point of service)
of the old-time Fox Cameramen is Glen
MacWilliams, who has returned to the
Fox Hills plant, where he is photograph-
ing Al Santell's production, "Rebecca of
Sunnybrook Farm." His second is Joe
McDonald. Harry Dawe and Roger Shear-
man are his assistants.
Bob De Grasse Returns
ANOTHER globe-trotter galloped
back to our purple hills this
week when Bob De Grasse
hopped from the Chief after having
spent nine months in England for
R. K. O., where he worked as second
with Bob Martin. It is fitting and
proper that De Grasse should return to
the Melrose-Gower lot, where he is
now located.
Hal Mohr
Ho -Hum! Life's just one Bennett after
another for the cameraman who was the
first to shoot actual production scenes
with Eastman super-sensitive panchro-
matic negative. The work of Mr. Mohr
has registered in a big international way
on the Constance Bennett productions,
which he photographed for R K.O.-Pathe.
Now Hal has taken Bill Skall (his man
Friday) and his matt box to Fox Hills,
where he is turning in a sweet symphony
of lights and shadows with the other
Beautiful Bennett, Joan, who is appear-
ing with Ben Lyon under the direction of
Alan Crosland in "Week -Ends Only."
Mike Joyce
Who has been the righthand man of Sol
Polito at Warner Brothers for a long,
long time, turned in a perfect "take"' on
St. Patrick's Day, when the stork dropped
down with a new cameraman. He car-
ries the tag of Michael Patrick. (May
we add our congratulations.)
Karl Freund
Univer sal's diminutive, under -nourished
cinsmatographer, who works so constantly
that he never gets time to eat, is turn-
ing in a beautiful production in "Back
Street," which is being directed at Uni-
versal by John M. Stahl. Assisting Mr.
Freund are Freddie Eldridge and Al Jones
as seconds and Paul Hill and Ross Hoff-
man as assistants.
Dev Jennings
Give Warner Brothers a lot of credit.
When a cameraman clicks with this out-
fit he's never forgotten when comes an
opportunity to use his services. Newest
recruit to the reunion of old-timers at
the Burbank lot is Dev Jennings, who is
photographing "Competition." His sec-
ond is Frank Kesson, while Jack Kauff-
man holds down the spot of assistant.
(NOTE: BLA1SDELL— I liked that
upper corner box in last month's
issue with the squib about the
cameraman who had been at Roach
Studio for ten years. Maybe you'd
better put this one in a gold frame.
E. O. B.)
£ George Schneiderman
Admits he has been with Fox
for eighteen years and he s still
there and is not on the bench.
I'd like to see a list of the pic-
tures Schneiderman has made for
Fox. See if you can get one.
It ought to be plenty interesting.
iGOLD FRAME. r
Teddy Tetzlaff
Columbia is another studio where abil-
ity is very definitely appreciated. Teddy
Tetzlaff is rounding out his fourth year
at the Gower Street plant, where he has
turned in some of Columbia's outstand-
ing hits. He is presently photographing
"Attorney for the Defense." His second
cameraman is Henry Freulich, and his
assistants are Jack Anderson and Mar-
cel Grand.
Joe Walker
Another old-timer at the Columbia Stu-
dios is Joe Walker, whose photographic
achievement on "Dirigible" will be re-
membered long after the cast of that
very excellent picture is forgotten. His
present vehicle, "Faith", carries some
very unusual shots. Walker's handling
of mob scenes is excellent. In this pic-
ture he has one sequence where more
than a thousand people are used. (And
Joe, knowing the peculiar temperament
of Sam Briskin, sees to it that every one
of those extra checks is accounted for on
the screen.)
Benny Kline
Out-of-door pictures are coming back
into popularity fast. One of the factors
of appeal responsible for this is photog-
raphy of the class being turned in by
Benny Kline, who photographs for Me-
teor (Irving Briskin) the Tim McCoy and
for Columbia the Buck Jones features.
Benny accomplishes some thrilling screen
effects with his original and daring
angles and his always fast moving
tempos.
Ernie Palmer
The first time we met Ernie Palmer
(which was more years back than we
care to admit) he was photographing for
John M. Stahl under the production reins
of L. B. Mayer at the old Selig Studio
on Mission Road. One of those Stahl
pictures clicked with one of the big shots
at Fox. Immediately afterward Ernie
moved over to Western Avenue. His
pioductions with the Fox Company have
many times appeared in the year's lists
of best pictures. He continues to draw
the important assignments, and is one of
the most modest and delightful fellows
in the business. His second is John
Schmitz. Stanley Little and Dan Ander-
son are his assistants.
Extry! Extry!! Extry!!!
ONE GRAND REWARD! Show me
the guy who doesn't howl when he
sees Jimmy Howe peel an orange!
I he Mitchell Camera
Corporation by the addition
of newly developed machines
is now equipped to work to
closer tolerances at no greater
cost to the customer
than ever before
♦ ♦ ♦
♦
Mitchell Camera Corporation
665 N. Robertson Boulevard
West Hollywood, Calif
Cable Address "MITCAMCO" Phone OXford 1051
interna:
PHOTOGR
HER
HOLLTiT
OD
Zt&a&fi&kt&mt
' - - Jffc
« "V v,-*"f'^ ..
. . • - * •
# - ""Vl
_?#•'!!♦■ t »-
JUNE • NINETEEN • THIRTY
Bo-enjEHs-
THE €|p> TRADE MARK HAS NEVER BEEN
PLACED ON AN INFERIOR PRODUCT
*E6.U. S.PAT. OFF
The beautiful results consistently
obtained by the use of
t
Panchromatic Negative are rarely
equaled and never excelled
Smith &■ Aller, Ltd.
6656 Santa Monica Boulevard, Hollywood 5147
HOLLYWOOD • CALIFORNIA
PACIFIC COAST DISTRIBUTORS FOR
Du Pont Film Mfg. Corp.
35 West 45th Street, New York City
June, 193i
The INTERNATIONAL PHOTOGRAPHER
One
"Artreeves Recording Equipment"
k The Criterion of All
*
"Always One Step Ahead"
Representatives
AUSTRALIA
Commonwealth Film Laboratories, Ltd.
Wilton and Belvoir Streets
Sydney Australia
JAPAN
Edward Tanaka
Sanatone Film Co., Ltd.
Kamiyama Building
15-2 Chome Minami-Sakumacho
Shiba, Tokyo, Japan
ENGLAND
Franklin-Granville Expeditions, Ltd.
35 Copthall Avenue
London E. C. 2, England
CENTRAL U. S.
Gene Cour
1029 South Wabash Ave.
Chicago, Illinois
*
—INCLUDES—
WEDGELITE RECORDING LAMPS
AUTOMATIC VOLUME CONTROL
VISIBLE MONITORING
COLOR CORRECTED OPTICAL UNITS
HIGH FREQUENCY RECORDING
AUTOMATIC SPEED CONTROL
RECORDER MOTORS
HIGH PASS FILTERS
BOMB TYPE MICROPHONES
DIRECT CURRENT INTERLOCKING MOTORS
CANNON CONNECTORS
VARIABLE ATTENUATORS
MATCHED EQUIPMENT
Skilled Motion Picture Technical Engineers
Your Problem Is Ours
Write for Illustrated Catalogue
rioii\Wood
Motion .Picture/Equipment (9 Up
(3416 SELMA AVE.
CABLE ADDRESS ARTREEVES
HOLLYWOOD, CALIFORNIA, USA
Two
The INTERNATIONAL PHOTOGRAPHER
June, 1932
# Typical, and important lamp test
is the LIFE TEST. Random samples from
factory output are placed on racks, such as
illustrated below and lighted until they burn
out. The amount of light given off by each
lamp is checked, by means of spherical pho-
tometers such as shown at the right before
the test and at several times while it is going
on. Thus is G. E. MAZDA lamp quality
zealously guarded.
What the General Electric lighting
laboratories mean to the motion
picture industry . . .
% General Electric MAZDA lamps
used on the movie lots vary all the way from
tiny sound lamps to huge 5 KW. and 10 KW.
lamps for "set" lighting. But in each of
these lamps must be the same high General
Electric quality.
To prove and check this quality is the func-
tion of the G. E. testing laboratories, a sec-
tion of which is shown above. Here, a defi-
nite percentage of every type of G. E. Mazda
lamp, selected at random from every lot
made, undergoes exhaustive tests. These not
only provide an excellent measure of lamp
performance in use, but assure conformity
with G. E. standards.
To develop and improve lamp quality is
the job of another group of G. E. scientists.
Working in close cooperation with the mo-
tion picture studios of both coasts, one group
of these men keeps constantly looking ahead,
trying to anticipate movie lighting needs.
At the same time, another is continually de-
veloping ways to make existing types of
lamps even better suited to studio operating
conditions.
All of which says, just as plainly as we can
say it, that when you use General Electric
MAZDA lamps, you are getting the best lamps
for your purposes that Nela Park, "Lighting
Headquarters of the World," can produce.
General Electric Company, Nela Park,
Cleveland, Ohio.
Hear the "G-E Circle" . . .the woman's club-of-the-air . . . over National Broadcasting Company's WEAF network, at twelve, noon. Eastern Daylight
Saving Time , every week-day but Saturday . . . Also every Sunday, at 7:00 p.m. E. D. S. T. with the world's finest voices singing the world's favorite songs.
GENERAL® ELECTRIC
MAZDA LAMPS
t-jrl •*
INTERNATIONAL
PHOTO GPAPHE R
Official Bulletin of the International
Photographers of the Motion Pic-
ture Industries, Local No. 659, of
the International Alliance of The-
atrical Stage Employees and Mov-
ing Picture Machine Operators of
the United States and Canada.
Affiliated with
Los Angeles Amusement Federa-
tion, California State Theatrical
Federation, California State Fed-
eration of Labor, American Fed-
eration of Labor, and Federated
Voters of the Los Angeles Amuse-
ment Organizations.
Vol. 4
HOLLYWOOD, CALIFORNIA, JUNE, 1932
No. 5
"Capital is the fruit of labor, and could not exist if labor had not first existed.
Labor, therefore, deserves much the higher consideration." — Abraham Lincoln.
CONT
Cover — An Unusual Shot op Medicine
Lake
By Joseph A. Valentine
Unterrified Inventors Show Work. ... 4
By Lewis W. Physioc
Camera Equipment Demonstration
Shows Much Has Been Accomplished 5
By Fred Westerberg
Thrilling Drama of Arctic Circle Is
"Igloo" 6
Chuck Wagon Trailers Fraternize. ... 7
Bell & Howell Equip Eyemo With
Motor and Add 400-Foot Magazine. . . 8
Papers at Engineers' Convention Re-
veal Industry's Thought Trend 9
Dave Horsley Awarded Honor of Mak-
ing First Hollywood Picture 10
By Earl Theisen
Passing of Laurance Hill Mourned by
Community He Served So Well 11
Associated Motion Picture Pilots Will
Maintain Highest Standards 12
By "Poncho" Barnes
E N T S
Roderick Giles, Noise Ketcher 14
By Fred (Red) A. Felbinger
California Streams At Springtime. . . .16
By Esselle Parichy
Amateur Department 25
Mickey Mouse Makes Bow to 16 mm 25
Progress of 16 mm. Film In Home and
School 26
With Two-Reel Talker "The Bells"
Toronto Ends Four- Year Inactivity. 27
Chicago 666 28
B'i Sassiety Reporter
Looking In on Just A Few New Ones. .30
By George Blaisdell
When Seen Through Feminine Eyes.. 32
By Clara M. Sawdon
Cameramen Hold Exposition, Ball and
Beauty Quest at Auditorium 34
Year Marks 300th Anniversary of Lens
Genius Leeuwenhoek's Birth 35
The International Photographer's
Family Album 37
Out of Focus 38
By Charles P. Boyle
The International Photographer is published
and M. P. M. 0. of the U
Entered as second class matter Sept. 30, 1930,
the act of M
Copyright 1932 by Local 659, I. A. T. S. E. an
Howard E. Hurd,
George Blaisdell ----- Editor
Ira Hoke - Associate Editor
Esselle Parichy - - Staff Correspondent
Subscription Rates — United States and Can
Office of publication, 1605 North Cahuenga Av
McGill's, 179 and 218 Elizabeth Street, Mel
monthly in Hollywood by Local 659, I. A.T.S.E.
nited States and Canada
at the Post Office at Los Angeles, Calif., under
arch 3, 1879
d M. P. M. O. of the United States and Canada
Publisher's Agent
_ ' , - Technical Editors
Fred Westerberg )
John Corydon Hill ... Art Editor
ada, $3.00 per year. Single copies, 25 cents
enue, Hollywood, California. HEmpstead 1128
bourne, Australian and New Zealand agents.
The members of this Local, together with those of our sister Locals, No. 644 in New York, No. 666 in Chicago, and
No. 665 in Toronto, represent the entire personnel of photographers now engaged in professional production of
motion pictures in the United States and Canada. Thus THE INTERNATIONAL PHOTOGRAPHER becomes the
voice of the Entire Craft, covering a field that reaches from coast to coast across North America.
Printed in the U. S. A. at Hollywood, California.
Four
The INTERNATIONAL PHOTOGRAPHER
June, li
Unterrified Inventors Show IVork
Exhibit of New Camera Equipment Brings to
Industry Devices Enlarging Powers of
Photographic Expression
By LEWIS W. PHYSIOC
THERE is one group of motion
picture dependents who appar-
ently refuse to reflect the ter-
rors of depression. This thought was
inspired at a meeting of the camera-
men held at the Paramount Studios
Thursday evening, May 12. The
gathering was sponsored by the Acad-
emy of Motion Picture Arts and
Sciences and conducted by Virgil
Miller, chairman of the committee
representing the photographic section.
The meeting was devoted to the ex-
hibition of new equipment designed to
facilitate the work of the cinematog-
rapher, enlarge his powers of ex-
pression and permit of more novel
and varied effects.
The exhibition suggests that there
has been a careful collaboration be-
tween the mechanical engineers and
those who are to use the various ap-
pliances because it is the application
that suggests the necessarv improve-
ments.
Now we dare the producers to get
busy — we are ready for them.
The chairman demonstrated a cam-
era crane developed on the Paramount
lot. The features of the new crane,
or "boom," are its diminutive dimen-
sions, compared to some of the more
ponderous machines; its ready mobil-
ity and range of application, provid-
ing an entire circular sweep, a lens
elevation of eight feet and a depres-
sion to within a few inches from the
floor.
Paramount Blimp Ingenious
The Paramount "blimp" (sound-
proof camera cover) is evidence of
considerable thought and ingenuity
and provides many conveniences for
the cameraman.
It embodies adequate means for
change of focus and that much need-
ed co-ordination between visual finder
and the actual picture at the aperture.
It is designed for easy, smooth pe-
rambulation and is readily converted
for exterior work.
Joseph Dubray demonstrated the
Bell and Howell "zoom" lens and a
perambulator camera stand of radical
design. The zoom lens, the trade
name of which is Varo, is an im-
posing adjunct to the motion picture
camera and is a beautiful example of
optical mathematics rendered by the
Cooke designers.
This lens provides for rapid trans-
itions from long shots to close-ups
and vice verse. This effect is achieved
by changing, at will and as rapidly or
slowly as desired, the focal length
and magnifying powers. The dia-
phragm is automatically opened or
closed to compensate the optical law
that governs the illumination in vary-
ing focal lengths so that no change
of density occurs during the transi-
tion. The diaphragm also may be
permanently set for stationary shots.
By simply manipulating the lens
and without moving the camera the
effect may be achieved of starting
from a close-up and almost impercep-
tibly disclosing the full set — a dra-
matic and sometimes spectacular ef-
fect formerly done by much labor,
perambulation and uncertain chang-
ing of focus. A kit of additional ele-
ments to be inserted in the front of
the lens provides practically unlimited
range.
B. and H. Has Perambulator
The B & H camera stand — or pe-
rambulator — consists of a standard
mounted on a rotating round base.
The whole is attached to a three-
wheeled chassis for easy displacement
of the entire unit.
The rotating base is used for pan-
oramming and is easily motivated by
the feet of the operator. Attached to
the standard is a bracket to carry
any of the blimps now in use. The
bracket may be tilted at any angle.
Both the tilting and the panning
are controlled through oil feeds which
make their action extremely smooth.
The camera bracket can be raised
or lowered through the action of a
worm shaft and gears controlled at
will from either of two convenient
points.
Provision has been made for adapt-
ing an adjustable seat for the camera-
men as well as light, which become
an interesting part of the machine.
A. Fried exhibited a novel arrange-
ment of two cameras for securing
combination pictures. By an arrange-
ment of prisms the operator can view
two pictures, superimpose them and
study the combined composition and
select the desired portions from each
view.
The results are not to be considered
with the so-called process shots or
combining action with the projected
picture — furnishing independent back-
grounds for studio action. However,
it may be considered a composite
picture process. The apparatus dis-
plays considerable ingenuity and able
workmanship.
Bogy Bites Dust
Charles Glouner, head of Univer-
sal's camera department, apparently
has frightened away that old bogy
always attendant upon friction plate
cameras, scratches. He exhibited in
ordinary plate of the standard
Mitchell camera ground away just
enough to allow the particles of grit
to travel along with the film rather
than collect in any one spot and
scratch the film.
Mr. Glouner claims that extensive
tests have proved that there is no
sacrifice in focus by breathing — the
tendency for the film to leave the
focal plane and depress itself into the
ground-away portion of the plate. The
value of this trick may be appreciated
in computing the costs of retakes on
account of scratches.
Mr. Tally, the pioneer theatre
owner, introduced the new camera
built under his patronage by Theodore
M. De La Garde after two years study
and experimentation. There have been
no tests made with the camera, it
having been recently assembled for
the exhibition.
But it appears to be simple and
practical in design and embodies a
novel feature in the position of the
magazines which are at the bottom,
instead of on top, of the camera.
We are anxious to see some actual
tests to determine the steadiness of
the picture on the screen, the degree
of silence and general working prac-
ticability. The designer has displayed
a worthy effort to furnish a camera
to fit the needs of modern cinematic
developments.
Warren Shows His Blimp
Dwight Warren was present with
that popular little blimp developed on
the Educational lot. It is compara-
tively light in construction and is
mounted on a carrier of limited dimen-
sions. Extensive use has proved it to
be extremely silent, permitting of
very close shots without danger of
recording camera noises.
It embodies a direct means of
change of focus with practically no
backlash. The finder is self-adjusting
and a trigger arrangement is provided
which prevents the blimp from being
closed unless the camera has been
shifted to its proper position, thus
obviating the danger of shooting
blank scenes by forgetting to "shift
over."
Mr. Lobby of the Fox company dis-
played a camera fitted for the great-
est convenience of operation and por-
tability— a field camera for studio
work. A great deal of thought has
been given to adjustments, appliances
and a simple sound-proof covering
and to allow quick set-ups and easy
manipulation.
Reflections of a Technician
Mr. Sauppe of Leica Camera fame
fairly made the mouths of the cam-
eramen water by demonstrating the
latest model of this marvelous little
camera. The final hook-up between
the rangefinder and the focusing
ratchet, along with the kits of lenses
and other adjuncts, makes this an
ideal outfit for the camera enthusiast.
Let us hope that the old wheel of for-
tune will soon turn and provide a
prosperity that will enable every cam-
eraman to increase Mr. Sauppe's
sales.
If we may be permitted a critical
June, 1932
The INTERNATIONAL PHOTOGRAPHER
Five
consideration of all these new de-
vices we must acknowledge that a
great deal of thought has been de-
voted to their designs; but their ap-
plication must be equally tempered
with artistic judgment.
We believe the painter should have
a liberal palette and an ample kit of
brushes, but his technique should be
so refined as not to parade the ex-
travagance of his tools. His patrons
should not be conscious of how he has
achieved his effects.
We believe there has been a ten-
dency to exaggerate mechanical ef-
fects in motion pictures of recent
years. This is particularly true as
regards perambulating shots. Every
time the camera is moved it readily
produces the effect of moving the
spectator. This effect may some-
times be desirable, but when overdone
it carries the psychological suggestion
of fatigue.
In our opinion, the mechanics of the
camera should be disguised as much
as possible. There is nothing more
distracting, as well as palpably me-
chanical, as jumpy dollying or jerky
panoramming.
We believe that too much of this
has been developed through a com-
mon human fallacy of insuring suc-
cess by repeating successful "stunts."
But there is no real artistic value ;n
imitation or repetition.
Instead of designing our pictures to
exploit our mechanical expedients let
us employ our contrivances to express
picture values. When mechanical ef-
fects are necessary let us endeavour
to do them as smoothly as possible so
that our patrons may not see how
they are done, or better still, they
should receive the impression with-
out being conscious of the mechanics
of the operation.
To this end we commend the efforts
of the clever engineers who are con-
tinually striving to perfect the imple-
ments of our profession.
Camera Equipment Demonstration
Shozvs Much Has Been Accomplished
By FRED WESTERBERG
THE recent demonstration of
sound camera equipment held
at the Paramount studio under
the auspices of the Academy of Mo-
tion picture Arts and Sciences was
significant in at least three ways.
It showed for one thing that in spite
of tight money a great deal has been
accomplished in the way of technical
improvements. Outstanding in this
respect is Paramount's Baby Camera
Boom, which because of its relatively
small size and its portability can be
used in everyday work on small sets.
Bell and Howell's Rollambulator is
also a step in the right direction
although facilities for moving the
camera swiftly in a vertical direction
have not as yet been provided.
Several improved follow-focus de-
vices were shown. All of them had
facilities for adjusting the finder
automatically.
The blimp evil has been sugar
coated to some extent. Paramount's
blimp, bristling with gadgets and
shined up like a new dime, made a
most impressive appearance. It is
probably the Rolls Royce of all blimps.
Educational Shows Vacuum
Educational showed its new Vacuum
Blimp, which, however, does not have
to make use of the vacuum principle
to any great extent in practice. This
blimp has been reduced to a fairly
reasonable weight of 120 pounds. The
camera is quite accessible and almost
any type of motor assembly can be
accommodated. Fox displayed its famil-
iar non-resonant camera bag, pariah
of the industry. Most cameramen, no
doubt, secretly envy the boys at Fox
who are able to use it.
Thomas L. Tally of local theatre
fame presented his newly completed
camera, the work of Theodore M. De
La Garde. The camera is of the under-
slung type, with the magazine situ-
ated below the main body of the
camera. Every effort is being made to
give the cameraman an efficient in-
strument. If in addition the camera
proves to be sufficiently silent when
motor driven to permit its use with-
out added sound proof covering there
is hope for its adoption. In the future
silent operation must be a feature of
any new camera designed for talking
pictures.
Camera Novelty
Fried's Photo Effect machine using
two inter-related cameras for simul-
taneous double - exposure work at-
tracted considerable attention. De-
spite its formidable appearance the
machine is basically simple. Actual
practice on production will demon-
strate if its use is artistically and
economically justifiable.
Joe DuBray demonstrated Bell and
Howell's new Varo lens and Sauppe
of Spindler and Sauppe with great
eclat put the Leica camera equipment
through its paces.
Charley Glouner of Universal
showed a Mitchell aperture plate in
which the removal of two thousandths
of an inch from a portion of the sur-
face had done away with the menace
of apperture scratches.
Incidentally, Charley held in his
hand the new camera aperture which
in itself constitutes one of the out-
standing recent advances in behalf of
cinematography.
So much for the improvements.
The demonstration was also signifi-
cant in another way. Coming as it did
on the heels of the new aperture
agreement it seemed to indicate that
the Academy was seeking new fields
to conquer. The exhibit was no doubt
counted on to show what has not been
done as well as to show what has been
been done.
Room For More
Among needed developments that
have not taken place, those requir-
Left, Eastern blue jays in fighting mood. Right, three survivors of four in tree hit by lightning. Photographed by
Ernst Keil
Six
The INTERNATIONAL PHOTOGRAPHER
June, 19.32
ing a full measure of cooperation on
the part of the industry as a whole
were most conspicuous by their
absence.
For instance, nothing has been done
apparently to arrive at a uniform
method of marking film at the begin-
ning of scenes to insure synchroniza-
tion. Every studio has its pet method.
The punch sticks, buzzer and light,
and the "blooper" all have adherents.
The same holds true of camera
motors. There was no evidence at the
demonstration that anything has been
done to standardize on the R.P.M., the
size, or the method of mounting the
motor on the camera.
Consciously Now, Not Automatic
The demonstration, or should we
say "Salon of Cinematographic Equip-
ment," was significant in still another
way. Was it not a commentary on the
present trend of cinematography to
divide into two separate fields of
activity?
There was a time when a camera-
man could carry out the routine ma-
nipulative process involuntarily with-
out consciously letting it interfere
with his creative work, much as a
healthy man does not have to give
thought to the routine of digesting
his meals. This is becoming increas-
ingly difficult to do.
A good look at present day sound
camera equipment will convince most
anyone that the manipulation of this
machinery deserves the conscious ef-
forts of a technically skillful man who
can keep his mind on the operation of
the camera as such.
That is the reason second camera-
men are now called operators. The
operator is primarily a technician; the
first cinematographer should be pri-
marily an artist. The two men should
be familiar with each other's duties,
but their concentrated attention should
be focused upon their own particular
job.
By the way, have you read "But
Is It Art?" by William Orton in the
Atlantic Monthly for May? The
article deals in part with art vs.
technique in the talkers.
Thrilling Drama of Arctic Circle Is
''Igloo, ' ' Issued Soon by Universal
INTO the theatres of the world is
coming another "Nanook of the
North," that tale of the Eskimo
which made such a furore sixteen
years ago. For "Igloo" well is worthy
to travel in the same company as did
that former classic of the bleak North
which found thrown wide open to it
the doors of the best theatre in New
York as well as in other cities and
towns.
"Igloo," which will be released by
Universal in about a month, is of
large interest to International Pho-
tographers. As is well known to all
of its members and to many persons
outside of the ranks of that organiza-
tion, the subject was photographed by
two of its own — Roy H. Klaffki, first
vice president, at the camera, and
Ray Wise officiating as his assistant,
that is, when the latter was not in
front of the camera.
For also be it known outside of the
organization as it is thoroughly un-
derstood inside before Ray Wise was
a photographer he was born and
raised an Eskimo. And when he went
north to play Chee-ok, the young
hunter, the leading character in this
tale of gales and snow and ice, he
went under his own tribal name and
to his own people. And they in turn
were to be seen with him on the
screen.
The natives, it may be said in all
truth, portray with real conviction
the tragedy and the gayety attending
the respective downs and ups in the
bitter fight for existence.
On the dramatic side the story is
impressive beyond the ordinary be-
cause of the seriousness with which
the non-stagey Eskimos portray their
assigned parts.
On the physical side in the way of
hardships and dangers the thrills
mount fast. One of the more striking
of these sequences is that of the fast-
moving and crunching and crushing
ice seemingly all too near the cam-
era for the safety of the man operat-
ing it. But this is only a single in-
stance of the many thrilling scenes.
Another sequence is that of the
disintegrating ice field and the nec-
essary rush of the tribe to get back
to solid ice before being carried to
destruction.
Real Motion Picture
All of these scenes the camera has
painted with realism the vividness of
which carries into another day. Truly
the tale of the Eskimos is an old
style and a true type of motion pic-
ture as it was in the beginning and
as it remained until broadly speaking
there arrived the time of talk and
economy and shortening of the budget
under which outdoor scenes were
avoided, scenes of movement and ac-
tion where possible were eliminated,
and the story often was compelled to
ride on gabbing actors cooped up in
a half dozen interior sets.
"Igloo" will come as a breath of
fresh air and a refreshing influence
to jaded and lessening picture goers.
Incidentally Universal displays its
showmanship in sending out the sub-
ject during the hot weather. It will
be a business maker.
In the cast with Chee-ok is the girl
Kyatuk, one who in physical charm
will match the maid in "Tabu," even
if she does not get the opportunity
for displaying quite so much of it as
did the South Sea Islander. It is to
these two, to Chee-ok and Kyatuk,
the rather slender love interest is in-
trusted. But the subject is of too large
a mold to depend for its major appeal
upon the personal fortunes of a boy
and girl. The tribe, the community,
is involved. It is the survival or the
extinction of the unit that is at stake.
Other principal players are Toyuk,
the younger brother; Lanok, the fa-
ther, and Nahshuk, the medicine man.
The picture was produced by Ed-
ward Small, with Ewing Scott direct-
ing his own story. The verbal narra-
tive, which is straightforward and
manifesting entire indifference to the
temptations of employing heroics and
theatrics, was by Edward T. Lowe
and Wilfred Lucas. It is engagingly
read to the accompaniment of R. C. A.
recording by Gayne Whitman.
The factor in "Igloo" which mainly
will interest the camerawise will be
the recorded photographic achieve-
ments of Cameraman Klaffki in these
arctic gales. The difficulties, physical
and photographic, of this location
north of Point Barrow,, are manifest.
And so, too, are the real perils.
Lule Warrenton, Veteran of
Stage and Screen, Member
Theatrical Family, Passes
MRS. LULE WARRENTON,
mother of Gilbert Warrenton,
third vice-president of Interna-
tional Photographers, and a player of
wide reputation, passed away May 14
at the Laguna Hospital. Mrs. War-
renton was born in Flint, Mich., in
1863 of a theatrical family, her fa-
ther being a producing manager. In
her younger days she was successful
on the reading platform. From that
her transition to the Shakespearean
stage was a move to be expected. So,
too, was her advancement rapid. With
William Ranous, later well known as
a Vitagraph director, she was co-
starred in Shakespearean parts for
several years. There she took charge
on the road of some of her father's
companies, producing and managing.
Following the impetus attained by
the pictures and the consequent de-
cline of stage productions, Mrs. War-
renton joined the Universal company
about twenty years ago, directing as
well as acting. She made some inde-
pendent children's pictures on her
own. She did considerable work for
Paramount and Fox, with the latter
for a long time being in the unit of
Tom Mix.
For the last four years Mrs. War-
renton has lived on her ranch in
Carlsbad, Calif. In that town she
was president of the Woman's Club,
and there to the end she maintained
her interest in matters Shakespear-
ean. Besides the cameraman's official
Mrs. Warrenton left a daughter, Mrs.
Virginia Zimmermann, wife of a Los
Angeles physician.
As to the standing of Mrs. Warren-
ton as an actress and a woman among
her own associates, Joseph De Grasse,
president of the Troupers, of which
Mrs. Warrenton was a member, paid
her the highest tribute one actor may
pay another:
"I had known Mrs. Warrenton for
many years, both on the stage and
on the screen. I have worked with
her in many companies. She was a
wonderful trouper. And more than
than cannot be said of any player."
June, 1932
The INTERNATIONAL PHOTOGRAPHER
Seven
Chuck JVagon Trailers Fraternize
Cowmen Celebrate First Anniversary with Open
Range Dinner and Speeches — Plan
Greatest Western Picture
THERE was a picturesque sight
at Providencia Ranch, Burbank,
at noon on Sunday, May 22. Five
hundred members and guests of the
Chuck Wagon Trailers were in line
for their midday meal cooked in the
open field by a corps of cooks who
knew their onions, even if they didn't
see fit to use them. And maybe they
did at that.
For there were steaks — big, juicy
steaks, two hands thick and so wide
and long two hands couldn't cover
them. They were the finest to be
had,, cut from two-year-old heifers
and hung in cold storage for five
weeks. Then for the older old-timers
whose teeth were unreliable there was
a barrel of stew meat which looked
inviting enough to tempt some young-
er men from home.
And there were hot biscuits (and
butter) and coffee, and boiled pota-
toes (with the coats off) and gravy,
and what particularly appealed to
one New Englander baked beans.
While these latter may not have been
of the orthodox peabean variety com-
parisons nevertheless would have
been more than odious. There was an
impression they would have been in-
discreet.
There was dessert, too. This writer
copped out a dozen or maybe it was
only a half dozen of those enormous
specimens of prunes — they looked like
the Santa Clara variety, plenty big
and just as good. He muffed the sor-
ghum, to his regret a couple of days
later when he heard it was on tap.
But one couldn't make a call at every
port on that long voyage down the
coast of pots and kettles steaming
away over that long trench filled with
firewood.
Sitting on the Ground
To the tenderfoot it was a genuine
treat, even if he found difficulty in
getting himself set on the ground
with a plate and a dipper of coffee.
He watched the younger or the less
old of the cowmen as they squatted
Oriental fashion with their plates be-
tween their knees and yet resting on
their ankles, spearing away with
knife and fork as if their plate had
been mounted on the keystone of a
skyscraper.
While imitation may be the sincer-
est form of flattery in many cases it
simply was out of the question. CJnt
veteran whimsically complained to his
friend as he tried and tried again to
capture that old trick that in other
years he had known so well.
"Yuh know I just cain't sit down
like I used to," he said finally. And
the tenderfoot felt relieved and in-
cidentally less conspicuous over the
manner in which he himself was
sprawled over thej landscape. For
Foreman Harry Gant had warned the
diners that any tables were reserved
for the use of the cooks and were not
available for the multitude.
Incidentally it was Foreman Gant
who at 12:30 had started the assem-
blage toward the kitchen when with
his hands employed as a megaphone
he had shouted the time-honored
"Come and git it!"
The party was in session from
around 10 o'clock in the morning until
about 4 in the afternoon. It was the
third semi-annual round-up, the
Chuck Wagon Trailers having been
organized in May, 1931, by Harry
Gant, who also was elected the first
foreman.
Noted Men Speak
Membership in the body is restricted
to men who worked as cowboys on the
open range in the nineteenth century.
If acquaintance with a ranch pay roll
was delayed until 1901 then the bars
still are up. While the organization
is so young already there are in ex-
cess of 300 members. The bulk of
these, of course, are in Southern Cali-
fornia, but there are members in
Canada, Australia and South America.
On the lists it was explained by
Foreman Gant, who also it may be
mentioned for many years has been a
first cameraman, there are United
States Senators, governors, judges,
lawyers, doctors and other profession-
al men as well as cowmen and even
photographers. Of the latter there
were several in evidence Sunday,
although some plainly were of the
second generation.
Before the dinner or before the
chuck wagon functioned, if that ex-
pression may be less unintelligible,
there was dancing on canvas spread
on the ground under the trees. After
dinner there were speeches by Supe-
rior Judge Francis J. Heany, formerly
the noted prosecutor in San Franc-sco
and Chicago but now of Los Angeles;
Colonel Edward P. Bailey,. William
P. Spaugh and Felix McKinney, old-
time Texan.
Foreman Gant was unanimously re-
elected to serve another year.
May Make Great Western
With the object of creating a fund
for the erection of a retreat ranch for
old-time cowmen the officers of the
organization are negotiating with a
producer for the making of an epic
western, one that is absolutely au-
thentic and made on a scale larger
and more ambitious than any hitherto
attempted. The members realize
that is a large order, but it is their
belief anything previously made can
be topped, in authenticity as well as
in scale.
Eugene Manlove Rhodes has writ-
ten a story which subject to a few
conditions imposed in the interest of
accuracy will be contributed to the
making of the picture. Similar offers
have been received from a ranking
director of western pictures and from
players of standing.
The members of the Trailers will
contribute their services for the mob
scenes or street scenes. Ranchers
with large properties have sent word
they gladly will give the use of their
lands and will round up their stock
for the use of the producer.
The kitchen of the oven range just prior to Foreman Harry Gant's call to
"Come and Git It" The foreman is shown as the centre of the trio in the
smoke at the right of the fire. Photographed by Art Marion
Eight
The INTERNATIONAL PHOTOGRAPHER
June, li
High Water in Southern France — By Robert C. Bruce in "Camera Secrets
of Hollywood"
Bell and Howell Equip Eyetno zvith
Motor and Add 400-Foot Magazine
TO MEET special demands for
airplane motion picture work and
for outfitting- scientific and ex-
ploring expeditions, Bell & Howell has
arranged to equip its portable 35 mm.
Eyemo camera with an electric motor.
An external film magazine carrying
400 feet of film can be added.
In airplane photography the motor
feature is particularly desirable in
that the pilot can place the camera
with attached motor in an advanta-
geous position and shoot pictures by
remote control.
Any Eyemo camera employing a
hand crank can be motor equipped.
The motor is mounted on one side of
the camera, engaging in the hand
crank socket. The motor runs the
film through at speeds of from 24
frames down to 4 frames a second,
the speed being adjusted by the
camera governor.
The motor weighs only 37/s pounds,
and inasmuch as the camera only
8V2 pounds the combined weight of
the motor and camera is such that an
aviator or explorer will find that tak-
ing- this type of 35 mm. equipment
along does not involve any appreci-
able weight factor.
When an external film magazine is
not attached the film is run from a
100-foot spool in the camera itself, as
formerly. If desired the motor runs
the entire 100 feet of film through
without stopping.
Thompson Coming Home
From Donald C. Thompson in
Shanghai under date of April 22
comes a letter to Ross Fisher saying
the writer expects to reach Hollywood
about the middle of June. He then
will proceed to assemble his staff and
equipment preparatory to his return
to China.
Mr. Thompson also tells of visiting
the grave of Bert Cann and of order-
ing a stone to be placed on it.
The Credit Was Fryer's
In the reviews of Universal pic-
tures in the May issue of Interna-
tional Photographer Richard Fryer
should have been given credit as op-
erative cameraman on "The Doomed
Battalion" and "Caliente."
Either a 12 or 110 volt motor can
be adapted to the camera. The 12
volt motor is particularly practical
for airplane work, as this current is
available from the plane batteries.
Current for the 12 volt motor can also
be supplied by auto batteries on ex-
ploring expeditions.
The motor is readily attached to the
camera and just as readily detached.
When it is not desired to use the
motor the camera can be operated by
spring drive while held in the hand —
the usual manner of operation — or it
can be set on a tripod and operated by
hand crank. Thus a high degree of
utility and flexibility is combined in a
unit of surprisingly small weight.
The Eyemo camera has long been a
favorite for motion picture work
where standard size film is desired
and where a regulation professional
camera is not feasible due to its bulk
and weight or other reasons. The
new motor development adds another
desirable feature to the Eyemo as
does also the external film magazine.
Cinema Digest Contender for
Honors in Publication Field
THE latest candidate for honors
in the motion picture publica-
tion field is the Cinema Digest, a
magazine of 32 pages. The first num-
ber appeared May 16, which implies
the magazine may be expected the
first and middle of each month. The
editor is Howard R. Hall, a newspaper
man who has had experience not only
with the United Press and four
Scripps-Howard newspapers, but on
dailies in St. Petersburg, Fla.; San
Antonio and El Paso, Denver, San
Francisco and New York.
The admitted aim of the editor is to
present unbiased, concise, comprehen-
sive nationwide reports of motion
picture opinions as expressed by
writers on newspapers. The first is-
sue confirms these claims. Several
divisions of motion picture activity
should profit by perusing this maga-
zine. In the initial issue are printed
comments on twenty-four productions.
As these reactions to the pictures
come from all over the country they
should be of interest to exhibitors as
well as to exchangemen and salesmen,
and also to studio workers in all crea-
tive capacities.
We wish the new publication every
success, and the indications are that
not only will it deserve it but what is
even better really will command it.
And incidentally beyond a doubt it
has a real field.
German Actors Hard Hit
Approximately 50 per cent of all
German stage actors are stated to be
without employment. At least 3,200
film supers and technicians are look-
ing- for work in Berlin. Not more
than 10 per cent of this total, it is
estimated, can be absorbed by the
German film industry, in which the
number of unemployed steadily is in-
creasing.
A group of old-timers who were members of the last European Buffalo Bill
Wild West Show. Photo by Art Marion. See preceding page
June, 1932
The INTERNATIONAL PHOTOGRAPHER
Nine
Papers at Engineers ' Convention
Reveal Industry's Thought Trend
FOLLOWING are extracts from
the papers read at the spring
convention of the Society of Mo-
tion Picture Engineers held in Wash-
ington, May 9 to 12. The summaries
will be interesting for one reason as
showing the subjects commanding
major attention among the techni-
cians in and out of the studios.
Under a changed policy this session
the number of papers scheduled was
limited to thirty-five in order that
each might receive more attention
than has been possible in the past.
Four phases of the industry were
given especial attention. These were
photographic problems, release prints,
theatre operations and projection.
Lapel Microphone
By W. C. JONES and D. T. BELL
MANY speakers find it difficult to
use the conventional type of
microphone, because of the restrictions
which it imposes on their freedom of
movement. A microphone, known as
the lapel microphone and designed to
be worn on the speaker's clothing,
has been developed which overcomes
these limitations.
It is known that new problems are
encountered from time to time in the
use of microphone in sound recording
i and reproducing work and it is
; thought that the information con-
tained in this paper will be of interest
I to motion picture engineers.
It is expected that the lapel micro-
phone will find application in theatres,
churches, convention halls, lecture and
banquet rooms and the like where pub-
lic address systems are now employed.
j It also has a field of application in
| connection with other sound recording
and reproducing equipment where the
background noise, characteristic of
carbon microphones, is not a limiting
factor.
Recording Artificial Speech
By CHARLES W. BARRELL
Western Electric Company
FOR the first time motion picture
recordings have been made of
human speech recreated by the arti-
ficial larynx. A brief description is
given of the mechanical voice box
which replaces the natural larynx
when that organ has to be removed
by surgery.
The operation of the artificial
larynx is contrasted with the action
of the human larynx, and the vocal
organs in general are shown in com-
bined realistic photography and ani-
mated drawings from the sound mo-
tion picture, "The Voice That Science
Made," which the paper serves to
introduce.
Some sidelights are thrown on the
production of this novel film experi-
ment in popular education.
New Light Control for Printers
By KURT SCHNEIDER
THIS paper describes a new de-
vice for automatically control-
ling the intensity of the printing light
so that the successive scenes of each
print receive the respective exposures
which have been previously assigned
to them.
By means of a keyboard having
numbered keys corresponding to
twenty-four light intensity steps the
control can be rapidly set for a neg-
ative having as many as 160 scenes.
A recording indicator enables a quick
check-up with the timing card and
facilitates an accurate control of
printing.
Drying Conditions and Photo-
graphic Density
By D. R. WHITE
Asensitometric study is presented
of the effect of varied drying
conditions on positive film. It is found
that gamma changes considerably
with drying conditions. At 80 degrees,
for instance, an increase from 36 per-
cent to 80 percent relative humidity
increased gamma from 1.97 to 2.45.
The effect appears to be concurrent
with softening of the gelatine during
drying.
Wave Form Analysis
By OTTO SANDVIK and V. C. HALL
THE harmonic content of variable
density sound records, made
under a wide variety of conditions, has
been investigated by means of a mic-
rodensitometer and harmonic analyzer.
From these results the conditions cf
exposure and development giving min-
imum harmonic content were de-
ducted.
These results have been correlated
with results obtained by means of
photographic tone reproduction dia-
grams.
It has thus been possible to deter-
mine the effective emulsion character-
istic under various conditions and to
determine what changes in the charac-
teristic curve are necessary to bring
about further improvement in tone
quality and wider latitude in record-
ing and processing conditions.
Duplication of Negatives
By J. I. CRABTREE and
C. H. SCHWINGEL
IN 1926 Capstaff and Seymour pub-
lished a paper giving directions for
the making of duplicate negatives
using a new film which was manu-
factured specifically for that purpose.
Good quality and tone reproduction
were possible by this method, but the
graininess of exhibition prints was
not entirely satisfactory.
Since that date improved films have
been made available and the present
paper contains a description of the
tests performed during a search for
the most satisfactory sensitive mate-
rials and processing technic.
The experiments showed that in
order to minimize graininess the mas-
ter positive must be developed to a
relatively high gamma (1.85) in a
positive developer and the duplicate
negative to a correspondingly low
gamma (0.55 or less).
Data are also given which explain
why the high gamma master positive
in conjunction with a low gamma
duplicate negative gives the most
satisfactory graininess.
Projection from Continuously
Moving Film
By FORDYCE TUTTLE and
C. D. REID
A summary of the advantages
claimed for non-intermittent pro-
jectors is given. This is followed by
a list of questions which the writers
think should be answered with regard
to any projector of this type.
The various projector types are
then classified according to the optical
means used to form a fixed image.
Two types of error are noted and
each type of projector listed is dis-
cussed, keeping these in mind. A
reference table is appended to serve
as a rapid review.
Literature of the Industry
By GLENN E. MATTHEWS
INFORMATION concerning the mo-
tion picture industry is published
in a great many different journals
issued by various societies and com-
panies in this country and abroad.
This information has been classified
in two divisions, according as it per-
tains to the professional or to the
amateur.
Publications relating to the former
group have been sub-divided into four
classes: General technical publica-
tions, publications related to motion
picture production, publications per-
taining to exhibition of motion pic-
tures, and miscellaneous publications.
A classified bibliography of books
on engineering and business aspects of
the industry is included.
Measurement of Filter Factors
By LLOYD A. JONES and
J. W.McFARLANE
AN instrument is described in
which the theoretically correct
conditions for precise photographic
photometry are realized. This per-
Ten
The INTERNATIONAL PHOTOGRAPHER
June, 1932
mits the measurement of filter factors,
photographic reflection and trans-
mission of coefficients of colored ma-
terials, and the photographic intensity
of light sources with higher precision
and greater repeatability than it has
been possible to realize with the
majority of other methods commonly
used for these purposes.
The method of procedure and the
results obtained are illustrated by the
projection of motion pictures showing
the changes which occur in the photo-
metric field during the process of mak-
ing the determinations.
is procuring monthly an average of
25 features and 5 short subjects.
The navy requirements on censor-
ship, processing, longevity and spe-
cial machine design are brought out,
as well as a probable future require-
ment of restoration of historical film
records which have become deterio-
rated with age.
Exchange problems and methods are
discussed.
Automatic Production Printer
By A. S. HOWELL, B. E. STECH-
RART and R. F. MITCHELL
THIS paper describes the new
Bell and Howell fully automatic
sound and picture production printer
in which the fundamental design is
established on basic sensitometric
specifications. An analysis is pre-
sented of the requirements of the lab-
oratory ideal of a printing machine,
including such specifications as fully
automatic foolproof interlocking, elim-
ination of operator mistakes and film
wastage, and many other desirable
features for a machine of this type.
The paper describes the new printer
fully and shows how the printer can
be set in practice to conform to abso-
lute sensitometric standards.
A resume of the outstanding fea-
tures of the new machine closes the
paper.
Motion Pictures in the Navy
By Lieut. CHARLES E. FRASER,
U. S. N. R.
THIS paper presents briefly the
part played by motion pictures
in the general scheme of the naval
organization, touching on its enter-
tainment, instructional and recruiting
value.
For entertainment alone the navy
owns, in duplicate, 467 features, and
Extension of Film Recording
and Reproduction
By G. L. DIMMICK
IMPROVEMENTS have been made
in the recording of sound-on-film
and in the reproduction of sound
from film which has resulted in an
extension of the frequency range and
in the volume range.
The low frequency range has been
extended by the use of a loudspeaker
unit which gives good response from
60 cycles to 10,000 cycles.
The high frequency range has been
extended by the use of a ribbon type
microphone and by the reduction of
film attenuation. The use of a nar-
rower recording slit and a large mir-
ror galvanometer have improved the
high frequency response from the film.
The ground noise reduction system is
simplified and made more effective.
Finishing a Motion Picture
By W. C. HARCUS
THE motion picture editorial prob-
lem is covered in a comprehen-
sive outline of the steps involved in
creating a finished production seven
or eight thousand feet in length from
the several hundred thousand feet of
film photographed and recorded for
this purpose.
Illustrations are given disclosing
type of problems confronting the
director and film editor who are re-
sponsible for this work. The Holly-
wood preview is described in some
detail.
Dave Hors ley Awarded Honor of
Making First Hollyzvood Picture
By EARL THEISEN
THE question as to who made the
first motion picture in Holly-
wood long has been the cause of
a lively dispute. Several have claimed
the honor of taking that particular bit
of acreage out of the cornbelt and
starting it on its way to the centre of
things,, to act in a sense as the roman-
tic hub of the universe and where in
undisturbed security temperament
might reach hitherto unknown heights.
At any rate the discoverers of
motion picture Hollywood did not
bring with them the sensationalism
and iniquity that imaginative persons
ascribe to the film capital.
As chairman of the Los Angeles
Museum committee of the Society of
Motion Picture Engineers various
claims as to who made the first mo-
tion picture in Hollywood have been
brought to this writer's attention.
The earliest for Hollywood, as it
is bounded today, was made by Dave
Horsley. Others who early made pic-
tures on the west coast in this vi-
cinity included Biograph, Selig, New
York Motion Picture Company, Imp
and Majestic.
Horsley came to Hollywood Oct. 23,
1911, and made arrangements with
the Maier Brewing Company for a
lease on the Blondeau Tavern at the
northwest corner of Sunset and
Gower. His Nestor company arrived
Oct. 27.
Three companies started shooting
for Nestor release immediately, one
under Walter Pritchard and the others
under Tom Ricketts and Al E. Chris-
THE COVER ARTIST
FOR the cover photograph this
this month we are indebted to
Joseph A. Valentine. He has
brought to us an unusual shot of
Medicine Lake, in the Canadian
Rockies.
The horseman in the centre is
Farrell MacDonald, portraying one
of the Mounted in "The Country
Beyond," directed by Irving Cum-
mings.
tie, the latter of whom was manager
of the comedy forces, as well as
studio manager for Horsley. There
was a competitive rush to finish the
first picture. Each negative upon
completion was shipped back east to
headquarters in Bayonne, N. J. The
three arrived practically at the same
time. The first to be released, how-
ever, was "Her Indian Hero."
Accompanying Horsley on his ar-
rival in Los Angeles were Dorothy
Davenport, a niece of the late
Fanny Davenport, nationally famous
actress, and who later was to become
the wife of Wallace Reid; Victoria
Forde, later to be Mrs. Tom Mix, and
the well remembered Russell Bassett,
who probably received the highest
salary, $40 a week.
John Nickelaus was the laboratory
technician. Others in the party were
Milton Fahrney, Christie and Pritch-
ard. Christie with his brother Charles
later were to become Hollywood
figures as producers of Christie com-
edies at the same Sunset corner as
that which marked the spot of the
first Hollywood picture making.
Mr. Theisen's award confirms the
results of the investigation in 1915
by the present editor of International
Photographer, at the time mentioned
on the west coast as staff correspon-
dent of the Moving Picture World.
During a stay extending from prior
to the opening of Universal City on
March 15 until the close of the an-
nual convention of the national ex-
hibitors organization in mid July in
San Francisco much time was devoted
to gathering data of the rise and de-
velopment of the industry.
In a special issue of the World
dated July 10 over sixty pages were
devoted to recording the impressions
set down at that time. The cor-
respondent recalls that even with the
comparatively short time that had
elapsed since the first company ar-
rived on the coast to make motion
pictures there were many conflicting
claims as to who was who among the
first-comers. Lest there be confusion
it should be clearly understood Mr.
Theisen is referring solely to the first
picture to be made in Hollywood,
which was far from being the first
west coast site chosen for picture-
making. Downtown Los Angeles had
precedence over Hollywood by several
years.
During the latest season there were
16 features made in Poland, but it is
reported that only two of these found
general approval.
'June, 1932
The INTERNATIONAL PHOTOGRAPHER
Eleven
Passing of Laurance Hill Mourned
by Community He Served So Well
HOLLYWOOD as the community
in which he lived and served
mourns the passing of Laurance
L. Hill, son of John Corydon Hill,
art editor of International Photog-
rapher, and Mrs. Hill, on May 13 last.
True to the life of one who leaves
his indelible imprint on the progress
and growth of the city he enriches
with his presence, this man in his
prime ■ — ■ only forty-five — identified
himself with many civic enterprises.
He was one of the pioneers in the
movement who foresaw the beauty,
inspiration and appeal in "Symphonies
Under the Stars" now enjoyed annu-
ally by so many thousands in the Hol-
lywood Bowl known the world over.
Journalistic talent was evidenced in
early boyhood. He was editor of the
annual at the Los Angeles High
School during his senior year. Later
at Stanford University he was suc-
cessively editor of the Quad and the
Daily Palo Alto, a double honor sel-
dom accorded to one person. He also
held the office of president of the
Stanford Press Club.
Then followed a period as campus
correspondent for the old Los Angeles
Tribune. When it failed he became
Los Angeles Times and Associated
Press correspondent. This early
training in writing augmented by
later experience as the first city edi-
tor of the Hollywood Citizen laid the
foundation for the position held at the
time of his death — publicity manager
of the Security First National Bank
of Los Angeles.
His individual and distinctive method
of popularizing the historical back-
ground of California in a series of
community histories published by the
bank established him as a nationally
recognized historian with the inclu-
sion of his name in "Who's Who" in
1930.
Authority on Eary Days
As a writer and lecturer in this
particular field of research California
is lastingly indebted to him. His book-
lets are used as text books in the pub-
lic schools, as well as reference
sources in public, private and studio
libraries.
As a collector and publisher of his-
torical stills motion picture studios
drew upon him for unusual pictures
and authentic data. His assistance
was especially valuable on questions
regarding the period when the indus-
try was still young.
As director and publicity chairman
of La Fiesta de Los Angeles last Sep-
tember he was one of the strongest
personal links in the phenomenal rec-
ord established, the culminating fea-
ture of which was the magnificent
electrical parade sponsored by the
motion picture industry and repre-
sented by all its branches of activity.
He wrote much of the "eternal
verities." In striving to live up to
his ideals, personally and unselfishly
giving of his time, energy and thought
as an active exponent of them in his
community, he was unknowingly mak-
ing his life an eternal verity to be
permanently identified with the state
he loved so well. It will also live in
the hearts of his friends and loved
ones, a perpetual source of comfort
and pride in the reflection of a clean,
courageous, purposeful life well lived.
Crescent Brokerage W rites
Insurance on Cameras and
Automobiles the W orld Over
THE Crescent Brokerage Cor-
poration, with offices in Los An-
geles and five other cities and
with headquarters in New York, an-
uounces that as a result of the vol-
ume of business controlled by the
company it has been enabled to secure
special rates for insuring cameras,
camera equipment and automobiles.
One of the organization's specialties
is an all-risk camera policy, includ-
ing the aeroplane hazard, and an all-
risk automobile policy wherein it
states it can provide for individual
members of the I. A. and their affili-
ates at a saving from customary
schedules.
The Crescent entered the Los An-
geles field something over a year ago
under the presidency of its founder,
Gustave A. Blumenreiter, formerly an
officer of the Home Insurance Com-
pany of New York.
Among the larger clients being
handled locally by the company are
Fox Film, Fox West Coast, Mitchell
Camera, Ashcraft Automatic Arc,
National Theatre Supply and Inter-
national Projection.
The company does not limit its
clients to citizens of the United States
and Canada, but has facilities for
taking care of business in any part of
the world. It is this particular phase
of its claims that it believes especial-
ly will appeal to the world roaming
cameramen.
In March, 1931, amusement tax re-
turns in Berlin amounted to 1,159,416
reichsmarks. These amounted to only
759,942 reichsmarks, or 34 per cent
drop, in the corresponding month.
From the film exhibit at the Los Angeles Mtiseum, through the courtesy of
Earl Theisen, is loaned the photograph of Hollywood's first motion picture
studio. It was on October 17, 1911, David Horsley's Nestor company reached
Hollywood from Bayonne, N. J. Six days later was taken the first shot at
the northwest corner of Gower and Sunset, the plot on which later was to
rise the Christie studio. The corner subsequently was to be referred to more
or less humorously as Forty-second and Broadway of the film, centre. So also
ivas it to be known as the official congregating point of those who haunted
Poverty Row — so described because it was the home of independent produc-
tions. The term has lost its significance in recent days, largely because three
of Hollywood's more successful enterprises are here situated— those of William
Horsley, a brother of David, and likewise a film pioneer; and the studios of
Columbia and Trent Carr. The foregoing should not cause confusion as to
the first motion pictures to be made on the west coast. A goodly number of
localities had precedence over Hollywood in this respect.
Tivelve
The INTERNATIONAL PHOTOGRAPHER
June, 1932
WBm
mBKBBBKBM
Left to right, Captain E. H. (Robbie) Robinson, Jack (Nigger) Rand, Howard (Whoopee) Batt, Earl (Chubby) Gor-
don, Frank (Spooks) Clarke, acting president; Florence Lowe (Puneho) Barnes, Dick (Stub) Renaldi, Roy (Gabriel)
Wilson, Oliver (Boots) Le Boutillier, Tave (300HP) Wilson, Joe Touhey, business representative.
Associated Motion Picture Pilots
Will Maintain Highest Standards
By "RANCH*)" BARNES
AFTER a hurry up call for a turn-
out of the Associated Motion
Picture Pilots, to be especially
photographed for the International
Photographer, Cameraman Mickey
Whalen, assisted by Joe Touhey, final-
ly succeeded in rounding up and
photographing ten out of the group of
seventeen.
Dick Grace was off somewhere on a
location hunt. Al Wilson and Clinton
Herberger "thought it was to-mor-
row." Bob Clair was standing by for
Paramount, Garland Lincoln was on
a cross country trip, and Frank Tom-
ick was busy testing a ship.
Ira Reed, much to his disgust known
as "Smiley" to the group because of
his constantly grim visage, was just
plain missing. Possibly Ira was prac-
ticing parachute jumps from third-
story windows in Hollywood.
However, whatever he was doing
we can't comment when we remember
that he is the lad who crashed in
midair with another plane during the
photographing of "Hell's Angels" and
successfully rode the nearly wingless
wreck to the ground, landing her
safely and saving several thousands
of dollars of the producer's money.
The rest of the men and the one
woman member are all accounted for
in the accompanying photograph,
which they entitled a Mickey Whalen
production, and accompanied it by
the usual set of wisecracks character-
istic of pilots.
Aviation a Cause
Everyone knows that a good
cameraman's work is his pride and his
joy, that he wants his lighting and
composition and entire pictorial effect
as perfect as he can make it. These
stunt pilots take their work as seri-
ously as do the most finicky of
cameramen. They wish not only to
help in the making of the finest type
of air pictures possible. Aviation
itself is a true cause with them.
They want good and thrilling but
logical air pictures to work on. They
want the opportunity to do their stuff.
And whatever it is they will get it
for the producer at minimum effort
and cost to him.
The Associated Motion Picture
Pilots is an organization trying to
maintain the highest standards pos-
sible in motion picture piloting. No
member is accepted unless he is
passed on fairly and squarely by the
group as a whole, and the fact that
he is a member of the association
stamps him for everything that goes
to make up the best in flying ability
and the assurance of steady, cool re-
liability throughout his work.
This is the guarantee of safety that
a cameraman has when he rides with
a member of the organization. In
accepting membership the organiza-
tions' first qualifications always have
been previous experience and the
man's past record as a motion picture
pilot. It is sterling worth as a whole
that determines eligibility.
The members have so splendidly
assimiliated the spirit of brotherhood
that even though certain of the mem-
bers may not like the way another
parts his hair they ignore the small
things that in the old days used to
be points of exception in favor of the
present splendid picture as a whole.
Breaking Record Upside Down
The association has requested that
thanks be expressed the cameramen
for their past splendid co-operation
with them, as individuals and as a
group, and especially to Howard E.
Hurd, who so kindly has given to
them his counsel and suggestion.
These boys are entirely sincere in
putting out their best effort and co-
operation in the making of flying
pictures, and don't let them kid you
either, which they will do if you give
them half a chance. Ask some in-
dividual member what the motto of
the organization is and he will nrob-
ably grin and make some foolish re-
mark like "First man to the rip cord
lives the longest," but what he means
is:
"You tell us what you want, and
we'll get it if we have to break the
trans-continental record upside down!"
Swiss Wire 161 Houses
Out of a total of 260 cinemas in
Switzerland over 60 percent, or 161 in
number, have been wired. Out of
these 66 cinemas have installed
Klangfilm-Tobis.
it on location, too
.TOR some time after its announcement,
Eastman Super-sensitive Panchromatic
Film was used chiefly under artificial light.
Now many cameramen are "shooting" it
on location, too . . . for these reasons: (l) Its
speed substantially lengthens the photo-
graphic day ... (2) It offers special advan-
tages in photographing certain types of
scenes and costumes... (3) In all scenes it
yields that subtly superior quality which
marks the most advanced motion picture
photography. . . (4) It gives the cine-
matographer a single negative medium
for all purposes ... a medium which, once
fully understood, affords a range of possi-
bilities bounded only by the user's imagina-
tion and technical skill. Eastman Kodak
Company. (J. E. Brulatour, Inc., Distribu-
tors, New York, Chicago, Hollywood.)
Eastman Supersensitive
Panchromatic Negative (Gray-backed)
Chapter Seven
THE extra fare train is belchin
up a extra amount of cinders
so's the customers on the back
porch of the observation car kin g*it
planty cinders in the eye and feel
they is gittin a couple bucks extra of
high class wheelin from Chicago to
Manhattan. . .Roddy Giles is asittin
back there breathin in a mess of
high speed dust as he rolls on to the
Home office to pick up a new sound
buggy to replace the one what has
went in the red on the Insurance Co.
ledger.
Roddy is all a titter over the letter
his little blonde Gertie has rushed to
him special delivery jest before he
left.
"Dear Roddy Honey Boy (and here
the pen splashed a blotch of ink as it
wuz one of them office pens not used
to red hot duckey woids): I jest heard
the boss is havin you come to New
York for a new truck. Won't that be
just lovely for me and you? You
know how I have been lookin for-
ward to us gettin spliced and now we
kin finally git married, especially
since you is savin your money from
what I hears here.
"I will meet you at the train as I
jest typed the wire from the boss 10
you telling you to be here Friday. . .1
jest can't wait until youse arrive...
Your one and only Gertie."
And Rod kinda reads the baloney
and he kinda riggers on how it is
months now since he is heard from
the little heart thumper of hisn and
especially since she has tole him she
has taken the permanent runout
powder on him ... So Rod is gettin a
high class coat of cinder dust rings
around where his collar meets his
neck back there on the back porch of
the train.
That Silly Feelin
And purty soon he gits the silly
feelin around the heart about what
a swell understandin dame Gertie
always wuz, and a coupla miles later
he Aggers how lucky he is after all
to have all the love of one frail when
one kin read so much in the sin col-
umns nowadays about how gals is
ruinin innocent men.
And jest about this time one of
these summer tourist gals from the
small town what has saved her money
all year to see the big city comes out
on the observation platform and
parks on the seat next to Rod... and
right away she gits a cinder in the
eye... so she kinder gurgles to Rod
does he know how to git it out... So
Rod takes advantage of the situation
jest like the Scoutmaster taught him
years ago when he wuz a real Boy
Scout.
The Kid Himself
Only Rod jest can't find the cin-
der, but the gal comes to the rescue
with the baloney. . ."Oh,, thank you
very much, you got it out that
time!"
And then she follows about what a
fine gentleman Roddy is and how her
dear Mother tole her not to talk to
strangers on the train, but she knew
right away what a gentleman Rod
wuz, the minute he got the clean
hankerchief out for the sucker opera-
tion. . .and jest about this time the
dinge from the diner hollers out the
"soups on" yell so Roddy gits sucked
in the double check.
And kin the little damsel yokel
order ? ... So by the time the steward
gives Rod the two bucks change from
the sawbuck he hands him the little
woman is kinda all a flutter to sit out
on the back porch again and watch
the moon roll by and listen to Rod's
darin tales of the newsreel biz... So
they sit back there so long that the
colored porter has to turn out all the
lites in the car about a dozen times
before the two takes the hint to turn
in.
So the next mornin Rod is again all
on fire on meetin his Gertie, but jest
before the train rolls into Grand Cen-
tral Roddy's travelin companion hangs
on to him and it looks like Roddy is
gonna have one awful time shakin her
before Gertie dashes up for the big
homecomin scene...
Smokin Rockets
And for once Roddy is right . . .
Gertie is standin by the car door jest
as the little travelin vamp takes
Roddy by the arm as they gits off . . .
and before Rod has a chanct to open
up on the glad to see you business his
dear little Gertie has turned the
frigidaire on full blast and the way
she passed down that train shed it
looked like one of these here rockets
goin thru with the smoke trailin and
all.
Well, Rod jest stood there, and
when he started to push them size
eleven gondolos of his he jest left the
little amatuer tourist right in his
tracks ... So a coupla days later Rod
is a workin in the lab fixin up his
new outfit when a buddy noise ketcher
axes him if he is goin to the weddin
Sattidy.
"What weddin?" asks Roddy.
So the guy tells him all about how
the whole gang has been invited
weeks ago to come up and sop up
weddin wine and dance with the bride
seein as it wuz their own Gertie what
was gonna git hitched to a high class
Italian shoe shine parlor owner...
been engaged for months, and is they
ever nuts about each other?
Well, Rod drops the solderin iron
he is usin and it hits the other guy's
foot, but the warhoop this hombre
lets out was never heard by Rod, as
Rod is sailin down the hall to the
Miss Information desk... and does he
put his little Gertie on the pan?
Waterworks Turned On
How does she, the little fickle so and
so, get like that triflin with his heart
and then bustin it all up and lettin
him down- . . . And the way he gives
her the red hot dialogue doesn't give
her a chanct for a comeback even. . .
so what else kin Gertie do?. . .bein a
woman with some pride and feelins.
Well, she does... she breaks down
in one of them high-class weepin
parties. . .and when the waterworks
are turned on Roddy shuts up right
quick and he is immediately sorry he
has taken his one love down so with
such harsh words... but Gertie jest
keeps on the tear jag, especially since
she sees it is goin over.
Also since maybe Chicago would be
a sweller place to live for a change
instead behind a high class Italian
shoe parlor... And jest at this time
the boss comes out to see the com-
motion and when he sees Gertie doin
the heavy cry act he blows up at Rod.
"Roderick Giles! What do you
think this is, insultin our gals on the
staff here right in the office!"
Boy, oh boy!... how the boss bel-
lows at Rod — he is on the verge of
apoplexy. . .and he winds up with the
curtain call for Rod.
"You is fired! Fired right now,
Roderick Giles! Git out before I lose
my temper!". . .and Rod didn't need
any handgraved invite to blow. . .he
jest choosed the nearest exit and
didn't even walk to it, but took it on
high.
So Rod after hittin the ozone jest
walks and walks along the streets . . .
and he is plenty low. . .no more Gertie
for him... he knows now wimmin is
all alike as far as he is concerned.. .
not a true one in a carload. . .and
then Fate or what they calls them ac-
cidents guys can't explain makes him
run into the old chief operator he
used to work with at the phone com-
pany. . .
Hamburgers With Onions
Gee! and wuz they glad to see each
other. . .and so she axes Rod to have
lunch with her and Rod accepts the
offer to pay for the two checks ... so
they talks about ole times... and the
way Rod always went out to git her
the hamburgers with the onions . . .
and she misses him lots around the
phone exchange. . .so Rod pours out
his heart to the ole chief operator. . .
June, 1932
The INTERNATIONAL PHOTOGRAPHER
Fifteen
about the lousy business he got into
...and how fickle the blonds in the
pitcher business are.
The chief operator wuz brunnete,
and Rod had learned that much about
wimmin anyhow not to tell the chief
that all wuz fickle. . .besides he
couldn't hurt her feelins with the way
she understood his troubles. . .so it
all worked out that the chief operator
worked hard back at the exchange to
git Rod back on his ole job of trouble
shooter, and Roddy found real hap-
piness once agin. . .dashin out for
hamburgers with lots of onion and
fixin phones in wimmin's boudoirs...
Two Shots and Two Beers
Back in the Windy Burg ole Pat
MacCarthy is a sittin at the bar over
at Ches's place and Ches is gittin a
fresh barrel tapped when the ole
buzzer rings... so Ches ankles over
to the door to see if it's a customer
what's on the up and up.
Well, it's a strange guy and he
axes if Pat MacCarthy is inside... so
Ches says "Wait a minnit! I'll see!
and who wants to see him? "...so
Ches announces to Pat, "Hey, Pat!
There's some guy out here to see you!
Says to tell you he is your new sound
man! Name of Tim O'Reilly!"
"Leave him in, by all means!"
chirps Pat. . ."At last a real man for
a noise kitcher! Boy, with a name like
that the guy must be aces.". . .And
Ches starts for the door but Pat
drags him back... "Hey, before you
let him in set up two truck driver
specials, two shots and two beers for
a wash... I wanta show this noise
ketcher we got real hospitality out
here!"
±i.SoShes sets em UP and then lets
the hombre in ... he is another big
tall, flat chested egg like Rod . . . only
he wears shell rim glasses to boot .'
I am Tim O'Reilly, your new sound
man! and Pat kinder gives him
the double O.O. and finally busts out
... Well, lets drink to the new com-
bination!" and he motions to the
drink.
The new dial twister jest kinder
looks at the set-up and then asks,
Say, if you don't mind I'll take a
malted milk instead!"
"And put the best lily in it you got,
Ches!" adds Pat. . .
Then to himself a la Eugene O'Neil-
Noise Ketchers! Five cents a big
bag... Ten cents a big bushel."
THE END
So Rod
takes advantage of the situation jest like the Scoutmaster taught him
years ago when he wuz a real Boy Scout
New Zealand to Stop Promiscuous
Construction of Picture Theatres
ACCORDING to Assistant Trade
Commissioner Julian B. Foster
of Wellington, New Zealand,
regulations under the Board of Trade
act recently were gazetted empower-
ing the Minister of Industries and
Commerce to limit the erection of pic-
ture theaters.
The new ordinance is to be known
as the Board of Trade (Cinemato-
graph films) regulations, 1932, and it
is operative immediately. The reg-
ulations authorize the Minister to
appoint officers to control and with-
hold licenses from exhibitors in locali-
ties where the erection of additional
theatres "would be likely to result in
unreasonable economic waste."
The Minister has to be satisfied that
the existing theaters are adequate for
the normal requirements of a locality,
having regard to the quality of films
exhibited, the seating accommodation
and the admission charges. It is pro-
vided that the minister also must be
satisfied on the point as to whether
the opening of new theaters would
cause undue hardship to exhibitors
already licensed.
The regulations issued appear to be
intended for future rather than for
immediate use. Very little theater
building has been undertaken in New
Zealand in the past two years, and
most cities and towns are well sup-
plied with places of entertainment.
Sixteen
The INTERNATIONAL PHOTOGRAPHER
June, 11
California Streams at Springtime
Verse and Photography
By Esselle Parichy
Thou art ever flowing —
Flowing to the sea —
Singing, sighing, murmuring,
Love tones unto me.
All thy strength is given
For thy rapid race,
Round the boulders glancing,
A mirror is thy face.
Running through the valley
Hedged within thy banks,
Till the spring clouds give thee
Fresh gifts — laughing pranks.
O'er thy banks you scamper
With a shout of glee,
Flowing — working onward
Unto the mighty sea.
Man's eternal lesson
Written cross thy face,
Onward to thy duty
Nor slacken in thy pace.
Till the sea triumphant
Holds you in its arms,
Then thy work is over
In harbor — safe from harm.
<?S£'°+
@ream oth Stills
In historic country, a corner of the gold mining mountains made famous by Bret Harte among others, on the
banks of the Kern River and near the town of Kernville, Don MacKenzie records a charming bit of country-
side— when viewed from the fireplace
^HAT/O,.
°CRN*
Qream oth Stills
,^^.'0^
BOW**
Up in Death Valley
Tom Mix and his
crew in "Rider of
Death Valley"
swelter. The location
is much used in the
picture. Mix is
shown at the en-
trance, talking to
Forrest Stanley on
the other side of the
mike. Adolph L.
Schafer photo-
graphed the still
Clifton L. King
submits a remarkable
picture of the
pounding surf at
haguna on the Cali-
fornia shore. M-G-M
company is shown try-
ing to register sound
against the mighty
roar of Old Ocean
'*>6r^
Qream ath Stills
"OGRN^
Here in Honolulu
in surroundings
flowery and peaceful
Radio's staff making
"Bird of Paradise"
gets set for a shot.
At the lower left
is Dolores Del Rio.
Then in order are
Frank Robinson,
Lucky Humberstone,
King Vidor, Clyde
DeVinna, camera chief ;
Charles Burke and
behind the camera is
its operator, Ed Pyle.
Photo by
Robert Coburn
Clarence Hewitt
shows us this
picture of
Lionel Barrymore
directing "Rogue Song."
Lawrence Tibbett
is seen standing
in the doorway, and
behind the camera is
Percy Hilburn
*
Qream oth Stills
ct^'Os,
Fifth Avenue,
New York
A city was born, and it said,
"I will be the hub and wheel of industry.
Here all nations will congregate
To pay me homage and call me great."
Photo by
Jackson Rose
Verse by
Bernice M. Conner
*SA7y0
(7) ream oth Stills
Los Angeles
Another city afire with dream
Saw the blue Pacific gleam
And murmured "Let peace and beauty reign,
Buildings crumble — trees remain."
Photo by
Jackson Rose
Verse by
Berenice M. Conner
*♦£?%
Qream a th Stills
**?*?<*.
r/i^'s trwii/ great
edifice, one of
the recognized
wonders of the
world, was founded
in 1386 by the
Lord of Milan.
It is built of
marble. It was
photographed by
Joseph A. Valentine
during his visit
to Italy in 1931
Three hundred
sheep are packed
into this flock
driven nearly 200
miles into the.
national park
for a motion picture.
Proper protection
from animals
required vigilance.
Photographed in
Mount Baker country
by L. William O'Connell
*>™*u
@ream oth Stills
C^L'O^,
Here is the
Uffici palace
in Florence,
ivith the
Palazzo Vecchio
in the background.
Photographed between
showers by
Joseph A. Valentine
Switching back
across the old
Atlantic and the
continent we land
in the high
Sierras, where
Art Marion
planted his camera
near June Lake
in a November
a year or two ago
^'°*
*„<'fiS>£
Qream oth Stills
Charles Ruggles in his Paramount dressing room reads International Photographer's complimentary refer-
ence to his work in "This is the Night." Photo by Bert Longworth, I. P.
June, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-five
v^[mateurJ)epariment)A
Mickey MouseMahsBowtol6mm.
Hollywood Film Enterprises Secures American
Rights to Reproduce and Distribute
Popular Disney Product
TO a Hollywood corporation has
been awarded the fattest con-
tract in the history of narrow
gauge film — the rights for the United
States to reproduce in 16mm. and dis-
tribute Mickey Mouse and Silly Sym-
phony cartoon comedies that have
served their time on the major screen.
Walt Disney, Ltd., producers as
well as originators of these topnotch
comedy entertainers, has closed a
deal with Hollywood Film Enter-
prises making effective just that. At
the Sunset plant of the Hollywood
company work already is well under
way getting out comedies for the
16mm. trade. These will be in silent
form.
These comedies have been sought
after by the 16mm. trade more earn-
estly than has any other single 35mm.
product to reach the screen. It is
believed the determining factor in the
minds of the Disney executives when
making the award was the combined
experience and capacity for quantity
production of the plant organized by
William Horsley years ago and which
for the past half dozen years has
been showing increasing attention to
the narrow gauge film.
Its capacity for 16mm. production
has been so expanded that it is now
possible to produce 100 feet of fin-
ished film every minute in the twenty-
four hours if it be necessary to so
push the plant. That means a total
daily capacity of nearly 150,000 feet.
And every foot of narrow film, it
must not be forgotten, represents in
terms of actual pictures two and a
half feet of the standard size stock.
For Toy Projectors, Too
Ready for distribution on June 1
there will be 12 100-foot subjects. Sup-
plementing these will be 25 50-foot,
25 25-foot and 25 10-foot subjects.
The 25 and 10 foot lengths are for the
special entertainment of the kids in
thf-ir toy projectors.
Walter W. Bell, who for several
years has been chief of the cine art
department of the Hollywood Enter-
prises, said for a long time, in fact
since the Mickey Mouse comedies
have attained such popularity, the
Sunset laboratory has been besieged
by 16mm. projector owners as well as
dealers from all over the world for
the athletic Mickey in narrow form.
Whenever the Disney brothers,
Walter and Roy, were approached
with this object in mind they were
not enthusiastic. The surmise is
offered for what it may be worth that
possibly the change in heart of the
Disneys may be ascribed to their
recent conversion to the narrow films.
It was but a short time ago that the
two became ardent fans, purchasing
cameras and projectors.
It is believed that actual expe-
rience in the making and projecting of
the 16mm. picture so impressed the
brothers it brought a realization of
the potentialities of the little film.
The suggestion was made that
where now few really young children
are taken to the theatres uncounted
numbers of these will become familiar
with animated cartoons by reason of
seeing them in their homes, with the
result that when finally they are per-
mitted to attend the regular houses
they will be ready and insistent cus-
tomers for their favorite cartoon
creations.
No Increase In Price
Stress was laid by the Hollywood
Film executives that the release of
the Mickey Mouse stuff would be
marked by no increase in the price
of the 16mm. material. The prevail-
ing quotation of $3.50 for a hundred
feet will continue, as well as that of
35 cents for the ten-foot toy subjects.
Each title will mean an independent
story, or rather one complete in itself.
That applies to the varying lengths.
Specially labeled boxes will carry the
cartoons.
Some of the first subjects to be
reproduced will be "Mickey's Rival,"
"Fancy Steps," "Forward, March,"
"Mickey's Wild Ride," "Mickey En-
lists," "Mickey's Last Stand," "Mick-
ey's Lucky Catch," "Mickey's Big
Circus," "Mickey's Big Cheese," "Mick-
ey's Hot Dogs," "Mickey's Lunch,"
"Mickey's Bugev Ride," "Mickey in
Vaudeville," and "Mickey's Blowout."
Mickey Reflects Chaplin
Walt Disney recently has admitted
that the thought behind Mickey
Mouse was suggested by the person-
ality of Chaplin as he is portrayed on
the screen — that in his diminutiveness
and seeming inability to battle with
the world on anything near even
terms the wistful little fellow typi-
fied the human race.
Chaplin and Mickey are perfect
internationalists in so far as when
one or the other is beset by any ill
to which the race at large is heir
that affliction finds response in the
breast of the savage as well as the
less savage.
"I think," remarked Walt Disney
recently, "we were rather indebted to
Chaplin for the idea of Mickey. We
wanted something appealing, and we
thought of a tiny bit of a mouse that
would have something of the wistful-
ness of Chaplin, a little fellow trying
to do the best he could."
That the Disneys have succeeded is
measurably attested by a remark cred-
ited a year or two ago to Mary Pick-
ford, across recent years popularly
referred to as "America's sweetheart,"
an appellation first employed by the
elder Grauman in San Francisco:
"The most popular star in the
world today — Mickey Mouse."
Talking Films Become Part
of Chicago "t/" Curriculum
TALKING motion pictures are at
the door of the college class-
room, according to an Associated
Press dispatch dated May 15.
The University of Chicago will be-
gin production in about two weeks on
a series of 20 films on the physical
sciences. Next fall they will be the
basis of study in its freshman class
and will be sold to other colleges, high
school and educational groups for
class presentation. Later the movies
will invade every branch of study.
Robert Maynard Hutchins, 33-year-
old president, who has announced sev-
eral revolutionary plans since taking
office in 1929, described today the lat-
est contribution "to the experimental
tradition of this university." Four
years were required to perfect it.
"We are not going into the enter-
tainment business," he said, "and we
are not trying to jazz up education.
This will be the first organized at-
tempt of any university to find out
what talking pictures can contribute
to classroom work. We expect to ex-
tend it to all branches of the univer-
sity, to our courses in adult educa-
tion and to many of the 2200 other in-
stitutions which use our new system
of instruction."
Rowley Buys Studio
Les Rowley, for twelve years a still
photographer in West Coast studios,
has purchased a photographic estab-
lishment at 6463 Van Nuys Boulevard,
Van Nuys. The place has been in
operation eighteen years. It will be
continued both for portrait and com-
mercial work, and will in no way re-
place any of the new owner's activities
around local studios.
Create Film Archive
On the instigation of Dr. Bruening
a Reischs-Film Archive is to be estab-
lished in which all films and news
reels relative to state matters of every
description are to be collected.
Twenty-six
The INTERNATIONAL PHOTOGRAPHER
June, 1932
Engineers Hear Papers on Progress
of 1 6mm. Film in Home and School
AT the spring convention of the
Society of Motion Picture En-
gineers held in Washington
May 9 to 12 there were read several
papers relating to 16mm. film in the
home, the office and the schoolroom.
Among them were these, of which the
following are abstracts:
WALT DISNEY'S
MICKEY MOUSE
and
SILLY SYMPHONY
CARTOONS
NOW READY IN
I6MM. (SILENT) FOR
HOME USE
100 ft. subjects $3.50
50 ft. subjects 1.75
25 ft. subjects 90
10 ft. subjects .35
CATALOGS ON REQUEST
CINE ART FILMS
Hollywood Film Enterprises, Inc.
6060 Sunset Blvd.
Hollywood, Calif.
AAAAAAAAAAAAA
Standards and Requirements of
Projection for Visual
Education
By CHAUNCEY L. GREENE
IN the development of visual edu-
cation the choice of material,
planning of sequences, photography,
laboratory work and editing of the
finished product receive the most care-
ful attention, but the projection of
this finished product is very much
neglected in the few instances where
it is considered at all.
The inevitable result is eyestrain
either severe or slight; either is seri-
ous. The severe strain of eyes al-
ready heavily taxed by constant study
may easily have serious results. The
slight strain will either induce drowsi-
ness and sleep, or slow down the
mental processes and dull the keen
edge of the mental faculties until
much if not all of the gain made
through the visual method of presen-
tation is nullified. The keen-minded,
highstrung individual who without
the handicap of eyestrain would be
far the better student suffers first and
most.
The conditions for projection free
from eyestrain are the same for edu-
cational work as for theatrical projec-
tion, but conditions and limitations
peculiar to classroom work such as
shape and size of the rooms, lighting
arrangements, lack of beam-power of
the projectors necessitating the use
of specular or semi-specular screens,
and the short projection and viewing
distances frequently encountered give
a major importance to factors which
are negligible in theatrical projection.
Two opaque and five translucent
screens are analyzed.
Particularly is this true of the pro-
jection of opaque objects where all of
these factors are present at the same
time and all in large degree. Two
experimental opaque object projectors
are described, one of moderately high
power and the other of extremely
high power.
Sound on Standard 16mm. Film
By H. G. TASKER and
A. W. CARPENTER
THE development of sound on
16mm. film presents technical
problems which have resulted in the
proposal of many unconventional ar-
rangements of sound track and pic-
ture as possible solutions. Each has
for its object a simplification of this
development problem in one or more
respects, and each makes some sacri-
fice of cost either in the film itself,
the machinery for projection or the
machinery and methods for preparing
the prints.
The solution here described avoids
these cost penalties by employing
standard 16mm. film with a sound
track and picture arrangement entire-
ly comparable to the conventional
35mm. release prints except for photo-
graphic reduction of both picture and
sound track in the proper proportion.
These reduction prints are made di-
rectly from 35mm. negatives which
have not been modified in any par-
ticular.
Three groups of sound on film pro-
jectors for use with this film have
been developed. These include a com-
plete home model, combining radio,
phonograph, sound on disk, sound on
film and silent projection; a school
room model arranged for sound and
silent film only, and an industrial
model intended only for sound film
projection, which is arranged in a
portable carrying case. All of these
machines are self-threading.
Portable 16mm. Sound System
By H. PFANNENSTIETHL and R. A.
MILLER, Bell Telephone Lab-
oratories, New York
THIS paper describes a portable
sound on disc reproducing sys-
tem which has been developed for the
Western Electric Company by Bell
Telephone Laboratories. This system
has been developed to permit the in-
troduction of the sound picture into
those fields not readily reached by
theatre reproducing systems, the
classroom and the lecture hall.
In this system pictures are pro-
jected from a 16mm. film at 24 frames
a second in synchronism with the re-
production of sound from a 33 1/3
l'.p.m. disc record.
Two main units make up the sys-
tem, a portable projector-turntable
unit and a portable amplifier-loud
speaker unit. The projector head,
turntable, electrical reproducer and
driving mechanism are comprised in
the portable projector turntable unit.
The electrical energy delivered by
the reproducer is delivered to the
portable amplifier-loud speaker unit
which serves to amplify and convert
this input to sufficient acoustic energy
to afford instruction to or entertain-
ment for an audience of several hun-
dred persons. The system obtains its
operating energy from the usual house
lighting service.
16mm. Sound-on-Film Projector
By H. C. HOLDEN
A DESCRIPTION is given of a
talking picture equipment suit-
able for application in the non-thea-
trical field. The factors influencing
the selection of a satisfactory form of
film are pointed out and a short re-
view is presented of the problems in-
volved in obtaining a sound record of
good quality on this film.
June, 19-32
The INTERNATIONAL PHOTOGRAPHER
Twenty-seven
With Two-Reel Talker "The Bells"
Toronto Ends Four- Year Inactivity
By LEN HUMPHRIES
Local 665, Toronto, Canada
AFTER a lapse of nearly four
years and in the face of predic-
tions by motion picture men
that talking pictures could not suc-
cessfully be made in Canada produc-
tion has begun. The first sound film
to be made north of Uncle Sam's
dominions was a two reel adaptation
of Sir Henry Irving's great play of
"The Bells" and currently staged in
Canada by Sir Martin Harvey.
The camera crew, all six-sixty
fivers, included George Rutherford,
R. Alexandra and Len Humphries.
Roy Locksley was musical director.
Powers Cinephone was used, and the
verdict at the preview was that tech-
nically as well as otherwise the result
was 100 percent successful.
The Toronto Telegram in its story
of the initial showing declared the
technical standard attained by Direc-
tor George Thorne Booth reflected
great credit on him and his organiza-
tion, "which labored under difficulties
to achieve their purpose. Sound and
musical effects are excellent.
"The leading role is taken by Dick-
son Kenwin, assisted by Miss Jean
Hemsworth. Mr. Kenwin's powerful
dramatic work in the role of Mathias
is striking. The production in all
respects is distinctly encouraging as
an example of what can be done in
producing sound films locally."
The last picture produced in Canada
was "Carry on, Sergeant," made at
the government studios in Trenton.
The subject just completed and which
was shown at the Uptown in Toronto
for a week was made in an art gal-
lery in this Canadian centre.
A studio just outside the city limits
is projected by B'ooth Canadian Films,
Ltd. The first subjects will be a
series of shorts.
Here's the Lowdown
Brothers William Graham and Bert
Bach are at the Trenton Studio on
government stuff.
Brothers Roy O'Connor, George
Rutherford and Hilliard Gray are busy
at the Ontario Government Bureau on
educational shorts. R. Watson is tak-
ing care of the stills.
Brothers Frank O'Byrne and Bert
Huffman are active with Associated
Screen News.
Brother Charles Roos is shooting
for the Canadian Pacific.
I am awaiting arrival of "dope" on
what the remaining twoscore of our
other members scattered all over
Canada are doing. Come on, you fel-
lows in Calgary, Regina, British Col-
umbia and Quebec, drop a line.
I would like to hear from some
of the bunch in Hollywood — from
Brother Arthur Miller, for instance,
for a chat.
Who wants to swap a Debrie and
tripod for a typewriter — one of the
noiseless kind preferred, so I may
write late at night if you get what I
mean ? Then when and if I get the
typewriter there may be of this stuff
more anon.
Mitchell Has New Chief, but
Personnel Stays Unchanged
THE active management of the
Mitchell Camera Corporation of
Hollywood has recently been
taken over by Stanley S. Anderson of
Beverly Hills, who has acquired a
substantial interest in this corpora-
tion. Mr. Anderson is well known in
the local financial center.
The Mitchell Camera Corporation
will continue to operate as it has in
the past with no change in personnel,
with George A. Mitchell, technical
engineer, in charge of research and
plant activities.
The corporation will continue its
program of development and with re-
cently added equipment is now in a
better position to serve the industry
than heretofore.
The Mitchell Camera Corporation
is an independent corporation and is
not affiliated with any other company,
and no licenses have been granted for
the use of its patents.
From the air or on the ground
The New B&H Cooke Varo Lens
opens up spectacular new movie-making possibilities
Introduced early this year, the new
B & H Cooke Varo Lens has already
proved its startling possibilities to
camera men. Making possible "zoom-
ing" shots up to or away from a sub-
ject without moving camera or sub-
ject, it should be part of the equip-
ment of every studio.
With this new lens, images of rac-
ing horses can be kept the same size
all around the track. A parachute
jumper can be followed through the
release of the 'chute, with image kept
at the starting size. Zoom shots are
made possible from 'plane, cliffs,
towers, and many other locations from
which such shots are otherwise impos-
sible. The focal length may be set to
include just the area desired. Limit
stops are provided for regulating the
zoom to a predetermined amount.
1907 — 25 YEARS OF SER
THE MOTION
Mail the coupon for further in-
formation on the Varo Lens. Bell &
Howell Co., 1849 Larchmont Ave.,
Chicago; 11 W. 42nd St., New
York; 716 North La Brea Ave.,
Hollywood ; 320 Regent Street, Lon-
don (B & H Ltd.). Est. 1907.
Taking shots with a Varo Lens from
an airplane. Army officers as well as
professional cinernatographers are get-
ting some valuable results with this
new Bell & Hoivell product.
Bell & Howell Co.,
1849 Larchmont Ave., Chicago.
Please send me full information on your
new Varo Lens.
Name
Street Address
City State..
PICTURE I N D U S T R Y — 19 3 2
Tiventy-eight
The INTERNATIONAL PHOTOGRAPHER
CHICAGO
i&fefi
June, 1<
By The Sassiety Reporter
Spring Idyll
I SAT at a bar one night not so
long ago with a whole gang
whoopin up a whole mess of
baloney about DEPRESSION and
hard times and the sort of tear jerker
stuff we all is soppin up nowadays to
our necks . . . and the more I listened
the more it drove me to drink. . . Boy,
how that bathtub gin kinda gives you
new hopes . . . temporary, anyhow.
Well, about midnite I felt so bad
about things I coulda had a swell
cryin jag right quick like . . . only I
bust home to the ole featherbed I uses
when not sleepin in Pullmans or de-
pression rate hotels and I wuz so
gloomy I could hardly start poundin
off the winks. . . . Well, anyhow I
gets goin on the open mouth breathin
finally only to git tossed out of bed
at 5:30 A. M. to dash down to South
Bend on a train wreck.
It's jist as good a way to start off
another one of these depression days
. . . shootin a railroad tragedy . . .
besides the rest of them 666 topical
flicker artists probably wuz doin the
same about the same time . . . so's I
knew we could all start the Depres-
sion cry agin wunst we started to
grind on that thar wreck.
So my noise collector is chaufferin
me and the groan equipment through
the boulevards missin milk wagons,
and about all I got in the line of am-
bition is to git rid of the gloomy taste
in my mouth . . . so's I start to sing
more Depression to my noise ketcher
. . . and purty soon we hits the open
highway for South Bend, and gee wiz
it's a beautiful mornin . . . warm like
. . . the trees wuz jest startin to
sprout green . . . and then we hits a
brand new concrete highway and
along it wuz guys startin to build up
new gas stations and hot dog stands.
So the dial twister and I started to
jabber about how mebbe some guys
still could lay the Depression dialogue
aside long enuf to build instead of
tear down . . . surely them hombres
must still be the ole fashion kind what
still wusnt so blind they couldn't see
rainbows like we all used to . . . back
in 28 . . . and pretty soon the bad
taste wuz gone.
Golfers Otherwise Loafin
And then we passed a golf course
... a public one . . . and there wuz a
bunch of early birds out . . . probably
guys out of jobs . . . but wuz they
cryin Depression ? . . . not with them
nice greens to play on . . . and me and
the sound man got to wonderin if the
In Focus — In Spots!
By Fred Felbinger as
The Sassiety Reporter
ole clubs had kinda warped durin the
winter . . . and we had a coupla good
laffs even, about this, that an the
other . . . and then we gits to the
wreck and makes our stuff and we
meets the competition.
Jack Barnett wuz kinda chipper
climbin over the wreckage with the
Akeley . . . Tony Caputo sorta wuz
rushin along . . . so's he could finish
his story so's he could dash down to
a swell joint he knew where they
served real homelike ham and eggs
for breakfast . . . Montemuro wuz
kiddin around with the cop what at
first didn't want to leave him through
. . . real pals like.
And say, you know I never realized
a hombre could enjoy a early Spring
mornin so much ... so after break-
fast we starts to roll back home and
then we passes a river . . . and there
is a bunch of baboons . . . chawin to-
bacco and fishin . . . and right about
that time I figgers, The Hell with the
Depression . . . Life is what you
makes it. . . .
SIX-SIXTY-SIX
Shootin a Darby
The Kaintucky Darby of 1932 . . .
a one acter . . . scene is atop the club-
house roof where the newsreelers
perch to snap the dash of the nags
... 10 A. M. Derby Day . . .
Sam Sabath (Using brand new
sound equipment first time out on
story) — Hey, Graham! Where did I
put my six inch lens ?
Jack Barnett — I got a hot tip on
the first race!
Al Mingalone — What is it?
Barnett — Uncle Mat!
Mingalone— Okeh! Well, I'll put
two bucks on Best Man then!
Clubhouse Ground Keeper — Hey,
you red-headed lug, you can't screw
that in our roof. . . . You birds got
the whole roof leakin now!
The Gang (in chorus) — Rain on the
roof! Rain on the roof!
Red (to grounds keeper) — -Well, I
gotta tie this tripod down before it
falls overboard and sings somebody
to sleep below.
Tony Caputo— Hey, Ralph! Did
you forget the umbrella I bought for
the camera last night ?
Ralph Saunders — It ain't gonna
rain today . . . look what a swell day
it is.
Sam Sabath — Hey, Graham, did you
find my six-inch lens yet?
Tempus fugit . . . about seven hours
of it . . . it's now five P. M. jest about
time for the Darby nags to parade to
post . . . the past seven hours have
been spent, shinin up lenses, focusin,
changin from eight-inch to six back
to eight inch, changing from par
speed stock to supersensitive when it
clouds up back to regular par speed
when the sun breaks through.
Changin Lenses an Stock
Time out for stale sandwiches . . .
warm pop . . . bummin cigarettes . . .
cussin the bum picks on previous
races . . . more focusin . . . worryin
about whether the eight-inch is gonna
be sharp on the finish line when
focused on the back stretch . . . with a
guy shootin wide open in this lousy
light . . . kinda clearin up back there
. . . now I kin stop down . . . take off
the roll of super sensitive agin . . .
back to regular stock.
Damn that light . . . cloudy agin
. . . well, now, I'm gonna put that
super roll back on agin . . . and this
time I'm gonna keep it there . . . won-
der if this camera could really jam
on me . . . it's been workin sweet up
to now . . . but it just probably would
be on a job like this it would go hay-
wire. . . . Gosh, that tachometer starts
up slow . . . maybe the batteries'
weak. . . . Wonder if I could alibi
floppin on this . . . probably get
canned . . . sure nobody ever got by
floppin the Derby.
Oh, well, maybe fishin is good up in
Wisconsin right now, anyhow. . . .
Hey! I wonder if that silent guy will
block my field when his arm comes up
to grind . . . that'd ruin my story. . . .
Gosh, my six-inch is fuzzy, wide open
. . . guess I'll change to a four . . .
unless the light gits okeh so's I kin
stop er down.
Wonder why that button pusher is
jokin around so with such a serious
assignment as the Derby on his mind
. . . jist aint a responsible sort of guy,
I guess. . . . Holy smokes, is that guy
gonna trust makin a complete pan
with that twelve inch on his box? . . .
He'll surely shoot half the race out
of focus. . . . Oh, well, that's his
funeral. . . . Gosh! he owes me five
bucks, though. . . . Maybe I'll never
git it if he flops and gits canned.
Other Birds Frownin, Too
Wish this lousy race was over . . .
seven hours up here now . . . godam
hot. . . . Gosh, the sun is breakin
through . . . only about half hour now
until the Derby Boy, I'll need a
gin buck after this one. . . . I'm all
June, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-nine
Determine Exposure
the RIGHT
way
Whether your subject is against a bril-
liant or a dead black background, the
Westphalen Photoelectrometer will give
you the exact, correct reading for the
subject itself. That's because this meter
does NOT measure reflected light, but the
actual light that strikes the subject. It
goes even farther. It measures the light
that strikes the subject, imth respect to
camera position. Absolutely accurate
readings are thereby obtained. Results
are astounding. Subjects are photo-
graphed exactly as they look. Every shot
comes out precisely as wanted. Waste is
eliminated. Materials and time are saved.
The Westphalen Photoelectrometer incor-
porates the Weston batteryless photoelec-
tric cell and an extremely sensitive, pre-
cision-built milliameter calibrated in F:
numbers. This cell remains constant
throughout its years of life. No batteries,
no switches — nothing variable to fail at
the crucial moment. It's a true boon to
professionals and amateurs alike.
10 DAY TRIAL
Send for the Westphalen Fhotoelectrometer at once.
Use it 10 days. If it doesn't give you the com-
plete satisfaction you've hoped for all your photo-
graphic life, return it and we'll cheerfully send
your money back pronto. Select the model you
want. We stand squarely back of it.
Model A
For motion pictures. Dial calibrated to give aper-
ture readings from F:1.5 to F:22 at l/32nd second
exposure on par speed panchromatic film. Weight
IS oz. Size 5^x1^x2^". Price 230 00.
Model B
For focal plane shutter still cameras. Dial cali-
brated to give shutter speed readings of l/5th to
1/ 1 000th second at F:4.5 on par speed panchro-
matic emulsions. Weight 15 oz. Size 5^x1 y2x
n/%". Price £30.00.
Model C
For still cameras. Dial calibrated to give exposure
readings from I minute to 1 /200th second at F:8
on both orthochromatic and panchromatic par speed
emulsions. Weight 15 oz. Size 5f^xlJ^x2^". Price
£35.00.
We pay postage.
WESTPHALEN
PHOTOELECTROMETER
Made by
Leonard Westphalen
110 E. Austin Ave. Chicago
pooped out. . . . Couple years ago. . . .
Pal got canned from competition reel
because hung changin bag over lens
to keep rain out until race . . . forgot
take it off.
Looks like rain agin back there
.... Ain't them nags ever coming
out. . . . Wonder if them other guys
are worryin like me. . . . Maybe I
worry too much. . . . No, them birds
is frownin, too. . . . What are them
birds gittin together for now . . . Oh?,
somebody's got a tip on the Derby . . .
better ankle over . . . maybe it's hot
. . . so . . .
Jack B'arnett — Got a hot tip from a
ex-jockey to play the Bradley entry
in the Derby . . . twelve bucks go's too.
Sam Sabath — Hey, Graham! Where's
my six inch lens ?
Tony — I'm gonna play the Bradley
entry, too.
Red — I don't see no horse on here
by the name Bradley!
Saunders — Well, that's not its
name! It's the name of the guy what
owns it.
Red — Oh! Well, put on six bucks
for me too, then!
Robertson — Wish I could afford to
play a coupla bucks.
(Friend of the gang starts to place
bets.)
Graham — 'Hey, wait a minnit! I
want to place two bucks myself.
Sam Sabath — Hey, Graham, don't
go away, I want my six inch lens.
Where did you put it?
A bugler announces by and by the
nags are about to trot out in the
horse park ... so the button pushers
git to the switches on their cameras.
Sam Sabath — Guess I'll put this
coat on in case it starts to rain once
the race starts. Wonder where that
six inch lens is. (Picks up coat, six
inch lens hid underneath it.)
And Redhead Wins
The hosses act up stormy at the
barrier . . . five minutes . . . ten . . .
twenty . . . fingers are frozen to but-
tons and cranks . . . knees are wobbly
. . . why, oh why, don't they get them
off . . . shot about hundred feet al-
ready at the barrier . . . Oh, what a
racket!
Hope I make enuf dough someday
to sit at home and listen to this lousy
race on the radio . . . come on, git
goin. . . . They're off . . . boy, what a
start . . . down the stretch . . . boy,
that ole pan works sweet today . . .
camera's goin swell . . . roundin the
turn . . . boy, what a picture ... a
whole screen full of action with that
six . . . gotta throw on the eight on
the back stretch now.
Boy, that sun helped . . . hot dog
. . . them nags look sweet back there
with this eight . . . what a camera . . .
never fails me . . . never want to give
this outfit up . . . nothin like knowin
your outfit . . . comin into the stretch
now . . . bunched up jest right for the
"eight" back there . . . gotta slow
down on the pan now until they git
un near the finish. . . . Boy, I'll jest
fill the screen with the winner. . . .
Keep it on him now.
Number thirteen . . . he's across . . .
goddam . . . what a picture . . . whooj)s
. . . perfect. . . . Now for a closeup
of em puttin on the wreath. . . . Boy,
I feel like I been layin under a horse
. . . and somebody jest lifted the hoss
off me. . . . Wonder who won. Num-
ber thirteen! what's his name? ... I
wonder . . .
The Gang (in perfect song) — Who
won ? Who won ?
Voices from all sides — Burgoo King!
Burgoo King!
Jack Barnett — Hurray for the Brad-
ley hoss!
Red — You dumbbell! Bradley didn't
win! Burgoo King won!
The Gang — You dumb redhead!
Burgoo King was the Bradley entree!
Red — You mean I was on the win-
ner?
Everybody — Certainly, yokel!
Red— Hot Dog! What a race!
What a picture! See youse guys next
year.
SIX-SIXTY-SIX
Fightin Spring Fever
One month of fightin spring fever —
Red Kuersten, Bauers, Bull Philips
and Swicki playin a endurance game
of "Hearts" out in Bull's lab. . .
Stanley Polinski gittin accused of de-
velopin a title test out of focus by
Sammy Ember, the demon helf pint
lab manager out at Bull's lab . . .
Duggan and Harry Birch discovered
at Union meetin both wearin identical
finger waves . . . Both fat enuf to
pass as twins, too.
Sam Gitlitz, demon north side sound
industrial producer, busy sinking his
scenes by snitchin a frame here and
snitchin a frame there . . . last reports
his sound almost caught up to his
speaker in his film . . . Bill Kaiser
showing up daily at the Nooze news-
1 — "h bag, seven
inas and two
eater.
the newsreel
ie Ford kissed
Traynham off
;hern gent to
•apital . . . The
Alley still sub-
l . . . Reports
Th camera man
„.. ..*.„.... new gray suit,
slouch hat and drivin a Cadillac.
Morrison and Red Felbinger bettin
description is on Norm Alley... An-
other report has Alley on way to Chi-
cage...Out of town papers please
advise if see suspicious lookin camera-
man in Cadillac . . . also if he answers
to name of Alley . . . Lippert out
gunnin for the lousy press agent what
has adopted him and who insists on
puttin his various many loves in print
. . . and so long until next month as
here comes Lip now and I gotta scram.
July 24 to August 15 Date
Set for All-American Salon
THE ALL-American Salon an-
nounced in April is definitely
scheduled for July 24 to August
15 and will be held in the club rooms
of the Los Angeles Camera Club, 2504
West Seventh Street. It is planned to
utilize the studio for the exhibit and
any surplus will be hung in the li-
brary. Improvements in the lighting
Thirty
The INTERNATIONAL PHOTOGRAPHER
June, 1932
Looking In on Just a Few New Ones
SOCIETY GIRL
First cameraman, George Barnes ; operative
cameramen, Chester Lyons, Larry Wil-
liams ; assistants, H. C. Smith, L. B.
Abbott ; stills, Ray Nolan ; sound, W. W.
Lindsay, Jr.
ONE of the first matters Sidney
Kent may take up, in line with
his suggestion that Broadway
is not the United States, is to secure
the lowest down lowdown on the iden-
tity of the executive responsible for
Jimmy Dun n
smacking Peggy
Shannon on the
jaw in Fox's
"Society Girl."
The administra-
tive opprobrium
attached to these
acts too often is
placed upon the
head of the direc-
tor. Really they
belong higher up,
past the scenario
editor and the
supervisor and
right up to the
production chief of the studio. It
was a lowdown piece of business,
this slap on the cheek of a slip of a
girl by a middleweight prizefighter in
For the owner of a
George Barnes
Simplex
Pockette
Camera
A
GOERz.
KINO - HYPAR
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and full exposure on interior closeups at
a distance of from 3 to 6 ft., when using
supersensitive film and 2-6+ volt photo
flood lights.
Further information on request.
2" Kino-Hypar f/3 also in preparation
for above camera.
By GEORGE BLAISDELL
training. It came in the middle or
latter half of a story gliding along
as smoothly and as illusively as the
most skillful producer could desire.
As it had been from the beginning it
was a delightful love story.
Representatives of "first families"
will declare it to be "perfectly ab-
surd" the idea of a wealthy girl
tenderly reared falling in love with a
quite uneducated prizefighter, but the
millions of persons who slip in be-
tween the quite uneducated division
and the first families know there is
nothing absurd about the situation —
they know such things happen every
day.
Up to that point the prizefighter
was sharing the honors as hero with
his trainer, most realistically and ap-
pealingly portrayed by Spencer Tracy.
When it is said the prizefighter was
sharing honors with his trainer it is
in no measure belittling the influence
of his work. It is very highly prais-
ing it.
Jimmy Dunn is a likable person-
ality. That which is so apparent off
the screen is the factor that makes
for his popularity from the screen
angle. The shocking exhibition of
mugg brutality as we see it in
"Society Girl," provided it is per-
mitted to reach the screen — and past
experience is about 100 percent on
the side that it will — is bound to dam-
age the popularity of this likable
young man. That means a lessening
in the box office value of the player,
which is a matter that also will in-
terest Sidney Kent.
Barring the atrocious exception
already at such length noted "Society
Girl" is a delightful love story, not
only part of the way as previously
stated, but from that point right on
to the exceedingly tender and moving
finish. To be sure the otherwise 100
percent sex wholesomeness is marred
by a clinch the dramatic force of
which would have been just as effec-
tive had the parties been perpendic-
ular rather than horizontal. Because
it was an exception in the picture and
not the rule it was noticeable. But
it verified a dictum ascribed to an
executive of Fox a couple of decades
ago that somewhere in every Fox
picture there must be something of
that sort.
The centre of interest in this un-
usually strong picture falls inescap-
ably at all times directly on Dunn,
Shannon and Tracy. There are no
side issues, no tangents. It is a
single-track story. It moves and
progresses clearly, logically, from
beginning to end. The work of the
three matches one with the other in
appeal and conviction. Aside from
the two instances mentioned the
steady and sturdy grip on the auditor,
the illusion, is unbroken.
Sidney Lanfield directs Elmer Har-
ris's screen play adapted from the
stage play of John Larkin, Jr., and
Charles Beahan.
In pa:
to note
in this ]
is hrou|
tion of
has bee
the nevi I
to none, ;
power.
From)
portunij I
those q 1
he is : s
buck-pa >
politick .o
bound to get many a jolt from this
keen-minded man who thinks much
and says so little with such pointed
frankness and in an industry way
such unprecedented courage.
Jackson Rose
RADIO PATROL
First cameraman, Jackson Rose ; operative
cameraman, Richard Fryer ; assistants,
Walter Williams, Ted Hayes ; stills, Roman
Freulich ; sound, Jesse Moulin.
THERE'S an abundance of thrill-
ing entertainment in Universal's
"Radio Patrol," written by Tom
Reed, with dialogue by Martin
Mooney, and directed by Edward
Cahn. It is plenty fast, as a police
story should be,
especially one
with the familiar
underworld or
gangster slant. It
must be said,
though, there is a
new twist to the
latest claimant
for public favor.
That obtains in
resting the story
on the family side
of the policeman.
The producer
has seen fit to
give the tale a
slant in favor of the man who "pounds
the pavement" no longer but rather
now who rides in comfortable cars
and listens to the voice of the police
broadcaster. The mechanism of get-
ting information to the man out on
patrol is shown in considerable detail.
Then there is the rookie class, with
its police sergeant preceptor laying
down the law and the fact that the
public is not necessarily on the side
of what it chooses to class as "just
a cop" rather than an exalted officer
of the law, with the instructions that
each man do his best to cause the
changing of the opinion of the public.
Robert Armstrong and Russell
Hopton are the two radio patrolmen
who carry the leading characters.
Sidney Toler is the sergeant who
runs the works. Lila Lee and June
Clyde are the feminine leads.
Not to be outdone in paying heed
to current fashions in stage settings
the picture gives us a flash of a hos-
pital workshop. It is a maternity
June, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-one
situation in the present instance, but
it has a definite value in the story.
"Radio Patrol" should get a good
reception from picture followers. It
is a worthwhile story of cops — or
officers as they are described in Los
Angeles. There are thrills and laughs,
and there's a bit of pathos.
IS MY FACE RED
First cameraman, Leo Tover ; operative cam-
eramen, Russell Metty, Milton Krasner ;
assistants. Willard Barth, Irving Glass-
berg ; stills, Gaston Longet ; sound, D. A.
Cutler.
THE colyoomist is getting hisn
these days. An undisgusted vis-
ualization of the gatherer of dirt
and news is brought to us in RKO-
Radio's "Is My Face Red," from the
story by Ben Markson and Allen
Rivkin as adapted
by Casey Robin-
son and Markson.
Incidentally the
quality of appli-
cability of the ti-
tle is a wee bit
strained, but such
things are being
done , as numer-
ous examples will
verify.
The story has
color, abundance
of it. It has in-
terest, too, and i,eo Tover
the unquestioned
resemblance of its leading character
to a well-known air barker will give
the tale a tie-in with a huge public
that few stories can hope to attain.
Locally the tale will have added inter-
est by reason of that part of its pa-
ternity which may be ascribed to Ben
Markson, who prior to being assigned
to the story section did his stretch in
the publicity department, where the
creation of fiction sometimes attains
its highest form. The advancement
of the young man will be welcomed
by many friends.
Ricardo Cortez is Poster, the gabby
colyoomist who does about everything
that would be avoided by a person
more scrupulous regarding his say-
ings and doings. In spite of Poster's
shortcomings in ethics and in morals
there is that about him which is lika-
ble, which quality goes far to help
make the picture as a whole.
Helen Twelvetrees is Peggy, the
faithful friend of the unfaithful Pos-
ter. It is a good performance, that of
a girl who hangs on in defiance of
her better judgment based on the
knowledge of the character of her
man. It is a nortrayal of a woman
wise in the ways of the world and
with no illusions.
ZaSu Pitts makes an exceedingly
amusing telephone girl at the news-
paper switchboard. Robert Armstrong
is Maloney, a more ethical newspa-
per man, who gets not so much oppor-
tunity for attention by the screen-
goer. Sidney Toler as the Italian
bartender who calmly commits a mur-
der and who manages to escape the
widely spread police net long enough
to kill Poster for uncovering his per-
petration of the crime gives an im-
pressive performance.
William Seiter directs.
RIDER OF DEATH VALLEY
First cameraman, Daniel Clark ; operative
cameraman, Norman De Vol ; assistants,
Lloyd Ward, William Dodds, George
Bunny, Don Glouner ; stills, Adolph Scha-
fer; sound, William Hedgcock.
REAL western stuff is there in
"Rider of Death Valley," Tom
Mix's second Universal picture.
Those who admit a sneaking fond-
ness for the desert in the raw will
have their fill in this realistic tale of
the famous Death
Valley. The story
is an original
from the hand of
Jack Cunning-
ham, still remem-
bered as the adap-
tor of Emerson
Hough's "The
Covered Wagon."
Al Martin is cred-
ited with addi-
tional dialogue.
Al Rogell di-
rected.
Cunningham
has created a Daniel Clark
background for Mix which fits him
down to the ground — and one inci-
dentally that includes the horse Tony
in the same class. The man who for
practically twenty years has been one
of the prime favorites of young
America and in a measurable degree
^ Real photography is partly lens and largely You . . . but it takes a lens like RAYTAR
to make every job 100%. Punch, Color, Character . . . that's what you get with a
RAYTAR. A lens that's up to going any shot sharp as a knife and just as you want it.
Coverage? . . . Tests have proved conclusively that RAYTAR rates higher than all others
on evenness of definition over the entire picture area. Speed? . . . Plenty. Correction? . . .
Full correction for both spherical and chromatic aberration. Performance? . . . A-l with
either arc or incandescent light and with any film, "ortho", "pan" or "high speed". Get
a RAYTAR, then change back if you can.
BAUSCH & LOMB OPTICAL COMPANY
682 St. Paul St.
Rochester, N. Y.
Thirty-two
The INTERNATIONAL PHOTOGRAPHER
June, 1932
also of its elders has been touched
rather lightly by time. He is still in
the running in roles that carry along
with them a bit of romance.
For there is romance here even if
it be of the subdued sort, the kind
that appeals to youngsters and keeps
well away from what these wise chil-
dren contemptuously refer to as
"mush." Lois Wilson contributes her
talents to the combined strength of
the production.
Mix also is fortunate in several
other members of his cast — notably
Fred Kohler, Forrest Stanley, Willard
Robertson and Mae Busch. The first
half of this quartette have much to
do, but the others make stand out the
little that falls to them. Then for a
flash we see Otis Harlan and Max
Ascher.
The story is of a secret mine and a
killing to secure possession of it.
There is a sister from back east who
comes west to take care of the or-
phaned daughter and to supervise the
working of the mine. The story turns
on the efforts of Kohler as a com-
plaisant sheriff and Stanley as a slick
local celebrity to secure the property
— and of Mix even at the expense of
his immediate popularity with the sis-
ter to prevent them doing that.
After the showing of the picture at
the Universal studio the news crowd
was given an insight into the char-
acter of Mix — of seeing him with his
horses in an arena on the back ranch
and watching him put them through
their well-trained paces.
They admired this man of the screen
as they watched him working in the
open, where he stood flatly on his
own; admired him for his gentleness
and his patience with these marvelous
specimens of equine fire and noted
also at the conclusion of the exhibit
the affection displayed by these
spirited horses, possibly ten of thorn,
for their master.
GRAND HOTEL
First cameraman, William Daniels ; operative
cameraman, A. L. Lane; assistants,
Charles W. Riley, Albert Scheving ; stills,
Milton Brown ; sound. Anstruther Maedon-
ald.
GREAT indeed is M-G-M's "Grand
Hotel" — in many respects. It is
an absorbing subject, as it is
bound to be because of the interpreta-
tion given the various characters by
the highly skilled players assigned to
them. Even sec-
ond rate drama
as it rides in the
lines takes on a
larger signifi-
cance when read
by either of the
Barrymores, by
Garbo or Craw-
ford or Wallace
Beery or Stone,
not to mention
Hersholt or Rob-
ert McWade, Pur-
nell Pratt, Ferdi-
nand Gottschalk,
Rafaela Ottiano
or Tully Marsnall.
not a single track story. If you say
that it is and that Kringelein is its
head and front then you must concede
that through the whole course of the
tale Garbo does not touch the main
theme of the drama. Of it she is a
thing apart. And when loves comes
to Grusinskaya following her deter-
mination to call life quits, comes to
her in the guise of a thief hiding in
her room, what a glorious creature
she is and what an appealing and al-
together charming picture she paints
of the woman fired and raised by a
delayed love from the depths of
melancholy!
As seen at the Chinese in Holly-
wood early in May the subject was
handicapped by an incoherence in
enunciation, by an indistinct dialogue,
through the first half of its projec-
tion. The writer was ideally seated,
practically in the centre of the house.
Nevertheless others in the neighbor-
hood were overheard complaining.
The latter half of the picture was
seemingly entirely normal and under-
standable.
No one who has followed the screen
for any length of time is likely to look
on a dialogue between Lionel and John
Barrymore or the latter and Greta
Garbo or any one of many combina-
tions which so casually are formed
in this production without being deep-
ly impressed with the rarity in screen
drama on which he is looking. There
never has been anything like it be-
fore in the case of acknowledgedly
successful screen players.
Some years ago when it was sug-
gested to Ad Kessel that he make a
picture with Bill Farnum, Bill Hart
and Doug Fairbanks, a trio at the
time very chummy as well as popu-
lar, Kessel threw up both hands. "It's
a great idea," he declared, "but we'd
never get the money out."
That was well over fifteen years
ago, and the policy of the industry
never has changed materially. That
all these years the industry may have
been overlooking a bet very likely will
be demonstrated by M-G-M when the
returns come in from "Grand Hotel."
That it will be a success is out of the
question, meaning a financial success.
It should be a financial success as a
reward for the daring and the far-
sightedness of those who disregarded
hidebound tradition and blazed a pro-
duction trail.
It should be a financial success even
as it is an artistic success in spite of
the fact the auditor looks upon it
from the viewpoint of one more or
less detached, one to whom the varied
issues are of more or less unconcern
personally, in spite of being thrilled
by the individual who may hold the
floor for the particular moment.
The production is one to be seen
more than once, and with every rea-
son to believe that a second viewing
will be enjoyed more than was the
first.
Edmund Goulding directed the
script and adaptation from the novel
by Vicki Baum.
The picture was preceded by the
best prologue it has been the fortune
of this reviewer to sit in on even as
it seemed for a moment during the
antics of Will Mahoney it might be
the last. That man is funny.
When Seen Through Feminine Ryes
By CLARA M. SAWDON
William Daniels
"Grand Hotel" is
THE CROWD ROARS
First cameraman, Sidney Hickox ; Akeley, Ray
Ramsey, Elmer Dyer ; operative camera-
man, Richard Towers ; assistant, Wesley
Anderson ; stills, William Walling, Jr. ;
sound, Robert Lee.
AUTO racing claims primary at-
tention in Warner's "The Crowd
Roars," with story and cast
receiving only secondary considera-
tion. Viewing it is an ordeal for eyes
and ears, but racing enthusiasts no
doubt will be
satisfied, for the
thrills are numer-
ous and varied.
The title is ex-
cellent. The
crowd roars lust-
ily in praise of
all thrills deliv-
ered — a man is
killed — .and both
the individual and
incident are
quickly forgotten
in the excitement
of the next thrill.
The frequent rac-
ing intervals instead of augmenting
the story interest seem only to break
it up with the same shattering effect
on the spectator's ability to follow
through.
There are two brothers, however,
seeking fame as racers. James Cag-
ney is the elder, and already has
been acclaimed, while Eric Linden,
the younger, is just commencing his
career. They get along harmonious-
ly until feminine charm supplied by
Joan Blondell and Ann Dvorak in-
trudes.
The consequent rivalry between
the brothers has disastrous results,
especially for the older one. He is
responsible for a former pal being
burned to death during a race. This
ruins his morale temporarily, but he
stages a dramatic comeback in the
end. Additional members of the cast
are Guy Kibbee, Frank McHugh and
Charlotte Merriam.
The credit for whatever pleasure or
entertainment one can get from this
picture is due to the efforts of the
seven auto drivers and the capable
camera work. Howard Hawks, who
wrote the story, also directed.
Sidney Hickox
MAN ABOUT TOWN
First cameraman, James Howe ; operative
cameraman, Dave Ragin ; assistants, Paul
Lockwood, John Miehle ; stills, Anthony
Ugrin ; sound, George Leverett-
IT IS easy to understand why "Man
About Town," the Fox production
of the screen play by Leon Gor-
don adapted from the novel by Deni-
son Clift, seemed a good bet. It is
packed full of the situations that pro-
June, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-three
vide satisfactory screen entertain-
ment.
Two men who have been life long
friends, also associates in Bureau of
Justice investigations, fall in love
with the same girl. Warner Baxter,
Conway Tearle and Karen Morley
handle this triangle in the capable
manner to be expected of them.
Alan Mowbray maintains his high
standard of excellence in the role of
a blackmailing scoundrel and Noel
Madison turns in a convincing por-
trayal of a gangster type whose
racket is that of passing counterfeit
money.
Leni Stengel, who has been very
successful in vamp parts, arouses
sympathy as the unhappy victim of
the blackmailer, he being a former
husband supposed to have been dead
for several years.
There is the theft of a diplomatic
treaty and a murder. The solution of
the latter is given a novel twist by
the introduction of lip prints to oc-
cupy the spotlight usually held by
finger prints.
The dialogue tends in no way to
lift this picture out of the average
class. Also too much of the estab-
lishment of the relation of the differ-
ent characters to each other is made
dependent on casual references to
episodes preceding the action depicted.
Nevertheless the care evidenced in
casting will do much to counteract
these shortcomings, and the picture,
no doubt, will prove generally accept-
able. John Francis Dillon directed.
THE RICH ARE ALWAYS WITH US
First cameraman. Ernest Haller ; operative
cameraman, William Schurr ; assistant,
Ellsworth Fredricks ; stills, John Ellis ;
sound, E. A. Brown.
MOTION picture invasions into
the homes and lives of people
of great wealth usually turn
out to be a depressing exposition of
boredom and purposeless existence.
Thanks to the direction of Alfred E.
Green and the
dialogue treat-
ment accorded the
ad a p t a t ion by
Austin Parker
based on a novel
of this name
by E. Pettit "The
Rich Are Always
With Us" pro-
vides enjoyable
entertainment.
An artist of
lesser ability or
lacking her basic-
wholesome ness
and sincerity
could not have weathered the many
inferior, if not impossible, roles Ruth
Chatterton has been called upon to
portray. Fortunately for her she
gained her following and registered
what she was capable of in her initial
films. Her first picture on her War-
ners' contract is at least encouraging.
Without marital strife, divorce and
conflicting love interests no society
drama could be evolved, so they are
all present and accounted for. The
Ernest Haller
surprise element is the unhackneyed
treatment of trite situations.
George Brent, ballyhooed as the
latest leading man sensation in films,
chalks up a flawless performance.
Bette Davis gets some of the best
lines and proves worthy of them. As
a sophisticated representative of the
more deadly species, who frankly
stops at nothing in a futile attempt to
land the object of her affection, she
arouses sympathy and retains it.
John Miljan and Adrienne Dore
complete the main group of charac-
ters. In addition to its entertain-
ment value this picture also can
qualify as a liberal education in how
to be nonchalant and perfectly at ease
when telephoning overseas.
A
RESERVED FOR LADIES
RARE treat is Paramount's
"Reserved For Ladies" made
at the Paramount studios in
London for discriminating motion
picture enthusiasts, and there are
many such. They are the sincere ad-
mirers who long to see the screen
adopt and carry on the artistic
achievements of the stage without in
any way sacrificing its own individual
possibilities for development and ex-
pression.
This picture is a gratifying accom-
plishment as an example of a success-
ful blending of the two mediums. The
treatment and portrayals are those of
the stage at its best; the scenic and
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Thirty-four
The INTERNATIONAL PHOTOGRAPHER
June, 1932
atmospheric effects are indebted to
the screen.
Alexander Korda in his direction
demonstrates complete mastery of
stage technique as well as intelligent
understanding of the subtle, insidious,
charm of developing" incidents and
characterizations with studied re-
straint. Many of the hazards of di-
rection along these lines are elimi-
nated when one is fortunate enough
to have the cooperation of Leslie How-
ard, an actor with high ideals re-
garding his art and the courage to
live up to them.
The storv based on one written by
Ernest Vajda discloses nothing star-
tlingly new in the way of material to
work with. Max, a head waiter at
the Grand Palace Cafe in London, ac-
customed to the favor and pursuit of
many titled and beautiful patrons,
suddenly finds himself in the role of
pursuer. His pursuit takes him on
vacation to a winter sports hotel
where the Australian girl of his fancy
can be observed at close range.
A king, incognito, but known to
everyone and also an admiring patron
of Max, only complicates the situation
by choosing- to be friendly with the
waiter in his role of guest.
This leads to the assumption that
Max is also royalty incognito, which
gravely hampers rather than helps
his love affair in the making.
Just as love might find a way out;
of the already tangled situation Max
is confronted with a perturbing re-
minder of his immediate past. She is
a most alluring and attractive coun-
tess, who mistakenly thinks she is
still functioning in the present tense
in his regard. Love, however, finally
discounts the past, hurdles the pres-
ent and jumps feaidessly into the
future.
If all kings could be democratic
philosophers with no loss of royal
dignity after the manner of George
Grossmith their popularity would
never have waned.
Benita Hume, Elizabeth Allen,
Morton Selten and Ben Field com-
plete the cast of principals, each in-
dividually contributing to the whole.
Cameramen to Hold Exposition, Ball
and Beauty Quest at Auditorium
ACTION that is expected to prove
an important step in the plan
properly to publicize the activi-
ties and standing of the cameraman
in the motion picture industry was
taken last month by the Board of
Executives of Local 659 when it was
voted to hold a Motion Picture Expo-
sition and Ball and National Beauty
Quest at the Ambassador Auditorium
the night of Saturday, August 6.
A comprehensive program that
calls for nationwide publicity in news-
papers and magazines both for the or-
ganization and its members was laid
before the board. The event is sched-
uled to take place at the height of
the Olympic Games activities, and
since the interest in the motion pic-
ture studios will be as acute with the
thousands of visitors to Los Angeles
as that manifested in the Olympics
the plan is to build a model set on the
Auditorium stage and give visitors a
true exemplification of motion pic-
ture making, covering every detail
that really pertains to pictures.
Probably for the first time in the
history of beauty contests the men
who are called upon to photograph
so-called "beauty" and who in the
final analysis are the best judges of
camera personality will be given an
opportunity to expound their views
and put into use camera judgment
based on the long experience of men
who have photographed all the suc-
cessful men and women of the screen.
The Motion Picture Beauty Quest,
as it will be called, includes a tie-up
with national weekly and daily publi-
cations which will conduct elimina-
tions throughout the country. The
survivors of these eliminations to the
number of a dozen or more will be
sent to Los Angeles, and the final
award will be made the night of the
Exposition and Ball by a board of
Judges selected by members of the
International Photographers.
Tests will be made of the competi-
tors who come to Los Angeles and
their special aptitude for studio work
will be shown in actual scenes made
for the purpose of giving them every
opportunity to reveal whatever talents
and screen personality they may pos-
sess. In other words, every effort
will be made to avoid the amateur-
ish competitions that so often have
resulted in girls being brought to the
studios as future prospective stars
only to have them return to their
homes disappointed and disillusioned.
The winner of the Quest is to be
awarded a contract with a leading
producer and negotiations are now
being conducted for that purpose.
To carry out the plans of the board,
the following Entertainment Commit-
tee has been appointed: Arthur Ede-
son, chairman; Jackson Rose, Arthur
Miller, Frank Good, Mickey Whalen,
Paul Eagler, Jimmy Palmer, Billy
Tuers, and Alvin Wkyckoff.
The board of executives has decided
that all profits returned from the
exposition shall become a part of the
hundred-thousand-dollar fund now
being created, thereby reducing by
just that amount the sum to be
raised by taxation.
Huge plane carrying eight passengers and two in crew sits down in Yuba
River, high in the Sierras. Photographed by William H. Kelly of Local 363,
Reno.
Eight Passengers Uninjured
When Plane Lands in River
WITH two of its three motors
ripped off, one wing torn to
shreds and its tail demolished,
a huge United Airline passenger
plane, forced down by a sudden and
terrific blizzard, rests in the Yuba
river, high in the Sierras.
Pilot Harry Huking did not select
the middle of the river for a landing
field. He was making for a small
meadow near the river. When the
right wing tip hit a high tension
power line the plane was forced down.
The right wing and wheel were torn
off by the trees as the plane ploughed
through to the river, where it pivoted
about, smashing the tail into the river
bank.
Though the large ship was so badly
damaged that it cannot be rebuilt,
not a window in the passenger com-
partment was broken, and though the
eight passengers, two of them women,
were tossed about by the impact, they
were able to walk out of the cabin
door and wade through the river and
snow to the highway, where they were
picked up and carried sixty miles into
Reno by automobiles.
June, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-jive
Year Marks 300th Anniversary of
Lens Genius Leeuwenhoek's Birth
IN the March issue of The Educa-
tional Focus, a quarterly pub-
lished by the Bausch & Lomb Op-
tical Company, appears an interest-
ing account of the life and achieve-
ments of Antoni Van Leeuwenhoek,
born at Delft, Holland, October 24,
1632.
In common with men of genius
Leeuwenhoek did not complacently
accept things as he found them. In
his day drapers used a magnifying
glass to count the threads in their
cloths. While working in a dry goods
shop his inquiring mind began to
wonder about the world behind the
lens. He became fascinated by the
possibilities suggested in using lenses
to observe interesting things other-
wise not discernible by the human
eye.
Endowed with infinite patience and
getting the idea that if he would
grind smaller lenses with great care
and skill he would magnify things
much larger, the desire to grind
lenses ever smaller and more perfect
became his life ambition.
Just how Leeuwenhoek between the
ages of twenty and forty learned the
art of grinding lenses and fashioning
metal is obscure. He did, however,
so master the art of grinding lenses
better than the best and setting them
in ingenious mountings that he be-
came a Fellow of the Royal Society
of England and a member of the
French Academy of Sciences.
He constructed hundreds of micro-
scopes designed to hold special ob-
jects. Nothing within reach to be
peered at escaped the tireless energy
of this man. Finally, after years of
exhaustive experimentation in peer-
ing at every conceivable object, his
curiosity led him to collecting rain-
drops in little tubes to stick them on
the object point of a microscope.
This was his introduction to bac-
teria _ which he called "wretched
beasties" and why he is today known
as the Father of Bacteriology. Many
new substances and objects found
their way under the lens of one of
his 247 microscopes as a result of this
discovery of animal life in drops of
water.
It was while observing pepper
grains, hoping to find on them spines
that would explain their irritating
effect that he discovered how to grow
his "wretched beasties," resulting in
the first known culture.
Due to his examination of blood
specimens he was the first to give a
complete account of red blood corpus-
cles. He completed Harvey's demon-
strations of blood circulation by prov-
ing the continuity of arteries and
veins by means of the capillaries.
In addition to the vast amount of
scientific data bequeathed to science
as the result of Leeuwenhoek's re-
search studies and experiments there
is a paragraph in one of his many
letters written to scientific societies
that bespeaks the genius of the man
and is worthy of being graven on the
wall of every laboratory:
"Whenever I am in doubt or
question what I see, I say so.
Many cannot understand my writ-
ings and frankly say they do not
believe me. I console myself be-
cause I try to discover facts only.
As soon as I find that I have made
a mistake, I am always willing to
recognize it."
ANNOUNCING
SUNSET CAMERA SHOP
Of Hollywood
6305 Sunset Boulevard at Vine Street
CAMERA RENTALS
MITCHELL, BELL AND HOWELL
STILL, GRAFLEX, ETC.
A Store for Cameramen Service
GUY (659) NEWHARD
HE 5566
Night Phone YOrk 4553
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CRESCENT BROKERAGE CORPORATION
Gustave A. Blumenreiter, President
WESTERN BRANCH
Wm. J. Perry, Manager
Commercial Exchange Bid g ., 416 West Eighth Street, Los Angeles, TRinity 8677
Head Office
51 East 42nd Street
New York
Thirty-six
The INTERNATIONAL PHOTOGRAPHER
June, 1932
Says Los Angeles Examiner May 20
By Arthur Brisbane
On Page 1
Doctor Bachem, professor of bio-
physics, says the routine of indus-
trial mass production does not sat-
isfy our "biological requirements,"
and must end.
Nevertheless, mass production and
routine will continue. Without those
things a seven hundred dollar auto-
mobile would cost $3000.
It wouldn't offend anybody's "biolo-
ical requirements" to work five or
six hours a day, five days a week, in
mass production, each spending the
rest of life according to psychological
and biological requirements.
And the five or six hour day and
five-day week will come eventually.
Civilization will have to choose be-
tween repeated revolutions and an
adjustment of human labor to mechan-
ical efficiency.
Labor conditions change. In the
time of Henry the Second of En-
gland, if an idle workman left his
own parish to seek work elsewhere,
without permission, he was branded
with a red-hot iron.
Today you read that a lawyer of
the Electrical Workers' Union in New
York received more than §500,000 in
fees in four years for "advising the
union."
The same union paid to other law-
yers $15,000, $5,000, $10,000, etc. Con-
ditions improve, for unions and law-
yers.
Universal Service Story
on Page 2
19.-
SAN FRANCISCO, May
Adopt the five-day week.
Amid the anti-trust laws, so ruth-
less, destructive competition may be
abolished.
Awaken the public to an interest in
its own Government.
These suggestions were offered here
today as possible cures for current
business evils by speakers at the
twentieth anual meeting of the United
States Chamber of Commerce.
The final sessions tomorrow will he
limited to the election of new direc-
tors, general meetings and luncheons.
Silas H. Strawn, Chicago attorney
and capitalist, will retire from the
presidency of the final evening ses-
sion tomorrow.
Over-production potentialities of
American business and industry have
contributed largely to the present
economic situation, said Henry I.
Harriman, Boston power executive.
Pointing out that productive capaci-
ties of the average wage earner have
been increased 50 per cent since 1922,
he asserted:
"Such an increase must be ac-
companied by a corresponding in-
crease of consuming ability, else un-
employment is inevitable. We must
work definitely toward the five-day
week. Economic progress warrants
that step."
Prague's Only Sound Film
Studio Shuts Down W orks
ACCORDING to the Berlin press
the A. B. Studio, only sound film
studio in Prague, closed on
March 15 and it seems to be quite un-
certain when production will be re-
sumed, reports Trade Commissioner
George R. Canty.
At present there are only two
Czechoslovak film concerns of any im-
portance, A. B. Filmfabriken A.-G.
and the Elekta Slavia-Moldavia, but
it is understood their financial backers
desire a reduction of all production
expenses, especially directors and art-
ists' salaries of at least 15 per cent
before any plans for the new season
are realized.
During the latest season the aver-
age cost of Czechoslovak pictures is
said to have amounted approximately
to $25,000, but that amortization is
out of the question unless studio costs
are materially reduced.
French Will Have Ready But
31 Productions This Fall
NOT more than approximately 31
French productions will be
ready for release in the fall of
the current year. These will be pro-
duced by the following units:
Pathe-Natan, 14; Vandal and Delac,
4; Osso-Films, 3; Jacques Haik, 2;
Kaminsky, 4; Tobis Sonores, 2; Comp-
toir Francais Cinematographique, 1;
Forrester-Parrent, 1.
In addition to these a number of
smaller units have announced pro-
visional titles for scheduled produc-
tions, but in view of the financial in-
stability of some of these concerns
exhibitors feel only able to count on
the productions listed above plus
French films to be made by Para-
mount, at Joinville. As to the future
activities at this studio no announce-
ment yet has been made.
Everything Photographic
for Professional and Amateur. New
and Used, Bought, Sold, Rented and
Repaired. Camera Silencing.
Send for Bargain Catalogue.
Hollywood Camera Exchange, Ltd
1600 Cahuenga Blvd., Hollywood
Tel.: GL. 2507 — HO. 9431
Cable Address, HOcamex
Open 8 a.m. to 10 p.m.
June, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-seven
The International Photographer's Family Album
Anniversary of the Stork V Visit
JUNE 1— Howard A. Anderson, Wal-
ter Rankin.
2 — Ellsworth Fredricks.
3— Robert J. Gough, Harry A. Fish-
beck, Guy Newhard, Ted Tetz-
laff.
4 — Royal F. Babbitt, Jack Kenny.
6 — George K. Hollister Jr.
7 — Norman De Vol, Jacob Kull.
9 — Robert MacLaren, Charles S.
Piper.
10 — Elgin Lessley.
11 — James M. Goss Jr.
13 — Lenwood B. Abbott, Warner N.
Crosby, Dean C. Daily, Walter
E. Haas.
14 — James V. Barlotti, Fayte M.
Browne.
15 — Raymond W. Cardwell, Frank L.
McDonald, Bertram H. Six.
16— Ted W. Klett, Edwin M. Witt,
Robert J. Bronner.
18 — Raymond J. Mammes.
20 — Allan B. Nicklin, Ralph E. Rey-
nolds, Earl L. Stafford.
21— W. A. Collins, R. A. Flinsky, Fred
R. Eldredge, Dewey Wrigley.
22 — George H. Bunny, Cecil B.
Wright.
23— Robert W. Coburn, Schuvler W.
Crail, John F. Seitz.
24 — Max Munn Autrey.
25 — Fred S. Hendrickson, Henry
Gordon Jennings, A. L. Lane.
26 — Lenwood Abbott, R. B. Hooper,
Allen G. Siegler, Rod Tolmie.
In our February issue we printed a
photograph of Robert Brian Ben-
ninger, son of Mr. and Mrs. Otto
Benninger, as he was at the age of
four months. The very young man is
shown here as he attained the matur-
ity of nine months, which was on
March 30 last. His pal Taffy, Aire-
dale terrier, is with him. His father's
camera has caught him in a charac-
teristic gesture as he waves aside
what appeals to him as an entirely
unsuccessful attempt to spoof him.
Even Taffy looks a bit skeptical.
27 — Vernon Larson.
28 — Herman Schopp.
29— William C. Mellor.
30 — Lyman H. Broening, James S.
Daly, Lewis W. Physioc, Irmin
E. Roberts, E. B. Anderson.
John Alton in Argentine
for Making of Productions
WORD from John J. Alton, now
in Buenos Aires, brings the in-
teresting information he has
signed a six months' contract with
Dr. Enrique Sussini of the S. A.
Lumiton Studios for the making of
motion pictures in the Argentine.
Present plans also include the erec-
tion of a studio about thirty miles
from Buenos Aires, in which project
Mr. Alton will take part, proffering
the benefit of his experience of years
in the industry which has taken him
to various interesting parts of the
globe.
Although his plans are definitely
outlined for only six months it is
more than likely he will remain a
year. He is contagiously enthusiastic
about the future of films in his new
location and in closing says:
"It makes me extremely happy to
sit here enjoying the fresh air of the
Pampas."
Sunset Camera Shop Opened
in Hollywood by Newhard
AT 6305 Sunset Boulevard, just
west of Vine street, Guy J.
Newhard has opened the Sunset
Camera Shop. The new place is de-
signed as a "store for Cameramen,"
#J
>■. .
amateur as well as professional pho-
tographers being promised personal
attention. The store will specialize
in camera rentals on the professional
side and in sales and rentals in the
16mm. field.
Mr. Newhard has been connected
with cameras and the motion picture
business since 1915. In that year he
began with Thomas Ince, then at the
Inceville ranch. That was prior to
the period of artificial lighting. Then
in the season of shorter days the cam-
eraman would announce around 3
o'clock "Light's yellow; let's go
home." Also he was with the East-
man Kodak at Rochester and Los An-
geles for six years.
The Sunset carries on its floor late
improved Mitchell cameras, silent,
follow focus attachments and new
chromium plated Publix apertures.
Fernandez Opens Lab
Anthony Fernandez has opened a
laboratory and finishing place at
1234 % North Cahuenga. He is pre-
pared to execute any kind of photo-
graphic work, and will specialize in
the X-ray department.
Thirty-eight
The INTERNATIONAL PHOTOGRAPHER
June, 1932
80-sHJDes-
=©«tiirF5cu£
BIG GAME HUNTERS RETURN
READING in and out, Harold
Smith, business manager, Local
695; one of the Little Hurds;
Howard Hurd, business manager,
Local 659. The above itching was
itched by Brother Roy Johnson, chief
still photographer Mack Sennett
Studios. This beautiful pastoral was
made without the aid of Sun Arcs,
North Winds or that old-time feeling.
After looking for a big game in
Hollywood for some time without suc-
cess Bros. Hurd and Smith decided to
take a trip to the All Steel Pleasure
Ship off the coast, where it's a pleas-
ure to steal your dough. Within a
very short time after finding the
"big game" the well worn shirts and
socks had been lost.
"I'll go to the captain for redress,"
said Hurd, with a legal gesture.
"I hope he gives me a blue suit,"
said Smith.
The captain being an old navy man,
after hearing the complaint, said "In
your hat."
Having lost their hats they grabbed
a couple of the owner's hats and
jumped overboard and swam ashore.
(Note insignia on caps.)
The trip was not in vain, as the
boys brought back a few trophies
which will be on exhibition on the
mezzanine balcony in the recreation
room at the Local's headquarters, as
soon as we get a mezzanine balcony.
These trophies are very interesting
to all game hunters as they consist of
a genuine 52 deck of aces and a pair
of fine ivories that can shoot seven
from any angle without the aid of a
perambulator.
In order to settle any doubt in your
minds, that is not Roy Klaffki peek-
ing over Howard's shoulder. Had he
been along on this trip he would have
brought the ship back.
BEST STILL OF THE MONTH
Photographed by Joe New in action.
Not Joe but the still was in action,
as you can see if held up to the light.
This still has had dishonorable
mention in several local papers and
was awarded first prize by the Apart-
ment House Owners Association for
the following reasons:
Can be operated in any living room.
Makes less noise than the average
radio.
Can be used as developing tank for
hand tests on location.
Pans used for burning garlic does
away with smell of alcohol.
Bottle capper on left breaks bottles
if not capped properly, doing away
with exploding bottles and saving
cleaning of rugs and ceilings.
PAGING IKARA KARDI
Honorable Ed of Magazine paper
with many glorious photos in nu-
merable positions.
I bow.
I read many scratches, digs and
dirt by Ima Hoke, who pleases many
funny bones. What become of A 1
very good focus boy Ikara Kardi?
Him speak many honorable truth by
cracking much wisely.
No speak much Hon. Hurd. Him
nice fellow. Work hard much long
time, but feeling better health from
many sunshine.
Many old-time wage scale and con-
ditioneers say like photo magazine
when like old time. More funny and
inmate.
Photo magazine go many place,
but yet him read by focus boys
muchly.
Hoping many successful editions
and good health.
INO MADI,
pd. up good standing up membership.
Someth ing Ne w 11
The Kains
Lens Shade
Throw Away Your Finder
Extensions!
Get That Finder Closer to
the Camera!
Size and Angle of Lens Shade
Now Unlimited
In some cases we will be able to re-
build your old lens shade and in-
clude these new features.
Fred Hoefner
CINEMA MACHINE SHOP
5319 Santa Monica Blvd.
GLadstone 0243 Los Angeles
June, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-nine
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Phone GLadstone 4151
HOLLYWOOD
STATE BANK
The only bank in the Industrial
District of Hollywood under
State supervision
Santa Monica Boulevard at
Highland Avenue
preface ttwoKtfc* »ni WnjWCfhreU ra tayttmt-
Ftj Serins* ftiffasriftfu M nwy »tt»r tfftcts.
Ask your dealer, or write to
GEORGE H . SCHEIBE
ORIGINATOR OF EFFECT FILTERS
Alvin Wyckoff
Cinex Testing Machines
Cinex Polishing Machines
Developing Machines
Printing Machines rebuilt for
Sound Printing
Special Motion Picture Machine
Work
Barsam - Tollar
Mechanical Works
7239 Santa Monica Blvd.
Hollywood, California
Phone GRanite 9707
Dr. G. Floyd Jackman
DENTIST
Member Local No. 659
706 Hollywood First National Bldg.
Hollywood Blvd. at Highland Ave.
GLadstone 7507 Hours: 9 to 5
And by Appointment
BASS-CHICAGO
Pays Spot Cash for used
Bell & Howell Professional
Cameras and De Brie
Motion Picture Cameras.
Bass Camera Co.
179 W. Madison St., Chicago
AGFA Positive Film
Designed to meet modern
sound and pictorial
requirements
□ n
Agfa Raw Film Corporation
Factories: Bingham pton, N. Y.
Hollywood Office 6368 Santa Monica Blvd.
Forty
The INTERNATIONAL PHOTOGRAPHER
June, 1932
LAP DISSOLVES
TRICK WIPEOFFS
FADES
EVERY FORM OF OPTICAL PRINT WORK
and complete laboratory facilities for making
our own dupe negatives and first prints
DUNNING PROCESS CO.
932 N. LaBrea
GL 3959
CLASSIFIED
Mitchell Cameras (Late
Models for sound and speed
work) and Accessories
For Rent
Professional and Amateur
Photographic Supplies
Developing, Printing and Enlarging
Hollywood Distributors for Leica and
All Other German Make Cameras
RIES BROS., INC.
Open 8 A.M. to 9 P.M.
1540 N. Cahuenga. Phone GRanite 1185
in order to appoint represen-
tatives we want to get in touch
with cameramen in every coun-
try.
T
CONTINENTAL
NEWS REEL
1611 Cosmo Street
Hollywood, Calif.
W. A. SICKNER
FIRST CAMERAMAN
COMPLETE AKELEY
EQUIPMENT
CRestview 7255 GLadstone 5083
HEmpstead 1128
FOR SALE_Mitchell Cam-
era, complete, with 4 400-ft or 2 1000
ft. mag. Friction head or straight
head. Follow focus device. Finder
bracket. Chromium plated aperture
plate. B. B. RAY, Sunset Camera
Shop, Hollywood, 6305 Sunset Blvd.
HE 5566.
FOR SALE OR RENT— Mitchell and Bell &
Howell silenced cameras, follow focus. Pan
lenses, free head, corrected new aperture.
Akeley, De Brie, Pathe, Universal, Prevost,
Willart, De Vry, Eyemo, Sept, Leica. Motors,
printers, lighting equipment. Also every va-
riety of 16 mm. and still cameras and projec-
tors. Everything photographic bought, sold,
rented and repaired. Send for our bargain
catalogue. Open 8 A.M. to 10 P.M. Holly-
wood Camera Exchange, 1600 Cahuenga Blvd.
Phone GLadstone 2507. Hollywood 9431. Cable
address Hocamex.
FOR RENT— Mitchell and Akeley cameras
fully equipped for sound. Norman De Vol,
6507 Drexel av., OR 7492.
FOR SALE— Mitchell Camera No. 183, $1750.
Phone NOrmandy 5144, Jack Greenhalgh.
Leica Camera
FOR SALE— Leica Camera fitted
with 35 mm, 50 mm, 90 mm, and
135 mm lenses, Universal View
Finder, Fodis Range Finder, 8
Extra Magazines, Winko Angle
Finder, 3 Copying lenses, Film
winder, Cine Matte Box and filter
holder, etc., in Professional Case,
Also Correx Developing outfit and
Enlarging Camera. The whole
works at a good bargain.
JACKSON ROSE
c/o International Photographers
For Sale or Trade
MODEL 70D
FILMO 16 M.M.
camera with 1. 2 and 4 inch lenses,
Kodacolor attachment. First class in
every respect. Want late model Eyemo
or cheap for cash.
JACKSON ROSE
c/o International Photographer
ROY DAVIDGE FILM
LABORATORIES
An Exclusive "Daily" Laboratory
670 1-67 15
Quality and Service
SANTA M ON I C A
GRanite 3108
BOULEVARD
Brulatour Bulletin
WHATS WHAT
EASTMAN FILMS
WHO'S WHO
On Top of the World with Eastman
MORNING! . . . Official temperature for tomorrow . . . ninety-eight in the
shade (if you can find the shade). . . . Among those who are not wor-
rying much about that . . . Clyde DeVinna . . . Newest assignment for
Clyde is M. G. M.'s "Eskimo" . . .
Advanced troupe off for Alaska with a schedule that would make even
Howard Hughes (Hell's Angels) take notice. With the advance guard, sailing
from Seattle last week, is more than a =^=^=^^^^^^=^^=^^=^=^=^^^=^^
quarter of a million feet of Eastman
Supersensitive negative which will con-
tribute much to the beauty of this pre-
tentious production.
What the Cameramen
Are Doing to Keep
And From the South Seas —
Max DuPont thought he'd retire to
lazy comfort in Tahiti Doug Fair-
banks thought differently — The answer
— Max, who shot the exteriors in Ta-
hiti, came home with the Fairbanks
troupe and is shooting the interiors on
the Fairbanks stages at United Artists
Studios.
Holly wood on Top Powers With Doane
Rosher to Burbank
Chailie Rosher, whoss international repu-
tation was gained through his delightful
photography of Miss Pickford, has com-
pleted his first production with Miss (Con-
stance) Bennett at R.K.O. . . . Did he
click? . . . News note . . . Charles Rosher
has gon> to Warner Brothers-First Na-
tional Studios with Constance Bennett,
where he is photographing her current pic-
ture for the latter company.
Fads, Fancies and Fish
Maybe it's the strain on the sets . . .
maybe it's just the dog- gone lazy weather
. . . anyhow . . . fad of the minute among
a lot of the boys seems to be one that calls
for very little energy and pays big dividends
in fun and relaxation. . . .
Merritt Geistad is building a mountain
lodge at June Lake, 'way up in the High
Sierras above Bishop . . . (where fish are
FISH) . . .
Arthur Edeson broke ground last week at
Malibou Lake, where he's building a chateau
so close to the lake he can cast his line
right out his window. . . .
Couple of other fellows ( names on re-
quest ) are dickering with agents who sell
lots at Big Bear and Arrowhead.
Down to the Sea in — Buicks
Frank Garbutt, of R.K.O., has taken a
house for the season at Hermosa Beach and
is commuting daily in his n±w Buick, which,
with its special power plant, is capable of
pulling the needle to sixty-five in second.
Frank drives it in high ... in twenty-seven
minutes from the studio.
Rain
Ollie Marsh has been loaned by M. G. M.
to United Artists, where he is supervising
the photography of "Rain" for U.A. with
Joan Crawford in the part made famous by
Jeanne Eagles. Company is presently at
Catalina Island. Harry Perry is shooting
with Marsh, while Charlie Bohny and Kyme
Mead are acting as assistants.
Another Thriller
"Kong" is the tag under which R.K.O.
sends its special production into work.
Picture is similar to "The Lost World,"
which First National produced here about
eight years ago. Eddie Linden is in charge
of the camera work and has as his assistant
Bert Willis.
Len Powers is photographing the series
of shorts being produced by Warren Doane
at Universal. Len has been associated with
Mr. Doane for many years . . . both for-
merly at the Roach plant in Culver City.
George Bunny is Powers' assistant.
First on Second
Dick Tower, recently elevated to first
camera at First National, has completed his
first picture, "The Crooner," and turned in
such a splendid job that he immediately
drew another important assignment and the
big bosses are giving him a big hand. Dick
is seconded by Tommy Branigan, with Wes-
ley Anderson as his assistant.
Merton of the Talkies
AI Siegler is photographing "Morton of
the Talkies" at Paramount and is being
seen on the golf course only "if, when and
as . . . That's the only really bad thing
about being a good photographer ... it
does raise the very devil with your golf
score. . . .
"Yo-lee-aye-eeee"
Another mountaineer of Hollywood . . .
Harry Ensign. Superintendent of Paramount
Lab, is spending his week-ends at his Lak ■
Arrowhead home. When fishing s.ason
opened, a few weeks ago, Harry was out
with rod and line long before sun-up. . . .
His first "strike" came within two minutes
after he'd started fishing, and whin th*
pale pink of dawn cast its rosy glow across
the ripples of the lake forty minutes later
. . . Harry had landed . . . (Note — Blais-
dell . . . YOU go ahead and finish this . . .
my conscience simply won't allow me to
repeat what I've been told . . . you know
this might have been a good yarn, but
NOT ONE got away. . . .)
Eddie's conscience won't let him tell,
Although the yarn would ring the bell.
But who are we to storm a breach
From which did shrink this well-known
peach
For telling tales that sh'iek of mi-th —
Those fishy tales that reek of earth!
^. D.
Sharp Finishes the Widow
Well, not exactly that, but what we
started to say is that Henry Sharp has
compljted photography of "The Sporting
Widow" at Paramount and will be offered
an assignment at another studio immedi-
at ly. Henry's second at Paramount was
Otto Pierce with Lloyd Ahern as assistant.
Take Off That Beard
When the horses of "The Four
Horsemen" were just little colts
. . . and long before the Famous
Quartet had even learned to ride
. . . a youngster came over to
Metro from the old Biograph,
and he's been there ever since.
Johnny (they called him then)
Arnold is the guy. Now it's John
Arnold, head of the M. G. M.
camera department and President
of the A. S. C. . . . somewhat
gray about the temples . . . re-
members all about X-back and
static . . . (Maybe that made him
gray). How long ago? . . . Gosh
. . . we've GOT to be polite.
Ride 'em, Cowboy
T. D. McCord has created an enviable
reputation as a photographer of action pic-
tures. He has been selected by Leon Schles-
inger and Sid Rogell to handle the camera
on the first of a series which Mr. Schlesin-
g;r will produce for release by Warner
Brothers-First National. Production is
under way.
A Rock's a Rock
There's the old gag about the producer
who uttered the classic "A Rock's a rock
and a Tree's a tree . . . shoot it in Griffith
Park." . . . Here's one that (we think)
tops it. An independent producer (with a
very small budget) was interviewing a
cameraman who had been "at liberty" for
a year or so. The cameraman was inter-
ested, but he wanted to know something
about the story.
"It's like Grand Hotel," said the pro-
ducer . . . "It all happens in twenty-four
hours". . . .
The cameraman was on his feet with his
hat on . . . "Nix!" says the crank-turner,
"I'm not high hat and I nsed the job . . .
and I don't mind a five-day schedule . . .
but when you guys chisel down to one day
... 1 ain't interested."
Third for Premier
Bill Hyer is again at the camera for
Morris Schlank in the third which he has
turned out for Premier. Hyer's assistant
is Bill Charney. Working at Universal
Studios.
Hap Depew
Every time there's a golf tournament held
by 659 . . . there's one bird who never fails
to win a cup (or something) . . . Hap De-
pew, step right up! ... At the moment
the old putter is resting because Hap is
plenty busy with the camera recording the
antics of that energetic mob of youngsters
who delight audiences under the Roach ban-
ner as "Our Gang"!
Cronjager Licks Dragon
Eddie Cronjager has finished the camera
work with Richard Dix in the R.K.O. fea-
ture "Roar of the Dragon." His assistants
were G orge Diskant and Harold \Vellman,
while second work was handled by Harry
Wild and Joe Biroc.
Another to finish one at the R.K.O. plant
is L°o Tover, who c mpieted camra woik
on "Is My Face Red?" . . . Seconds were
Russ Metty and Milton Krasner with the
assignments to Willard Barth and Irving
Glassberg.
In addition to other new equipment
recently installed our new precision
Gear Hobber is now in operation*
With the aim of better serving the
Motion Picture Industry we are constantly
improving our manufacturing facilities.
Mitchell Camera Corporation
665 N. Robertson Boulevard
West Hollywood, Calif.
Cable Address "MITCAMCO"
Phone OXford 1 05 1
INTERNATION;
PHOTOGRAPHER
UTOLUV VO OD
-M**"
JULY ♦ NINETE
THIRTY-TWO W
THE €EP TRADE MARK HAS NEVER BEEN
PLACED ON AN INFERIOR PRODUCT
*EG.U. S.PAT. OFF
The beautiful results consistently
obtained by the use of
53
Panchromatic Negative are rarely
equaled and never excelled
Smith £r Aller, Ltd.
6656 Santa Monica Boulevard, Hollywood 5147
HOLLYWOOD ♦ CALIFORNIA
PACIFIC COAST DISTRIBUTORS FOR
Du Pont Film Mfg. Corp.
35 West 45th Street, New York City
July, 1932
The INTERNATIONAL PHOTOGRAPHER
One
"Always One Step Ahead"
"^ Representatives
AUSTRALIA
Commonwealth Film Laboratories, Ltd.
Wilton and Belvoir Streets
Sydney. Australia
JAPAN
Edward Tanaka
Sanatone Pilm Co., Ltd.
Kamiyama Building
15-2 Chome Minami-Sakumacho
Shiba, Tokyo, Japan
ENGLAND
Franklin-Granvilh Expeditions, Ltd.
35 Copthall Avenue
London E. C. 2, England
CENTRAL U. S.
Gene Cour
1029 South Wabash Ave.
•J. Chicago, Illinois
"ARTREEVES"
Wedgelite Recording Lamp and
Color Corrected Optical Unit
THE OLDEST AND MOST SUCCESSFUL
INDEPENDENT RECORDING EQUIPMENT
WEDGELITE
Price $35
COLOR CORRECTED
OPTICAL UNIT
WEDGE SHAPED
CATHODE
Block and Optical Unit
Complete $225
*
Optical Unit and Wedge-
lite may be adapted to any
Variable Density System.
Write for Particulars
J-TpliyrVOOd
Motion PigTure/^ujipmenT0.|Td.
<54I6 SELMA AVE.
CABLE ADDRESS ARTREEVES
HOLLYWOOD, CALIFORNIA, USA
Ttvo
The INTERNATIONAL PHOTOGRAPHER
July, 1982
DUAL SYSTEM IN A CAMERA with
STUDIO RECORDING QUALITY
AKELEY MONOTROL FRICTION
TRIPOD
Exclusive Features:
1. Single interlocked or selective control for pan
and tilt adjustments.
2. Tension indicating dials.
3. Means for neutralizing the unbalanced weight
of the camera.
4. Built-in pan crank handle for micro movement
of pan.
5. May be operated under extreme climatic con-
ditions.
6. Tilt range 96 degrees.
7. Distance indicator 3 to 30' to check lens focus.
8. Weighing only 24 lbs., tripod will sustain over
500 lbs.
IN addition to the suc-
cessful Akeley Audio
single system, it is now pos-
sible to use two films in the
same camera — Negative
for picture — Positive for
sound — without sacrific-
ing the studio standard of
recording quality.
=s^
Advantages:
1. Enormous Reduction in Cost.
2. Unwieldy Studio Sound Chan-
nels eliminated.
3. Extreme compactness.
4. Eliminates sound truck and
special generators on location.
5. Increases efficiency due to the
proximity of amplifier and
camera.
6. Positive synchronization.
7. Twelve Volt motor sufficient.
8. May he interlocked with other
non-recording cameras.
For further information write to:
AKELEY CAMERA, INC.
175 VARICK STREET
NEW YORK, N. Y.
3ml
vAv
Ba
^
sAr
C?AS>
Vf7
INTERNATIONAL
PHOTO GFAPHE R
Official Bulletin of the International
Photographers of the Motion Pic-
ture Industries, Local No. 659, of
the International Alliance of The-
atrical Stage Employees and Mov-
ing Picture Machine Operators of
the United States and Canada.
Affiliated with
Los Angeles Amusement Federa-
tion, California State Theatrical
Federation, California State Fed-
eration of Labor, American Fed-
eration of Labor, and Federated
Voters of the Los Angeles Amuse-
ment Organizations.
Vol.
HOLLYWOOD, CALIFORNIA, JULY, 1932
No. 6
"Capital is the fruit of labor, and could not exist if labor had not first existed.
Labor, therefore, deserves much the higher consideration." — Abraham Lincoln.
C 0 N T
Cover — Statue of Liberty
By Jackson Rose
First Coast Picture Made in 1906 4
By Earl Thcisen
Ernie Smith Leaves Beaten Paths to
Make Travelogue in Old Mexico... 6
Cameraman Tramps Death Valley... 7
By Richard Worsfold
Japanese Producer Buys Equipment
and Talks of Home Film Activities 9
Ches' Place 10
By Fred A. Felbinger
Cameraman on Tanker Gets Shots of
Two Days' Blow in Old Pacific 12
Chicago 666 14
By Sassiety Reporter
Amateur Department 25
Sound on 16 mm. Film Demonstrated
with Success at Engineers Forum.. 26
E N T S
Rochester Erects Memorial Shaft in
Honor of Captain Henry Lomb 26
Roy Wilson, Famed Motion Picture
Pilot, Dies in Crash 27
Looking In on Just a Few New Ones. 28
By George Blaisdell
When Seen Through Feminine Eyes.. 30
By Clara M. Sawdon
When Cameraman Is Assigned as Aid
to Destroyer's Commanding Officer. 32
By Robert Tobey
Much Ado About Nothing — Maybe.... 33
Cameraman Deserves Much Glory for
"Grand Hotel," Says Reviewer 34
Union Discovers Enemies Within.... 35
The International Photographer's
Family Album 37
Out of Focus 38
By Charles P. Boyle
The International Photographer is published monthly in Hollywood by Local 659, I. A.T.S.E.
and M. P. M. 0. of the United States and Canada
Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles, Calif., under
the act of March 3, 1879
Copyright 1932 by Local 659, I. A. T. S. E. and M. P. M. 0. of the United States and Canada
George Blaisdell
Ira Hoke
Esselle Parichy
Howard E. Hurd, Publisher's Agent
Editor Fred A. Felbinger
Associate Editor Lewis W. Physioc
Staff Correspondent Fred Westerberg
John Corydon Hill, Art Editor
Midwest Correspondent
Technical Editors
Subscription Rates — United States and Canada, $3 a year. Single copies, 25 cents
Office of publication, 1605 North Cahuenga Avenue, Hollywood, California. HEmpstead 1128
McGill's, 179 and 218 Elizabeth Street, Melbourne, Australian and New Zealand agents.
The members of this Local, together with those of our sister Locals, No. 644 in New York, No. 666 in Chicago, and
No. 665 in Toronto, represent the entire personnel of photographers now engaged in professional production of
motion pictures in the United States and Canada. Thus THE INTERNATIONAL PHOTOGRAPHER becomes the
voice of the Entire Craft, covering a field that reaches from coast to coast across North America.
Printed in the U. S. A. at Hollywood, California.
\r/
Si
Four
The INTERNATIONAL PHOTOGRAPHER
July, 1932
First Coast Picture Made in 1906
Photographed by Van Guysling- and Gove of
Biograph's Local Branch in What Is
Now Heart of Hollywood
By EARL THEISEN
IT was inevitable that in the forma-
tion of the motion picture exhibit
at the Los Angeles Museum there
would be raised the query "When,
where and by whom was the first mo-
tion picture produced in Southern
California?"
Research to find the answer estab-
lishes the date as June 10, 1906, with
the old Biograph Company getting the
credit as producer, with A. H. Van
Guysling and Otis M. Gove operating
the machine. Californians will note
with pride that it was California
scenery and climate which made Bio-
graph decide to open a west coast
branch. All the details of this first
attempt are given in a letter fur-
nished the museum committee of the
Society of Motion Picture Engineers
on May 18 written by the then gen-
eral manager of Biograph, George E.
Van Guysling, which is quoted here-
with:
"My attention has been drawn to
the interesting collection of early mo-
tion picture devices and accessories
being assembled in the Los Angeles
Museum.
"In line with this effort I believe
a statement relative to and establish-
ing the date of the first movie produc-
tion made in Southern California will
be of value.
"My early work in scientific photog-
raphy in the United States Govern-
ment service abroad in 1889 and in
various climatic conditions in our own
country led me on my visit to Los
Angeles in September, 1892, to recog-
nize the unusual scenic beauty and
favorable climatic advantages here
offered, features of first importance
in motion picture production.
No Talent Here
"The one great drawback advanced
by those to whom I mentioned my idea
was the apparent lack of talent. In
New York we had ample supply mo-
mentarily to draw upon without in-
curring any maintaining expense
aside from their salaries while en-
gaged, but despite this advantage of
making pictures in New York the
weather was uncertain, with periods
when successful out-of-door photog-
raphy was impossible.
"With my election as executive vice
president and general manager of the
Biograph Company in New York City
in 1904 came the opportunity to try
out this long cherished ambition. I
arranged to have my brother, A. H.
Van Guysling, then residing here, to
come east to familiarize himself with
the business. Upon his return, asso-
ciated with O. M. Gove, a photog-
rapher of ability, they opened a
branch March 6, 1906, at 2623 West
Pico street in Los Angeles under the
corporation's name of the American
Mutoscope and Biograph Company.
"The first moving picture they
made here for general exhibition ser-
vice was taken June 10, 1906, at
Plummer's Ranch in Colegrove, Calif.,
at Santa Monica Blvd. and Vista
Streets, in the present Hollywood.
The occasion was the annual field day
of the Vaquero Club, the members of
which were noted for their daring
and fancy exhibition of horseman-
ship.
"Members present included promi-
nent men of the day and their ladies,
including Dr. Fred C. Shurtleff, pres-
ident of the club; Arthur Harper,
Mayor of Los Angeles; Captain A. J.
Bradish, Dr. G. A. Scroggs, Judge
Pierce of the Township Court and
E. R. Plummer.
Tally Plays a "Bit"
"The picture attracted great inter-
est wherever shown, especially in the
eastern theaters. Later reels were
made up from sections of it for Muto-
scope service in the penny arcades.
I inclose herewith six Mutoscope en-
largements made from this film.
"Shortly following this picture came
the production titled 'A Daring Hold-
Up in Southern California,' started
June 17, 1906, staged in Rubio Can-
yon, San Gabriel and Alhambra. Jack
S. Hendrickson, noted California de-
tective of that day, played the lead-
ing role, assisted by Mrs. Jessie A.
Andrews. T. L. Tally and his son,
Seymour, prominent theater opera-
tors of Los Angeles at this time, took
part in this picture, which was di-
Two exposures of
first motion picture to
be made on west coast.
Scene is in present
Hollywood. F ilm is
shown in actual size,
both as to picture and
card on which it was
mounted. These were
assembled in continu-
ity and placed in slot
machine released by
coin. Then by looking
through eyepiece and
turning a crank the
customer obtained a
good motion picture.
Later the subject was
printed on regular
film and wound on
a "spool" and shown
in pictur e houses
throughout the coun-
try. Its length was
U67 feet, prints of
which Biograph sold
to the exchanges for
12 cents a foot.
July, 1932
The INTERNATIONAL PHOTOGRAPHER
Five
rected and photographed by Messrs.
Gove and Van Guysling.
"Completed June 29, the negative
was forwarded to our New York office
for a positive print, which was shown
in Tally's Broadway Theater here on
July 10 and released to the trade
September 20, 1906, in Biograph Bul-
letin No. 82. I hand you herewith
one of these original bulletins, with
verifying dates and bearing the Los
Angeles address of the Biograph.
"Interesting moving pictures of the
'Ostrich Farm," 'Pigeon Farm,' as-
cension of Mount Lowe and other lo-
cal events of interest were taken. The
Los Angeles Chamber of Commerce
was a heavy buyer of these films.
"Many now living will recall the
picture taken on Labor Day, 1906, at
old Exposition Park racing track and
titled 'The Locomotive Collision,'
staged by Messrs. Morley and Hem-
pel, the Biograph Company financing
it. The event was enlivened to a
great extent by having one of the
locomotives bearing a large sign, al-
most enveloping its tender, reading
'Examiner' and the other 'Times.'
The smash-up was so complete it was
impossible to award honors to either
of the newspapers.
Biograph Remained Here
"The Biograph Company main-
tained a continuous representation
here, culminating in the erection of
extensive studios at Pico and Georgia
streets in 1911. Many will recall
having seen these early pictures in
theatres throughout the country.
"In the event you desire more in-
formation regarding this subject feel
free to call upon me. Many of the
persons whose names I give as par-
ticipating in these early pictures are
living and gladly will confirm my
statements as here given you."
Seymour Tally recalls the hold-up
picture vividly. And why not? He
and Walter Duzan were the bandits
so relentlessly pursued by law and
justice.
Corroborating the date, place and
occasion for the first motion picture,
Dr. Fred C. Shurtleff, president of
the Vaquero Club at that time, re-
members many interesting incidents.
It is difficult today to grasp the
doctor's statement that no one took
seriously the announcement made by
E. R. Plummer, vice president of the
Vaquero Club, that a moving picture
was going to be taken. The photo-
graphic machine, owned by George E.
Van Guysling and Otis M. Gove and
mounted upon a spring wagon, was
not overly impressive in appearance,
as it looked more like a trunk than
a camera.
In fact, Mrs. Plummer remarked in
Spanish: "That man is not taking a
moving picture with that coffee
grinder," which gives a clear idea of
how it looked to her, as well as sound-
ed. It is assumed part of the noise
was due to the film perforating mech-
anism in the camera.
Actors Shunned Camera
Dr. Shurtleff remembers distinctly
he was riding a bucking horse named
Sultan at the time because he bucked
into the commissary department and
started a keg of beer rolling merrily
on its way. No doubt the camera
equipment "set up" has been improved
upon since that day, but what about
the contents of the keg?
Later by depositing a coin, looking
through an eyepiece as you turned a
crank, any one could get a good pic-
ture of "Sports at Plummer Ranch"
in the "peep-show" machines which
enjoyed more popularity than the-
early motion picture theaters.
The fact of the opening of this
west coast branch at 223 West Pico
street, Los Angeles, was announced in
the Billboard of June 2, 1906. Those
interested in further investigation of
the early pioneers here may go to the
city directories and find the Biograph
listed in 1907 under the name of
Mutoscope and Biograph Company.
It is so listed each year. The next
company to arrive, according to the
directories, was the Selig Polyscope
at 1845 Allesandro street in 1910, al-
though Sellig claims to have had a
company here in 1908.
It is interesting to note here that
actors and actresses of good standing
lost caste with their associates if seen
before the camera in 1906. It was
the period of whiskers and camou-
flage. Wallace Clendenin brings to
light an interesting incident of this
era.
One eminent Shakespearean actor
was prevailed upon to appear before
the camera. He always had been
used to plenty of territory in which
to emote and found it difficult, if not
impossible, to confine his dramatic-
moments within the limits of camera
angles. Upon being told he could not
travel hither and yon he replied in
disgust looking down his nose with
hand on chest and an arm akimbo on
his hip in conformance with the best
form in dramatic gestures then in cir-
culation, "What care I for that con-
traption? All my days I've done
Shakespeare and never before have I
required anything like that there
black box."
Such were the humble beginnings
of an industry now identified for all
time with California and ranking as
one of the nation's greatest in size
and importance.
Freeman Gets Real Stuff
in Trenches with Japanese
AFTER four months away from
home Mervyn Freeman, Univer-
sal news cameraman, is back in
Los Angeles. The Shanghai muss
started January 28, and on February
1 he was on his way, arriving in
Shanghai March 2. He was imme-
diately assigned to the Japanese ma-
rines. In their company he saw con-
siderable action. This was not, how-
ever, his first war experience, as he
was overseas for seventeen months in
the Signal Corps.
Freeman has been a part of the
picture business for twenty-six years,
having been an operator between
1906 and 1911. Then he went to the
Pilot Studio in Yonkers, N. Y., as
operator and assistant to Cameraman
Eddie Horn, afterward Pathe news
Mervyn Freeman, Universal News, is shown at North Kiangivan with the Thirty-sixth Japanese Infantry, togged up
in an outfit supplied him by American doughboys. On the right what had been one of the main shopping streets in
Chapei is occupied by a Japanese landing party of the Eleventh Naval Battalion following capture from the Chinese.
Cameraman Freeman is shown in the center foreground
Six
The INTERNATIONAL PHOTOGRAPHER
July, 1932
Ernie Smith behind camera in centre of Yaqui country in Mexico. By car are Mrs. Calles and Eagle. Cactus rang-
ing in height from 16 to 20 feet lines road for scores of miles. At right William Calles accompanied by Mrs. Calles
presents to President Rubio of Mexico a letter from the Mayor of Los Angeles
■
Ernie Smith Leaves Beaten Paths
to Make Travelogue of Old Mexico
A MOTHER member of the Inter-
national Photographers, this
time Ernest (Ernie) F. Smith,
has gone out on his own and pro-
duced a motion picture. He made a
trip into Mexico and came back with
"Pro Patria," a subject that may
prove to be even more than he orig-
inally intended — that of a picture of
Mexico for Mexicans.
In the cutting room the production
has measured up so well it has been
determined following the showing of
the result as a nine-reel product to
reduce it to two or three for a trav-
elogue of general interest for inter-
national distribution.
The subject has been synchronized
for sound by the Artreeves recording
system, and also has been enhanced
by some synchronized sound and ac-
tion shots photographed in Holly-
wood. It is expected the completed
print will be ready for exhibition early
in July. There is a possibility or rath-
er a strong probability that "Pro Pa-
tria" will be roadshowed below the
Rio Grande.
One of the features declared to
have given the picture larger box of-
Mahing matching shots in Hollywood for "Pro Patria," with Mitchell camera
and Artreeves recording system, which equipment also was used in dubbing
in sound for the remainder of the nine-reel Mexican travelog photographed
by Ernie Smith
fice range is the quality of the syn-
chronized commentary. The latter was
both written and uttered in Spanish
by Gabriel Navarro, motion picture
editor of Los Angeles' La Opinion.
The expedition was composed of
three — perhaps it better be said there
were four. Besides the photographer
were William Calles, Mexican direc-
tor, and Mrs. Calles, both experienced
actors, and Eagle, a dog who knows
a lot of things the average pup does
not.
The party traveled in one car. In
a photographic way the equipment
consisted of a Mitchell camera, a 4x5
graflex and a 5x7 still camera. In
spite of the primitive highways en-
countered at times or detours com-
pelled by highways under construc-
tion the photographer reported his
equipment stood the test most satis-
factorily.
For the route at times was away
from beaten paths. It started at No-
gales, and among the towns it
touched were Hermosillo, Guaymas,
Navajoa, Mazatlan, Tepic, San Bias,
Guadalajara, Morella, Mexico City, in
which quarters were maintained for a
month. The cameras were leveled at
all the high points within a hundred
miles of the Mexican capital. On that
section as well as at all the principal
points the travelogue was enhanced in
interest by adventure sequences.
On the return trip the expedition
touched Pachuca, Valles, Victoria, and
Monterey, to Laredo, Texas. Arrival
in Hollywood was registered three
and a half months following the start-
ing date. So far as known it was the
first time a professional camera had
ever covered the itinerary the party
had traveled.
One of the outstanding features of
the entire journey was the courtesy
encountered on every hand. Not alone
did the humbler Mexicans do every-
thing they could to aid in the suc-
cess of the trip, but in all ranks right
up to President Rubio himself the
same attitude prevailed. Many times
the travelers would reach a town and
learn word of their coming had pre-
ceded them. Several dinners a week
were on their schedule.
July, 1932
The INTERNATIONAL PHOTOGRAPHER
Seven
Cameraman Tramps Death Valley
Gets Thrill That Goes With Rough Roads and
Wild Scenery and Tops Off with Climb
to Whitney Snows 13,000 Feet Up
By RICHARD WORSFOLD
DANGER has some sort of attrac-
tion for all of us. We like to
see wild animals, but we prefer
strong bars between them and our-
selves. The desert appeals in some-
what the same way as a wild beast,
but most of us don't venture near it
unless we are well protected by good
highways.
Death Valley, the fiercest part of
our Mojave desert, has claimed a
number of lives, and no doubt the
thought of this danger has an appeal
to many, now that we can see it
from our autos without great risk.
To be sure, if one wants to stick his
hand through the bars by leaving the
road without knowing how to tame
the desert, he can encounter all the
risks to life and limb that could be
desh-ed.
In fact, there are places in Death
Valley where one can stay on the road
in his car and still run plenty of
risks. Paving is yet a minus quan-
tity in the great basin.
When broad surfaced highways
traverse the length and breadth of
the valley the old romance will be
gone. Then along with hot dog stands
will be the forty-five-mile-an-hourer,
who must see this great wonder, but
get it over with as soon as possible.
Make Haste Slowly Here
Even now haste makes waste as
Charlie Finger and I found out when
we made a trip recently.
Auto clubs recommend a speed of
at least 35 miles an hour, so as not
to feel the washboard; but that is a
fine rate at which to get stone bruises
and ruin good tires. Ten to twelve
miles an hour also misses the wash-
board, but one must be quite a desert
lover to ride for many days at this
speed.
On our trip we left the Arrowhead
trail at Baker and camped near Ibex
Pass. Near here we found a couple of
car door handles which hastening peo-
ple had lost bounding over the wash-
board.
The next day it warmed up a lot
and we were glad to stop and wash in
a flowing artesian well at the ruins of
the old Amargosa borax works. Then
on to Dante's View, most famous look-
out.
Geologists tell us Death Valley was
formed by the settling of a huge
block of land between the Amargosa
and Panamint ranges and the fault
scarp has eroded into the steep moun-
tain faces on either side of Death
Valley.
Over a Mile Drop
Dante's View at 6,000 feet looks di-
rectly over Bad Water at minus 310
feet, a near sheer drop of 6,310 feet.
The salt beds below look like mean-
dering streams.
The Devil's Golf Course has a self-
evident name. Look at the photo and
imagine holding our next tournament
there. Even Roy Johnson would have
a tough time getting out of some of
those hazards. I made a few stereo-
scopic views of it, which certainly
show up the roughness and the many
Photograph of the writer climbing
Mount Whitney.
interesting formations made by the
salt and mud.
The Auto Club has signposted the
water holes and springs along the
road, so usually we could find a com-
fortable camping place, and so far
the roads hadn't been so bad, but up
in the north end of the valley they
made a change for the worse. The
road- to Scotty's runs up a wash
most of the way and is removed with
every rain.
High centers are very common and
there are about a dozen big oil
streaks en route that mark spots
where some hastening motorist
knocked a hole in his crank-case. And
it's a long way to a garage up there.
After taking a look at Scotty's cas-
tle we went to Ubehebe Crater and
Panamints and north end of Death Valley. Scene from Dante's View at 6000 feet above and 310 feet below sea level
showing salt beds which look like streams.
Eight
The INTERNATIONAL PHOTOGRAPHER
July, 1932
Scene on Whitney Trail at an elevation of 13,000 ft. Interesting rock formations in Mosaic Canyon.
descended this 800 foot deep volcanic
cinder cone. This was a real climb
coming back up, but going down we
just kind of jumped and slid on the
steep slopes of sharp rolling cinders.
I'll bet we wore off 100 miles of shoe
leather on Ubehebe.
Slept Under Stars
The nights were so delightful we
never used our tent, but just lay
down beside the car and gazed at the
brilliant stars until sleep came.
Back at Stovepipe Wells we gassed
the car, and gassed with the old man
in winter underwear covered with egg
and coffee stains, who tended the toll
gate. A couple of motor car prospec-
tors from Detroit stopped also. Their
rear springs were ready to break
with the load of ore samples the poor
little roadster was laboring under.
During a conversation on mines and
miners one of the men mentioned the
fact that he had invented the dry-
washer for gold separating. The old
man remarked that many old mine
dumps were being gone over with dry
washers, and on some several thou-
sand dollars a week was being re-
covered. He then showed us his fine
collection of old desert curios.
Mosaic Canyon is a wonderful ex-
ample of the erosional power of
swiftly moving water. Conglomerate
rock has been polished smooth in
places leaving a beautiful mosaic pat-
tern.
Then we went on through Emigrant
Pass, where we saw some very inter-
esting caves, but as they were 15 feet
off the ground we could not explore
them. Something about them looked
as though they had been inhabited,
but I understand the Indians of this
region never used caves; they were
afraid of the spirits which inhabited
them.
From high in the Panamints we
found a beautiful viewpoint called by
the rather common name of Grand
View. It commands a wonderful vista
of Death Valley and the huge ba-
jadas or alluvial fans that have
washed down from the mountains.
The Panamints with their great views
of color are themselves an inspiring
sight.
After more really rough roads
through Wildrose Canyon we went on
to Darwin Falls, a place which Death
Valley visitors should not miss. Leav-
ing the hot, dry main road we ran up
a rocky canyon less than a mile and
encountered the most beautiful high
water falls. We had a delightful
shower and the first shave in a week.
Then on to Lone Pine and through
the huge stone piles known as the
Alabama hills we arrived at the foot
of the Sierras. Here we pitched our
tent for the first time, and after a
day of sketching and photographing
we were ready to start on foot up the
Mount Whitney trail.
We left at break of dawn and ar-
rived at Lone Pine "Lake, a distance
of about eight miles, in five hours.
That would have been a poor record
for expert mountaineers, but we
thought we had done a good day's
work. Though we were showing signs
of wear, we struggled on to Upper
Lake, at an elevation of 11,780 feet.
At about 13,000 feet the snow was
so deep, we were so tired, and it was
getting so cloudy that we gave up.
Wotta shame! Only 1,500 feet more
elevation to the highest peak of the
United States. But, to do that last
1,500 feet would have required nine
miles more walking. Some day when
we're in better condition we'll try
again.
So back to a cold night in our tent,
and on through beautiful Red Rock
Canyon and home.
Devil's Golf Course. Caves in Emigrant Pass.
July, 1932
The INTERNATIONAL PHOTOGRAPHER
Nine
Scene in Part I. of "Bride of the Prison," produced at the Sanatone studio in Japan with Bando Tsumasaburo in
centre. At right are Miss Suzuki and the player just named.
Japanese Producer Buys Equipment
and Talks of Home Film Activities
EDWARD K. TANAKA of the
Sanatone Film Corporation Ltd.
of Japan has been in Hollywood
for several weeks securing equipment
and making observations of the latest
gadgets and ideas in picture making.
The Japanese executive represents in
Japan the Hollywood Motion Picture
Equipment Company Ltd., and upon
his return will take over the represen-
tation, Dutch East Indies and Man-
churia, in that country of the Pathe
Sound News.
Mr. Tanaka has been a part of the
picture business since 1910, between
which year and 1920 he worked at the
camera and in directing in the United
States. In 1920 he returned to Japan,
and for two years was under contract
with the Shochiku company. Then
he represented the Fox News in
Japan.
With Henry Sharp he worked in
India on Douglas Fairbanks' "Around
the World." For three years he was
with Eric Mayell for Fox m Japan
and then with Ariel Varges for the
same company.
When in 1920 Mr. Tanaka returned
to Japan he built the Shochiku studio
at Kamata, employing American made
material down to the detail of piano
wire. At that time he took along
with him as cameraman Henry Ko-
tani, now with Paramount News. The
Shochiku studio at the present time
employs 500 actors and actresses and
has 1500 other employes on the pay
roll.
It is possible there still may be
some persons who do not understand
that Japan exposes on features more
negative than is employed in any other
country. Perhaps in view of the fact
that American studios sometimes ex-
pose on a single feature negative
reaching into six figures it should be
said that Japan exposes negative on
more features than are produced in
any other country. Off-setting this
to a degree is the fact that few if any
shorts outside of news reels are ex-
hibited in Japan.
Japan's average production of fea-
tures approximates 900 a year, and
the most of these are made in seven
studios. It should be borne in mind
that some of these features are in two
parts mounting to fifteen reels and
sometimes to three parts. Sanatone's
picture of "Bride of the Prison,"
four stills of which are herewith
shown, is in two parts. Where an
average of two pictures a week are
being produced in seven studios in
these plants there will be found as
many as twelve or fourteen units at
work.
While the market for all these pic-
tures practically is restricted to
Japan it should be borne in mind
that the 700 houses available will
show on an average of three features,
which in the case of long subjects
will consume as high as four and a
half hours.
Mr. Tanaka will return to Japan
in July and will start production at
once.
In Part II. of "Bride of the Prison" we see Miss Suzuki and Bando Tsumasaburo (also known as Ban Tsuma).
the right Ban Tsuma is shown beset by his numerous enemies.
At
Ten
The INTERNATIONAL PHOTOGRAPHER
July, 1932
CHESS PLACE
In Two Parts — Part I
Bv FRED A. FELBINGER
GID DAP!" ... It wasn't ex-
actly a command . . . just a
tired gesture by the master. . . .
Dobbin knew that . . . good old Dob-
bin . . . hadn't he pulled that rubber-
tired milk wagon down the boulevard
nightly now, nigh on to six years?
To Dobbin life was just one start
and one stop after another. ... So
Dobbin didn't take offense at the gen-
tle reminder to move along.
Two A.M. . . . the respectable law-
abiding citizenry was abed, for hours
now. . . . The boulevard was deserted,
with the exception of a fast car zoom-
ing by now and then, careening a bit
at the unsteady, wavering navigation
of some stormy soul . . . some soul
that did not approve of the dictates
of more civilized people that could
word a command by calling it a noble
experiment.
So Dobbin moved along . . . perhaps
even a bit sprightly . . . just as he
did every night at this stage of the
day's labors. . . . Dobbin, you see,
was blessed with what experts refer
to as horse sense. ... He knew the
master always was anxious to get a
bit ahead of schedule on the first half
of the nightly grind ... to tarry a
bit at the old brownstone mansion
down the boulevard.
Dobbin didn't mind that one bit . . .
it gave him an opportunity to snooze
a little . . . there in front of that
brownstone mansion . . . also to
chuckle quietly in his soul . . . that
there still was one other part of this
scheme of modern life with which he
had something in common.
Jip Row in Action
So by and by Dobbin eased his
master up before the old brownstone
mansion . . . with its big carved stone
steps running up to the second floor
entrance . . . The front of the old build-
ing was brightly lighted by two in-
candescents under two round globes
carrying the signs on each respective-
ly . . "Business lunch, 50c." . . . and
"Regular dinners, nightly!"
This perhaps was the only modern
feature of the old tottering building.
. . . Tottering, but still proudly hang-
ing on . . . just like Dobbin himself
. . . that's why he chuckled. . . . This
section of the boulevard had long ago
given way to modern commercialism.
"Jip Row" it was nicknamed ... a
section of automobile row given over
to rows and rows of stores . . . stores
dealing in "bargains in tires!— at
greatly reduced prices!" . . . bargains
like all modern bargains . . . good at
purchase time . . . not so good after
they enter service. . . . Dobbin knew
that, too. . . . Modern values were
mighty fickle . . . they didn't hold up
like values in the old era ... his
era . . . and the old brow-stone's era
. . . weren't they both monuments to
that?
So the old brownstone stood there a
bit lonely on the outside . . . here amid
a new world foreign to its original
companionship . . . but the old brown-
stone, while a bit frayed, now, on sec-
ond inventory, still stood proudly
aloof, an elegant old building, never-
theless, thought Dobbin . . . Perhaps
it once harbored aristocrats ... but
Time brings changes . . . great
changes . . . further mused Dobbin
... so here was he, in his downhill
journey, serving . . . serving tiny cry-
ing voices with sustenance.
And there stood the old brownstone
building, also still serving . . . also
bringing sustenance . . . liquid susten-
ance ... to a grown generation ... a
generation trying to live through a
noble experiment.
Dobbin Muses
Gone now were the old proud aris-
tocrats that dwelled there once . . .
but the old brownstone building didn't
mind its new and modern monicker,
"Ches's Place".
So, as old Dobbin settled down to
his nightly snooze, he no longer
mused over his and the old brown-
stone's plight. . . . After all, Dobbin
judged the character of things by out-
ward appearances . . . and the exte-
rior spelled Character to Dobbin . . .
even if old fashioned Character that
was beginning to wither . . . badly
. . . from the outside . . . but Dob-
bin, being a horse, did not have the
opportunity to explore the inside of
that brownstone building . . . and to
discover that perhaps old-fashioned
Character begins to decay from the
inner depths . . . long before it be-
comes apparent outwardly. . . .
The master had it all over Dobbin
there . . . but unfortunately the mas-
ter was not the keen student of Life
that Dobbin was ... so the master
tracked his feet for the basement door
. . . just like most humans that en-
tered while Dobbin was parked out
before the place . . . the big steps
leading up to the second floor entrance
always were lonely at these early
hours . . . just why people chose the
basement entrance never occurred to
Dobbin . . . probably too tired at so
young a time of a new-born day to
climb upstairs.
So as the master entered Dobbin
settled down to one good hour nap
and all became quiet on the boulevard
once more to Dobbin.
Inside the old brownstone building
Life was not quite so quiet. . . . As a
matter of fact, Life was very, very
much in evidence, with perhaps the
exception of a soul here and there
that had been drugged into alcoholic
stupor by the genius attention of
Fred A. Felbinger
Ches . . . good old Chester . . . king
of his little old brownstone palace . . .
but the intelligence of Ches did not
deal in palaces.
Enter the Milkman
"Speakeasy" was sentimental
enough to Ches when referring to
his domain ... in fact, Ches even
laughed when his customers condensed
it to "Speak" . . . good enough to him
... he had troubles enough keeping
the right amount of gas up in the
barrels he drained for his livelihood
... so the Milkman entered to a
boisterous din of sin in the making
... a din that was fast nearing its
nightly climax of hilarity.
"Howdy, Ches!"
"Well! Well! the Milkman! . . .
Hurrah for the Milkman! . . . Hey,
Joe! Still servin' it fifty-fifty — you
know, half water, half milk! . . . Ha!
Ha!"
"Hey, Ches! give the Milkman a
drink of real liquid!" And Joe the
Milkman realized the bar was just as
crowded this 2 A.M. as it always was
every night . . . ever since the news-
reel boys selected Ches's place as
"hang out."
"For cripes sake, Pat! . . . It's Joe
the Milkman, already, and I told the
little woman I'd surely be home to
dinner tonight!"
"Aw, nix! You ate, didn't you?
Ain't Ches puttin' on the best dollar
dinner in town?" retorted Pat Mc-
Carthy, whom small town dailies re-
ferred to as "ace cameraman of
Screen Digest Newsreel," when try-
ing to interest a diffident populace
into attending the annual baby show.
"And Screen Digest is sending its
ace cameraman, Pat McCarthy, down
to record the event" always was in-
serted in a column story, invariably,
a week before old Pat McCarthy
rolled up in his banged up little road-
ster.
Pat could have filled several scrap-
books with the tripe, but Pat Mc-
July, 1932
The INTERNATIONAL PHOTOGRAPHER
Eleven
Carthy was the sort of soul that did
not bother about publicity ... to him
publicity was a word ... a magic
word that always got for him, on
celluloid, what he went after.
Just What Aces Means
Not to single out Pat McCarthy,
however, the other lads hogging Ches'
spotted mahogany in that basement
room also were all dubbed "aces" on
similar occasions. . . . To the group,
collectively, the word "aces" had an
entirely different meaning than the
meaning implied by some budding cub
reporter on a rural journal. . . . When
a guy was "aces" to this bunch it
meant just that . . . aces.
"Might as well stay out all night!
... If I show up now, the old lady
will spend the whole night shootin'
off her mouth about what low friends
I got!
"Always dusts off the old one about
what a great guy I was back in the
days I run the freight elevator . . .
burns me up, too, workin' my pants
off in this queer racket . . . makin'
lousy pictures for a livin' . . . gittin'
out of bed in the middle of the night
with a blizzard, freezin' the pants
right to you, to chase some lousy fire
. . . and what for? . . . jest so's the
theaters got sumpin' to throw on
the screen while the audience files out
after the feature! Hey, Ches! Gim-
me another gin buck! I'm disgusted
as hell!"
"Now, now, Jim! You know you'd
cry your eyes out if you ever gave
up the game," mused Pat, and Jim
Mullen settled down to a little plain
and fancy drinking after that, quietly
feeling that perhaps being staff man
for Metropolitan News wasn't exactly
the worst lot after all.
"Hey, Eddie! Are you gonna hang
on that phone all night?" yelled
"Sloppy" Larson . . . "Sloppy" be-
cause Larson never bothered to press
his trousers or shave, unless National
Newsreel assigned him to get some ex-
clusive scenes of a queen visiting so-
ciety.
Eddie Anderson, star cameraman
for Screen Telegram, banged up the
receiver with the retort: "That
lousy lightin' man — been tryin' to git
him since 6 P.M. . . . got an interior
job at 8 A.M. . . . little exclusive
yarn, can't tell you guys about . . .
and where is that lightin' engineer?
. . . off romancin' again with some
jane he is picked up on one of our
swell style shows . . . and the baboon
always cryin' how's he's starvin' off
the jobs he gits off us guys!" . . .
Then to the Milkman:
"Well, well, if it ain't the Milkman
back again to git all canned up for
the nightly deliveries! . . . Any new
blondes on the route, Joe?"
Gang Quiets Down
"Say, Ches! Tell Joe the one you
jest spilled us about the first and only
time you went huntin'." "Hey, Joe!
This one beats Ches' first plane ride
. . . you know the one Pat gave him
the time he made the shots of the sky-
line . . . and Ches pokin' all over the
cabin beggin' Pat to have the pilot
set down account of Ches havin' a
weak heart?"
And Ches immediately was touted
into retelling his adventures on a
duck hunt.
(Concluded in the following issue)
Massachusetts Tech Honors
Bausch and Lomb Executive
THE vice-president and general
manager of Bausch & Lomb of
Rochester, M. Herbert Eisen-
hart, has been elected to a five-year
term on the board of the Massachu-
setts Institute of Technology. Mr.
Eisenhart was graduated from M.I.T.
in 1907, previously, in 1905 having
received the degree of B. S. in Prince-
ton. He went to Rochester in 1907
to accept a position in the chemical
laboratory of Eastman.
In 1917 Mr. Eisenhart became as-
sociated with Bausch & Lomb as pro-
duction manager. In 1928 he was
elected assistant general manager
and in 1929 vice-president and gen-
eral manager.
He also is a trustee of the Univer-
sity of Rochester, a director of Me-
chanics Institute and a trustee of the
Allendale School.
Stahl Brothers of Mexico
Starting Sound Production
AFTER making silent pictures for
twenty years Stahl Brothers of
Mexico City is going sound.
George Stahl is in Hollywood select-
ing equipment for his firm's plant,
already having placed a large order
for lighting equipment with the
Cinema Studio Supply Corporation.
He is accompanied in his shopping
tours by his Los Angeles representa-
tive, Luis Ruiz Gomez.
Stahl Brothers were the first to
build a motion picture studio in the
Mexican capital. In the new set-up
it is planned to begin with a schedule
George Stahl, president Stahl Broth-
ers, motion picture producers of Mex-
ico City, now in Hollywood in quest of
sound equipment
of four features a year, dramas and
comedy-dramas. While at the time of
writing the matter of sound equip-
ment had not been closed it was said
indications pointed to the selection of
RCA. The product to be made will
be distributed through South and
Central America as well as Mexico
and in those communities in the
United States where Mexican colonies
will justify.
Geoi-ge Stahl said he expected the
company would be moving full blast
during August. Carlos Stajil, his
brother, where possible, will direct all
subjects. These will be interpreted
by native casts and it is planned to
recruit the production and technical
staffs from Mexican sources.
Time brings changes . . . great changes . . . further mused Dobbin. . . . So
here was he, in his doivnhill journey, serving . . . serving tiny crying voices
with sustenance. . . . And there stood the old brownstone building, also still
serving . . . to a grown generation ... a generation trying to live through
a noble experiment.
Twelve
The INTERNATIONAL PHOTOGRAPHER
July, 1982
A shot taken from the oil deck when waring equator, where the ocean water registered as high as 85° F. Photographer
Norton was standing in water to his knees when making the exposure. The tanker shown trying submarine tactics
off the Gulf of Fonseca
Cameraman on Tanker Gets Shots
of Two Days ' Blow in Old Pacific
TAKING advantage of two days
of storm at sea, Kay Norton
made exposures with his camera
that are proving of great interest to
his friends. The young photographer
was on a six weeks' trip on the oil
tanker La Purisima, Captain Belin.
The 396-foot craft was on a special
return run between Los Angeles and
Panama.
The blow started when the vessel
was pretty well on its way down the
coast, and at times it seemed the
craft was more of a submarine than
what it pretended to be. The stanch
ship simply met whatever came
along. If the water pretty well cov-
ered what was supposed to ride the
waves it seemed to make little differ-
ence to the sailors, so far as could
be observed. There was nothing to
indicate what the photographer was
looking upon was anything out of the
ordinary.
Nevertheless the pictures he
brought back look decidedly blowy to
a landsman.
In the three days in Panama there
was little but rain. On one occasion
the visitor started to cross a street.
Perfectly dry were his clothes when
he began the extremely short jour-
ney, but they were soaked when he
reached his goal. There was a deci-
cion to employ a taxi and get back
to the boat for a change of clothing.
By the time the taxi reached the pier
the warm sun had entirely removed
the effects of the rain.
In Panama Kay made the acquaint-
ance of Lyle Womack, a member of
the recent Byrd South Pole expedi-
tion, and a man who has experienced
a most colorful career. Womack is
now owner of a distillery in Panama,
a visit to which, in company with the
owner, constituted one of the mem-
ories of the trip.
The traveler discovered that the
possession or sale of absinthe in Pan-
ama is not illegal, one of the few
countries of which this is true. He
also learned by contact with the mer-
chants that payment for goods is
expected to be in gold. He had that
embarrassed feeling until he was in-
formed that any kind of United
States currency is construed as gold.
Then when he was given Panama
money in change for American he
squawked — loudly — only to subside
when it was demonstrated to him the
Panama coin was of equal value.
One of the things among others
Kay learned on the trip is that the
Southern Cross is not visible above
the twentieth meridian north.
As the vessel neared the tenth me-
ridian north, the approximate posi-
tion of Panama, there came into view
many schools of whales, porpoises
and sharks. Likewise were many
ocean turtles, ranging in size up to
six and eight feet in diameter.
Rough sea off Gulf of Tehauntepec, showing in foreground tanker's flying bridge, crossing of which is possible only
by running between waves. More of Tehauntepec and heavy seas
July, 1982 The INTERNATIONAL PHOTOGRAPHER Thirteen
THEY STARTED WITH
"INKIES"
AND ENDED WITH
DAYLIGHT
W
HEN first announced, Eastman Super-sensitive Pan-
chromatic Negative was used chiefly with incandescent
lighting. It was found, however, to be equally valuable
under arcs. And now cameramen are finding it ideally suited
to daylight shots, particularly when it is provided with the
non-halation gray backing. Expert in every branch of cine-
matography, Eastman Super-sensitive "Pan" is an all-purpose
negative, the advantages of which are felt all the way from
the lot to the screen. Eastman Kodak Company. (J. E. Brula-
tour, Inc., Distributors, New York, Chicago, Hollywood.)
EASTMAN
SUPER-SENSITIVE
PANCHROMATIC NEGATIVE (gray-backed)
Fourteen
The INTERNATIONAL PHOTOGRAPHER
CHICAGO
July, 1932
From the Broadcaster
YOU know, I never eggzackly
knew how many baboons was
takin time out to read that ba-
loney I calls "The Noise Ketcher!"
until finally I gits to yawnin about
burnin up all the tallow candles in
my room about glorifyin dial twist-
ers, so when I writes curtains to
Roddy Giles right away everybody in
this neck of the woods ups and tells
me what brains I got for ketchin on
and finally endin that yarn so's the
International Photographer could
kinda devote them pages to sumpin
worthwhile instead of this baloney
what gives me the belly laffs every
month when I gits my copy.
In fack Lippert is been givin me
loads of "bronx cheers" because I is
always asittin there readin the latest
issue of Roddy Giles every time he
ketches me with the magazine in my
mitts . . . Well, if I don't laff at it
who is gonna?
Now I understan they is a drive on
to remove the Sassiety Reporter's
column . . . and then all youse bab-
oons what talks in whispers when I
is around kin again live normal lives
and speak freely and kinda do things
freely.
Well, I ain't been hit by a railroad
train yet ... or by some misplaced
pineapple ... so I guess youse guys
is still gonna be my favorite heroes
for awhile . . . yours for glorifyin the
tripod jugglers, right or wrong; your
wiggly eared, flanneled mouthed gos-
sip broadcaster.
SIX-SIXTY-SIX
Shootin That North Turn
The taxicab drivers annual exhibi-
tion wuz a real goose pimple raiser
this year ... I means the benzine
derby down at the Indianapolis
Speedway . . . Now I know what hap-
pens to all them race car drivers in
the winter . . . They is up here in
the Windy Burg chauffering us around
in skiddin cabs.
Well, sir! This year's castor erl
burners kinda stepped out and sorta
scorched the rubber so's the 666 lens
pointers got a coupla extra yards of
high-class thrills on celluloid and also
a coupla extra ones what they didn't
stick on the film.
The boys up at the north turn had
their hands plenty full recordin the
best high class spills and crashes
what has ever turned up at a hunnert
and ten miles per . . . One of the
drivers kinda lost go of things comin
around and his gasoline nag falls in
love with Eddie Morrison's sound
wagon.
In Focus — In Spots!
By Fred Felbinger as
The Sassiety Reporter
Well, the gas nag dives into a tail-
spin at a hunnert miles per tryin to
git close to Eddie's sound buggy . . .
In fack, it got so close the swish of
it going by parted Eddie's hair in the
middle . . . and drove Noise Ketcher
Gleason right out of the cab away
from his dials.
David Gits Knockout
I hope if Morrison's little woman
reads this she will kinder be thankful
Eddie wuz so lucky and sort of be
glad they didn't connect .... Also
Mrs. Morrison oughta not bawl Eddie
out now when he stays downtown of
a evenin with the boys.
Well, sir! And then crash number
two comes up right pronto, up there
at the north turn, and again them
666 sharpshooters stick to their guns.
Charlie David gits a real knockout
with the six inch lens. . . . Urban
Santone keeps grindin away . . . Tony
Caputo figgers the new portable out-
fit he is got is a honey the way she
sticks to him on the crashes, while
Dial Twister Ralph Saunders watches
the needle swing back and forth on
the music of the race buggy kissin
the concrete apron of the track.
Maybe its gonna be a swell thrill
for some of youse asittin in a air
cooled movie house lookin at them
thrills, but it wusn't cool up at that
north turn at the Indianapolis track.
It's all right to watch a race car
crack up at that speed . . . but to be
standin right in front of it twirlin
a crank is another story, and it takes
a lot of guts to stick glued to your
outfit until it's over, especially since
both you and the driver aint egg-
zactly gonna figger where things end
up until it's all over.
We'll All Take Hats Off
Besides this aint a auto race for a
movie feature film where things is
framed in advance . . . this is a race
where all baboons is out to win . . .
so's anytime I sees a newsreel shot
on the screen of a race car crackin up
I takes my hat off to the cameraman
behind the box . . . This year I keeps
my hat off to Charlie David, Eddie
Morrison, Phil Gleason, Tony Caputo,
Raloh Saunders, Urban Santone and
any other hombres what grinded
away at that north turn.
Maybe they wuz "petrified" as one
of them admits freely . . . What
of it?
IN the June issue the Sassiety
Reporter told of his experi-
ences in shooting the Ken-
tucky Derby of 1932. It was an
intimate tale of the near tragedy
and the rare humor that ride with
a seven hours' vigil to catch a
shot showing on the screen per-
haps but a scant minute and a
half — if the scene be recorded suc-
cessfully. That "if" is big in such
a situation, for there can be no
retake.
In the present issue Mr. Felbin-
ger tells of recording the Indian-
apolis race for the weeklies and
of the hazards encountered by the
Chicago cameramen and sound
men at the north turn. Probably
never before in the not so short
history of news weeklies has there
been anyone who from behind the
camera so vividly has told the
story of these photographers of
world events. Story writers from
the outside have recognized the
romance of the calling, but none
of them has been able second hand
to capture the thrill or the author-
ity of this first-hand writer from
within the craft.
They stuck . . . Maybe some of
youse guys think I is talkin just a
bit too rosy about a little incident . . .
But take it from one what's been up
at that north turn ... a race car
crashin down on you beats a stam-
pede of elephants or what have you
bearin over your way.
SIX-SIXTY-SIX
Lookin In on Convention
The outfit I draws the pay check
from tells me to dash out to the Chi-
cago Stadium to cover a convention.
. . . Well, you know the topical flicker
button pushers is supposed to git
the facks themselves, so me and the
noise collector steers the ole truck
out to the Stadium early in the
mornin to fog a coupla cans on a
convention.
Well, when we moves in I sees the
joint is all dolled up in American
flags and fancy pitchers of George
Washington. Right away I knows
maybe its gonna sorta be a special
big affair because I sees a lot of other
666 button pushers setting up on the
camera stands, and since they is busy
shinin up lenses I don't bother them
to git the lowdown on jest what it's
all about and who is runnin the shin-
dig.
I ain't been much of a hand of
buttin in and askin questions, ever,
July, 1932
The INTERNATIONAL PHOTOGRAPHER
Fifteen
anyhow . . . Well they is a brass band
playin though the only guys in the
joint so far is the tripod jugglers and
ushers and guys what sells stale pop
and wilted hamburgers.
So I goes to work settin up the
tripod and trying to level up my cam-
era box, a stunt I aint jest exactly
mastered yet . . . And I chews up a
coupla heaters as the ole time flies
. . . and a coupla hours later a coupla
guys gits up before the mikes on a
platform, but I dont pay no atten-
tion as I Aggers it's only hombres
testin out the mikes . . . but I sees
the other 666ers grind, but I gathers
they is jest testin the equipment
waitin for the crowd since I don't
see no stampede for the seats.
Crowd That Didn't Come
Well, this testin business keeps up
for hours, the way it seems, but I is
still waitin for the people to file in
so's things will start, but they jest
don't come . . . and by and by the
guys up at the mikes go home and
the 666ers pack up for the day and
I finally axes Tony Caputo "What
you goin home for?"
And Tony comes back "Why, you
lug! The first day's session is all
over!"
"What you mean?" says I? . . .
"Well, in case you don't know it, you
has taken in the openin of the Repub-
lican Convention," cracks Charlie
Geis.
Well, blow me down. Here wuz I
out to make the Republican shindig
and I always thought they had a big
crowd at them affairs and raised a
lot of hell, and all I sees the first day
is guys go up before a mike, do a lot
of talkin and say nothin, jest like
these here engineers from the radio
company when they is testin.
And since all the seats wuz empty
I jest naturally figgered things hadnt
started . . . Well, the next session
looked more like things, however . . .
They talked about maybe the coun-
try wuz gonna go wet agin ... I
wuz right on my toes then . . . Also
all the other six-six-six historians
got a workout the rest of the week.
Sam Sabath and his noise collector
Graham took up a position in the cor-
ner of the stand . . . Tony Caputo and
Ralph Saunders fogged can after can.
. . . Charlie Geis kept swingin lenses
in between cheese sandwiches . . .
And in the upper tier I sees another
delegation of 666 guys, Charlie Da-
vid, Urban Santone, Eddie Morrison,
Beeland and Buchanan.
So you know 666 had quite a few
red hot delegates there . . . Well,
them Republicans sure wore down our
delegation the night they has their
wet session . . . Paradin around with
beer pales and the likes.
Dyin for Coupla Cool Ones
Then a big mess of halfhour
speeches by some birds which wuz
wet and more speeches by guys what
claimed to be dry and about 1 a. m.
they finally gits together and their
drys won the match . . . Well, I got
up and cheered right quick like, not
because I is dry, but I had been
standin up on that hot platform for
hours, and I wuz dyin to git down to
my favorite spot for a coupla cool
ones, and even if the country is goin
dry agin I guess we ain't gonna have
much trouble findin the cool ones
anyways.
Well, the convention lasted three
days, but when the Republicans got
tired of talkin they finally gives up
and goes, but my 666 pals wuz still
there and we still had plenty cans
raw stock left, so we won over the
Republicans. Most of the boys now
agree on our platform which is
"Longer platforms for the newsreels
at political conventions so's we kin
put cots on em beside our equipment
so we kin rest on the long winded
speeches."
I attach herewith a pix of the Re-
publican platform we had.
SIX-SIXTY-SIX
Uncovering Hollywood
And talkin about conventions I un-
nerstand they wuz a national conven-
tion down at Columbus what wuz a
convention. The IA one, I means . . .
Had a big bunch of celluloid artists
there . . . Charlie David, Billie Straf-
ford and Gene Cour went down from
Chi.
And I met a bunch of guys from
the West Coast that went thataways,
too . . . One of my secret snoopers
digged up the followin highlites for
me.
The film foggers ran nightly cau-
cuses and they had for sergeant at
arms a good lookin guy what dint use
herpicide in time. His name wuz
Roy Klaffki and he sure wuz busy
openin and closin doors. Then they
had a chairman at these caucuses
called Alvin Wyckoff. He was busy
collectin a lot of literature, but ft
hadda have a Union label on it.
Then there wuz a guy called
Mickey Whalen, but he dashed around
madly askin fellows whether he
should give medals away ... I don't*
know what kind of medal and for
what, but there wuz a bird by name
of Drawback Auerbach he wuz lookin
for and when he saw him Mickey
yelled right quick like to the others:
"Should I give him the medal?"
I saw two quiet guys called Paul
Perry and Roily Nichols . . . Then
there wuz a Leica expert by name
Jack Rose. He shot snaps standin
up, lyin down, inside, outside . . .
Jest a mailman takin a walk on his
day off.
Now then Chicago delegates, Da-
vid, Strafford, Cour . . . Well, I lives
too close to 'em, so maybe you better
ax them West Coast boys how they
behaved.
Publicity Films to Produce
Advertising Sound Pictures
PUBLICITY Films, Ltd., subsidiary
of the London Press Exchange,
largest advertising agency in
Great Britain, has been granted a
sound recording license by RCA Pho-
tophone and will produce sponsored
advertising pictures for leading man-
ufacturers of English products. Pub-
licity has operated studios at Wim-
bledon, near London, for the produc-
tion of silent pictures for ten years,
and at present has contracts with
more than 2,000 theatres.
In addition to producing advertis-
ing subjects, Publicity Films will
record industrial pictures for exhi-
bition to sales organizations and in
non-theatrical institutions, for the
reproduction of which RCA Victor
35mm. and 16mm. portable apparatus
will be employed.
Six-Sixty-Six tripod jugglers on their camera platform at the Republican
national convention in the Chicago Stadium. Photo courtesy Chicago Daily
Neivs Universal Newsreel
Sixteen
The INTERNATIONAL PHOTOGRAPHER
July, 19.32
First Instance in Nezv Era Where
Steamship Plans Called For Sound
STEAMSHIP sound system installa-
tions have been made before and
have even traveled around the
world; but the Western Electric in-
stallation on the new Furness liner
Monarch of Bermuda attains distinc-
tion for two specific reasons.
One is that talking pictures on this
latest greyhound of the Furness fleet
were provided for, for the first tims
in shipbuilding history, as part of the
original design even before the build-
ing of the ship was started.
The second is that the plans of the
installation included special safe-
guards against obstacles to perfect re-
production that might be raised by
stormy weather.
The fact that it was possible to plan
for the installation before construc-
tion is hailed by Electrical Research
Products' engineers as a tribute to the
cooperation between their New York
and London offices, inasmuch as the
Monarch of Bermuda followed Fur-
ness precedent in having been built in
England.
When the ship arrived in New York
prior to its maiden voyage to Ber-
muda the installation of the wiring,
the drilling and tapping of the decks
and bulkheads and the placing of
screws had been planned ahead with
such foresight and executed with such
precision that the actual installation
of the equipment in New York proved
to be relatively a simple matter.
The theatre is on the sun deck. In
daytime it is a luxurious lounge room.
The screen is concealed by draperies,
the horns are shut off from sight and
the projection room, on the balcony
level overlooking the hall, is invisible
by reason of a beautiful fan shaped
mirror which conceals even the pro-
jection ports.
Capacity 600
When shows are given this picture
changes. The curtains part, the fan
shaped mirror is telescoped to clear
the path of the propection to the
screen and, as the lights dim, the pic-
ture is flashed on. Approximately
600 persons are provided for in the
seating capacity of the room.
For stormy weather special precau-
tions have been taken. The horn in
back of the screen is lashed to flush
fittings on the stage. It is further-
more mounted on a cradle with spe-
cial free rolling casters so that,
should a stage performance ever he
held there, it can be moved out of the
way simply by opening up the cyclo-
rama, constructed in sections and rid-
ing on rollers in a groove in the stage.
Richard J. Green, former secretary-
treasurer of the International Alli-
ance of Theatrical Stage Employees,
is in harness again. At the recent in-
ternational convention in Columbus
President William Elliott named him
to be special representative for the
IA crafts in the West Coast studios.
The new representative knows his
studio crafts and he knows his pic-
tures. Why not? He had been on the
grease paint end in the old days be-
fore he was business agent of Local 2.
/
\
YouKreJhe Judge/
CONSOLIDATED stands alone
in the field as a Leader in
Quality, Dependable Service
and Conscientious Personal
Contact .
iHTi:TaTiKni?ti^!T)iyri<?,ii^riiii-iimM^--t,;t^c
—3-7-
"k
NEW YORK
HOLLYWOOD
bo^CCEEP^*
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A striking shot in Hawaii from the camera of Robert W. Coburn
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Qream oth Stills
c^L'oA
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£££
Alexander P. Kahle
brings to us a
view of the famous
Waikiki beach
and the
formidable
Diamond Head
in this typical
Honolulu background
Elmer Fryer
here catches a
shot that will
deeply appeal
to all followers of
I soak Walton.
The idyllic spot
is Franklin Lake,
near Beverly Hills
**?L'<u
"OOR^
Gream oth Stills
C.*!^/°A
Photographed front
the steps of
Pebble Lodge on
Seventeen Mile
Drive in California's
Monterey County
by W. J. Van Rossem
Here is
Fisherman's Paradise
as seen by
Emmett Schoenbaum
near Silver Lake
in the High Sierras,
with quaking asps
at the left
contributing to the
beauty of the scene.
Columns at Entrance
of St. Peter's,
Rome, Italy
How many feet now silent
Have trod this ancient way —
How many hearts are stilled
That here were moved to pray?
Photos by
Henry Freulich
Verses by
Berenice M. Conner.
@ream oth Stills
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mis
Window in
Cathedral,
Florence, Italy
Or wrapt in meditation
Have lifted reverent eyes —
Where the golden sunlight hallows
The merciful and the wise.
Photos by
Henry Freulich
Verses by
Berenice M. Conner.
f£"*lL
Qream a th Stills
c+r^L'o*
Robert W. Coburn
on a stage of
Radio Pictures
catches an unusual
shadowgraph of
cameraman and
director
getting set
for a scene
Here is another
shot out of
the ordinary.
Cliff Kling caught
it in Fox's filming
of "Rebecca of
Sunnybrook Farm"
with camera and
sound crew working
on hand car
****'<>,.
'ttdwiT
Gream oth Stills
c^'Oa,
Showing us the softer
side of production
work — that of
interiors amid
conveniences.
Clarence Hewitt
photographs this
shot of crew and
principals in
M-G-M's
"Son of India"
Here is the
other side of the
shield as it is
brought to us by
Adolph L. Schaefer
from the top of
a moving logging
train in Pathe's
"Bad Timber"
@ream oth Stills
m
Ray Jones photographs Lois Wilson with he r polo pony Red— a picture worthy of study
July, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-five
v^[maieur J)epariment)A
Popularity European Type Camera
Leads Eastman to Begin Importing
THE growing American interest
in cameras of the European type
— cameras in which versatility
tends to be given more importance
than simplicity — has led the Eastman
Kodak Company to begin importing
Continental Kodaks from its plant at
Stuttgart, Germany. The Dr. Nagel
Works, as the Stuttgart factory is
called, has previously made cameras
principally for use in Europe.
Dr. August Nagel, director of the
Eastman Kodak Company's camera
works bearing his name, is known as
one of Europe's leading designers.
The Nagel cameras have had a great
success in Europe. Their introduc-
tion to American photographers
brings a Continental-type camera
with the backing of an American firm
secure in its record of supplying sat-
isfactory photographic equipment.
Meeting the desires of many "ad-
vanced amateurs" in America, the
Continental Kodaks will supplement
the Kodaks and other Eastman cam-
eras already on the United States
market in making a well rounded line
for all photographic needs.
Because the imported Kodaks can
use Kodak Film — in roll or film pack,
depending on the camera model — they
share with the simpler American-
made cameras the advantage that the
required photographic materials are
accessible all over the country.
Five Continental Kodak models are
being imported and will go on sale in
the near future. They are the Kodak
Pupille, Kodak Recomar 18, the Ko-
dak Recomar 33, the Kodak Ranca,
and the Kodak Vollenda.
The Pupille (anglicized, in pronun-
ciation, as pew-pill-la) — with its
name derived from the pupil of the
eye — is an extremely compact instru-
ment with an f. 2 lens. The overall
dimensions of this camera are 3% by
2% by 2 inches and its weight is 14
ounces. In operation it is held close
to the eye, recording what the eye
sees.
Direct-View Finder
The Pupille can be focused to take
pictures at distances as short as 2Vi
feet. A detachable periscopic range
finder that comes with the camera
determines distances. The speed of
the lens, five times as fast as an
f. 4.5 anastigmat, makes the photog-
rapher practically independent of the
light conditions.
Supporting the lens of the Pupille
is a Compur shutter, with a range of
speeds from 1 second to 1/300, in ad-
dition to bulb and time. A revolving
scale built into the camera shows the
depth of focus obtaining at any fo-
cused distance with the various dia-
phragm openings. For instance, with
the camera focused at 13 feet and
the diaphragm open at f. 5.6, the
indicator would show everything far-
ther than 10 feet and nearer than
20 feet from he camera to be in fo-
cus.
Have Detachable Release
The direct-view finder is self erect-
ing. The lens is brought into picture-
taking position by a precision spiral
mount, controlled by a lever. When
the range finder is in position, its
eye-piece is just beside the view-find-
er, noticeably convenient for use in
obtaining the distance reading neces-
sary for close-up photography with
wide diaphragm openings. A de-
tachable cable release will be supplied
with the five Continental Kodaks.
The capacity of the Pupille is 1G
exposures, 13/16 by 1 9/16 inches, on
"vest pocket" (Number 127) roll film.
Of course either Verichrome or reg-
ular film can be used. Because of the
highly corrected lens and the preci-
sion focusing of the Pupille, the neg-
atives can be enlarged with extraor-
dinary results.
Will Give Choice
The two Kodak Recomar models,
differing only in size, will be im-
ported for the benefit of photograph-
ers who wish to use film packs or
plates or cut film and thus to gain
access to the variety of color-sensi-
tive and speed emulsions available in
those forms.
The Ranca provides an f. 4.5 anas-
tigmat lens in size and weight the
Ranca is almost identical with the
Pupille. Picture size is the same,
with sixteen images recorded on the
ordinary eight exposure roll of "vest
pocket" film.
The Vollenda is slightly larger (3
inches by 4% by 1%) than the Ranca
in dimensions, but its picture size is
the same. The anastigmat lens equip-
ping the Vollenda is an f. 3.5.
Kodak Pupille, F2 lens, with direct view finder
Organize to Show 16mm.
Films in Rural Germany
A COMPANY styled German Nar-
row Gauge Film Service recent-
ly has been established for the pur-
pose of showing 16mm. films in small
towns and villages that are not can-
vassed by road shows.
Operators stationed all over the
country will visit twelve villages in
their district successively at fortnight-
ly intervals by means of a motorcycle
and will show full length programs,
corresponding to 10,000 feet of stand-
ard sized film. In such places where
there is a school it is intended also
to show cultural and educational films
at low admission.
Twenty-six
The INTERNATIONAL PHOTOGRAPHER
July, 1932
Sound on 16mm. Film Demonstrated
with Success at Engineers ' Forum
SIXTEEN millimeter sound on film
now has advanced in quality to
that point where it may be said to
be as good compared with 35 mm.
sound on film as is the photography
of 16mm. in comparison with the
35mm. from which it has been re-
duced. This is the impression
brought away from the recent spring-
session of the Society of Motion Pic-
ture Engineers at Washington by
Elmer Richardson of Hollywood.
As to the general situation it
seemed to be agreed among the mem-
bers attending the convention that
progression in the engineering activi-
ties of the industry had reached a
point where research could more gen-
erally be devoted to the perfection of
what previously had been considered
as the lesser details, but the import-
ance of which never had been for a
moment overlooked.
In the 16mm. field three firms sub-
mitted examples and gave demonstra-
tions of their advance. Erpi showed
what it had accomplished with disk
recording and also reproduction. RCA
Photophone and the United Research
Corporation showed what they had
achieved with sound on film.
The demonstration of each was re-
garded as creditable. It was consid-
ered by the members as thoroughly
justifying its adoption commercially,
and while sound has not been thor-
oughly developed on 16mm. film nev-
ertheless it had reached such a stage
it undoubtedly would be well received
by the public interested in its use in
the home and school. The non-inflam-
mable nature of 16mm. will continue
to be one of its strongest talking
points.
Mr. Richardson was gone from the
factory of Mole-Richardson six weeks.
Accompanied by his fifteen-year-old
son he left the train at Chicago and
purchased an automobile. From that
point on the rails were out. The two
visited Cincinnati, Richmond, Wash-
ington, Philadelphia, Camden, where
several days were spent as also was
the case in New York.
From there the Hollywoodians
toured to Lynn, Mass., where General
Electric has a huge plant. Here ye ed.
picked up his ears at the name of his
old home town, and they stayed up as
the manufacturer talked of visiting
the near-by Marblehead, that sea-
port with its arms wide open to a
northeaster — and how one of these
can blow.
Visits later were made to Pittsburg
and Williamstown, Mass., and then to
New Jersey to the Westinghouse
Lamp Works and to Cleveland to
the General Electric plant. The
speedometer registered 6600 miles
when the two reached Hollywood.
Rochester Erects Memorial Shaft
in Honor of Captain Henry Lomh
ALMOST twenty-four years after
the death of Captain Henry
Lomb, at the age of eighty
years, tribute was paid to his memory
on Memorial Day by military and
civic organizations of Rochester, N.
Y., assembled to dedicate a monu-
ment erected in his honor.
Built by gifts of the Bausch and
Lomb families, Mayor Charles S.
Owen in behalf of the city accepted
the royal shaft of black Minnesota
granite rising forty-eight feet above
its many-sided base of pink granite
which will perpetuate in a symbol of
beauty the lasting influence and in-
spiration of Captain Lomb's life on
his community.
A monument of inestimable value
which he instituted and which occu-
pies a city block is Mechanics Insti-
tute, dedicated to the technical and
practical training of Rochester's
children, youth and adults in the use-
ful arts and sciences.
As an industrial leader Henry Lomb
together with John J. Bausch found-
ed the Bausch & Lomb Optical Works
in 1853. As a patriot he served in
the Thirteenth Regiment of New
York State Volunteers in the Civil
War, during which service he was
promoted to captain.
His private philanthropies and pub-
lic benefactions in health,, educational
and general cultural pursuits brought
him the gratitude of thousands dur-
ing his lifetime with increasing num-
bers each year receiving the benefits
of his foresight and planning for
them.
F. Trubee Davison, assistant sec-
retary of war for aviation, came from
Washington as a mark of respect
from the federal government to give
the speech of dedication and assist in
the Memorial Day observance. As a
citizen no finer tribute could be paid
another than Mayor Owen's state-
ment :
"Rochester is a finer city and bet-
ter place to live because of Captain
Henry Lomb."
Ufa Closing Houses
The trade press in Germany now
reports that Ufa has decided to close
the following provincial houses:
U. T. Ton-Halle, Bochum, seating
898; U. T. Tauentzien Palast, B'reslau,
888; Ufa-Palast, Oberhausen, 808;
Captain Henry Lomb
Ufa-Palast, Coblenz, 955. The last-
named was only opened in the fall of
1931.
Real Writer Frames Story
Related by Real Comedian
By Arthur Brisbane in Hearst Newspapers
DEMOCRATS, in their love for
each other, recall a story that
Mr. Edward Cantor, young
actor, has told to Horace Lorimer,
young editor.
Mr. Cantor took Mrs. Cantor to see
Clark Gable and, says Cantor, when
Gable took Joan Crawford in his arms:
"My wife, who watched the picture
closely, said 'Phooey.' A few minutes
later, at another passionate scene, she
said 'Phooey' again.
"Well, I thought, here at last is a
woman who sees nothing in Gable.
Toward the end of the picture, when
I heard her say 'Phooey' a third time,
I turned to the star's defense.
" 'Ida,' I protested, 'that's Clark
Gable. Why do you say "Phooey"?'
"She snapped back: 'Keep quiet. I
was thinking of you.' "
German Stages Decrease
The number of legitimate theatres
in Germany is continually on the de-
crease, for which the German Theatre
Association not only makes the gen-
eral economic depression but also the
advent of sound film responsible.
Whereas in 1928-9 there were 166
state and municipal theatres, in addi-
tion to 77 privately owned legitimate
houses, corresponding figures as of
December 31, 1931, were 155 and 54
respectively.
Combine to Cut Costs
Nordisk Tonefilm of Copenhagen,
Camera-Film of Oslo and Ek-Film of
Stockholm have pooled their interests
for the purpose of joint production
and distribution, with a view to a re-
duction of operating expenses.
July, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-seven
Roy Wilson, Motion Picture Pilot
Famed for Daring, Dies in Crash
THE members of the Associated
Motion Picture Pilots greatly
suffer the loss of one of the
most beloved and colorful of their
group. Roy Wilson, an expert stunt
pilot with years of motion picture
flying to his credit, died in the line
of duty following a crash on the des-
ert near Victorville.
He was executing a tailspin close
to the ground in a shot for the Co-
lumbia Pictures Corporation in a
Sino-Japanese production, now in the
making. The deceiving white sand
of the desert and the light, hot air,
combined with the fact that his motor
failed to respond instantly when
given the gun, undoubtedly caused
the tragedy.
Roy Wilson will b? greatly mourned
not only by the members of the As-
sociated Motion Picture Pilots, where
he held important positions on both
the executive and examining boards,
but throughout the entire motion pic-
ture industry and by his many friends
and admirers in California.
He also will b3 missed at the com-
ing International Air Races to be
held in Cleveland this summer, where
he had a contract for a week of ex-
hibition stunting. This contract had
been extended to him after the many
honors won at the recent Omaha air
races.
Roy had an unusual lively and pos-
sessive character. He was particu-
larly gifted with a splendid sense of
humor and it always was a pleasure to
be with him at work or play, in tough
times or prosperous ones, in the sun-
shine or when the days were gloomy.
Though no longer with his friends
in the exact sense, he is with them
by reason of the fact that they will
never forget him and will hold his
memory affectionately in their hearts.
Between shots, when the Pilots are
waiting to do their stunts, they will
sit on their heels and swap stories
of the humorous things that "Baldy,"
as Roy affectionately was known to
them, used to do and say. F. L. B.
fP-sxgEKS-'
Rcy Wilson
British Building Society
to Erect Small Toivn Houses
IN London a company has been reg-
istered under the title of British
Cinema Building Society which
contemplates the erection of cinemas
in towns with more than 15,000 in-
habitants. By mass-production meth-
ods it is intended to build and equip
the cinemas with a seatage of 800 at
a cost of $60,000, which can be pur-
chased on the building society prin-
ciple of annual payments of $5,000 a
year.
It is stated 150 prospective exhibi-
tors already have apolied for sites
and that the first six cinemas built
under the new plan will be opened in
November next.
EYEMO.* the 35mm hand camera for
field work of all hinds
The Bell 13 Howell Eyemo 71-C. 35 mm. Seven speeds. Three-lens turret head.
Speed conversion dial. Built-in hand crank as well as spring motor drive. Price
$450 and up. Electric motor and 400-foot magazine extra. Prices upon request.
When news reel men, explorers, scientific expeditions, or
topical film producers take 35 mm. film in the field for
sound to be "dubbed in" later, the Bell & Howell Eyemo is
the hand camera to use. The new electric motor drive gives
the even 24-frames-a-second speed so important when sound
is to be added, and maintains this speed, if desired, without
interruption through an entire loading of film.
When the work demands more than the ordinary 100-foot film
roll, the Eyemo is the camera. For the motor driven Eyemo
can be fitted with a 400-foot magazine.
Studios abroad, producing film to which sound is to be added,
also are finding Eyemo an indispensable part of their equip-
ment.
With Cooke lenses . . . the lenses preferred by professional
photographers everywhere and exclusively supplied for movie
cameras by Bell & Howell . . . fitted on its three lens turret
head; with its easy portability, convenience, simplicity, and
flexibility of operations; Eyemo sets a new standard of pro-
fessional quality in 35 mm. hand cameras. Write for full
particulars.
BELL & HOWELL
Bell & Howell Co., 1S49 Larchmont Ave., Chicago; 11 West
42nd St., New York; 716 North La Brea Ave., Hollywood;
320 Regent St., London; (B & H Ltd.)
1 9 o 7—2 5 YEARS OF SERVICE TO THE MOTION PICTURE INDUSTR Y 1 9 3 2
Twenty-eight
The INTERNATIONAL PHOTOGRAPHER
July, 1932
Looking In on Just a Few New Ones
Charles Lang
THUNDER BELOW
First cameraman, Charles Lang ; operative
cameramen, Robert Pittack, Guy Bennett;
assistants, Clifford Shirpser, Thomas Mor-
ris; stills, Bert Longworth ; sound, J. A.
Goodrich.
REALLY an interesting and to
many an absorbing story is
Paramount's "Thunder Below,"
adapted from the novel of Thomas
Rourke by Josephine Lovett and Sid-
ney Buchman and directed by Rich-
ard Wallace. It's
a triangle in the
semi-tropics,
with T a 1 1 u 1 a h
Bankhead as Su-
san tied to Wale,
played by Charles
Bickford, and in
love with Ken,
played by Paul
Lukas.
The tale leans
heavily on the
feminine view-
point, and for
that reason it is
likely that while
it is possible and
even probable the thinking out loud
done by Susan will be fiercely sub-
scribed to by women equally as frank
nevertheless it will be of real inter-
est to men generally on account of
its revelatory character.
The theme is of a woman who feels
deeply and loves strongly — not her
husband of nine years. Rather is it
the best friend of that husband, to
her reluctant lover declaring it bet-
ter for one to be sacrificed than for
two. Susan does her best to change
her attitude following the descent of
blindness upon her unmated mate,
fighting to do the conventional thing
and to put out of her mind thoughts
of the man she loves.
Herein lies the conflict of the story,
laid in your lap by such convincing
players as Bankhead, Lukas and
Bickford. From its beginning right
to its tragic and smashing finish the
force of that conflict holds its grip
on the beholder.
And incidentally if the layman
never has heard of a zoom lens he
will have at least a smattering of its
significance when he experiences the
sensation of looking upon a rocky
shore from a height — of seeing a
woman topple and then in a terrify-
ing flash see those rocks magnify
through the eyes of the falling per-
son.
While Paramount for several years
has employed what is known as a
zoom lens in horizontal work, this is
the first time it has used it in per-
pendicular shooting. So far as the
camera department of the company is
aware the shot of the presumably
falling Susan or rather of what she
sees as she falls is the first time the
possibilities of the zoom lens have
been applied to that new realm of op-
tics. There have bsen many in-
stances heretofore of a camera being
brought from a medium to a close-up
By GEORGE BLAISDELL
shot presumably by a perambulator
but actually through the medium of
a zoom lens placed in a stationary
camera.
The present instance is probably
the first time a recognized device has
been employed to portray optically
the ground objects seen through the
eyes of a falling person. We shall
see much use of the idea made in the
days to come, but not again will it
have exactly the shock that accompa-
nied the first experience.
happened when
Norbert Brodine
BACHELOR'S AFFAIRS
First cameraman, Norbert Brodine; operative
cameraman. Joseph Valentine; assistants,
John Van Wormer, Jack Greenhalgh ;
stills, Anthony Ugrin : sound, Alfred
Burzlin.
GENERAL hand-clapping at the
close of a studio preview —
meaning on a studio lot and not
at a public theatre without the lot —
is not the usual thing. That is what
the curtains were
drawn at the Fox
No. 1 projection
room on "Bach-
elor's Affairs,"
most wisely and
even happily re-
titled from James
Forbes' play
"Precious." Bar-
ry Conners and
Philip Klein
adapted and Al-
fred Werker di-
rected. Incident-
ally, some or all
of these named
did an excellent
job. This is not a sanctimonious or
even ordinarily serious treatment of
the marriage relation, not in its en-
tirety in any event. But it is an amus-
ing and quite harmless tale of undoing
the well laid plans of a charming and
most ingenious but bankrupt gold-
digger who seeks through the instru-
mentality of a young and exceedingly
vivacious sister to plant herself in a
tub of butter for the remainder of her
natural days.
Adolphe Menjou is the well-to-do
man who is hooked, Mina Gombell is
the ambitious and scheming sister,
Joan Marsh is the bride, Allan Dine-
hart is the partner whose cleverness
smashes wide apart, the illy mated
pair, Irene Purcell is the woman who
really loves the bridegroom, and Ar-
thur Pierson is the young architect
who through the machinations of the
conspirator continually is thrown into
the company of the bride, with the in-
evitable happening.
The general result rates high in the
quality of its various departments —
in its treatment, in its lines, in its
interpretaion both individually and in
the mass, and in direction. It is hard-
ly fair to particularize, but Dinehart
did much in what really proved to be
fast company. Then there were Her-
bert Mundin doing much with his
lesser opportunities as butler and Don
Alvarado in a bit as genuinely funny
as always.
If you are seeking entertainment
with an abundance of fun and a scar-
city of gravity "Bachelor's Affairs"
is it.
WHAT PRICE HOLLYWODD
First cameraman, Charles Rosher ; operative
cameraman, Frank Redman ; assistants,
Cecil Cooney, William Clothier ; stills,
John Miehle ; sound, George Ellis.
NUMBERLESS picturegoers are
going to revise their estimate
of Constance Bennett when
they sit in on R-K-O's "What Price
Hollywood." To her partisans her
work in that absorbing drama will be
quoted in confirmation of their claim
that she "belongs." To the ranks of
these will be added what must be
much more than a negligible percent-
age those who heretofore have been
unable to experience any enthusiasm
over her screen personality.
For to one reviewer at least the
player is something different from
what he previously has conceived her.
Mary Evans, the waitress who capi-
talizes a break in pictures she engi-
neers through the medium of an over-
stimulated director, is in spirit a thor-
oughly human specimen of femininity,
a square shooter who deserts not in
his adversity the man who gave her
the opening to fame and fortune, who
sticks to him when she knows her en-
tirely platonic friendship is certain to
be misconstrued to her disadvantage
by the press of the world.
Another characterization sharing
honors with that of Bennett is Low-
ell Sherman's portrayal of the suc-
cessful director who through drink
slips down the hill to the mire at the
bottom. Beyond question it is enti-
tled to serious consideration by the
Academy and its members as a can-
didate for the award for the best act-
ing of the year. Just stick a pin in
that exceedingly large and what at
any time, in view of the many exam-
ples of fine acting in any year, is a
bold statement.
There is one other player at least
who during the past month has given
us an outstanding example of acting.
It is true the player who is fortunate
enough to register in an unusual part
has an advantage when the release of
the subject falls near the time for
the judges to make awards. Those
more remote are under a correspond-
ing disadvantage.
Gregory Ratoff scores heavily as
th° Jewish producer. To many who
will see this picture the part in its
opening lines may be classified as a
caricature, but very shortly it will
be realized it is being played straight.
Those who constructed the tale
avoided showing the producers as
other than a benevolent employer, a
family man as it developed at the end
of the story, and one who never at
any time sought to take advantage
July, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-nine
of his admitted opportunities. In
other words the type selected was
that of the best and not the worst.
Neil Hamilton completes the quar-
tet on the members of which is cen-
tered practically the entire interest
of the story. It is a single-track tale,
and the four named fulfill in high
degree the large opportunities laid in
their individual laps.
The picture is based on a story
from the hand of Adela Rogers St.
Johns, a woman who knows her Hol-
lywood as well as possessing the
writing ability vividly to describe it.
The adaptation was by Gene Fowler
and Rowland Brown and the screen
play by Jane Murfin and Ben Mark-
son. George Cukor directed.
As to these who laid the plans and
built the structure it may be pointed
out that not always do too many
cooks spoil the broth — not at least
where each succeeding poohbah of the
moment possesses the insight to de-
tect quality and the breadth and
courage to let it ride undefiled. Many
have there been of lesser mold who
always have been guided by the con-
viction that to leave unmangled the
work of another inevitably and ines-
capably put upon themselves the
stamp of inferiority.
WEEK ENDS ONLY
First cameraman, Hal Mohr ; operative camera-
man, William Skall ; assistants, Edward
Collins, Robert Surtees ; stills, Joe List ;
sound. Eugene Grossman.
SOMEWHAT fragile in theme, nev-
ertheless through stepping up in
factors of production — in direc-
tion, photography and acting among
others — Eox's "Week Ends Only"
makes good entertainment. Helping
toward that end
is a short cast of ^^^^^
principals — Joan
Bennett as the
wealthy girl im-
poverished
through a stock
slump, Ben Lyon
as a portrait
painter without
customers, John
Halliday as a
man about town
attracted by the
heroine, and Hal-
liwell Hobbes as
the family butler
who opens a high-class speakeasy
when his employer goes broke.
The tale in principle is not notable
for novelty, yet the picture will stand
up satisfactorily among those per-
sons not overfed with screen fare. It
is of course regrettable but it is
bound to be true that those who de-
scribe to others just what it is in
their opinion makes the clock tick
must in the course of their work look
upon many clocks — or pictures as the
case may be. And jaded and not al-
together reliable viewpoints often fol-
low looking upon too many pictures.
Joan Bennett's part of Venetia is
interesting as showing how one
wealthy girl left penniless finds an
opportunity to earn a living in spite
of the fact she lacks the more ordi-
nary bread-winning qualifications. As
hostess in a night club — owned inci-
Hal Mohr
dentally by the former family butler —
she has a chance to capitalize her
ability to play a piano and to mingle
on equality with those who have had
advantages in an educational and
worldly way.
There is a mild and entirely harm-
less triangle, one wherein the loser
of the two men goes out of the pic-
ture with the good will and the sym-
pathy of the house.
Alan Crosland directs William Con-
selman's adaptation of Warner Fa-
bian's novel.
LETTY LYNTON
First cameraman. Oliver Marsh ; operative
cameraman, Edward Fitzgerald ; assistants,
Kyme Mead, Samuel Cohen ; stills, Sam
Manatt ; sound, Anstruther Macdonald.
THERE might have been a "For
Women Only" sign on the door
of the big house where M-G-M's
"Letty Lynton" was billed as the
screen attraction the afternoon we
looked in on it. Sitting as one of the
few of the male persuasion among
an audience of close to two thousand
women was an experience — especially
when the house was so thoroughly in
sympathy with the leading charac-
ters of the story and so enthusiastic
over the picture as a drama and as
an entertainment.
Here we see Crawford at her best,
and that is saying much more than
something. We see her in a love
story, a human one; one where the
woman by the man she comes to love
is regarded as one who had a right
to have been a human being before
he met her. When the skeleton in her
closet is rattled he stands by and with
her.
It is a tale made to order for a
woman, as was shown that mid-June
afternoon on Hollywood Boulevard.
For here is another woman who has
done what she wanted to do when she
wanted to, has done it as a woman
might say with the freedom more or
less exclusively claimed by the male
person from the beginning of time.
Then into her lap falls a non-philan-
derer who clings to her when things
look the blackest. He is wealthy and
equally attractive and sincere. What
more could a woman want — or desire
if you will ?
It's an ideal cast, this group of
Montgomery and Crawford, with Lou-
ise Closser Hale as the faithful maid,
with May Robson as the mother who
has lost more than patience in the un-
conventional daughter, with Lewis
Stone for a magnificent bit as district
attorney who takes a chance and pre-
tends to believe falsehoods when he
sees they may prevail with a jury, and
with Nils Asther as a fiery South
American who is called upon not once
but several times to knock to the floor
the woman who is leaving him.
Tragedy comes when the fire-eating
suitor from the South drinks poison
brewed by the heroine for her own de-
fense, brewed with suicidal but never
with murderous intent. So when in
the office of the district attorney per-
jury is committed by the mother, the
maid and the lover of the heroine a
sympathetic audience unnecessarily is
revolted. Unquestionably the false-
hoods were in a good cause and even
in the broader interests of justice, but
nevertheless they were lies that could
not be palliated by the slim excuse of
mental laziness on the part of the
story's sponsors. They could have
been avoided by the exercise of a bit
of ingenuity and what is worse they
leave a bad taste in the mouths of
those who have looked upon a most
moving story.
Clarence Brown directs from John
Meehan's adaptation of Marie B.
Lowndes' novel.
Ernest Halle r
STREET OF WOMEN
First cameraman, Ernest Haller ; operative
cameraman. William Schurr ; assistant,
Ellsworth Fredericks ; stills, Mac Julian.
THAT'S a far-fetched and most
misleading title, that "Street of
Women" of First National.
While it may attract those who like
Polonious in the terse phrasing of
Hamlet must have a tale of baud or
they sleep its ob-
vious s i g n i f i-
cance unquestion-
ably will shunt
away many fam-
ily heads who
feel a certain
sense of respon-
sibility when se-
lecting screen en-
Itertainment.
^G^r \/A *s aH a shame,
cance of the title
rests in the sug-
gestion outlined
in the dialogue that behind every big
building is a woman as the inspira-
tion. That's just a bit of froth, of
course, dragged in by the heels in a
plain attempt to make the text fit
the head.
It really is a shame because
"Street of Women" is a charming
production. More than that, no strain
on the integrity of the reviewer is in-
volved if it be classified as a corking
production.
The almost inevitable triangle here
becomes a foursome or a quartette —
yes, even a sextette when into consid-
eration is taken the exceedingly in-
teresting love experiences of the sec-
ond generation.
Kay Francis is Natalie, the suc-
cessful business woman loved by the
married Larry, played by Alan Dine-
hart. Roland Young is Link, the
sincere friend of Natalie and Larry
also. Marjorie Gateson is the unemo-
tional wife of Larry, a woman keen
on social obligations and looking upon
her husband as an escort first and as
a business man last and least.
The love story of Natalie and Lar-
ry is introduced when of three years'
standing as the former tells the lat-
ter that because of the return from
school in Paris of her young brother
the friendship must come to a close.
The situation is complicated by the
discovery that Doris, the daughter of
Larry, is in love with Clarke, the
brother of Natalie, and that both re-
sent the friendship.
There's a set-up with large possi-
bilities. And notably are they accept-
Thirty
The INTERNATIONAL PHOTOGRAPHER
July, 1932
ed and demonstrated in this novel by
Polan Banks adapted by Mary Mc-
Call junior and Charles Kenyon and
Brown Holmes and under the direc-
tion of Archie Mayo. There's a real
literary flavor to the lines.
This Dinehart man is impressive.
Seen twice in twenty-four hours, he
certainly grows powerfully. In a se-
rious role he is even better than he
was in comedy. Easily he will rank
as one of the major screen accessions
of recent months.
THE ARM OF THE LAW
First cameraman, Faxon M. Dean ; operative
cameraman, Ira Hoke ; assistants, Guy
Newhard, Kay Norton ; stills, Arthur
Marion ; sound, Homer C. Ellmaker.
THE full house at the big and
popular priced Fairfax preview
of Monogram's "The Arm of the
Law" displayed what seemed to be
genuine enthusiasm at times. This
is mentioned inasmuch as it some-
what exceeded that experienced by
this particular reviewer. And after
all and always it is what the house
thinks and not what is thought by any
individual.
To be sure there was an excellent
cast picked to interpret this Leon Lee
adaptation of Arthur Hoerl's novel.
Louis King directed it.
One of the best things in the pro-
duction was the characterization of a
newspaper reporter by Rex Bell. For
the tale had a newspaper slant as
well as an underworld slant and a
police angle, of course. That is in-
escapable by reason of there being
a couple of murders, both off stage
be it said for the benefit of any cen-
sorially inclined.
Lina Basquette rated quite heavily
in the seniority of the cast, although
her earlier work was marred by in-
equality in the reproduction of the
dialogue. This was especially true
where she had occasion to step behind
a screen to change her garb.
Marceline Day acceptably filled a
minor part. Robert Emmet O'Connor
had considerable to say as a captain
of police compelled to read lines that
painted him more as a sap than a
first-class cop.
Robert Frazer and Dorothy Revier
gave excellent accounts of themselves
in melodramatic roles.
THE TENDERFOOT
First cameraman, Gregg Toland ; operative
cameraman, Richard Towers ; assistant.
Perry Finnerman ; stills, Charles Scott
Welborn ; sound, Oliver Garretson.
IN First National's "The Tender-
foot" there is an engaging twist
to the familiar theme of the cowman
come to the big town with a bundle
of money and enthusiasm and a lack
of knowledge of the waiting pitfalls
in the guise of crafty men. Joe
Brown portrays the ranch raised
Texan as a good-humored person slow
to wrath but who nevertheless under
heavy strain may lose his temper.
And a couple of times just that hap-
pens with highly interesting and
thrilling results.
The part is played boisterously as
well as broadly, although the carica-
turing of the man from the range is
held in just enough restraint to es-
cape the line of burlesque. The pic-
ture is successful from an entertain-
ment point of view in what really is
a difficult field — that of the disciple
of the open spaces dropped into the
city.
It was followed, in one instance
noted by this reviewer, with lively
interest and quite a number of
chuckles by a female person who
often gazes upon 100 per cent west-
erns with a bored look and through
half-closed eyes. And straws have
been known to indicate the direction
of the wind.
While the cast sheet shows over a
score of players the interest centers
really on a half dozen. Besides the
featured player there are Lew Cody
as an unscrupulous producer, Ginger
Rogers as his employe who quickly
shifts her status from an accomplice
when she falls in love with the Texan,
and Vivian Oakland as the actress
who tires of being stalled and walks
out of the cast.
Then there is Spencer Charters as
Oscar, the head waiter who joins the
Texan as a producer. Charters scores
a genuine hit when he listens to the
story of the play eloquently told by
the Texan. So enthralled is he that
he takes his house with him — and
puts his bankroll at the disposal of
the Texan.
Back of the production is a rather
varied paternity. It is based on a
story by Richard Carle and on George
S. Kaufman's play of "The Butter
and Egg Man." It is adapted by
Earl Baldwin. Monty Banks and Ar-
thur Caesar. Ray Enright directs.
MAKE ME A STAR
First cameraman, Allen G. Siesler; operative
cameraman, LeRoy Eslick ; assistant.
George Bourne; stills, Cliff Maupin ;
sound, Earl S. Hayman.
IF THE new regime at Paramount
Studio here — if there really be a
new regime — manage to turn out
one picture every couple of months
that approximately will match for
sincerity and appeal "Make Me a
Star" it will be doing exceedingly
well. It is to be assumed this particu-
lar subject is a product of the old or
Schulberg1 administration.
It is filled with comedy of all sorts —
of light and of broad and reaching
into farce. Alternating with the fun
is intermingled many moments that
deeply move, so much so that a goodly
number of those who follow this tale
of the screenstruck young grocery
clerk come to Hollywood will find
themselves chuckling under wet faces.
Out of a large and exceedingly com-
petent cast stand three players —
Stuart Erwin as Merton Gill, Joan
Blondell as Flips Montague, friend of
the boy in need, and Sam Hardy as
Jeff Baird, the director of the internal
farce comedy. It is on the first two
the majority of the action rides, with
Hardy supplementing them to the
limit of his opportunities.
We have used the word sincerity —
it is suggested perhaps by its use in
the dialogue through the director Hen-
shaw portrayed by Oscar Apfel — but
that word attains a new importance
to the screengoer after following
through this unusual performance.
To the two leading players the pic-
ture will mean much. It was an op-
portunity to Erwin and Blondell to
display their talent as interpreters of
life. The former led. set the pace as
it were, and the girl kept in step with
him all the way.
Others materially contributing to
the large success of the production
were ZaSu Pitts as a rural matron,
Charles Sellon as the country grocer,
Helen Jerome Eddy as the home town
friend of Merton, and Oscar Apfel as
mentioned. The latter's real moment
came in a brief breakfast table con-
versation describing the qualities in
players that make for human appeal.
William Beaudine as director de-
serves high honors for his product,
which in several ways would seem to
be an outstanding candidate for
Academy consideration in making
awards later. Of course the script is
from our familiar friend "Merton of
the Movies" from the hand of Harry
Leon Wilson. From that and the play
by George S. Kaufman and Marc
Connolly the script was written by
Sam Mintz, Walter De Leon and
Arthur Kober.
The happy result of the work of all
these men splits wide open that an-
cient impression that "too many cooks
spoil the broth."
When Seen Through Feminine Eyes
By CLARA M. SAWDON
RIDE HIM, COWBOY
First cameraman. Ted McCord ; operative
cameraman, Milton Krasner ; assistants,
John McBirney, Irving Glassberg ; stills.
William Thomas ; sound, Oliver Garretson.
HERE is another good old B. S.
(before sound) type of produc-
tion offered by Warners in
"Ride Him, Cowboy." Of course, it
has sound, but in every other respect
it conforms to the good old days of
silents when westerns were as they
evidently ever will be, and who would
want to change them ?
The names of the cast are much
more significant of achievement than
anything they are called upon to do
in this picture. For the heavy dra-
matics we have Henry B. Walthall,
Ruth Hall and John Wayne. For
laugh-provoking situations we have
Otis Harlan and Harry Gribbon. The
villain, of course, has to play a lone
hand, which task falls to Frank Hag-
ney.
Then and by no means last is Duke,
the horse, because he really is the
hero. He can't be in the final close-up
with the heroine but it was his head-
work that made it possible for John
Wayne to be there.
There was one interval of suspense
thoroughly effective, which it seems
unlikely was premeditated. To Duke
fell the job of untying Wayne, whom
July, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-one
the villain had tied to a tree sup-
posedly to die from thirst and the
cruelty of the desert sun. The un-
planned suspense came when it was
very evident to the audience Duke
was only tying the knot tighter. Then
came a friendly fade out and the
next shot showed everyhing proceed-
ing as it should with the knot oblig-
ingly slipping.
Just a final tip how to jazz up a
jaded appetite for westerns. Attend
on Friday night when the school
children are out in full force and re-
new your youth in hissing the villain
and cheering and applauding the hero
as he overcomes fifteen or twenty ad-
versaries in hand to hand combat and
outwits the villain at every turn.
Once more virtue has triumphed
and the honor of men brave and true
has been upheld. All is well and tem-
porarily quiet on the battle front of
westerns, but be not alarmed — all the
villains have not been vanquished.
Glenn
MacWilliams
REBECCA OF SUNNYBROOK
FARM
First cameraman, Glenn MacWilliams ; opera-
tive cameraman, Joe MacDonald ; assist-
ants, L. B. Abbott, Roger Shearman ;
stills, Clifton Kling ; sound, Joseph Aiken.
JUST as vacation days arrive Fox
releases "Rebecca of Sunnybrook
Farm" and parents undoubtedly
will reward their foresight by gen-
erously contributing audiences of the
younger generation.
This story by
Kate Douglas
Wiggin is of the
sturdy, depend-
able, perennial
type. When the
search for the
new and novel
fails to result in
a promising find
there are certain
old reliables that
always can be re-
instated because
their appeal is
time defying.
Marion Nixon
strives valiantly in the title role, but
the awkwardness and ingenousness of
Rebecca can only be effective by be-
ing natural. To simulate them through
studied effort destroys all attempts
at illusion.
Ralphy Bellamy as the country doc-
tor proves his versatility and sterling-
qualities as an actor who can make
good in any capacity. He is not hand-
icapped at all in any way by possess-
ing one of the most pleasing voices
uncovered by the vocal screen.
Just as she dominates her own
household as the elder of the maiden
aunts so does Louise Closser Hale dom-
inate the picture. Hers is an artistry
that is the result of years of study
and experience. Every gesture, fa-
cial expression and voice inflection
play their part in the perfected whole.
Aunt Miranda undoubtedly contrib-
utes heavily to the total sum of enjoy-
ment and entertainment to be had in
watching Rebecca try to remake in-
dividuals and circumstances as she
would have them.
Mae Marsh as Aunt Jane who had
her chance at romance but passed it
by to please her sister provides an ef-
fective contrast in the opportunities
given her.
Alan Hale, Eula Guy, Sarah Pad-
den and Alphonz Ethier also handle
their parts capably.
The photography presents many
beautiful interiors of the home of the
wealthy aunts which is presented as
a gem of its kind and period. For hot
weather audiences there are some
cooling winter scenes and quite a re-
alistic blizzard.
S. N. Behrman and Sonya Levien
made the adaptation for the screen
and Alfred Santell directed.
MYSTERY RANCH
First cameramen, Joseph August, George
Schneiderman ; operative cameramen, C.
Curtis Fetters, Irving Rosenberg ; assist-
ants, Harry Webb, Jack Epstein, Lou
Kunkle, James Gordon ; stills, Bert Lynch ;
sound, Albert Protzman.
REVIVING all the ten, twenty
and thirty cent thrills preva-
lent when meller-drammer trod
the boards with villains as crooked
as the pretzels also then in vogue —
and equally reminiscent of "the good
old days" — Fox presents "Mystery
Ranch" for the delectation of those
who yearn to see the pages turned
backward.
No doubt the producers were in-
veigled into thinking they were buy-
ing a suitable candidate for horror
appetites when the inspiration of this
picture was suggested to them. It is
true "The Killer," a novel by Stewart
Edward White, sounds promising.
The formula for the screen play
provided by Al Cohn probably now
has a label and a number as it has
been used so many times it has be-
come standardized. And David How-
ard, the director, with true venera-
tion for tradition did nothing to alter
it. Whether this course seems admi-
rable or deplorable depends entirely
on the individual viewpoint in this one
instance.
To George O'B'rien, Cecilia Parker
and Charles Middleton fall the ster-
eotyped roles of hero, heroine and vil-
lain, respectively. It is a thankless
undertaking on their part and a tire-
some ordeal all around as everyone
knows what is going to happen before
it happens.
While patiently waiting for the ex-
pected finally to materialize at allot-
ted intervals there are many beauti-
ful and interesting exterior shots
which provide an element of interest
otherwise notable solely by its com-
plete absence. Oh, yes, there is al-
ways the horseback riding of O'Brien
to be relied on in any and all of his
pictures. And can he ride ? The
answer is "Yes — and how!"
SOUTH SEA ADVENTURES
WHETHER a devotee of the art
of deep sea fishing or not,
"South Sea Adventures" shown
at the Filmarte afforded an unusual
opportunity to view a full length pic-
ture dealing primarily with this par-
ticular sport.
The expedition was that of Zane
Grey in which he set forth in a ship
of his own on a trail of adventure
the details of which were patterned
after a dream he had harbored for
many years. And when a fisherman
sets forth with a yacht valued at a
quarter of a million dollars and fish-
ing tackle to the sum of $50,000 that
is a dream of considerable magnitude
developed from the realm of imag-
ination into reality.
While the picture is one of the trav-
el type and is not built upon any def-
inite story, it is interesting to watch
its development. Starting out from
Catalina Island the early stages of
the journey offer examples of more
or less familiar deep sea fishing and
then events gradually turn to the
more unusual.
One very definite impression gained
is that it would be foolhardy to set
out after a giant black marlin sword-
fish (which was Mr. Grey's chief ob-
jective) with any time limitations in
one's schedule. Sighting the big black
fin which announces the presence of
the swordfish is very similar to spot-
ting the periscope of a submarine.
Imagine waiting weeks for such an
encounter and spending hours fight-
ing one of these monsters of the deep
only to lose him! Such was the tragic
experience of Mr. Grey, but in no way
did it dampen his ardor; in fact, it
made him only the more determined
to try again. After weeks of persist-
ent endeavor success arrived in what
may be termed in a big way, in fact,
to the total of thirteen* hundred
pounds. Even then sharks threatened
to get the prize before it could be
hauled beyond their reach. This catch
is claimed to be the largest fish ever
caught with reel and line.
There are typical shots of native life
showing the natural beauties of Ta-
hiti and other islands. One exception-
ally beautiful and out of the ordinary
shot shows the breaking of mammoth
waves photographed along their
crest. The camera crew consisted of
Romer Grey, Bob Carney and Thom-
as Middletown. The first two named
are respectively the son and son-in-
law of the author. Continuity written
bv Thomas Geraghty is delivered by
Wedgewood Nowell. It is a Sol Lesser
production.
Australian to Make Series
for Worldwide Exhibition
ACCORDING to Assistant Trade
Commissioner H. P. Van Blar-
com of Sydney, Australia,
Greater Union Theatres Limited of
Sydney recently announced a contract
has been made with Captain Frank
Hurley for the production of a series
of pictures for local and world-wide
distribution.
For the latter purpose dialogue will
be recorded in several languages. The
multilingual system will be introduced
for the first time in Australian film
production in "Pearl of the Pacific,"
an educational subject of Lord How
Islands. Subsequent productions in-
clude "Symphony of Steel," depicting
the opening of the Sydney Harbor
Bridge, and "From Tropic to Ant-
arctic."
Captain Hurley is the photographer
who made "Pearls and Savages,"
"Southward Ho with Mawson" and
"Siege of the South," all having been
shown throughout Australia.
Thirty-two
The INTERNATIONAL PHOTOGRAPHER
July, 1932
When Cameraman Is Assigned as Aid
to Destroyer 9s Commanding Officer
By ROBERT TOBEY
IN going through my picture files
recently I came upon the accom-
panying photograph that brought
back memories of the sea and of a
novel use for a cameraman. I made
the picture during the filming of
RKO-Pathe's "Suicide Fleet" last
August. In the photograph you see
a destroyer cleaving the water under
full steam as her huge bulk rushes
by the camera on the sailing vessel
Indiana at 40 miles an hour.
Perhaps you think it wasn't a thrill
to see this big steel brute coming
straight for us at that terrific speed,
veering off only at the last moment
and missing our wooden vessel by
fifteen feet. It seemed as if the super-
structure actually hung above us.
But to proceed with my story. We
had had considerable difficulty with
ship maneuvers. All instructions from
the director and chief cameraman had
to be relayed by radio to the com-
manding officers of the ships that
were "acting" in the picture.
Of course those men were not fa-
miliar with motion picture terminology
and tactics, and often not realizing
why we had to have certain maneu-
vers and certain formations arranged
with an eye to the ultimate screen
appearance would make mistakes or
misunderstand to an extent that was
disastrous photographically. "Let's
make it again," on that set meant
hours of work and much expense.
It was getting late when we got to
the scene here pictured, and besides
the navy is not very fond of steaming
destroyers at full speed, as the oil
consumption is tremendous. It was
vital to get this shot the first time
and to avoid retakes.
So Sol Polito, who was in charge
of the photography on the picture, hit
upon the happy idea of sending a
cameraman on board the destroyer to
work with the commanding officer.
Elmer Dyer, therefore, went aboard
the destroyer equipped with diagrams
of camera positions and full instruc-
tions. The destroyer pulled away
about three miles and came plowing
through the water toward us with
Dyer on the bridge beside the com-
manding officer, and that ship couldn't
have come any straighter toward the
lens if it had been on a wire. That's
how a cameraman kept a scene trained
on the camera instead of keeping the
camera trained on the scene.
Several old friends may be spotted
in the picture. I doubt if Dyer can
be discerned on the destroyer's bridge,
but with their backs impolitely toward
us may be seen (left to right) Louis
De Angelis, Ted McCord, "Speed"
Mitchell, Adolph (Whitey) Schafer,
Frank Shaw, production manager;
Bill Margulies and Bill Boyd.
Exhibitors Ask Government
To Regulate Theatre Shows
A DELEGATION of Hungarian
exhibitors presented to the Hun-
garian Minister of Interior a
memorandum in which they described
their plight and requested that the
numerous high taxes, fees and police
and fire regulations be revised.
They also asked that motion picture
exhibitions be uniformly regulated
by the central government. At pres-
ent only about one-third of the
licensees have actually opened the-
aters.
Everything Photographic
for Professional and Amateur. New
and Used, Bought, Sold, Rented and
Repaired. Camera Silencing.
Send for Bargain Catalogue.
Hollywood Camera Exchange, Ltd
1600 Cahuenga Blvd., Hollywood
Tel.: GL. 2507 — HO. 9431
Cable Address, HOcamex
Open 8 a.m. to 10 p.m.
July, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-three
Much Ado About Nothing-Maybe
Serving Notice on All Yes Men Well Fed or
Hungry They Just Gotta Stop Kickin'
This Houn' Dawg Aroun'
UNDER the caption of "Camera
Credits to Come Off Titles" the
Hollywood Reporter of June 10
starts off a sixteen-line yarn by say-
ing "There is a movement on foot in
the studios to omit credits for the
cameraman from the main titles of all
pictures."
A small book migfht be written
around an analysis of these twenty-
two words and the caption preceding
them. In the first place to the ini-
tiated they roar of the desperate re-
porter stuck for something resem-
bling news to turn in at the end of
his daily grind and grasping at a
straw held out to him by some insig-
nificant yet ambitious yes man who
will in turn lay the wheeze before the
eyes of his superior yesser next above
on the cringing ladder.
In the second place the opening
sentence discredits the flat assertion
uttered by the lazy headwriter who
transforms and translates "A move-
ment is on foot" in the opening sen-
tence to read as a definite and accom-
plished fact:
"Camera Credits to Come Off
Titles."
Of course that headwriter may not
have been lazy or yet incompetent.
The heading might be a bald attempt
to mislead those who as a rule scan
a daily film paper by title, stopping
only when particularly concerned.
The headwriter might be a yes man
also — and if so an unwilling one also
he is bound to be if he possess the
soul of a louse — a yes man of whom
it may be said his boss no longer
roars as gently as a sucking dove
when studio workers are being dis-
cussed. Of course it was different in
those not remote days when producer
advertising was bewailed as a minus
quantity.
Producer advertising now is slip-
ping down the hill to the Reporter.
It is to be expected following that in-
ternally momentous event nagging
rumors or even designedly mischiev-
ous inventions appertaining to stu-
dio crafts whispered to the sheet
touched by the wand of Santa Claus
immediately will be converted into
a fact by the hand of a lazy or in-
competent or instructed head-writer.
This producer advertising sooner
or later may be another story. Since
its beneficent or subsidized bestowal
the domestic subscription rate of the
Reporter has been increased to $20
a year. Seemingly this unusual sum
puts this comparatively new publica-
tion quite completely out of the reach
of the vast majority of the seven
thousand organized studio workers.
Somehow those toilers who fall so far
short of the financial exclusiveness
prerequisite to admission to the sub-
scription list will manage to scrub
along pending the arrival of a more
audible voice of their own.
Of course right off the bat many
will inquire of International Pho-
tographer "Why bother with a damned
fool?"
We concede the occasion calls for
an apology, but primarily we are pay-
ing attention to or bothering with
him because notice is being served
on Yes Men cheap and expensive
alike that no longer will cameramen
consent to be placed in the category
of Champ Clark's humble friend prior
to the utterance of the Missourian's
famous declaration:
"You just gotta stop kickin' my
houn' dawg aroun'!"
* * *
IN the face of a precedent estab-
lished by twenty years' usage the
desperate reporter goes on to say
that "The reason given for this ac-
tion is that the main titles are usually
too long and the elimination of any of
the credits saves not only space but
expense."
While on the elimination slant why
not for a starter cut out the name
of the supervisor, who sometimes may
contribute as much to the sum of a
picture as does the cameraman?
Why not cut out the name of the
art director, often a vital factor;
the wardrobe chief, and yet another
who frequently does much toward a
production's success, the assistant di-
rector?
And if space and expense are loom-
ing so large after all these years why
not cut out everything but the name
of the producer company?
* * *
NOW we come to the kernel of the
nut. It is the concluding para-
graph :
However, there are those who
believe that there is some little
feeling in the studios against the
cameramen, who are rather stiff-
necked in their dealings with the
producers, and that this is the
studio method of getting even.
The desperately inventive reporter
here assumes the guise of a catty
chatteress but minus the disguise of
those scant feminine garments the
right to wear which instinctively
softens male asperities.
It is true as time goes on and as
experience demonstrates to the world
at large as well as to those inside
the industry itself the actual relative
value to the completed picture of the
work of the cameraman those re-
sponsible for this enhanced value in
dollars and cents as well as in artis-
try and its related branches are less
and less inclined to be pushed around
by anybody, high or low, and in silence
and humility submit to it.
If there is any one on a lot com-
petent to help a cameraman make a
better picture he will be listened to
by the photographer with real respect.
If on the other hand some minor per-
son of more or less great but inevi-
table brief authority seeks to make
a personal record at the expense of
the quality of his employer's property
and the cameraman's photographic
reputation it is possible he may find
evidence of a stiff neck on the part
of the man behind the camera.
In that instance the unusual rigid-
ity would be brought into being in
the interest financial and otherwise
and in the defense of the employer
over the head of an incompetent and
meddling subordinate.
The desperate reporter is ambigu-
ous when he says "in their dealings
with the producers." He may have in
mind cameramen as individuals or
probably as an organized group. It
is immaterial.
A studio is a large institution. He
who speaks for it with real authority
should be rather a sizable power.
When such a person assumes to speak
for all other studios he must be more
than a sizable power.
Usually he possesses sufficient dis-
cretion to keep silent when in the
hearing of desperately inventive re-
porters unless by chance he seeks to
try something on the dear public — to
plant a tiny seed just to see what may
sprout. As a rule, however, ordi-
narily responsible men do not do busi-
ness this way.
YEARS ago the heads of the gi-eat
Biograph company saw no need
of letting the world know the identi-
ties of the men and women who made
and played in that organization's pic-
tures. When gradually they saw the
light they tried to compromise with
the inevitable by using false names
the better to keep silent their insistent
customers in England and Australia.
It was some time before the company
was convinced of the necessity of
using a name of the actor's selection.
There are several factors for the
producers to take into account in the
event they ever really decide to omit
screen credit to cameramen. One of
the principal of these will be the con-
sumers of their product represented
respectively by the public, the press
and the exhibitor. As to what the
attitude of the distributing force of
each company will be toward its pro-
duction division in conciliating three
sets of protestants able to summon to
their aid such potential force it is
not difficult to imagine. And it is
well known what happens to a produc-
tion section of a major company when
it collides with the distributing side —
it just says "Yes, boss."
So if on the suggestion of the vacu-
ous tipster to the desperate reporter
decision should be reached by the
studios to reduce the number of cred-
Thirty-four
The INTERNATIONAL PHOTOGRAPHER
July, 19.12
its on the main title those responsible
for its constitution will save time and
trouble if first they learn in just what
credit factors are the public and press
as well as the exhibitors interested
and in what are they totally uninter-
ested. They may be surprised.
All of which reminds us just prior
to the outbreak of the desperately in-
ventive reporter that Howard Hall,
editor of Cinema Digest, had handed
us a clipping which immediately was
marked for publication. It was printed
in the Washington Star under the
heading of "Cameraman Comes In for
His Share of the Praise," with a sub-
head of "Usually Forgotten Worker
Has Done Much Toward Success of
'Grand Hotel' and 'Doomed Bat-
talion.' " Very likely Mr. Melcher
will be interested in the suggestion
of the aforesaid vacuous tipster that
credits to cameramen be withdrawn
by the producers whether for the
laudable purpose of saving space or
as a childish method of "getting
even." But read what he says.
Cameraman Deserves Much Glory
for" Grand Hotel, '"Says Reviewer
By E. De S. Melcher, in Washington Star
THE jubilee of enthusiasm which
has been raging around these
players — and rightly so — has,
however, put more or less into the
shade a person who, in this depart-
ment's estimation, deserves much of
the glory for this production. He is
the seldom praised cameraman. He it
is who has contrived some of the most
unusual effects ever recorded on the
screen and who also makes Miss
Garbo look alternately lovelier and
uglier than she ever has before.
William Daniels' camera tricks, the
lighting, and the direction of Edmund
Goulding, alone would sell the picture
if it were stripped to the bone of its
perfect cast. Perfect it is even if
Lionel Barrymore doesn't look as sick
as did his predecessor on the stage, or
if Miss Crawford seems a trifle too
intelligent, or if Miss Garbo cannot
be imagined as the most supple of
ballet dancers. That one scene in
which she is shown in her ballet dress,
however, seated, is one of the most
effective portraits the screen has
painted — the lighting, the posture,
that indication of complete relaxation,
being akin to a genuine masterpiece.
Further photographs of excellence
have been contributed, most notable
being the glimpse down the great
winding stah-ease into the lobby in
which the people look like so many
ants. Mr. Daniels' camera, in this,
as in most of the rest of the film,
shows unusual imagination. By the
process of this cameralogical skill and
its clever ability to make mountains
out of molehills "Grand Hotel" stands
head and shoulders above its brother
films. . . .
But don't forget the director and
the cameraman when you see this on
Friday. They are much of the reason
for the unquestionable success of this
successful picture.
A cameraman also is largely re-
sponsible for the success of "The
Doomed Battalion." This film, made
to seem exciting by the magnificent
pictures taken high up in the Dolo-
mite Alps, is sometimes disappointing
in its narrative and too leisurely in
its progression. But for sheer camera
wizardry it unusually satisfies. What
"Grand Hotel" does for the great in-
ner sanctums of a hostelry "The
Doomed Battalion" does for Mother
Nature. She has never been grander
than in these chilly Austrian-Italian
climes.
// Unable to Walk Friends
Might Have Carried Her Out
EARLY in June some fifty women
representatives of churches,
parent-teacher associations and
women's clubs appeared before the
City Council of Los Angeles demand-
ing a cleanup of burlekew shows on
Main street.
Mrs. A. A. Blatherwick promised
the women would tell what they saw,
but the wise reporters declare they
didn't.
Mrs. William P. Hardy was one of
the speakers. "I sat there for an
hour and a half almost petrified by
the things I saw," she said.
As the stage shows in these houses
only run about ninety minuses it
would seem the witness missed noth-
ing.
Texas Awards 12 Contracts
to RCA for Sountl Equipment
The contracts cover the installation
of eleven special size all AC operated
sound reproducing units which were
designed for auditoriums up to 500
seating capacity and one standard
size all AC operated unit which was
Nitzsche A. G., of Germany (company
designed for auditoriums up to 1200
seating capacity.
It is said to be the largest single
contract of its kind ever awarded.
Camera Exchange
Ready for Olympice
>~p HE Hollywood Cam-
A era Exchange, situ-
ated at Selma and Cahu-
enga, is well settled in its
new quarters. The exchange
is Hollywood agent for the
latest Model D Leica cam-
era and accessories. It is
preparing especially to ex-
ploit the instrument for the
Olympic trade.
There has been no change
in the old slogan of "Every-
thing Photographic."
One of the exchange's
newest devices now being
installed on amateur cam-
eras is a combined matte
box and sunshade complete
designed to accommodate
professional two-inch filters.
July, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-five
Union Discovers Enemies fVithin
Railroaders' Organ Labor Prints Story of
Emissaries in Electrical Workers Who
Seek to Destroy Organization
From Labor of June 7
Letters containing instructions to
"industrial detectives" and showing
the existence of a nation-wide plot
against the International Brother-
hood of Electrical Workers have fal-
len into the hands of the Union's
officials.
According to these documents —
photostatic copies of which will ap-
pear in the next issue of the Electri-
cal Workers' Journal — the under-
cover attack on the union is being
waged at New York City, Pittsburgh,
Baltimore, Buffalo, Cincinnati, St.
Louis and Dayton.
Operations are directed by "The
American Financiers' Investigation
and Protective Bureau." All letters
are signed by G. Edgar Applegate
and George E. Anderson. The hand-
writing of both signatures is iden-
tical.
Letters in Code
While many of the letters contain
secret messages and cryptic refer-
ences, considerable of the contents
are understandable and clearly re-
veal the lengths to which "open
shoppers" will go in their efforts to
disrupt trade unions.
One of the first orders issued to
the spies was to stir up religious
prejudice in the New York local union.
Jews were to be pitted against Gen-
tiles, Protestants against Catholics.
The same letter contained instruc-
tions for discrediting a local union
official.
"It is possible for him to fix all in-
surance matters — Shoiv that he does,"
the spies were told.
Sowing Dissension
An order to operatives at Buffalo
went into details as to the best meth-
ods of causing dissension among the
unionists there.
"Stress the money-making possibil-
ities the officers (especially the ones
at Washington) have," Mr. Apple-
gate-Anderson ordered. "Use all the
imagination at your hands. That is
what you are paid for. Remember,
one-half facts and a vivid imagina-
tion has made many a good book. In
forecasting events, real or imagined,
be more vague."
Emphatic instructions were given
to try to break the union financially.
"Use every means available to keep
them (the union) in court litigation —
this is the best way of reducing their
treasury," the order explained.
St. Louis spies were told to go the
limit.
"Use and means or tactics that you
think best, so long as they bring the
desired results to our clients," they
were told. "In your attacks, contest
the legality of the present crowd
holding office. Try to have an imme-
diate election. Also a receiver being
appointed would help our clients im-
mensely. This has all been outlined
to you on your instruction sheets."
One of the most revealing letters
is from Mr. Applegate-Anderson to a
New York association of employers
which evidently had objected to the
expense of the spy activities.
"We have, as you probably know,
eight of our informers in the electri-
cians' organization," the chief of the
spy bureau said. "Most of these men
have been in our employ for upwards
of eight years. Their cards range a
number of years.
Bonus to Informers
"The same conditions practically
apply to the steam fitters, elevator
constructors, plumbers, sheet metal
workers, bricklayers, plasterers and
carpenters. While it is true we need
fewer men in these latter trades, you
must take into consideration that the
electrician is of higher intelligence,
does not as a rule believes the first
rumor he hears. For that reason our
stories must be repeated to him
oftener to get him to the point where
he is receptive.
"We pay these informers a small
weekly wage, but a liberal bonus for
succesful endeavors, such as circulars
(we dictate), law suits, story spread-
ing, making motions and speaking at
meetings.
"I am straining every available
source at my disposal to get them
into the important positions and
thereby lessen the expenses that you
now have, such as legal and press ex-
penditures.
"I have had thorough investiga-
tions made of the present officers of
the electricians, but I cannot get any-
thing that can be used that would be
favorable to our side.
"In closing, I will again remind you
that the tactics that I am using were
successful in the McNulty-Reid af-
fair. I believe by using the above
tactics, and, in addition, to fighting
all forms of insurance and centering
strong opposition on their leader in
Washington, we shall be successful in
the near future."
("The McNulty-Reid affair" was an
internal fight which split the organ-
ization into two national factions in
1908.)
Contact Men Stressed
Operative "Bartley" (an assumed
name) was assigned to lead the
"thought suggesters" at Baltimore.
According to his instructions, he was
to see that his men were "well scat-
tered throughout the hall to suggest
thoughts to other members and to
UNDER a banner caption of
"Industrial Spies in Plot to
Wreck Electricians' Union," the
June 7 issue of the weekly publi-
cation Labor carries a tale that
will interest all who concede the
right of group action to others as
well as to themselves. And it
should interest even those who
would if permitted arrograte to
themselves the sole privilege of
organized control.
Labor is owned by the Asso-
ciated Recognized Standard Rail-
road Labor Organizations and its
editorial policy is dictated by the
chief executives of the interna-
tional unions of Switchmen, Loco-
motive Engineers, Machinists,
Electrical Workers, Railroad Teleg-
raphers and Maintenance of Way
Employes. It is printed weekly in
Washington.
start and participate in any demon-
strations favorable to our side."
Letters to all operatives frequently
stress the importance of getting
"more contact men." These are ap-
parently individuals who can be used
to further the spy's purposes.
And the spies are cautioned to keep
their "deportment above reproach, so
that your contact men will place con-
fidence in your every word."
But in another letter Mr. Apple-
gate-Anderson tells his operatives to
be "vague" in their promises to these
"contact men," so that there will not
be any great difficulty in eliminating
them "in the new organization we
have for the members when the pres-
ent one is no more."
Robert Miller Off on Long
Trip ivith Dollar Flagship
OFF on a 27,000-mile trip, Robert
Miller, member of International
Photographers, sailed June 17
from San Francisco on the President
Hoover. On this eight-million-dollar
craft, flagship of the Dollar fleet, the
cameraman will have full charge of
the photographic work, which will
include Kodak printing. With him he
is carrying a Bell & Howell camera
for the purpose of grabbing any im-
portant news shot. Also he is taking
an 8x10 still camera, a 4 by 5 graflex
and a special Eastman kodak.
The traveler will be quartered on
the boat deck, where he will have
the advantage of a complete dark-
room, with tanks, printers and en-
largers. The ship also is equipped
with a Western Electric sound pro-
jection apparatus.
Enroute the Hoover will touch
Yokohama, Kobe, Shanghai, Hong-
kong and Manila, returning to reach
Los Angeles about Aug. 12. From
here the vessel will sail for New
York and then return to Los Angeles.
Thirty -six
The INTERNATIONAL PHOTOGRAPHER
July, 1932
Canadian Film Distribution
Speeded by French Talkers
UNTIL recently the only French
cinema films distributed in the
Province of Quebec were of the
silent type, from the United States,
through New York agencies. Prior to
the introduction of sound pictures the
French films were at a disadvantage
because of their relatively inferior
photography, settings, properties, etc.,
as well as pilots ill-adapted to Cana-
dian audiences.
With the advent of talking pictures
the possibilities for distribution in
French Canada were manifestly al-
tered. Of a total population of near-
ly 3.000,000 persons in the Province
of Quebec slightly more than 80 per
cent use French. As is well known
the Dominion is officially a bilingual
country, all public documents, arch-
ives, and reports being prepared and
ublished in both English and French.
A still further and more important
arrangement insuring the display of
the films handled by the Cinemato-
graphique Canadienne covers the six
picture houses operated in Montreal
by Confederation Amusements (Ltd.),
the second largest sound theater
group in Montreal.
Altogether there are 25 motion pic-
ture theaters in Montreal and its im-
mediate contiguous suburbs that have
taken up the display of French sound
pictures during the last year.
The second strategic theater of the
Cinematographique Canadienne was
ANNOUNCING
SUNSET CAMERA SHOP
Of Hollywood
6305 Sunset Boulevard at Vine Street
CAMERA RENTALS
MITCHELL, BELL AND HOWELL
STILL, GRAFLEX, ETC.
A Store for Cajneramen Service
GUY (659) NEWHARD
HE 5566
Night Phone YOrk 4553
opened a little later in the city of
Quebec and is known as the Cinema
Canadien, with a seating capacity of
600.
In the smaller cities and towns of
the Province approximately 29 thea-
ters have turned largely to French
films in 1931 and 1932. The largest
are at Hull, a French Canadian indus-
trial suburb of Ottawa; Three Rivers,
Riviere du Loup, Sts. Hyacinthe, St.
John-Iberville, Shawinigan Falls,
Grand'mere, and Joliette. Smaller
theaters are widely scattered.
Someth ing Ne w 11
The Kains
Lens Shade
Throw Away Your Finder
Extensions!
Get That Finder Closer to
the Camera!
Size and Angle of Lens Shade
Now Unlimited
In some cases we will be able to re-
build your old lens shade and in-
clude these new features.
Fred Hoefner
CINEMA MACHINE SHOP
5319 Santa Monica Blvd.
GLadstone 0243 Los Angeles
Special :: For Cameramen :: All Risk Insurance
50%
Branches:
CHICAGO
ST. LOUIS
ATLANTA
BROOKLYN
RALEIGH
Average Savings on Cameras and Equipment
All Risk — World Wide — Aeroplane Hazard
20% Savings on Your Automobile Insurance
These plans available to members I. A. T. S. E.
CRESCENT BROKERAGE CORPORATION
Gustave A. Blumenreiter, President
WESTERN BRANCH
Wm. J. Perry, Manager 51
Commercial Exchange Bldg., 416 West Eighth Street, Los Angeles, TRinity 8677
Head Office
East 42nd Street
New York
July, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-seven
The International Photographer's Family Album
Anniversary of the Stork \s Visit
JULY 1— Lloyd Knechtel.
2 — George Folsey, David Ragin.
3— Russell C. Hoover, Shirley V.
Martin, Edward Ullman, Alvin
Wyckoff.
4 — L. Robert Burks, Robert M. Con-
nell, N. C. Travis.
5 — Merritt B. Gerstad, Roy L. John-
son, Harry J. Wild.
7— J. Rov Hunt, Fred W. Mayer,
Harold I. Smith.
8 — Percy Hilburn, Arthur C. Miller,
Robert G. Mitchell.
That's just a blade of grass that
Diana Mae West holds in her left
hand — something seemingly which in
all her previous life of ten months she
has had no such excellent opportunity
to examine. Plainly it interests her
much. And similarly interested will
be those who study this photograph
of S. R. Slade, and of which Diana
Mae's father, F. E. West Jr., is
pardonably proud
Brownell Takes MacGregor
on Camera Hunt to Alaska
OFF again on a photographic ex-
pedition, Hobart H. Brownell
left Hollywood June 17 for
Alaska, where he will remain two
months. In Portland he was joined
by another International Photog-
rapher, Dan MacGregor. The jour-
ney is in the interest of Dowling and
Brownell, with offices in the Metro-
politan Studio.
9 — James E. Casey, Fred Jackman,
Robert LaPrell, Joe LaShelle.
10— L. T. Galezio.
11 — Benjamin H. Kline, Hatto Tap-
penbeck, John Thompson, Loth-
rop B. Worth.
12— Robert E. Cline, Earl Robert
Crowley.
13— Clyde DeVinna.
15 — Milton Brown, Sidney Hickox,
Harold B. Porter.
16 — Osmond H. Borradaile, Leon
Shamroy.
17— Ernest Smith.
18— Dwight W. Warren, Edgar C.
Barber.
19 — George Meehan, Gustav C. Peter-
son.
20 — R. S. Crandall, Glenn R. Kershner.
21 — Charles A. Marshall, Ben Rey-
nolds, Ralph B. Staub.
22 — Ray Jones.
23 — Jack Greenhalgh, Jr.
25— Wilbur H. Bradley, Otto Dyar.
26— Charles P. Boyle, George T.
Clemens.
27— Robert A. Pierce.
28— James B. Drought, E. L. White.
29— Frank Gaudio.
30— Paul H. Allen.
31 — Emmett Bergholz, Joe Darrell,
Leon Johnson, Joe J. Novak,
Lewis W. O'Connell, Mack
Stengler, Ted La Barba.
Introducing Brian Van Mols, young-
est member of the family of Pierre
M. Mols. Brian was ten months old
when his father exposed this photo-
graph, but he celebrates his first
anniversary on July 1. And as the
natal days accumulate and pile up
Brian will look upon this photo with
growing interest
International Photographers gathered at the home of B. B. Ray for their
regular chess game. Left to right are Bob Bronner, Bill Wheeler, Jack Mc-
Pherson, Jules Cronjager, Dewey Wrigley, Henry Kruse, B. B. Ray, Lee
Crawford, Ed Wade, Pliny Goodfriend and Hap De-pew. James Woodbury
and Lewis W. Physioc absentees detained by business.
George Richter, photo.
Thirty-eight
The INTERNATIONAL PHOTOGRAPHER
July, 19.32
OIJOCUS
o-eiSEBs-
Dont Let the Gorilla Make a
Monkey Out of You
A DISCUSSION came up while
on location in the wilds of
North Hollywood as to the cor-
rect stop to be used in shooting a
scene. Johnnie Boyle (NO KIN TO
CHARLES) arrived at F8 without
the aid of a photoelectrometer. The
Gorilla said F 6.8. Eddie Cohen hold-
ing up his hand said make it 5 and
we'll shoot it. Geo. Unholz (in pan-
ama hat) and Freddie West (kneel-
ing) are watching the gorilla closely
to see that he does not work out of
his classification.
Note the new automatic, self bail-
ing, high compression Mitchell maga-
zine on the camera on the right. Two
thousand feet of film can be used
where formerly 1000 was used. Just
run the roll through and then turn
the magazine over and run it through
again. Some very novel and unusual
effects can be obtained this way.
For the first 100 correct answers
naming the studio and director pro-
ducing this picture we will mail 100
subscription blanks to the Interna-
tional Photographer, good for one
year's subscription if accompanied
with $3.
Note! No cracks are made about
Johnnie's nose.
Olympic Sports
IT has been suggested we enter the
games as we have quite a few
sports available at the present
time. Little expense would be in-
volved as most of the boys are down
to their underwear and this would
save buying track suits. We could
have a contest with the cameramen
of the world and would suggest some
of the following events.
Swing over event.
First Cameraman only.
Assistants to be judges.
Award to be made to the camera-
man that can shoot the greatest num-
ber of scenes in one day without
swinging over.
Cutting off heads contest.
Second Cameraman only.
No judges needed in this event, as
it will be blamed on the projector.
Oiling up event.
Assistants only.
Award to be made to the assistant
getting the greatest amount of oil on
the outside of the camera. Oiling up
applies to camera only. Oiling up be-
fore and after event is at their own
expense.
Light changing contest.
Still Cameramen only.
Electricians to judge.
This award will be made to the
still cameraman that can change the
greatest number of lights on a set
when shooting a make-up still.
Run off for film finals.
To be run by Dupont and Eastman
to determine which film is the fastest.
I recommend.
Hop, skip and jump. Mickey Wha-
len. You should see his change of
address card.
Broad Jump. Harvey Gould. He
jumps to a new one on every picture.
Vaulting. Pop Dolan. He has
charge of the camera vaults at Para-
mount.
Discus thi-owing. Any of our
Spanish athletes could make this.
Decathlon. Don't know what that
is, but recommend Jimmy Murray.
100-meter race. This would take
too long as it's pretty hard to meet
over five a night.
Hurdle race. Howard Hurd will
be a pipe for this after the hurdles
he got over at the International Con-
vention.
Swimming. Buddy Williams. He
can go the longest without coming up
for air.
Horse Backing. Phil Goldstone. He
has backed almost everything else.
All American Team — Martinelli,
Schneiderman, Zech, Laszlo, Scheu-
rich, Unholz, Rosenberg, Schoenbaum,
Cohen, Branigan, De Cazstellaine,
Flinsky and Klucznik. All members
of Local 659. So let's all get together
on this and push it backward, as I
read in the paper the other day
where several Pasadena girls have
already made the Olympic team.
This marvelous telephoto was made by that photo fellow Roy Johnson, with
the aid of a straw hat and kyiickers.
Signs of Spring
Back From the Front
J.JOSEPH MESCAL— Yeah, that's
Johnnie! — is now one-half of the
Vita-Kino Photographic Process Com-
pany. Mike Farley is the other half.
They are making projection back-
grounds while you wait and you don't
have to wait long as all you have to
do is give them an order and they up
and move in their equipment and the
next day it's there. Not the equip-
ment but the finished print. They
project any background you may se-
lect on a screen behind the actors and
that permits you to see the back from
the front.
Cameraman in Vaudeville
PAUL PERRY has just closed a
two weeks vaudeville engagement.
The act closed in Taft Saturday night
and was booked to open in Long
Beach Saturday morning. Paul can
do plenty of tricks with a camera, but
lot with the calendar. This act used
a camera to photograph scenes on the
stage which were shown the next
night in the Theatre.
July, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-nine
WE WANT
travel, fight, thrill and curiosity
films from All Parts of the Earth
9 And unusual and interesting
films depicting the life and habits
of Asiatic peoples as well as others.
I] SEND US DESCRIPTION OF II
2J FILM,, also giving size 1 16mm L
'0><\l or 35mm), and length of subject. |x<0.
"I Cash will be remitted for any IS
U. subject accepted.
Continental Film-Craft, Inc.
1611 Cosmo Street, Hollywood, Calif.
Alvin Wyckoff
Phone GLadstone 4151
HOLLYWOOD
STATE BANK
The only bank in the Industrial
District of Hollywood under
State supervision
Santa Monica Boulevard at
Highland Avenue
Cinex Testing Machines
Cinex Polishing Machines
Developing Machines
Printing Machines rebuilt for
Sound Printing
Special Motion Picture Machine
Work
Barsam - Tollar
Mechanical Works
7239 Santa Monica Blvd.
Hollywood, California
Phone GRanite 9707
Glenn R. Kershner
Phone Culver City 3154
^□==5
MITCHELL FOR RENT
BASS-CHICAGO
Pays Spot Cash for used
Bell & Howell Professional
Cameras and De Brie
Motion Picture Cameras.
Bass Camera Co.
179 W. Madison St., Chicago
AGFA
Positive Film
Uniform
n u
Agfa Raw Film Corporation
6368 Santa iVionica Boulevard
Hollywood, California
Factories: Binghamton, New York, U.S.A.
Forty
The INTERNATIONAL PHOTOGRAPHER
July, 1932
LAP DISSOLVES
TRICK WIPEOFFS
FADES
EVERY FORM OF OPTICAL PRINT WORK
and complete laboratory facilities for making
our own dupe negatives and first prints
DUNNING PROCESS CO.
932 N. LaBrea
GL 3959
Mitchell Cameras (Late
Models for sound and speed
work) and Accessories
For Rent
Professional and Amateur
Photographic Supplies
Developing, Printing and Enlarging
Hollywood Distributors for Leica and
All Other German Make Cameras
RIES BROS., INC.
Open 8 A.M. to 9 P.M.
1540 N. Cahuenga. Phone GRanite 1185
Dr. G. Floyd Jackman
DENTIST
Member Local No. 659
706 Hollywood First National Bldg.
Hollywood Blvd. at Highland Ave.
GLadstone 7507 Hours: 9 to
And by Appointment
W. A. SICKNER
FIRST CAMERAMAN
COMPLETE AKELEY
EQUIPMENT
CRestview 7255 GLadstone 5083
HEmpstead 1128
IDTEH^,
WITH ANY CAMERA
fraiimr Mwohjb* in 4 NnjnrSffvtfs in Tbytint-
FvyScms- Ditfasi d rros and many »Hnr ffffcts.
GEORGE H.SCHEIBE
ORIGINATOR OF EFFECT FILTERS
■iUdl
gHgsrjjrsa
LEN HUMPHRIES
"FREE LANCING"
Member Local 665,
International Photographers
Toronto, Canada
383 Manor Rd. East Toronto, Canada
CLASSIFIED
FOR SALE OR RENT— Mitchell and Bell &
Howell silenced cameras, follow focus. Pan
lenses, free head, corrected new aperture.
Akeley, De Brie, Pathe, Universal, Prevost,
Willart, De Vry, Eyemo, Sept, Leica. Motors,
printers, lighting equipment. Also every va-
riety of 16 mm. and still cameras and projec-
tors. Everything photographic bought, sold,
rented and repaired. Send for our bargain
catalogue. Open 8 A.M. to 10 P.M. Holly-
wood Camera Exchange, 1600 Cahuenga Blvd.
Phone GLadstone 2507. Hollywood 9431. Cable
address Hocamex.
FOR SALE OR TRADE— One Tanar sound
recording outfit — new. Also one undersea
portable camera blimp. Also will trade late
model Cord sport sedan for Mitchell camera.
Address Mervyn Freeman. 1960 S. Vermont
Ave., Los Angeles. REpublic 3171.
FOR SALE— Mitchell Camera No. 183, $1750.
Phone NOrmandy 5144, Jack Greenhalgh.
FOR RENT— Mitchell and Akeley cameras
fully equipped for sound. Norman De Vol,
6507 Drexel av., OR 7492.
WHEN IN THE EAST
CALL BRyant 9-7754
FOR RENTAL OF
Complete Mitchell
Camera Equipments
Equipped for Sound
Color and Process Work
Also Inserts or Process "Shots"
Made to Your Order
Silent-Sound or Color
J.
BURGI CONTNER
130 W. 46th Street
New York Citv
WANTED
35 mm. Duplex Printer
Richter Photo Service
7901 Santa Monica Blvd.
i Angeles, Calif. OXford 2092
ROY DAVIDGE FILM
LABORATORIES
An Exclusive "Daily" Laboratory
670 1-67 15
Quality and Service
SANTA MONICA
GRanite 3108
BOULEVARD
Brulatour Bulletin
WHAT'S WHAT
EASTMAN FILMS
WHO'S WHO
In Kansas and Other Foreign Ports
M. G. M. has sent two of its crack cameramen into foreign fields for back-
grounds. Charlie Clark is scorching his dogs on the hot plains of Kansas shoot-
ing wheat and wheat and corn and corn. Johnny Mescal, in the meantime, is
chasing all over Europe and lining up some very unusual background shots,
which will be seen back of la Shearer, Crawford, Davies, Gable and other
M. G. M. luminaries.
Whispered information just slipped in
over the wire is to the effect that
Charlie Van Enger and Joe Valentine
are scheduled for early return to
Europe to resume their work on spe-
cial backgrounds for Fox. Both of these
boys were over there last year, and
much of their work has been seen in
recent Fox productions.
What the Cameramen
Are Doing to Keep
Hollywood on Top
Kurrle in Canada
As expression of his appreciation for
their great work during his busy past sea-
son, Bob Kurrle is host to his camera staff
on a real vacation, which at this moment
seems to be flourishing very nicely, thank
you. The boys are about a hundred miles
north of Vancouver, and a letter comes from
Bob describing the length and size of the
fish they are catching. Some details of the
letter are slightly confusing, but we gather
the important fact that excellent bait may
be purchased at about $4.20 a bottle.
Polito to New York
Sol Polito, who has just finished shooting
"Three on a Match," leaves this week-end
for New York on a trip combining business
and pleasure. The chances are Sol will
shoot a quick glance at "Cential Park."
Expected back in Hollywood about August
first.
Milton Cohen North
This Saturday night all the little mag-
azines will be locked in their little closets
in the First National camera building, and
Milton Cohen will toss the key out the win-
dow and an hour later be aboard the boat
in Los Angeles harbor, from whence he
sails to San Francisco and other northern
points, with side trips to Lake Tahoe, Yo-
semite, etc. Mrs. Cohen will direct the
itinerary.
Eastman super -sensitive negative that will
be used in it. From time to time there are,
however, exceptions: "Smilin' Through" is
one of them. We remember this charming,
lovely story which came to the screen with
another dainty star about ten years ago.
Now it's the vehicle for Miss Norma
Shearer, directed by Sidney Frankly n and
photographed by Lee Garmes. This tri-
umvirate on this production spells box office
success regardless ... of box office depres-
sion.
Marsh Back to M. G. M.
Ollie Marsh has folded his umbrella . . .
"Rain" is in the can . . . and Ollie joins
forces with that merchant-director. Chuck
Reisner, on the M. G. M. production of
"Father and Son," which will feature young
Jackie Cooper.
Hal Rosson Finishing
Hal Rosson is completing production on
the Monta Bell assignment with Jack Gil-
bert, "Downstairs"; scheduled to start an-
other at the M. G. M. plant early in July.
Haller to Paramount
Ernie Haller has been sold down the
river for one picture because of the clos-
ing at Warner Brothers-First National. He
sets up his camera next week for one pic-
ture at Paramount, and is scheduled to re-
turn to the Burbank lot the first week in
August.
Dickering for Gaudio
At the moment a major studio and the
largest independent producer are dickering
for the services of Tony Gaudio, who has
just completed "Tiger Shark" for Warner
Brothers-First National. One of the big
bosses of the Burbank plant expressed to us
his enthusiastic delight with the character
of the photography achieved by Gaudio on
"Tiger Shark." It is our guess that Tony's
next assignment will be with the major
plant.
Chick McGill East
Along with other cameramen who have
trekked east for their vacation is Chick
McGill, who has leave of absence from the
Warner Brothers-First National plant until
the fiist week in August.
Garmes — "Smilin' Through" Hot Soup
negative which Clyde De Vinna has shipped
in from the Van Dyke company, now shoot-
ing "Eskimo" in Alaska. First consign-
ment is expected here about July 20th.
Chinese Operas
A brace of Chinese operas go into produc-
tion immediately. "The Bitter Tea of Gen-
eral Yen" starts this week at the Columbia
Studios with Joe Walker at the camera.
At Fox Hills the Chinese mystery play,
"Chandu," is scheduled to start very shortly,
and quite appropriately James Wong Howe
the Scandanavian cameraman will look
after the photography.
Kline With Higgin
Benny Kline is at the camera for Howard
Higgin, whose production "The Thirteenth
Man" gets under way at Columbia this
week.
Mohr Finishing
Hal Mohr is winding up the photography
of William K. Howard's production. "The
First Year," at Fox Hills. Next assignment
for Hal at the same studio comes up in
about ten days.
Ernie Palmer
Again is bringing "ahs" and "ohs" from
the boys in the projection room while they
view the rushes of "After the Rain." which
Jack Blystone is directing at Fox.
Hansen Returns to Fox
We are unofficially advised that Ed Han-
sen, formerly chief of the sound depart-
ment at the Fox Movietone Studios, returns
to the old job on July eleventh, at which
time he will take full charge of the de-
partment. Congratulations are in order to
Hansen — and to Fox.
Leo Tover
Is turning in some very interesting shots
on the George Archambaud production
"Thirteen Women" for RKO.
Cronjager on "Liberty Road"
Some most unusual effect shots are com-
ing from the camera of Eddie Cronjager,
who is photographing "Liberty Road'' un-
der the direction of Rowland Brown at
RKO.
Folsey to Start
Ordinarily (frankly) we get our first thrill
out of seeing a new production go into
work in contemplation of the footage of
They are preparing a special batch of
"hot soup" at the M. G. M. plant prepar-
atory to receipt of the first shipment of
George Folsey, who has been with Para-
mount (Long Island) New York since he
was a little boy, is scheduled to take
the camera on an early production at the
Paramount West Coast Studios. Meantime
George has been doing wonders with his
golf score. When he arrived here from the
east a month ago he was clicking Brent-
wood and Riviera around 84; now his score
card totals 96s and 98s That's improve-
ment.
It's a Boy at the Cranes
(Consolidated Lab) ! Congratulations,
George.
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August, 1932
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The INTERNATIONAL PHOTOGRAPHER
August, 1932
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?7
INTERNATIONAL
PHOTO GPAPHE R
Official Bulletin of the International
Photographers of the Motion Pic-
ture Industries, Local No. 659, of
the International Alliance of The-
atrical Stage Employees and Mov-
ing Picture Machine Operators of
the United States and Canada.
Affiliated with
Los Angeles Amusement Federa-
tion, California State Theatrical
Federation, California State Fed-
eration of Labor, American Fed-
eration of Labor, and Federated
Voters of the Los Angeles Amuse-
ment Organizations.
Vol. 4
HOLLYWOOD, CALIFORNIA, AUGUST, 1932
No.
"Capital is the fruit of labor, and could not exist if labor had not first existed.
Labor, therefore, deserves much the higher consideration." — Abraham Lincoln.
Cover — Sunnybrook Farm
By Clifton Kling
CONTENTS
Cameras and Projectors for 8 mm.... 26
Gives New Ideas of Light Intensity.. 4
By F. M. Steadman
Western Electric Records "Namiko".. 7
By Harry Mimura
Ches' Place 10
By Fred A. Felbinger
Scenes of Hawaii 12
By Alexander P. Kahle
Hunt Shark and Tuna With Camera. . 13
By Fred Terzo
Industrial Freedom — Its Meaning.
By the Editor
,16
Amateur Department 25
16 mm. Sound on Film a Lifesaver. . . .25
By Hcrford Tynes Cowling
Meet Screen Show's Granddaddy 27
By Earl Theisen
Chicago 666 2.1
By Sassiety Reporter
Looking In on Just a Few New Ones. .30
By George Blaisdell
When Seen Through Feminine Eyes.. 32
By Clara M. Sawdon
Simplify Incandescent Lamp Design.. 34
Florence Lowe Barnes for Supervisor. 35
The International Photographer's
Family Album 36
Academy to Stay at Home When
Making Award for Photography. .. .37
Out of Focus
By Charles P. Boyle
.38
The International Photographer is published monthly in Hollywood by Local 659, I. A.T.S.E.
and M. P. M. O. of the United States and Canada
Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles, Calif., under
the act of March 3, 1879
Copyright 1932 by Local 659, I. A. T. S. E. and M. P. M. O. of the United States and Canada
Howard E. Hurd, Publisher's Agent
George Blaisdell - Editor Fred A. Felbinger - Midwest Correspondent
Ira Hoke - Associate Editor Lewis W. Physioc ) r h ■ i irj't
Esselle Parichy - - Staff Correspondent Fred Westerberg j l ecnmcaL manors
John Corydon Hill, Art Editor
Subscription Rates — United States and C anada, $3 a year. Single copies, 25 cents
Office of publication, 1605 North Cahuenga Avenue, Hollywood, California. HEmpstead 1128
McGill's, 179 and 218 Elizabeth Street, Melbourne, Australian and New Zealand agents.
The members of this Local, together with those of our sister Locals, No. 644 in New York, No. 666 in Chicago, and
No. 665 in Toronto, represent the entire personnel of photographers now engaged in professional production of
motion pictures in the United States and Canada. Thus THE INTERNATIONAL PHOTOGRAPHER becomes the
voice of the Entire Craft, covering a field that reaches from coast to coast across North America.
Printed in the U. S. A. at Hollywood, California.
\T/
Four
The INTERNATIONAL PHOTOGRAPHER
August, 1932
Gives New Idea of Light Intensity
Based on Two Physical Units He Has Conceived
Writer Outlines Plan for Measuring",
Using- and Teaching- It
Bv F. M. STEADMAN
DR. WOODHULL, a former head
of the normal department of
Columbia University, said to
me: "Our students study light, but
do not learn to use it. A new idea
of light intensity is needed."
It is felt generally among physics
teachers that something is wrong with
the way light is presented to students
in the schools. They learn to repeat:
"Light weakens by spreading, in-
versely to the square of the distance."
But they, as well as their teachers,
go out and make "snap shots" without
the slightest knowledge of the bright-
ness of a subject before the camera.
A few signs of the times:
The writer found in one examina-
tion that 79 per cent of amateur film
exposures were total failures.
Not more than one or two cameras
in a hundred are ever used for mak-
ing time exposures.
More than half the cameras in the
world, the box or Brownie type, have
no stop numbers whatsoever on them.
There are some half dozen different
stop scales used for lenses in dif-
ferent parts of the world.
The distance scales of film cameras
are not focused close enough to make
bust portraits; six feet, the usual dis-
tance, is too great for busts.
Causes as Against Effects
Even though the cameras were
focused for busts, drawing teachers
in the schools do not instruct their
students in the correct "lighting" of
heads. They talk of light and shade
effects without instructing as to their
causes.
The almost meaningless terms
"sunny bright," "cloudy bright,"
"cloudy dull," etc., are today used to
indicate exposure conditions out of
doors.
Not one person in a hundred could
give any intelligent answer to the
question: "What is the actinicity
(photographic brightness) of yonder
building?"
If light had been taught correctly
at the time of the discovery of
photography students already would
have known how to illuminate a head.
To make a rather large sized pic-
ture we can pay a hundred dollars
and more for a lens, when, with a
real knowledge of the action of light,
students could make, of practically
any size, photographs with fine soft
focus properties with an ordinary
spectacle lens.
The use of light by the people at
large today is in a state of utter con-
fusion. What is wrong?
The answer is easy to find: For
some 400 years, light, as it functions
in nature, has never been taught in
the schools.
Neither teachers nor their students
know the actinicity of ordinary sur-
faces, as of subjects before the cam-
era, because the scientists have not
defined any simple unit for the meas-
urement of that brightness and the
books, therefore, lack such a unit.
What a simple truth it is that a
brighter subject requires less ex-
posure than a weaker one.
If we had been able to find that the
brightness of this subject was 1; of
this one 4 and of another 64, etc., no
mystery would ever have arisen to
confuse the photographer. But this
facility has been withheld from us in
the schools.
Even a small child knows that it
can get a better reading light on its
book by going closer to a window, or
raising the shade or turning up a
flame. It uses light correctly without
knowing the law by which it func-
tions. In each case light is made to
attack each independent letter from
more directions.
Truth of Quantity
As to the lens stops: How simple
also this truth is: A larger stop re-
quires less exposure than a smaller
one. But here again 1 and 2 as sim-
ple value numbers are withheld from
us. In truth the matter is as simple
as 1 and 2 men doing a job of work,
but the units are lacking for express-
ing the working value involved.
In all natural and artificial light
problems there runs the truth of
quantity. For example:
We raise window shades, turn up
flames, build more or larger windows,
place more units in a group of lights
and open lens stops, all to get greater
intensity of illumination. As chil-
dren we are cognizant of that truth.
Can this fact of dimension be re-
moved from light problems without
completely aborting them? Can causes
be ignored when we seek to determine
their effects? As well remove from
the hands of the builder the plan of
the architect.
Yet precisely this has been going
on in the schools for some 400 years.
The guilty thing is the point source
theory of light intensity with the ex-
planation that light weakens by
spreading from such a source. This
is conceded to be a "theoretical con-
clusion."
Let us find some facts regarding
light as it functions in nature. We
go out of doors in the daytime and
are converged upon by light from the
sun and from the whole sky. Each
speck of dust that floats in the air is
Introducing the Writer
UNIVERSITY OF SOUTHERN
CALIFORNIA
School of Philosophy
Edwin Diller Starbuck
Character Research
July 7, 1932.
My dear Mr. Steadman :
I have been very much impressed
with the work you are doing in get-
ting simple and usable measures for
putting the right sort of science in
and behind practical photography.
Although not a physicist, I am con-
vinced that your theories are essen-
tially right, and I wonder that
thoughtful people have not heretofore
seen that it is possible to measure
the light units used in their photo-
graphic work in place of fumbling
and stumbling about it.
Your theories ought to be put in
book form, and students in physics
and also photography ought to wish
to get at them.
Boys and girls everywhere ought
easily to become somewhat expert at
photography under your instruction,
and should be able to do it with a
very slight outlay of money.
EDWIN D. STARBUCK.
illuminated from a full sphere of
directions. Each such grain is a
center of attack. Light attacks each
of them independently from all
directions.
Consider this grain to be one of
pure white chalk. Place it within a
tiny arc flame, or in any flame, in
the sun or in a fog bank, and it will
take on the intensity of the light
which surrounds it. Remove it to 1
diameter of the light source distant
from it (using in the fog an opening
in some inclosure) and it will have
approximately one-eighth hemispheric
illumination and will become there-
fore one-eighth as intense as the
source itself.
Invents Actinometer
At a distance equal to 2 diameters
of the source it will have one thirty-
second hemispheric illumination and
for that reason will become one thirty-
second as intense as the source, etc.,
ad fin.
This truth has been demonstrated
by the writer to the satisfaction of
many hundreds of physics classes,
while most of the teachers were im-
mediately satisfied with the greater
utility of my scheme of instruction
over the point source theory now in
all physics books.
The writer has invented an acti-
nometer, about the size of a cigar
lighter, the functioning of which dif-
fers in no way from the functioning
of light through a window or from a
flame. Five openings are arranged
side by side, just as little windows,
but built so that the convergence of
the rays from any ordinary surface is
August, 1932
The INTERNATIONAL PHOTOGRAPHER
Five
tinted
Photograph of Dr. Edwin, D. Starbuck between
two windows in dining room, of a home. Test
shoived face measured U actinos, ivith ccnse-
quent exposure of 1 second. Shot made ivith
regular Kodak, ivith 5 by ? contact print taken
off ~ by 11 negative
Vs, Vie, %2, %4 and Vr_>8 hemispheric. The meter
holds a roll of tinting paper, which passes
under the openings. A lid is provided to cover
the holes.
The actinicity can be found in units termed
the actino, or may be read, without any slid-
ing scales, in the exposure for still photog-
raphy, for a known stop or in the correct stop
to use with the moving picture camera.
Now let us examine further into the action
of natural light conditions. Secure a small
vest pocket notebook, and in the upper right
hand corner of the front covtr cut a small
hole, about a quarter of a n inch across,
so that small strips of film can be
through it. These strips can be cut
from a Brownie roll of film. In rather
weak light we place the strip in posi-
tion under this hole and place a coin
above it to await the moment when
we wish the light to play upon it.
To experiment with the sky light
we wait till the sun has just dis-
appeared below the horizon and hold
the book in a horizontal position
rather above the head and away from
all objects that can obstruct the hori-
zon, and remove the coin for a quarter
second or while saying the word
"quar-ter."
In weak light again, if this effect
is noted (by lifting up the corner of
the cover), it will be seen that a just
perceptible tint will have been se-
cured. This is called the "least visi-
ble tint" and is the standard tint for
these measurements.
As the sky weakens this interval
that is required to secure this stan-
dard tint drops down through the
series as follows: V2, 1, 2, 4, 8, 16,
32, 64, 128, 256, etc., seconds. I have
Photograph exposed in room
lens used, with F8
selected as the unit, or one actino, of
actinicity the brightness of the sky
when 8 seconds creates this standard
tint, care being taken that 4 seconds
does not also make the tint visible.
As to Actinicity
Any full hemispheric light source,
as the full sky or a bank of fog or
steam when measured from within it,
has one actino of actinicity when 8
seconds makes the standard tint, and
measures more than one actino as the
tint time, made by a test under any
such conditions, is less than 8 seconds.
Whether the intensity be more or
less than one actino, 8 seconds divided
by the tint time as found by a test,
gives the actinicity of the hemispheric
light source measured.
What, then, was the actinic bright-
ness of the sky immediately after
sunset, when one-fourth second made
the tint? 8 -J- *4 = 32 actinos. And
later when 128 seconds was required
to get the tint? 8 -r 128 = MG of an
with one window. Zeiss-Tessar F6-3
stop and 1 second exposure
actino. This proceeding is only for
full hemispheric light sources.
Suppose again that the sky has 1
actino of actinicity, 8 seconds making
the standard tint. If at that moment
only one-eighth of the sky be per-
mitted to function on the film, as at
one diameter from an opening, or as
through the largest hole in the meter
mentioned, what time would be re-
quired to get that same standard tint?
Evidently 8X8, or 64 seconds.
If only one thirty-second hemis-
pheric convergence of rays should
function, as at 2 diameters from the
source or opening, the middle hole in
the meter, the one actino tint time
would be 32 times 8 seconds or 256
seconds, etc. The one actino tint time
increases as the light pencil reduces
in solid angle or in the number of
directions from which each grain of
the salts is attached.
Beginning at 1 diameter from any
light source distant from it, whether
it be a pin hole, an arc flame, a win-
Six
The INTERNATIONAL PHOTOGRAPHER
August, 1932
dow or the sun, the distances from it,
measured in its own diameters, not
in units of linear distance, may be
continued in the following scale: 2, 4,
8, 16, 32, etc., diameters as will
shortly be given in a table. This
simple scale is suitable for popular
education and agrees with the present
practice of using "distance 1 and dis-
tance 2."
Solid Angle
This hemispheric dimension is
called solid angle just as the dimen-
sion of the circle is called angle, and
just as we have the degree for measur-
ing plane angle so a pure unit of
solid angle will simplify the measure-
ment and use of that dimension.
I have chosen for this unit the cone
the altitude of which is 64, the same
cone which is now marked F/64 in
lenses. Just as the length of two
lines is irrelevant to the angle at
which they meet at a point, so the
length of these cones is irrelevant to
the solid angle at which they finally
arrive at a single atom of matter.
Whether 64 diameters from the sun
or the full moon or from an arc flame,
the pencil of rays attack the atom at
one stead of solid angle and from
%27r.8 (%sM) of a hemisphere of direc-
tions. A pure white surface so illum-
inated is made %2M as intense as the
functioning light source because
3276%2768 of the hemisphere is filled
with total darkness, or negligible in-
tensity, and only %2768 with light.
If the full hemisphere be totally
dark the white surface would also be
dark, and if the whole hemisphere
were equally bright the white surface
would be as bright. A white surface
can not escape the intensity nor the
average intensity of the hemispheric
field that confronts its plane.
The writer has tried earnestly for
many years to find a suitable name
for this unit of solid angle, but the
scientific and mathematical societies
have not cared to take the responsi-
bility. For this reason I have given
it the first syllable of my own name,
and call it the Stead.
The meaning of the following table
will be seen in the various headings.
To repeat, cone altitude is measured
in the diameter, or the average diam-
eter, of the light source in question.
The Solid Angle
of Converging
Light Pencils
In The One
frac- In The Actino
tions Steads Alti- Tint Time
of a or Units tude of the
hemis- of Solid of the Light Pencil
phere Angle Cones Seconds
All 32M Zero 8
Vs 4M 1 64
y32 1M 2 256
yv28 256 4 1M
y5i2 64 8 4M
y2M 16 16 16M
Y8M 4 32 64M
%2M 1 64 256M
Ml'kM y4 128 1MM
Vr,rM M6 256 4MM
y2MM 1/64 512 16MM
umn also expresses the brightness of
white relative to its light source.
Measuring Actinicity
In measuring the actinicity of any
light source or luminous expanse the
solid angle of the converging pencil
used is a mere matter of convenience.
For example: The last cone given
in the table is used for taking the
actinicity of the face of the sun when
it is high in the heavens. Lower the
top window sash to admit the light
and darken the room so that only a
spot of the sunlight from 2 to 3 inches
across will appear on the floor.
Let the sun shine through a pin-
hole pricked in a thin opaque paper.
Hold the paper a thousand diameters
of the pinhole from the floor and take
the tint time on the standard film in
the little book in the pinhole image of
the sun at the position of the floor.
If the sun is high 2 seconds will
suffice to get the least visible tint (1
second not revealing a tint, and 4, 8,
etc., seconds making the tint too
dark). 64MM (64 million) seconds,
the one actino tint time for that light
pencil, divided by 2 gives the actinic-
ity of the sun's face (at that height
in the sky) as 32MM actinos. This is
precisely the same law that functions
when the tint is taken under the full
hemisphere of sk^ and its own tint
time of 8 seconds is divided by the
tint time found by the measurement
or test.
The following figure shows my own
conception of the way that light func-
tions in nature in creating intensity:
y8MM
1M
64MM
If in the first column the word
"All" is changed to "Equal" that col-
(An approximately circular gas
flame is shown from the side.)
(a) A grain of white chalk inside
of flame. Spherical illumination.
Equal intensity. Distance zero. Each
face of the grain receives hemispheric
illumination, the convergence of light
being at 32M Steads of solid angle.
(b) One face of the grain (instead
of all faces) receives hemispheric
illumination. That face, as intense
as the flame. Other data the same
as for (a).
Continuing: As shown in the table
at 1, 2 and 4 diameters of the light
source from the source. Third
column.
If the grain of chalk were on a
plane facing the flame, at c seven-
eighths of the confronting hemisphere
would be total darkness, at d 3%2, and
at c 15%8.
Evaluating Lens Stops
This truth of light intensity applies
to all self-contained light sources, as
flames, suns, etc., and to the atmos-
phere, banks of fog, steam, etc., and
to ordinary surfaces of any size,
when openings are used to fix the
solid angle of the converging light
pencils.
The grain of chalk used in the
figure illustrates the individual atom,
which is the true seat of created light
intensity, since no object (of any size)
can be illuminated except by those
light rays which play directly upon
it. The atom is the true seat of in-
tensity, not for any technical reason,
but simply because it is the smallest
thing that has to be accounted for and
because it comes under the law of
independent illumination the same as
larger objects do. Photographic
Practice.
We can now evaluate our lens stops
in simple physical units, or in Steads
of solid angle, and we can measure
the brightness of subjects before the
camera in simple units of actinicity,
or in actinos.
In my scheme of practice it is the
highlight area of the subject that is
measured for its actinicity.
If the subject should measure 1
actino and 1 Stead be used in the
lens, the time of exposure that any
plate or film requires to secure a per-
fect negative is an accurate expres-
sion of the speed of that emulsion.
The speed of the new verichrome
and plenachrome films is 64 seconds,
under those unit conditions. The
previous, slower working films have
a speed exposure of 128 seconds, be-
cause they are only half as fast as
the new ones.
This is mathematically the same as
saying that one man working one
hour daily requires 64 or 128 days
to do a job of work, according to his
working speed.
If the faster films are used, with
64 second speed exposure, and a sub-
ject should measure, say, 16 actinos
and 4 Steads be used in the lens, the
exposure to give will be 1 second.
64
= 1
16 X 4
Rule: Divide the speed exposure of
the film or plate used by the actinos
of brightness of the subject and the
Steads used in the lens. The quotient
will be the exposure to give.
Enters the Stead
For the moving picture camera
the usual exposure is one thirty-
second of a second. If the working
speed of the motion picture film is the
same as the verichrome and plena-
chrome films, 64 seconds, the one
thirty-second of a second exposure
with these cameras would have to be,
to take correctly a 1 actino subject,
as much larger than 1 Stead as one
thirty-second of a second is less than
64 seconds, the speed of the film.
64 -r- %o = 2M Steads to use in the
lens to take correctly a 1 actino
brightness subject.
As the subject is brighter than 1
actino, so this large stop can be re-
duced. An average exterior view has
128 actinos of actinicity; what stop
should be used in photographing it?
2M -h 128 = 16 Steads.
Should this exposure appear over-
exposed the key stop is reduced from
2M to 1M or to 512 Steads if re-
quired. Every result is a visual and
immediate check on what has been
done.
The problems involved in these
(Continued on Page 8)
Aug list, 19-J2
The INTERNATIONAL PHOTOGRAPHER
Seven
JVestern Electric Records 'Namiko '
American System and Hollywood Cameraman
Are Employed in Japan's First Serious
Venture in Realm of Sound
By HARRY A. MIMURA, LP.
WITHIN the last few years, prior
to the recent making of the
full-fledged sound production
"Namiko,'' more than ten homemade
talkers were produced in Japan.
Western Electric, RCA Photophone
and Tobis have been trying to sell
their outfits, but high prices and
royalties have retarded sales. At
present there are two major record-
ing systems of Japanese make pro-
ducing fairly successful talkers both
with sound tracks on the films.
Last year the desire for talkers
received new impetus when Fox re-
leased in Japan the Japanese version
of "The Man Who Came Back" with
all the Japanese dialogue recorded
afterward. This gave the producers
the idea of shootina: the pictures as
silents and then adding sound later,
and a few of the studios proceeded
along these lines. The only trouble
encountered was the difficulty of
matching up the sound with the
action so it could not be detected.
When the supposed words and the
lips speaking them did not hit up,
the reaction of the audience was that
it smacked of the "phooey." The
translated Japanese which accom-
panied the Fox film was so poor that
many of the "eople who saw it
thought Charles Farrell and Janet
Gaynor really spoke the language
after their own fashion.
Japan's first serious venture in the
realm of sound employed the Western
Electric system to record Japanese
dialogue and music. The Oriental
Picture Corporation was organized
for the purpose, and the famous old
story of "Hototogisu" was adapted
into the modern version of "Namiko"
by Iwao Mori, ace of motion picture
critics and scenario writers of Japan.
Eizo Tanaka of directorial fame
wielded the megaphone, while the
writer took charge of the photo-
graphic work in general. The sound
department was headed by A. E. F.
Maclrnerny of the Western Electric
Company.
World Record
From the point of speed it is my
personal opinion that "Namiko" must
have established something very close
to a world record. Starting on April
1 without even a stage the picture
was released in three cities and six
theaters exactly seven weeks later.
In that time a stage had been built,
sound equipment installed, a Ford
truck purchased for which a location
truck body was designed and built in
which was arranged a monitor room
and the recording outfit; a complete
temporary laboratory was set up and
the picture shot, edited, censored and
released.
The camera blimp also was de-
signed and built in Tokyo. I picked
up four wheels of an old Ford in a
junk shop and dolled it up to a mod-
ern perambulator. I used Eastman
Supersensitive (gray backed) film,
which proved very advantageous on
account of the Japanese sets with
white paper partitions.
In the middle of the production we
ran out of this stock and were forced
to use regular Pan in 400-foot rolls,
which caused additional delay, as it
was necessary for us to change maga-
zines after every shot because the
ordinary scene ran over two hundred
feet.
The developing and the printing of
the film was done under the careful
supervision of R. M. Corbin of the
Eastman Kodak Company in Japan.
On account of the small stage space
we could not build two sets at a time.
Consequently we had to finish one set
almost every midnight so the carpen-
ters could come around about then to
break down the set and prepare the
next one. Our working hours were
from noon to midnight and sometimes
we worked until sunrise.
Another very unfavorable condition
we had to contend with was the fact
that Miss Mizutani, the star, had only
ten days between two stage contracts,
making it necessary for us to shoot
most of the sequences in this time.
Working against time in this way we
had to keep shooting scene after
scene for day and night regardless of
whether it was right or wrong.
Long Journey to Links
There was a golf sequence which
we covered while the stage was being
built. For these shots we went to
the Takarazuka golf course, three
hundred miles from Tokyo.
Next day we hurried back to Tokyo
only to find that the heavy sound-
proof equipment was threatening the
stage roof with collapse. Emergency
treatment was given and finally the
first set was ready for shooting. I
shot some make-up and set tests, but
the lab was not ready, so we were
not able to see the tests until two
weeks later, after we had shot three-
quarters of the picture.
The lab continued in bad condition
even when we started shooting on the
stage, and we had to keep right on
shooting for several days without
looking at any of the film. It was
Eigh t
The INTERNATIONAL PHOTOGRAPHER
August, 1932
very much like blind men walking
down the street.
Five days after we made the first
scene the first print was available,
and it proved to be dark and uneven.
Later the discovery was made that a
belt was somehow slipping on the
printing machine. There were enough
worries to produce new gray hairs
each day.
I scooped all the incandescent lights
I could get in Tokyo, with the result
that we had eleven sunspots with
three 3kw, five 2kw and the rest lkw.
About thirty side and top lights and
two strips comprised the whole light-
ing equipment. The funny part (if
you care to look at it that way) was
the fact that there were no spare
gloves for the spots, as no other
studios ever used them.
At the end of the picture I had
only six spots working, while the rest
were put aside with broken gloves.
It is easy to imagine how carefully
those lights were guarded, for the
loss of a light was as serious as the
loss of one of our fingers. Hollywood
studios know nothing of such worries.
We finished shooting on May 12
without a single reel of the produc-
tion edited and the releasing date was
set for May 19. After three sleep-
less nights and one continual rush
the job was finished in time. "Na-
miko," ten reeler, was released
through the Paramount pictures and
was one of the most discussed pic-
tures of the year, win1, onlv those who
took part in the making acquainted
with the innumerable difficulties en-
countered in getting it finished on
time.
Use Zoom Lens Industrially
for First Time in Chicago
AN industrial talker has been pro-
duced for the Independent Gro-
cers Alliance of America by a
Chicago Studio. The picture consists
of three related subjects and totals
approximately fourteen reels. It will
be shown to wholesale and retail gro-
cers and manufacturers to the num-
ber of more than 25,000 in 47 conven-
tions across the country. A Bell &
Howell Varo lens was used for zoom
shots — the first time in industrial
work.
The lens is particularly valuable
for quickly establishing locale, back-
ground, etc., and then emphasizing
certain parts of the vocal dialog. It
permits zooming up to a character
speaking his lines and concentrating
attention on the important action of
the scene. When the speaker's verbal
point has been established in a close-
up, zooming back without interruption
to the original scene reestablishes the
background.
Reeves Gives File
Arthur Reeves has presented a file
of International Photographer to the
film division of the Los Angeles
Museum.
Gives New Idea of Light
Intensity
(Continued from Page 6, Col. 3)
measurements are suitable for even
grammar school instruction.
The table of solid angle, with its
unit the Stead, should follow that of
the circle and its degrees, in the com-
mon school arithmetic, and problems
should be stated for solution just as
with the tables of distance, weight,
areas, etc. Then should follow the
actinicity table with its unit the
actino and the problem given for solu-
tion would naturally fall under these
two tables.
Flammarion, Count Rumford and
Dull all used this scheme, but none of
them visioned it in its entirety, the
former in accounting for the effects of
sunlight on the different planets. (See
Astronomy for Amateurs, pp. 157,
165, 173 and 178.) Rumford in his
photometer, see Millikan and Gale's
"First Course in Physics," p. 392, and
Dull in his "Modern Physics."
The people are ready for a full
understanding of light and are only
waiting for a scheme of study that is
based on the natural play of light as
they already, by intuition and prac-
tice, know how to use it. The truth
of quantity with simple units for
measuring it must be made the foun-
dation of the scheme of study instead
of the theoretical point source which
for 400 years has failed to instruct
the people in light.
Better testimony to the quality that
has given Bell & Howell professional
and Eyemo cameras unquestioned lead-
ership would be hard to find than this
letter from Martin Johnson concerning
the filming of his latest movie, "Con-
gorilla."
"Of course," says Mr. Johnson, "the film
was made entirely on Bell & Howell pro-
fessional cameras, excepting perhaps a
thousand feet made on Eyemos. The pro-
fessional cameras I have had for many
years . . . one about thirteen years . . . and
they are as good as new. As for the
Eyemos, I have four and could not do with-
out them. They are invaluable for quick
work. As a matter of fact, I made most
of my gorilla pictures with Eyemos and
could never have made the wonderful films
with any other camera. The gorilla pic-
tures had to be made quickly and the use
of bigger cameras would have been too
slow."
Write for full information on these i/reat
earn eras.
Bell & Howell
Bell & Howell Co., 1849 Larchmont Ave., Chicago;
11 West 42nd St., New York; 716 North La Bret
Ave., Hollywood; 320 Regent St., London
(B & H Ltd.)
19 0 7— 2 5 YEARS OF SERVICE TO THE MOTION PICTURE INDUSTRY — 1932
Martin Johnson in Africa with two of
his B & H Professional Cameras.
B & H Eyemo 71-C. 3? mm. Seven
speeds. Three lens turret head. Built-in
hand crank as well as spring motor
drive. Price, $\ SO (including federal
tax). Electric motor drive and 400-foot
magazine extra. Prices on request.
August, 1932
The INTERNATIONAL PHOTOGRAPHER
Nine
Accurate to the breadth
hair
IF the filament of the sound projection lamp deviates
from design by a trifle more than the breadth of a hair,
perfection of sound and picture created in the studios
may be lost in the theater.
That is why General Electric holds the filament on
this type of lamp — whose light may make or mar your
work — to a tolerance of .005 of an inch.
Accuracy is typical of the making of General Electric
Mazda lamps, from the big 5KW and 10KW flood-
lights, to the tiny sound lamps. Every lamp produced
Unretouched photograph
of projected filament
To speed the human eye in
detecting inaccuracies in lamp
manufacture, the image of the
filament is projected onto a
screen — with the result shown
above. In the case of the sound
projection lamp, unless the image
completely and evenly covers
the slender rectangle on the test
card as illustrated, the lamp is
rejected. By such rigid inspec-
tion General Electric assures
you of dependable performance.
by General Electric is subject to hundreds of tests, checks
and inspections during manufacture; and every month
a definite percentage of each type of lamp produced
undergoes exhaustive laboratory tests of performance.
That is why G. E. Mazda lamps are dependable:
they are the best lamps for your purpose that Nela Park.
"Lighting Headquarters of the World", can produce.
No wonder G. E. Mazda lamps are used in practically
every studio — be it for ordinary "set" lighting, special
"process" shots or sound. General Electric Company,
Nela Park, Cleveland, Ohio.
Hear the"G. E. Circle'1 . . . the woman's club-of-the-air . . . over National Broadcasting Company's
WEAF network, at twelve, noon. Eastern Daylight Saving Time, every week-day but Saturday,
GENERAL® ELECTRIC
MAZDA LAMPS
Ten
The INTERNATIONAL PHOTOGRAPHER
August, 1932
CHESS PLACE
In Two Parts — Part II
Bv FRED A. FELBINGER
IN the preceding installment we
were told how Ches's Place, a
speakeasy favorably known
among news reel men, is presided
over by a man whose general char-
acteristics are not unlike those of
the staid brownstone mansion in
which he does business — just "home
folks." Ches, however, is some-
thing of a story teller, when once
he gets started.
On the night in question the boys
have contrived to get him under
way to describing his experience
on ' a duck hunt. As the gang
gathers around, and that includes
the Milkman, the while faithful old
Dobbin awaits without the door,
Ches settles back in his chair.
When Ches began to narrate the
gang always quieted down to listen
and wind up with a hearty laugh . . .
and another drink ... on the house.
If the noble experiment proved
nothing more than that Ches was the
best story teller of all the bartenders
created by the eighteenth amendment
then it indeed was a noble experi-
ment.
"Well!" started Ches, as he drained
the gin buck one of the boys had just
bought him (Ches never took a cigar.
Shrewd business experience had
taught him always to drink with the
newsreel boys). "This screwy pal of
mine, Red Maloney, called me up and
says let's go huntin'!
"Oh, was Red a tough bird? He
could lick anybody he didn't like . . .
and he wuz always cravin' to bust
some gea on the beezer . . . when the
cops saw him they walked the other
way ... he had 'em scared silly ...
swell guy . . . heart of gold . . . until
he got ft . . . somebody gave him a
ride finally.
"Anyway, me and Red gits a coupla
shotguns . . . you know them real
long ones . . . not sawed-off ones like
you see around town . . . and we takes
a coupla pints along . . . you know
out in the country . . . cold? . . .
Jeese ! Well, I tell you, only two daffy
guys would be out huntin' in cold like
that. . . . We wuz both daffy, plain
crazy, and canned up?
"Well, we gits out there, and you
know you gotta have a license ... so
we planks down the dough and the
sheriff, or what the hell he wuz,
scribbles out a ticket . . . and he then
tells us we kin shoot so and so kinda
ducks . . . but you mustn't shoot this
one kind or it'll cost you twenty-five
bananas for ev'ry one you salts down.
Master of Pantomime
"Well, how the hell is I gonna re-
member what is a duck I kin hit flyin'
up there, or if maybe it's one of them
two bit ducks. . . . Anyhow, we gits
boat . . . the seats are all wet . . .
you know how that feels, special
when it's cold out. . . . Well, I tell
you, we was just plain daffy. No
sane guy would be out there . . . and
we hits the bottles, me and that
screwy pal, Red, and we gits all
canned up. ... So we row and row
around."
And Ches proves to be a master at
pantomine, when he gets to the row-
ing part of his story.
"Well, we sees a bunch of weeds
over a corner of the lake . . . it's
early mornin', you see, and you
dasn't shoot yet . . . gotta wait un-
til the sun comes up. . . . There ain't
a single guy on the lake . . . jest us
two daffy birds . . . me and Red. . . .
Well, we rows over to them weeds,
and jest as we gits into 'em, about
two dozen geas yell :
"'Get outa here! get outa here'...
a whole mess of hunters . . . jest as
crazy as us. . . . Honest, I tell you,
you gotta be crazy, sittin' in a
boat . . . wet seat . . . out on a cold
lake like that. . . . Well, we hollers
back:
" 'Shut up, nix to you.' . . .
"And Red asks me . . . should I
let 'em have it? . . . And I gits
scared, maybe Red is gonna blow that
shotgun off. . . . Well, I finally says
'Naw, let's row over the other side;
I sees some more weeds sproutin' over
there anyhow.'
"So we rows and we rows . . . and
we gits all set to plaster in that
bunch . . . and the same thing: 'Get
outa here! get outa here!' . . . Cripes,
Red gits all hot and me, too . . .
Well, I finally tells Red, let's git out
in the middle of the lake. . . . There
ain't nobody out there. ... So we
rows some more. . . . And we throw
over the anchor.
No Ducks See
"So we proceeds to git canned up
some more on the bottles . . . not a
soul in sight . . . and then I gits
cold. . . . Crazy me out there freezin'
on that lake when I shoulda been
home in a warm bed . . . and then
the sun comes up . . . but no ducks,
see."
Well, by this time Ches's customers
are on the verge of hysterics, so Ches
becomes a bit more eloquent in his
gestures on illustrating his yarn.
"Well, all of a sudden a mess of
ducks fly over us, and then the shootin'
starts . . . and from all over the
lake . . . Bing! bing! bing! . . . And
the shots is fallin all around us,
right around the boat.
"Cripes . . . you kin see the slugs
splash a couple feet from the boat.
Scared? . . . Boy . . . Right away I
starts sayin' my prayers . . . and
Red, he is hollerin': 'Hey, you screwy
lugs! Cut it out! Cut it out! . . .
Quit shootin' at us. . . . We ain't
ducks, you lugs!'
"And he stands up in the boat . . .
and is he mad . . . and cockeyed?
Well, the boat starts to rock and the
shots is still fallin' around us . . .
and it's cold . . . and I don't wanta
git wet . . . and all of a sudden a
duck falls near us . . . and then the
shootin' stops.
"Well, we paddle over and git the
duck . . . and about two dozen guys
is rowin' over hollerin' : 'Hey, that's
mv duck!' . . . And everybody wants
that one dead duck. . . . Well, Red
sticks up the shotgun at the guys
closest and hollers : 'Git back, that's
our duck!' . . . and he cussed 'em
out . . . and finally they let us keep
it.
Wrong Kinda Duck
"So I says. . . 'Come on, Red, let's
go home.' ... So we rows to shore,
and jist as we is about to scram, up
comes this sheriff guy and says . . .
'Hey, let's see that duck!' . . . and
you know what it wuz?
"One of them two bit ones . . .
and I'm holdin' it . . . imagine . . .
all wet and cold and canned up . . .
and then I gotta pay up twenty-five
bucks because it's the wrong kinda
duck.
"Well, I ain't been ever huntin'
since ... I telya you gotta be daffy
to go duck huntin'. . . . Come on,
youse guys, drink up . . . this one's
on me."
And the boys at the bar laughed
heartily as Ches filled them up again
.. . iust as another cameraman en-
tered. . . . "Hello, Andy." . . . "What
ho ! if it ain't Alibi Andy the News-
reel Sheik, comin' back to a common
old saloon after being out with mam-
ma's angel child!"
"How's the new dame, Andy?" . . .
to which Andy Parker, ace camera
twirler of Pictorial Topics, replies,
"In your hat! All you birds! Can't
a guy go out with a decent woman
for a change? Another thing! I saw
August, 1932
The INTERNATIONAL PHOTOGRAPHER
Eleven
a great thing tonight. Talkin' mov-
ies! Honest, it's the greatest thing I
ever saw! . . . They call it Vita-
phone! . . . they showed a coupla
short stories of some people singin'
and also one of a band playin' and
they had close-ups of the guys with
the instruments. . . . Boy, it was
marvelous."
So the gang listened to Alibi Andy
explain his discovery. . . . Finally
Pat McCarthy offered: "Well, it's
probably a good novelty, but how in
hell are they going to keep the public
interested in something like that?"
"Well, can't they make features
like that, too?" queried Andy. . . .
"Aw, nix, Andy, you'll probably be
tryin' to tell us we'll be makin' the
newsreel talk next!"
Dobbin's Rest Ends
"Well, why not?"
"Say, some of us guys can't even
focus a lens, much less make a talkin'
picture."
"Well," continued Andy, "perhaps
they have some engineers, you know,
real radio engineers, that handle
that!"
"Hire a hall, Andy! What we need
is a faster film in this business . . .
not all that screwy radio business
you're dreamin' about." . . . "Naw,
it's only a novelty!"
And then Pat McCarthy offered :
"Sure, Andy! Imagine putting those
radio engineers in with us guys. . . .
Why, they might even tell us how to
make a picture! . . . Haw! Haw!
Haw!"
And Ches was beginning to become
a bit jealous that some one else be-
sides himself could create so much
hilarity. . . . Joe the Milkman de-
cided this conversation was a bit too
technical for him. . . . Besides, it
was time he was moving along.
So as the master stumbled aboard
the rubber-tired milk wagon old Dob-
bin knew his rest for the night had
terminated . . . also that the master
was in better spirits the same as he
was every night after leaving the old
brownstone mansion. ... So Dobbin
gave the old brownstone building a
parting wink . . . the same as he did
every night.
Elegant old building, thought Dob-
bin, with some real horse sense . . .
and Character, too, in that old brown-
stone.
And Dobbin moved lazily along the
milk route . . . and the building of
Character remained behind.
"Ches's Place!" . . . yes, Charac-
ter . . . even if only after a fashion.
Photophone to Install Last Word
in Sound for Roche feller Centre
WHAT is believed to be one of
the most complete systems of
sound reproducing and amplify-
ing equipment ever designed for a
theatre will be installed in the new
Sound Motion Picture Theater, be-
tween forty-eighth and forty-ninth
Streets, in Rockefeller Center, accord-
ing to an announcement made by Met-
ropolitan Square Corporation, holding
company for John D. Rockefeller, Jr.
The contract for this equipment has
been awarded to the Photophone Divi-
sion of the R. C. A. Victor Company.
The steel work for this new theater,
which will seat 3,500 persons, is now
being erected. The theater will open
next autumn. It will be operated by
the Radio-Keith-Orpheum Corporation
under the direction of S. L. Rothafel
("Roxy"), as will the International
Music Hall in the north block.
Four standard size Photophone re-
producing units, an 80-watt double
channel amplifier in the projection
booth, and four 50-inch loud speakers
on the stage will be used in connec-
tion with the reproduction of sound
motion pictures in this theater. In
addition there will be a public address
system, with twenty-five microphones,
to reinforce the stage productions.
Unusual features of the installation
include a rehearsal system for use in
connection with the direction of pro-
ductions; a stage manager's call sys-
tem and fifty-two "Acousticon" seat
phones, attached to selected seats for
the benefit of the hard of hearing.
Complete radio and phonograph equip-
ment in the projection booth will
make it possible to transmit radio or
phonograph programmes to the audi-
ence at any time.
The rehearsal system is said to be
the latest development of its kind.
With it the stage director, carrying a
microphone, may conduct his rehear-
sals from any position in the audi-
torium of the theater, through the
medium of loud speakers on the stage.
The stage manager's call system is
another innovation. It enables the
stage manager to communicate with
any part of the theater through a
microphone on his desk.
T
Switzerland Gives Control
of Films to County Officers
• HE Conseil d'Etat of Switzer-
land has decided to alter the law
of 1927 in reference to cinemas
and film depots by the institution of
county authorities fot the control of
films.
In future the department of jus-
tice and police and the municipal au-
thorities will be competent to refuse
permission for the showing of a film
or part of a film. These authorities
also have the right to prescribe meas-
ures to safeguard public order and
to forbid admission to a cinema in
their area to children under 16 years
of age, even when accompanied by an
adult.
They have the right to demand the
suppression of scenes, texts (spoken
or written) and printed or illustrated
publicity.
Complete prohibition of a film must
be immediately notified to the federal
department of police. The right of
appeal to the Conseil d'Etat is re-
served.
A county commission will be nomi-
nated in the various counties, and it
must notify the department of jus-
tice and police of any film which it
desires to place under restriction.
The commission is composed of seven
members one of which is a woman.
Russell Looks In
Mervin B. Russell, member of In-
ternational Photographers with head-
quarters in Salt Lake, was a July
caller at organization headquarters in
Hollywood. The visitor is connected
with Publix Theatres in his home
town. He also is an aviator.
"Hey, you screwy lugs!
Cut it out! — Quit shootin'
you lugs!"
at us! We ain't ducks,
Twelve
The INTERNATIONAL PHOTOGRAPHER
August, 1932
Upper, left, garden in Royal Hawaiian Hotel, Honolulu; view of Waikiki Beach from Oala Park, Honolulu. Center,
basket of hibiscus floivers. Lower, left, view from steamship just before sundown; Oala Park. Photographs by
Alexander P. Kahle
August, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirteen
Hunt Shark and Tuna with Camera
Search for Motion Picture Backgrounds Takes
Crew on Six Weeks' Expedition to Deep
Waters Not Always Pacific
By FRED TERZO
STARTING out from the harbor of
the California Yacht Club Friday
night, April 8, a camera crew
composed of Byron Haskins, first
cameraman; Ray Ramsey and Homer
Scott, second cameramen, and Larry
Laraby and the writer as assistants
set forth in a boat loaded with equip-
ment on a photographic fishing ven-
ture.
Our destination was the Secorres
Island, situated in the Pacific ocean
about a thousand miles from San
Pedro harbor and five hundred south-
west of Mazatian, Mexico. Our ob-
jective was to photograph tuna fish
and shark in action and to secure
backgrounds for Warner Brothers-
First National's "Tiger Shark."
Having passed the customs at Ense-
nada, Mexico, with a bit of diplomacy,
we put to sea on Sunday morning not
expecting to see land again until we
reached Magdalena Bay, where the
fishing boat was waiting for us. But
we had a bit of engine trouble and
stopped at Turtle Neck Bay for
repairs. I was mighty glad to get my
feet on terra firma once more.
There is a fish cannery at this little
bay owned by Japanese, who employ
the Mexicans to work for them. The
womenfolk were very shy at our ap-
pearance and ran to hide in their huts.
The sea was rough all the way and
we encountered heavy fogs during the
entire trip. We reached Magdalena
Bay only a day late. Here we re-
packed our load, which had shifted
quite a bit, caused by the heavy seas
we encountered.
Short Water Rations
We sailed on to San Jose, at the tip
of Baja California, where we planned
to secure water for the last lap of our
journey to Secorres Island. We were
met by many clamoring Mexicans in
bum boats desirous of transporting us
to dear old mother earth, and did
we go!
We rode through and over high
breakers, expecting to be upset any
moment, to land high and dry on the
beach. Unfortunately the water was
infected with malaria germs and we
were on short water rations until we
reached our goal. I had developed
some film and I wanted to wash it, so
I stepped down the ladder on the side
of the yacht to use the sea as my
basin. Luckily for me I misjudged
the distance to the water, for as I put
my hand down toward it a lovely little
ten-foot shark went touring by in
search of a tender bit for dessert!
The sharks were plentiful in these
waters, and as they are carnivorous
we really were shy of them and kept
our distance.
That story about the shark that it
has to turn on its back to take a bite
is just fish talk. It bites in any fashion
and does it very well — so well in fact
we did not risk going in swimming,
but it was a real thrill to hang on to
the end of a rope tied to the stern of
the boat and drop off, allowing the
boat to pull us along in its wake.
There was no danger of sharks as the
wash of the boat keeps them away,
only it would have been tough if we
had let go of the end of the rope.
Ashcan of Pacific
Secorres Island is inhabited by
1500 domesticated sheep turned wild
and two tame burros. There is very
little vegetation. Known as the Ashcan
of the Pacific, the island is composed
Hauling aboard a tiger shark iveighing approximately 1800 pounds. Fred Terzo holds open its mouth, while on the
right are shown some of the forty-two baby tiger sharks that ivere nestling in their mother's mouth.
Fourteen
The INTERNATIONAL PHOTOGRAPHER
August, 1932
of volcanic rock. Along the shore is
a small spring, the source of our
water supply, which could be secured
at only such times as the tide was out
and had been cleared of salt water.
Before we could actually shoot it
was necessary to have fish. We
learned how schools of fish were
located by watching the birds, which
would hover over the water endeavor-
ing to capture the small fish the tuna
had chased to the surface. The
schooner was halted and fishing began
in earnest when such a school was
spotted.
It is a great sport, this tuna fish-
ing. It is a one, two, or three man
job, according to the size of the tuna
in the school. A one man job is a
one-poler and involves but one pole,
while two men will use two poles to
one hook and line. Three polers are
for fish upward of 150 pounds.
If the school is a large one from
five to forty tons may be caught in
a couple of hours. As soon as the
blood of the tuna stains the water the
sharks are there to get their share.
They jump clear of the water in their
endeavor to secure the fish off the
line and in this manner several sharks
were caught.
A twelve-foot platform was rigged
out on the side of the boat to enable
Bun Haskins, first cameraman on the
trip, and the writer to get a different
angle. Incidentally, when not in use
a derrick was rigged to haul up
the platform. Our first setup was
a real thriller, as we received a
thorough soaking from the heavy
seas. It took me several hours to
clean the camera of the salt sediment.
We worked as often as was possible,
that is, when old man sun would give
us a break. The weather was miser-
able and cloudy most all the time.
The frigidaire system on the yacht
took a turn for the worse and laid
down on the job so we headed for
Mazatlan to have it reconditioned and
to refuel. After we were out about
a hundred miles we ran into what the
captain called a trade wind. We all
hoped it could be traded for a smaller
one, because it surely made the boat
rock like a cradle. The waves were
breaking all over the boat. After
being tossed out of bed twice one of
the boys slept on the floor. Another
rolled over, cot and all. Finally we
tied all the cots together and fared
better.
Ride Heavy Seas
Something happened every minute,
it seemed. About halfway to Mazat-
lan the engines conked. We were out
of the regular shipping lanes and we
wallowed about in heavy seas for
several hours until the oil pumps had
been fixed.
Mazatlan is a beautiful town and
we had the opportunity of photo-
graphing many lovely backgrounds
for the picture. We spent three of
the six days on shore, most of the
time under the showers, and it wasn't
hot there, either. The boys didn't
feel the depression in this fair land
of beauty, as the rate of exchange is
about three to one and our money
seemed to go much further, although
it didn't last any longer.
We made contact with the schooner
once more and again sailed for Secor-
res Island. Here a huge ray fish or
sometimes called a sea bat was har-
pooned and shot and pressed into
service. A piano wire was attached
to the fish and it was dragged after
the boat, while a diver went in front
of it as if the fish were going to at-
tack him. The diving bell was put
into use here and Homer Scott got
some effective scenes of sharks and
tuna fish as well as that of the ray
fish. The bell was lowered about
twelve feet into the water, and the
cameraman remained in it about an
hour, air being pumped to him.
It was very interesitng to see the
tuna packed, for of course this was
a regular commercial trip to the
fishermen. The fish are washed, after
they are caught, in sea water. Then
they are put into the hold. They are
stacked in rows on bins and are
covered with layers of ice.
The temperature is kept at freez-
ing point and at that point the fish
will keep as long as two months.
After we had been gone five weeks
we headed for home. We all enjoyed
the trip, although we were glad when
the five days had passed and we sailed
into San Pedro harbor, exactly six
weeks after leaving it.
Merle LaVoy on Dangerous
Ascent of Mount McKinley
MERLE La VOY, who had been
the East for the last year,
passed through Los Angeles
early in July on his way to Mount
McKinley, in Alaska. The former
Pathe News man, who was a member
twenty years ago of the Parker-
Browne expedition on the first ascent
of Mt. McKinley, will recover the body
of Theodore Koven, who with Allen
Carpe was killed May 9 last in a
crevasse at 11,000 feet altitude, and
take it back to New York.
The location of Koven's body is
known and is twelve miles up the
glacier in ground familiar to the
cameraman. La Voy sailed from
Seattle July 9 and planned to ex-
ecute his assignment and return to
New York by Sept. 10. Following
that he will return to the West Coast.
Spindler and Sauppe Named
Agents for Skinner Meter
The firm of Spindler and Lauppe
of 811 West Seventh street, Los An-
geles, has been appointed sole dis-
tributor of the new Skinner exposure
meter without batteries. The device,
which is small, is described as most
sentitive and covers a range from
F1.4 to F64.
The meter is obtainable in two
types, for studio interiors and general
use.
Flenner and Bryan Join
Harry Flenner and Robert F.
Bryan, members of International
photography business. Their quar-
nership for conducting a commercial
photography business. Their quar-
ters are in 406 Balboa Theatre Build-
ing in San Diego. The two extend a
cordial invitation to all their brother
members visiting in San Diego to
look in on them.
Rare photograph showing possibilities in the way of a breach of the peace
llmt may ride behind a stone wall. Emmets Schocnbaum failed to tell us the
outcome of the eyeing match following his taking of the picture. Many a dog
in similar circumstances banking on his superior bulk has been fooled with
disastrous results to the integrity of his hitherto nnclawed nose.
Siain Makes Talker
According to Commercial Attache
C. E. Brookhart, "Going Astray," the
first all Siam talking picture, has
been exhibited in Bangkok and
aroused considerable interest.
August, 1932 The INTERNATIONAL PHOTOGRAPHER Fifteen
ONE
WHY NOT W I N l_ FILM
FOR ALL
SHOTS?
■ ■ ■ That question concerns every producer and
cameraman. The answer is easy: Use Eastman
Super-sensitive Panchromatic Negative with
gray backing . . ."Inkies". . . arcs . . . daylight . . . any
kind of light is right for this versatile film.
Cameramen are rapidly finding that out, and
everybody from actor to exhibitor is benefiting
from the use of this remarkable all-purpose
negative. Eastman Kodak Company, Rochester,
N. Y. (J. E. Brulatour, Inc., Distributors, New
York, Chicago, Hollywood.)
t/\b I /Vl/\IN SUPER-SENSITIVE
PANCHROMATIC NEGATIVE (gray-backed)
Sixteen
The INTERNATIONAL PHOTOGRAPHER
August, 1932
'Industrial Freedom '-Its Meaning
HP
RIBUTE recently was paid
by the Merchants and Man-
ufacturers' Association of
Los Angeles to a former general
manager, who had completed a
dozen years of service. "It was
the good fortune of the Mer-
chants and Manufacturers' As-
sociation to enlist his services
to perpetuate industrial free-
dom in this community," the
tribute read, according to Mr.
Hearst's Examiner of July 1.
"He has builded a philosophy
and an organization that has
[sic] stood all the tests of busi-
ness and human relationships
and his work will carry on."
High sounding are those
words and somewhat impressive
when read thoughtlessly and in
possible haste. But let's exam-
ine them with a bit of delibera-
tion.
JUST what did this tribute
mean by "perpetuation of in-
dustrial freedom in this commu-
nity" ? Indeed simple is the an-
swer.
It is that one solid and wealthy
organization each individual
member of which is bound to his
neighbor through selfish and
mutual interest denies to other
individuals who happen to be
employes of some member of the
organized group the right to
band together as have its mem-
bers.
Industrial freedom under this
perverted use has been known
to go further than that. We do
not have to step outside the mu-
nicipal limits of Los Angeles to
find concrete examples, or for
that matter of Hollywood itself.
Not only has it been denied
the laborer is worthy of his hire.
It has been denied the laborer is
worthy of any hire if it so hap-
pen in the pursuit of what he
conceives to be his liberty and
happiness he has taken steps to
organize those similarly situated
in life and in the course of many
weary and lean months it has
been borne in on his conscious-
ness that all employment doors
mysteriously are closed against
him.
That must be industrial free-
dom within the meaning of the
tribute.
THE former employe may
have been a most worthy
individual, but let it be asserted
he did not build any philosophy
or any organization that has
stood or will stand all the tests
of business and human relation-
ships nor will his work carry
on — indefinitely.
The fundamental philosophy
that he exemplified according to
the ordinary interpretation of
the tribute was the philosophy
of the barons of feudal days, of
a period even yet all too recent
when the nod of a head meant
the snuffing out of a human life
or many human lives — when the
marking of an X meant the de-
struction of thousands of men
created in the image of God.
That was industrial freedom
within the view of the barons
and within the philosophy of the
barons, but it was a philosophy
that was powerless to withstand
the tests of business and human
relationhips. It was a philoso-
phy that could not and can not
carry on other than spasmod-
ically.
IT IS a philosophy in the up-
setting of which millions of
lives have been sacrificed across
the ages. Other lives will be sac-
rificed in the years to come the
more surely to solidify and for-
tify the philosophy that denial
of the right to organize does not
constitute industrial freedom.
It constitutes what more accu-
rately and more honestly may be
termed industrial slavery.
And the comparatively small
measure of industrial slavery
that still survives will wane to
the vanishing point when the
time shall serve. G. B.
ANNOUNCING
SUNSET CAMERA SHOP
Of Hollywood
6305 Sunset Boulevard at Vine Street
CAMERA RENTALS
MITCHELL, BELL AND HOWELL
STILL, GRAFLEX, ETC.
A Store for Cameramen
Service
GUY (659) NEWHARD
HE 5566
Night Phone YOrk 4553
%5F/tf*
Qream oth Stills
cfWo*.
Unusual picture of the Mosque of St. Sophia in Constantinople, which prior to the Conquest was a Christian
church. Merle La Voy photographed it from one of the galleries. The chandeliers have been lowered to ivith-
in a half dozen feet of the floor. The strong light spots in lower left foreground come from sun streaming
through one of the upper windows
•fl "SMslF-* w
Qream a th Stills
tfWo*.
Famed Lake Tahoe
is in the distance,
■with three tiny
bits of water in
between. Mark Twain
in his Virginia City
days ivas one of
the lake's early
visitors.
Photographed by
Loyal Himes.
High lights and
deep shadows in
Zion Park, Utah,
ivhen photographed
by Envmett
Schoenbaum
,^'ct,.
<A?
Gream oth Stills
c^L'O^
s>
Here is June Lake,
but a single mile
from the highway
north of Bishop,
in the Sierras,
says Art Marion,
who exposed this
photograph which
hardly can fail
to tease one of
those incorrigible
outdoor addicts.
»w
*4
*
>
--»'■'•** .»«*i
c- **v~* *>.-:■
" r-
»>*iA*'*4'.
•.•*"*«
*\:*'
» ..*■* **4^
'«*%»
•*■.
,. I
«.-"•
,.*
:W
.y#
Edward H. Kemp, I. P.
San Francisco,
sends in this
view of Squaw Peak,
near Kingman,
A rizona
4»"fei
Qream oth Stills
^!^?o.
California Yuccas
Beauty walked in silence
Her mission to fulfill,
And left her tapers burning
On the altar of a hill.
Photo by
Harry Blanc
Verse by
Berenice M. Conner
^^T'o,.
Qream oth Stills
ct^'O*
Photographed
in Newhall,
California
Tall tapers, gleaming white,
Along an ancient way —
Where beauty burns these candles
Once padres knelt to pray.
Photo by
Harry Blanc
Verse by
Berenice M. Conner
/
In a Universal
picture we see
Elmer Dyer as
he photographs
a battle in the
air, with the loser
seemingly falling
in flames. Also
showing high
Sierras in June
Leaving the
chill of ice
and snow we look
in on a Fox
company on location
in Arizona making
"The Killer."
The camera
silenced by its
blimp seems to be
about the only
thing photographic
that is covered.
Bert Lynch
exposed the still
.f^T'o,,.
Qream oth Stills
..•fr^I'o*
Swinging across
the Pacific
we sit in on
a Japanese troup
making "Namiko,'
photographed by
Harry A. Mimura,
I. P., now back
in Hollywood.
Shot shows
Mizutani in a
close-up, with
cameraman
beside her
Hurdling the
Pacific, the
United States
and the Atlantic,
here we are in
England, where
Associated Radio
is making
"Water Gypsies."
Cameramen shown
are Bob May-tin
and Bob Be Grasse,
of Hollywood.
Work in that
peaceful atmosphere
must mean
real effort
«.*™:'<fc.
*°GR/tf*
Qream oth Stills
ct^'0*.
A snapshot of a business street in early morning — an impressive visualization of movement, of Life. Photo-
graphed by Clifton Maupin.
August, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-five
^mateurJ)eparzment)A
16mm. Sound on Film a Lifesaver
Means Much to Makers of Industrial Motion Pic-
tures for Employment in Advertising as
Well as Promotional Campaigns
By HERFORD TYNES COWLING
JUST at the moment when indus-
trial motion picture production
and its use in both advertising
and promotional methods is at a
standstill and sponsored films in the
theatres have been tabooed Radio
Headquarters now crashes through
with a life saver. Sixteen mm sound-
on-film is a godsend to the industrial
motion picture producer. Other manu-
facturers are stampeding to get on the
band wagon.
The speed with which 16mm. sound-
on-film has been developed has done
much to elevate the 16mm. size to the
semi-professional classification. Now
since Kodak has gone 8 mm. (wisely
or not to be later determined), with
16mm. sound-on-film projectors al-
ready on the market, and with the fact
that 16mm. sound-on-film cameras are
about ready to be placed on the
market, the laboratories must be pre-
pared to handle the developing and
printing of 16mm. sound-on-film.
The first demand is for an optically
produced 35mm. sound production to
be reduced and rerecorded to fit the
16mm. sound-on-film projectors, now
being manufactured, of which there
are several.
While it is necessary to make a
16mm. reduction print from the
35mm. picture negative, so far as the
picture is concerned, getting on the
sound track is not so simple. The
best results are obtained by making
a rerecorded 16mm. negative of the
sound track, after which this sound
track is printed by contact on the re-
duced picture positive.
Since only acetate 16mm. raw stock
is sold to the trade the question of
shrinkage during processing is of con-
siderable more importance than with
the 35mm. size, for which nitrate raw
stock is available.
Since the 16mm. sound-on-film pro-
jectors operate at 36 feet a minute
as compared to 90 feet a minute for
the 35mm. projectors, two and a half
times slower, it must be remembered
that the definition required for the
16mm. sound-on-film must be corre-
spondingly greater. The 16mm. sound
track must be printed continuously, so
that some method had to be devised
automatically to compensate for the
extreme shrinkage of the 16mm. ace-
tate sound negative stock. At the same
time critical definition is essential to
good results.
The Wood-Watson 16mm. continu-
ous contact "sound-on-film" sound
printer is designed to meet the exact-
ing requirements necessary for con-
tinuous-printing the 16mm. sound
track and compensating for the ex-
treme shrinkage encountered in the
16mm. sound acetate negative.
This automatic shrinkage compen-
sation is the basis for the entire de-
DlRECTIOtS OF TRPWE1L
Wood-Watson 16mm. sound on film sound printer.
Drawing of sound track made by Wood-Watson 16mm
Printer.
Twenty-six
The INTERNATIONAL PHOTOGRAPHER
August, 1932
sign and accounts for the superior re-
sults obtained on this printer. In the
old type sprocket printers the films,
being of different lengths, were forced
to slip past each other, thus blurring
the high frequencies and often intro-
ducing the so-called sprocket noise in
spite of the most careful adjustment.
Shrinkage Compensated
While they were, in general, good
enough for 35mm., it should be re-
membered that the definition required
for 16mm. is two and one-half times
that for 35mm. and the shrinkage of
16mm. safety film negative is several
times as much as 35mm. negative.
In the Wood- Watson printer the
shrinkage of the negative is automati-
cally compensated exactly to fit the
positive and there is no tendency for
the films either to creep or lose con-
tact. This insures the best possible
printing in the simplest way.
What appeared at first to be a very
difficult process now becomes simple
and available to every laboratory. Ex-
isting 35mm. sound productions can
be reduced to fit the 16mm. require-
ments, also 35mm. silent productions
can be re-edited and adapted to
the 16mm. sound-on-film projectors
either by preparing a 35mm. sound
track negative and rerecording or
having a 16mm. sound track negative
recorded direct for the silent produc-
tion.
The adaptation and use of such
16mm. sound-on-film editions will be
quite apparent to the industrial pro-
ducer looking for new markets and
to retain his old ones.
Cameras and Projectors for 8mm.
Eastman Will Introduce During- August Two
Types of Projectors and One of Camera
Employing 16mm. Width of Stock
AMOTION PICTURE camera
that quadruples the number of
images recorded on a given
length 16mm. film and thereby makes
every foot of film go four times as
far is to be introduced during Aug-
ust by the Eastman Kodak Company.
Small enough to fit in a coat pocket,
the newly designed Cine-Kodak Eight
holds 25 feet of 16mm. film, but takes
enough pictures on that length to run
four minutes on the screen — equal to
the projection of 100 feet exposed in
other cameras using 16mm. film.
The Cine-Kodak eight will save
those who use it nearly two-thirds
of film cost, it is stated by the manu-
facturers.
The development in home pictures
is consistent with an Eastman policy
effective since the early eighties — re-
duction of the expense of amateur
photography to make it available to
an increasingly large group without
sacrificing the interests of "advanced
amateurs" who desire to continue
using the more elaborate equipment.
The Cline-Kodak eight, equipped
with a Kodak Anastigmat F3.5 lens,
is the lighest, smallest motion picture
camera with a film capacity permit-
ting four minutes of projection. The
low cost of both the apparatus and
the film, together with the compact-
ness and simplicity of the equipment
at what is declared to be no sacrifice
of convenience, promise that the
Cine-Kodak eight will find wide ac-
ceptance among the large group of
persons who wish to make pictures
but who feel they cannot afford the
special features of 16mm. equipment.
25-Foot Film
The quality of the result is pro-
nounced very high by persons who
have seen them projected in Roches-
ter. More than two years of direct
experimentation have preceded the
appearance on the market.
There is a new method of distribut-
ing on the film the sixteen photo-
graphic images taken a second. The
camera loads with a 25-foot roll of
special 16mm. film, but it exposes
only half the width of the film at a
time, recording a series of complete
images on each half. When the 25
feet have run through once the spool
containing the film is removed and
placed on the supply spindle.
The other half of the film is then
exposed. The width of each image
being thus reduced by half, the height
is similarly reduced and the number
of images down the length of the
film is doubled in consequence. Each
exposed half of the 25-foot roll con-
tains, therefore,, as many pictures as
a 50-foot roll exposed in other cam-
eras using 16mm. film, and the whole
25-foot roll contains as many pictures
as 100 feet from the larger home
movie cameras.
When the exposed film reaches a
processing station it is processed, slit
down the middle, spliced end-to-end,
and then returned as a 50-foot reel of
8mm. film with perforations down
one side. Perforations on the special
film for the Cine-Kodak eight are
spaced half as far apart as on other
16mm. film.
The special 25-foot rolls of 16mm.
film have an extremely fine-grained
panchromatic emulsion that assures a
clear, sparkling screen image in spite
of great magnification. A black coat-
ing on the back of the film reduces
the possibility of halation. The film
rolls are small enough so that several
may be carried conveniently in a
pocket.
Will Split 16mm. Film
As in the case of other 16mm. film
the price of rolls for the Cine-Kodak
eight will include processing — and
also the additional work of slitting
and splicing the 16mm. width into
8mm.
Two Kodascope Eights have been
designed for the projection of the
new size film. They will be put on
the market simultaneously with the
cameras.
The Kodascope Eight, Model 60, is
equipped with a 100-watt pre-focussed
projection lamp with a decentered
filament. An efficient optical system
gives brilliant pictures on the 22 by
30 screen. The projection lens has a
focal length of one inch. A high-
speed motor-driven rewind requiring
no changing of belts or reels, and pro-
vision for plugging in a table lamp to
turn on automatically when the pro-
jector is turned off are other features.
The Kodascope Eight, Model 20,
also has a one-inch lens. It is equipped
with a dependable lamp for adequate
illumination. The size of both pro-
jectors permits very easy carrying.
As in the case of full-width 16mm.
movies, titles will be available for
splicing into film exposed in the Cine'
Kodak eight. Miscellaneous success-
ful professional motion pictures for
showing with the Kodascope Eight
also will be prepared, under the name
"Cinegraph Eight."
Advertising Agency Plans
To Preserve Air Programs
LORD & THOMAS, advertising
agencv. has purchased special
phonograph disc recording and
reproducing apparatus from RCA
Victor. The firm plans to make disc
records of the Lucky Strike programs
with the new a^^aratus, as an in-
expensive means of ^reserving the
programs exactly as they go out on
the air. This permanent file is ex-
pected to prove especially valuable
to the agency and its client because it
permits of frequent rehearings when-
ever it is desired to analyze a pro-
gram or studv the microphone tech-
nique of the artists appearing.
This is the first agency to take this
means of preserving radio programs
for future reference. Previously the
new recording equipment has been
found useful in recording accurate
evidence for court and police work.
Attendance and Admissions
Slip Heavily in Hamburg
IN Hamburg, Germany, cinema at-
tendance in March and April,
1931, totaled 1,306.824 and 1,330,-
113 persons respectively. These
totals decreased to 1,070,520 and 1,-
007,329 persons during the corre-
sponding months of this year, or
losses of 20 and 25 per cent, respec-
tively. To judge the full import of
these figures it must be considered
that as compared with last year ad-
mission prices have suffered* a gen-
eral decrease of about 25 per cent.
August, 19.32
The INTERNATIONAL PHOTOGRAPHER
Twenty -seven
Meet Screen Show's Granddaddy
Tracing the History of Present Day Picture En-
tertainment from Phonograph Parlor to
Pretentious Theatre of Today
By EARL THEISEN
GOING back over the years to a
period shortly prior to the
commercial introduction of the
Edison "peep show" kinetoscope in
April, 1894, we find the early begin-
nings of a development which leads
up to the present day motion picture.
This prelude to the mechanical
showhouse was in the form of a pho-
nograph parlor and had grown from
a curiosity, introduced following the
perfection by Edison of the phono-
graph in 1877, to a matter-of-fact
place where the more solid citizenry
went for musical entertainment. Pho-
nographs of this period had not ac-
quired the famous morning glory
horns, although some models had
small horns. The sound was carried
to the ears of the listener by a se-
ries of tubes similar to the stetho-
scope used by doctors.
Groups dressed for evening in
derby hats, hoops and bustles would
gather around the glass inclosed pho-
nographs, and after inserting a coin
to start the device they would attach
the long sound tubes to their ears.
The variety of expressions on their
faces indicated the nature of the rec-
ord being played and the reactions
and interpretations of the listeners.
To an observer not a listener-in this
would be interesting pantomime and
offer him entertainment in guessing
the nature of the records.
The parlors lingered for several
years. An additional vitality was
breathed in them with the advent of
the "peepshow" in 1894, the embry-
onic moving picture, which after a
year crystallized a demand to see
pictures on a screen.
In 1893 T. L. Tally, for many years
of Los Angeles, acquired one of these
parlors and with it got his start in
show business in Texas. Following
the trend of the times he introduced
the peepshow when it was put on
the market by Raff and Gamon for
Edison in 1894. In 1896 he moved
to Los Angeles and opened a parlor
at 311 South Spring street during
August of that year. In the mean-
time Edison had introduced the Vita-
scope, which had been perfected and
patented by Thomas Armat.
The Vitascope being a successful
screen projector mechanically had
been acquired by Edison, manufac-
tured by him and put on the market
in April. 1896, subsequent to the pub-
lic demand to see life-sized pictures
that moved as did the small ones in
the peepshow.
Tally soon acquired one of these
Vitascopes and set it up in what was
the first screen theater in Los An-
geles. He continued with a com-
bination of phonograph, peepshow
and screen pictures until 1902, when
he acquired the famous Lyric Thea-
ter, at Third and Main. It was opened
under the name of Electric, but
changed to Lyric upon the addition
of vocal numbers to accompany the
films.
Ten At a Showing
When "The Great Train Robbery"
was released in 1903 Tally gave up
his theater and went on the road
with it, returning a year later. In
1906 he opened Tally's Broadway, at
Broadway and Spring, next to Silver-
woods.
In conjunction with the theater he
conducted an exchange, renting out
films made by the larger producers
who formed the Patents Company in
1908. It is of interest to note here
that Tally rented films to the father
of Sid Grauman in San Francisco at
this time.
In this theater a person could see
for a dime an array of ten pictures
of about 500 feet each in length and
after the show, if so inclined, also
stop on the way home "on the corner"
for a glass of beer.
In step with progress, Tally opened
a larger show on Broadway in 1910,
introducing the elevating orchestra
pit, and in 1912 installed a large pipe
organ built by the Murray Harris
Company. This organ is notworthy
in that it was probably the first or-
gan in a "movie" show.
He continued to dignify the screen
and give it a definite entertainment
value. He took an active part in or-
ganizing the First National Exhib-
itors' Circuit, which was made pos-
sible by a meeting of the principal
showmen in April, 1917, in New York
arranged through his endeavors. In
1921 he retired from show business,
feeling his work was finished, only to
take it up in 1929 again to develop a
new camera of the underslung type.
W^,
Jp»f !!•*■*• *"'
Phonograph parlor in San Antonio in 189J. These institutions were sort of curtain raisers for the coming screen
pictures, in existence at the time but not commercial' y. They were shown in this year at the Chicago fair. On the right,
this show at -J 11 Spring Street, Los Angeles, marks the removal of T. L. Tally from San Antonio, being opened in
August of 1896. At the rear center are two chairs facing an Edison peepshow on a screen. At the left side of the
picture arc the Edison kinemato graphs, in the center Biograph mutoscopes, and at the right the customers are
listening to phonographs. Mr. Tally is shown in each photograph.
Twenty-eight
The INTERNATIONAL PHOTOGRAPHER
CHICAGO
August, 193'1
I SUPPOSE you is gonna be very
much baffled when you see who is
writin to youse. You know I
ain't been much of a hand ever at
writin letters to friends of mine. I
know we aint ever met, but you must
be a friend of mine seein as how you
is usin this tripe I sends you. Well
now the first thing you is gonna axe
is "Who is this, please?"
Well, I aint gonna hedge around
by kiddin you with the old chestnut,
"Aw go and guess!" you know like
some of these blonde dames do what is
callin youse up hopin maybe they kin
dunn you for a high class meal and
a couple gin bucks.
I'm gonna admit right quick to
youse that I is your amateur humorist
what has been sendin you that high
class collum evry month from the
boom-boomtown of Chi. which I so
jokingly sign "by the Sassiety Re-
porter."
Also that is the reason for why I
am asittin here sweatin on compos-
in what they calls a perfect business
letter.
I bought the book on how to write
'em, but somehow they ain't got a
form letter listed on how a high class
author like me should address his pub-
lisher, so I gotta be what they calls
extemporaneous at these here poli-
tical conventions — you know when a
guy can't afford for somebody to write
a speech for him why he jest hasta
get up and make it up himself, and
sometimes it's better than if you
hired a guy to do it for you, you
know, more sincere like, and that's
what I'm tryin to be here sincere
and honest.
I could jest let it slip and not write
you at all and then alibi later in less
words, but I is sincere so I is writin
right now to tell you facks. What's
on my mind is, you know I ain't gonna
be able to write you a collum this
month on account I is in "confine-
ment."
You know everybody around Chi-
cago is wonderin whatinell has
happened to all of the 666 current
event snipers. Nobody is seen them
around the streets or hangouts for
days. It's a mystery jest how them
boys has completely gone out of circu-
lation.
Well I kin clean up that mystery
for you right now. They is all in
confinement, too, with me, right here
in a new kind of bastile on the west
side of our ole town. We're locked up
in a joint they calls the Stadium, and
we is bein held for ransom by a gang
of tough fightin hombres, they got
nicknamed Democrats.
In Focus — In Spots!
By Fred Felbinger as
The Sassiety Reporter
These Democrats is one gang of
fightin Irishmen, too, but they got a
real sense of humor because they dont
jest sit here and hold us with a lot of
hot air boloney like some Politicians
do. They entertain us when we gits
tired of bein locked up in this Stad-
ium.
They stages parades and fights for
us to keep us from gettin weary. You
know I wusn't interested in Politics
at all when I wuz sent out here for
my stretch, but I betcha when I
leaves here I is gonna be one high-
class Democrat, too.
I got all my pals right here next
to me, too, — Charlie Geis, Tony
Caputo, Ralph Saunders, Charlie Ford,
Sam Sabath, Jack Barnett, Martin
Barnett, Charlie Beeland, Don Juan
Lippert, Ira Koerenman, in fack all
the 666 sharpshooters is foggin can
after can right next to me.
Up in the upper tiers I kin see the
rest of my mob too — Buck Buckann-
an, Eddie Morrison, Emilio Monte-
muro. Even our worthy Prexy Char-
lie David is gotta permanent berth
minus the daily shave here.
Pretty smart of these Democrats,
too, ain't it, to play everybody's na-
tional anthem. They play no favor-
ites, but I guess you gotta be that
way when you want votes next No-
vember.
You know I is of German descent,
and when I wus a little chaver my pa
used to take me to German beer gar-
dens of a Sunday in my home town of
Milwaukee and they used to play a
swell one called, "Oh Tannenbaum!"
Well, I been hearin that one reg-
ularly here in the Stadium through
the kind permission of the Democrats
and I kinda thrilled to it, but some-
one jest tried to spoil that for me by
sayin it wus the national hit of "Mary-
land."
But I guess it dont make a never-
mind anyway, as when I thought it
wuz a German song it kinder brought
me memories of the beer gardens and
these Democrats is also tryin to dig
up memories of beer gardens right
now tonight by the drift of their gab
up on the hot air stand. In fack,
they is goin further than memories.
They is tryin to help make it reality
for me and my pa.
Well, if its gotta come then may-
be I kin change the tables and take
my pa to a beer garden of a Sunday
instead of he takin me like he used
to years ago. Also maybe Ma kin
bawl me out now for it jest like pa
got it for draggin me to one years ago.
These Democrats ain't like the Re-
publicans. They is double winded
and got more pep and they is got us
film foggers worn down plenty.
We is almost down to the bottom
of our supply super-sensitive and no
relief in sight yet. Maybe them Re-
publicans wasnt such bad eggs, after
all. At least, they could make up
their minds. But no; These Demo-
crats is better fighters and people
always loves a fighter. Chairman
Walsh jest tried to adjourn for the
rest of the night, "for humanity
sake," but he was booed down "No!"
I guess they figures we 666'rs aint
human. People is droppin off to sleep
like flies around me. Even my 666
pals what has weathered many a
storm is givin up the ghost. Still-
men is shootin shots of our poor vic-
tims. Sam Sabath jest became news
as his head sunk agin his noise ketch-
er's amplifier.
Bing! There goes a flashlight of
poor Charlie Geis, propped agin
Arthur De Tita, and they dont even
feel the blast of the photog's flash
gun. Aint it ever gonna end? . . .
What's all the racket now? Holy
smokes, another parade down there.
Murray for President now. Well I
gotta fog another can of celluloid on
that, excuse me a minute please, Mr.
Editor. Well, that's over, unnerstand
it's the last parade of the evenin or
dawnin.
Things look quiet for a few minutes
now. Wonder if I kin trust them
Democrats a few couDla ten minutes
to cop a coupla winks agin the tripod
legs . . . Guess I'll take a chanct and
finish this letter later.
"They got me!" . . . Now I am news,
too. one of them silly stillmen caught
me nappin on a plate. Right away
a holler from my buddies that they
finally got sumpin on me . . . Well
now, Mr. Editor, I always been sin-
cere on tryin to see all news published,
so if these guys thinks they kin black-
mail me into surpressing the dope on
them by holdin that pix of me nappin
agin me why then I is jest gonna prove
that I kin take it.
I is gonna send you the picture
so's "ou kin publish it with my kind
permission and fool these here hom-
bres here. They is laffin because I
sleep with my mouth open. Honest,
that ain't natural, but I been here in
the Stadium so long listenin to guys
August, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-nine
with their mouths wide open that I is
mimicking them in my sleep. So
please publish me sleepin without
apologies as I guess you know I is
wideawake on gettin you the news
on them 666 crankers.
That picture they made of me was
Lippert's idea, so's he could keep me
from publishin his love affairs. I
wassent gonna mention it to you, but
Lip is very crazy still about this gal
"Toots" I tole about two months ago,
and I promised him I would lay off
his personal life in the collum from
then on, but wait until I send you a
collum again.
I'll fry him for you. Leave him
sue me, what can he do me, after all?
Now a jane up on the platform is
singin. Not a bad looker, neither.
Tony Caputo jest gave me a look at
her through his seventeeninch lens in
his Mitchell camera. She's singin
"My Ole Kentucky Home."
I wish I could write songs. I'd com-
pose one called "Our Stadium Home
with the Democrats!" then I'd get
my crankin pals from 666 to sing it,
bu tl guess they woodn't have enuf
wind left to yodel it. I jest remem-
bered when they started tonight the
Democrats had a rabbi get up on the
platform and pray. He prayed for
a long time for the Democrats.
Then he gulped and started to pray
for everybody else what got sent up
to that Stadium.
He prayed at length for the news-
paper writin fellers. Then he asked
blessins for the raddio announcers
(I aint coinin a new word, Mr. Editor,
if you wanna give credit for that one
kinder hand it to my man Al Smith.
It's all his). Well, he prayed all right
for them radio announcers, too. Then
he drifted his prayers over toward the
people what was goin to sleep in the
galleries for the night.
And when he did that he went right
by my poor film foggin pals. It
kinder hurt us, too, as we figgered a
little prayer might straighten us out
with the Lord, considerin the things
we wuz callin them Democrats when
we got tired and crabby and mad at
them when we felt they wusn't much
on gettin together or makin up their
minds, but I guess never mind even if
people is forgettin us button pushers,
the Lord must have a just reward for
his film foggers for the way they is
stickin without grumblin and tryin
to go over the wall.
Somebody jest suggested we ad-
journ and the newsreelers started to
cheer feebly, but again we is over-
ruled. They calls it a steamroller.
Mebbe so, but honest, Mr. Chairman,
please for "humanity's sake" jest
look at us poor newsreelers up here on
the shelf. So the battle goes on.
More coffee — the coffee is mighty
black now. It helps. They ballot
now. Ain't it ever gonna end?
The news reelers hope some of the
big shots on the stand up there would
kinder give in and collapse for the
rest of the night. Maybe then we'd
adjourn long enuf for a bath and
coupla winks; even give up the bath
for the winks now.
Here comes the dawn. And it ain't
one of them Hollywood title writer
"Dawns," neither. Let's see, first one
I seen now since New Year's morn.
The coffee is out. No more coffee.
I is gittin slumbery already jest to
think I can't sop up any more coffee.
Whats that? Somebody in the gallery
is offerin the boys a tiny eye-opener.
Not enough to go around, though, for
all the boys. Gee, it wuz swell! It
helped.
More ballots, more speeches. One,
two, three ballots. We ain't gittin
nowhere. So we is the Democratic
Party?? Okeh, we'll stick, we gotta
pick our man. Never mind, Al, we'll
gain more votes on the next one.
So they is finally goin to adjourn
till tonight. Okeh, and my gang plops
right down to sleep beside the ole
equipment. Then the night, with
more crowds, more cheerin, more razz-
berries, more speeches, more Demo-
crats jest tryin to git together on
our man.
A California bird gits up and
speaks on how they is goin to throw
their votes. Sorry, Al, and Califor-
nia, too, where they makes movies,
and all you is done for the newsreel
boys, too, on gittin pictures in the
can on you.
I gotta take time out, Mr. Editor,
here right quick, us Democratts has
jest got together on our man. Well,
we finally went in and did it — us
Democrats! — We jest agreed on
Roosevelt — Ain't it a grand name to
see on a ballot next November? Looks
like us newsreel baboons is gonna be
out of the trenches by the Fourth of
July now. My man Al Smith didn't
get in, but I'm for Roosevelt now.
I'm on the band wagon. You know us
Democrats gotta keep up the "party
harmony." So I guess the rest of the
666 gang will be seein us newsreelers
on the street agin as we is gonna git
our release from the Stadium Bastile
right quick now.
We're still all right, maybe kinda
prison pallored and bubbly eyed from
lack of sleep, but watahel, we're Demo-
crats, ain't we? Well I gotta close,
Mr. Editor, and git some sleep. Hopin
you is the same, I am your faithful
Sassiety Reporter.
P. S. — Since I ain't gonna have
time to send you my collum this
month maybe you could print this —
Unless, of course, you ain't a Demo-
crat.
Showing what happened in the gallery allotted to neivs men when the Democratic Convention, Chicago, remained in
session all night — and then some. On the left: Wet or Dry? doesn't make much difference to Charlie Geis or Arthur
De Tita. Don't those Democrats ever get together? Centre: "They Got, Me!" Too tired to fog another can of film or
even write a column about those 666ers. Poor old Sam Sabath! Just a good Democrat that could not keep up with
the speechers.
Thirty
The INTERNATIONAL PHOTOGRAPHER
August, 1932
Looking In on Just a Few New Ones
STRANGE INTERLUDE
First cameraman, Lee Garmes ; operative
cameraman, Les White; assistant, Warner
Cruze; stills, William Grimes; sound,
Robert Shirley.
STRANGE ideeed is "Strange In-
terlude," the recent major contri-
bution of M-G-M to the entertain-
ment of picturegoers. Out of the or-
dinary it very much is. Very deli-
cately, too, it treats a really indelicate
subject. So deli-
cately, indeed,
does it accom-
plish that most
difficult task that
after it is all
over the auditor
is inclined to
wonder just how
it was done.
The underlying
theme might have
been taken from
pages by that
bold and rare
storyteller the
elder Dumas as
play by Eugene
Lee Garmes
well as
O'Neill.
from
Time
and again there is
demonstrated the strength that lies in
simplicity of situation.
All the way it is a woman's story,
and all the way Norma Shearer most
competently and charmingly and feel-
ingly portrays the emotions of the
Woman. She portrays her to the
submergence of the other characters
in the story, not because of any short-
coming of theirs but simply because
the tale throws the greater part of its
strength into her lap.
A trio of men between them have
importance, too — Clark Gable as Ned
Darrell, father of the son born to
Mrs. Sam Evans; Alexander Kirkland
as Evans, whose mother informs the
bride Nina that any child born to the
Evanses very likely will inherit the
strain of insanity that runs in the
family, and Ralph Morgan as Charlie
Marsden — "good old Charlie" — the
friend of Nina in youth and middle
age.
Then there are Robert Young as
the son, May Robson as the mother,
Maureen O'Sullivan as Madeline,
Henry B. Walthall as the Professor,
Mary Alden as the Maid, and Tad
Alexander as the boy.
A novelty in the production is the
twist of showing the characters
thinking out loud. In other words, the
character is seen in close-up,, his lips
tightly shut, while from off stage
comes his voice uttering lines that
match his changing expression. It is
this off-stage dialogue that is respon-
sible for the sole drawback to the ef-
ficiency of the production.
Frequently the initial word revela-
tory of the character's thought
starts too quickly following the closing
of the regularly spoken dialogue and
also at times insufficient space elapses
between the closing of the thought and
the beginning of the conversation. It
seems an effort has been made to
By GEORGE BLAISDELL
change the voice a bit in order to es-
tablish a difference between the two
forms of speech, to identify the off-
stage voice as indicating thought by
giving it a muffled note.
The result is that the lines dubbed
in frequently are unintelligible in
part, enough so in instances to de-
stroy the purport of what it is in-
tended to convey to the audience. It
hardly will be denied that in a sound
picture the primary requisite is clar-
ity in dialogue.
In the showing of "Grand Hotel" at
the same house incoherence was noted
in dialogue and reference was made
to it in our review of that produc-
tion. That the inequality was not due
to any deficiency in the reproducing
apparatus of the theatre was proved
by the satisfactory reproduction noted
in accompanying pictures. Nor would
it seem to be the fault of individual
sound crews. Upsetting any such hy-
pothesis is the fact that entirely dif-
ferent crews were assigned to the
two pictures. One sound man sug-
gested the inequality referred to and
which in the case of "Grand Hotel"
he personally noted was due to an
attempt in the laboratory to harmon-
ize the varying technical suggestions
uttered by the untechnical preview
committee of the studio.
Robert Z. Leonard directed the pic-
ture from a continuity written by
Bess Meredith and C. Gardner Sulli-
THE AGE OF CONSENT
First cameraman. J. Roy Hunt ; operative
cameraman, Edwin Pyle ; assistant, Charles
Burke; stills, Robert Coburn ; sound, D.
A. Cutler.
THERE is going to be released
from RKO-Radio a picture of
which much will be heard in the
following months. Not all of the dis-
cussion is going to be pleasant to the
ears of those who in a picture way are
able to see beyond their nose. It will
be controversial without a doubt. On
opposing sides will be the majority
who will see the subject through
glasses of today combating the at-
tacks of the minority whose concep-
tions of stage license do not permit
them to find entertainment in the in-
itial half of "The Age of Consent."
The picture will satisfy the primary
aim of producers. It will bring throngs
to theatres. But immediately follow-
ing that it will bring the condemna-
tion of all those vocal agencies con-
tinually poised ready to pounce on
anything motionpicturewise promis-
ing resemblance to game.
What in the estimation of these
vocal agencies will enhance the value
of the production as a target for their
well-organized attacks is its undoubted
dramatic power, practically all of
which is in the latter half. That is
exactly where it should be, of course,
if so be the pull goes not the whole
way. Then, too, connected with the
production is the entry of one of those
surprises which will be hailed as one
of the infrequent romances of Holly-
wood— and a typical one even if rare.
It is in the attractive form and
striking personality of Dorothy Wil-
son, transferred from the studio
stenographer department, pitchforked
if you will, into the top of the cast.
In her performance there is nothing to
indicate that such is the fact if really
it be a fact. And even publicity men
have been known to fool their friends
as well as the public.
Coming back to the negative fac-
tors in the tale there is the character
portrayed by Eric Linden. It is just
another to be added to the list of ex-
ceedingly offensive parts that RKO
assigns this youngster — that of a
loud-mouthed, chippy-chasing brag-
gart. If the character be a true to
type moutpiece of college humor then
indeed that much vaunted stuff car-
ries more than its share of cheap wit.
If the practice of casting Linden in
this sort of material continues it is
not a very large hazard to suggest
that for every crackbrained village
cut-up drawn to the theatre to memor-
ize the dialogue assigned to him —
dialogue the lines of which never may
be classified as even double in mean-
ing— there will be two potential cus-
tomers transformed into stay-at-
homes or seekers of screen entertain-
ment elsewhere.
There is a relief in the part as-
signed to Richard Cromwell, a part
the antithesis of Linden's. Even
though Cromwell is made to "fall"
nevertheless it is a human slip. Inci-
dentally there is a preachment,
whether intentional or otherwise is
immaterial, against the law expressed
in the title. It consists in a girl
under the age of consent inveigling to
her home otherwise unoccupied a nor-
mal even if hesitant youngster and ex-
ecuting what in reversed circum-
stances would be a perfect seduction.
Yet when the apparently outraged
father at 4 o'clock in the morning re-
turns to his home and sees what is
patent to every beholder the lad is
threatened with a forced marriage or
the penitentiary.
The picture shows the comparative
or utter uselessness of the Hays or-
ganization as a moral factor in the
control of motion pictures, of the hope-
lessness of the task it announced ten
or more years ago, that of putting the
screen on a higher moral level — and
we are assuming its protestations of
intention so to do really were and are
sincere. Nevertheless the fact is un-
alterable that the Hays organization
is the creation of the producers, is
financed by them, and naturally its
authority extends just so far as the
producers permit. When the employer
nods the employe if he expects to
continue the employe indicates ac-
quiescence.
Sarah Y. Mason and Francis Cock-
August, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-one
rell wrote the dialogue and adaptation
from Martin Flavian's play of "Cross-
roads." Gregory La Cava directed.
H. N. Swanson of College Humor
magazine officiated as editor, with the
result that many parents with sons
and daughters of college age will
think twice before confiding them to
the environment we see depicted.
Clyde De Vinna
BIRD OF PARADISE
First cameramen, Clyde DeVinna, Edward
Cronjager, Lucien Andriot ; photographic
effects, Lloyd Knechtel ; operative camera-
man, Edward Pyle ; assistants, Charles
Burke, Charles Straumer ; stills, Robert
Coburn ; sound, Clem Portman.
THERE are many factors in
RKO's "Bird of Paradise" that
will assist in bringing this spec-
tacular and melodramatic production
to the attention of that larger public
always attracted by a really unusual
picture. In the
course of its run-
ning there are
several major
jolts — surely four
or five — meaning
sudden, hazard-
ous happenings
that fall without
warning.
One of these
and a sample one
is during the
boisterous behav-
ior of a volcano
in an adjoining
island, the deto-
nations sounding like the ripping ex-
plosions coming from massed artil-
lery. Joel McCrea as Johnny walk-
ing along the beach sees the ground
under his feet part a foot or more.
Everybody out front sees it, too, with
a resulting genuine scare.
The screen play by Wells Root,
Wanda Tuchock and Leonard Pras-
kins is described as having been sug-
gested by Richard Walton Tully's
play. The theme is the sacredness
of the person of the chief's daughter
— Luana, played by Dolores Del Rio.
She is tabu, or taboo,, to all outside
the princes. In that catagory, of
course, Johnny is out. Therefore
when he flirts with Luana he is court-
ing death. And flirt he does, and
flirt Luana does, much.
Pictorially the picture stands out.
RKO chiefs, realizing the possibilities
of a subject the exteriors of which
were to be photograhped in Hawaii,
assigned an unusually strong crew.
Four photographers were given
screen credit — and that you will note
if you follow the screen happens very
seldom. These are Clyde De Vinna,
who has had wide experience in tropi-
cal lands; Edward Cronjager and
Lucien Andriot. Lloyd Knechtel super-
vises the photographic effects — and
these are employed to a large and
successful degree.
One of the initial shots is of a large
white yacht topped by a mass of white
sails smashing through tumbling
waters at a lively speed. It is an im-
pressive shot, none of its effective-
ness being lost by reason of the re-
cording camera being close to the
level of the sea.
It is unlikely Del Rio in the course
of her life will be assigned to a part
that will match in difficulty that of
Luana. She is seen as a native girl,
one who dances as a native surround-
ed by natives. With memory of the
remarkable Reri in Murnau's "Tabu"
still keen it is out of reason to expect
any other than a full-fledged South
Sea islander to make good in a paral-
lel part. The player is slight where
her agile predecessor possesses great
physical power with parallelling skill
as a dancer. Del Rio is entitled to
praise for her really fine work.
For the lovers of the romantic as
well as of the beautiful and pictur-
esque in backgrounds there are many
warm if attractive moments. The
scenes of the American boy and native
girl honeymooning on an island other-
wise uninhabited contain remarkable
examples of waterfalls and rocks and
trophical verdure.
Some of the followers of these
fervid situations may get a smile and
a lessening of the illusion when they
note a wrinkle in the not quite in-
visible gauze brassiere imposed on the
feminine lead — a gesture on the part
of some one to offset a possible cen-
sorial squawk in spite of the obvious
absurdity and incongruity of such
action considering the surrounding
circumstances.
Other players include John Halli-
day and Skeets Gallagher. King Vidor
directs.
enough for an averge comedy, but
when these assume the form of a four-
some the result is out of the ordinary
in the way of hilarity.
HOLD EM JAIL
First cameraman, Leonard Smith ; operative
cameramen, Fred Btntley, Edward Hen-
derson ; assistants, James Daly, Al Schev-
ing ; stilU, Elwood Bredell ; sound. Hugh
McDowell.
FARCE and more farce is behind
RKO'S "Hold 'Em Jail," a parody
on what in the East is the not un-
familiar "Hold 'Em, Yale." To the
majority of persons who enjoy a
laugh, who will not go out of their
way to avoid such a lift in life, there
will come a fund of fun out of follow-
ing this comedy.
The tale was directed by Norman
Taurog and written by Tim Whelan
and Lew Lipton. It was adapted by
S. J. Perelman, Walter De Leon and
Eddie Welch.
Supporting Bert Wheeler and
Robert Woolsey is Edna May Oliver.
More accurately would the situation
be described should it be said she
shares the featured honors. Of
course in the cast also are Robert
Armstrong and Rosco Ates. Of the
former all we see of him is in a single
sequence and of the latter hardly a
dozen delayed words mark his ap-
pearance. They are quite all right
while they are with us, but their stay
hardly is long enough to justifiy their
mention on the screen.
Then besides the three principals
named there is Edgar Kennedy in the
part of the boob Warden, to whom,
Vi, played by Miss Oliver, is a Dolly
Gann. The Warden is inclined under
great provocation to mislay his ex-
plosive temper, even when his guiding
sister in a chummy moment plants
herself on that part of his desk where
reside the buttons sending out clarion
signals for a riot and an escape and
a quartette of other catastrophies.
Really the show is of a pair of
twosomes either of which supply fun
Hal Mohr
THE FIRST YEAR
First cameraman, Hal Mohr ; operative cam-
eraman, William Skall ; assistants, Robert
Surtees, H. C. Smith; stills, Joe List;
sound, Albert Protzman.
THOSE executive committee mem-
bers of the Theatre Owners of
America who are complaining of
the multiplicity of sex pictures com-
ing into the market are herewith ad-
vised to make early arrangements to
get a peek at
Fox's "The First
Year." They will
see something
that will give
them a real thrill.
They will see a
production as
wholesome as
"The Old Home-
stead." They will
see a production
without a city
street or a man-
sion or a gor-
geous interior or
for no whole-
some reason at all a boudoir shot of
a family woman in her next to noth-
ings. There is not even a butler
apeing his English brother or a —
oh, yes, but there is a maid. And
What a Maid!
Here is a picture the exhibitor may
get behind without resort to circus
methods or sexy and also overdrawn
and misleading advertising. To his
aid he may summon all the forces
slowly through the years increasing
in their antagonism to the picture
theatre — among which are the pulpit
and press and organized women.
Much of the foregoing might have
been omitted had first it been men-
tioned that "The First Year" was a
John Golden stage production — so
strongly does the name suggest whole-
someness. Lynn Starling wrote the
adaptation of Frank Craven's play.
And Hal Mohr photographed it. In
case photography holds any interest
for you, pay attention to the close-ups
of the young woman who co-leads.
Your first impression may be the
story was made to order for Janet
Gaynor — your second may be that the
likable young woman has so expanded
through experience that she adapts
herself to the part rather than that
it fits her. She is not shown as a
weak or pliable sweet young thing.
She is shown as a woman with a
will — and a wit to do as the impulse
mpv move.
Charles Farrell carries the role of
the bridegroom and sustains finely the
part of the young business man of a
small town. As a matter of fact the
tale never emerges from the small
town atmosphere, which is much of a
relief, accentuated by the realistic-
manner in which it is presented.
Henry Kolker and Minna Gombell
portray the purchasing agent and his
wife, while the parents of the bride
are represented by Robert McWade
and Maude Eburne. Dudley Digges
is the sympathetic physician uncle of
Thirty-two
The INTERNATIONAL PHOTOGRAPHER
August, 19S2
the bride. Leila Bennett blacks up
for the screamingly amusing maid
and George Meeker is the small town
fresh young thing who aims to make
good in the city.
That recently elected head of Fox
who shares with his patrons a weari-
ness of pictures by Hollywood for
Hollywood, by inference pictures by
Hollywood for Broadway, will get a
rise out of "The First Year" which
should mean a bouquet for those re-
sponsible for its screen reproduction.
And as sure as you are a foot high
this simple, wholesome tale of a small
town will stand 'em up on Broadway
at that.
THE OLD DARK HOUSE
By Fred Westerberg
First cameraman. Arthur Edeson ; operative
cameraman, King Gray ; assistant, Jack
Easan ; stills, Roman Freulich ; sound,
William Hedgcock.
THERE is something very re-
freshing about a good spooky
picture like "The Old Dark
House," Universal's latest contribu-
tion to witchcraft.
When you see the stranded motor-
ists in this pic-
ture come to the
old dark house at
night seeking
shelter from the
storm and Boris
Karloff opens the
door and franken-
steiningly speak-
ing does his best
to send funny
little shivers up
and down your
back, then and
there you leave your cares (if you
have any) out in the sleet with the
wind machines and overhead sprink-
lers.
Aside from having a shuddering
good time those who enjoy fine char-
acterization for its own sake will be
amply repaid in this story adapted
from the noved of J. B. Priestly by
Ben W. Levy and directed by James
Whale.
Boris Karloff as the mute butler
whom everybody fears is going to find
some hard liquor about the premises
that will cause him to run amuck,
and who does find some eventually, in-
jects sufficient menace to keep things
tingling throughout.
Melvyn Douglas plays the part of
a whimsical beloved vagabond so dear
to the British heart (the story is laid
in the wilds of Wales). One can see
that Douglas, in common with most
Arthur Edeson
handsome leading men, likes to play
whimsical roles. The hearts of the
feminine fans should go pitter-patter.
Lillian Bond, who as Margaret, a
chorus girl, has something of the air
of Katherine Cornell about her, is
blown in by the storm in the com-
pany of Sir Porterhouse, an English
meat eater, played by Charles
Laughton. Since the death of his
wife Sir Porterhouse likes to take a
girl out once in a while just to be
seen with a pretty woman. That is
what the girl tells Douglas later on,
and it must be true because these
two derelicts on the sea of life find
a haven in each other's arms without
a qualm.
Gloria Stuart as a young married
girl and Raymond Massey as her
husband complete the roster of ref-
ugees.
These two have the rather thank-
less roles of spookees or recipients of
spookery roles.
The four members of the family
that inhabit the old dark house,
played by Eva Moore, Ernest Thesig-
er, Bremer Wills and John Dudgeon,
give an enthusiastic and finished per-
formance in their respective roles of
sister, brother, mad brother and aged
father.
The camera work by Arthur Edeson
is finely attuned to the requirements
of the story. The shadows are rich
and black yet never completely lack-
ing in detail. The faces are superbly
chiseled to reveal the play of emotions.
Here and there only does Edeson de-
scend to mere prettiness in a close-up
and the result seems quite flat by
comparison.
Some evidence of the conflict be-
tween the traditions of the screen
and those of the stage can be seen.
Early in the picture we are shown a
storm in true cinema fashion includ-
ing a landslide for good measure.
Later, inside the house we have to
imagine the storm aided and abetted
bv such stage devices as the sound of
thunder and panicky dialogue. It
would be interesting to hear a good
discussion on the relative merits, let
us say, of one "Egad, we are doomed!"
nronounced with sufficient fervor by
a capable thespian as against one
landslide put on by a well organized
miniature department.
The picture ends quite abruptly. In
reality the story does not really stop
at all but the screening of it does.
The urge to construct an epilogue in
one's own mind is irresistible, for not
until the characters are laid away one
by one in their final resting place does
one feel content to say FINIS.
When Seen Through Feminine Eyes
By CLARA M. SAWDON
THE French satire "A Nous, La
Liberte" (Liberty For Us) pre-
sented at the Filmarte early in
July has an especial appeal for
Americans because it is based on an
institution or practice which has had
its full share of publicity in this
country.
Mass production is represented as
the villain of industrial life that en-
courages slavery and kills individual
freedom or initiative, but the treat-
ment is never heavy or serious.
Laughter and music attend it all the
way through.
Emile and Louis are two convicts
planning to escape. Prisoners are
shown making toy horses, each man
playing his individual part in the con-
struction of the toy and endlessly re-
peating the same operation. Other
glimpses are given to show the monot-
onous round of routine and discipline
of prison life.
Then comes escape for Louis with
the assistance of Emile, who unfor-
tunately is captured and returned to
prison. In the industrial world Louis
gradually works his way up until he
finally becomes the proprietor of a
phonograph factory doing business
on a large scale. Again we see long
lines of men working as mechanical
cogs in an industrial enterprise where
day in and day out each man performs
the same operation over and over
again. Louis in his search for per-
sonal freedom is enslaving his em-
ployes as relentlessly as did the old
prison system.
In time Emile is released from
prison and circumstances bring him
to the factory of Louis. We then
have the enslaving influences of love
and society intermingled with the in-
dustrial theme until the two ex-con-
victs escape from it all, starting over
again as two happy vagabonds with
everything a total ioss except their re-
gained liberty.
In the roles of Emile and Louis,
Henry Marchand and Raymond
Cordy remind one constantly of
Charlie Chaplin. Their clowning
leaves the same after taste of sadness
and wistfulness.
Although the dialogue is in French
the players have so perfectly mas-
tered the art of pantomime and the
direction of Rene Clair is so under-
standing^ skillful all language bar-
riers have been overcome. The re-
sult is a rare achievement in film
entertainment involving as it does a
preachment on a very serious subject
but delivered with a laugh and a
chuckle as the foibles of human nature
are trenchantly, even though it also be
good naturedly, held up to ridicule.
TOM BROWN AT CULVER
First cameraman, Charles Stumar; operative
cameraman, James Drought; assistants,
Martin Glouner, John Martin ; stills,
Mickey Marigold ; sound, Robert Pritchard.
TITLES are frequently snares of
deception, but Universal's "Tom
Brown at Culver" tells the whole
story of this picture, which is simply
a detailed exposition of Tom Brown's
supposed experiences as a cadet at a
military training
academy. The ma-
jor portion of the
picture deals with
Culver showing
cadets at drill, at
mess, in the gym-
nasium, in their
dormitories, at
chapel and on the
campus with the
entire personnel
of Culver Military
Academy taking
part.
There is a cast
of sixteen players
consisting mostly of bit parts. Slim
Summerville gives an amusing por-
trayal of a lunchroom proprietor
who never tires of telling his custom-
Charles Stumar
August, 19.32
The INTERNATIONAL PHOTOGRAPHER
Thirty-three
ers of his wartime experiences with
reactions varied and unexpected on
their part based largely on the num-
ber of times they have heard the same
stories.
Tom's education is sponsored by
the American Legion of his home
town because his father, a noted sur-
geon, was supposedly killed in action
with a citation for bravery. Richard
Cromwell plays the role of Tom's
roommate with the customary mis-
understandings and reconciliations
that are an inevitable part of such
partnerships.
H. B. Warner is the shellshocked
father who was not killed and who
turns up with his nerves still far
from under control. To Tyrone
Power, Jr., falls a brief part depict-
ing the grief of a homesick boy learn-
ing of the death of his mother.
George Greene and Tom Bucking-
ham wrote the original screenplay
and Clarence Marks contributed
added dialogue. Parents and cen-
sors will find nothing to criticise in
this picture, and everyone who sees
it will find much to interest and en-
tertain.
LADY AND GENT
First cameraman, Harry Fischbeck ; operative
cameraman, Clifford Blackstone; assistant,
Arthur Lane ; stills, Junius Estep ; sound,
Eugene Merritt.
STARTING out with night club and
fight arena sequences Para-
mount's "Lady and Gent" leads
the spectator to think he is going to
see just another repetition of similar
scenes drawn out to a more or less
hackneyed finale.
Then comes a sur-
prise twist that
makes this pic-
ture really an
achievement i n
entertainment.
George Ban-
croft as Slag Bai-
1 e y, a fighter
whose sun is
about to set, and
Wynne Gibson as
the entertaining
Puff Rogers of a
successful night
club give a com-
bined performance of excellence in
their consistently human and natural
characterizations.
The circumstances which thrust
this worldly wise, unconventional
couple into a small town community
to be responsible for a young boy of
nine, son of Slag's deceased manager,
provide the unusual twist to the
story. The attendant incidents are
full of pathos and humor.
Billy Butts is cast as the boy at
the age of nine and Charles Starrett
carries on the characterization as he
becomes a star football player of his
college team. Just as it seems that
the sacrifices of Slag and Puff to
give the boy a college education have
been made in vain the story comes
to a smashing finish, the smash being
literal as well as figurative since
Slag at this crisis employs his fists to
drive home his side of the argument.
Grover Jones and William McNutt
not only are responsible for the origi-
Harry Fischbeck
nal story but also they contributed
the screen play and the adaptation.
The outstanding quality of their work
is the logical development employed
throughout. Herein lies the appeal
which will win praise for this picture
from all who see it. Stephen Roberts
directed a large and competent cast
and at all times kept the action free
from theatrical improbabilities, mak-
ing the whole seem a very believable
slice from real life.
Berlin Theatres Hit
Twenty cinemas were obliged to
close down in Berlin in June, partly
due to amusement tax arrears and
partly to the lack of programs.
Inter national Photographers
Show in AlUAinerican Salon
FOUR International Photographers
are represented in the Ail-Ameri-
can Photographic Salon which
opened in Los Angeles July 24 and
will extend to August 15. They are
Kenneth Alexander with "The Framed
Lithograph," "High Voltage" and
"Power"; Fred R. Archer, "Medal-
lion" and "Odalisque"; Jackson Rose,
"Metropolitan Suite No. 3" and No.
4, and Madison Stone Lacy, who shows
an untitled subject.
It is the eleventh year of the salon
and contains a total of 186 exhibits.
These are on display at 2504 West
Seventh street.
D
o
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Thirty-four
The INTERNATIONAL PHOTOGRAPHER
August, 1932
Simplify Incandescent Lamp Design
Nela Park Laboratories of General Electric Devise
Construction for a High Wattage Equip-
ment That Is Revolutionary
THE Nela Park Laboratories of
:he General Electric Company
have created a new simplified
construction for high-wattage incan-
descent lamps which differs radically
from the fundamental concepts of
lamp design as followed ever since
Edison built his first lamp. When
the screen made demands for high-
powered lamps in sizes far above
standard practice the development fol-
lowed naturally along lines of old
fashioned usage.
But when we consider that some of
the largest incandescent lamps made
contain three pounds of heavy tung-
sten metal or enough to make 40,000
50-watt lamps, the matter of filament
weight introduces an entirely new
factor in lamp design and con-
struction.
Essentially the ordinary incandes-
cent lamp consists of a glass stem
structure which carries the leading-in
wires and the filament. Around this
structure and sealed to the glass stem
is a bulb, and to the bulb a base is
finally added making connection with
the leading-in wires.
The new problem of high-wattage
lamp design has now led to a simpli-
fied construction using fewer parts,
and changing the entire operation of
lamp fabrication. Starting with two
copper prongs which serve as a base,
and to which a special heat resisting
glass cup is sealed, the entire internal
structure is built up from the prongs
OLD CONSTRUCTION
and the bulb is sealed to the glass
cup as a final operation.
Hugged Construction
The new lamps because of their
simplicity of design and construction
are more rugged than the old types
and consequently better qualified to
meet the severe demands made upon
them in studio service. This out-
standing characteristic is attributable
to a design eliminating from the new
lamps all of those parts which in the
older types were centers of weakness.
The major changes which con-
tribute to this greater ruggedness
are:
1. The omission of the conventional
base which had to be secured to the
bulb by cement or clamping. In the
new lamps bipost bases are used. This
base consists of a glass cup with two
metal posts sealed to it. Connection
to the socket is made through the
lower part of the post, which consists
of a cylindrical prong with a shoulder
for accurate seating.
2. In the old construction the fila-
ment and leading-in wires were sup-
ported by a glass stem structure, with
leading-in wires for the current fused
in the glass stem. This necessitated
the use of special glass and special
leading-in wire material having a co-
efficient of expansion which matched
that of the special glass.
To get the heavy current into the
bulb it was necessary, therefore, to
have a section of copper, a section of
w\
NEW CONSTRUCTION
LEAOS
MULTI-MATERIAL CHANNEL NICKEL'
STEM
LEADGLASS-NON LEAD NONE
BASE
CEMENTED TCL&LA^SS FUSED IN GLASS
tungsten, a section of nickel, and in
some types a section of molybdenum
making up the leading-in wire.
Maximum Strength
In the new lamp the stem seal is
eliminated and the supporting struc-
ture is made from one piece of chan-
nel nickel. This construction gives
maximum strength to the long leads
carrying the heavy filament and also
provides maximum exposed surface to
dissipate the heat and thus prevent
overheating of the metal.
3. The special heat-resisting glass
which was necessary for the stem
seal material, on account of its expan-
sion characteristics, required the bulb
material to be of this same glass also,
in order to make a reliable seal be-
tween the bulb and stem.
Unfortunately this particular glass
when heated above a certain point,
devitrifies and turns white, causing
premature failure of the lamp; now
a special heat-resisting glass which
does not devitrifv is coming into use.
In order to use this more desirable
glass in bulbs it is necessary to make
a splice between the two kinds of
glass in the stem tubing. Great tech-
nical skill is necessary to do this
satisfactorily.
4. In the new lamp, the metal
prongs which hold the lamp in the
socket or adaptor have the nickel
channel leads welded directly to them
and thus they carry the weight of the
entire metal structure, where for-
merly the glass assumed the burden.
These prongs also carry the weight
of the bulb through the strong
pressed glass cup to which they are
fused.
Eliminating Trouble
Many of the higher wattage lamps
are used in projectors or equipment
requiring accurate positioning of the
source with relation to reflectors or
lenses. In the older lamps there were
two points of weakness with which to
contend. The connection between fila-
ment mount and bulb was made in a
plastic medium and the base was then
placed on the bulb to provide as much
correction as skill and the nature of
the materials would permit.
In mounting the filament the base
and leading-in channel pieces are
placed in a mechanical jig so that the
shoulders of the prongs are in a fixed
plane. It is then possible to locate
accurately the filament with reference
to this plane and the center line of
the mount.
Through the elimination of the
base, the heavy leading-in wires and
the large stem, the new lamps are
considerably lighter in weight and
shorter than their predecessors. Non-
devitrifying glass bulbs, which stand
up better under high temperatures,
make possible the use of bulbs of
minimum size. This makes possible
the storage of a greater number in a
given space, and is a decided advan-
tage in the studios where space is
limited.
August, 19.12
The INTERNATIONAL PHOTOGRAPHER
Thirty-five
Florence Lozve (Pancho) Barnes
Candidate for County Supervisor
RIGHT in the midst of a pictur-
esque campaign for supervisor
of the Third District of Los An-
geles County Florence Lowe Barnes
maintains without any let-up her
duties as secretary-treasurer of the
Associated Motion Picture Pilots. Af-
fectionately known to her "boys" as
"Pancho" and as one of the gang,
she is a pilot in her own right and
has been a flyer since 1927.
The candidate is one of a field of
thirteen that will be passed upon at
the primaries Aug. 30. If honesty,
good business judgment and experi-
ence, understanding of welfare work
and a staunch and courageous fighter
for the rights of the everyday citizen
entitle a candidate to favor then in-
deed is Mrs. Barnes worthy of the
support now being put behind her by
her friends in business and trades
union circles.
Mrs. Barnes was born in Los An-
geles County, a granddaughter of
Gen. T. S. C. Lowe, known in the
southwest because of his develop-
ment of the railway and observatory
on the mountain which bears his
name. Gen. Lowe was the first man
to ascend into the air in the United
States in a balloon. In 1861 he or-
ganized the first aerial war unit in
the world, and from it sent to Presi-
dent Lincoln the first telegraphic
message from the air. The General
was credited with saving the Union
army on two occasions.
At the age of eighteen years
Florence Lowe was married to the
Rev. S. Rankin Barnes, now execu-
tive head of the social service depart-
ment of the Episcopal Church for the
nation, and in the intervening years
has had much experience in social
service work. She is the mother of
an eleven-year-old son.
For ten years Mrs. Lowe has been
closely affiliated with the motion pic-
ture industry. Her standing with the
organized workers of the craft is of
the highest, and her possession of
business ability has been demon-
strated by her successful handling of
the affairs of her pilot associates.
Western Electric Installing
Sound on New Steamships
ON the Manhattan of the United
States Lines there have been in-
stalled by Western Electric two
sound systems for talking pictures,
radio reception and a complete public-
address system including microphones
and loud speaker amplification to ten
public rooms on the liner.
The Manhattan is the new 30,000
ton, 705-foot liner that will enter
European passenger service early in
August.
Equipment Stolen
Charles Glouner, head of the cam-
era department at Universal, reports
the following equipment recently
stolen from a Universal set: 4x5
Graflex camera No. 173715, KA lens in them.
Florence Lowe Barnes
No. 338599, two 1000 foot Mitchell
magazines, Nos. 361 and 385, with
1955 feet of negative raw stock loaded
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Thirty-six
The INTERNATIONAL PHOTOGRAPHER
August, 1932
The International Photographer's Family Album
Anniversary of the Stork \s Visit
AUG. 1— Madison S. Lacy, Charles
P. Leahy, Thomas C. Morris,
James Seebach, Arthur Smith.
2— Hal Mohr, Ted McCord.
3— William E. Thomas.
4 — James Higgins, Clifford M. Shirp-
ser.
6 — Richard A. Towers.
7 — Harry J. Merland, John J.
Miehle.
8— E. F. Adams, Ted Hayes.
9 — J. R. Lockwood, Robert Surtees.
10 — Mac Julian, Frank Redman, Jr.
11 — Frank Kesson.
12 — Rube Boyce, Al M. Henderson.
13 — Frank Powolny, James C. Van
Trees.
14— Robert V. Doran, J. Peverell
Marley, E. Charles Straumer.
15— Loyal A. Griggs, E. W. Hender-
son, Michael Joyce, H. C. Ram-
sey, William F. Schurr, C. Bert
Shipham.
16— W. H. Greene, William H. Tuers.
17_William T. Foxall, James C.
Hackett.
19— Robert H. Planck.
20— Charles E. Burke, Frank M. Cot-
Cinema Crafts Publishes
Yearbook and Directory
INEMA CRAFTS, the official or-
gan of Local 666, Chicago, pre-
sents its Yearbook and Directory
for 1932, an initial issue of this nature.
Designed to be a reference work for
professional motion picture techni-
cians, the book adheres to pocket size
so it can be carried easily.
Interesting news, facts, tables,
charts, forms, specifications and com-
ments on new equipment and up-to-
the-minute methods make up the col-
umns of pertinent information avail-
able at any time by having this handy
volume within reach.
Suggestions for future issues are
ner, Charles Curtis Fetters,
William A. Rees.
21— John H. Kruse, Charles A. Pol-
lock, Eugene R. Richee, Chal-
mer D. Sinkey.
22— Paul E. Vogel, Joseph Walker.
23 — Jules Cronjager, Paul Garnett,
Robert Palmer, William M.
Strong.
24— Fred Campbell, Elmer G. Dyer,
Sidney M. Hill, W. James
Knott.
25 — James H. Moore, Harry Parsons.
26— Eddie Linden, Robert Rhea.
27— Hobart H. Brownell, Ned Van
Buren.
28 — Andre Barlatier, James W. Howe,
Charles Stumar.
29— Will E. Hudson, Charles J. Van
Enger.
30 — Robert Dale Deverman, Merritt
J. Sibbald.
31— Clarence W. D. Slifer.
solicited, as the desire is to increase
the scope of usefulness with each suc-
ceeding number. The price is $1, and
copies may be obtained by addressing
Cinema Crafts, 1029 South Wabash
Avenue, Chicago.
Andre Debrie Opens Offices
and Salesrooms in New York
THE American affiliate of a long
established French company,
Andre Debrie, Inc., of America,
has opened a service department and
offices at 115 West Forty-fifth street,
New York.
Included among the equipment on
display are noiseless studio cameras,
rolling tripods, sound printers, with
pictures and titles superimposed in
one operation; 16 mm. sound and pic-
ture printers, developing machines,
all types of laboratory equipment and
portable sound on film projectors.
Marilyn McCormick is ywt doing any
boosting about it, but John, her
father, will take it on himself to tell
you she is a blue ribboyi young
woman. The honor was bestowed at
a recent baby show in which Marilyn
scored a record of .983 percent perfect.
Cameramen Arranging for
Fourth Annual Tournament
THE fourth annual golf tourna-
ment of International Photo-
graphers will be held Sunday,
Sept. 11, at a course to be announced
soon. All of the details will be printed
in the September issue of the maga-
zine.
The committee of arrangements is
James R. Palmer, chairman; Virgil
Miller, secretary; William Foxhall,
chairman handicap sub-committee;
Ira Morgan, Ernest Depew, John Mes-
call, Karl Struss, Len Powers, Reggie
Lanning and John Fulton. Bob Mor-
ton is in charge of the commissary.
When a photographer, or anyone else for that matter, is blessed with two granddaughters in the same month that is
news. R. S. Crandall is the photographer who takes these pictures first of Lois Dixon and on the right of Julia
("Judy") Mead. The photographs of his granddaughters were taken when each of the subjects was two months old.
August, 19S2
The INTERNATIONAL PHOTOGRAPHER
Thirty-seven
Academy to Stay at Home When
Making Award for Photography
THE Academy has made a change
in rules for awarding the prize
for the best camera achieve-
ment of the preceding year. With-
out closing the door to recognition of
work such as that which was per-
formed by Cameramen Rucker and
Vander Veer of the B'yrd South Pole
expedition the committee has lim-
ited the regular award to black and
white pictures photographed in Amer-
ica under normal production condi-
tions. Anything otherwise will come
under the classification of special
award.
In the four preceding annual
awards but a single subject of the
quartet was photographed in the
United States — and that was largely
an exterior. Two others were made
in the South Seas and the fourth at
the South Pole.
Of the four awards also two went
to productions directed by a single
individual — Murnau. What is of even
more importance in this connection is
the fact that Murnau before becoming
a director was acknowledged to be an
excellent cameraman. Knowing his
camera and its important relation to
the production confided to his care,
the director took pains to make sure
his cameraman was given sufficient
time to do justice to the work in
hand.
Another change in the rules is that
this year cameramen members of the
Academy each will select five produc-
tions that in their estimation rate the
highest. The total votes cast shall
be counted by the section board of
tellers, and the three achievements
receiving the highest number of votes
shall appear on the ballot that is pre-
sented to the entire membership.
The same provision is made for
members of the art directors section,
nominations also for which last year
were made by the entire technicians'
branch.
Nominations begin Aug-. 10 and
close Sept. 15. Within the following
five days tellers are to be appointed to
count the nominations. Oct. 1 bal-
lots will be mailed to all members.
The voting closes Nov. 1 and the win-
ners are to be announced at the an-
nual awards banquet Nov. 10.
For the owner of a
Simplex
Pockette
Camera
*35
Keyes In ISeiv Location
Donald Biddle Keyes has moved his
studio from Larchmont Boulevard to
635 North Highland avenue, where he
has taken a house and put a modern,
up-to-date studio in the home.
GOERZ
KINO - HYPAR
f/2.7
FOCUSING LENS
50% Increase in Speed
Unlimited Increase in Efficiency
The Kino-Hypar 1" f/2.7 has now been
adapted, in focusing mount, for the Sim-
plex Pockette. With a 50% increase in
speed, it offers an unlimited increase in
efficiency to users of this camera, provid-
ing the possibility of closeups up to 3 ft.
and full exposure on interior closeups at
a di^ance of from 3 to 6 ft., when using
supersensitive film and 2 - 64 volt photo
flood lights.
Further information on request.
2" Kino-Hypar f/3 also in preparation
for above camera.
C.P.GOERZ AMERICAN OPTICAL Co
319 B EAST 34™ ST. NEW YOWCCITy
Now Ready
16mm SouncUon-Film
Continuous Printer
Compensates For Shrinkage
Meets All Requirements
RCA-VICTOR PHOTOPHONE
16mm Sountl-on-Film Projector
▼
Write for Information
T
Sold Exclusively by
H. T. COWLING
6 Sibley Place
Rochester, N. Y.
NEW
NEW
NEW
"SKINNER"
EXPOSURE METER
WITHOUT BATTERIES
This meter is many times more sensitive than other similar
devices and covers the entire range -from F 1 .4 to F 64.
Scales available for motion picture and still work.
It takes the guess out of photography.
Sole Distributors
SPINDLER cV SAUPPE, Inc.
SAN FRANCISCO
86 Third Street
LOS ANGELES
81 I West Seventh Street
Write for literature.
Obtainable in two types: For studio interiors — or general use.
Thirty-eight
The INTERNATIONAL PHOTOGRAPHER
August, 1932
01 1 GCWS
SPIRIT OF 1932 >/2
^^^S^fT^
Action still posed ivhile reposed by
Adolph L. Schafer. (Whitey to me)
Jean Smith meets one of the United
artists under a limb and is explain-
ing to him that he is lucky he is not
out on a limb like most of the other
united Artists. The 3 piece band is
playing, "It's not raining rain; it's
raining violets." One of the violets
got stuck on Smith's chin as you can
plainly see.
"Don't look around the corner for
what you are looking for," said
Smith. "It's right up your alley and
you don't know it."
"The hell I don't," said the united
artist. "They have everything out
now except the kitchen stove, and it's
too hot to move."
GOOD ADVICE
"Don't be two phased," said the
gaffer as he wiped his hands on his
Eddie Schmidt two-piece suit.
UNION COWBOY
"Herdsman from the Local was
here today."
"What do you mean?"
"Howard Hurd's man, Kfaffki, of
course."
THEY ARE BORN— NOT MADE
Jimmie Hackett tells this one:
A production manager closed his
eyes on his personal production about
twenty years ahead of schedule. First
cameramen from the studio were to
act as pall bearers. Just as they
were leaving the house the produc-
tion manager sat up and asked:
"Are all these men on salary?"
He was told that they were. He
replied:
"Put me on a dolly and let an
assistant push it".
SHOULD CREDIT MITCHELL
"The Perfect Finder" is the title
of a production to be made shortly.
Mitchell Camera Company made this
some time ago, as we all know, but
I guess the studie will try to im-
prove it. This opens a new field for
titles and I suggest the following.
Free Heads.
Split Legs.
Standard Apertures.
Ground Glass.
Magazine Idlers.
The Constant Sprocket.
Intermittent Movements.
Perfect Registration.
End of the Roll.
Runouts.
Fadeouts.
BACK TO OLD LOVE
DEV JENNINGS, having a little
spare time on his lap, is spending it
in developing a gold mine in Nevada.
Maybe it's in California and it might
be a silver mine. Anyhow Dev is a
mining engineer and knows what it's
all about, having been graduated
from the University of Utah. No, I
didn't buy any. I bought some three
years ago, thank you.
CELLULOID DOGHOUSE
JEFF GIBBONS has some War-
ner type blimps for rent. These are
transparent and you can tell whether
the camera is inside or not without
taking them apart. The blimps, not
the cameras.
CLEAN CAN BE CLEANER
TED WEISBART has horned in on
the Beverly Cleaners and Dvers and
will be glad to talk to you about that
other suit or your wife's dress, if
you have one. I mean a Wife.
TWO A WEEK
ARCHIE STOUT was asked the
name of the picture he was shooting
last week. His reply was "Which
one ?"
MUST BE GOOD
IRA HOKE says that they come
from Culver City, Universal and
First National to get a steak at
Harry's Spotless Cafe on Ventura
Blvd. near Tujunga. Maybe I can
come from Hollywood and get one
free if he reads this.
WORLD ROUNDER
ROBERT (Bob) MILLER had an
early attack of spring fever this year
and started to plan early. He is now
on his way around the world on the
President Hoover. That's the name
of the boat.
VAN NUYS GETS BREAK
LES ROWLEY figured that a lot
of time was being wasted between pic-
tures, so he grabs off a portrait gal-
lery in Van Nuys and will be ready
for business by the time you read this.
With his years of experience and
class of work he should have the
whole San Fernando Valley coming to
his door. Maybe it's doors.
REAL ESTATE STARTS SOON
BILL MARGUILLES having ob-
tained a broker's license is now open
for business. That is, his office is
open. He will sell you some good in-
surances and some nice real estates,
if you are willing.
SILENCE NOT GOLDEN
C. EDGAR SCHOENBAUM (Char-
lie to me) dashed into the recreation
room the other day and said "Who
wants to do some assisting?" A
goodly throng was there playing that
mathematical game called Dink. They
were taken unawares, and no one un-
derstood just what he meant. The
first to get his meaning was Eddie
Garvin. Needless to say Eddie went
to work.
Eastman Kodak Company
Absorbs Tax on Cameras
The Eastman Kodak Company an-
nounces its decision to absorb the 10
per cent tax on the sale of cameras
fixed by the new revenue law. The
company will pay the tax on all cam-
eras sold, but will not bill its dealers
for the amount of the tax. Camera
prices therefore will not be increased
to the dealers or to the public.
An officer of the company made the
following statement in explaining the
tax decision: "Last winter the Kodak
Company announced that in the film
sizes that are in general use there
was the equivalent of a 25 per cent
reduction in price brought about by
furnishing an eight-exposure roll at
the former price of a six. This was
a step in the line of keeping one of
the most delightful pastimes on an
economical basis where everybody
could enjoy it.
"Now comes similar action along
the same line. The government has
placed a 10 per cent tax on cameras,
along with the tax on the other goods
used on outings. The company is not
going to have anything interfere with
that invitation."
August, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-nine
Som eth ing Ne w !!
The Kains
Lens Shade
- -- ■■dIHPfl BH
1 ■
iJ
iftiiiiyi !
Throw Away Your Finder
Extensions !
Get That Finder Closer to
the Camera!
Size and Angle of Lens Shade
Now Unlimited
In some cases we will be able to re-
build your old lens shade and in-
clude these new features.
Fred Hoefner
CINEMA MACHINE SHOP
5319 Santa Monica Blvd.
GLadstone 0243 Los Angeles
Alvin Wyckoff
W. A. SICKNER
FIRST CAMERAMAN
COMPLETE AKELEY
EQUIPMENT
CRestview 7255 GLadstone 5083
HEmpstead 1128
Phone GLadstone 4151
HOLLYWOOD
STATE BANK
The only bank in the Industrial
District of Hollywood under
State supervision
Santa Monica Boulevard at
Highland Avenue
Cinex Testing Machines
Cinex Polishing Machines
Developing Machines
Printing Machines rebuilt for
Sound Printing
Special Motion Picture Machine
Work
Barsam - Tollar
Mechanical Works
7239 Santa Monica Blvd.
Hollywood, California
Phone GRanite 9707
AGFA
Positive Film
Satisfaction
□ □
Agfa Raw Film Corporation
6368 San+a Monica Boulevard
Hollywood, California
Factories: Bingham+on, New York, U.S.A.
Forty
The INTERNATIONAL PHOTOGRAPHER
August, 1932
LAP DISSOLVES
PROCESS SHOTS
TRICK WIPEOFFS
EVERY FORM OF OPTICAL PRINT WORK
and complete laboratory facilities for making
our own dupe negatives and first prints
DUNNING PROCESS CO.
932 N. LaBrea
GL 3959
CLASSIFIED
Glenn R. Kershner
Phone Culver City 3154
MITCHELL FOR RENT
Dr. G. Floyd Jackman
DENTIST
Member Local No. 659
706 Hollywood First National Bldg.
Hollywood Blvd. at Highland Ave.
GLadstone 7507 Hours: 9 to 5
And by Appointment
BASS-CHICAGO
Pays Spot Cash for used
Bell & Howell Professional
Cameras and De Brie
Motion Picture Cameras.
Bass Camera Co.
179 W. Madison St., Chicago
LEN HUMPHRIES
"FREE LANCING"
Member Local 665,
International Photographers
Toronto, Canada
383 Manor Rd. East Toronto, Canada
FOR SALE OR RENT— Mitchell and Bell &
Howell silenced cameras, follow focus. Pan
lenses, free head, corrected new aperture.
Akeley, De Brie, Pathe, Universal, Prevost
Willart, De Vry, Eyemo, Sept, Leica. Motors
printers, lighting equipment. Also every va-
riety of 16 mm. and still cameras and projec
tors. Everything photographic bought, sold
rented and repaired. Send for our bargain
catalogue. Open 8 A.M. to 10 P.M. Holly
wood Camera Exchange, 1600 Cahuenga Blvd
Phone GLadstone 2507. Hollywood 9431. Cable
address Hocamex.
RECORDING FOR THE TRADE— We will
consider sound on film recording for the
trade when conditions will permit. Only
those interested in quality need apply. No
time available until after September 1. C. L.
Venard, 702 S. Adams St., Peoria, Illinois.
1 ABSOLUTELY high class recording outfit
complete with synchronous motors, amplifier,
battery equipment, spare recording tube, am-
plifier tubes, and cable. A bargain if you
have the cash and act quick. Write C. L.
Venard, 702 S. Adams St., Peoria, Illinois.
FOR RENT— Mitchell and Akeley cameras
fully equipped for sound. Norman De Vol,
6507 Drexel av„ OR 7492.
WE WANT
travel, fight, thrill and curiosity
films from All Parts of the Earth
9 And unusual and interesting
films depicting the life and habits
of Asiatic peoples as well as others.
SEND US DESCRIPTION OF]
FILM,, also giving size (16mm
or 35mm I, and length of subject.
Cash will be remitted for any
subject accepted.
Continental Film-Craft, Inc.
1611 Cosmo Street, Hollywood, Calif.
FOR SALE
1 Standard Bell & Howell
35 mm. Press
Richter Photo Service
7901 Santa Monica Blvd.
Los Angeles, Calif. OXford 2092
ROY DAVIDGE FILM
LABORATORIES
An Exclusive "Daily" Laboratory
670 1-67 15
Quality and Service
SANTA MONICA
GRanite 3108
BOU LEVA RD
Brulatour Bulletin
WHAT'S WHAT
EASTMAN FILMS
WHO'S WHO
Warner-First National Starts Big Push
Rumors and counter-rumors notwithstanding, there's plenty of activity in
the great nest that forms the base of Dark Canyon in Burbank. Warners have
made a welcome move. Production is under way for a busy season. Carpenters,
painters, electricians, actors, directors AND cameramen are hearing the long-
awaited buzz of their' phones calling them back to their work. An ambitious
program started this week, when Sol Polito was called to make tests of Paul
Vluni, who will star in "I'm a Fugutive."
They start to "roll 'em" on Saturday
morning.
Jimmy Van Trees gets the second
call for the Al Green production,
"Silver Dollar," which starts shooting
the first of the week.
"Bun" Haskins is shooting atmos-
phere stuff in New York for "Central
Park," which is Number Three on the
Warner schedule.
Two more set to go before the 1 5th
of the month, and from that time for-
ward the old Brulatour trucks will be
unloading at Milton Cohen's front door,
and — who says "There ain't no Santa
Claus!"
"Bring 'em Back Alive"—
No good cameraman ever dies in the
nvimory of Hollywood producers. Proof?
Plenty — Bert Glennon stepped away from
his camera and took up (with emphatic
success) the megaphone a few years
ago. Now he's dropped the mouthpiece
and taken his turn with the lights again,
and you'll find he has kept right on his
pictorial toes when you see the newest
Josef Von Sternberg production, "Blonde
Venus" with la Dietrich. Bert's second
is Fred Mayer; Neal Beckner, assistant.
What the Cameramen
Are Doing to Keep
Hollywood on Top
Olympic Luncheon
Russia won first honors (the check) in
the Olympic Classics of Lab superintendents
when Mike Leshing (Fox) tendered a
luncheon to his fellow craftsmen at Cafe
de Paris (Movietone City) last week, for
no other good reason than to tell a brand
new story about the traveling man and the
farmer's daughter.
The color scheme was in keeping with
the Olympic motif, (red, white and blue) —
red were the roses in the gigantic table
centerpiece — white (as the snow) was the
gleaming linen — and blue (of course, you
dope) were the other lab superintendents
when they thought of the social obliga-
tion of following Mike's act.
Those who went indigo — John Nickolaus
(M.G.M.), George Seid (Columbia), Roy
Hunter (Universal), Harry Ensign (Para-
mount), Charlie Levin (Roach), Jack
Guerin (Consolidated), Henry Goldfarb
(Fox), Eddie Hansen (Fox sound), Emery
Huse (Eastman), George Gibson (Brula-
tour), and Ye Ed, who right here and now
pledges the next host twice this space if
he tops Mike's menu. (Note — To the Chef
de Paris — Saluti!)
Congratulating Cronjager!
Another plum in the pie of Eddie Cron-
jager. Just this minute got the assign-
ment as number one boy on the William
Wellman (RK.O) production co-starring
Richard Dix and lovely Ann Harding —
"The Conquerors." Associated with Mr.
Cronjager on this big feature is Bob De
Grasse (who won the newspaper raves on
the British picture made by Rowland V.
Lee, "The Sign of Four"). Bob has the sec-
ond berth, while George Diskant is the
assistant. Cronjager has turned in an en-
viable recdrd this year and richly deserves
this splendid assignment.
Milner With Lubitsch
With the final scenes in the can on Chev-
alier-Paiamount production, "Love Me To-
night," Vic Milner got all set to show the
boys from other ports just what a Holly-
wood sailor in action looks like — his li'l
ole boat tuned up and ready to go, when —
Bingo! — one more entrant out of the Olym-
pics! Reason why — because that wise
showman Ernst Lubitsch gave Vic the
wiggle of the finger and pulled him- out of
the cockpit back to the set, where they
now are readying to start the new impor-
tant opus. Vic's seconds are Bill Rand
and Bill Mellor, and his assistants Guy
Roe and Lucien Ballard.
Lang on "Farewell"
Charlie Lang just can't get a day off.
Paramount KNOWS the boy's good. A
solid year of keeping busy at ONE sjtudio
in these times speaks volumes for any
cameraman. Lang drew the assignment
for the special "Farewell to Arms," which
will be directed by Frank Borzage. Bob
Pittack and Cliff Shirpser are Lang's asso-
ciates.
Art Miller Finishing
Artie Miller is winding up photography
at LTniversal on "O.K., U.S.A.," and is
standing by for an assignment which has
been extended by another major studio.
Hello, Broadway
George Folsey just got his lungs nicely
filled with our low fog (after yeahs and
yeahs of Noo Yawk), and started his first
coast Paramount picture, "The Big Broad-
cast," only to be told that the picture
will be finished in New York. George is
packing his trunk and washing the faces
of Guy Bennett, his second, and Tommy
Morris, his assistant, to take them all
bye-bye to Broadway.
Marsh for Marion Davies
Ollie Marsh just completed his camera
work on "Father and Son" for M.G.M, and
was immediately reassigned to "Blondie of
the Follies," with Marion Davies, when
George Barnes, who was taken seriously ill,
had to withdraw. Barnes is threatened
with pneumonia. We add our hope to that
of all other friends that George will beat
the threat and shortly be able to resume
work.
The Editor Squawks
Add dirty tricks. Jimmy Howe took us
to Chinatown to a fascinating little dump
where he selected the most delightful
dishes from a menu printed in zig-zag Chi-
nese. What food— gobs of it. — Then came
the check — (in good old Los Angeles-
American English). Jimmy simply could-
n't read THAT. (Whisper — I've a date to
take Jimmy to a corned-beef -and-cabbage
place owned by Micky O'Toole — where the
only waiter happens to be a China boy —
Heh-heh-heh )
Garmes "Smilin* Through"
Lee Garmes, who won the critics' praise
for his artistry in Norma Shearer's tri-
umph, "Strange Interlude," now at Grau-
man's Chinese, is in production with the
same star at M.G.M. on "Smilin' Through,"
which is b?ing directed by Sidney Franklin.
Les White and Slim Cruze are assisting
Garmes.
Hickox at Radio
Sid Hickox is photographing "Bill of
Divorcement" at Arkayo. His staff for
the production is Eddie Pyle on second
and Wesley Anderson and Charles Burke
as assistants.
Dave Able Returns
Back from his vacation in Montreal,
Dave Abel is supervising the photography
of the George M. Cohan picture. "The Phan-
tom President." at Paramount. His sec-
ond is Ernest Laszlo, and assistant is
Jimmy King.
Kurrle's Vacation Canceled
Bob Kurrle was the recipient of an unus-
ual "cut." His vacation from Warner-
First National promised him play time to
about the middle of August. Along came
William Sistrom (Woild Wide) and changed
Bob's mind and schedule. "Lucky" Hum-
berstone is directing "The Crooked Cir-
cle," and Bob is directing the lighting,
while "Red" Greene and Johnny Shepek are
doing the hard work.
Lyons Finishing
Chet Lyons is winding up the photogra-
phy of "Decency" for EquitabK Ray
Ramsay is his second; John Van Wormer,
assistant.
Things I Never Knew
Till Now
(Apologies to Walter Winchell)
Cameras and cameramen are unneces-
sary on Shockers (They're not mak-
ing them any more.)
You can't diffuse through a derby hat.
You can't double-expose a developed
negative.
You can't fog negative in an empty
magazine.
No two cameramen ever light the same.
The constant triangle is the lab, the
film and the camera.
You don't have to stand outside after
the preview.
Just where the director gets off.
There's another fast Eastman in the
Olympics.
There's only one fast Eastman for good
pictures.
But it's available in clear and gray base.
Emulsion on both is the same.
Some prefer one.
Some the other.
So do- I.
E. O. B.
W E carry a large supply of standard
camera parts and accessories, and in
addition we are in a position to take care
of your requirements for special items.
Mitchell Camera Corporation
665 N. Robertson Boulevard
West Hollywood, Calif.
Cable Address '*MITCAMCO"
Phone OXford 1051
INTERN
PHOTO(
n e* *
A.
IONAL
f
■
Jrxv-Jl^J
V<
*► '■ ^
^ r%
■ HE
[TB
alUJ:.
SEPTEMBER • NINETEEN • THIRTY-TWO 9
THE €P> TRADE MARK HAS NEVER BEEN
PLACED ON AN INFERIOR PRODUCT
Announcing
firpoE
the latest development of the DuPont Research
Laboratories.
A new type Panchromatic Negative combin-
ing finer grain, greater speed, latitude and defi-
nition with a color sensitivity throughout the
VISIBLE SPECTRUM similar to that of the
HUMAN EYE.
SuperpaN
puts the picture on the
screen as you see it!
Smith & Aller, Ltd.
6656 Santa Monica Boulevard, Hollywood 5147
HOLLYWOOD ♦ CALIFORNIA
PACIFIC COAST DISTRIBUTORS FOR
Du Pont Film Mfg. Corp.
35 West 45th Street, New York City
September, 1932
The INTERNATIONAL PHOTOGRAPHER
One
Akeley Dual Cameras are built to
use any of Ihe standard recording
systems. The Recording Element is
inserted in the aperture shown at
the lower left corner of the camera.
Akeley Dual Cameras are designed
to provide the operator with a maxi-
mum of convenience. This view
shows the rear of the camera with
its compact assembly of controls
and the electric control panel for
all electrical operations.
The AKELEY Dual CAMERA also gives you
22% Greater Photographic Efficiency
Besides the many advantages of the dual
system, the new Akeley Dual Camera is
equipped with a shutter opening of 225 ,
an increase of more than 32% in photo-
graphic ability over the customary 170
shutter. The Akeley is the only camera of
recognized merit that offers this important
advantage. In the studio this greater ability
of the Akeley Camera represents an ap-
preciable saving in current consumption as
well as in labor ... on location it often per-
mits the photographing of scenes otherwise
not possible.
The AKELEY Dual CAMERA — a
compact, light, complete unit
for every need. Demonstration
arranged at your convenience.
AKELEY
175 VARICK ST.
CAMERA
NEW YORK, N. Y.
INTERNATIONAL
PHOTO GPAPHE R
Official Bulletin of the International
Photographers of the Motion Pic-
ture Industries, Local No. 659, of
the International Alliance of The-
atrical Stage Employees and Mov-
ing Picture Machine Operators of
the United States and Canada.
Affiliated with
Los Angeles Amusement Federa-
tion, California State Theatrical
Federation, California State Fed-
eration of Labor, American Fed-
eration of Labor, and Federated
Voters of the Los Angeles Amuse-
ment Organizations.
Vol. 4
HOLLYWOOD, CALIFORNIA, SEPTEMBER, 1932
No. 8
"Capital is the fruit of labor, and could not exist if labor had not first existed.
Labor, therefore, deserves much the higher consideration." — Abraham Lincoln.
C O N T
Cover — Leaning Tower of Pisa
By Joseph A. Valentine
Camera Films Unearthing of Tomb... 4
By Reed N. Haythorne
Give Life to Historical Ceremony 6
By William Horsley
Du Pont Has New Panchromatic Film 8
Inventor Describes New Process 10
By Frank I). Williams
Chicago 666 17
By Sassiety Reporter
In Shark Excitement Hal Hall Slips
Over Side 19
Picturemaking Gets Early Start.... 22
By Earl Theisen
Olympic Newsmen Real Champions. . .24
By Ray Fernstrom
E N T S
News of 16mm. Industry 29
Dunnings Enter Industrial Field.
.29
Manufacturers Decide to Maintain
Present Standard Size 16mm. Film. .30
Kodak's Stuttgart Factory Sells Us
as Its Rochester Plant Sells Europe..30
International Photographers' Family
Album 31
Looking In on Just a Few New Ones. .32
By George Blaisdell
When Seen Through Feminine Eyes.. 36
By Clara M. Sawdon
Out of Focus
By Charles P. Boyle
.38
George Blaisdell
Ira Hoke
esselle parichy
Midwest Correspondent
Technical Editors
The International Photographer is published monthly in Hollywood by Local 659, I. A.T.S.E.
and M. P. M. O. of the United States and Canada
Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles, Calif., under
the act of March 3, 1879
Copyright 1932 by Local 659, I. A. T. S. E. and M. P. M. 0. of the United States and Canada
Howard E. Hurd, Publisher's Agent
Editor Fred A. Felbinger -
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The members of this Local, together with those of our sister Locals, No. 644 in New York, No. 666 in Chicago, and
No. 665 in Toronto, represent the entire personnel of photographers now engaged in professional production of
motion pictures in the United States and Canada. Thus THE INTERNATIONAL PHOTOGRAPHER becomes the
voice of the Entire Craft, covering a field that reaches from coast to coast across North America.
Printed in the U. S. A. at Hollywood, California.
VT7
September, 19-J2
The INTERNATIONAL PHOTOGRAPHER
Three
Camera Films Unearthing of Tomb
In City of Solomonic Period and for First Time in
History Photographer Records Actual
Work of Excavation
By REED N. HAYTHORNE
International Photographer, Chicago
GETTING results in historical re-
search is just another case of
digging for them in a very lit-
eral way. Mankind's interest in the
story of man from his earliest be-
ginnings is universal and the ability
of those who arduously seek such data
to share the thrill of their findings
with others has been greatly ampli-
fied by the use of standard sized mo-
tion picture film.
It was the rare good fortune of
the writer to play his part in record-
ing on motion picture film for the
first time in history the actual un-
earthing of a tomb, descending into a
dungeonlike spot in a city of the Sol-
omonic period, and also to expose the
first standard-sized motion pictures
ever taken of Persepolis, the ancient
capital of Persia, the city of the two
great Kings Darius and Xerxes, de-
stroyed by Alexander the Great in
331 B.C.
These were but two of the many
interesting incidents of an assign-
ment to accompany Charles Breasted,
executive secretary of the Oriental
Institute of the University of Chi-
cago, on an extended trip throughout
the Near East to make a record on
celluloid of excavations in many an-
cient cities being carried on by this
gigantic archeological organization.
Due to the fact that these diggings
are numerous and are not accessible
bv rail or road except when time is
no object, Mr. Breasted elected to
employ the modern magic carpet — th"
airplane. The machine was a special
charter obtained from the Imperial
Airways. Ltd.. with a pilot famous
throughout Europe in that he has
flown the Prince of Wales, the King
of the Belgians and a number of
other notables. Our fate certainly
was guaranteed in such competent
hands as his.
The crew was composed of a wire-
less operator and a mechanic. Our
party consisted of Mr. Breasted,
Prentice Duell, director of one of the
expeditions and myself, one of those
lucky crank turners of the depression
period.
Modern Oasis in Desert
It was at dawn after a sleepless
night we took off of the field at Heliop-
olis just outside of Cairo. In our
modern magic carpet and to the tune
of three powerful motors we headed
northeast toward biblical Gaza to re-
fuel and then to proceed for some six
hundred miles across vastnesses such
as are symbolized by names like the
Dead Sea, Trans jordania, and most
of all, Rutbah Wells, that litle Beau-
Geste-like fortress which is only a
pinpoint on the map and is known
only to the weary desert traveler or
the flyers who look upon it as their
haven.
Although situated in the midst of
sand dunes, heat, perspiring natives
and Bedouin camps, this place truly
is a modern oasis. Here one can ob-
tain a meal served within the fortress
which is surrounded by barbed-wire
entanglements and machine gun em-
placements, knowing that every mor-
sel of food eaten is trucked in from
Bagdad or Damascus far across the
desert.
After enjoying one of these meals
the party proceeded toward Bagdad,
and it was here we met with our first
great difficulty. The sandstorm that
is the great menace to all flyers is a
very common incident in this locality.
To encounter one of these seemed
almost like running into a wall and
made our flying look like a miserable
attempt at certain suicide, but with
the help of Marconi's famous inven-
tion— the direction finder — we were
able to keep our bearings with Bag-
dad. Also by flying close to the river
the competent hands of our persever-
ing pilot brought us down on the air-
drome at Bagdad in an almost blind-
ing standstorm. Another sleepless
choking night was passed.
First Cranking of Camera
The following morning the sand-
storm abated as quickly as it had
come up. This was our cue to start
our first bit of movie work of the
journey. We left Bagdad by car and
drove far into the roadless desert.
There we came upon a sight which
was unbelievable, a comfortable look-
ing mud brick house, the headquar-
ters building of the Iraq expedition
at Khafaji, a city of the Babylonian
period.
Here the Oriental Institute was ex-
cavating and uncovering man's handi-
work and the storv of his daily life
back in 2500 B. C, some 4500 years
ago. In the blistering sun we cap-
tured on film the actual excavation
in progress.
We took our horseless carriage
again and wended our way further
into the desert, driving over ancient
d^'kes and often over buried ancient
towns and cities, until from the top
of one of these rises our eyes met
with a most perfect Beau-Geste set.
Before us. alone in its isolation was
a mud brick fortress-type of struc-
ture with natives running around in
their queer looking headdresses and
nightshirt-looking clothes, jabbering
like a convention for presidential nom-
ination. Here was the second of the
Babylonian cities that we worked on.
I >
n
Charles Breasted, executive secretary of the Oriental Institute of the University of Chicago, examining a ivonderful
piece of carving on steps in the once capital of Persia, the city of Persepolis. Mr. Haythorne and Egyptian assistants
above the famous Valley of the Tombs of the Kings, where the tomb of King Tutenkamen is situated.
Four
The INTERNATIONAL PHOTOGRAPHER
September, 1932
iLS.
'~<r"
j*w<AT q
Egyptian cudgeling or dueling. A newly opened tomb of the Solomonic period situated near the pass of Mzgldlo, i.
Palestine, the first time a motion picture has ever been made at the opening of such a tomb.
The fact that the gates and entrances
of the place were heavily guarded
made the film very picturesque and
interesting in its reality.
After completion of our work here,
we retraced our steps to Bagdad for
another night which we were hoping
would turn out to be a real Arabian
night, and this writer was not disap-
pointed as he visited the popular the-
ater of the town, one of the main at-
tractions for men. Enough said!
Onward Through Sandstorm
We pushed off the following day for
Persia, landing first at Basra, the
great port of Iraq on the Persian
Gulf, then flying across one end of
the gulf to Bushire, our port of entry
into that country famous for its rugs,
legends, and just lately made famous
by Sax Rohmer's stories — a place fit-
ting for any mystery.
Looking to the east we could see
great mountains which were to be
crossed that we might reach our des-
tination in the interior of Persia. One
of the inevitable sandstorms again
rose, but this time not so viciously
but we conquered it with ease.
Thiough the din of the storm and
up into the twilight we soared over
the town of Bushire, the sight of the
mountains growing ever clearer and
moie awe-inspiring in that there was
not one range but several ranges to
cross.
At 11,000 feet our pilot put the
nose of the ship toward the moun-
tains. Everyone settled into his seat,
fascinated by the magnificent sight
below.
The beauty of the gray and bronze
colored peaks as they jutted through
the haze was a picture surpassing
words or photographs, and is known
only to those who venture into such
countries by airplane. We skirted
one peak after another, dodged from
cloud to cloud.
After crossing three different
ranges, all equal in beauty and height,
an enormous valley came into view.
There in the very center was our
next destination, the town of Shiraz,
standing amid a plain over a mile
high among the Persian mountains.
From the air Shiraz resembled a
crossword puzzle with its narrow
streets and small square mud brick
structures, sitting closely to one an-
other, at times even touching.
To Persepolis by Land
Here we landed and embarked on
an auto trip to Persepolis. Driving
through the narrow streets of Shiraz
with the medley of native hubbub all
around made one think of a beehive.
We went through the town and out
on to the open road which led over
the mountains and down into another
great valley, where upon the opposite
slope about 40 miles from Shiraz was
situated this famous ancient histor-
ical city of Persepolis.
With such a background of history
and setting it is needless to say the
record which we obtained here is of
remarkable interest.
We retraced our steps to Shiraz
several days later and again emplaned
for Bushire and Bagdad, where we
once more were delayed by one of the
inevitable sandstorms, the one in
which Col. Regnier, president of the
League of Nations Frontiers Com-
mission, lost his life along with his
pilot and companion.
They were en route from Damascus
L.*£~V±V*>£yX~
The famous ancient arch of Ctesiphon, near Bagdad, dating back to the days of Babylon. The ancient mosque of
Samara, north of Bagdad. Note the trenches that were built during the last war.
September, 1932
The INTERNATIONAL PHOTOGRAPHER
Five
to Bagdad to consider the realign-
ment of the frontier of Kurdistan,
where the mountaineers always are in
a state of war, and at the present
time are causing quite a disturbance
along the northern border of Iraq.
On the morning of March 30 just
after dawn we watched the air fu-
neral of these three intrepid men as
the planes took to the sky to carry
their tragic burdens to Damascus.
After such a morbid scene we our-
selves took off for Mosul, a city in
northern Iraq.
Heading for Armageddon
Here in this ancient biblical section
where is situated the mound of Nine-
veh, and also Khorsabad, the city of
King Sargon II, we lingered to make
our picture record of this excavated
ruin where the Oriental Institute is
now working.
The enormous Winged Bull, which
retains a place of honor at the end of
the first exhibition hall in the Orien-
tal Institute's new headquarters build-
ing at the University of Chicago, was
obtained from here. Throughout the
ruins one can notice that these
Winged Bulls were idols worshipped
by the populace.
We again took to the air from
Mosul, crossing the desert via Rut-
bah and landed on the shores of Lake
Galilee, journeying by car to the
mound of Megiddo (Armageddon),
which guards the pass leading
through the Carmel mountains. (This
pass has been used by every army
marching from Palestine to Egypt —
even in the Great War it was used by
Lord Allenby, who sent his 20,000 cav-
alry through in one single night.)
Here in the Solomonic city we ac-
complished for the first time in his-
tory the filming of the actual un-
earthing of a tomb. By descending
into its dungeon-lie interior, we were
able, with one five-hundred watt bulb
and special film, to picture the very
burial tomb itself with its skeletons
and its tools and pottery just as they
had been buried.
It was a morbid sight, but our work
had to go on. We finished without
letting our imaginations play upon
what might have taken place within
this tomb during- ancient times, made
our exit to the outer and present
world, returned to the Lake of Galilee,
and then enplaned for our return trip
to Cairo by way of Nazareth, Haifa,
southward to Jerusalem, and thence
over the Suez Canal, circling the pyr-
ainids and each interesting place,
photographing as we went, until we
finally landed at the airport at Heliop-
olis from whence we had taken off.
The picture was not complete with-
Back to the Dawn
out visiting Luxor, the Valley of the
Tombs of the Kings, Sakarra, Mem-
phis, and several other sites, so this
was done and our "shooting schedule"
was at length fulfilled.
Thus ended one of the first expedi-
tions of its kind, that of recording on
motion picture film the "march of
man" as depicted by the work of the
Oriental Institute in its excavation
of ancient cities, its delving into his-
tory back to the dawn of mankind.
The entire Near East is honey-
combed with these buried cities
archeologically rich with the para-
phernalia of ancient man's daily ex-
istence.
Here the motion picture camera for
the first time succeeded in recording
a synopsis of the history of civiliza-
tion, and the writer is extremely
happy that he was instrumental in
accomplishing this for the benefit of
a present and future world.
Esselle Parichy Unfeelingly
Postcards from New York
ESSELLE PARICHY, I. P., re-
cently of Miami and more unre-
cently of Southern California,
postcards under a New York dateline.
Most unfeelingly ses he:
"Wish you were here."
Just for that we refuse to recipro-
cate his regards. To add insult to
injury he sends the word on a card
containing a picture of Brooklyn
Bridge — that noble old structure over
the walks of which ye ed has tramped
many miles, oftentimes from choice,
in the days before the subways. And
once in a while subsequently.
The center of that bridge at 5:30 in
the black of a blizzardy winter's
morning is a great place and makes a
great platform from which to lead a
small chorus in "Sweet Molly O'en."
It has been done.
Coming Releases to Reveal New and Perfected Technique with
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Six
The INTERNATIONAL PHOTOGRAPHER
September, 1932
Give Life to Historical Ceremony
Hollywood Plant Records Broadcast Memorial
Services Held in Bohemian Grove in
Honor of Stephen T. Mather
Bv WILLIAM HORSLEY
SOMETHING new in the way of
making a permanent record of
what in later years will attain the
dignity of a historical event was exe-
cuted in Hollywood July 10 when Lyle
E. Willey, engineer, Local 695, operat-
ing the recording plant owned by this
writer, transferred to wax the cere-
monies attending the unveiling of a
plaque in the Parker Group, Sequoia
National Park, in honor of Stephen
T. Mather, first director of national
parks.
Station KFI of Los Angeles was
the local medium selected in the na-
tional broadcast, and it was from this
station that Engineer Willey recorded
the entire program. The result was
of such remarkable fidelity and clar-
ity as to cause marked interest among
the recording officials of the national
company which had conducted the
broadcast.
Records of such events frequently
have been made on film, the oper-
ators of the equipment working at
the source, but so far as known no
action similar to the present one has
been noted previously.
It was on July 4, 1867, Stephen T.
Mather, destined to become one of
the country's most useful and beloved
citizens, was born in San Francisco.
Educated in California, he was
graduated with the class of 1887 from
the University of California, and on
March 22, 1924, the president of the
University, William Wallace Camp-
bell, conferred on him the degree of
Doctor of Laws as a reward for the
distinguished service he had per-
formed in the conservation and up-
building of the national parks and
welding together the out-of-door
grandeur in the United States so that
it could be enjoyed by the present
and future generations.
Greatest Conservationist
In every national park and national
monument there has been placed a
bronze memorial tablet erected to
him who has been named the father,
creator, and developer of our national
park system, the "greatest conserva-
tionist of them all." Mr. Mather died
January 22, 1930.
On July 10, of this year, this bronze
memorial plaque was unveiled in Se-
quoia National Park by Dr. Gilbert
Grosvenor, president of the National
Geographic Society, amid a cathedral
of sequoia trees known as the Parker
Group.
The ceremonies were conducted by
Col. John R. White, superintendent of
Sequoia and General Grant National
Parks. Many prominent speakers told
of the wonderful things accomplished
by Mr. Mather during the years he
was director of national parks.
Simultaneously with the unveiling
of the plaque in Sequoia National
Park the Bohemian Club of San Fran-
cisco, of which Mr. Mather had been
a most beloved and distinguished
member during the last years of his
life, held a memorial service in his
honor. Through the coui'tesy of the
National Broadcasting System this
memorial service was sent out over the
entire United States, as previously
stated.
The ceremonies, wonderful in them-
selves but too long to quote here, will
never be forgotten by those fortunate
enough to hear them. Timothy Healy,
secretary of the Bohemian Club, in
his opening spoke in the highest
terms of Mr. Mather. Tributes from
John T. Merriam, president of Car-
The late Stephen T. Mather
negie Institute; William Wallace
Campbell, now president emeritus of
the University of California, and
president of the Institute for the Ad-
vancement of Science; John Hays
Hammond, chairman of the Stephen
T. Mather Appreciation Committee,
and Horace M. Albright, director of
the national park service, were read
by Bohemian Melvin Jeffries. Organ
and violin solos were played by mem-
bers of the Bohemian Club.
Then Bohemian Timothy Healy in-
troduced Ralph L. Phelps, member of
the Bohemian Club, who made the
dedication address.
"Monoliths are raised for our dead
and eulogies are woven with words
of unstinted praise," said Mr. Phelps,
"but the true memorial is a man's
life and accomplishments and the tra-
dition that he has left, whether his
career has been marked with great
public distinction or his achievements
have been quietly done for the pub-
lice welfare.
"When the days of a man have
passed twoscore and he has achieved
the material success which will allow
him to use his future efforts and dy-
namic energies toward the spiritual
education and cultural betterment of
his fellowmen then such men's rec-
ords truly shine with an especial lus-
tre. Such an American citizen was
Stephen T. Mather, organizer and
first director of national parks.
Made Personal Sacrifice
"We gather in this woodland shrine
prompted by a sincere reverence for
that great service he gave to us all
so unstintingly and in acknowledg-
ment of that fineness of character,
great ability, unflinching loyalty, hu-
manity, honesty and kindliness, un-
selfish devotion to duty and friends.
Generous in deed and thought, he was
the very essence of modesty, a be-
loved co-worker, the inspiration of
great and good deeds, the welder of
our national recreational areas, the
greatest conservationist of them all.
"Stephen Mather lived his life in-
tensely, giving a great bounty of per-
sonal sacrifice for the ideals which
molded and distinguished his great
accomplishments. He shunned pub-
lic applause and chose to carve his
way quietly, persistently welding the
struggling disorganized parks as he
found them into a great coordinated
system in order to make them con-
stantly accessible to increasing num-
bers of people of moderate means
for their enjoyment of the beauties
of nature.
"By persistent and unremitting vig-
ilance during the first eight years of
his service, giving generously of his
own private funds and much of his
great spiritual and physical force, he
succeeded in all his ambitions even
beyond the fondest hope of those who
had the greatest confidence in him.
"Great men seldom live to enjoy
that personal gratification which the
sincere esteem and admiration of their
fellowmen endow them, but during
the intimate years of our friendship
there seemed a number of times that
Stephen Mather must have quietly
understood the evidences of high es-
teem and appreciation from thousands
of friends and those associates dear-
est to him, and unquestionably this
knowledge made many of his days
sweeter and strengthened his faith
in the men and women and children
September, 1932
The INTERNATIONAL PHOTOGRAPHER
Sci'i'ii
whom he was helping toward a hap-
pier and fuller life.
Gave Heritage to Multitude
"One tribute which he cherished
above all others was the sincere evi-
dence of appreciation and affection
which came from his own alma mater,
the University of California, from
which he was graduated with the
class of 1887.
"On March 22, 1924, at the in-
augural of President William Wal-
lace Campbell the University of Cali-
fornia conferred upon its distinguished
alumnus, Stephen T. Mather, the de-
gree of doctor of laws. In bestowing
this honor upon Dr. Mather Presi-
dent Campbell publicly delivered this
tribute:
" 'Stephen T. Mather, mountaineer
and statesman, lover of nature and
of his fellow-man, with a generous
and farseeing wisdom he has made
accessible for a multutude of Amer-
icans their heritage of snow-capped
mountains, of glaciers and streams
and falls, of stately forests and quiet
meadows.'
"From the heart of Robert Sibley,
alumnus secretary, came this later ap-
preciation: " 'Stephen T. Mather, of
the class of 1887, can never be re-
placed in the life of America. Faith-
ful student, accurate journalist, suc-
cessful business executive, loyal alum-
nus of the university; eminent schol-
ar, pioneer director of our national
parks, lover of out-of-door America,
Stephen T. Mather in passing from
us yet remains forever to inspire us
with hope and courage and joy."
"Such is this distinguished son of
California for whom they gather to-
day to place a bronze tribute, a per-
petual memorial of inspiration and
gi-atitude. He has labored valiantly
and unselfishly to preserve and pro-
tect the primeval wildernesses of
America for the enjoyment and in-
spirational education of mankind for
all time.
"The national parks which he fa-
thered, developed and created are the
cenotaphs which shall forever pre-
serve his memory, and our children's
children will keep fresh the garlands
of memory on the altar of reverence.
Welded an Organization
"Stephen Mather's rarest gift was
his ability to make staunch friends;
friends for himself, friends for his
parks, friends for the ideals and am-
bitions his untiring zeal and wisdom
led him forth to share nature's beauty
with others. He bound men and
women to him with bands of steel. He
put them to work for the cause for
which he crusaded, the conservation
of America's natural beauties before
they were sacrificed on the altar of
progress.
"Thousands who believed in Ste-
phen Mather's inspired genius caught
his enthusiasm and worked with him
to make our national parks the
world's most used out-of-door cathed-
rals. He welded together an organ-
ization which was the glory and pride
of his soul, one of the most remark-
able group of public servants, the na-
tional park officers, superintendents
and rangers.
"Nations have widely copied his
methods and the chivalry of the serv-
ice. He launched similar movements
in many states to do for their citizens
what the national park service has
done for a nation.
"Stephen T. Mather lives on in the
breast of America's manhood and
womanhood. His work goes on un-
interrupted by time and to be en-
joyed by generation after generation
of Americans and those who seek the
shelter of our shores.
"Yet he could not step aside until
he had a president's pledge that his
duties be intrusted to the capable
hands of his associate Horace M. Al-
bright, present director of national
parks, who had fought variantly by his
side continuously since the epochal day
fifteen years ago when Stephen Ma-
Blachburn Doubles Space of
Brulatour News Advertising
QUITE unnecessary will it be on
the part of this magazine to call
attention to the Brulatour adver-
tisement covering two pages in the
center of the book starting with the
September issue. It is a novelty in
advertising in that it does more than
talk about the product it is exploiting.
It tells the whereabouts, past, present
and prospective, of the cameramen
who expose that product.
The idea of the plan which has so
rapidly developed originated with Ed-
ward O. Blackburn, west coast repre-
sentative of Brulatour, Inc., in the
distribution of Eastman film. It was
first tried out last March and was
continued with increasing demand on
the space of a single page through a
period of six months.
With the recent acceleration in the
volume of business the company de-
cided to double the space employed,
even though that action involved sur-
rendering the inside back cover of
ther was appointed first director of
national parks.
"The wise public policies formu-
lated by these two remarkably sym-
pathetic men shall have no interrup-
tion by our friend's regretted passing.
But it is all as Stephen Mather would
have wished. His mantle has been
placed about younger and sturdier-
shoulders. Stephen Mather's spirit
carries on, and on the altars of our
friendship for our beloved companion
and wise counsellor shall eternally
burn the embers of faith, courage,
loyalty, and an affection born of full
understanding in the comradeship of
God's sanctuaries of the open places,
where in the wilderness of nature God
has surely led him as He shall etern-
ally lead us."
the magazine, a position it had held
without interruption since the first
issue of the publication.
The leg men and the city editor-
publisher (names on application) of
the Brulatour Bulletin admit there is
a certain amount of work connected
with this printing job they had not
anticipated. But they seem to like
it, nevertheless.
Fred Jolly Enters Firm of
Montfort-McJSutt in Berkeley
FRED R. JOLLY, member of In-
ternational Photographers, and
for the past four and a half years
manager of the Kelley Motion Picture
Laboratories in Oakland, recently has
joined the Montfort-McNutt Adver-
tising Agency of Berkeley. He will
be account executive and director of
the photographic department. The
new firm name will be Montfort-Mc-
Nutt & Jolly and will be in new quar-
ters at 21G1 Shattuck Avenue, Berke-
ley.
Plaque erected in the Parker Group, Sequoia National Park, in honor of
Stephen T. Mather, first director National Park.
Eight
The INTERNATIONAL PHOTOGRAPHER
September, 19S2
Du Pont Has New Panchromatic
Company Has Concentrated on Emulsions with
Greater Sensitivity in Green Region of
Spectrum, Highest in Daylight
PANCHROMATIC film made pos-
sible the adoption of the incan-
descent lamp as a convenient
method of illumination in the making
of motion pictures. The success of
the incandescent lamp in the picture
studios then stimulated much work
for the improvement of panchromatic
film.
The energy emission of the incan-
descent lamp increases in passing
from the blue to the red end of the
visible spectrum. In order to take
full advantage of the light from such
a lamp it has seemed logical to in-
crease the yellow and red sensitivity
of panchromatic emulsions.
The results achieved along this line
have meant a considerable saving in
studio lighting, according to many
authorities, as well as more comfort
for those who work under the lights,
but at the same time critical artists
have pointed out the failure of highly
red sensitive emulsions to record cer-
tain objects faithfully, particularly
human faces.
Some of the latest panchromatic
types of negative tend to record too
heavily the red lips and the ruddy
skin of motion picture actors and
actresses. Since make-up is a well
established art in motion picture
studios it has been possible to obtain
satisfactory results in spite of the
high red sensitivity of the emulsions
by altering the make-up. The por-
trait photographer, however, takes
his subjects more or less as they
red sensitive negatives often yield
very chalky countenances.
Recognizing the error of the trend
toward higher red sensitivity, the
Du Pont Company has concentrated
work on panchromatic emulsions with
greater sensitivity in the gren region
of the spectrum.
This work necessitated the discov-
ery of new types of sensitizing dyes
and new technique in their appli-
cation.
Increased Sensitivity
Also it has required improved fac-
tory equipment and specially trained
factory personnel, for the film must
be handled during manufacture in
total darkness at almost every point.
The most recent improvement now
being offered to the photographic in-
dustry by the Du Pont Company is
an emulsion with increased sensitiv-
ity, the increase being most notice-
able in the green. The sensitivities
of the new product through the tri-
color (A, B, C) filters are shown in
Fig. 1, where a comparison is made
with the special high speed panchro-
matic which has been the standard in
recent years.
These data were obtained with in-
candescent light. With daylight, the
high green sensitivity is still more
striking. Reference to the foregoing
filter factor table shows the factor
for the B (green) filter to be less than
the factor for the A (red) filter.
20
/S
10
OS
Dens ify
Du Pont
Super pan.
Special 7*0/1
afiBir -
06
/Z
IS
24
SO
Figure 1
H. & D. curves for Du Pont Special and New Superpan films: White, un-
screened incandescent; red, screened by Wratten A filter; green, screened by
Wratten B filter; blue, screened by Wratten C filter.
come, and he has pointed out em-
phatically that the prints from highly
The spectrogram of the new emul-
sion is shown in Fig. 2 in comparison
with the spectrogram of the former
high speed panchromatic. Fig. 3
shows for similar light sources the
spectral response curves for the film
and for the human eye.
This emulsion has a sensitivity cor-
responding quite closely to that of the
human eye. The excess sensitivity of
the film toward the violet end of the
spectrum may be quite accurately cor-
rected by a K 1]A filter. Thus cor-
rected it records brightness of objects
in nature as the human eye sees them.
Filter Factors
The fine grain characteristics of
this emulsion are the same as that of
the former Du Pont emulsions which
have been so satisfactory to the trade.
The filter factors obviously are quite
different. These factors for sunlit
scenes are given in the following
table:
Filter
Filter Factor
Aero No. 1 1.7
Aero No. 2 2.7
No. 12 Minus Blue 2.7
Kl 1.9
KV/2 2.0
K2 2.0
K3 2.2
G 2.9
23A 6.0
A 8.5
B 5.6
C 11
F 17
No. 72 70
3N5 4.4
5N5 6.3
XI 3.1
X2 3.8
The new film is supplied regularly
on non-halation base. Three non-
halation features have been incor-
porated in this film — a stained emul-
sion, a light retarding undercoat, and
a base not backed but tinted through-
out its entire body.
The new emulsion has developed
characteristics similar to those of the
former emulsion, and the usual de-
veloping technique now in use in the
commercial laboratories is applicable
to this emulsion. More care, how-
ever, is required in the safelights for
handling this film.
It is much more sensitive to green
safelights and should, wherever pos-
sible, be handled in total darkness.
Laboratory men who are accustomed
to the handling of panchromatic film
under the series III Wratten safe-
lights should check the safety of the
filters with a sample of the new film
and reduce the level of illumination
if necessary.
The French Gaumont concern has
established a firm under the name of
"France Actualities" with 4,500,000 f.
capital for production and distribu-
tion of newsreels and educationals.
September-, 19-12
The INTERNATIONAL PHOTOGRAPHER
A
Nine
Spectrograms on Du Pont Special (A) and new Superpan (B) films.
Figure 2
Cameramen 9s Golf Tourney Set for
Sept. 11 at St. Andrews Course
By JAMES PALMER, Chairman of Committee
ST. ANDREWS, on Ventura Boulevard, sixteen miles distant from
Hollywood Boulevard, will be the site of the fourth annual golf
tournament of the International Photographers. Sunday, Sept. 11,
is the date.
As in the past there will be a goodly number of trophies. These
will be on display the entire week before the tourney. Take a look at
them in the show windows of the Hollywood Army and Navy Store on
the west side of Cahuenga Avenue just South of Hollywood Boulevard.
In deference to the times the committee has made an unusually
low price for the tickets and a record attendance is expected. The
reasonable rate will not be reflected in the entertainment provided, for
that will be up to the high traditions of the predecessors of the fourth
annual.
Jackson Rose, Veteran of
Photographers'' Executives,
Painfully Hurt in Accident
JACKSON ROSE, veteran execu-
tive member of the International
Photographers, is in the Cedars
of Lebanon Hospital following most
painful injuries, received in an auto-
mobile accident. Seven stitches were
taken in his scalp, his wrist was
wrenched, his face badly bruised — in
fact, he has bruises all over his body.
Mr. Rose was the worst hurt in a
party of five including Cameraman
Joe Novak, who suffered a broken
nose; Phil Rosen, director, badly
wrenched back; Mike Eason, assistant
director, and Supervisor Starr of the
Tiffany company, who was driving.
The accident happened a few miles
north of Mojave when the car travel-
ing fast left the road and was over-
turned.
possible under ordinary photographic
conditions. He chose a low set-up to
portray "risingly" the portal and
torch, as he explains his photograph,
and "eliminated the basis of the por-
tal, letting it emerge from silhouettes
of flowers."
Hollywood Camera Exchange
Prize W on by Karl Drexler
THE picture of the Olympic torch
shown in the pictorial section
was photographed by Karl Drax-
ler and secured first prize in the com-
petition conducted by the Hollywood
Camera Exchange, 1600 Cahuenga
avenue, Hollywood, for the best still
subject of the Olympics. The award
was a Model D Leica of the value of
$92.50.
The winner exposed his Eastman
Verichrome roll film at 8 stop two
minutes between sundown and dark
and eight minutes after dark. His
aim was to have the flame register
more sharply than would have been
Create Educational Picture
to Teach Mechanical Drawing
THE first educational motion pic-
ture made expressly to teach
mechanical drawing was recently
produced in San Diego by Floyd W.
Cocking of the Roosevelt Junior High
School as author and James H. House
of the visual education department of
that city as director. It is a 16 mm.
film of 480 feet, or about 20 minutes
running time.
"An Introduction to Mechanical
Drawing" is an excellent example of
truly educational film made by edu-
cators themselves, with nothing more
elaborate in the way of equipment
than a Filmo camera and a regular
drawing outfit.
The film gives brief correlation of
drafting to industry and then takes
up the study of drafting by means of
photographed demonstrations show-
ing the use of instruments, drafting
technique, layout of a plate, choice of
views in drafting and the actual con-
struction of typical drawings.
New Bombay Cinema Plans
Parking Space in Basement
BOMBAY is to have two new talk-
ing moving picture theaters, ac-
cording lo a report received
from Consul Dayle C. McDonough,
stationed there. One of these theaters
is to be very modern with a parking
place underneath for the automobiles
of the patrons.
Seating capacity is to be 1200,
which is large for Bombay. It will
ocupy a prominent and central loca-
tion near the leading hotels and clubs
in the European section of the city.
It will be built and operated by a
prominent firm of motion picture the-
ater owners who already have two
theaters in that city. The name has
not yet been decided.
The other new theater is now being
built on one of the main streets of
Bombay and will have a seating ca-
pacity of from «)00 to 1000. It will be
known as the Roxy Theater. It is be-
ing built by the owner of another
moving picture theater in Bombay.
Akeley Camera Will Send
Its Booklet on Application
AKELEY Camera, Inc., has issued
a four-page booklet describing-
its audio camera, both dual and
single system, and the Akeley record-
ing machine. It is finely illustrated,
and is bound to be of marked interest
to cameramen.
The booklet will be forwarded to
any International Photogi-apher by
sending a request to Akeley Camera,
Inc., 175 Varick treet, New York.
This magazine will carry an article
on the Akeley camera next month.
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Spectral response curves for the film and for the hwman eye.
Figure 3
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Ten
The INTERNATIONAL PHOTOGRAPHER
September, 1932
Inventor Describes New Process
Williams Tells of Advance Made by Double
Matting System Over Methods Invented
and Patented by Him Previously
By FRANK D. WILLIAMS
DOUBLE matting process photog-
raphy now has been in success-
ful commercial use for four
months. It is a refinement of systems
invented and patented by me as far
back as 1918 and first employed com-
mercially in 1920. I had worked on
and experimented with process photog-
raphy as far back as 1912 and had
first made application for a patent in
1916. From 1920 this was the only
composite nhotography process em-
ployed in the industry until about
1929.
Hitherto the method of composite
photography, of using traveling
mattes, has been subjected to definite
drawbacks. It has been necessary that
the figures be fully illuminated or
lighted especially strong in order to
make a photographic matte.
It is obvious that this caused trans-
parencies in certain scenes and re-
quired filling in the outlines by the
slow, tedious process of painting by
hand under a microscope.
In the old traveling matte process
we were unable to photograph black
and white at the same time in proper
contrast without ghost effects or
transparency unless this hand black-
ing before mentioned was resorted to
or the actors were over-illuminated
for the black background or under-
illuminated for the white background.
Great Improvement
The average length of time required
to finish scenes done under the old
process was from one to six weeks.
About a year and a half ago an im-
provement employing double matting
was invented bv me and patented
whereby a red background was used
and orthochromatic film having an or-
ange yellow dye placed over the sur-
face of a panchromatic film was used
to photograph the actors.
The two films were developed and
a matte was made from the rear film
and a positive of the front film. This
matte was placed in front of a suit-
able background positive with raw
stock film in the printing machine and
an exposure made. The print of the
foreground negative was then placed
in register over the previously printed
raw stock and a second exposure
made, completing the composite nega-
tive. After the development of the
original negative this process may be
completed in 1 \k hours.
That process represents the first big
improvement since the traveling
matte, which was the original com-
posite nhotography process used in the
industry.
The red background process, al-
though being a big advance over the
old method, as regards to matting,
had one serious drawback, namely, the
figures that were photographed on
orthochromatic film would not match
the color correctness rendered by pan-
chromatic film as was used through-
out the industry. Reds or shades of
red would photograph black instead of
as shades of gray.
Due to the incandescent lamps pre-
dominating in red ray and the present
panchromatic film being highly sensi-
tive to the red ray it is obvious ortho-
iq. 1
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September, 1932
The INTERNATIONAL PHOTOGRAPHER
Eleven
chromatic color rendering is useless in
modern motion picture production.
The present method of double mat-
ting, which as previously stated has
been in commercial use for the past
four months in several leading studios,
is most revolutionary in character.
The process has a great many advan-
tages which will be manifest to all
those skilled in the photographic art
as they become familiar with its de-
tails. Specially made for this process
are panchromatic films which over-
come the great bugbear of the past
processes in that full panchromatic
color correction is given, thereby
matching the color gradations of the
remainder of the production. This is
of the utmost importance in any com-
posite process.
Freedom from Don'ts
A specially dye coated panchromatic
film is employed in a bipack arrange-
ment and an orange dye is placed over
the emulsion of one of the films. Both
films are panchromatic superspeed.
The actor is placed before the blue
background and he is lighted with in-
candescent lamps without filters and
may be dressed in any color clothes.
The lighting may be from the front,
side or back. The exposure is the
same as for ordinary super-pan film.
An ordinary motion picture camera is
used, employing a magazine adapted
to exposing two films.
This process has been in commer-
cial use employing these various meth-
ods. The background is lighted with
sunarcs and is a bright blue. Actors
may be dressed in any color and use
normal make-up and won't show
ghosts or transparency.
The methods of combining the print
have several variations in practice.
The method preferred by the studios
is to develop the front and rear films
and print the front film and project it
to select the scene that is to be used
with the background scene.
Plainly this is a big saving in many
ways. The action may be cut to
length before the background is made,
which is not possible with other
processes, and only the necessary
backgrounds need be made for the ac-
tion that is used for the picture. In
practice this means approximately 50
percent of the time and cost involved
in the making of backgrounds for
these scenes.
Another big advantage is in the
event the background is too light or
too dark, the action too slow or too
fast, the background may be changed
without a retake of the actors, thereby
saving the studio several thousand
dollars.
The alternate process most com-
monly employed in the industry at the
present time is projection, which has
come into use the past three years.
Some very interesting comparative
tests between the two processes have
been made by several studios, using
the same foreground actors and light-
ing and also identically the same
background film.
Gives Wide Range
One of the reasons advanced in sup-
port of the claim of superiority for
the new method over that of the pro-
jection process is among others that
the projection screen is limited in size
to about 16 feet wide with 10 feet
foreground. This means, as an illus-
tration, that if a horse is standing
crosswise in the foreground he hardly
can be photographed without getting
out of the picture.
With the new double matte process
we frequently have used a foreground
70 feet wide and photographed it on
an interior stage. This large range is
invaluable to studios. In the projec-
tion process illumination obviously has
to come from the sides or top, in or-
der that the light shall not strike the
screen. Of course that practice can-
not be employed in screen areas as
large as 70 feet. Plainly there is no
limitation as to the source of light in
the double matting process.
Another important improvement
that comes with the new process is
that blue backing may be placed un-
der the actors' feet or but a few feet
back of any set and the action photo-
graphed thereon, whereas with the
other system it is necessary to have
the sets on a stage having an open
space from 60 to 100 feet behind the
screen in order to project a picture.
Removal of sets to the projection
stage is very expensive, even with a
small set the cost being from two to
five thousand dollars, counting stand-
ing time of staff, actors and elec-
ti'icians, etc. I am told in the studios
using the double matting process and
to which reference has here been made
it is the experience that the back-
ground quality is equal to that of the
original negative.
This cannot be said of the projec-
tion background, as there is consider-
ably more graininess, hot spot in
centre on light scenes, and loss of
definition due to part of the shadow
detail being absorbed by the opacity
of the glass.
Also the background scene obvious-
ly cannot be focused with the fore-
ground. It is impossible to focus
sharply an actor and the screen at the
same time due to lack of depth of the
lens at the F stop necessary.
Miller In Again from East,
Off Again for New York City
HOME for a few hours after an
absence of two months Robert
Miller, International Photog-
rapher, looked in on his friends along
mid-August. The head of the photo-
graphic department of the big Presi-
dent Hoover left in June for a trip to
Asian ports and the Philippines. Fol-
lowing arrival back in Los Angeles
the ship started for New York by way
of the canal. She is due back about
October 1.
The traveler, who incidentally is
making background shots for any and
all in the course of his trips, stopped
over in Manila to visit George P.
Musser, whose Artreeves equipment
is the only sound recorder in the Phil-
ippines.
Also in Manila he met Charles Mill-
er, no relation, brother International
Photographer, who conducts a photo-
graphic store in that city.
Brass
Aluminum
Bronze
CASTINGS
Camera Head Casting a Specialty
3020 South Main Street, Los Angeles
Stephenson Foundry Office, PRospect 8894
Foundry, Richmond 1302
I want your work. Every casting trimmed and sand-
This centrally located plant is the blasted,
best equipped in Los Angeles. Every man working at a bench is a
One of the few foundries anywhere master molder.
equipped to work 24 hours a day. Yellow brass fixture work and nickel
Vnii get your castings when they are silver a specialty,
promised. Let me figure with you.
Come in and discuss your experimental problems.
HARRY A. LOVE
Pliny Home, Representative
Twelve The INTERNATIONAL PHOTOGRAPHER September, 19,32
SENSATIONAL ,■,„»
YET EVEN MORE IMPORTANT
...m 19 32
ACCLAIMED last year as a sensational med-
ium for use with incandescent lights, Eastman
Super-sensitive "Pan" has since proved equally
valuable under arcs or daylight. Promising
revolutionary advances in its original form, it
has made even more surprising progress with
its non- halation gray backing. Today, with
rigid economy at a premium, it is at the peak
of its importance. It gives the industry finest
quality and maximum efficiency on every
conceivable kind of "shot." Eastman Kodak
Company. (J. E. Brulatour, Inc., Distributors,
New York, Chicago, Hollywood.)
EAb I M AN SUPER-SENSITIVE
PANCHROMATIC NEGATIVE < gr a v-back ed ,
@ream oth Stills
c&OSo*.
^r*v\
7 V /
Mi. 1
Eastern Butterflies
If flowers are butterflies
Verse by
Tied down with silken strings,
Berenice M. Conner
Photo by
And butterflies are flowers
Ernst Keil
With poetry of wings;
Then dreams must be reality,
And reality but a dream.
e.**^..
&\r
Qream oth Stills
ct^L'O*.
Here is Paramount' s
baby crane, able
to do all sorts of
fanny things. Just
now it is making a
night shot.
It was photographed
by Flyman Fink and
reproduced through
courtesy of
Fawcett Publications.
Fred Henderson
catches a strenuous
moment in RKO's
"Lost Squadron"
as Von Stroheim
in guise of
player-director
"bawls out" the
crew in what is
supposed to be the
usual fashion.
This is a view
of another RKO
company at work
in "Yoting Bride."
The unusual shot
was photographed
by Elwood Bredell.
Up in Arizona,
where Old Sol
slams down regardless,
a Fox company
on location for
"Death Valley"
gets set.
As Photographer
Bert Lynch
shows us, the
camera is covered
with a blimp, and
to protect the
mike froyn sun
and wind it also is
all fussed ap.
Gream o tk Stills #
193 2 O LYM PICS
FORTY -FIVE nations entwine their emblems around
Figueroa street's famous palm tree prior to the opening
of the 1932 Olympic Games in Los Angeles. This striking
picture, so symbolic of peace, was photographed by Alexan-
der P. Kahle.
September, 1932
The INTERNATIONAL PHOTOGRAPHER
Seventeen
Sassiety Reporter
Goes Hollywood
WELL, I was asittin in a movie
theater here in Chicago and
they runs a trailer in which
they show off a couple of flashes of
Hollywood, the land of makebelieve.
. . . Well, of course that's nothin new
to see in a theater, but it so happens
that the vacation of yours truly be-
gins the next mornin, so I gits the yen
to clamber aboard one of these here
westbound tourist specials and git an
eyeful of the Magic Land to cram
back in those vast open spaces of my
bean.
So I buys a couple of yards of ex-
cursion rate tickets and spends the
next few days makin faces at old
maids asittin parallel to me in the ob-
servation car what is on their last
legs of tryin to find some fair haired
boy to call the Mister the rest of their
days. . . . But I manage to win the
freezeout contest by the time we rolls
into L. A.
Well, that station is jest chuckfull
of people what is come down to wel-
come the friends and loved ones what
is gettin off the train . . . looked kinda
funny to a bird like me what is used
to battin around the Middle West
where about the only people you meets
in stations is redcaps trying to shake
you down to carry the ole bag or may-
be hombres mowin you down tryin
to rush for the 5:15.
This sort of gives you your first
idea of what's to happen to you out
in that country . . . you see folks out
that away really go to town to be
friendly to a visitor, and they always
score right from the start on makin
you feel that they enjoys to have you
among them.
"Your Name Felbinger?"
Well, sir! I kinda sneak through
the crowd sorta sheepishly since I
knows nobody aint gonna be there to
meet me ... so I is jest sidesteppin
two gals what is busy smackin each
other and a cryin and a carryin on
generally because they is so glad to
git together out here in what they
calls a new Paradise and what yours
truly agrees with em on when I gits
grabbed by the arm and I is asked if
this is me.
Well, that's jest like that country
out there. I dint expect to git a wel-
come, but the ole mitt is stickin out
for evry one and plenty of mitts to
go around, too. ... So I meets George
Blaisdell for the first time. . . . George,
you know, is the editor of the Interna-
tional Photographer, the highest class
magazine in the camera profession . . .
(also a lot of you Middle West hom-
In Focus — In Spots!
By Fred Felbinger as
The Sassiety Reporter
bres know I used to think that way
about it long before they started to
print the tripe I sends in and also be-
fore I met George). . . . You gotta call
Mr. Blaisdell "George" right from the
start. . . . He dont go for the Mister
stuff, "No, sir!"
That kinda wipes out the stiff for-
malities right from the beginning,
and before you has rode two blocks
with George you is already admittin
you is a lousy golfer, but George is a
tellin "ou never mind he is gonna give
you a coupla workouts on some of
their golf courses. Also he aint so
hot a golfer hisself.
Here George draws the first blood
on swappin lies. ... I finds out later
Fred A. Felbinger
he is one of them par shooters like my
noise ketcher Robertson back home.
. . . Anyhow, I warms up right away
to the new country when I finds out I
kin ride with a new acquaintance and
talk natural right from the start in-
stead of openin with the old chestnut
about the weather and then driftin
over to "how is the folks?" and all
them other speech openers.
As we enter Hollywood Boulevard
George tips me off to take a squint
at all the tourist yokels what blows
into Hollywood and spends a lot of
their time starin through every one
they sees ridin in cars . . . hopin they
kin spot some of the movie stars in
the flesh.
Well, I laffs that people kin be so
goofy to git sore eyes tryin to see
their makebelieve heroes in the per-
son and George gets quite a kick out
of it hisself . . . but I manage to sneak
plenty stares at passin cars hopin I
could see one or two myself when
George wasn't lookin.
Over at the cameramen's headquar-
ters you gits the glad hand of sin-
cerity also. ... I meets a whole bunch
of regular guys — Alvin Wyckoff, Roy
Klaffki, Jack Rose, Reggie Lyons,
Paul Perry, and a raft of others . . .
too numerous to mention here . . . also
I aint ever been much of a hand at
rememberin names, so I hopes some
gu,Ts wont git mad and think I is for-
gotten ever havin met them.
Whatya Mean, Not Much of a Hand?
I gits the glad hand from Howard
Hurd and he axes me to take in the
Grauman Chinese on him . . . also to
bring me along a friend. Well, now,
I aint been much of a hand of gittin a
"friend" in a strange place, but I
manages to dig one up for the show
all right . . . and, listen, they got some
nice gals out thataways, too . . . plenty
of them.
Well, this here bird Grauman what
runs this here Chinese theater sure
puts on some swell stage shows ... he
sure helps the unemployment sittiation
when he hires a cast for a prologue
in that shootin gallery. . . . The one I
saw was a take-off on the Olympic
Games . . . and the cast he had it in
it wuz like one of these mob scenes we
used to see in them old German silent
movies we used to git here.
Enjoyed Picture
That reminds me I sort of forgot to
tell Howard Hurd I enjoyed that
movie. . . . He probably now judges
these eastern hombres by a dumb
yokel like me, but maybe Hurd will be
sittin there some afternoon and have
nothin to do but read this and maybe
he'll notice here then that I appre-
ciated them ducats.
Them west coast cameramen is
gittin all set for their annual golf
tourney. ... A focuser by the name
of Jimmie Palmer is gittin the big day
in readiness, and from what I hear
of their golf tourneys I sure would
like to take one in. . . . Now I know
why our ole Prexy Charlie David en-
joyed the one they put on last year.
. . . Maybe them button pushers
around our Windy Village will git to-
Eighteen
The INTERNATIONAL PHOTOGRAPHER
September, 1932
gether someday and push the little pill
around in a body.
When Ole Sol Cuts Loose
Maybe it would be a swell idear, as
I understand since I went off on my
vacation a lot of the gang has went
goofy on golf — Eddie Morrison, Jack
Darrock, Phil Gleason, Robertson and
all the gang is playin heavy golf on
off days. . . . Even Lippert has de-
cided not to swap his golf clubs for
a tennis racket now, and since David
and me has taken some golf lessons
on the coast why it looks like maybe
someday we'll be able to git enuf guys
together for at least nineteen holes.
You know I is now a graduate
golfer from a desert sunbaked course,
and you ain't ever been out in the
heat until you is played on one of
those desert courses like the one
George took me out on. ... I started
out bareheaded, but I hadda borrow
George's cap right quick for fear of
sunstroke, but that dont mean no
never mind at that, because that ole
sun jest socks the ground out there
and them actinic rays bounce right
back up at you, but you kinder love it
at that for the novelty of playin with
mountains around you.
Then George hies me off to the
mountains for a coupla days ... up to
Big Bear Lake and Arrowhead. . . .
Say, if some of you 666 news snoopers
think you is had a thrill flying in
some crate upside down or sumpin
why you jest want to take a auto trip
up them windin mountain roads along
a highway they got nicknamed "The
Rim of the World". . . . Boy, oh boy!
climbin and windin up 7000 feet of
altitude and then you kin see the val-
ley down below in the distance.
Well, you sorta git to figgerin that
there's many swell other things in this
world if you jest git out and take a
look at them. . . . And here is one look
that is a whole eyeful for a long time,
when you go over this highway.
Fire That Burns Into Memory
When you git to the top up at Big
Bear Lake you settles down in a
cabin, all surrounded by big pine
trees . . . and you got a swell fireplace
built in where you burn real logs at
night instead of them gas ones you
find back here at Civilization.
At night you start the ole fireplace
a cracklin to take off the chill of the
cool evenins up there . . . and its funny
how that chill melts a'sittin there be-
fore the fireplace ... it even takes off
any chill you may have in the heart
and you sorta git a hankerin to open
up and swap lies, experiences and
sorta spill stuff you aint got the nerve
to blab out other times.
And what's more they is kinder ab-
sorbed by the other one a'sittin there
with you and respected confidential
like You almost cant realize you
is only a couple hours away from
Civilization . . . where you gotta be on
your toes all the time and also on your
guard.
Boy! when they say "The great wide
open spaces!" ... I kinder think they
mean somethin' you dont quite really
savvy until you is been up there in the
altitude, before a fireplace with the
logs a'cracklin.
Up at Big Bear Lake they got a
swell lodge and they got a bronze
tablet there what's got some beautiful
words on it written by Edwards Davis,
minister, actor, executive, orator . . .
well, now, you know, a yokel like me
never does remember the finer things
of life, but I do remember what that
one-time parson wrote, for that Peter
Pan tablet is one of the shortest and
sweetest sermons I ever heard or read.
It's only a couple of sentences, but
it kinder grips at you and makes you
feel like he is right, and maybe you
wouldnt love to stay up there and live
in that country for keeps and kinder
learn to memorize what's on that
tablet.
Now here I is already forgotten
what it said on that tablet. . . . That is
in my mind . . . but, you see, I is been
up there and my heart aint forgot
. . . which is jest exactly what ser-
mons has been invented for. ... It aint
the words exactly, its how it sinks
in on the individual what counts, I
guess.
Gasman Who Refused Drink
Then back to Hollywood through
miles and miles of orange groves,
where you kin buy ten dozen oranges
for fifteen cents. ... (I gotta remind
the dago what always charges me a
nickel apiece back home about that
the next time he sells me one) . . . and
you buy gas from a real ole-timer
what is content jest to make a livin
and git by "since his wife died and he
lost his best pal!"
And they say the world is goin to
the dogs and people is all for free
love and things like that. . . . Well, it
jest proves there still is plenty good
people floatin around ... all you gotta
do is git goin and look around a little
bit to find them.
Then out to see George Gibson,
whom all youse guys remember from
the old Rothacker days back in Chi.
. . . Gibby lives and breathes Eastman
Supersensitive and he has you meet
Eddie Blackburn, who also remembers
you from the kid days when you wuz
hypo boy down in the ole hole at
Rothacker's in Chicago.
Blackburn suggests maybe its gonna
be a dusty trip back home. ... I ad-
mit may be it is, so Eddie gives me
sumpin for the dust. ... I cant elab-
orate on the dust cure here . . . since
as to date they aint put through re-
peal yet.
Meets Up with Henry
You stops off at a restaurant called
Henry's and here you recognize one
of them villains you always see in
Charlie Chanlin comedies. . . . Later on
you is introduced to him and discover
he is Henry himself and he aint no
villain at all in real life, jest a quiet,
amiable business man.
And then you run into Micky
Whalen . . . the spirit of Hollywood
hisself. . . . Micky is got the visitor
down as one big heel because Micky
has been doin his darndest to show
you around . . . fights . . . plane ride
to Caliente . . . and when you tell
Micky you has been hauled all over
Hollywood and it aint your fault you
havent been able to take advantage
of hospitality he still dont forgive you.
Micky's friendship is genuine and
you hate to have him feel you is tryin
to give him the go bye. . . . Then
Micky is off to spot hisself a new
home down in the canyon . . . with a
crock to make a little homebrew.
Oh, yes! you just have to take in
the big track and field meet they is
runnin there at the time. . . . The
Tenth Olympics, they calls it . . . and
there you meet the old news button
pushers in full harness:
Watches Old Pals Work
Joe Rucker, Joe Johnson, Irby
Koverman, Sam Greenwald, Mervyn
Freeman, Raleigh Nichols and a bunch
of others what is in the same callin
as yourself. . . . Everybody is busy
shootin one event after another.
But you know newsreelers. . . . They
always got time for a little argument
now and then. ... So you ankle over
to the fracas and you see it is Mervyn
Freeman arguin with a blonde Swede
... a real platinum blonde Swede. . . .
You immediately recognize the Swede
as ole Ray Fernstrom, a ole newsman
what rates as a ace back East ... in
more ways than crankin a camera, too.
You wonder why Ray's hair has
turned so light and find out Ray has
dyed em . . . for the part of a Swede
in a picture. . . . Hollywood does
strange things to easterners. . . . "He-
Man" Fernstrom with a platinum
bean. . . . You listen to the argiment
between Ray and Freeman . . . and laff
because newsreelers' arguments al-
ways is sort of funny.
Freeman dont want to git his name
into print too much because he feels
maybe Charlie Ford dont go for it . . .
Well, so far Ford aint complained this
way yet over seein his own moniker
gracin this page.
When a Meal Is News
And about this time I gits the yen
to pick up a tripod once agin and fog
some raw stock, so I decides maybe its
time to roll on back home to Chi . . .
but not before havin what they calls
a buffet lunch over at Al Levy's Tav-
ern. . . . Wal, now maybe if you is a
hearty eater you will think right away
a buffet lunch wouldn't be enuf for
you. . . . Well, over at Levy's you
couldnt polish off in one day what they
serves you for 75 cents. ... I aint
writin publicity for this place . . . that
meal he gives you is news. ... I had
about ten different kinds complete
meals. ... I guess the waiters is still
servin' my table, but I hadda make a
train for home. ... So I guess I is just
another baboon what has went Holly-
wood. . . . It's a great place run by
mighty friendly people and you gotta
make the trip to find out just what
kind of a country they got on the
other side of them mountains. . . . Go
west, young man, go west! . . . It's
worth it!
Newhard Store Is Featuring
Leica W ork and Cameras
GUY NEWHARD of the Sunset
Camera Shop has associated
with him Gilbert Morgan, who
has installed a complete line of Leica
cameras and accessories. The new-
comer has had much experience in
Leica pictures, having been for a long
time with the New York headquarters.
The store is building a first-class
darkroom on the premises for one day
service in taking care of Leica devel-
oping, printing and enlarging.
September', 1932
The INTERNATIONAL PHOTOGRAPHER
Nineteen
In Shark Excitement Hal Hall Slips
Over Side, but Some One Grabs Foot
HAL HALL looked a shark right
in the mouth the other day. It
was a real shark, too, and at the
moment it was in a most uncongenial
frame of mind. The editor could see
that much, plainly. While but a few
feet directly above the beast of the
waters it could not be said exactly he
was looking down on him or in any
way upstaging him.
Nevertheless he did feel a bit un-
cordial himself over this unexpected
tete-a-tete — and with such a mug,
too — or this new-fangled vis-a-vis. In
fact, had he not been speechless he
would have tried to suggest to the
stranger how always and unfailingly
he had abominated the viscera of his
entire tribe.
You see it happened something like
this, as was explained a couple of
days later when the victim's voice
returned as suddenly as it had faded.
He had afishing gone down to the
deep sea in company with Bob Hall,
a friend. Yes, it was a Sunday, of
course. The kind of bait carried is
not described, but it is known that
after a short and furious session the
fish suddenly quit.
They retired to a lower level to
sleep it off — that is, the bait; no,
that's wrong, the fish did, or anyway
all but one. It may be in order here
to remark that neither then nor later
did any of the aforesaid bait nor even
of the previously entangled fish get
across Hollywood Boulevard. If they
did none of the lads around here saw
them.
They Reel In
Just after the fish, the mackerel
and the barracuda and those boys,
went downstairs to sleep it off the
Hall boys decided they'd go ashore
and hunt up a change of bait. Reel-
ing in was nearly completed when
Bob experienced a strike which be-
cause of its rudeness caused him
momentarily to forget it still was the
Sabbath. When Hal remonstrated at
such language he was curtly told
where he could head in, but Hal at
the moment did not indicate his in-
tended or immediate acquiescence.
Quickly the other fishermen sensed
the scrap going on below and crowd-
ed around, leaving their lines.
It may be explained the two boys
were behind a rail which hardly
topped the level of the deck more
than ten inches. Bob was having dif-
ficulty staying on board when some
one no longer a member of the Cham-
ber of Commerce yelled "He's got a
shark!" The creature started thrash-
ing around, fouling all the lines on
that side of the boat.
As Hal stepped nearer to Bob to
give him a hand or encouragement or
something Bob suddenly was pulled
to one side and Hal was upset and
fell toward the rail. Slid really is a
better word. He tried to grab on to
something in his effort to stop his
progress overboard, but even the
straws had been discarded when the
bait gave out. He felt his knees
passing over that rail, and then his
shins.
Just as his mind was all set to
grab the shark around the back of
the neck and ride him drug store
cowboy until he could get a chance
to slip him a sample of his most ap-
proved sales talk Hal felt his prog-
ress suddenly halted.
There right under him. surely
enough, was Mr. Shark, and plenty
near. His mouth really was large,
even if it did not quite square with
the actuality as was later determined.
Then Hal felt somehow not only had
his disembarkation been checked and
most miraculously, but he was going
aboard again.
A quick-witted and equally power-
ful fellow-fisherman had grabbed the
departing and possibly pessimistic
angler by the foot, stopped his pro-
gression, and then slowly and labo-
riously hauled him in.
The shark measured something
over eight feet in length when later
he followed Hal on board but with
quite different emotions.
Incidentally the next morning Hal
noted a badly swollen forefinger. He
took it in to be inspected by the doc-
tor on the floor below.
"Just kind of grit your teeth," sug-
gested the medico as he finished a
casual examination. A resounding
crack followed and the finger again
was in joint.
When "Tiger Shark" is released
Tony Gaudio is going to take Hal over
to show him what he missed when
the man held on to his foot — or maybe
the sly Tony means what the fisher-
man would have missed if his foot
had slipped the second time.
Theisen Seeks Co-operation
for Film Exhibit at Museum
EARL THEISEN, honorary cura-
tor of the Los Angeles Museum,
especially having in mind mate-
rial for the film division of that insti-
tution, appeals to cameramen to bring
in to the museum stills of sufficient
age to put them in the category of
historical value. The same request
applies to all objects of similar value
having to do with the early making
of motion pictures.
Mr. Theisen is anxious to make the
exhibit, which has been expanded in
notable degree during the past year,
as representative of cameramen as
possible. With the request comes an
invitation to cameramen to come to
the exhibit at the Los Angeles Mu-
seum and personally observe what
has been accomplished in a compar-
atively short time and which in years
to come will be not only priceless in
value but so far as present indica-
tions go without a worthy competitor.
Sweilish Production Planned
Svensk Film-Industri, Stockholm, is
planning the production of from eight
to ten feature films and an equivalent
number of short feature films during
the coming season.
Robert Miller (at right), I. P., in charge photographic department of steam-
ship Hoover, in Manila visiting George P. Musser, owner of the sole sound
recording outfit in the Philippines. The two men are set to make the first
sound pictures to be produced in Manila on this Art Reeves equipment, made
in Hollywood.
Twenty
The INTERNATIONAL PHOTOGRAPHER
September, 1932
EASTMAN
FILMS
BRULATOL
WHAT'S WHAT!
Published Monthly by J. E. Brulatour, Inc., Distributors, Eai
Prosperity Push on Productions
AUGUST hangs up a couple of new records in Hollywood. The 18th of
the month set up one record with a new high (temperature) of 06
degrees.
Another flock of new highs started to pop out of Wall Street very early
in the month. Stocks and bonds did a swell imitation of a skyrocket.
Stocks also did another sweet take-off at The Brulatour Warehouses when
the studious decided to shake off their dreams and get busy with production.
Raw stocks (Eastman) were on the upgrade, and. Boy! How they've been
climbing since the first of the month.
Cameramen were grabbed by the producers so fast that Union Headquarters
was at times a day or two late in being advised by the boys that at last they
were working.
Right now the roster of the Union shows the peak line. More cameramen
are working today than at any other time during 1932.
As of August 15 there were fifty more first cameramen employed than
there were two months earlier. Union officials report a steady increase in
employment of its members, and prospects right now indicate this sweet con-
dition is scheduled to continue for some time.
Columbia Hums
Paramount Active
AMONG the outstanding photo-
graphic achievements in current
production at Paramount are:
Ernie Hal'er on the Archie Mayo
picture, with Guy Bennett as his
second.
Charlie Lang continues on "Farewell
to Arms," with Bob Pittack and Clif
Shirpser assisting.
Dave Abel, en "Phantom President,"
with Ernie Lazlo on second and Bob
Pittack assisting.
Vic Milner on the Lubitsch opus.
Second, Bill Mellor and Guy Roe, as-
sisting.
COLUMBIA PICTURES, the magician that turned Poverty Row into Fifth
Avenue, steps right out at the head of the production peerade with a pro-
gram of activity promising much to Hollywood and to the box office all
over the world. An ambitious line-up, with the early parF of the month finding
six pictures on the make. V
L. William O'Connell doing the trick
on the Lambert Hillyer production,
"Rustler's War."
Joe Walker winding up the last
takes on the Frank Capra picture,
"The Bitter Tea of General Yen."
Joe August turning in his usual Co-
lumbia standard of artistry on the
Neal production, "That's My Boy."
Teddy Tetzlaff in action with Jack
Holt on the Erickson production of
"Polo."
Ira (Joel Morgan at the crank for
Jimmy Cruze on the big super, tagged
"Washington Merry-Go-Round."
Ralph Staub (one man unit) buzzing
hither and yon turning out his Colum-
bia Classics in Screen Snap Shots — and
Li'l ole George Seid (who runs the
lab) so gosh darn busy turning out his
negative and prints that he actually
forgot his synthetic grouch and smiled
every time he came out of the projec-
tion room
August's staff is composed of Vie
Scheurich, second, and Bill Crosby and
Roy Babbitt as assistants. With Joe
Walker is Andre Barlatier and also
George Kelley and Marcel Grand as as-
sistants. Teddy Tetzlaff has Rube
Boyce as his second, while Jack Ander-
son and Don Brigham hold the assist-
ant spots.
Gaudio at Metro
ABOUT three months ago we
chanced along on the set of the
Warner Brothers (Hawks) produc-
tion "Tiger Shark," which was just
making its take-o f. We stopped a
minute to talk with Tony Gaudio,
who beamingly told us this was his
first big picture in almost a year
and, said Tony, "I'm going to make
this picture so dam beautiful that
Jack Warner won't let me get away
from him — or — ," said Tony, " — if
he does, some other big producer
is going to give me a chance to re-
peat what I do with Tiger Shark."
Who can say that Tony was
wrong ?
"Tiger Shark" is a photographic
gem. Now (due to the fact that
Warners went dark upon comple-
tion of the picture, and Jack War-
ner didn't keep anyone on his cam-
era staff) M.G.M. called Tony to
take the responsibility for photo-
graphic perfection of "Fu Manchu"
— and even Tony is satisfied with
the results.
Knechtel's Miniatures
Lloyd Knechtel (R.K.O. ) is responsi-
ble for the applause which greeted the
preview of "The Most Dangerous
Game" when his yacht explosion regis-
tered as the real thing. Knechtel is
also responsible for some of the clever
miniatures in "Bird of Paradise."
Dan Clark Locationing
With the camera responsibility for
another Tom Mix (Universal I picture
under his belt, Dan Clark is on loca-
tion. Accompanying Dan: Norm De-
Vol as second, Paul Hill and Ross Hoff-
man assistants.
Fox Resumes
SHORTLY after Winfield Sheehan
returned to his desk at Movietone
City he made the statement that he
would launch, very shortly, a produc-
tion program such as the Foxites never
had previously seen. Mr. Sheehan,
being a man of action, has, as usual,
made good — with interest.
Look!
George Schneiderman (Fox eternal
juvenile cameraman) is at work on
production carrying the temporary tag
"Golden West."
Norbert Brodine is at the camera for
Walsh on "Wild Girl."
Glen Mac Williams is in charge of the
cameras on the Sid Lanfield picture,
"Hat Cheek Girl."
Johnny Seitz is turning in his usual
splendid array of lights and shadows
on the Dieterle production, "Six Hours
to Live."
Jimmy Howe is bidding Aloha to
"Chandu The Magician" and resuming
immediately with Von Stroheim on
"Walking Down Broadway."
L. W. O'Connell (for years a Fox
fixture in the camera department) has
returned to the lot in charge of the
photographic end of the Al Werker
production, "Rackety Rax."
Sid Wagner has started on resump-
tion of Spanish versions with his first
assignment "Dick Turpin."
Hal Mohr ties in with Al Santell
(great judge of photography) to set up
new artistic laurels with "Tess of the
Storm Country."
On the camera staffs, assisting the
above first men, are Curt Fetters, Louis
Kunkel, John Schmitz, Harry Dawe,
Joe McDonald, Bill Abbott, Arthur Ar-
ling. Bud Mautino and others who have
seen long service at Movietone City.
New Background
Negative
EASTMAN Kodak, as usual, meets
another newly developed require-
ment right where it should be
met — at the camera.
With the rapid development and in-
creasing use of the projection back-
ground process, there has been an in-
creasing demand for a special negative
film with which to photograph the
original negative used in this process.
One of the outstanding difficulties
with this process has been the graini-
ness picked up in the background shot.
There have also been some complaints
relative to the general lack of the pe-
culiar photographic qualities demanded
for best results in this work.
Brulatour now has ready for delivery
Eastman's newest negative product
which will produce this desired photo-
graphic quality and much finer grain.
The film is of approximately the same
speed as Eastman Type Two Panchro-
matic Negative and has a color sensi-
tivity similar to that of Eastman Su-
persensitive Panchromatic.
The new film is being used in prac-
tical production at this time and de-
livering highly satisfactory results.
"Madison Square Garden"
Henry Sharp has been turning in
some most interesting screen material
from his cameras, which are portray-
ing the deft direction of Harry Joe
Brown on the "Garden" story for
Charles Rogers on the Paramount pro-
gram.
Bigger Be
t
HERE'S the first issi
idea a few short I
tion. We started f
of telling Hollywood an!
cameramen who are engal
important and outstandim
The idea clicked.
Production executives!!
move. It gave them firl
photographers. Heads oli
studios used the inform!
Cameramen themselves ek
effective co-operation.
With eighteen to twii
graphed by cameramen ■
Negative, we found one p4
rent story. Now product
way and Eastman units ■
on production at all stud*
page (thanks to preferel
so we've had to increaseli
to our increased business
We hope you'll like it.1
Thank you.
Back Street Hits
The Universal (John M. Stahli
duction, "Back Street," which recei||
premiered at the local Cartnay Ci I
Theatre, was photographed by F>B
Freund, whose screen presentation*
Irene Dunne, in particular, and the)
tire production in general brought
usual praise from the local newspS
fraternity.
Emerge
SIX days a week schedule is
Warehouse. Hours 8 to
emergency delivery will b
of the night or on Sundays and
This can be arranged by co
Service men at their homes.
It's our job to serve you whe
Harry Pratt
Hillside 6981
lv
West L<
George Gibson
OXford 6611
September, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-one
R BULLETIN
EASTMAN
FILMS
BO-P3BEJC3
in Films, in Cooperation with The International Photographer
WHO'S WHO!
er Bulletin
i our bigger Bulletin. An
Iths ago. Now an institu-
|i the thought and purpose
ie Industry all about the
•in photographing the most
troductions.
nplimented us upon the
Und information about the
,iera departments at major
t to their own advantage,
issed appreciation for this
i-five units being photo-
\r Eastman Supersensitive
tample to tell the then cur-
mas come to life in a big
r taken a decided up track
i We can't tell it all in one
tof smart photographers),
(■news space in proportion
.ence the double page.
Garmes to Fox
Lee Garmes has completed his Norma
Hearer (M.G.M.) production "Smilin'
irough" and has been called to Mov-
Itone City, where he will photograph
ie John Francis Dillon production,
pall Me Savage," which brings the
, lightful Clara Bow back to the
ireen under the important sponsorship
' Fox Films.
Service
fi full effect at the local Brulatour
(ily except Sunday. In cases of
I at the warehouse at any hour
titing with any of the Brulatour
■ed service.
iurn
les 31498
Bud Courcier
MOrningside 11050
Lou Nestel
DUnkirk 6982
Warners Hit Stride
IN last month's Bulletin we told you
the wheels had started to turn at
Burbank. Less than a month in pro-
duction and look what Messrs. Warner,
Zanuck and Koenig have done about it:
Sol Polito with Mervyn LeRoy on
the Paul Muni drammer, "I'm a Fugi-
tive."
Jimmy Van Trees with Al Green on
the special "Silver Dollar."
Sid Hickox started the camera work
on "Central Park."
Chick McGill at the camera on
"Twenty Thousand Years in Sing
Sing."
Bob Kurrle returned to the lot to
take over the cameras for "Match
King."
Dick Towers drew the assignment on
the Joe E. Brown laugh-getter, "You
Said a Mouthful."
Three more scheduled to start around
Labor Day.
Doctor "X" Operates
WE'VE had a lot of colorful shock-
ers during the past season, for
which the customers at the box office
have evidently been grateful. However,
now we have a shocker in color.
Warner Brothers are presenting the
Michael Curtiz production "Doctor X,"
which is in Technicolor — and what
color and what a picture.
The good colorful Doctor put on his
gown and stepped right up to the oper-
ating room above the box office, where
he did a neat and speedy job of cut-
ting the "shun" out of old man de-
pression.
He left the clinic a bit groggy by his
realism, but the realism of the exhib-
itors was even more startling. Big
theatres grasped at the big picture
and are giving it a big play to big re-
turns and
Incidentally, Ray Rennahan, who did
the job of photographing this newest
color classic, deserves a world of credit.
His intelligent and effective use of fil-
ters is a revelation. He has produced
"just what the Doctor ordered" and
contributes largely to the success of
the production.
McCord on Third for
Schlesinger
T. D. McCord is away on his third
production for Leon Schlesinger and
Sid Rogell — the Warner Westerns.
Mac would appear to be in a pretty
sweet spot. Sam Bischoff (K.B.S. )
seems to share Mr. Schlesinger's opin-
ion about McCord. Both of these pro-
ducers, to our certain knowledge, have
he!d up production for a day or two
on more than one occasion until Mc-
Cord could finish with one before being
available for the other. It's our hunch
that Mac will get a shot at a big fea-
ture soon — and when that happens . . .
Folsey East
George Folsey ("Big Broadcast,"
Paramount) has gone to New York,
where he'll shoot special sequences for
the production in and around the big
eastern broadcasting stations with the
big air personalities as his subjects.
"Broadcast" continues in production to
conclusion here at the Paramount lot,
with Arthur Todd drawing the assign-
ment of winding it up on the camera
| end!
Valentine and Van Enger Away
JOE VALENTINE and Charlie Van Enger, the globe trotting cameramen for
Fox, are off on the first leg of another trip in quest of backgrounds which
takes them now to the Iowa State Fair (Des Moines I, where the boys will
get interesting shots of big punkins, giant corn, Berkshire hogs, prize steers
and shapely calves. Crowds (including Fords) will afford interesting back-
grounds for the forthcoming Henry King (Fox) production, "State Fair."
When Valentine and Van Enger have completed the Iowa assignment they
will leave for New York, whence they will embark for another extended dip
through Europe, embracing all the countries and principalities.
In addition to production shots on Eastman Supersensitive Panchromatic
Negative, the boys will expose about a quarter million feet of the new Eastman
Special Background negative which is announced in another section of this
Bulletin. They expect to be abroad for approximately six months.
Radio's Heavy Schedule
PRODUCTION continues at top speed at the R.K.O. plant, where the follow-
ing productions are currently in work: Charles Rosher, photographing
Constance Bennett in "Rock-a-bye." Frank Redman and Cecil Cooney are
associated with Charlie.
Artliur Edeson at
M. G. M.
1,">OR the first time in his long
and interesting career Arthur
Edeson is on the pay roll at M.G.M.
It's been an interesting journey
for Edeson and for the Industry.
The Clara Kimball Young series,
"Eyes of Youth" and others : Doug
Fairbanks' "Thief of Bagdad,"
"Robin Hood," etc. ; then years and
years at Fox, topping a nice string
with the Grandeur (remember?)
production, "The Big Trail" ; to
Universal, where he topped himself
with "All Quiet on the Western
Front" and "Waterloo Bridge" ;
then Sammy Bischoff got big-heart-
ed and decided to go for photog-
raphy in a big way with Edeson at
the camera on "The Last Mile,"
and three or four others —
Now it's M.G.M. with "Red
Dust."
It's on Eastman Supersensitive —
Artie's at the camera. It's got to
be good.
"Breach of Promise"
It's an interesting headline in any
story in any paper, and it promises
interesting box-office returns to Ben
Verschleiser, who is producing the
story for the screen under the banner
cf World Wide as directed by Paul
Stein and photographed by Artie Miller
at the World-Wide Metropolitan Stu-
dios.
Miller will probably do an encore for
World Wide immediately upon comple-
tion of his present assignment.
Verne Walker's Process
The process shots which stamp the
Arkayo pictures as finished productions
are the work of Verne Walker, who
has recently won high praise from his
executives for his efforts on "Bird of
Paradise." Walker has been in charge
of the process department at this stu-
dio for several years.
' Henry Gerrard is photographing
"The Phantom of Crestwood," with
help of Russ Metty and Willard Barlh.
Roy Hunt is on "Sport Page," with
Eddie Pyle and Charlie Burke as his
staff.
Al Gilks is starting on "Secrets of
the French Police."
Eddie Linden is in production on
"Eighth Wonder." His assistants are
Billy Clothier and Billy Reinhold.
Eddie Cronjager continues on "The
Conquerors," with assistance of Bob
DeGrasse. Bernie GufTy, George Dis-
kant and Harold Wellman.
Leo Tover on "Monkey's Paw," with
Biroc, Wilky, Daly and Terzo as his
staff.
Marsh with Bankhead
OLLIE MARSH continues to draw
the assignments when beauty is
to be made more beautiful. This time
he's bringing new thrills to Tallulah
Bankhead every time she looks at her
rushes at M.G.M., where her produc-
tion "Tinfoil" gives promise of being
one of those things that the salesmen
in the home office go into raves about.
Ollie's recent U. A. production,
"Rain," is set to follow "Strange Inter-
lude" into Grauman's Chinese. "Rain"
threatens new triumphs for its star,
Joan Crawford, as well as for this
splendid photographer. Associated with
Mr. Marsh on "Tinfoil" are Eddie Fitz-
gerald and Kyme Meade.
Dyer Clicks Again
Elmer Dyer, who has contributed a
thousand thrills in air pictures for the
entire industry, again comes through
with a highly commendable job on
the air sequences of Karl Freund's
(Universal I picture, "The Mail Must
Go."
Rosson on "Congo"
Hal Rosson is taking his usual bows
on spectacular results achieved with his
cameras in the M.G.M. picture "Con-
go." Hal is seconded by Harold Mar-
zorati and assisted by Wilbur Bradley
and Harry Parkins.
Twenty-two
The INTERNATIONAL PHOTOGRAPHER
September, 1932
Picturemaking Gets Early Start
Desire to Reproduce Images Photographically
Blazes Interesting Trail From Early
Civilization to Present
By EARL THEISEN
BRIEFLY tracing the evolution of
the photographic idea, man's in-
satiable curiosity and observa-
tion no doubt started lines of thought
as to why the outline of a printed pic-
ture remained after a hide had been
tacked to a wall in the sun and re-
moved after a period of time. This
bleaching action of sunlight and simi-
lar incidents would quite naturally
lead to conjecture and sporadic at-
tempts to try and make pictures in
this manner.
Early writers letting their imagina-
tion work along such suggestions cre-
ated situations on the subject as evi-
denced in "Un Voyage Suppose,"
written by Fenelon in 1690, in which
novel was introduced the idea of na-
ture making pictures.
The picture idea has been long with
the human race, dating back to the
dawn of civilization, and as far back
as ten thousand years ago paint was
known in several colors. With the
knowledge of painting came the desire
to reproduce in a lifelike manner of
which the camera obscura was the out-
growth during the thirteenth and
fourteenth centuries.
This embryo of the present camera
was known and used by Leonardo da
Vinci (1452-1519), and in his descrip-
tion of it in his writings he lays no
claim to its inventon, showing it was
known previously.
The camera obscura at this stage
had not acquired a lens but consisted
of a darkened chamber with a pinhole.
The first mention of a lens in conjunc-
tion with a camera was in a published
account in 1568 by Daniello Barbaro,
wherein he describes the procedure in
using a lens and stops.
Discovers Actinic Quality
The camera was regarded as a
novelty and a device for tracing land-
scapes for many centuries. In 1727
Johann Schulze by chance discovered
the actinic quality of light on silver
nitrate. He was experimenting with
nitric acid and chalk, trying to make
them phosphorescent, when by chance
some silver got into the acid and in
contacting with light it darkened.
Following this he made stencils of let-
ters and words and wrapped these
around bottles of the silver and nitric
acid solution which upon being ex-
posed to light became darkened
through the stencil, giving a liquid
picture of the cut-outs.
It was not until 1802 that Thomas
Wedgewood, after experimenting
twelve years, sensitized paper with
silver nitrate and made pictures in a
camera. However, he had no way of
fixing his pictures. His methods are
desci'ibed by himself and Humphrey
Davy in a paper submitted to the
Royal Society at this time. It is of in-
terest that he includes in the paper his
attempts to fix his picture by varnish-
ing.
The next noteworthy progress was
made by Fox Talbot, who started with
Left — Made from the earliest negative on glass in 1839 by Herschcll, who
followed the silver solution on the glass without an emulsion. The first man
to use an emulsion was Niepce De St. Victor, who published his system in 1847.
He used an albumen emulsion. Right — Here is the initial successful photograph
to be made by Talbot in 1833-4, the first made with silver and then fixed with
common salt. He perfected the first system employing silver, which is similar
to the one in use today
the photographic idea in 1833. He
printed fernleaves as his first experi-
ments and in 1835 successfully photo-
graphed his home in Laycook Abbey,
original pictures of which were placed
by him in his "Pencil of Nature." He
fixed his photographs with table salt
after developing with gallic acid.
It was not until January, 1839, that
he published his results in a paper to
the Royal Society on "Photogenic
Drawing." In his "Pencil of Nature,"
published in 1844, he uses the words
positive and negative for the first
time and tells of the discovery of the
latent image, which he says decreased
the exposure "a full hundred times."
His process is known as Calotype or
Talbotype.
From Wet to Dry Plates
Sir John Herschell introduced hypo
as a fixing agent and also flowed a
silver salt solution on glass in 1840.
However, it was not until 1848 when
Niepce de Saint-Victor successfully
made an emulsion on glass using al-
bumen on which he brushed his silver
salts.
This albumen base emulsion
achieved popularity shortly thereafter
and remained the standard until about
1890. The collodion wet-plate pro-
cesses introduced by Scott Archer
about the same time in 1848 con-
tinued in general use for approximate-
ly twelve years.
The story of photography is one of
repeated attempts and struggles to in-
crease the sensitivity of silver. All
the first pioneers exposed their pic-
tures hours until Talbot discovered
the latent image decreased the ex-
posure to about ten minutes. The
various experimenters exposed wet be-
cause of the increased sensitivity
when moist. The wet systems con-
tinued until R. L. Maddox published
a formula for preparing dry plates in
1871. The first plates of this type to
be commercially manufactured were
made by J. W. Swan in 1877, which is
three years prior to the dry plate of
the Eastman Company.
Some readers will note that no men-
tion is made of the work of both Jo-
seph Niepce and Louis Daguerre.
Strictly speaking, the work of these
two men is not in direct lineage with
photography today and they offered
no improvements in the art. How-
ever, they did much to popularize
photography.
More Pioneering Advances
The work of Niepce is to be con-
sidered a printing process in that he
exposed metal plates coated with
bitumen. These exposed parts hard-
ened under the action of light. He
dissolved the unexposed parts away
with oils, and with this bitumen pic-
ture he tried to make ink pictures.
He conducted his researches from 1814
until 1829, when he formed a partner-
ship with Daguerre that lasted until
his death in 1833.
In the meantime Daguerre had been
experimenting from 1824. The final
Daguerreotype process gave beautiful
September, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-three
results, although it had the disadvan-
tage of a single picture with each ex-
posure and it was necessary to view
the result from a certain angle.
Daguerre's system consisted in tak-
ing a polished silver plate and fuming
it with iodine fumes. It was then ex-
posed and developed with mercury
vapor He announced his results to
the Royal Society in January, 1839.
They were popular until about 1854,
when the albumen positive ambrotypes
that were backed with varnished sur-
faces or velvet succeeded them.
These photographic pioneers well
may be given credit for building a
foundation for the motion picture that
came later. The student of motion
picture history will recall that during
this time there was being conducted a
series of experiments by men endeav-
oring to show motion.
These devices enjoyed a certain
commercial success, but were short
lived since the motion depicted de-
pended upon hand drawn pictures.
Photography did not reach a stage of
perfection necessary for motion pic-
tures until the Eastman stock on
celluloid was introduced in September,
1889.
Looking back over the progress of
the last twenty-five years in the art
of photography this writer feels in-
clined to encourage the aspiring young-
cameraman of Culver City who re-
cently borrowed his friend's Prevost
and spent a day photographing trying
to take pictures through the back of
the camera, pointing it hind end fore-
most thinking the thing worked
through the focus chamber. Perhaps
in another twenty-five years such a
"day" will be rewarded with a certain
measure of success.
At any rate the photographic art is
in the hands of our camera artists of
today, and upon them rests the re-
sponsibility of returning works of art
with the rapidly improving quality of
the raw stock available from day to
day.
Back of Stephenson Foundry
Is Owner's Long Experience
in Development of Machinery
THE Stephenson Foundry, in Los
Angeles, is specializing in cast-
ing camera heads among other
motion picture equipment. It is par-
ticularly well equipped to take care
of contracts covering brass, aluminum
and bronze. The foundry was started
in 1915 on the same site it occupies
today and has never been shut down.
It was founded by Harry A. Love
and he still is the owner.
For seven years Mr. Love has been
working in metals and their problems
from the mining, milling and smelt-
ing and on down to the final product.
The owner admits in a burst of can-
dor, which seems to be a noticeable
characteristic in him, that he spends
a lot of the profits of his foundry
working out crazy ideas brought in
to him, but he prides himself in solv-
ing problems other foundries fail on.
Mr. Love was raised in Los An-
geles, and from 1906 to 1912 was first
at University of Southern California
and then at University of California,
in the latter of which he majored in
chemistry and metallurgy. Then for
two years he was with the Reclama-
tion Service. Between 1914 and 1918
he was testing engineer with Phillips-
Dodge, and after two years in service
again spent the same length of time
with Phillips-Dodge as experimental
engineer.
Mr. Love has been designer of a
most successful die casting machine
and co-designer on a successful flota-
tion machine used practically all over
the world for the recovery of copper,
silver and sludges.
Pliny Home, veteran cameraman,
represents Mr. Love in the motion
picture industry.
gether with large angle of covering
power, while still retaining quality in
definition and even illumination.
Among other specialties are lenses
yielding softness of image, lenses of
considerable speed, telephoto lenses,
and designing of projecting systems
of extremely short throw. An "optical
unit" for sound-on-film also is an-
nounced.
Minor Announces Facilities
For Development of Lenses
THE creator some years ago of
the ultrastigmat F1.9 lens, C. C.
Minor, announces facilities for
the development of various types of
lenses possessing unusual qualities,
such as lenses of high aperture, to-
Philip Tannura Now Working
in London Film Productions
PHILIP TANNURA is now con-
nected with the London Film Pro-
ductions, Ltd., 22 Grosvenor
Street, London, which expects to make
films in Germany, England and
France. As soon as he finishes work
on the production, "The British
Lights of London," directed by Row-
land V. Lee, on which he was working
when writing, he expects to spend
most of September in Paris. By De-
cember he anticipates there will be
quite a lot of activity with several
productions in the process of making.
Cleopatrian pose, maybe, taken by wet plate process by the famed photographer
Brady during the Civil War. Note the frilling at the edge which was
typical of the wet plate pictures. Gift of George E. Van Guysling to the
Los Angeles Museum
Twenty-four
The INTERNATIONAL PHOTOGRAPHER
September, 1932
Olympic Newsmen Real Champions
Win the Endurance, Weightlifting, Hurdles
(Seats) and Also the Centathlon Where
Athletes Copped Only Decathlon
By RAY FERNSTROM
Paramount Sound News
OF all the athletes and other
laborers of the Tenth Olympiad
without a doubt the newsmen
had the most work. They won the
endurance, weight lifting, high sta-
dium seat hurdles, and a new centath-
lon, for in the decathlon the athletes
had only ten tasks, whereas the news-
boys had a hundred.
For weeks before the opening, all
the newsreel men had been busy mak-
ing the well-known arrangements,
getting the okeh on camera setups,
passes, badges, etc. Special labora-
tory equipment was set up to care for
the many Olympic local editions, men
were sent from New York and San
Francisco to help care for the extra
work that was to come piling up on
the shoulders of the local representa-
tives. Traffic rooms were found in
convenient positions to handle the
negative for shipment to all parts of
the world with every plane and boat
that left during those hectic sixteen
days.
Having seen examples of all the
various reels' work, they are all to be
congratulated. Their job was just as
well cared for as the staging of the
big event.
As for a downright newsreel scoop,
that credit goes to Paramount News.
Its first local hit Los Angeles screens
the same evening of the opening day.
Old Home Week
It was surely a gathering of old
friends, that Olympic Stadium get-
together, both of athletes, cameramen,
and soundmen. Elmer Dyer was
there; Jackson Rose, Ray Olson; Tom
Comiskey of Fox Movietoners had
come out from New York to help con-
tact.
Old South Pole Joe Rucker, with his
soundman, Frank Lovey, came down
from San Francisco to help cover for
Paramount News and also present was
Jimmy Williamson, back from China.
Also from San Francisco came Jimmy
Seabeck and Old Mac MacGrath to
add footage for Fox-Hearst.
For Universal, San Fi-ancisco sent
MacHenry, another swell guy. From
Chicago who should come out for a
looksee but that old kangaroo Red
Fred Felbinger, the roaring lion of
the great middle west, and better
known as the Sassiety Reporter of
666.
Joe Hubbell had so many men help-
ing cover for his two reels, Fox and
Hearst, that I can't remember them
all. I did see Chubby Lehman and a
bunch of other boys, but although I
watched all through the games I
caught nary a sight of Eddie Reek of
their New York office. Aw, well, some
other time, Eddie, like we did down
in Washington when Hoover was in-
augurated. No big news event ever
comes off without some bellyaching.
The Tenth Olympiad was no exception.
Only a limited number of men were
allowed on the field. That kept the
field guards busy checking and double-
checking the field badges.
Up in the camera boxes the season
pass holders started crabbing about
the cameras hiding their view, so that
baby tripods had to be used. Never-
theless everyone got his pictures.
Conks Usher — Barred
One still man tried to get a shot of
some athlete down in the medal box
when an usher grabbed him. Natural-
ly the cameraman conked him, but as
a result lost his badge.
All in all it was rather quiet, as
news stories go.
Every conceivable type of camera
could be seen on the job with the pos-
sible exception of a New York In-
stitute Special. There were sound and
silent. Even Universal had a swell
new RCA portable sound camera
there.
Cameras were everywhere even un-
der the water on the swimming events,
when Paramount News brought into
play its submarine outfit.
During the field events the field men
dashed around almost as in the good
old silent days, with their camera and
sound outfits set up on little dollies.
Orange Juice? Yea!
Those of us who had the set-up in
the Tribune box were sure in luck.
Every ten minutes a waiter would
come around with a trayful of iced
orange juice. It seems this was sup-
plied gratis to the International Olym-
pic Committee guests who had boxes
there, so naturally the boys had their
hands ready, and was it good? Well!
Those boys also had quite a Follies
show in back of them before the cloth
guards were put up over the rail in
front of the row of pretty girls that
regularly sat there.
If all the film that was shot by the
newsreels was to be reckoned it would
have been a new Olympic record and
possibly a new world's record for a
news story.
If the words of "The Star Spangled
Banner" had been sung every time
they played it we would now know
all the words and have lockjaw, in-
stead of just a bad case of policeman's
heel from standing more or less erect.
The last day those who were there
to respond, looked like a bunch of
swimmers lined up for a nose dive.
Mizpah
When will we all meet again — Eric
Mayel from Seattle and Australia, all
those soundmen from parts afar;
those Western Electric fellers with
the tricky camera-timer; Dave Suss-
man of the Paramount News New
York office, now en route elsewhere?
Oh! well, let's hope it's soon. There
still is the old Los Angeles gang — Joe
Johnson, Sam Greenwald, Irby Kover-
man, MacCarroll, Sawyer, Hubbell, Al
Brick, Raleigh Nichol, Mervyn Free-
man, Joe Rucker, Jimmy Seabech,
MacGrath, Lowery, Jackson, Oscar
Darling, little old Buddy Hooper
(Binoculars), Leonard Poole and Roy
Kluver — no story is complete without
him — and if you need a Studebaker
he'll tell you how to get it, Frank
Blackwell and Irish Jimmy Duffy,
begorrah!
International cameramen covering
an international event:
"Ceremonie Olympique Protocol-
aire," stand and face the flag, boys,
you surely deserve a "Champion Olym-
pique" for the many times you ran up
and down those concrete steps and out
of film.
"Farewell to thee." The light is ex-
tinguished on the torch atop the
peristyle. Another meeting thus
closes, till we meet again.
Aloha! THE SWEDE.
Young Photographer Puts In
Year at Pasadena Playhouse
AS a member of Gilmore B'rown's
junior class of the theatre Ed-
ward Kearns, International Pho-
tographer, has just completed a year
of study at the Pasadena Community
Playhouse. The young man has ambi-
tions eventually to take up work on
the stage side of the camera, and to
that end is devoting all of his spare
time. A goodly number of successful
directors have been graduated from
among the cameramen. The surpris-
ing thing is that more of them have
not traveled the same route.
Crandall and Kennell Named
Crescent Associate Managers
ACTIVE in insurance circles for
many years and specializing in
the motion picture field, Robert
D. Crandall and Rolan C. Kennell
have been appointed associate man-
agers of the western branch of the
Crescent Brokerage Corporation, with
offices in Los Angeles. The two asso-
ciates will devote a major part of
their personal time to the needs of
the motion picture industries.
The Crescent is a national organi-
zation, with headquarters in New
York, and with other branches be-
sides Los Angeles in Chicago, St.
Louis and Brooklyn.
Notice to Members
International Photographers who
have retained their British citizen-
ship are requested to notify head-
quarters of that fact. The sugges-
tion is made against the possibility of
inquiry being instituted from abroad
as to the identity of those available
who conform to the requirements of
the quota act.
<?$%%
•*•
@ream oth Stills
cf-^L^A.
KaW Draxler's prize picture of the Olympic torch at the Los Angeles Stadium, exposed two minutes between
sundown and dark and eight minutes after dark. This flame burned ivithout lessening during the sixteen
days of the games. Copyright 19-12 by Karl Draxler.
Here are
rarely portrayed
that light and
shade which is
so steadily sought
by photographers
the world around.
Frank J. Bjerring
up in the
Truckce River
country shoots
almost at the sun
to get what
he wants.
Contrasting
sharply with
the above is
Jackson Rose's
interesting shot
of a palm-fringed
lagoon in
Uncle Sam's
Hawaiian
territory.
f
i
^5*
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KL^
fi-
W*'-
ll
pr
git
b xA ~^
E^8Er~"
jUrj
V fort 'tm r^MMm
KL. • ,^-lw.
V ""•' -'sS*&rJm*
*** J!
ami
*•
Mil
1 I MM
Ml M MMMM
.♦^'o.
'°o*tf
Qream oth Stills
C***L'°A.
"°CRK<"
Slipping due
north a mere
matter of 3000
miles — and if
in doubt about
direction look
at your map —
let lis, with
Navy Photographer
J. M. F. House,
look out on
Mount Lituyat,
over two miles
in elevation,
south toward
Alaska's
Chichagof Island
^**7
Here we are
back again on
solid ground
and 2500 miles
south of southeast
aivay — on the
Merced River in
Yosemite in the
autumn — with
Emmett Schoenbaum
with his camera.
Qream oth Stills
-SATrOA
This corner of mile-high Lake Arrowhead, in California, with its border of rocks and its backing of forest,
topped by piling cloud, was selected for perpetuation by Edward Laemmle, a director who has been touched
by the spell of the cavnera.
September, 19-12
The INTERNATIONAL PHOTOGRAPHER
Twenty-nine
News of 16mm. Industry
Dunnings Enter Industrial Field
Prepared to Reduce 35mm. Negative to 16, to
Print Unlimited Quantities of Positive
and to Incorporate 16mm. Sound
AFTER more than a year of prep-
aration and the expenditure of
a substantial sum of money the
Dunning- Process Company is well on
its way in the production of industrial
films. The concern will specialize not
only in 16 mm. size of stock in black
and white, but is prepared to deliver
that width in any quantity with the
added factors of sound and color. For
35 mm. the customer may have his
choice of the various brands of film
other than black and white or he even
may nominate the color system to be
used by the Dunning company.
It goes without saying that any
Dunning product made for the 16mm.
field also is available in the 35mm.
size. This of course is of importance
to those larger customers who will
have abundant call upon both sizes of
film, the 35 for employment in halls
and theatres of size and the 16 for
use in small auditoriums, salesrooms
and offices.
The Dunning company has designed
and constructed an optical printer that
will produce a 16mm. negative from
a 35mm. negative and another ma-
chine that will convert the 16mm.
negative to 16mm. positive. The lat-
ter equipment also will print through
a special device a 16mm. sound track
at the same time.
"We are not prepared to produce
16mm. original sound track negative,"
said Carroll Dunning near the end of
August, "but we do make prints from
the regular 16mm. negative that have
been produced by others.
Reduction Methods
"Sixteen millimeter sound track
negative may be produced by either
of two ways, either by direct optical
reduction or by electrical re-recording.
In the latter instance the sound on a
35mm. track is reproduced and in turn
simultaneously re-recorded on a 16mm.
sound track so adjusted as to com-
pensate for the difference existing be-
tween the sixteen frames to the foot
on the 35mm. film and the forty
frames to the foot on the 16mm. film.
"Also account may be taken of the
altered proportion of the width of the
16mm. sound track to that of the
35mm. The sound track width of
35mm. film is 100 mills, or one-tenth
of an inch. The frame of a 35mm.
picture is three-quarters of an inch
high, while that of a 16mm. picture is
but 40 percent of that heighth. So as
automatically the heighth of a sound
track on a 16mm. film is 40 percent of
that of the 35mm. it naturally would
be expected the width of the 16mm.
sound track would bear the same ratio
to that of the 35.
"It is at this point the digervence
comes. Instead of being 40 mills wide
as the apparent relation of the 16mm.
to 35mm. would indicate, the frame
being 40 percent of the heighth of the
35, the 16mm. sound track is 80 mills
wide, or double what the natural
physical proportion would presumably
indicate. It is here that the electrical
re-recording steps in to provide a
track exactly double the width while
preserving the ratio to the heighth of
that returned by the principal of op-
tical reduction."
The Dunnings, father and son, are
not concerned as to the particular sys-
tem of sound track reproduction em-
ployed, whether optical reduction or
electrical re-recording; their business
will be to make positive prints from
the negative that is furnished them.
While Mr. Dunning is preparing for
handling industrial and advertising
films he also is not overlooking the
possibilities that may exist in the
amateur and family trade. He plans
to give special attention to the labora-
tory end of his new enterprise in so
far as making major effort in return-
ing the highest possible results from
the material supplied. He aims to ac-
complish this by retaining in the
16mm. department the same grade of
laboratory craftsmanship he has used
in the delicate process work to which
he has given so much attention in re-
cent years and which will be continued
without let-down.
Large Market
Mr. Dunning is convinced that in
the rise and development of the 16mm.
sound track is to be found a great
opportunity for the revival of interest
in industrial film advertising. Stowed
away in odd places are thousands of
feet of silent 35mm. negative for
which the manufacturer owners have
no conceivable use. Much of this film
is still available if it be possible to
revivify it by tying it in with an up-
to-date synchronzed lecture.
In many instances where these sam-
ples of industrial film have been out-
moded by lapse of time and change of
methods the owners gladly will have
them rephotographed and brought to
date if they see an opportunity to se-
cure and interest an audience.
Mr. Dunning quoted one customer
of eleven years ago who recently has
laid in his lap forty reels in color with
the suggestion that out of that large
footage he select possibly six single
reels for reproduction in 16mm. in
color and to be accompanied by a
lecture.
The Dunnings also are now at work
on what they are convinced is one of
the largest industrial film contracts
ever signed in the history of motion
pictures. It is for a five-reel feature
in color both in 35 and 16mm. for the
California Packing Corporation.
Del Monte Products will be ex-
ploited, or possibly described is the
better word, by a running commentary
or lecture and accompanied by a musi-
cal or orchestral score subdued to the
description.
Mr. Dunning personally is under
contract to the company for the super-
vision of the industrial film. He has
written the scenario for the subject,
which has been approved and already
is in work. He will be responsible
for the photographing, laboratory
work and eventually the distribution.
The personal contract runs to the first
of the next year, by which time it is
expected the distribution of the fea-
ture will be well under way.
Mr. Dunning and Dodge, his son,
spent some time in Del Monte at the
end of August completing arrange-
ments for the execution of the plans.
Grocers Make 18-Reel Sound Film
to Show Forty-seven Conventions
TO COVER forty-seven conven-
tions, a number of which already
have been held, and the others
scheduled for different dates up to and
including October 10, the Independent
Grocers' Alliance, operating stores in
forty-seven States,, has produced an
eighteen-reel sound motion picture,
the most pretentious undertaking of
its kind by an industrial organization.
Produced as a medium to aid the in-
dependent retail food merchant and
for the purpose of aiding him in
building a more profitable sales vol-
ume, the picture is entitled "Keeping
Pace with Progress," and was re-
corded by RCA Photophone sound
system under the direction of Burton
Holmes, Inc., in Chicago. Portable
sound reproducing apparatus is em-
Thirty
The INTERNATIONAL PHOTOGRAPHER
September, 1932
ployed to present the picture at the
convention.
In order to guarantee a production
that would compare favorably with
the features that are made in the
major studios in Hollywood the Bur-
ton Holmes Company leased the Rain-
bow Gardens, one of Chicago's princi-
pal amusement auditoriums, where
the largest sets ever erected for an
industrial picture were constructed.
These included a completely equipped
and stocked I. G. A. store of city-size
dimensions, a three-room residential
apartment; an exterior store front,
street and sidewalk scene and a num-
ber of other smaller scenes.
Two hundred thousand watts, more
than were required for the Republican
and Democratic conventions, were
used to light the sets. The picture
was produced under the direction of
Hilles V. Montgomery of the Burton
Holmes Company, from a script pre-
pared by Reed Drummond of the
I. G. A. advertising department.
Jack Marvin and C. W. Boothe
head the large cast. The RCA Photo-
phone ribbon microphones were em-
ployed in recording
Kodak s Stuttgart Factory Sells Us
as Its Rochester Plant Sells Europe
AN INTERESTING economic
phenomenon in these days af
international trade discussion
came to light recently with the reve-
lation that the new kodaks, Six-16
and Six-20, are being sold in great
quantities in Europe.
Introduction of these two cameras
— among the most compact in the
world for their respective picture
sizes — to Europe occurred at about
the time the Eastman Kodak Com-
pany began the importation to Amer-
ica of certain European models from
the Eastman camera factory in
Germany.
In other words, cameras made by
the one firm are being shipped across
the ocean in both directions. East-
man's European cameras are selling
in the United States, while Eastman's
American kodaks are selling in
Europe.
The explanation is that America
leads in the manufacture of high-
quality, low-cost instruments when
the demand is sufficient to permit
large expenditures to be made for
tools and special machinery. Eurorje
leads in the production of cameras
equal in merit when a specialized and
smaller demand makes machine tool-
ing impractical.
Consequently, the United States is
in a successful competitive position
in the European market for stand-
ardized cameras like the kodak.
Europe, on the other hand, has the
advantage in the American market
for a variety of specialized cameras
appealing to advanced amateur pho-
tographers but not sold in large
quantities.
It is these factors which make it
possible for a large photographic
organization like the Eastman Kodak
Company to sell, to advantage, in
America the Pupille, the Recomar,
the Ranca, and the Vollenda from its
Dr. Nagel Works in Stuttgart and at
the same time to find a large Euro-
pean market for the newest Roches-
ter-made kodaks.
Manufacturers Decide to Maintain
Present Standard Size 16mm. Film
FOR the purpose of clarifying the
16mm. sound-on-film situtaion the
RCA Victor Co., Bell & Howell,
and International Projector Company,
leading manufacturers of sound re-
producing equipment, and Eastman
Kodak Company, the largest producer
of sixteen millimeter film, have in-
dividually decided to maintain the
present standard size 16mm. film in
the production of sound-on-film
motion pictures by eliminating one of
the two rows of sprocket holes and by
utilizing the space thus acquired for
the sound track.
In maintaining this standard and
by the elimination of one row of
sprocket perforations, the dimensions
of the picture on the film remain the
same as on the present 16mm. silent
film.
Present stocks of silent film can be
run on sound projectors for the new
film. The center line of the sound
track is located centrally in the space
between the picture and the edge of
the film, the space thus available
permitting a sound track .065 inches
in width and suitable margins on
each side of the sound track.
The standard speed of 16mm. sound
film is 24 frames per second and the
lead of the sound with respect to the
picture is 25 frames in advance.
By maintaining the same size and
position of picture on the film it be-
comes unnecessary to change the pro-
jector lens, to shift the projector, or
to increase the candle power of the
projector lamp in order to get the
screen picture of the same size, bril-
liancy and definition.
Czechoslovakia!! Production
Whereas a total of 10 films were
produced in the single existing
Czechoslovakian studio, the A.-B.
studio, Prague, five films were sched-
uled for production during July and
August alone.
Photograph made during actual filming of "Keeping Pace with Progress" for
the Independent Grocers Alliance at the Rainbow Gardens, Chicago. RCA
Photophone portable sound recording equipment shown in the middle fore-
ground.
Soviet Building Studios
The Soviet Government is stated to
have increased its film budget for
1932 for the construction of studios
and other technical plants to $12,-
500,000.
September, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-one
The International Photographer's Family Album
Anniversary of the Stork 's Visit
SEPT. 1— John W. Boyle, Raider B.
Olsen.
2 — Paul Hill, John S. Landrigan,
Lionel Linden.
3— Wilfrid Cline.
5 — Pliny Goodfriend.
6 — Joe Harris.
7 — Steve Bauder, John Grout, J. P.
Van Wormer.
8 — Clifton Maupin, William Brad-
ford.
10 — Newton Hopcraft, Anthony Korn-
mann.
11 — Cecil Cooney.
12 — Enzo Martinelli.
13 — Allan E. Irving, Jack Mackenzie.
14 — John McCormick, Maynard B.
Rugg.
15 — M. A. Anderson.
16 — Russell Harlan, Bert Longe-
necker.
19 — Arthur Arling, Robert Pittack.
20— Charles E. Burke, Paul Gren-
beaux, Russell Metty, James B.
Shackelford.
21— Raleigh B. Nichol, William Sny-
der, Harold Stine.
22 — Perry Finnerman, Herbert Van
Dyke.
Very likely the mature young man
shown here will repudiate this now
archaic reproduction exposed five
years ago when he had attained the
age of three and a half years. The
subject is Fred Lincoln, son of Louise
Lincoln, who also has mothered since
659 was an infant all the sturdy sons
of that outfit — has kidded them in
prosperity and consoled them in ad-
versity.
23— J. B. Harper.
24 — Paul Eagler, Eugene Kornman,
Arthur Reed, Thomas Galligan.
25 — Harry Cooper, Raymond Nolan,
Harry Osborne.
29 — Michael Santacrose.
30 — Al D. Brick, Eugene Liggett.
Cameraman Murray Shoots
Four-Reel ''Free Gold"1 Film
IT'S AN interesting picture brought
back from the streams of North-
ern California by James V. Mur-
ray, member of International Photog-
raphers. "Free Gold" was shown dur-
ing August at the Eastman Theatre
in something over five thousand feet,
but it was announced the length
would be reduced to about 3800 feet
before placing on the market.
There's a thread of a story describ-
ing the efforts of two elderly men to
make a living, pulling it out of the
sands in the river bottoms, in the be-
ginning extracting it in the most
primitive fashion. The interest comes
from the many sided life of a placer
miner, which here is so clearly shown
and explained the subject takes on the
form of an educational film.
These two men, Eddie and Dad, at
first do their best to avoid the bread
lines by attempting to secure work at
Boulder Dam, but their age is against
them. So they join the ten thousand
persons already panning on the
creeks, in many cases whole families
sharing the work.
Eddie finds a rich bar and decides
to ground sluice. Gradually the men
extend their facilities, and then with
five months' accumulation of gold
they take a bond and lease on a hy-
draulic mine. Then when their lease
expires they return to their first site
to develop their own property and
build a home.
Joan Kay Olsen, daughter of North Hollywood (maybe Lankershhn to you)
and Mr. and Mrs. Raider Olsen, has reached the age of a full year. The affec-
tion between this attractive miss and the faithful pup at her side is apparent.
His shagginess Ole is well known at headquarters, ivhich he frequently visits
with his master.
Thirty-two
The INTERNATIONAL PHOTOGRAPHER
September, 1932
Looking In on Just a Few New Ones
AMERICAN MADNESS
First cameraman, Joe Walker : operative cam-
eraman, Andre Barlatier ; assistants,
George Kelley, Michael Walsh ; stills, Will-
iam Fraker ; sound, E. L. Bernds.
SELDOM is it given to any re-
viewer to sit in on three really fine
pictures in a single day, or even
more than that in a single afternoon.
It is fair to look upon these three
subjects as indicating the new trend
in screen material — and it is possible
two of them do.
The reviewer had been asked to
look in on "American Madness," being
shown by Columbia at the Ambassa-
dor Theatre to a group of exhibitors.
To the luncheon given the exhibitors
preceding the showing some of the
reviewers had been invited to be fel-
low-guests— and in Hollywood even
as in New York reviewers as a rule
have a habit of saying yes.
In the course of twenty years in
various cities of the country, at con-
ventions and in their theatres and in
some one else's exchanges it has been
the good fortune of the writer to meet
up with many exhibitors, regular fel-
lows as well as regular showmen. In
the present instance the same good
fortune pursued. Thrown tog-ether at
the table at Columbia's excellent
party we met Fred C. Crow, manager
of Warner's San Pedro house, and his
charming wife. If Fred Crow is an
example of the new-comer in the
field of showmanship then the pro-
ducer may rest assured if he please
the exhibitor he also will satisfy that
part of the community which without
prudishness seeks the rational and
reasonably wholesome in entertain-
ment.
In "American Madness" Columbia
has a great picture. Even though the
title have nothing to do with the
story, an original by Robert Riskin, it
still is a great picture. It has a part
made to order for Walter Huston, as
much so as has been the case in any
one of the reasonably large number
of subjects in which Huston so suc-
cessfully has been cast. This is being
written without a credit sheet, a re-
mark the non-reviewer will find of no
interest to him. It merely means that
on a single type-
written sheet is
set down what is
to be seen on the
screen in the way
of writer and di-
rector, etc., be-
fore the picture
starts.
Frank Capra
has made a pic-
ture that appears
to be foolproof or
one practically
invulnerable t o
the carper. At T , TI, ,.
t h e finish you JosePh Walker
have a feeling he has anticipated as
well as executed the action which at
the moment and in the circumstances
o
'
\ r
By GEORGE BLAISDELL
and after the event it seems to you
should have been done.
There may have been one exception
to this feeling, but you feel sure the
particular action was photographed
and later was pushed out on to the
cutting room floor because of excess
material. And wealth of material
there is. The picture is packed with
it.
Drama stalks through the entire
length. Bulking large in its creation
are Kay Johnson and Pat O'Brien, the
one as the wife of the bank president
played by Huston and the other one
of the bank executive's trusted help-
ers.
The production is one of the best
in any ordinary period, yes and up to
a year in length. It is one that will
be remembered for a twelvemonth for
the impressiveness with which it digs
into the consciousness. If you think
that heretofore you have seen on the
screen an honest to goodness run on
a bank go see this one. And then re-
member as strenuous and as gripping
is this run it all is submerged by the
seeming domestic tragedy that en-
gulfs the harassed executive, makes
the loss of position and fortune seem
a minor matter. We reiterate "Amer-
ican Madness" is a great picture.
TIGER SHARK
First cameraman, Tony Gaudic : operative
cameraman, Frank Kesson ; assistant, Carl
Guthrie ; stills, Mac Julian ; sound, L.
Riggs, A. D. Mair.
TO the showmen in town on the
same afternoon and a half hour
after the preceding preview had
closed at the Ambassador Warners
showed "Tiger Shark" and "Cabin in
the Cotton" at
the new United
Artists Theatre
on Wilshire.
Both subjects
revealed the shift
in production
viewpoint, the
drift to a more
considerate atti-
tude toward the
less fortunate in
the world. In the
first named it
mirrored the lives
of the fishermen
out of San Diego,
Portuguese, Mexi-
can, American, all of humble sur-
roundings. There isn't a dress suit in
the entire length of the show.
It is revelatory of the dangers that
follow those who go down to the sea
in Mexican waters in small ships in
search of tuna for commercial pur-
poses and shark for motion picture
purposes. In the preceding issue was
told the story of some of the dangers
attending the life of a Pacific Ocean
fisherman. Here on the screen we see
in vivid action what Cameraman Fred
Terzo talked about in such matter of
fact manner.
Tony Gandio
In a long sequence — and not one
inch too long at that — the subject
takes on the charm and interest of
an educational as it shows the fishing
crew on the platform rigged at the
outside of the boat battling with
giant tuna.
Edward Robinson has one of his
best roles — possibly as complete an
antithesis to that he showed us in
"Five Star Final" as it is possible for
one part to be to another. Richard
Arlen as the mutual friend was given
another prize role — and filled it.
Quita, who marries Mike and falls
in love with the friend of her hus-
band, is played by Zita Johann, who
gives a fine performance of a none
too easy part.
The picture was based on "Tuna,"
original tale by Houston Branch,
with screen play by Wells Root. How-
ard Hawks directed.
THE CABIN IN THE COTTON
First cameraman, Barney McGill ; operative
cameraman, Kenneth Green ; assistant,
William Whitley; stills, William Walling,
Jr. : sound. Earl Sitar.
MICHAEL CURTIZ directed
"Cabin in the Cotton," based on
story by Harry Harrison Kroll,
with screen play by Paul Green. The
theme of the tale is the difference of
viewpoint existing between the cotton
planters of the
South and their
farmer tenants,
of the abuses by
the landlords and
what the latter
seem to think are
the abuses by the
tenants.
Barthelmess has
the part of a
young man born
of the tenants
but educated by
a landlord, given
employment aft-
erward, and
seemingly commandeered him for his
ability and assigned to serve the side
opposite to that on which he was
born and raised.
While the story may aim to be im-
partial it hardly succeeds in holding
the scales even. It favors the ten-
ants, as was to be supposed when the
story was deemed of enough impor-
tance to make for the screen. It is an
appealing story, with a subdued
three-cornered love interest. On the
feminine side it is the daughter of
the tenants in love with the young
man from the same side of the con-
troversy, and the young man also is
courted or commandeered by the ex-
ceedingly pushful daughter of the
planter — one who has a habit of put-
ting in her pocket anything she wants
and removing it. Even when she
chooses to vamp him she undresses
presumably, although most of it is off
stage. Dorothy Jordan is the girl of
the tenants and Bette Davis of the
planter.
There is an excellent array of char-
Barney McGill
September, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-three
acter players — David Landau, Berton
Churchill, Dorothy Peterson, Russell
Simpson, Tully Marshall, Henry B.
Walthall, Edmund Breese, and Clar-
ence Muse.
The picture will hold its own with
the Barthelmess series.
Ediv. Cronjager
HELLS HIGHWAY
First cameraman, Edward Cronjager ; oper-
ative camerman, Harry Wild ; assistants,
Harold Wellman, James Daly ; stills,
Fred Hendriekson ; sound, John Tribby.
HERE is a tale of man's inhuman-
ity to man as old as so-called
civilization itself. RKO-Radio's
"Hell's Highway" shows the unimpor-
tance of man's ordinary or major
comforts, even the cheapness of his
life, when he is
utterly and ab-
jectly subject to
the meanest form
of slave driving
that combined
greed and author-
ity may inspire.
In spite of the
many instances
in which the drab
nature of the
tale has been
minimized and
softened by
touches of com-
edy— to the cred-
it of the production staff let it be said
these were not dragged in by the
heels — the subject remains what evi-
dently it was designed to be: A story
of today, a story of governmental
shame, of major evils in prison camps
the shocking details of which appar-
ently have undergone no diminution
in the last generation.
The makers of the story, Sam
Ornitz, Robert Tasker and Rowland
Brown, have taken a leaf out of the
recent black book of Florida. They
have incorporated in it the strangling
of one of the prisoners in a sweat-
box, identical with the actual case
recently detailed at length in the
newspapers of the world.
It is likely this picture and others
of its kind to follow will find no cord-
ial greeting among the politicians of
those few states where such prac-
tices still survive. It is not likely
the circulation and showing of these
subjects will result in any reforma-
tion of the practices exposed. At
least it seems to have had no effect
a decade or two ago when parallel
killings in the same state, if we mis-
take not, came to the surface and
served as the basis for motion picture
scorings.
Rowland Brown finely directs this
stern story that features Richard
Dix. Incidentally it is a man's tale
all the way. But two women appear
in the course of the entire length,
and then only for a short sequence
showing the mother of the two men
and the sweetheart of the younger
visiting them in camp. The visit is
dramatic.
Dix is shown as a four-time offend-
er, a leader among his mates, one who
can take as well as give a beating.
Duke Ellis is a likable and a human
character, one who it easily may be
believed would go to his death in
front of a machine gun rather than
await the slow process of hanging.
Tom Brown as Johnny Ellis, young-
er brother of the old offender, gives
a creditable performance. Charles
Middleton as the fake seer stands out.
So, too, does Louise Carter as the
mother of the boys in her brief
moment.
The picture, tight with suspense, is
worth seeing by every man and
woman who admits interest in what
goes on in the world at large. The
entertainment side of the drama-
tragedy is enhanced by the chorus
singing under the direction of Max
Steiner.
John Seitz
A PASSPORT TO HELL
First cameraman, John Seitz ; operative cam-
eraman, Arthur Arling ; assistants, Bud
Mautino, Luis Molina ; stills, Ray Nolan ;
sound, A. L. Von Kirbach.
GRIPPING throughout its length
is Fox's "A Passport to Hell,"
from the story by Harry Hervey
as adapted by Bradley King and Leon
Gordon. Frank Lloyd has taken this
tale that in its inception seems just
another one of
those things, an
impression that
for a few hundred
feet struggles to
remain within the
consciousness of
the old-timer and
then surrenders
without further
recurrence to the
spell of the story.
Elissa Landi is
Myra, a young
English woman
of family who
following mention
in a scandal in her home country
travels from one African colony to
another. It hardly can be said the
breaks ride with her. So far as the
tale reveals her moments of happi-
ness are not many. Yet her interest
in life is heightened by the possi-
bility that always the solution of her
difficulties may be just around the
corner.
The picture ends just that way —
with her own little world again turned
upside down and she starts out to
begin another day or maybe it will
be a week or yet life with such male
person as fortune may throw in her
path.
In spite of the drab nature of her
part Miss Landi shows us a fascinat-
ing personality, one to which men
yield impulsively. Really the spec-
tator looks upon this character with
its admitted promiscuity as one that
at any turn in the road will straighten
out from within and "from then on."
The work of the actress is well done.
Warner Oland is the German co-
lonial military police commander,, one
of the Javert tvne, which after all is
the same as saying he was what he
was, a real Prussian. The part in his
hands is one of impressiveness and
power, intensely human in spite of the
bureaucratic background.
Paul Lukas is the third corner of
the triangle, a part to which he has
become quite well accustomed. Alex-
ander Kirkland is the son of the mili-
tary commander who loses his head
as well as his heart over Myra — an
unpleasant role — and Donald Crisp
is the English spy who is captured
by the Germans as a result of Myra
refusing to betray her adopted coun-
try.
GUILTY AS HELL
First cameraman, Karl Struss ; operative cam-
eraman, George Clemens ; assistant, Fleet
Southcott ; stills, Bert Longworth ; sound,
Harold C. Lewis.
PRESUMABLY the title of Fox's
film of "Guilty as Hell" is aimed
at the character Dr. Ernest Tin-
dall, played by Harry Stephenson,
but one way and another it would
seem to be in order for the producer
to assume his share of the ignominy
that attaches to
the crime. Inas-
m""h as the of-
fenses consist of
two murders and
a suicide — a
fourth crime, the
hanging of an in-
nocent man fram-
ed by the mur-
derer, being
avoided by a hah:
— it is plain the
producer has
something for
which to be re-
sponsible. Karl Struss
The first murder is of a wife
strangled to death by her husband.
The second is of the murder by the
doctor-husband of a wounded accom-
plice, and the suicide is his own. It
may be claimed in extenuation that
the doctor did not "carry on" in any
manner as he passed out. It will be
agreed by all women who remain to
see the end of the show that the doc-
tor passed seemingly into a sweet
sleep, whatever that may be.
The negative entertainment quali-
ties of the subject were enhanced by
the ghoulish buffoonery indulged in by
Russell Kirk, a reporter played by
Edmund Lowe, as he engaged in airy
persiflage with Captain McKinley,
interpreted by Victor McLaughlen.
There is no acceptable substitute
for good taste, which incidentally
must come from the top of the studio
ladder. Here it is assumed to be funny
or something worth noting in any
event when the reporter steps back
and forth over the still warm body
of a strangled woman as it awaits
arrival of the coroner, the while the
reporter to the self-widowed murder-
er hazards guesses as to the partic-
ular manner in which the murdered
woman might have been unfaithful
to him.
An example of the absence of edi-
torial judgment may be found in the
remark of the reporter Kirk follow-
ing the failure of an indignant
woman to slay the detective when he
says, in effect, "They came pretty
near killing the wrong McKinley."
The same reporter at the finish in
one of his frank and acrimonious
chats with his detective friend sits
in the lap of the suicide who has just
breathed his last and bats out a few
wise ones for good measure.
If the foregoing- sound to the read-
er like good entertainment by all
Thirty-four
The INTERNATIONAL PHOTOGRAPHER
September, 1932
means be sure to see the picture.
There are some sequences that are
worth while if by any chance the pic-
turegoer is blessed with a memory so
short he is able to forget quickly.
Arthur Kober and Frank Partos
adapted Daniel N. Rubin's play of
"Riddle Me This," and Erie Kenton
directed. There are a couple of
dozen names in the cast. Richard
Arlen and Adrienne Ames among the
long list were given parts suitable to
sensible human beings.
Henry Sharp
70,000 WITNESSES
First cameraman, Henry Sharp ; operative
cameraman, Milton Krasner ; assistants,
Irving Glassberg, Lloyd Ahern ; stills, El-
wood Bredell ; sound, Earl Hayman.
THERE'S a wealth of melodrama
in Paramount's "70,000 Wit-
nesses," produced by Charles R.
Rogers independently. There's pretty
sure to be an abundance of that par-
ticular division of screen fare in any
subiect that pass-
es under the hand
of Harry Jioe
Brown as did
this. The only
drawback to its
^ull effect was
the misapplica-
tion of what was
devised to be
comedy relief —
the injection of
the infectious
mirth provoker
Charlie Ruggles
in moods unsober
and otherwise.
No fault attaches to the quality of
the mirth or to its maker. The com-
plaint rises from giving free rein to
the comedian while the house still is
under the pall of a foul tragedy. For
after all the tale is a tragedy, and
anything that lessens the immediate
effect of that weakens the story as an
entity.
To be sure a partial preview house
roared with laughter at the quips of
the comedian, which undoubtedly may
serve the production staff as evidence
its judgment of comedy is quite all
right.
The tale is of major football and
the rivalries and stiff competition be-
tween the home and visiting teams.
Phillips Holmes is Buck Buchanan,
unknown to his mates a brother of
Slip Buchanan, a gambler always in-
terested in winning regardless of sur-
rounding circumstances and doubly
so in the present instance. Lew Cody
is the desperate brother.
Johnny Mack Brown is Moran, the
leading player the gamblers are de-
termined to cripple, succeeding bevond
their intentions. J. Farrell Mac-
Donald is the coach so reminiscent of
Rockne — and strikingly plays the
part, as it seems he always does.
In spite of the difference of opin-
ion between the producer and prob-
ably many of his customers as to the
proper relation of comedy and trag-
edy there will be no question the pic-
ture will be successful in interesting
the mass of screengoers.
Ralph Murphy directed from a
script written by Garrett Fort
adapted from a novel by Cortland
Fitzsimmons. P. J. Wolfson and
Allen Rivkin are credited with added
dialogue.
In another column Clara Sawdon
writes from a different viewpoint.
OKAY, AMERICA
First cameraman, Arthur Miller ; operative
cameraman. King Gray ; assistant, Ross
Hoffman; stills, Adolph Schafer ; sound,
Jess Moulin.
UNDER this tentative and accord-
ing to Woodrow Wilson — some-
thing of an authority in such
matters — mispelled title of "Okay,
America," Universal contributes the
latest in the cycle of broadcasting
reporter stories.
Lew Ayres is
Larry Wayne, the
featured charac-
ter. Easily Wayne
will rate as the
more human and
the less egotisti-
cal of the screen-
ed portrayals of
this type of me-
teoric new-comer
to metropolitan
life. Writing four
days after view-
ing the picture
and having seen
other productions in the interim —
which is not conductive to good re-
porting— the impression that clings is
of Ayres.
Director Tay Garnett has made the
chief character something nearer to
the reporter of real life, something
most distinctly not all directors have
done, nor for that matter could they
have been expected so to do.
This reviewer found the subject
well worth while, enjoyed it practi-
cally all the way, even if his sidekick
thought it not so good. This might
indicate to some it is a man's rather
than a woman's picture.
There would seem to be no good or
logical reason for the reporter to take
the law into his own hands and exe-
cute the man higher up after tricking
him. Of course it provided the under-
world with a good reason for execut-
ing the reporter in turn, which action
might be discounted or foreseen by
Arthur .!////<
those of least intelligence. The only
deduction possible, therefore, is that
the reporter chose to take upon him-
self as a martyr the duties of judge,
jury and executioner because of the
default of the agencies of the law to
do the things that should be done.
THE MOST DANGEROUS GAME
First cameraman, Henry Gerrard ; operative
cameraman, Russell Metty ; assistant, Wil-
lard Barth ; stills, Gaston Longet ; sound,
Glen Portman.
HERE'S just one thrill after
another in RKO-Radio's "The
Most Dangerous Game," from
Richard Connell's O. Henry prize
winning collection story. James
Ashmore Creelman is the adapter.
The story is of
the jungle, a back-
m. ^^^ ground in which
j^tf| fek Associate Produc-
Hi^^gfc- er Merian C.
Cooper and Di-
rector Ernest B.
Schoedsack are
entirely familiar.
Here the dramat-
ic side of the pic-
ture is fortfieo}
by the association
with Schoedsack
of Irving Pichel,
an actor who
knows much
about dramatic values.
The story by its strength justifies
its prize winning rating. It is out of
the ordinary, much. It is weird and
shivery, plenty. Yet also somewhat
out of the usual order in these creepy
yarns the tale is entirely logical and
imposes no strain on the credulity.
Leslie Banks has the part of Zar-
off, the Russian hunter turned insane
as the result of a blow on his head,
his mania taking the form of hunting
with bow and arrow humans instead
of animals. To provide the budget of
victims he changes positions on the
lights designed to mark the channel
that passes his hermit island. It is a
craftsmanlike performance Banks
puts on the screen.
Joel McCrea is Bob, the sole sur-
vivor of a shipwreck who becomes the
hunted where he had planned to con-
Henry Gerrard
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September, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-five
tinue his trade of big game hunter.
It is the experience, of course, gained
as a hunter that permits him to out-
wit the wily Russian in the end.
Pay Wray is the girl Eve who pre-
cedes Bob in arrival on the island as
a survivor and who chooses to cast
her luck with his in an attempted
escape. While the love interest is
brief nevertheless it is appealing.
One of the factors in the success of
the production is the realism of the
sequence of the wrecking of the yacht
and the quickly following explosion
and sinking.
The production will rate high as an
attraction. It is possible complaint
by some will be registered that at
times it is a bit sturdy for comfort.
Certainly no one viewing it will waste
time or thought on the troubles of
any one other than the hero and the
heroine.
BRING EM BACK ALIVE
AFTER seeing Frank Buck's
"Bring 'Em Back Alive," being-
distributed by RKO-Radio, it is
understandable why so much should
have been heard from this picture
following its first showing in New
York. It is a rare picture of the
jungle, rarer by reason of the crafts-
manlike photography. Plainly it was
the work of experienced men, which
frequently in the matter of jungle
pictures is not the case. Some of the
best of the photographic stuff is the
ability shown in the handling of the
many follow shots, tracing the wan-
derings of the creatures of the wild
through the maze of vegetation.
One marvels at the patience that
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must have been exercised by the pro-
ducer and his cameramen in securing
the extended series of individual ani-
mals and reptiles. It would seem the
many battles between these creatures
must have been staged so much of it
takes place in open spaces obviously
scarce in proportionate area. Then
the skeptic wonders how they might
have been staged had it been so de-
sired. After a small amount of puz-
zling has been expended the average
observer will forget his skepticism
and be lost in the realism of the
combat.
The fights between the python and
the tiger, the python and the croco-
dile and the black panther and the
tiger are filled with thrills, especial-
ly the first. Each contestant returns
again and again to the struggle, only
in the end mutually and simultane-
ously to declare a draw.
Overuse is made of the face of the
hunter where it is necessary there be
a cutback. One of the factors em-
phasizing the overuse is the employ-
ment of the same shot, with the re-
sult of the recurrence of a single and
unchanging expression. One r-eal
relief is when the hunter with his
rifle attacks a tiger.
There is a marked departure from
the imperturbability that has char-
acterized preceding views of the hun-
ter's face. Three shots are fired at
top speed.
There are humorous moments that
serve to lighten the tension and also
to indicate the likable qualities of the
hunter. Scenes of the tiny honey
bear and the white monkey Percy
contribute to these. In the case of
the former there is the second of sus-
pense when the little runaway walks
twice across the doubled body of the
python. The big fellow is asleep and
the bear passes in safety.
But the little fellow's curiosity is
aroused. He returns and the snake
jumps him, reaches him with light-
ninglike speed. Then a miracle hap-
pens, and the honey bear is freed
of the coils. Possibly it is his diminu-
tive stature that saves him. He then
stands not on the order of his going,
but hurries back to his cage at camp.
The picture has been synchronized
with sound and lecture, the latter by
Buck. It is a subject not to be missed
except by those who may be handi-
capped by a heart unstable when
looking upon mortal combat between
major beasts or by those who fear to
look upon the serpent in any form.
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MY PAL THE KING
First cameraman, Dan Clark ; operative cam-
eraman, Norman De Vol ; assistants, Lloyd
Ward, William Dodds, Edward Jones ;
stills, Adolph Schafer ; sound, Fred
Feister.
TOM MIX in Universal's "My
Pal the King" frankly has
stepped out to make a picture
for the children rather than for
adults. For the latter such interest
as will obtain will be in the reflected
enthusiasm of the
boys in their
early teens.
The story is of
a mythical king-
dom and of the
friendship of the
American circus
wild west show-
man for the child
king. In a way it
is reminiscent of
a picture made
by Fox with Will
Rogers, with the
latter in the guise
of an American Dan Clark
diplomat.
The role shows Mix to advantage
as a horseman and everyday human
being, a personality that has made
him a favorite with the younger gen-
eration even more so than with their
elders — and that is saying quite a lot.
Money has been expended on the
interiors of the royal structures. The
palace exteriors will be convincing to
the average audience and appear
palatial in fact. The circus shots
some of them seem to be the result
of process work or of a draft on the
library files. Mix puts his own stable
through its competent paces. In fact,
those who are fond of riding will get
an eyeful.
Mickey Rooney is the child over-
loaded with the responsibility of play-
ing the young king also overloaded
with responsibilities. The child is
clever enough to realize what he is
being put into, what a job has been
saddled upon him. It is to his credit
and his promise that his looks and
manner betray his concern.
James Kirkwood has the part of
the prime minister who conspires
against the lad and Paul Hurst is
the aid of Tom in his management of
his show. No attempt has been made
to lend any strength to the feminine
side of the tale, the accompanying
romance being somewhat weak.
Kurt Neuman directs Richard
Shayer's story, continuity and dia-
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Thirty-six
The INTERNATIONAL PHOTOGRAPHER
September, 1932
logue of which are by Jack Natteford
and Tom J. Crizer.
DEVIL AND THE DEEP
First cameraman, Charles Lang ; operative
cameraman, Robert Pittack ; assistant,
Clifford Shirpser ; stills. Earl Crowley;
sound. Jack Goodrich.
RARELY stern melodrama is
Paramount's "Devil and the
Deep." Throughout its entire
length this Harry Hervey tale of a
submarine skipper who is insane
fundamentally and jealous inciden-
tally grips with
singular strength
— so tensely that
not until the
showing has been
finished does the
follower real-
ize how complete-
ly he has been
under the spell
of this unusua1
story.
One of the fea-
tures of the pro-
duction is the
character of Com-
mander Charles Charles Lang
Sturm and the accompanying charac-
terization of Charles Laughton,
brought from England. The charac-
ter is a singular mixture of joviality
and fiendishness, the latter quality
gaining in ascendancy according to
the rising impulses in the blood.
Tallulah Bankhead has the part of
the skipper's wife, driven desperate
by continued humiliation. Gary
Cooper is Lieutenant Sempter, the
new junior to the insane commander
and to whom comes an interesting if
brief romance with the nearly crazed
woman before the identity of one is
known to the other.
There are a goodly number of big
moments following the precipitated
collision and sinking of the sub-
marine. It is difficult to believe all
of this sequence was staged in a
studio, so realistic are these scenes
of the inside of a foundered sub-
marine.
The entire subject is one for per-
sonal viewing and not for descrip-
tion, and every one who gets an op-
portunity will be well repaid for any
ordinary effort expended in getting
to it.
Marion Gering directed from Benn
W. Levy's screen play.
When Seen Through Feminine Eyes
By CLARA M. SAWDON
HORSE FEATHERS
First cameraman, Ray June; operative cam-
eramen, Fred Mayer, Dan Fapp, James
Knott ; assistants, Neal Beckner, George
Bourne, Francis Burgess ; stills, Gordon
Head ; sound, Eugene Merritt.
THE fact that Paramount's
"Horse Feathers" is a Marx
Brothers picture classifies it im-
mediately as a "loom chaser. Check
all reason in the lobb^. relax and let
the laughs fall where they may.
Groucho, as us-
ual, carries most
of the burden of
the lines in a
very light hearted
and sprightly
manner. As the «^ <V f
incoming presi-
dent of Huxley
College he orates,
declaims and
speechifies all
over the place
both before and «.«
following his in-
cumbency. The
staid, dignified RaV June
members of his faculty catch the
spirit of his infectious informality at
the inauguration ceremonies which
shortly assume the aspects of an
amateur musical comedy.
Chico and Harpo are forced to offi-
ciate as football players and win for
dear old Huxley against Darwin, and
win they do but with tactics strictly
of their own making.
Thelma Todd is the fascinating col-
lege widow who skillfully juggles
several admirers through many com-
plicated situations. David Landau,
loyal to Darwin, menaces with villain-
ous intent the chances of Huxley win-
ning the football classic of the school
year.
There is a theme song which Zeppo
sings, Harpo plays on the harp, Chico
uses on the piano and Groucho intro-
duces on the banjo, each employing it
in his individual wooing of the widow.
Bert Kalmar, Harry Ruby and S.
J. Perelman are responsible for the
lines and gags which cause the hilar-
ity, credit for the original and the
screen play rewarding their combined
efforts. Norman McLeod directs, with
the tempo a rapid one from start to
finish.
THE PAINTED WOMAN
First cameramen, Ernest Palmer, Larry Wil-
liams ; assistants, Stanley Little, Edward
Collins ; stills, Bert Lynch ; sound, Eu-
gene Grossman.
THERE is nothing inviting in the
title of Fox's "The Painted
Woman," and when the story
turns out to be that of a white wom-
an, well acquainted with the shore
leave haunts and ways of men of the
sea, who becomes a refugee on a trop-
ical isle, any reason for hopeful inter-
est is still lacking. This is one of
those unfortunate themes that has
fallen into a rut. Everyone who tac-
kles it leaves all originality behind
and follows in the well worn grooves
made by his predecessors.
Peggy Shannon as Kiddo follows
the painful trail of the wronged girl
who becomes the shameless woman
and is then transformed by love and
marriage. She is menaced by William
Boyd and Irving Pichel until Spencer
Tracy appears to save and protect
her. There is a bathing scene in a
pool. Also the general scene of trop-
ical life in which one lone pig always
figures so prominently. Some genius
will vary this some day and show
several pigs.
It may be that good old hackneyed
situations have a certain attraction
similar to that of greeting old friends
in new places or revisiting familiar
scenes. If so, this picture has plenty
of appeal as it is a procession of old
friends with new faces and names.
Each member of the cast after the
manner of capable troupers does
everything possible to breathe vital-
ity into the production, and whatever
success it may have will rightfully be
theirs.
The screen play is credited to Guy
Bolton, and is taken from a play by
Alfred C. Kennedy, with continuity
and dialog by Leon Gordon. John
Blystone directed.
Victor Milner
LOVE ME TONIGHT
First cameraman, Victor Milner; operative
cameraman, William Mellor ; assistant.
Guy Roe ; stills, Bert Longworth ; sound,
M. M. Paggi.
THERE need be no equivocation
in expressing an opinion about
Paramount's "Love Me Tonight"
because it justly merits only the
highest terms of praise and apprecia-
tion to the end that producers will
feel encouraged
to invest the
time and money
necessary to achi-
eve artistic tri-
umphs compara-
ble to this one.
Once again
Maurice Chevali-
er and Jeanette
MacDonald capti-
vate with the
charm which is
so individually
theirs. Their love
scene during the
singing of "Love
Me Tonight" is a classic of its kind.
And who can match them in skating
on the thin surface of the decidedly
risque without in any way offending?
It is the exception that repeatedly
proves the rule, and this is an in-
stance where the manner in which
the play is performed is more impor-
tant than the material provided. The
story is simply that of a Parisian
tailor who trails a client of the no-
bility to the chateau of his wealthy
uncle in the hope of receiving pay-
ment for bills long past due.
Misrepresented by the delinquent
vicomte, played by Charles Ruggles,
as a baron the tailor immediately
proceeds to win all hearts, male and
female, from the servants' hall to the
duke himself. Before his true iden-
tity is disclosed the princess Jeanette
has found in him her Prince Charm-
ing.
The music and lyrics by Rich-
ard Rodgers and Lorenz Hart take a
bow along with Rouben Mamoulian,
who directed. The credit for the
screen play is threefold, Samuel Hof-
fenstein,. Waldemar Young and
George Marion, Jr., representing the
writers responsible. In fact, this is
one of those joyous occasions when
everyone who participated in any
way, major or minor, may justly share
September, 1932
The INTERNATIONAL PHOTOGRAPHER
Th irtyseven
in the praise accorded the perfection
of the whole.
The photography is exceptionally
beautiful throughout, with a generous
measuring of intriguing trick shots
to cause wonderment as to how the
eye is so cleverly deceived.
Other principals not previously
mentioned who contribute in a big
way to the general entertainment are
C. Aubrey Smith, Myrna Loy, Charles
E. Butterworth, Elizabeth Patterson,
Ethel Griffies and Blanche Friderici.
Truly this is a picture not to be
missed by any one.
DOWN TO EARTH
First cameraman, Ernest Palmer ; operative
cameraman, John Smith ; assistants, Stan-
ley Little, John Anderson ; stills, Alex-
ander Kahle ; sound, George Leverett.
NO MATTER where you find him
Will Rogers is always just
himself. In his latest Fox re-
lease "Down to Earth" the alarming
rapidity with which depressed stock
market conditions caused fortunes
carrying with
them an impos-
ing array of ciph-
ers to dwindle
into very modest
sums provides the
reason for high
fliers to seek low-
er levels for rea-
sons not of their
owne choosing.
Homer Croy
wrote the stor.v
which retains the
same family
group created in
"They Had to Ernest Palmer
See Paris," with Edwin Burke sup-
plying the screen adaptation and
dialog. The result is not as entertain-
ing a venture as its predecessor. It
drags and is lifeless throughout.
There are moments when Rogersesque
comments bring forth responsive
chuckles, but they are few and far
between.
The daughter and son roles are
taken by Dorothy Jordan and Matty
Kemp. Irene Rich again is the wife,
who is made senselessly unsympa-
thetic and lacking in understanding.
Theodore Lodi does some good work
as a Russian nobleman reduced to
the humble status of hotel doorman.
Mary Carlisle as an heiress of mil-
lions unashamedly rushing the man
she has decided to marry is fortunate
in getting the only part with a sem-
balance of vitality in it.
Pictorially the subject is excellent.
The photography throughout is
marked, although dealing almost en-
tirely with interiors and lacking any
of the additional appeal of the spec-
tacular.
70,000 WITNESSES
A FOOTBALL mystery story
promises action and suspense,
all of which is delivered in
Paramount's "70,000 Witnesses," a
Charles R. Rogers production, with
Harry Joe Brown associate producer
and Ralph Murphy director.
During a spectacular run with a
touchdown almost made, the runner
drops dead. Developments prove him
to be the victim of a gambler's greed,
one who loves to bet, but always on
a sure thing.
To successfully guess the murderer
requires trained powers of deduction
as the average spectator will be kept
guessing to the last.
Story, dialog, acting, direction and
photography unite to make this an
outstanding picture of its type. The
pitfalls of overacting and exaggera-
tion have been sidestepped, thereby
keeping the action within the realm
of the natural and logical.
Charlie Ruggles is a news reporter
in a perpetual state of semi or total
intoxication who plays conversational
handball with David Landau, the po-
lice representative, both of them giv-
ing outstanding characterizations.
Phillips Holmes and Dorothy Jor-
dan carry the love interest, Johnny
Mack Brown is the student who is
murdered, and J. Farrell MacDonald
plays the coach. Lew Cody as the
gambler who injects a very unsports-
manlike spirit into collegiate football
and Kenneth Thomson as the doctor
for the team complete the list of prin-
cipals, all of whom give excellent por-
trayals.
Garrett Fort wrote the screenplay
from the novel by Cortland Fitzsim-
mons. Additional dialog is credited
to P. J. Wolfson and Allen Rivkin.
The finished result is so satisfactory
it rates as one of the most successful
screen treatments in the mystery
story group to date.
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Thirty-eight
Tlu
INTERNATIONAL PHOTOGRAPHER
September, 1932
©IJOCUtf
so-siBDes-
Air You Listening? or* Cameraman (rets the Air
SI
This beautiful lithograph ivas grafted from Richter Photo Service. Exposure
made by Otto Benninger from 100 ft. parallel. Balloon basket cu\t\ in half, for
composition, by request of the photographer. Exposure selected from center
of the new Eastman Filter Factor Finder, which is very nice.
WELL, here we are, Everybody.
Up over Hollywood trying to
photograph exclusive pictures,
taken in the Stratosphere, for the
International Photographer.
I will now interview my assistant
while waiting for an atom to come
along. Presenting Cerise (Red) Phyl-
ter.
Well, Red, do you know why we are
up here ?
Sure. They let go of the ropes.
No. That's not it. We are up here
to get information pertaining to the
atom. Do you know what an atom is ?
Sure. Ycu mean up and at 'em ?
No. An atom is one of the hypo-
thetical indivisible parts of which all
matter is supposed to be formed.
Oh! You mean hypo and sensitive.
No. That's not it. Hand me my
sextant. Do you know what that is ?
Sure! I whistle it. Sextant from
Lucia.
No. That's not it. Haven't you
ever heard of Piccard ?
Sure. His wife just sued him for
$18,000 back alimony.
No, not the Cameraman. I mean
Professor Auguste Piccard. Hand me
the glasses.
Did you bring ice, too ?
No. Not those kind of glasses. I
m"an my binoculars. I see a lot of
red over to the west.
That's probably Multicolor. I heard
they were in the red.
No. This is away over the horizon.
I don't suppose you know what that
is, either.
I do. That's a song. A girl has
horizon me.
Wrong again. These glasses help
a lot. I see some one running in and
out of Paramount. He's in, he's out,
now he's in again.
That must be Schulberg.
No. That's enough of that. Now
you had better check the camera
equipment.
Well, there's just the two of us and
I haven't taken anything.
All right. Stop clowning and set
em up.
That's swell. I could stand a little
nip now as it's just a little chilly.
I mean set the camera up as we
must get to work.
Yeh! What camera?
Didn't you bring the camera ?
No. I got the crank. I thought
you had the camera.
Well, folks, we will have to sign
off now and I will see that Red gets
the "air" again real soon. Thank you.
SOMETHING FOR NOTHING
Yes. There is a catch to it. But
if you want to get a quarter page
free in the Souvenir Program of the
Exposition and Ball see Jimmie Pal-
mer. This is going to be pretty swell.
UNION EATS
The G and G Cafe around the cor-
ner from the Local Offices has a nice
new card in the window and the Class
Al soup is Al as well as all the other
groceries.
GOLF STARTS SOON
Hap Depew tells what a rotten game
of golf he shoots. Getting ready to
have his handicap changed for the
tournament. James Palmer says they
will have more to eat this year than
they had last year and promises they
won't run out so soon.
PERSONAL
If Kymie Meade doesn't give me a
tumble soon I am going to cut my
finger and go over to his house and
September, If) 32
The INTERNATIONAL PHOTOGRAPHER
1
Thirty-nine
wSIUi.
get his wife to bandage it. I have
lived two doors from him for over a
month and haven't seen him.
ORIGINAL ABORIGINAL
How many Indians have you met
that were the original of the head on
the Buffalo Nickel? A new original
popped up in the paper the other
night. That makes six that I know
of. All right! Who cares?
CALL HOOVER
Registration was very slow on the
M.G.M. lot. You don't' suppose that
the help wanted to register Demo-
cratic and thought it best to do it off
the lot, do you?
LETTER RECEIVED
Dear Old Outa. I received a Maga-
zine the other day called Photo-Mar-
kets. On Page 2 it reads as follows:
"Fourth and last, we have the illus-
trated articles. This may be an in-
terview with Mr. So and So. cheese
manufacturer. He tells you his ideas
of the cheese industry, and you for-
ward these opinions, together with a
photo of Mr. So and So and a few
views of his cheese factory to a trade
journal covering the cheese trade."
I know plenty of So and So's, but
we have no cheese factories in Holly-
wood. Could I use studios instead?
Answer. Yes. But they will not
have as strong an appeal.
Curtain.
WHAT NOTS ARE READY
The new by laws and constitution
have been printed and are ready for
distribution. Read them over and
find out "what not" to do.
W. A. SICKNER
FIRST CAMERAMAN
COMPLETE AKELEY
EQUIPMENT
CRestview 7255 GLadstone 5083
HEmpstead 1128
Phone GLadstone 4151
HOLLYWOOD
STATE BANK
The only bank in the Industrial
District of Hollywood under
State supervision
Santa Monica Boulevard at
Highland Avenue
Cinex Testing Machines
Cinex Polishing Machines
Developing Machines
Printing Machines rebuilt for
Sound Printing
Special Motion Picture Machine
Work
Barsam - Tollar
Mechanical Works
7239 Santa Monica Blvd.
Hollywood, California
Phone GRanite 9707
AGFA
Positive Film
Worthy
a n
Agfa Raw Film Corporation
6368 Santa Monica Boulevard
Hollywood, California
Factories: Binghamton, New York, U.S.A.
Forty
Tht
INTERNATIONAL PHOTOGRAPHER
September, 1932
LAP DISSOLVES
PROCESS SHOTS
TRICK WIPEOFFS
EVERY FORM OF OPTICAL PRINT WORK
and complete laboratory facilities for making
our own dupe negatives and first prints
DUNNING PROCESS CO.
932 N. LaBrea
GL 3959
CLASSIFIED
Dr. G. Floyd Jackman
DENTIST
Member Local No. 659
706 Hollywood First National Bldg.
Hollywood Blvd. at Highland Ave.
GLadstone 7507 Hours: 9 to 5
And by Appointment
BASS-CHICAGO
Pays Spot Cash for used
Bell & Howell Professional
Cameras and De Brie
Motion Picture Cameras.
Bass Camera Co.
179 W. Madison St., Chicago
WE WANT
travel, fight, thrill and curiosity
films from All Parts of the Earth
9 And unusual and interesting
films depicting the life and habits
of Asiatic peoples as well as others.
II SEND US DESCRIPTION OF II
5J FILM,, also giving size (16mm L
•*■$] or 35mm), and length of subject. fle«..
"I Cash will be remitted for any lb
[[ subject accepted.
Continental Film-Craft, Inc.
1611 Cosmo Street, Hollywood, Calif.
FOR SALE OR RENT— Mitchell and Bell &
Howell silenced cameras, follow focus. Pan
'en es. free head, corrected new aperture.
Akeley, De Brie, Pathe, Universal, Prevost,
Willart, De Vry, Eyemo, Sept, Leica. Motors,
printers, lighting equipment. Also every va-
riety of 16 mm. and still cameras and projec-
tors. Everything photographic bought, sold,
rented and repaired. Send for our bargain
catalogue. Open 8 A.M. to 10 P.M. Holly-
wood Camera Exchange. 1600 Cahuenga Blvd.
Phone GLadstone 2507. Hollywood 9431. Cable
address Hocaraex.
FOR SALE! — Jenkins Adair double system
portable sound on film recording outfit con-
sists of 3 channel amplifier, recording camera,
camera and mike cables, interlock motors
and converter, mike boom, 4 glow tubes and
all batteries. This outfit is practically new.
Will take $3000.00 cash or $2000.00 and a
good Bell Howell or Mitchell Camera. H.
Stewart Dailey, 2119 Louise Ave., St. Louis.
FOR SALE— Bell and Howell, silenced, ultra-
speed movement camera, fitted with single
recording channel, 4 speed Balsley & Phillips
amplifier with motor and all accessories com-
plete; in one Graham Paige panel body truck.
Guaranteed perfect recording. CHEAP. See
or write Bud Hooper, 1611 Cosmo St., Holly-
wood, California.
FOR SALE — Debrie, 35 mm. Camera, perfect
condition, 8 magazines, Zeiss lenses, F 3.5 50
mm. and 75-mm. cases. Debrie tripod.
HE 2375.
FOR RENT— Mitchell and Akeley cameras
fully equipped for sound. Norman De Vol,
6507 Drexel av., OR 7492.
PHOTOS WANTED, NEWS AND PICTO-
RIAL, to sell on commission. Write Paul's
Photos, 537 S. Dearborn, Chicago.
FOR SALE
1 Standard Bell & Howell
35 mm. Press
Richter Photo Service
7901 Santa Monica Blvd.
Los Angeles, Calif. OXford 2092
LEN HUMPHRIES
"FREE LANCING"
Member Local 665,
International Photographers
Toronto, Canada
383 Manor Rd. East Toronto, Canada
ROY DAVIDGE FILM
LABORATORIES
An Exclusive "Daily" Laboratory
6701-6715
Quality and Service
SANTA MONICA
G Ran it e 3108
BOULEVARD
"Always One Step Ahead"
"ARTREEVES"
PORTABLE
SOUND EQUIPMENT
it?
THE OLDEST AND MOST SUCCESSFUL
INDEPENDENT RECORDING EQUIPMENT
$3300. Complete
INCLUDES TH
Bomb Microphone
Condenser Transmitter
Tubes
Microphone Stand
Microphone Stand Case
Amplifier Noiseless Recording Type
Amplifier Battery Case and Cable
Recording Lamp Cable
Monitor Headphones
Amplifier Tubes
Amplifier Batteries
Recording Head, Double Sprocket Type,
FOLLOWING:
Complete with Film Magazine, Optical
Units, Motor, Connections and Carrying
Case.
Camera Motor
Accessory Case
Two One Hundred Foot Cables with Reels
Motor Battery Cable
Two Motor Battery Cases and Batteries
Three W edgelites
Charging Cable
One Wind Screen
One High Pass Filter
Camera Silencing Cover
Representatives
CENTRAL U. S.
Gene Cour
1029 South Wabash Ave.
Chicago, Illinois
TERMS: \ET CASH F. O. R. HOLLYWOOD, CALIFORNIA, U. S. A.
6416 SELMA AVE.
JAPAN
Edward Tanaka
Senatone Film Co., Ltd.
Taiyo Building
Imagawabashi
Kanda, Tokyo, Japan
}-(oirW/ood
Motion PicTure/^ujipmenT(o. |Td.
CABLE ADDRESS ARTREEVES
HOLLYWOOD, CALIFORNIA, US A
To meet the requirements for more speed and power
in camera motors we are now offering a MITCHELL
motor capable of moving two films, in 1000 foot
magazines, at a speed of 24 pictures per second.
This motor will maintain this speed while running
either forward or reverse.
Your present MITCHELL motor can be changed to
give you the power required for your work.
Mitchell Camera Corporation
665 N. Robertson Boulevard
West Hollywood, Calif.
Cable Address '•MITCAMCO"
Phone OXford 1 05 1
Sot
[ONAL
HOTOGRA
HOLLYWOO:
NINETEEN
THIRTY-TWO
UM
THE €p> TRADE MARK HAS NEVER BEEN
PLACED ON AN INFERIOR PRODUCT
5P0K
the latest development of the DuPont Research
Laboratories.
A new type Panchromatic Negative combiri-
ing finer grain, greater speed, latitude and defi-
nition with a color sensitivity throughout the
VISIBLE SPECTRUM similar to that of the
HUMAN EYE.
BuperpaN
puts the picture on the
screen as you see it!
Smith £r Aller, Ltd.
6656 Santa Monica Boulevard, Hollywood 5147
HOLLYWOOD • CALIFORNIA
PACIFIC COAST DISTRIBUTORS FOR
Du Pont Film Mfg. Corp.
35 West 45th Street, New York City
October, 19Si
The INTERNATIONAL PHOTOGRAPHER
One
Always One Step Ahead"
"ARTREEVES"
PORTABLE
SOUND EQUIPMENT
THE OLDEST AND MOST SUCCESSFUL
INDEPENDENT RECORDING EOUIPMENT
$3300. Complete
INCLUDES THE FOLLOWING:
Bomb Microphone
Condenser Transmitter
Tubes
Microphone Stand
Microphone Stand Case
Amplifier Noiseless Recording Type
Amplifier Battery Case and Cable
Recording Lamp Cable
Monitor Headphones
Amplifier Tubes
Amplifier Batteries
Recording Head, Double Sprocket Type,
Complete with Film Magazine, Optical
Units, Motor, Connections and Carrying
Case.
Camera Motor
Accessory Case
Two One Hundred Foot Cables with Reels
Motor Battery Cable
Two Motor Battery Cases and Batteries
Three W edgelites
Charging Cable
One Wind Screen
One High Pass Filter
Camera Silencing Cover
Representatives
CENTRAL U. S.
Gene Cour
1029 South Wabash Ave.
Chicago, Illinois
TERMS: NET CASH F. O. B. HOLLY HOOD, CALIFORNIA, U. S. A.
JAPAN
Edward Tanaka
Senatone Film Co., Ltd.
Taiyo Building
Imagawabashl
Kanda, Tokyo, Japan
Two
The INTERNATIONAL PHOTOGRAPHER
October, 1932
jt t ■ • -■;■■«" ■ ' - »i. v ' ™«
AKELEY
brings you a
SIMPLIFIED Focusing SHIFT
A partial turn of a single knob, conveniently mounted on
the flywheel housing at the side of the camera, instantly re-
places the film with a focusing ground glass, and at the
same time automatically positions the shutter.
Where the use of a blimp is necessary this simplified device
offers these important advantages: It permits the use of a
smaller, lighter blimp; the combining of the shift and focus-
ing turret affords direct and easy control from outside the
blimp; the focusing finder remaining in a fixed position al-
lows focusing without opening the blimp.
This is but another of the advances offered by Akeley
Dual Cameras. Write for full details and folder.
AKELEY
175 VARICK ST.
CAMERA
NEW YORK, N. Y.
35A
wSSSC
vAv
vsssy
S.W
<#>
Vt/.
WBSSJ
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km
INTERNATIONAL
PHOTO GPAPHE R
Official Bulletin of the International
Photographers of the Motion Pic-
ture Industries, Local No. 659, of
the International Alliance of The-
atrical Stage Employees and Mov-
ing Picture Machine Operators of
the United States and Canada.
Affiliated with
Los Angeles Amusement Federa-
tion, California State Theatrical
Federation, California State Fed-
eration of Labor, American Fed-
eration of Labor, and Federated
Voters of the Los Angeles Amuse-
ment Organizations.
Vol. 4
HOLLYWOOD, CALIFORNIA, OCTOBER, 1932
No. 9
"Capital is the fruit of labor, and could not exist if labor had not first existed.
Labor, therefore, deserves much the higher consideration." — Abraham Lincoln.
C O N T
Cover
By O. L. Snider
Inventor Describes His Process 4
By Friend F. Baker
Chicago 6
By Fred A. Felbinger
Two Buddies Down in Arctic Sea 8
By Fred A. Felbinger
Carries Camera Into the Solomons. . .10
By Sinclair MacKay
Sailor's Life Not So Slow at That. . . .12
International Photographers to Stage
Event at Ambassador Auditorium. . 14
Trek to Iowa for Real Authenticity. .15
By Joseph Valentine
E N T S
Fulton Wins Fourth Annual Tour-
ney 21
By Phollo Focus
When Lab Chiefs Climb Sierras Do
They Take Still Camera? Nay, Nay 33
Dope Sheet 34
By Roy Fenstrom
What's Doing Among Newsreelers. . .35
By the Reporting Swede
Optical Glass In Use for Centuries. . .30
By Earl Theisen
Looking In on Just a Few New Ones. .38
By George Blaisdell
Internationa' Photographer's Family
Album 45
Out of Focus 46
By Charles P. Boyle
George Blaisdell
Ira Hoke
esselle parichy
Technical Editors
The International Photographer is published monthly in Hollywood by Local 659, I. A.T.S.E.
and M. P. M. O. of the United States and Canada
Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles, Calif., under
the act of March 3, 1879
Copyright 1932 by Local 659, I. A. T. S. E. and M. P. M. 0. of the United States and Canada
Howard E. Hurd, Publisher's Agent
Editor Fred A. Felbinger - Midwest Corrcspondeyxt
Associate Editor Lewis W. Physioc )
- Staff Correspondent Freo Westerberg j
John Corydon Hill, Art Editor
Subscription Rates — United States and Canada, $3 a year. Single copies, 25 cents
Office of publication, 1605 North Cahuenga Avenue, Hollywood, California. HEmpstead 1128
McGill's, 179 and 218 Elizabeth Street, Melbourne, Australian and New Zealand agents.
The members of this Local, together with those of our sister Locals, No. 644 in New York, No. 666 in Chicago, and
No. 665 in Toronto, represent the entire personnel of photographers now engaged in professional production of
motion pictures in the United States and Canada. Thus THE INTERNATIONAL PHOTOGRAPHER becomes the
voice of the Entire Craft, covering a field that reaches from coast to coast across North America.
Printed in the U. S. A. at Hollywood, California.
yr/
C/A^>
Four
The INTERNATIONAL PHOTOGRAPHER
October, 1932
Inventor Describes His Process
Designed to Produce Double Exposure Method
Suitable for Everyday Commercial Work
in Both Action and Background
By FRIEND F. BAKER
THE Baker Process is new in a
sense, but old in fact, as years
of labor and development were
necessary to produce a double expos-
ure method, suitable for every day
commercial practice, whereby action
may be combined with backgrounds
of various types. Commercial practice
means first simplicity, and second that
it must be applicable to daily han-
dling' in one or more commercial labo-
ratories.
The first step as described in my
claim is:
A process of double exposure which
includes making the first exposure of
the object in a non-actinic field on
two films and treating one of the
films to render the exposed parts
thereof opaque.
The second step consists of making,
on the original undeveloped nega-
tive, a double exposure of a third film
or positive through said treated film,
which thus united becomes the final
composite film. The claim reads:
Making the second exposure of a
third film through said treated film,
uniting the other of said first two
films and the third film with their
images in registration to form a final
composite film.
Camera Set at 90 Degrees
To better understand the operation
of the process we will refer to the
drawings. Fig. 1 may be disregarded
as it is not used in present practice.
It was, however, the basis for the
idea,, being a light dividing means in
a color camera patented by Milton M.
Moore and myself many years ago.
It, too, was one of the principal
factors in preventing the process
from coming to light as special cam-
eras are rather looked upon with awe.
It was therefore placed upon the shelf
until the advent and present day de-
velopment of the bi-pack film and the
general use and daily handling of it
by machine.
Referring to Fig. 1-A, we have an
illustration of the first step in photo-
graphing on object to be placed in
any desired background. ,
A regular Mitchell or B. & H. cam-
era which has been equipped to take
two films is used. It is loaded with
regular bi-pack negative, the red sen-
sitive in the back and the new red-
backed ortho in the front. The camera
is set at 90 degrees to the object to
be photographed and directly in front
of the camera is placed a 45 degree
mirror, silvered on the surface toward
the camera. The purpose in this
method is only that for correct print-
ing we must directionally reverse
right to left the image on negative A.
The object to be photographed is
placed in front of a black or other-
wise non-actinic background and is
lighted first with white light to a
point that negative A has a correct
exposure. Then add red light (lights
with colored screens) until the red
sensitive negative in the back has
been built up to a point that it will
become a silhouette matt.
This addition of red light does not
effect the face negative, but does make
it possible to make a good matt of
even a dark object on the rear nega-
tive. The back, red sensitive B is
now machine developed and given a
treatment to make it opaque in its ex-
posed portions. This is a commer-
cial step in some of the large labora-
tories.
Negative A Not Developed
Negative A, which is to be the fin-
ished product, is not developed, but
is placed in the camera end of an op-
tical printer as seen in Fig. 2. In the
other or projection end of the printer
is placed the matt film B, face to
face with any desired background pos-
itive. Image of matt film B is now
set in register with the image on
negative A and the double exposure
is made, blocking the portions of neg-
ative A already exposed but other-
V_y>^ ao-. ^.pEir :
frrJ
wise photographing in the back-
ground.
Original negative A is then devel-
oped and printed in the usual man-
ner. It is a negative of the action
unimpaired by any filtering or other
objectionable features with a dupe of
the background obtained in a manner
to produce the highest quality. Nei-
ther step suffers from the effects of
filters or complementary lighting.
Little Make-Up Change
Any optical printer with registra-
tion setting attachments, such as is
in use for color work, may be used
for rephotographing the backgrounds.
The use of a non-actinic backing
has many advantages. Its economy
is evident when compared with light-
ing an expanse of color not only
evenly but to produce a perfect
complementary color separation.
The art of balancing the red and
white light on the first exposure is a
simple problem for any cameraman,
for it is done by first lighting the
face negative correctly with white
light and then filling in with red
wherever needed for the rear nega-
tive.
Make-up need not be changed ex-
cept a lighter lipstick and somewhat
lighter powder.
Quality of finish negative on the
new ortho hi pack with correct light-
ing is such that only in the extieme
reds will vendition be noticed. It can-
not be considered in the same class
with dupes, color separation printing,
redevelop methods, or the making of
dupe projected backgrounds on pan-
chromatic stock. The loss of an ex-
treme red is far offset by the superior
quality of the rephotographed back-
ground on this type film. Thus, con-
sidering that you have two compo-
nents to judge as a whole, it is at
once evident that negative quality is
of the highest type.
The economy of the process is man-
ifest in several ways. Stage space is
reduced to a minimum, and a black
drop is less expensive than a perfect
color. The number of lights is less
and the added time of smoothing out
and balancing the complementary
back drop need not be considered.
Ease of setup and time for shoot-
ing are both in its favor. Complete
handling within the studio's own trick
department will prove one of the big-
gest savings. Handled in this way
its quality and economy will force it
to supplant some of the old methods.
Limitations Are Few
Extreme flexibility is worthy of
consideration. Long shots are not
limited as in the projection and some
of the actinic background processes.
It is not necessary to cut them off at
the knees or to leg up the set to cover
the bottom of the screen, but the peo-
ple actually may walk into the back-
ground.
Its limitations are few, but, like
all process work, precision of per-
spective, mechanical register and
October, 1932
The INTERNATIONAL PHOTOGRAPHER
Five
1$l$cA -
h-f-H
steadiness are paramount for the pro-
duction of perfect final results.
This process was conceived by me
and patent applications filed in 1925.
It was issued in 1926, having had but
one citation as reference and admit-
ted to be clear of it without change
of claims. In order to be clearly un-
derstood fm this point it will be well
to give a brief description of the
British patent No. 169,233 issued to
Hans Goetz in 1921, whiich was the
patent in reference.
Goetz makes use of an actinic back-
ground, and exposure of two films,
whereby color separation makes it
possible to form a matt, by using the
print of one and the negative of the
other. To quote the claims of the
Goetz patent we have:
1. The process of making a photo-
graphic silhouette consisting in taking
a picture of the object in front of an
actinic (white) background and a sec-
ond picture in front of a non-actinic
(black) background, and combining,
in register, a positive of the first men-
tioned picture with a negative of the
second mentioned picture.
2. The modification of the process
claimed in Claim 1, wherein a single
colored background is used for both
pictures, one exposure being made
through a filter of the same color,
and the other through a filter of a
complementary color.
3. The process of photographic and
kinematographic combination print-
ing performed with silhouettes pro-
duced by the process in Claims 1
and 2.
Patent a British Issue
This patent is of course a British
issue, but was not patented in the
United States within its limitation of
time and therefore is free to the use
of anyone who cares to overcome its
technical difficulties.
Of late it has been somewhat prac-
ticed in the industry, as any and all
actinic background, double matting
processes fall within its scope, but it
is without doubt a highly technical
process, not to be classed as a com-
mercial process.
I have in my files four other appli-
cations made by me in 1925 and 1926
which fell within the scope of the
Goetz patent, but luckily the one
which held the key to simplicity was
found free from any previous issues
and I may therefore rightfully lay
claim to:
A process of double exposure which
-TtfiEcr^
includes making on two films the first
exposure of an object in a non-actinic
field, and treating one of the films to
render the exposed parts thereof
opaque.
The second step of the process as
I have described it falls within the
limit of my claim, but it also comes
within the class of what is known in
the art as "common practice." Defi-
nite proof of its practice dates back
as far as 1915 to my own knowledge.
One specific case of its use at that
time is the work of "Red" Martin
for Ince, whereby he used double ex-
posure on a transparent background
and matted out, on the background,
the portions already exposed on the
original negative.
As I have stated, it is the first step
in my claim which makes it as a
whole a new and novel process, ready
for commercial use in the industry.
Simple, isn't it? Expose the ob-
ject negative and a matt negative
simultaneously; double expose a back-
ground on the object negative while
using the matt to protect it.
Economical, too, inasmuch as it is
now being offered to the major stu-
dios for use by their own trick pho-
tographic departments without re-
striction, at a very nominal fee.
Special Division for Cameramen
in Sixth Quigley Golfing Tourney
THE sixth annual motion picture
golf tournament, sponsored by
the Quigley Publications, will
be held at Rancho Golf Club Satur-
day and Sunday, October 15 and 16.
With interest already at a high pitch
the event takes on a new significance,
inasmuch as this year's play will give
the entire motion picture industry an
opportunity to pay tribute to Eddie
Mannix, Metro-Goldwyn-Mayer execu-
tive, who is Rancho's new president.
Several innovations will be intro-
duced in this year's event, chief of
which will be the formation of studio
foursomes which will battle for team
supremacy. Studios will select their
four best golfers,, entering them in a
separate classification, and while the
players will shoot for a special prize
their scores also will count in the in-
dividual events.
Next most important change is the
establishment of a special division for
cameramen. Heretofore cameramen
have been included in the technical
division, but the great number of that
group who are golf addicts makes it
necessary to put them in a division
of their own in order to insure an
even break to members of their allied
crafts.
The executive committee handling
this year's tournament is headed by
Jack Warner as chairman, with
George Marshall, filmdom's premiere
golfer and director of the famous
Bobby Jones shorts, as treasurer. As-
sisting them are Paul Snell, Fritz
Tidden, Larry Urbach, Orville Stew-
art, Jed Buell and Lon Young.
With many valuable prizes being
arranged for the best golfers in the
individual events in all divisions, the
spirit of fun will enter into the
tournament as many gag prizes have
ben procured for the player who turns
in the highest gross score; the one
who takes the most putts on the
eighteenth green; for the funniest
costume; the player who appears with
the greatest number of clubs; for the
worst cut ball; for the one who takes
the most strokes on the thirteenth
hole, as well as many other surprise
features.
The general committee handling ar-
rangements and entries in the various
studios is made up of Richard Arlen,
Paul Snell, Lew Brook, Perry Lieber,
Eddie Laemmle, Russell Hopton, Jack
Warner, Orville Stewart, Frank Capra,
Milt Brown, Jed Buell, Pete Smith,
Fritz Tidden, Eddie Mannix, "Joe
Schnitzer, Larry Urbach, Bob Mc-
Gowan, Oliver Hardy, Dick Cahoon,
Sam Bischoff, Sol Wurtzel, Ted
Butcher, Stewart Heisler, Harry
Brand, Al Jolson, Hubert Voight, Lon
Young, Ben Verschlisier, Trem Carr,
Lindsley Parsons, George Yates, Ed-
die Blackburn and George Blaisdell.
Frl
1 9
«-J3 MTt »«m«=
Six
The INTERNATIONAL PHOTOGRAPHER
CHICAGO
October, 1932
ARMY planes divin wide open
with the rip snortin noise of the
motors makin timid gawkers in
the stands scramble for cover. . . .
Daredevil stick pushers climbin
straight up. . . . The Cleveland Air
races . . . picnic ground of all the ace
snoopers into the great blue spaces up
above they got nicknamed the "Up-
stairs."
National Air races . . . where all
pilots git the one chance of the year
to bust all the Department of Com-
merce air rules, legitimately. . . .
Planes cavortin around in the blue
sky like a mess of mosquitos. . . .
Zoomin . . . divin . . . flyin upside
down. . . . Screechin back down to
earth with the throttle wide open. . . .
It takes fancy stick pushers to thrill
the crowd at this Roman Holiday of
the Skyways.
Also it takes some mighty fancy
pan handle pushers to keep em in a
finder of a movie groan box. ... So
at one end of the field you find a sec-
tion roped off where all the ace G66
pan handle swervers is corralled so's
they kin bring the thrills to you on a
coupla yards of celluloid.
It's the grind of the year for them
666 sharpshooters. . . . Ten days of
watchful grindin and waitin . . . fingers
numb from hangin on camera buttons
an cranks. . . . Crashes ain't on the
program you buys for two bits, but
they do sneak into the line up now
and then . . . and you gotta git it . . .
when it does happen.
Eyes that git bloodshot and bubbly
from bein glued to the finder with the
lens pointed at brilliant skies . . . but
the gang sticks in that corral of theirs
. . . it's the newsgame . . . from early
mornin to late at night . . . and then
almost until midnite shippin the day's
work.
You see Floyd Traynham, Jack
Barnett, Orlando Lippert, Bob Sable,
a'twistin Akeley pans till they sound
like the whine of the planes divin
overhead.
Al Wilson Ankles Over
Atop the noise wagons you kinder
notice Eddie Morrison and Tony Ca-
puto, hoppin around followin the
speedy activities through the finders
. . . hoppin sumpin like the wing
walker doin his stuff in the clear ozone
straight up four thousand feet.
Inside them sound buggies sit Way-
man Robertson, Ralph Saunders and
Phil Gleason with ear phones glued to
wiggly ears like winter earmuffs
guidin sensitive fingers on tricky dials
. . . ketchin noise that will come to
In Focus — In Spots!
By the Sassiety Reporter
By FRED A. FELBINGER
you to thrill you almost as much as it
kinder thrills them timid souls a sittin
there in person in them bleachers.
You know them timid souls what
ups and scrams when them rip snortin
army planes go into a dive. . . . Then
come lulls in the programs and them
666 button pushers renew old ac-
quaintanceships with the pilots they
has followed for years in their
achievements.
Pilots what has gone into perma-
nent history. . . . Pilots what is real
people and don't have to buy bigger
hats every time they does sumpin
worthwhile.
A great new game . . . aviation . . .
also a great gang what makes it. . . .
Aviators and newsreelers ... a great
combination.
Then old Al Wilson, Hollywood
stunt flyer, ankles over to chin with
the 666 gang. . . . Al's old pusher
plane of 1910 vintage rests right next
to the 666 camp. . . . Al is loved by
that newsreel gang . . . he's a expert
at thrillin the crowd with that old
crate . . . the plane is a laff every time
it goes cavortin over the field.
And Al does a little special thrill
flyin with it over the cameras of his
newsreeler pals . . . almost scraping
the wings again the tops of the camera
magazines . . . and then he ankles
back to them newsreeler boys and
everybody kids about how Al is tryin
to shave off the tops of outfits.
Al Wilson, one of them regular
guys what them news snoopers like
to brag about havin on their lists of
friends . . . guys you like to hoist one
with now and then.
Al's Final Thrill
Then Al gits in his old crate and
takes off once again to give the crowd
some more good hearty .belly laffs
with his antics at the stick of that old
pusher. . . . Everybody enjoys his
show. . . . Laffs are always welcome
anywhere even on a card of thrills.
So Al finishes his little act ... he is
comin down. . . . Celluloid is grindin
through them cameras of Al's 666 but-
ton pusher friends. . . . Down below
Al a autogyro has just set down with
the rotor still revolving. . . . Al flies
a little low with his laughmakin plane.
Suddenly a crash . . . Al Wilson has
given them 666 button pushers one
final thrill on their film ... a thrill
none of them wanted neither. . . . It's
the last time the gang will point lenses
at their pal Al Wilson.
Lumps rise in the throats of them
newsreelers as they pack the cans of
film that afternoon . . . just another
day at the National Air races . . . and
at the finale after the Flag is rung
down. . . . Taps are played. . . . Taps
for Al Wilson.
And over in the newsreel corral a
gang of hard boiled lens snoopers
stand at attention . . . sometimes even
hardboiled hombres kin have tears
sneak down sunbleached cheeks. . . .
So long, Al Wilson . . . the 666 gang
wishes you happy landings on the
flight to the happy hunting grounds.
SIX-SIXTY-SIX
Bouquet for Sidekicks
You know sometimes you see a
thrill in a newsreel asittin in a the-
ater that kin beat anythin they
frames and stages out there in Holly-
wood . . . and you gotta remember
them newsreel fellows build up their
story includin the climax in less than
two hundred feet of film.
Wal, this old war horse gits goose
pimples alookin at a subject on a
framed train crash out at the Iowa
State Fair at Des Moines. ... I under-
stand quite a mess of 666 lens point-
ers shot this for their respective reels.
I ain't seen all of em, but I saw the
one in Paramount News and I got one
big thrill, in fack I jest hadda ankle
over to Western Union and wire the
gang out in Des Moines congratula-
tions. . . . Buck Buchanan placed the
cameras on this one and Charlie David
and Billie Andlauer did the aimin with
him. . . . That Des Moines head-on
collision between two speeding trains
sure was a million dollar hair raiser.
SIX-SIXTY-SIX
Listeuin In on Radio
Speed . . . Speeed . . . Speeeed. . . .
We've had a month of it . . . even with
the weather. . . . The days are gittin
colder and colder. . . . Summer is
makin another record on its dash for
the covers . . . but that kinder rushes
Fall into our lap . . . and football . . .
and then we kin see old Notre Dame
whale the tar out of most of them
and also this year we is gonna be able
to sit at home and listen to the Irish
plaster Southern Cal. on our radios.
Of course, most the gang would
sooner be on top the press stand
grindin on that one, but about the end
of November might come in kinder
handy to hear one on the radio espe-
cially Southern Cal. gittin their just
rewards for last year.
The gang jest finished glorifyin
October, 1932
The INTERNATIONAL PHOTOGRAPHER
Seven
James A. Murray, International Photographer, with H. A. Murray, his father, and Eddie Johnson, an experienced
miner, goes into the woods to seek "Free Gold," the two older men shown here to do the mining and the younger to
photograph their work
Hunk Anderson and his Irish terrors
in their first fall workout . . . which
was on the newsboys again, of course.
. . . The tripod jugglers taught the
Irish another new exercise the openin
day. . . . Leap frog . . . and they
kinder took the kinks out of them
footballers, too.
SIX-SIXTY-SIX
About Gar and Kay
At Detroit they had another speed
classic. . . . Gar Wood comin up from
behind the Englishman,. Kaye Don, to
keep that Harmsworth trophy on his
mantleplace . . . the way the first heat
of that race started out with the Eng-
lishman dashing out in the lead it
looked like Gar Wood would have to
dust beneath the trophy on his mantle-
piece, but it din't take long for us to
figger that when it wuz over, all Gar
would have to do is dust around the
edges of the Trophy when he got back
to his house, like he's been doin for
years now.
Maybe Gar is got that trophy
mounted in concrete and maybe he
figgers he better win so's they don't
have to blast it out in case some one
else wuz fast enuf to do it . . . well
of course, it takes a awful lot of film
foggers to glorify that one.
Besides the Windy Burg gang I
spotted a awful mess of Detroit sharp-
shooters. . . . Ralph Biddy was right
on the job with a Mitchell and a big
twelve-inch lens. . . . Old Pete Simons
was there provin that you kin still
make pictures with a old Universal,
even when it takes truckloads of
equipment for some of the bozos to
git a picture nowadays.
Maurice Caplan sent over his mob
of Experts. . . . George Hoover dove
down at the speedin boats, stickin his
lens out of a fast plane, while Cappy
had Harry Hillier out on the startin
barge. Don Altendorfer and George
Jarrett got it from the shoreline . . .
while Marty Rowland stuck down at
one of the curves.
Paging Urban Santone
Cappy had his gang makin the offi-
cial picture of the race. ... I also
seen one of the oldtimers what came
over jest to laff at the guys what was
jugglin tripods and see the event in
class . . . Old Dick Ganstrum. . . .
Dick was observin the holiday as a
spectator; he even brought the Missus
along.
And while on the Harmsworth race
I almost forgot my old pal Urban
Santone also was zooming over the
course in a fast plane. . . . Urban is
kinder peeved because I din't mention
him among those present at the two
political conventions at Chi. last June
. . . and he still don't believe me that
I did and that the editor of this here
high-class magazine cut his name
because I raved about the convention
in too many words. ... I hope you
will read this, Urban, and forgive all.
[Ye Ed. t. h. h. c. m. pleads guilty.]
Paging Harry Birch, Too
Saw old Harry Birch the other day
and Harry is heavin up a awful wail
about this baloney of mine . . . wants
to know why I don't say sumpin about
some of the other crankers besides
jest glorifyin newsreelers all the time.
. . . Quite so, Harry! Quite so! But
why don't some of youse guys send
on some dope.
I jest don't git around where all the
other hombres seem to be shootin. . . .
Send it on it'll be here next month.
. . . Until then I got some football
games to lock at through my finder
... so see youse guys on the fifty
yard line.
Republicans Name Estabrook
Hollywood District Chief
ED ESTABROOK, International
Photographer, has been ap-
pointed by the Republican au-
thorities to take charge of the party's
affairs in the Hollywood district.
This assignment will keep him busy
right up to election day.
The new Republican executive is
well qualified to undertake this work.
Possibly the appointment was due to
his success during the weeks preced-
ing the recent primary in so success-
fully managing the affairs of Kent
Redwine, named by the Republicans
for assemblyman in Los Angeles.
Eight
The INTERNATIONAL PHOTOGRAPHER
October, 1932
Two Buddies Down in Arctic Sea
Norm and Jerry While Recording- by Camera and
Sound Transatlantic Perils of Flying Family
Narrowly Escape Death
By the Sassiety Reporter
As Told to
FRED A. FELBINGER
YEARS ago I used to pal around
with a bunch of hombres what
had a little sailin sloop. . . . Well
sir! Up in the harbor where they kept
the boat they had another trim little
craft that was the apple of the eye of
many an amateur sailor like myself.
. . . That other little boat kinder fasci-
nated me . . . her lines . . . her riggin.
But what kinder got me the most
was her name. . . . That sorta always
perked at me ... a strange name, too,
it was . . . especially to one what never
had much of a chance to learn what
names meant out of a book, but hadda
kinder git the drift of names or words
by learnin em straight from life ... a
slow but mighty sure process of buildin
up the meanin of your own vocabulary.
Well, that's kinder gittin away from
the name of the boat.
"Intrepid" she was christened . . .
and intrepid she remained. ... I never
knew what her name meant . . .
wouldn't know now . . . but I always
do try to follow up and find out the
meanin of things that sink in a little
deeper into my skull than most things
... so I borrowed a Webster Diction-
ary in the hopes maybe that word was
kinder marked in the English lan-
Norman Alley, former Chicago cor-
respondent of International Photog-
rapher, cameraman with Flying
Family
guage . . . and sure enough I found
it defined there.
Meant "undaunted" or "brave." . . .
Well, right away I knew the fascina-
tion of that word, and I wondered if
it were possible to use a word like that
for other things besides trim little
boats.
That was years ago. . . . The word
sorta slipped out of my memory. . . .
I got mixed up in this lens snoopin
business . . . became a rookie in the
camera grindin business . . . grew up
in it by and by . . . and in so doin met
a awful lot of "undaunted" and "brave"
men that kept grindin away in the face
of all dangers. ... I said I was a
rookie.
Alley a Camera Ace
Well, that was quite a few years
ago . . . but at that time I met a
hombre what already was a old timer
in the business . . . Norman Alley . . .
they called him a ace behind a camera
. . . and that was long before Sound,
Depressions and cuttin down.
Well, my new work kinder got me
mixed up with this Alley person . . .
and pretty soon I got to learn the
meanin of the word Ace in the racket
I had picked. ... I stood beside this
guy on levees what was shakin from
flood waters what had just cut through
another crevasse.
I saw him climb up steel work for
odd angles what mig-ht thrill a audi-
ence, while he was makin a picture, a
thrill picture of a new skyscraper
goin up.
And Alley always went up a little
higher than the steelworkers what was
performin for him so's he could get
the thrill angle on his story. ... I saw
Alley get a wire from his editor on an
endurance flight story askin him to
make a picture of a stunt man going-
down a rope ladder with a microphone
suspended on a cable of a sound outfit
from a plane and get a sound inter-
view with the Endurance fliers in their
plane durin a refuelin of their ship.
When Angels Fear
I saw Alley get turned down by a
stunt man on the deal . . . and then
have Alley go up himself and do the
trick personally, successfully, while
another cameraman, Eddie Morrison,
ground from the ship above showin
Alley danglin on the rope ladder . . .
carryin the microphone . . . danglin
on that fifteen foot rope ladder . . .
and Eddie Morrison figuring it was
fifty miles long on Alley's climb back
to the ship where Eddie was grindin
from . . . with Alley never whimperin
or cryin for screen credit . . . just
killin another assignment.
Later on I met another bozo in this
racket ... a noise ketcher ... a real
guy . . . Jerry we called him . . . last
name didn't mean much to my gang.
. . . Last names never mean much in
my racket. . . . It's the bird himself
what counts. . . . Jerry, too, could face
danger without talkin about it, pro-
fessionally, or off the job.
News men can always court danger,
even in their spare moments. . . . They
live by it, unconsciously. . . . By and
by I learned Jerry's last name was
Altifleish. ... So I saw Norm and
Jerry work with the gang for years . . .
and I knew they were of the stuff
bozos outside of the racket referred to
as brave, as undaunted.
And then a few weeks ago I picked
up a paper to read that Norman Alley
and Jerry Altifleish had taken off on a
flight across the Atlantic with "The
Flying Family" because they had re-
ceived it as an assignment of their
profession . . . and then I found out
another use for that word I had seen
on that boat years ago . . . "Intrepid."
... I knew the meanin of the word
for years . . . brave and undaunted.
Just a Newsreel Assignment
I knew a lot of fellows that were
that. . . . Fellows that I have met in
the newsgame. . . . But I never did use
the word Intrepid for anything but
that boat I had seen years ago. . . .
So when the plane of the Hutchinson's,
The Flying Family, took off on its
transatlantic flight two Intrepid News-
reelman accompanied it to record
for posterity on celluloid, for the first
time in history, a flight across the At-
lantic . . . which would be somethin
new in the newsreel business ... a
cameraman and sound man accom-
panyin the actual journey ... an In-
G. J. Altifleish, sound man with
expedition
October, 1932
The INTERNATIONAL PHOTOGRAPHER
Nine
/ / IF If
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^ *
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!j?j?M
Photo by Hobart Brownell.
Steamer entering harbor at Sitka, the Alaskan capital when the territory was
owned by Russia, which sold it to the United States sixty add years ago for
$7,200,000. At the present time $30,000,000 worth of fish alone is being taken
out of Alaska each year.
trepid venture . . . just another assign-
ment for two newsreelers.
The take-off of Jerry and Norm was
quite a surprise to buddies in their
callin. ... It was the topic of many
conversations the first few days of the
flight . . . which was bein made in easy
stages . . . via the northern route . . .
but newsreelmen have other things
crop up that takes the edge off of
things that happen one day.
Several days and the hot news of to-
day becomes the history of yesterday.
So the flight of Norm and Jerry be-
came an accepted fact and the boys
felt that in time they would see the
celluloid that passed through Norm's
camera flickerin on some screen in
some theater they might be visitin.
Then suddenly the headlines of the
newspapers shrieked, "Flying Family
Down — Believed Drowned" . . . and
anxious newsreelers grabbed at hur-
riedly bought editions . . . and they
read of their buddies ... an S-O-S by
Jerry Altifleish, actin as the radio op-
erator at the moment . . . S-O-S, an
emergency cry for help, in navigation
... a story in newswork . . . newsmen
ever alert for news.
Tragedy for Two Buddies
S-O-S . . . maybe a big story. . . .
But the Flying Family . . . S-O-S . . .
more than news . . . impendin tragedy
for two buddies . . . and for the first
time . . . S-O-S ... a real definition
and feelin of those three strange let-
ters ... to men otherwise immune to
feelins.
Tragedy only tugs at the heart-
strings of those nearest . . . S-O-S . . .
Jerry's fingers nimbly dashin out the
tragic cry. . . . Then silence . . . head-
lines . . . postmortems . . . news . . .
suspense . . . great suspense for news-
reel buddies . . . more headlines.
Flying family still missin . . . more
suspense . . . silence . . . from Arctic
wastes. . . . Two buddies now among
those missin . . . among the silent
. . . Anxious buddies . . . waitin for
flashes . . . flashes of hope . . . but only
silence now . . . silence . . . that slowly
and strangely becomes accepted as
final tragedy . . . but eternal hope. . . .
Hope when friends are concerned.
NO! . . . Forget it. . . . Newsreelers
always come through.
But other flights . . . then sadness
gives birth to tributes. . . . Hope be-
comes despair. . . . Despair breeds
Eulogy . . . when friends are con-
cerned. . . . Silence.
Norman Alley and Jerry Altifleish
have joined the missin. . . . Two in-
trepid newsreelers . . . missin on as-
signment. . . . But news goes on . . .
other assignments come up. . . . Other
news must be covered . . . and Jerry
and Norm become a sad memory.
Breaking a Mouthpiece
Hope goes on and on. . . . Then an
assignment. ... A baseball team
cinches a pennant . . . news . . . news
throws a group of newsreel buddies
together . . . competitors . . . but
nevertheless buddies under the skin.
. . . The talk drifts to Norm and Jerry
. . . too bad . . . "hope they crop up
suddenly" . . . false hope . . . what a
lousy business . . . the eternal cry of
the newsreeler. . . . But he never gets
out of it . . . his heart loves that
"lousy business" . . . workin, loafin,
danger, tragedy.
Newsreelers gather . . . Norm and
Jerry are discussed . . . two buddies
down in icy waters . . . silence ... a
telephone ... a newsreeler decides to
call a news syndicate.
"What is the latest dope over the
tickers on the Flying Family?" . . .
Suspense . . . hope . . . two buddies.
"WHAT WAS THAT?
"THEY FOUND THEM? ALL
SAFE?"
The mouthpiece on the telephone is
broken. . . . Those mouthpieces always
did break easily even with opening a
ginger ale bottle . . . the phone has
dropped to the floor.
What a goofy gang these newsreel-
ers are? . . . Funny birds. . . . News
. . . assignments. ... A flight across
the Atlantic ... an assignment . . .
Norman Alley and Jerry Altifleish.
Two intrepid newsreelers. ... I often
wondered what that name meant on
that boat every time we sailed by it
. . . anchored there in Belmont Har-
bor in Chicago. . . . "Intrepid" . . .
finally I looked it up. ... A dumb dome
like mine can be enlightened after all,
you know ... so I looked up "intrepid"
in my dictionary . . . Webster's dic-
tionary. ... I found it there, too . . .
"Intrepid — undaunted, brave."
Norman Alley and Jerry Altifleish.
Striking Shot in Alaska.
Photo by Hobart Brownell.
Ten
The INTERNATIONAL PHOTOGRAPHER
October, 1932
Left, Leueneuan flappers with their pipes outdoing their effete sisters of the western world. Centre, rainstorm passing
over the Savo entrance to Ta Na Vula, Solomon Islands. Right, A Leueneuan with an apparent emphasis not unknown
to at least one former American President shoivs his teeth.
Carries Camera Into the Solomons
Despite Perils Photographer-Lecturer Gets Inti-
mate Shots of Cannibals as Well as Hesitant
Tips on Local Dietetics
By SINCLAIR MACKAY
Fellow American Geographical Society
Fellow New Zealand-Polynesian Society
FROM New Zealand's snows I
journeyed via the Los Angeles-
like Sydney of Australia to Tulagi,
the miniature capital of the British
Solomon Islands Protectorate, a scat-
tered group of South Seas islands
situated a few degrees below the
equator. My object was to obtain
photographic material, both motion
and still, of the Melanesian and Poly-
nesian native tribes of the Solomons.
In particular I wanted to capture
for the lecture-screen the wonderful,
rythmic dances which, strangely to re-
late, are performed by the meanest
cannibals of the entire world. I con-
centrated my attention upon the East-
ern Solomons because the central and
western sections of this thousand-
mile group previously had been cov-
ered by cinematographers.
My specialty was the cannibal tribes
of Malaita-Lao, Makwana, Lenga-
Lenga, Ari-Ari and Sinorango. While
obtaining supplies at the trading de-
pot in Tulagi harbor for my expedi-
tion journeys, I observed a native
voluntarily retrieve a bag of rice that
had fallen overboai'd from a schooner
into thirty feet of shark-infested
water.
Admiring his act I set about obtain-
ing his services as guide, interpreter
and general assistant with my camera
paraphernalia. He happened to be a
native of the notorious cannibal island
of Malaita, his name Wailanti, and
he immediately acceded to my wishes.
Two Eyes — Both Busy
Through his faithful co-operation I
was able to get good pictures of the
dances of the various tribes. All was
not easy going. For example, I was
shooting my last and best series of
cannibal dances while an Australian
cruiser was approaching this island
for the purpose of landing a punitive
expedition against these aforesaid
cannibals to strafe them for killing
and partly eating a couple of white
(British) police officers and their
native troop escort!
I had one eye on the cruiser and
the other on the job. In the excite-
ment I never gave my own safety a
thought, for I was a lone white there.
You may wonder why the Malaitan
THE writer of this story, Sin-
clair MacKay, has been a
world wanderer all his life,
having traveled in thirty coun-
tries. While he is of English-
Scotch birth so little has he re-
mained in his native island that
he has acquired what is known as
the British Colonial accent. Mac-
Kay was in the British Navy dur-
ing the World War. After the close
of that conflict he took a camera
into the South Sea islands. Short-
ly after his arrival another war
was started into which the navy
was plunged. MacKay by means
of canoe, schooner and freighter
returned to Australia. He had
close-ups of some of the island
conflicts, and as a result secured
much notice. The lecturer-photog-
rapher has been a resident of Los
Angeles for three years, but dur-
ing the preceding month he left
for Canada and possibly for his
old home in the British Isles.
cannibals themselves undertook the
element of risk in having the m. p.
camera shot at them.
Reason is they considered they were
being immortalized by my "bokis be-
long devil-devil," which is pidgin-
English for the camera on the tripod!
My interpreter, Wailanti, had done
well his work among them, for he
knew immortality of the body is a
highlight in cannibal "religion," and
October, 1932
The INTERNATIONAL PHOTOGRAPHER
Eleven
here was the white man's method of
turning- the trick!
Therefore, to be shot became their
desire. Each tribe of savages, jealous
of a nearby tribe whom I had already
shot, wanted to appear before the
camera. Thus I was able to shoot
many tribes of varying- hostility to
one another.
MacKay-Makei
Furthermore, my conjuring tricks
gave me a sort of supernatural pres-
tige among the natives of the Canni-
bal Solomons. A man skilled in the
arts of magic (handkerchiefs and the
good old egg and ball gag) is thought
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LOVE
Pliny Home, Representative
Sinclair MacKay
by them to be in regular communica-
tion with their devil-devils, whom
they fear and respect. My name, also,
was adjudged a very good one, being
half of the name of their principal
god, "Makei-makei"!
The people of Malaita really enjoy
the eating of flesh of humans — not
raw but cooked; not boiled in a pot
but roasted to a turn. Some white
persons think that cannibalism is a
religious practice in native life. While
I lived among the cannibals they used
to tell me how they relished human
meat.
I may say it was not always easy
to get them to talk about their un-
pleasant habits of diet. In a subtle
manner I had to probe out of the
Malaita men their knowledge and ex-
perience of cannibal practices and in-
formation as to the best localities,
times and opportunities.
At first they would be bashful and
reluctant to speak, but gradually they
would warm to their subject, I of
course being careful that the subject
was not myself! These heart-to-heart
talks were conducted in Malaitan and
pidgin-English.
Animals Outrank Women
I showed the cannibal chief, Oieta
of Makwana, a movie fan magazine.
The pictures of the stars therein
meant nothing to him, said he pre-
ferred "likelinesses" of animals! I
couldn't get rid of that "mag." on any
of his tribesmen. Women, I should
mention, are at a discount among can-
nibals.
Another time I had everything set
to take shots of a picturesque native
craftsman. Thinking- to please him, I
had him look through the viewfinder.
He took one peep. That just settled
things. My craftsman took to his
heels and fled to the mountains scared
stiff! His name was Socopolo, mean-
ing "He who runs away." Yes, he
was correctly named!
I lost my crank among a group of
cannibal huts owing to a sudden rain-
storm. The downpour finished, I asked
the chief to have all his people seek
the handle. I began to fume at get-
ting no quick result, not realizing the
type of people among whom I was the
only white for a long, long way. Then
I laughed at myself and calmed down
like a philosopher. The crank was
found by toes in the village mud,
caused by the rain!
Arms Not Much Protection
On other occasions I was rushed at
with a knife (twice), a warclub and
an axe. Just through behaving calmly
and immediately treating the angry
ones like naughty children they for-
got their momentary rage and were
almost apologetic.
It isn't much good being armed.
The few white men in the Solomons
realize that if the natives want to
get you, they will do so, whether
you're armed or not. Life is at a
premium in these South Sea islands.
Other difficulties are the enervating
moist heat, frequent rainstorms, tall
trees falling suddenly in jungle, up-
right split stakes on trails, concealed
pits and bamboo stakes; trailing,
tripping vines; mosquitoes that car-
ry malaria; biting pests like hor-
nets, bulldog ants, scorpions, black
spiders, centipedes and millipedes.
Man-eating crocodiles frequent the
rivers and lagoons.
I used Goerz raw stock, it prov-
ing satisfactory in a moist, hot cli-
mate, and I had my developing done
in Sydney, Australia. The camera
was a British Williamson, Paragon
tropical model, with Cooke lenses. In
the hot, moist Solomons I transport-
ed my film inside a Chinese cam-
phorwood box.
Cannibal Aid
Twelve
The INTERNATIONAL PHOTOGRAPHER
September, 1932
Sailor's Life Not So Slow at That
So It Would Seem Following- Decidedly Short Chat
with Bob Miller Despite Plea Not a Thing-
Happened on the Whole Run
ROBERT MILLER, photographer
on the President Hoover, flag-
ship of the Dollar Line, follow-
ing return of the ship from New
York in the latter half of September
again is on his way to the Orient.
During his two-day stay in Los An-
geles the International Photographer
found time to look in on headquarters.
Not a thing worth printing had hap-
pened on the ship's entire run, he
insisted. Incidentally he left with
this magazine, for which he carries
credentials as a traveling representa-
tive, several examples of his photo-
graphic skill.
One of these, the Cuban Capitol in
Havana, arrived just as the pictorial
section was being compiled and auto-
matically and instantly was pitch-
forked right into that department.
Also near the column in which this
story appears will be noted a couple
of shots of the big ship sliding
through the canal, just a pair selected
with difficulty from among others
equally attractive. Then there should
be a picture of the captain of this
eight and a half million dollar liner,
with Bob Miller alongside him.
And incidentally there will be found
a shot of a mite of a Cuban boy who
demonstrated to the photographically
inquisitive visitor in Havana just
what is a rhumba dance, made famous
by one of the most intriguing and
Cuban boy does the rhumba for the
edification of Robert Miller and read-
ers of International Photographer.
catchy songs that has hit the world
at large in a decade.
The photographer had one or two
experiences in Havana that will linger
in his memory for a while anyway.
He discovered that to go ashore with
what the Cuban officials describe as a
"grandee" camera entails the unravel-
ing of a yard or two of official red
tape, at least it did on the first occa-
sion, during which he made the
acquaintance of quite a number of
the island's officials.
Finds Real Atmosphere
Later his inquisitiveness and de-
sire to bump into some human inter-
est stuff brought him into intimate
contact with more natives than really
were necessary to satisfy his idea of a
perfect party.
The sudden shift of the big- ship
from her course in the Pacific and
the accompanying delay of enough
time to constitute a serious setback
in the practice of the sea followed an
s.o.s. that one of the crew of a 75-
foot fisherman in Magdalena Bay was
in serious need of medical attention.
It was the courtesy of the sea.
When the sick man was taken
aboard Bob was held over the side by
the first officer and boatswain while
he shot a motion picture of the trans-
fer. The sick man was brought to
Los Angeles well on his way to re-
covery.
Departing for a moment from the
chronology of this tale, the or at least
a hurricane did put in an appearance
later in the Pacific. It was of suffi-
cient strength to satisfy even the
most particular.
A Couple of Scoops
When Bob started for shore in the
Cuban capital with his 35 mm. profes-
sional camera and a graflex he was
stopped at the gang plank. Then
officially escorted and feeling like a
prisoner he was introduced to the in-
spector at the exit from the pier.
Then there was a huddle of a half-
dozen uniformed men. After several
hours he reached the inspector gen-
eral of the port, who turned the now
tired tourist over to his. secretary.
Following a short examination a pass
was made out.
Even then the path was not clear.
There was a trip back to the gang
plank, then to the pier and then to
the police station. By this time the
applicant for a permit was so hot
and bothered that when finally the
course was cleared nothing short of a
visit to Sloppy Joe's bar and collision
with a couple of seidels or whatever
takes the place of those young
buckets could serve to place him in a
frame of mind to think of work.
Here there entered the friendly
Bob Miller a.nd Captain Anderson of
the President Hoover
face of the cab driver who had served
Bob on the way north. In reply to
the photographer's suggestion of
street scenes and human interest
stuff came the query as to how about
a rhumba dance. While not exactly
certain as to what he might be let-
ting himself in on the reply was in
the affirmative.
The driver picked up a couple of
old cronies and drove back into the
native section. Here in a place im-
pregnated with smoke from the
cigars which every one seemed to be
smoking and to the accompaniment
of possibly twenty-five dishpans en-
thusiastically pounded by an "orches-
tra" of the same number the dance
was on. To the visitor it seemed to
be a mixture of a shuffle and a jig.
Crowd Multiplies
The dance was just getting under
way when a negro lad of a few years
old, really black, and dressed in white
dungarees, struck an Al Jolson pose
and indicated he wanted to do a dance.
This was okeh. The lad began what
looked like a real dance when the
photographer discovered he was out
of film.
As he started to load he looked
around and instead of the twenty-five
present when the show started there
must have been six times that num-
ber. All set up a cry for money.
The driver hurried in and tried with
scant success to stop the crowd from
pawing the cameraman. A pocketful
of cigars faded quickly. A hundred
October, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirteen
Steamship President Hoover crossing Gatun Lake in the course of its east to west trip through the big canal. On
the right the ship is seen approaching the lock. Taken from the hurricane deck it would seem to be impossible for the
big ship to squeeze through. It just did at that. Photographed by Robert Miller.
pairs of insistent hands were filling
the air.
Finally the two got to their car.
Before it could be started the back
of the machine was crowded with in-
sistent seekers of money. Two miles
away the hangers on were got rid of.
Before returning to the ship to get
cleaned up there was an emergency
visit to Sloppy Joe's.
As treatment was being adminis-
tered to the harried photographer the
proprietor discovered the camera.
Learning the owner was seeking inti-
mate stuff he suggested maybe there
would be interest in photographing
the saloon. The proprietor on being
assured that was a thought stepped
into the role of a director even if
minus a megaphone.
He lined up the customers and had
the place cleared in turn. He put
on the lights and he turned them off.
The pictures were 100 per cent, as it
proved. When the proprietor also
sees them, as later on he will, as
maybe also will millions of other
humans, Bob Miller will be sitting
pretty when he steps up to Sloppy
Joe's bar.
That is, of course, if he choose to
do just that. In the event he does
not it is possible he will be able to
find some cameraman who will agree
to sub for him — of course, just for
friendship's sake.
Immediate Acceptance ♦ ♦ ♦
for the New
EYEMO
with motor drive
Introduced only last spring, the Bell & Howell Eyemo 35
mm. hand camera with motor drive and 400-foot magazine,
received instant applause and adoption by newsreel men,
explorers, scientific expeditions, and producers. The new
motor drive insures constant sound speed of 24 frames a
second.
The motor is attached by a simple bracket, but can be
removed in a moment for hand-crank operation on a tri-
pod. Or the Eyemo can be held in the hand, if desired,
and operated by spring or motor. Both 12-volt and 110-volt
storage battery models.
The new Eyemo, with its seven speeds, three lens turret,
variable view-finder, built-in spring and hand-crank drives,
and its complement of Cooke lenses, is the most used and
most useful camera in the specialist's equipment.
Camera alone, $450. B & II pays the Federal tax. Motor
and magazine extra. Prices on application.
•
C. F. Gordon, Ceylon Government Service, recently returned to Holly-
wood after spending three months in Ceylon jungles with his Eyemo
71-C Camera with battery-driven motor. He says, "This combination was
eminently successful . . . t filmed 32,000 feet, and the one set of 'B'
batteries was still powerful. . . . My Eyemo, under adverse high tem-
perature and humidity conditions, worked perfectly. The films are rock-
steady, and do not show the slightest vibration."
1907 — 25 YEARS OF SERVICE TO THE MOTION PICTURE INDUSTRY — 1932
BELL & HOWELL
1849 Larchmont Ave., Chicago; 11 West 42nd St., New York;
716 North La Brea Ave., Hollywood; 320 Regent St., London
(B & H Ltd.) Est. 1907.
Fourteen
The INTERNATIONAL PHOTOGRAPHER
October, 1932
Cameramen 's Spectacle and Ball
All Set for Ambassador October 29
OCTOBER 29 at the Ambassador
Hotel Auditorium the Interna-
tional Photographers will stage
one of the big social events of the
year.
For several months the entertain-
ment committee has been whipping
into shape plans to make this the
finest and most brilliant representa-
tion of photographic talents ever pre-
sented to the public.
Several leading cameramen have
been most kind in giving their time
and service to the committee. It is
anticipated that others who have been
too much occupied with the business
of making a living to help until now
will find time to lend a hand in the
ensuing few weeks.
Names of stars, directors and writ-
ers who also have participated in
making this a real event form an im-
pressive list.
It is going to be a real exposition
of the talents of the members. Re-
markable action shots in pictures ol
recent seasons will be explained and
illustrated on a specially built stage
by those of the members who were
responsible for effecting them. It will
be a gifted, varied and colorful reve-
lation of the real technique of legiti-
mate photography.
Two allied crafts which have worked
in intimate association with the
cameramen in the studios have
promised to be on hand to do their
part in making the exposition a suc-
cess. These are the better-known
studio make-up men and the Associ-
ated Motion Picture Pilots.
The make-up men will demonstrate
how they work directly with the
cameramen in achieving certain de-
sired effects, how they overcome de-
fects in an actor's physical appear-
ance, how they create "horror char-
acters" like "Frankenstein" and "Mr.
Hyde," and generally discuss the part
they play in helping the cameramen
achieve his weird and unusual "shots"
within studio walls.
Exceedingly interesting also will be
the offering of the pilots. According
to the present thought regarding the
matter it is planned to show various
thrilling sequences of air pictures
such as those occurring in "Wings,"
"Sky Brides," "Hell's Angels," etc.,
ending with the crash of a plane into
the ground.
The curtain will then i-ise to reveal
a stage in which the crashed ship is
pointed to the earth. The aviators
who have made the sequences shown
will appear and assist Pilot Dick
Grace from the plane, who after in-
troducing the boys will proceed to
discuss the thrilling air scenes they
have enacted in various pictures and
Left, Medal of the Purple Heart, United States Army decoration bestowed for
performance of meritorious action in battle. It was originated by President
Washington and recently revived by the War Department. At right, Earle
Walker, International Photographer, vjho has just been awarded the medal
shown here for something he did in the Argonne. What it was he declines
to say. Medal photographed by Ira Hoke. Portrait of the soldier by
TreadweW s Studio.
which members of the local have
photographed.
At the ball which follows the Ex-
position players, directors and produc-
ers have promised by their presence
to honor the cameramen who have
played such an important part in
building and maintaining their fame
and fortunes.
There will be the best music pro-
vided for dancing. Nothing is being
overlooked which could in any way
improve or embellish the function.
Any cameraman who misses this
affair, his affair, will miss a big suc-
cess. Buy tickets for yourself and for
your friends. It will be a long time
before there'll be another social like
this.
Berlin Amusement Tux Drops
Full Third in Fiscul Year
BERLIN tax authorities have just
published the most unfavorable
balance sheet of entertainment
taxes which has ever been made up
for any single month. So far no
month, even though receipts have been
rapidly declining, has brought less
than 500,000 reichmarks, so that the
month of July, with receipts of only
386,147 rm., revealed a low record.
Cinema business was bad enough
during June, yet the taxes brought
504,479 rm. In the previous year
June receipts were 601,694 rm., and
the July receipts 511,022 rm. It is
known the General Tax Office has sent
a questionnaire to the twenty district
tax offices in Berlin regarding the
number of cinema visitors during
July, but the low receipts from the
entertainment tax will give a picture
of the sharp decrease in attendance of
cinemas and other places of amuse-
ment.
Based on the total of entertainment
tax receipts for the first four months
of this year from April 1 until July
inclusive the entertainment tax for
the total current business year will
amount approximately to six million
reichmarks,. or about two-thirds of the
amount anticipated.
French Tax Returns High
During June last the proceeds of
the entertainment tax in France
amounted to 9,549,000 francs, or 2,-
085,000 francs more than estimated
in the budget and 960,000 francs less
than the amount collected in June a
year ago.
For the first three months of the
1932-3 fiscal year proceeds from the
tax were 23,525,000 francs, or 8,153,-
000 francs over the budget estimates
and 2,588,000 francs less than that
collected during the corresponding
period of the preceding year.
Not That Way Here
According to Trade Commissioner
George R. Canty, the local press re-
ports that in Moscow a cinema seat-
ing 7,000 persons is in course of con-
struction.
It is intended to erect cinemas of
similar size also in other sections of
the city, as it is claimed the existing
cinemas are continually sold out and
do not satisfy the demand.
October, 1932
The INTERNATIONAL PHOTOGRAPHER
Fifteen
Trek to Iowa for Real Authenticity
Camera and Sound Crews as Well as Special
Effects Chief Accompany Fox Director
to Secure State Fair Atmosphere
By JOSEPH A. VALENTINE
We went to the animal fair —
The birds and the beasts were there- -
ONLY we went to the Iowa State
Fair, and not to watch the big
baboon by the light cf the moon
put a wave in his auburn hair.
The trip was a regularly scheduled
Fox production unit sent to Des
Moines to secure background and
atmosphere shots for Henry King's
"State Fair," the all-star special
which boasts a cast of Will Rogers,
Janet Gaynor, Phillips Holmes, Louise
Dresser, Spencer Tracv Sallv Eilers,
one other star yet to be named, and
Blue Boy, prize Hampshire boar
which carried off blue ribbon honors
at Des Moines.
Our party was headed by Director
King, Blaine Walker, business man-
ager, and included two camera crews,
a sound outfit, with Bill Snyder as
mixer; Ed Hammeras, special effects;
Paul Mohn, assistant cameraman, and
myself.
Like the Frakes, the family in Phil
Stong's book, we arrived at the fair
the night before the opening- day and
remained until it was over. The
orders were to film everything the
Frakes in the book saw and did at
the fair, which meant that we had no
time to lose.
In all, we shot 65,000 feet of East-
man new process background film.
We were, I believe, the first to use
this new stock on production. It gave
us marvelous results, which pleased
Mr. King and has drawn praise from
all who have seen the film.
Getting Atmosphere
The sound equipment was one of
the newly-installed Western Electric
"Wide Range" units, which gave us
no trouble or delays.
We covered the animal exhibits, the
Midway, the races, general crowd
scenes, and made intimate shots of
the camp life of those who came to
spend the whole week on the fair
grounds, as the Frakes did in the
book.
Particular attention was paid to
the filming of the hog judging, the
one weakness in Phil Stong's epic
which critics have seen fit to pick on.
We followed Blue Boy's career at the
fair from his arrival to his final award
of the blue ribbon as the Grand
Champion Hampshire boar.
Mr. King- afterward purchased the
giant porker for the company, and
he is now comfortably housed at
Movietown City awaiting the start
of the picture in which he is to be
Will Rogers' entry in "State Fair."
In addition we covered much of the
rural section around Des Moines,
filming the rolling hills, cornfields,
villages, brooks, and general farm
life, all of which is to be used in the
picture. One running truck shot in-
cluded the highway between Keosau-
qua and Des Moines, the route taken
by the Frake family in their truck
going to and from the fair.
Real State Pride
Mr. King,, of course, wished to em-
phasize Iowa's tall corn, because of
its symbolic relation to the rural life
of that section. We found a field of
the tallest corn I have ever seen and
*.Vf
Mr. King became so enthused over it
he wanted to drive right out in the
field with the camera truck.
When we opened negotiations with
the owner that individual just waved
his hand and said go to it. We drove
for over a hundred yards right out
into the middle of the patch, knocking
down three rows at a time with our
heavy equipment.
But the farmer would not take a
cent for the damage, claiming it was
all for the sake of presenting Iowa at
its best in the film.
We received unusual co-operation
from everyone, especially the farm-
ers whose land and stock we bor-
rowed. They are very much inter-
ested that their locality is to be fea-
tured in a picture, and seemed not to
be able to do enough for us.
In fact, the whole trip was a suc-
cess, even including the hot dogs, with
which we could feed the entire com-
pany at luncheon on a dollar and a
quarter, an idea the business manager
wished to continue. But we didn't
mind. There must be a comedian with
every outfit.
Britain and France to Matte
Language Versions for Ufa
FOLLOWING its contract with
Gaumont, which calls for the
production of English versions
of four Ufa films and the distribution
abroad by the English company, Ufa
has now closed a contract with Via-
Film, Paris for the production of two
French versions to be distributed by
Ufa's French subsidiary, Alliance
Cinematographique Europeene.
Emelka has closed a contract with
Pathe, Paris, for a period of three
years calling for the production of
three films annually in both German
and French at the Emelka studios at
Munich.
Prize Hampshire boar at Iowa state fair now owned by Fox for use in picture. At right campers are shoivn outside
state fair in Des Moines. Photographed by Joseph Valentine
Sixteen The INTERNATIONAL PHOTOGRAPHER September, 19.32
//ik i/irr//
FROM REGULATED
INKIES
TO MERCILESS DESERT SUNSHINE
L./W I /Vl/xlN Super-sensitive
Panchromatic Negative with gray backing
provides a medium that producer, camera-
man, and laboratory alike can endorse with-
out reservation. It is amazingly adapted to
every type of illumination, from carefully
controlled "inkies" to merciless desert sun-
light. As an all-purpose film it exactly
meets the demands of unusual economy in
production as well as extraordinary quality
in results. Eastman Kodak Company. (J. E.
Brulatour, Inc., Distributors, New York,
Chicago, Hollywood.)
L/\b !l /Vl/\IN SUPER-SENSITIVE
PANCHROMATIC NEGATIVE gray-backed,
^«;**
Qream oth Stills
,^'cu.
Photo by
Homer Van Pelt
Black against a windswept sky —
Palms tell the sweep and loneliness of things
Long ages past.
The desert broods, and all its mysteries
Are held in secret by the shifting sands.
Verse by
Berenice Betillion
Robert Tobey
has caught the
roll of the
waves that carved
two of the famed
Three Arches
at Laguna.
Off to the
eastward, away
from the cool
of the sea and
in the heat of
the pitiless desert,
we have from
Les Rowley
what constitutes a
familiar scene
in the dry coimtry.
~*m9^
.***?'<>...
'°6KlS
Gream oth Stills
ct^L'O*.
o6ttnf
Back to the
ocean again
or to the edge
of it we have a
view of one of
the palatial
show homes
on the rocky coast
of Monterey, Calif.
The shot was
exposed on the
famed
Seventeen Mile
drive by Durward
B. Gray bill,
student at
U. C. L. A.
A way from ocean
and desert read
a title supplied
by an experienced
ncwsreelman,
Charles Geis of
Fox Movietone,
and its photographer :
"La Salle street,
Chicago, the
Wall Street
of the Middle
West— The
Board of Trade
Building stands
majestically
iit the distance."
<^'%
*;,<?/V$>v*
Qream oth Stills
A secluded nook at San Juan Capistrano, one of the old missions, about sixty miles southeast of Los Angeles.
Photographed by E. M. Witt.
October, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-one
Fulton tVins Fourth Annual Tourney
Eighty-eight International Photographers Do
Battle for Golf Honors and Incidentally
Twenty-eight Attractive Prizes
By PHOLLO FOCUS
WELL! Here we are, everybody,
broadcackling from the fourth
annual golf contest of the
International Photographers at St.
Andrews. From the looks of things
we are going to have a great day and
as soon as the fog lifts I will be able
to tell you more about the surround-
ing country. A good many cars are
parked on the outside and I believe
that a great many of them are paid
for.
From the looks of some of them
they have been paid for several times,
so if the present owners do not own
them that's their business. Hundreds
of cars are out on Ventura Boulevard,
a line as far as the eye can see, but
they are on their way to points north
and south.
I think in a short time the first
foursome will be off. Yes. They're
off. Four men aim at a flag and four
balls go in four different directions.
It's a gag, though, as no one wants
the other to know how straight he
can hit it if he wants to.
There goes another four, and
another. Others are lined up as soon
as their turns come. A photographer
is taking pictures of all groups to be
used for identification in case they
do not return. Another fellow has a
graflex to shoot stills in action in case
any of the brothers can't stand up.
Thousands of people are cheering at
the Ascot races and it looks as though
there will be a real contest. We will
tune in on the first hole.
Can't seem to get much news here
as about the only thing that we can
hear is "I am sure off my game
today; haven't played in a year." So
we will transfer to another mike
situated on a high hill where we can
see most of the course.
Well, this is better. What's that
over there? Dirt and dust flying. A
man is rough. No, he's in the rough;
he's been trapped. He's out, no, he's
International Photographers '
Tournament Prizes
John Fulton— 1932 Ch
ampion
Low Net Prizes
Place Winner
Prize
Donor
1
James Brown
Leica camera
DuPont Film
2
Frank Booth
Leica printer
DuPont Film
3
William Thomas
8-inch golf bag
Eddie Blackburn (Eastman)
4
Cecil Meyers
8-inch golf bag
Bud Courcier (Eastman)
5
Bob Pittack
Leather hand bag
Smith and Aller (DuPont)
6
Elmer Dyer
Min-Tex camera
Hollywood Camera
7
Hap Depew
7-inch golf bag
George Gibson (Eastman)
8
John Fulton
Eastman Kodak
Emery Huse (Eastman)
9
Warren Lynch
I A ring
Meyers Jewelry Company
10
Dan Fapp
Cocktail shaker
Roy Davidge
11
Karl Struss
' Electric photometer
Bell and Howell
12
Ernest Laszlo
Large military set
Pete Shamray (DuPont)
13
Gordon Jennings
Brass humidor
Mit Campbell (DuPont)
14
Roy Johnson
$10 merchandise orde
r Crescent Brokerage
15
Len Smith
Glass cocktail shaker
Smith and Aller
16
Irving Ries
Black military set
Smith and Aller
17
Reggie Lanning
Vaculator coffee pot
Roy Klaffki
18
Al Siegler
Westclox electric cloc
< Mole-Richardson
19
William Clothier
Shirt tie clasp
Roos Brothers
20
Joe Brotherton
$5 merchandise order
Hollywood Flower Gardens
21
Al Nicklin
$5 savings account
Hollywood State Bank
22
Ernie Haller
1 dozen golf balls
Hollywood Army and Navy
23
Herb Kirkpatrick
B'ox of cigars
Curly Robinson (Universal)
24
Sherman Clark
Box golf balls
Ries Brothers
25
George Robinson
Four ties
Curly Robinson
26
Irving Glassberg
Four ties
Curly Robinson
27
Irmin Roberts
Two ties
Curly Robinson
28
Al Prince
Two ties
Curly Robinson
Film Men's Division
First Low Net — silver flask —
■Wesley Smith
Seconc
Low Net — silver flask
Special Prizes
— George Gibson
Nearest to pin on third hole — gold wrist watch — Cecil Meyers
Nearest to pin on thirteenth hole — gold wri
st watch — William Thomas
John Fulton, 1932 golf champion In-
tel-national Photographers
in; no, he's out. Well, we will leave
him there. On the left they are slic-
ing and cutting. Boy, what a game!
All for the glory of good old Eastman
and DuPont. Hear that cheering.
Some one produced a bottle. Now
it's gone. The bottle, not the cheer-
ing. They are coming into the thir-
teenth hole. Some are down and
some are up. Then they are up and
others are down. Some one got a
birdie. It doesn't count. He got it
with a rock. Let's go back to the
clubhouse.
Well, here we are at the clubhouse.
There are sixteen pans of potatoes,
five pans of onions which will be made
into salad if they can make it before
they turn loose the sasparilly. Plates
of cold beef, pork and lamb. One
large plate mixed so those that wish
can take out the pork without em-
barrassment.
Something Wrong
Everyone complains of being
thirsty. Maybe it's something they
(Continued to Page 26)
Twenty-two
The INTERNATIONAL PHOTOGRAPHER
October, 1932
International Photographers Battle
LEONARD SMITH
GORDON JENNINGS
SIMEON ALLER
GEORGE GIBSON
A. E. WILLIAMS
LOYAL GRIGGS
S. C. MANATT
KYME MEADE
AL PRINCE
KENNETH GREEN
REGGIE LANNING
ARTHUR LLOYD
JACK GREENHALGH
ROY JOHNSON
NORBERT BRODINE
ALLEN SIEGLER
OTTO DYAR
GEORGE BLAISDELL
DEV. JENNINGS
GEORGE ROBINSON
WILLIAM THOMAS
A. J. ELLIOTT
JAMES DALY
KENNETH PEACH
WILLIAM BRADFORD
WARREN LYNCH
JACK BREAMER
ERNEST LASZLO
ROBERT PITTACK
JACK MacKENZIE
ALLAN NICKLIN
DAN KAPP
R. A. PIERCE
ED ESTABROOK
JOHN THOMPSON
BURNETT GUFFEY
BUD COURCIER
JAMES HIGGINS
ERNEST DEPEW
CECIL MYERS
October, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty -three
in Fourth Annual Golf Tournament
JOSEPH BROTHERTON
MICKEY MARIGOLD
BERT ANDERSON
BERT LONGWORTH
PARK RIES
ROBERT CL1NE
ROBERT DORAN
JACK FUQUA
HAL PORTER
FRED WESTERBERG
DR. G. FLOYD JACKMAN
EDWARD GARVIN
IRVING RIES
ENZO MARTINELLI
WILLIAM CLOTHIER
SHERMAN CLARK
VIRGIL MILLER
WILLIAM FOXALL
RAY RIES
GUY ROE
CHARLES MARSHALL
IRVING GLASSBERG
STANLEY HORSLEY
JAMES S. BROWN, JR.
HERBERT J. KIRKPATRICK
ROBERT NEWHARD
RAY FERNSTROM
IRA MORGAN
DONALD KEYES
JOHN HICKSON
FRANK REDMAN
ALLEN C. JONES
™~{\ Ilk IRMIN ROBERTS
T • . FRANK RIES
,. . J \ PAUL G. HILL
\— 'J 1 _ ' FRANK BOOTH
WESLEY SMITH
JACK MACKENZIE
EDWARD J. COHEN
JOHN W. BOYLE
•t_J ^ J*-,
■<
w^SSft
Twenty-four
The INTERNATIONAL PHOTOGRAPHER
October, 1932
EASTMAN
FILMS
BRULATOU
WHAT'S WHAT!
Published Monthly by J. E. Brulatour, Inc., Distributors, Eas
Fox All Set on "Cavalcade
95
W INFIELD SHEEHAN and his associate executives at Movie-
tone City have written their official O.K. on the Script of
"Cavalcade." Director Frank Lloyd reflects the happy
enthusiasm which is registered by every man identified with the
production. Locale is England; the story portraying the trials and tribu-
lations of the British people during the past decade.
Some idea of the size of the production may be had in the knowledge
that more than three thousand extras will be given employment. Briefly.
"Cavalcade" is said to be the most ambitious undertaking in recent pro-
duction history.
Joe Aiken will be in charge of sound.
Featured players, Diana Wynward, the English actress now appearing
in the M.G.M. production, "Rasputin"; Clive Brook and Herbert Mundin,
the English comedian.
One of the most elaborate sets ever seen in pictures is the London
street which has been built at Movietone City.
"Cavalcade" offers one of the greatest photographic opportunities of
recent years, and the assignment goes to that grand old (in point of ser-
vice) man of the Fox camera crew, Ernie Palmer, who has selected as his
associate another old-time Foxite. L. William O'Connell.
A splendid pair, this team, and we predict new and even broader
triumphs than either has registered in a triumph-littered past. Arthur
Arling drew the assignment as second, and from time to time numerous
additional cameramen will be called in on the production.
The footage budget on negative is perfectly grand, and of course the
choice in such an important production investment is Eastman Supersensi-
tive Grayback Panchromatic Negative —
'Turn "em over " "They'ie rolling 'Quiet, please"
"CAMERA!"
Archie Stout, Ahoy!
"Rig in yer scuppers and get yer
stern anchored to the set". Maybe
not just exactly those woids, but in
effect that's what Trem Carr's mes-
sage meant to Archie Stout, who was
taking a "breather" on his boat when
he suddenly was recalled to the stu-
dios to start shooting on the Rex
Bsll production, "The Man from Ari-
zona". Harry Fraser is directing the
action, and Russ Harlan, as usual, is
assisting Stout in turning in impor-
tant footage with Eastman Supersen
sitive Pan.
Boyle With Columbia
John Boyle is set for his next as-
signment at Columbia, where he has
just finished "Sundown Trail" under
the direction of George Seitz. Boyle's
second on this picture was F. M.
Browne with Jack Russell and Don
Brigham as his assistants.
The Palmer Trophy
No use taking time and space to
recite just how everyone feels about
Jimmy Palmer in his untiring (and
very successful )
efforts to make
the Golf Tourna-
ment of 659 a
real event. Each
year finds new
converts to the
grand old game.
Each year Jimmy
seems to work
just a little hard-
er to get the last ounce of fun out
of the party for everybody. He's too
busy to play. But, regardless, here
we put up a well-deserved trophy —
A Million Dollar's worth of appre-
ciation from the gang. Of course,
Jimmy, you can't spot that trophy
in your den, but you can carry it
around in your mind and you can
know — we're grateful.
e*-eiPEDS-
M. G. M. Picking Up
Production has taken a new and en-
couraging cycle at the Culver City
plant of M.G.M. A number of im-
portant features are scheduled to go
into work between now and the first
of the year.
Newest to start was the Jack Ford
picture, "Flesh," with Arthur Edeson
at the camera.
Tony Gaudio is turning in final
takes on "Fu Manchu". His second
is Paul Vogel and his assistant Cecil
Wright.
Hal Rosson is at the cameras on
the Jean Harlow picture, "Red Dust,"
under the direction of Vic Fleming.
Les White is the second and Harold
Marzorati, assistant.
Dan Clark is still on location,
cruising the coast of Northern Cali-
fornia and the inland passages to
Alaska, where he is photographing
scenes for the forthcoming Howard
Hawks production, "Whaling." Dan
is assisted by Charles Straumer.
Tetzlaff Finishes
Teddy Tetzlaff (Columbia) has fin-
ished camera work on "Plain Clothes
Man." the Irving Cummings (Colum-
bia ) production featuring Jack Holt.
His second was Henry Freulich. As-
sistants were Jack Anderson and Al
Keller. No assignment at this min-
ute, but Teddy's next will be, as
usual, with Columbia, where he's
shooting at a long term record for
cameramen.
August 3rd for Columbia
That's not the date nor the title
of another Columbia feature. Joe
August (Fox old-timer) is now on his
three-in-a-row at the Gower street
studio, where he is photographing
"No More Orchids," which Walter
Lang is directing with Carole Lom-
bard as star. Andre Barlatier, Mike
Walsh and George Kelley complete
the camera staff on this one.
Arkayo Continues Active
The Radio lot continues to hum
with the let-down not yet in sight.
Eddie Linden is in New York to
capture Broadway on Eastman Super-
sensitive Pan for the background
shots of "Kong." which is the big
novelty promise of the season from
this studio,
Al Gilks has finished photography
on "Secrets of The French Police,"
Eddie Sutherland. director; Harry
Wild, second cameraman, and Harold
Wellman, assistant.
Director John Robertson's "Little
Orphan Annie" has also turned in the
final take from the camera of Jack
McKenzie, who was assisted by Frank
Redman and Cecil Cooney.
Henry Gerrard is photographing
"Penguin Pool Murder" with Russ
Betty as his second and Willard
Barth assistant. George Archainbaud,
directing; Mae Clark, Bob Armstrong,
Edna May Oliver and Jimmy Gleason
heading the cast.
Eddie Cronjager is in charge of the
photography on "Man and Wife," di-
rection of J. Walter Rubin. Bob De-
Grasse is second, George Diskant, as-
sistant. In the cast are Irene Dunne,
Eric Linden and Charles Bickford.
"Men of America" is being photo-
graphed by Roy Hunt, with Joe Biroc
at second and Jimmy Daly as assist-
ant. Ralph Ince is directing a cast
headed by Bill Boyd, Chick Sale, Dor-
othy Wilson and others.
Charlie Rosher is starting the re-
takes on the Constance Bennett fea-
ture, "Rock-a-Bye," which George
Cukor will direct.
M. G. M. R
At Universal
George Robinson is shooting "Na-
ganna," one of those African Yarns
with boo-koo effects photographic-
ally. Dick Fryer is second and Paul
Hill, assistant. Cast, Tira Birell,
Melvyn Douglas, Onslow Stevens.
Johnny Stumar is off to location in
Sonora to launch the newest LTniver-
sal production, "Laughter in Hell."
King Grey is on second. Bill Dodds
and John Martin, assistants.
Warren Doane on another short, di-
rected by George Stevens, with Len
Powers, cameraman.
Engineered and built by Metro
is a versatile mechanical assistant
practically all angles can be she
can at any time be raised from a
of 7 feet. This eliminates the us
high and low tripods, and certain
much time and, therefore, money
behind his camera, lights, mike bo
the turn-table. In every operatio
under all conditions. It is equipp
The rotambulator has been ust
Marsh and Arthur Edeson, both
its efficiency, ease and simplicity
Blessed Event at
Van Trees Raneh
Day and date with the opening
of the Warner Brothers smash
picture, "Blessed Event," Jimmy
Van Trees of the Warner-First
National Cameramen compliment-
ed his studio by announcing a
Blessed Event which occurred at
Jim's Ranch in the mountains
along the Sespe.
Jim came down from the hills
long enough to pass the cigars
around to his associates and pals,
and he was just so darn happy
there was nothing for us to do
but get happy with him. He in-
vited all of us to come up and see
the little newcomer — and we ar-
rived at the ranch just behind
Fred Gage and Pete Steel, who
had thoughtfully carried a neat
little gift in the form of a snappy
blue and pink perambulator —
We donated a sack of oats —
Jim calls the colt "Static".
October, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-five
I BULLETIN
EASTMAN
FILMS
80--TXPL1C-
i Films, in Cooperation with The International Photographer
WHO'S WHO!
ambulator
I •**.
l-Mayer Studios, the "Rotambulator"
imeraman. The outstanding features
this device: the camera, in addition,
15 inches from the floor to a height
ra equipment, such as ''high hats",
types of equipment, thereby saving
cameraman is at all times directly
This is accomplished by the use of
pparatus is silent at all times and
pneumatic tires,
ual production at M. G. M. by Oliver
are enthusiastic in their praise of
tion, and its precision performance.
Burbank Buzzing
Since resumption of production
early in August at the Warner
Brothers-First National Studios the
schedule has been maintained at top
speed with an average of five pic-
tures in production most of the
time.
Early releases from this producer
have been unusually successful. In
this list are "Blessed Event," "Tiger
Shark," "Dr. X" and "Life Begins."
The box office performance of this
group gives the Burbank boys some-
thing to shoot at on their futures.
Under the direction of Williiam
Dieterle, Bob Kurrle is photograph-
ing "Lawyer Man." William Powell
and Joan Blondell are the featured
players. Kurrle is seconded by Al
Green and assisted by John Shepek.
Barney McGill is in charge of the
cameras on "Employees' Entrance,"
under the direct;on of Roy Del Ruth,
with Warren William and Loretta
Young topping the cast. Kenneth
Green is second cameraman and
William Whitley assistant.
So great has been the box office
success of the Technicolor feature,
"Dr. X" another has ben launched
in production at the Burbank plant.
This also is under the direction of
Michael Curtiz and is tagged "Wax
Museum." Ray Rennahan, who turned
in such a commendable job on "Dr.
X," is in charge of the color photog-
raphy on "Museum."
Sol Polito is starting production on
an all-star musical picture, "Forty-
Second Street," under the direction of
Lloyd Bacon. Sol continues with his
old staff, Mike Joyce at second and
Speed Mitchell as assistant.
Sid Hickox has the assignment for
the Ruth Chatterton picture, "Com-
mon Ground," which is directed by
William Wellman. Sid's second is
Tom Branigan and his assistant Wes-
ley Anderson.
Walker on Air Epic
Joe Walker will photograph the Al
Rogell air epic at Columbia, which
goes into production immediately.
Joe has just finished direction of the
photography on "Virtue," the Eddie
Buzzell (Columbia) production.
"Talkin? to Myself"
That Golf Tournament of 659 —
old man weather dropped in step
with the boys until the last putt
went down — then — Ah then —
pulenty hot.
But it was a swell tournament.
If I'd filled on my bob-tail flush
and IF somebody hadn't filled on
his queens —
"Big Moose" Len Smith drink-
ing — Iced tea and eating lady
fingers —
Roy Klaffki, Paul Perry, Char-
ley Glouner and Your Truly post-
ing the scores.
The sparkling wisecracks of
Howard Hurd Jr., as the boys
drove { > ) off the first tee.
Jimmy Palmer outdoing himself
on the hospitality.
Everybody thirsty — for a few
minutes.
It was a swell party.
Awarding the prizes.
Encore.
Karl Freund Directing Feature
It's happened again. A cameraman moves up. Universal has
had its official eye on Karl Freund for a long time. More than
one picture has gone out from this studio carrying vital scenes
directed by the artistic photographer. A scene here another
there — and — what the so and so!
Might as well have him do an entire picture. So Karl drew the
assignment for the direction of "IM-HO-TEP" (and that's nothing
like "Little Bo Peep"). Karl has selected Charlie Stumar to take
the photographic responsibility. It's an artistic opportunity for
both boys. Watch it.
Bouquets for Brodine
Norbert Brodine's most recent pho-
tographic effort for Fox brought the
critics raves when the Raoul Walsh
production "Wild Girl" was recently
previewed. One critic (Wilkerson-
Hollywood Reporter) said:
"The Sequoia settings of the stoiy
are overwhelming in their magnifi-
cence. At times the shots are so
breath-taking they threaten to dwarf
the merely human drama that is be-
ing played in their eternal shadows."
Eternal shadows is right — any cam-
eraman who's ever shot in our big
redwoods can appreciate the import
of this achievement. Brodine, im-
mediately upon completing "Wild
Girl" at Fox, was signed by Sam
BischofT to do the K.B.S. special fea-
ture which will be directed by Victor
Schertzinger.
Brodine is a generous soul — he
gives much of the credit to Eastman
Supersensitive Panchromatic Nega-
tive, and says it cuts into the deep
shadows unbelievably.
Movietone City
The Fox program continues to hold
the lead for number of units in actual
production.
Sid Wagner is photographing "Cross
Pull," seconded by William Dietz, and
assisted by Harry Webb and Frank
MacDonald.
Charlie Clarke is responsible for
the photography on "Jubilo," the new
Will Rogers production. Clarke is
seconded by Don Anderson.
George Barnes is turning in his
usual splendid photography on "Sher-
lock Holmes," with the assistance of
Herbert Van Dyke and Stanley Little.
The Clara Bow picture, "Call Me
Savage," under the direction of Jack
Dillon, got away to a good start, and
Lee Garmes, who was in charge of
the photographv, has brought a
new and astonishingly beautiful Bow
to the screen.
Jackrnan's Deep Secret
Fred Jackman (Warner-First Na
tional). master technician and cam-
era wizard, has designed and pat-
ented a special underwater camera
which has proved out in recent use
at Catalina, where Jackman has been
working on subsea scenes for a War-
ner feature.
Associated with Jackman in this
special work on the sub stuff is Hans
Koenekamp and Billy Williams.
Working on the Burbank plant in
Jackrnan's department are Byron
Haskins and Rex Wimpy.
Paramount
There never has been any doubt in
our minds about the photographic
possibilities with Eastman super-
sensitive panchromatic negative. Our
own good opinions are boosted a few
points as a result of the delightful
results achieved by Karl Struss us-
ing this negative in his photography
on the C. B. Da Mille Paramount spe-
cial, "Sign of the Cross".
George Folsey has finished "The
Big Broadcast," and will be assigned
a new Paramount picture very
shortly.
Vic Milner is also up on the list
for early assignment of a new pro-
duction.
Dyer Down to Earth
Down from the clouds comes Elmer
Dyer (who shoots all that thrilling
aerial stuff) and drops into San Fran-
cisco Bay to shoot some exciting
speedboat footage for the Ross Led-
erman (Columbia) production, "Obey
The Law," (with Buster Collyer and
Joan Marsh). Benny Kline is direct-
ing the photography of this produc-
tion and has the assistance of Vic
Scheurich, Fred Dawson and Marcel
Grand.
Lipstein Returns
Harold Lipstein, who was respon-
sible for the fine camera work in the
photo -image (projection background)
department at Metro-Goldwyn-Mayer,
has returned to the studio after
spending several weeks on location
in Montana, where he ohotographed
atmospheric shots for "Wheat," forth-
coming M.G.M. special.
Emergency Service
Six days a week schedule is now
in full effect at the local Brulatour
Warehouse. Hours 8 to 5:30 daily
except Sunday. In cases of emer-
gency delivery will be made at
the warehouse at any hour of the
night or on Sunday and holidays.
This can be arranged by com-
municating with any of the Bru-
latour Service men at their homes.
It's our job to serve you when
you need service.
Harry Pratt, Hillside 6981.
George Gibson, OXford 6611.
Ed Blackburn, West Los An-
geles 31498.
Bud Courcier, MOrningside
11050.
Lou Nestel, DUnkirk 6982.
Twenty-six
The INTERNATIONAL PHOTOGRAPHER
October, 1932
Left to right, Charles Lang, Karl Struss, John Fulton, 1932 champion; Harry
Perry, Elmer Dyer, Joe Novak, Bill Heckler, E. L. White, Clarence Graves]
Fulton W ins Tourney
(Continued from Page 21)
ate. Here they come. The first four
in. There they go. All those that
didn't play.
It looks as though there was some-
thing wrong in the dining room. Let's
go and see. Well, here we are — Yes,
thank you — well, here we are in the
dining room. Every one anxious to
see what the scores are. Some of the
boys have had three or four already.
Over to one side. Yes, don't care if I
do — over to one side is a lovely fire-
place. The furnishings — sure I'll have
another — the furnishing are all
around the room. Yes. Put it down
here — the furnishings are all furn,
the club is very nice — Here's how —
the furnshings ar-e in the club, the
club is furns, hooray!
New Polish Sound Film Studio
The first serious attempt to equip
and operate an authentic type of
sound-recording studio in Poland is
nearing completion, reports Gilbert
Redfern, assistant trade commission-
er at Warsaw.
Japanese Company Arranges
For Distribution of Tobis
IT is reported by American Trade
Commissioner George R. Canty
at Berlin that the Tobis Indus-
triegesellschaft m.b.H (Tiges) has
just concluded an agreement with the
Japanese Film Import Company,
Towa Shoji G. K., Tokio, under the
terms of which the Japanese company
undertakes the obligation to cover
its German film requirements solely
through the Tiges.
The latter will keep the Towa
Shoji G. K. advised of all films re-
leased on the German market and
then negotiate on account of the
Towa Shoji deals with those produc-
ers whose pictures appear to be suit-
able for Japanese release.
It is expected only a limited num-
ber of films produced annually will
appeal to the Japanese public, so a
careful choice will have to be made
among the available product.
The Towa Shoja G. K. also under-
takes to sponsor the sale of Tobis-
Klangfilm apparatus.
Here is R. S. Crandall, photographer
of the finely executed foursome repro-
ductions on other pages. Photographed
by Lindsay M. Thomson
*£-''
■Si
Some of the International Photographers' golf contenders who
October, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-seven
Entries with Handicaps and Results of
1932 Golf Tournament
Average
Virgil Miller 87
William Foxall 83
Ray Ries 90
Guy Roe 94
Kyme Meade 105
Loyal Griggs 105
Al Williams 105
S. C. Manatt 92
Ernest Laszlo 88
Jack Breamer 88
Warren Lynch 88
William Bradford 94
Harold Porter 115
Fred Westerberg 115
Eddie Garvin 115
Dr. Floyd Jackman 115
D. Jennings 100
George Blaisdell 90
Otto Dyar 105
George Robinson 95
Clarence Graves 115
Edward White 115
Al Prince 98
Kenneth Greer. 94
Art Lloyd 100
Reg Lanning 86
William Clothier 108
Enzo Martinelli 110
Irving Ries 100
Sherman Clark 90
Dan Fapp 95
Bob Pittack 90
Al Nicklin 83
John Boyle 115
Eddie Cohn 115
Jack Mackenzie 100
Wesley Smith (Film) 82
R. A. Pierce 104
George Guffey 115
John Thompson 115
Ed Estabrook 115
Irving Glassberg 100
James S. Brown, Jr 100
Charles Marshall 108
Stanley Horsley 92
Net
actual
Handicap
Score
88
15
72%
87
12
73
94
17
75
92
20
73
98
28
73%
97
28
73
95
28
72
90
19
72
82
15
70
87
15
72%
81
15
69%
102
20
78
158
36
100%
113
36
78
144
36
93%
113
36
78
95
25
72%
88
17
72
101
28
75
90
21
71%
141
36
92
116
36
79%
91
23
71%
94
20
74
103
25
76%
83
14
70%
95
31
70%
106
33
75
91
25
70%
87
17
71%
86
21
69%
82
17
69
82
12
70%
113
36
78
101
36
72
101
25
75%
80
11
70
100
28
74
109
36
76
104
36
73%
106
36
741/'.
93
25
71%
83
25
66%
101
31
73%
98
19
74
Average
Simeon Aller (Film ) 115
Gordon Jennings 80
George Gibson (Film) 105
Len Smith 83
Joe Brotherton 115
Bert Anderson 115
Micky Marigold 115
Bert Longworth 110
John Hickson 93
Allen C. Jones 92
Frank Redman 90
Don Keyes 89
John Fulton 77
Karl Struss 86
Harry Perry 95
Charles Lang 95
Ernest Depew 85
Bud Courcier (Film) 85
James Higgins 97
Cecil Meyers 80
Bob Cline 115
Bob Doran 115
Jack Fuqua 115
Park Ries 115
Frank Booth 90
Paul Hill 115
Frank Ries 115
Irmin Roberts 100
Al Siegler 86
Roy Johnson 84
Norbert Brodin 100
Jack Greenhalgh 100
William Thomas 98
James Daly 105
Kenneth Peach 90
A. J. Elliot 115
Ira Morgan 92
H. J. Kirkpatrick 100
Ray Fernstrom 115
Bob Newhard 115
Bill Heckler 105
Joe Novak 106
Elmer Dyer 108
Ernest Haller 94
Paul Cable 100
Al Greene 95
Net
ictual
Handicap
Score
109
36
76
80
10
70
98
28
71
82
12
70%
98
36
70%
113
36
78
141
36
87
102
33
73
115
19
83
91
19
72%
99
17
77%
89
16
73
76
7
69%
81
14
69%
93
21
73
96
21
74%
80
13
69%
86
13
72%
104
22
78%
77
10
68%
124
36
82%
113
36
78
120
36
81%
126
36
84%
80
17
68
111
36
77
115
36
79
93
25
71%
83
14
70%
80
12
70
94
25
72
110
25
80
84
23
68
100
28
74%
88
17
72
123
36
83
92
19
73
92
25
71
156
36
109%
144
36
93%
109
28
79
98
29
73
94
32
69
88
20
71
104
25
77
94
21
73%
could be induced to come outside and face the candid camera
Twenty-eight The INT
ERNATIONAL PHOTOGRAPHER October,
1932
warning/
If you expect to occupy
a reserved seat
at the
INTERNATIONAL
PHOTOGRAPHERS'
EXPOSITION AND
BALL
Saturday Night
October 29
at the Ambassador
Make your reservation
I
]
NIGHT OF r
STA
light Not
Phone HE 1128 or GR 760-1
EIGHTS— THEY'LL ALL
RS, DIRECTORS, WRITI
CAMERAMEN
V
BE THERE
iRS,
WW
Qream oth Stills
Z?e/-f Longworth shows us a Paramount set, an "exterior interior," presiimably , with the lights above and
the coils below.
cf-^L'o,.
Qream oth Stills
,^L^
Those who saw
Richard Dix in
that prison camp
story of
"Hell's Highway"
will recognize
the distinctive
bulls eyes on the
backs of prisoners.
The picture
lvas taken on
location north
of Hollywood
by Fred Hendrickson.
Clifton L. Kling
takes ns into
Utah and shows
us "Lee's Ferry,"
with its primitive
method of
transportation,
with the troup
on both sides
of the stream.
Out in the Pacific
Frank Lloyd in
directing Fox's
"Burnt Offering"
suggests to the
skipper what he'd
like to have done
with the boat —
what the crew
calls "giving
orders to the
Cap'n." Ray
Nolan photographed
the scene.
Cameraman Daniels
at M. G. M.
secures an odd
shot and
Art Marion in
recording the
situation in a
still picture
I tins into another
odd one.
Qream oth Stills
c*¥l'°*
Robert Miller, photographer attached to the steamship President Hoover, brings in this fine picture of the
Capitol at Havana, Cuba — brings it in of a Monday on his return from New York and en Wednesday sets
sail for his second journey to the OHent this year.
October, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-three
Here is the answer, or here are the answers, to the query about taking along a still camera mentioned in the head-
ing below. Those two pictures are enlargements from the motion picture 35 mm. film brought back from Lake
Hamilton in the High Sierras by Walter Bell for the making of a non-commercial single reel subject. The pho-
tographer says he ivas forced to overcorrect the sky on account of the whiteness of these peaks as yet unnamed.
These peaks, by the way, reach an elevation of about 10,500 feet and the camera was set up at an altitude of about
3000 feet below them. They were photographed on Dupont pan stock with approximately a K.2 filter. On the subject
at the left, as the photographer recalls, a hO mm. lens was used, and on the right a 2-inch. The camera was a
Bell & Howell standard. The locality is looking north from Lake Hamilton. Geographically the picture at the left
will be found on the right of its companion picture.
When Lab Chiefs Climb Sierras Do
They Take Still Camera? Nay, Nay
WHEN two oldtime motion pic-
ture men, one of them a labora-
tory owner for many years and
the other a long-time cameraman but
now a distributing executive, wander
into the high Sierras recreation bent
and without a still camera, that would
seem to be news.
To be sure William Horsley, head
of Horsley Film Enterprises, and
Walter Bell, head of that concern's
big 16 mm. department, did carry a
regulation Bell and Howell camera
and an Eyemo and 1,200 feet of unex-
posed negative. It was not until an
International Photographer man after
looking at a thousand-foot reel con-
taining many striking shots of the
Lake Hamilton district had asked to
see the stills that had been exposed
that thought was given to that de-
partment of picturemaking. It then
was admitted although the company's
store contained all kinds of cameras
not one of the still variety had been
taken along.
One Man Picture
It really was a one-man picture
that recorded some of the movements
of these men on their five-day vaca-
tion. Walter Bell photographed it,
cut and edited it and wrote the titles.
And as to the latter work it may be
said in content and spirit they reflect
the dignity and the impressiveness of
the majestic backgrounds recorded on
the film. The picture will be kept as
it was intended it should be, a purely
non-commercial production.
A copy will be sent to Colonel John
B. White, superintendent of Sequoia
National Park and General Grant
National Park, and possibly two oth-
ers interested in park matters on a
national scale. Cooperation was given
the vacationists by the park authori-
ties.
There are a number of shots taken
on the new High Sierra trail now be-
ing completed and destined to connect
the Giant Forest with Mount Whitney.
This in turn will be hooked up with
the trail being constructed from Death
Valley to Mount Whitney.
Packed Twenty Miles
Above Lake Hamilton the trail has
been blasted from the hills of granite
at an altitude of approximately 9,000
feet. Across one chasm a suspension
bridge is materially to shorten the
path. At present only a cable has
been stretched. The film shows Wil-
liam Horsley sitting on a slender plat-
form moving across the gorge, the
bottom of which is hundreds of feet
below. With his feet dangling in thin
air the lab man displays the non-
chalance of an air stunt man sitting
on a plane's wing.
Every bit of cable and steel that
will enter into the construction of the
bridge will have to be packed in on
mules from Giant Forest, twenty miles
away. Some of these mule trains we
see winding around the one-mule trail
— for the path really is narrow.
The mountains around Lake Hamil-
ton tower ten thousand feet above sea
level. On some of these spires the
precipices drop a thousand feet sheer.
Across the lake we see the banks of
snow lingering from the drifts of the
preceding winter. The air is so clear
that a telephoto view of Niri Rock,
twenty miles away, makes that peak
seem less than a quarter of the actual
distance.
The promise has been made by
Walter Bell that before the Inter-
national Photographer goes to press
enlargements of a few shots will be
made from the motion mature film so
that the magazine's readers may see
for themselves the marvelous char-
acter of the country through which a
trail is being blazed in order that its
primitive glories may be placed within
the reach of lovers of the greater
outdoors.
Engineers Society Choose
Officers for Coining Year
BALLOTS have been sent out to
all members of the Society of
Motion Picture Engineers for
their votes on all officers of the society
for the coming year. The name of
Dr. A. N. Goldsmith is the only one
listed for president. W. C. Kunz-
mann and A. C. Hardy are nominees
for vice president, J. H. Kurlander
for secretary, and H. T. Cowling and
M. W. Palmer for treasurer. Nomi-
nees for governors are W. C. Hub-
bard, R. E. Farnham, M. C. Batsel and
H. Griffin.
There will be no fall convention this
year. In place there will be held a
meeting October 5, at the Electrical
Institute, Grand Central Palace, New
York.
During July there were released in
France 9 French dialogue films, 1
Franco-Czech film (French dialogue),
3 German films dubbed in French, 2
German films, 1 English film dubbed
in French, 1 American film dubbed in
French, and 1 American film.
Thirty-four
The INTERNATIONAL PHOTOGRAPHER
October, 1932
The Dope Sheet
By RAY FERNSTROM
AS gathered in Hollywood for all
interested, but especially for
my gang of the newsreels.
This is your sheet, boys. Come on
in with your ideas, suggestions, trou-
ble questions and cusses. We'll at-
tend to them all. If you have any
wisecracks send them in, too. Let's
keep together through this happy
medium. Write your friends at this
address. In other words, you who
never write any one even one letter
write it here so that all your old bud-
dies can get the dirt on what you are
up to and where.
As for my part I'll get you any
and all dope on what's new in this
burg and industry, as we newsmen
can use it, and in easily understood
terms. I'm digging up a lot of dope
on the new negative stock brought
out by both Eastman and DuPont
and shall give them a few newsreel
tests.
If you get this dope and don't like
the way it's done write in and tell us
a better way, and we'll work to-
gether to make the International
Photographer even more a worth-
while reference. Any charts, cards,
scales, etc., that you can possibly
make use of we'll print in a size type
easily read on the job and that will
fit your cardcases.
Our first will be a chart of filters,
and no wisecracks either. There has
been a long list of them produced, but
I feel you all agree with me that
they can be confusing when we get
on a job and try to decide on a filter
for a particular news subject. Many's
the argument I've been in or heard
while on a mutually covered story
when fellows from all the reels get
together.
Thanks to the help of some of the
best authorities here in Hollywood
I've got a good easy layout of dope
for you as regards these filters and
their use on the old and new pan-
chromatics and grayback stock. Let
me say right here and now that if
you news boys are not using gray
backed pan regardless of whose stock
you are missing the newsreel's best
bet. More about this later with proof.
Here's your first chart, and you
can follow it with confidence. Use
it with Eastman Super-Panchromatic
or DuPont Special Pan, preferably
graybacked. Do not use this chart
for DuPont's new Superpan.
This information has been reck-
oned for a 170-degree shutter. If
you must have the dope on other shut-
ter openings here it is, but don't
worry about it, you'll get your pic-
ture. On a 230 degree Akeley shut-
ter stop down a half stop from this
chart's reckoned position. Half a
stop less opening for a 230 degree
shutter. On a Debrie open half a
stop. That covers it, I hope. Any
more might confuse, but write in if
there are any questions.
Use these and forget all the other
filters.
Judge vour exposure without
filter.
Then allow for respective
filter used as follows:
Aero 2 — For all-around shots,
open up 1 */2 stops.
23 A — For all air shots, clouds,
contrasts, open up 2 full
stops.
G15 — Same as 23 A on exposure.
Use for little more contrast
than Aero 2.
5N5 — For scenes on water. Use
on snow stuff or wherever
extremes in lighting occur.
Open up 3 stops.
72 — For night effects in day-
light. Use wide open.
As soon as you have shot some-
thing using this dope drop us a line
and let us know what the story was
so we can watch your reel when it
comes to one of the local exchanges.
Do this on all your pet stories so
we'll know who shot them and give
credit where it is due or help you if
you want it.
These studio men and other ex-
perts out here are a swell bunch and
full of information which they are
always glad to hand out, but you've
got to ask them.
And you soundmen, you use this
column, too. It is not confined to
newsreel and other cameramen, but
soundmen as well. Get busy and
write in. From all I know of you,
you can write if you will, and you
have a lot of dope that others can
use. Give it to them. Let's all co-
operate.
I'm no sound man, but if there's
any information you fellows want we
can get it here in town. Hollywood
is full of good technicians, studio, re-
search and newsreel, and they are
glad to help.
That goes for contact men on news-
reels, too, Tommy. Write in and
help us keep these pages crammed
with good news and usable dope on
all working and playing jobs, whether
it's newsreel, travelogue, sport reel
or whataveyegot.
Address, The Dope Sheet, Interna-
tional Photographer, 1605 North Ca-
huenga Avenue, Hollywood.
Gray-Backed Super-Sensitive
Panchromatic
Here is a stock which, although
not so exclusively intended, was made
for newsreels. It is good for all pur-
poses— in good light, for it renders
And here is that shrinking violet of
newsreelmen — or maybe just one of
them — Ray Fernstrom, who showed
up at the golf course with a hot-stuff
golluflng layout topped by a flaming
red stveater or lumberjack or some-
thing. Some one must have loaned
him the club pictured, for he made the
eighteen holes with a putter. Which
on account of constant contact with
the clubhead was pretty tough on
such golfballs as had a chance long
to remain with him. But as for loom-
ing up on the course a thousand yards
were but as a hundred under ordinary
circumstances
results closely like nature; faces ap-
pear lighter, shadows don't go black,
and you can shoot smack into the sun
without halation.
On interiors you need less light,
and for the first time your results
can beat even the studios, for all of
them are not yet wise to its benefits
on exteriors.
Regardless of what you have heard,
graybacking is on exactly the same
stock as the super without gray back.
That gray backing stops halation pri-
marily, but it also evens up your ex-
posure.
There is so much latitude you can
go all haywire on your exposure and
still get a picture. For snow stuff or
on water stories you get all the de-
tail anyone could ever dream of.
Here is a film with latitude.
Ned Van Buren, one of this town's
experts, was telling me the other day
that he shot a test and used every
stop on a 2 inch lens from almost
closed up to wide open, and every
inch of it was usable. Beat that if
you can. That was on Eastman stock,
but, Du Pont or Eastman, they are
both good.
I heard the other day the Academy
of Motion Picture Arts and Sciences
is going to award prizes this year
for the best photography, etc., in the
newsreels. Well, here's the stock to
use if you want to get in on this.
Use the filters we mentioned earlier
September, 19 J 2
The INTERNATIONAL PHOTOGRAPHER
Thirty-five
and go after stuff like that. There is
little recognition of newsreel men. It
is about time some one gave us a
break. Maybe, if this column goes
well, I can arrange some kind of
competition here on this paper.
(men
What's Doing Among Newsreel*. .
As Told by the Reporting Szvede
WHILE attending to a little tele
phone business recently, I ran
across a keen wrinkle for
soundmen. I noticed a cord running
to the inkwells on all the office desks.
On inquiring, nosylike, what for, I
found each inkstand and penholder
contained a microphone.
That ought to be a great gag on
newsreel stories where people sit at
desks and address the multitude. I
have seen the old standing telephone
with recording mikes concealed in the
mouthpiece, but this was the best yet.
For you people who shoot stills for
personal or other reasons while trav-
eling around Zeiss has a new baby
that's a darling. It is called the
Contax, and it's just that kind of a
pocket camera, yielding contact prints
that really give you a lookable pic-
ture. You don't need to enlarge to
show or reproduce prints off this one.
The film size is 72 mm. There are
36 pictures on each roll that sells for
75 cents. All the emulsions you use
in the moving picture cameras will
be available, so that one can shoot
tests with filters if news men ever get
such a chance.
Anyway, with such little cameras as
this new one as well as others you
ought to remember the magazine with
some of those prints you have or
make of the gang in action or repose.
As soon as a chance comes to test
out this new box I'll give you further
dope.
Are there any particular tests you
cameramen would like to see incor-
porated in a reel we are planning to
shoot and ship around to you? Let
us know immediately. We can find
practically every working condition
here or nearby — desert, air, haze,
snow, water, or whatever your heart's
desire, so the test reel should be of
real value to everybody concerned. If
you have some pet theory which you
would like to show the boss on film
here's your chance.
Seebeck Recovering
Lil' ol' Jimmie Seebeck is recover-
ing rapidly from his recent illness.
Glad to know it. Jimmie is one of
those who sit close to a guy's heart
and thoughts. One of the best, and
which always seem to get the worst
slams with their health.
Joe Hubbell, boss of Fox Movie-
tonews, here in Los Angeles, the same
outfit Jimmie shoots for in San Fran-
cisco, is pulling through after a tough
session at the dentist's.
Al Brick and Ossie Darling are eat-
ing fish exclusively this month. I'll
have to find out why. Maybe it's
something that drinks best with fish.
Ben Jackson, also of Fox, has gone
north with Australia Eric Mayell to
handle his sounds, while Warren (got
it straight this time, Mac) MacGrath
stays in Los for a spell with Binocu-
lars Len Poole. What a time Mac
had at that Congress of Rough Riders
at the stadium!
He went out to the truck for another
mike or something and couldn't get
back in. Seems that the boys guard-
ing the sacred portals of the stadium
still think the Olympics are being held
there and that newsmen still are dirt.
One of these days these people who
snub their noses at the newsreelmen
and make their jobs even harder by
not co-operating on such occasions
are going to pull off some such stunt
and find that all the news people have
laid off.
Make Something of Nothing
Birds of this feather don't seem to
get the drift that their shows are
not always news. They think we have
to cover them. Yes, on Olympics, but
not every show they stage. Nearly
always the boys work plenty trying to
build up a usable picture out of stuff
that certainly isn't worth it. That's
how conscientious most newsreelmen
are. Giving every one a break and
getting a close-up of some swelled
head in return.
Let's hope our visitor MacGrath
from up north will not see any more
such hindrance while doing his best
here. Under it all the folks here, even
gatemen, have a good heart. Maybe
a word will show them the error of
their ways.
Sam Greenwald, that ace of trick
angle inventors, had a pippin gag on
the rodeo the other day. He and Joe
Johnson, Los Angeles boss of Para-
mount News, together with Irby Ko-
verman, their third cameraman of the
local staff, had built a four-wheeled
bucking steer. The gag' was to get
a cowpuncher's eyeview of the sur-
rounding acres as the ungentle brute
proceeded to bust the rider's seat.
With Marshall MacCarroll at the
throttle, Bob Sawyer at the tiller, Joe
aiding in the shoving and Sam at
camera and cow head the thing tore
loose out of the corral, going high,
wide, and handsome. Irby behind an
Akeley was the goat. He acted and
professionally well the part of the
cameraman who stuck to his post
cranking in the direct path of the on-
rushing leviathan. It should make a
darn good cut-in.
Freeman Meets Real Thing
Mervyn Freeman, Universal News-
reel, almost g"ot a hideful of bum
steer when the real animals were
turned loose carrying their clinging
cowboys. It was close, but Merv man-
aged to dodge in time. Perhaps that
Japanese flag tied to his Akeley
handle held a spell that saved his out-
fit— for there it stood unscathed after
the dust had cleared.
It's a lucky thing Roy Kluver had
his hammer with him on the rodeo
or he would never have got that finder
off his slow motion.
The world's record for elevation on
a tripod should hereby go to Frank
Blackwell. On a story the other day
he had the camera so high it was no
job to shoot over the wire fence. The
only sad point is that along came
some one and cut the fence to help
the boys' view, so that Frank and
Jimmie had to let it down again. Poor
Jimmie (Irish Yimmy Duffy) was
suffering from boils so badly, he
nearly had to stand on his head to
turn the knobs of his amplifier.
Come on, New York. Let's hear
some news from you.
Had a long letter from Allyn Alex-
ander of Fox Movietone News the
other day, and what a time he is hav-
ing in China! The big lug had lost
my address during the war over there,
so he hadn't written for months. Now
he writes and burns me up with how
cheap refreshments are over there,
and me with a tongue hanging out.
He wants to know how those Swed-
ish shorts made out that Johnny Boyle
and I produced last summer. Well,
Al, they are just now beginning to
make out. They are running up and
down through some theaters here in
the West and we think they'll soon
bring in the gravy.
Al is busy over in China making a
lot of that news stuff and what Fox
calls "Magic Carpet of Movietone."
That's great stuff, too, that Carpet.
We don't know how well off we are,
after all, until we see how some other
people live. While you are covering
all that part of the world why don't
you write a story for International
Photographer ?
Drop Al a Line
Congrats on your good work so far
out there. We have seen some of it
here, and it's swell. Nobody can talk
depression with me now that the
worst is over. We may get beer back,
too, soon. Probably we can hoist a
few together when you come back.
I'm glad to hear from Al that Chick
Peden is doing well with his book in
New York. Chick promised me a copy,
but I suppose I'll have to wait until
you send one from China.
As for you others reading this, why
not drop Al a line at American Club,
Shanghai, China?
As I sit here pounding this type-
writer I borrowed from Sam Green-
wald, I'm thinking of all you guys,
wherever the gang may be. It must
have been Al's letter. One gets so
few words from the gang far away.
I suppose there is a bunch of you at
the air races in Cleveland. Thanks to
Old or Li'l Ole Red Felbinger we'll
soon read about that on his pages of
this old book. How about you birds
in New York, and you, Geiskop, you
old cat-tosser-on-the-plate ? How are
you faring in Paris ? And you, too,
Dave Sussman over there?
Way down in Southern Africa some-
wheres there is Jack Lieb, shooting
away on some news stuff, if there ever
is any in Africa. I guess it's some
(Continued on Page UU)
Thirty-six
The INTERNATIONAL PHOTOGRAPHER
October, 1932
Optical Glass in Use for Centuries
Spectacles Date from Armati's Invention in 1255,
Telescope from Dig-ge's Discovery in 1571
and Microscope from 1590
By EARL THEISEN
1~nO the average person a lens is a
piece of glass, but to a camera-
man it is a means of expression,
a medium he uses to paint a picture
upon a silver screen. Where an artist
knows and uses various brushes and
paint in creating a desired effect a
cameraman uses a lens for a brush
and light instead of paint, creating a
picture in this manner.
To him a lens is not just a piece of
glass but an entity with a soul, each
having a distinctive character, each
taking the light rays from a motion
picture set and bending the light in a
different manner, giving a result en-
tirely its own.
The ancients knew something of
bending light away from objects, mak-
ing them appear larger by this mag-
nification of relative spaces or of
focusing light to a point, setting ma-
terials on fire by a concentration of
light. They used mirrors to do this
long before glass was invented in a
transparent form.
Concave focusing mirrors of bronze
covered with silver foil were in use in
Greece for this purpose as early as
640 B. C.
Plutarch (49-120 A. D.) records that
the Roman Sacred Fires were lit with
these mirrors. The first lens using
glass optically was mentioned by
Pliny, who said in his writings that
glass globes filled with water were
used for making fires.
First Glass
Briefly, in order to get the perspec-
tive of time in the evolution of glass
and lenses, we'll look in on the first of
the art. The earliest glass known is
a bead found in an Egyptian tomb of
5,400 years before Christ.
This early glass is in the form of
a vitreous glass paste that was
molded in clay. It was bluish gray in
color and opaque quite similar to
glazed clay. The ancients used it en-
tirely for ornaments and it was more
valuable than gold to them.
Little did these glass artisans real-
ize they were working on a medium
that was the ancestral forerunner of
our photographic objective through
which all motion pictures pass.
Glass Used Optically
Glass was invented in a transparent
form about 100 B. C. at Sidon by the
Phenecians, and the art of blowing it
was perfected by the Romans after
the time of Christ.
Following Salvino degli Armati's in-
vention of spectacles in 1255 optical
glass found its chief use for many
centuries. It was not until Leonard
Digges discovered the telescope in
1571 that glassmaking received an
added impetus, which discovery at-
tracted Gallileo's attention and caused
him to make a telescope that is still in
use today in principle.
During this time many workers
were perfecting methods of grinding
and molding lenses. It is of interest
to note in passing that the first paper
read before the famous Royal Society
was on a method of lens grinding in
1664. Another great advance in the
lens art was the invention of the
microscope.
Photographic Lens
The first mention or use of a micro-
scope was made by Hans Lapprey and
Janssen working together in Holland
in 1590, although Leeuwenhoek was
the first to take advantage of the
principle of the microscope.
He deserves considerable credit for
his discovery of microbes which he
charmingly called "Little Beasties."
It seems that everything coming into
his hands was placed under one of
his many microscopes and studied.
Barbaro in 1568 was the first to use
a lens on a camera obscura. This of
course is the granddaddy of the
camera, although this was long before
photographic chemistry was known.
The first man to make a lens to be
used in photography was Wollaston,
who made the Meniscus lens in 1812.
This lens was of a single piece of
glass, consequently it had no chro-
matic correction, since different colors
are refracted differently with any in-
dividual glass. It is necessary to use
more than one glass to get correctly
focused colors.
The different colors in passing
through the glasses of a lens are bent
so that the red end of the spectrum
travels farther than the blue, bring-
ing the colors to a focus in the same
plane.
The next lens improvement was the
Petzval portrait lens of 1840. This
lens is credited with photographing by
Draper, using the Daguerreotype sys-
tem, the first picture of the human
face. The Petzval lens was calculated
by Joseph Petzval for Voightlander,
and it has retained some popularity
until today. Its principle is used in
some projection lenses.
There now followed a period of ex-
perimentation by many in correcting
lenses and increasing their speed,
which resulted in numerous chromatic
pictorial lenses. In 1866 Steinheil in-
troduced the first Aplanat or Rapid
Rectilinear. This famous "R. R.
Lens" was the first of the symmetri-
cal lenses.
Names Famous Today
During this time many famous
companies were just organizing. John
Bausch in a partnership arrangement
with Henry Lomb had started in 1853
to make spectacles and was selling
them from door to door.
Carl Zeiss had started making in-
struments in 1846. Ernst Abbe joined
Zeiss in 1866 and started work on a
microscope that was to be the first
with a stereo eyepiece. This was in-
troduced in 1891, although it had been
perfected about twenty years earlier.
Otto Schott joined the Zeiss Works
in 1881, and in 1886 he introduced the
famous Jena glass that was to make
possible the anastigmat lenses. In this
year he introduced nineteen different
Jena glasses.
The chief attribute of the Jena
oount.1 <■>»»«
PoitT.t/fOf HOWK *l«l$
Figure 1. Wollaston "Meniscus" Lens (1812). This single glass type does not correct chromatically since one glass
will not focus all colors in the same plane. Fig. 2. Petzual Lens (1810) F.6 speed. This lens in principle is still
used for portraiture. Others to improve this lens were Dallmeyer (1866), Voightlander (1879) and Zinc-Schroeder
(1879). Fig. 3. Dallmeyer "Rapid Landscape" lens (1864). Single lens chromatically correct. Among others to
make a lens of similar construction were Grubb (1857) and Goddard 11869). Fig. A. Steinheil "Aplanat" or "Rapid
Rectilinear" (1866). Symmetrical objective of F.8 speed. Dallmeyer and many others made lenses of similar con-
struction to be used pictorially.
October, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-seven
ic»tiv co«*ecr -
Ol R.H. LfF*J
COllECTIMtAMO OIS-
PCfiSirvtr LCNS S£PAR-
AISD BY AIR SPACE
MENTf n NE6ATI'
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DISPERSING LCM4
COLIECTINO iens
eo-ergttts-
Fifif. 5. Pa«Z Rudolph "Protar" (1890). Fig. 6. Rudolph "Tessar" (1902). Fig. 7. Cooke "Triplet" (1895). This
lens was the forerunner of the later' Triplets designed by many makers of objectwes.
glass is that it can correct those
oblique rays or pencil of light that
enter at an extreme angle which when
not corrected is known as astig-
matism.
First Anastigmat
Following the introduction of this
new glass the first anastigmat was
calculated by Paul Rudolph for Carl
Zeiss in 1890. It was known as a
Protar and was patented in 1891. Sub-
sequent to this Rudolph made several
types of anastigmats. The most no-
table is his Tessar, introduced in
1902.
The first lens of "triplet construc-
tion" that is so popular today was
made by Cooke in 1895. These lenses
are notable because they have the
ability of giving a larger and flatter
field, which makes them particularly
adaptable for motion picture work.
The first improvement on the triplet
was made in 1898 by Taylor, who in-
troduced a split central dispersing
lens between two outer units. This
principle has been numerously copied
by many manufacturers.
The first man to use the negative
element or telephoto principle was
Porro in 1851. The next notable im-
provement in this type lens was made
by Dallmeyer in 1891. It is of inter-
est to note that this lens is similar to
the principle of the Gallilean tele-
scope.
Enter Zoom Lens
The only evolutionary improvement
in the photographic objective of re-
cent years is the "Zoom" lens which
has the ability of following traveling
objects and keeping them in focus at
all points in their progress. This lens
is the utilization of the principle of
the Allen projection lens of 1906,
which could give any size picture in
projection.
It consisted of a front negative or
reduction lens and a rear positive con-
densing unit. The adjustable device
was a double rack and pinion. Ac-
cording to this writer's records the
first time this principle was used in
filming was in "Wings," released in
August, 1927, the lens being designed
by Roy Pomeroy and Rolla Flora, us-
ing a lever adjusting device, although
prior to this, in 1919, Joe Walker had
developed a "Zoom" lens with a cam
having a physical curve equivalent to
the optical curve.
Paramount and Walker have pat-
ents on these two adjusting move-
ments, the lens principle having ex-
pired. Others to follow with similar
lenses were Irving Ries, who used it
in the "Trail of '98," in 1928, and Don
Jahraus contemporarily. Recently
Bell & Howell commercially intro-
duced the first Zoom lens in its
"Varo" equipment.
There are a great number of manu-
facturers of optical goods today, and
by today's standards their output is a
creditable one. The chief concern in
Europe is the Zeiss Works at Jena.
British Censors Statistics
Show Production Is Steady
According to figures issued by the
British Board of Film Censors the
total number of feature films passed
during the month of June last was 48,
showing a decrease over the output
for the preceding month and an in-
crease of 2 over the figures for June,
1931. These were all sound films.
The total number of short films
was 111, as compared with 114 during
May, 1932, and 91 in June, 1931.
During the first six months of this
year the total number of silent pic-
tures passed for exhibition was
twelve — six feature pictures and six
short.
Cinema Studios Supply
Corporation
HARRY D. BROWN
MANUFACTURERS OF
LACOLITE
INKIES
Most Efficient and Most Economical
Studio Light in the World
And as Always
town Aslicraf t Arcs
Sales
Rentals
HOllywood 3167
1436 Beachwood Drive
Foundry
Machine Shop
CRESCENT BROKERAGE CORPORATION
Gustave A. Blumenreiter, President
INSURANCE IN ALL ITS BRANCHES
SPECIAL ATTENTION TO THE INSURANCE NEEDS OF THE CAMERAMAN
ASSOCIATE MANAGERS
TRINITY 8477
ROBERT D. CRANDALL
ROLAN C. KENNELL
416 W. 8TH ST., LOS ANGELES
Thirty-eight
The INTERNATIONAL PHOTOGRAPHER
October, 1932
Looking In on Just a Few New Ones
BLONDE VENUS
Chief cameraman. Bert Glennon ; operative
cameramen, William Rand, Benny Mayer;
assistants, Lucien Ballard, Neal Beckner ;
stills, Don English ; sound, Harry D.
English.
FREQUENTLY we hear it said
that if such and such a player
were given just one real picture
all doubt of that player's ability would
vanish. If there have been any in the
past who have made that remark
about Dietrich they will be stopped
after seeing Paramount's "Blonde Ve-
nus." Here is a subject that is wor-
thy of the attendance of the picture-
goer, whether he be past or present,
disgruntled or otherwise.
For here is a story that will put
the picturegoer into the land of make-
believe just a few moments after the
picture has faded in. It will hold him
there without let-up for perhaps an
hour and forty minutes until a chok-
ing in the throat gives notice the end
is nearing. It is a moving finish, one
that has been carefully planned and
planted, planted almost in the very
beginning — and a finish that is all the
more effective by reason of it.
Dietrich has the part of Helen Far-
aday, a woman who resumes her stage
work in order she may send abroad an
invalid husband. In or by reason of
that stage work the player meets a
man, human to be sure but still a
wholesome and friendly one. Town-
send is wealthy, and he becomes the
third member of the tale. Cary Grant
is the friend of the wife — and his is
a likable character well portrayed.
Herbert Marshall is the husband
who goes abroad for his health, is
successful, and on his return when he
learns things have happened — learns
this from the wife, incidentally — de-
clares everything off.
There is a fourth principal who
commands attention through the pic-
ture, and that is little Dickie Moore,
playing the son of the Faradays.
Those adults who instinctively freeze
when children are thrust into a serious
picture are going to forget their an-
tipathy against the illusion destroy-
ing and necessarily amateurish efforts
of little folk — they are going to melt.
As to Dietrich see her for yourself.
Those there have been who insisted
this woman had purloined a leaf from
somebody's book. The absurdity of the
suggestion is apparent. She has a
book that is all her own.
Sternberg directs a story credited
to Jules Furthman and S. K. Lauren.
There'll be a lot of bouquets handed
out on "Blonde Venus."
HAT CHECK GIRL
Chief cameraman, Glen Mac Williams ; opera-
tive cameraman, Joseph MacDonald ; as-
sistants, Billy Abbott, Frank McDonald ;
stills, Ray Nolan ; sound, W. D. Flick.
THERE are few serious moments
in Fox's "Hat Check Girl," fea-
turing Sally Eilers and Ben
Lyon. The former of course has the
name part. Lyon plays a good humored
By GEORGE BLAISDELL
young man who drinks as he feels
the occasion may
demand; at
times even h e
displays those
outward manifes-
tations often at-
tributed to one
presumably "lit
up like a
church." Strange
how much more
t ol e r a n t of in-
ebrity is the av-
erage person,
even the profes-
sional dry, when
dress clothes axe Glenn MacWilliovms
worn by the hi-
larious one. Which reminds of the long
ago remark of one young screen actor
whose hair is now grayed that "If I
must play a drunk I insist on wearing
full dress."
Miss Eilers is shown as a Brooklyn
girl employed in a Manhattan night
club. The injection of Brooklyn into
the story provides opportunity for the
traditional "joshing" indulged in by
Manhattanites against what used to
be the smaller but now is the major
community across the bridge. Also it
furnishes an excuse to reveal an ex-
panse of bare back when the hat check
girl takes the word of one friend that
she will not have to go 'way home at
the breaking up of a party but may
occupy the temporarily empty apart-
ment of a friend in the same house.
Of course the friend unexpectedly re-
turns. That's the introduction of the
two leads. Chuckles run through the
story.
Eilers and Lyon make a good team
in a picture that is well staged, al-
most it may be said lavishly. The in-
teriors are novel and elaborate. Sidney
Lanfield directs.
The script was adapted from Rian
James' novel by Barry Conners, Philip
Klein and Arthur Kober.
BROTHERS KARAMAZOV
WHEN a German company like
Tobis reproduces for the screen
a Russion story like Dostoyev-
sky's "Brothers Karamazov" and by
a Russian director, Fedor Ozep, the
result ought to be good. As near as
may be judged by one who neither
has read the book nor is able to un-
derstand German the result is good.
The playing is distinctive.
The lighting- in the main is satis-
factory. There are times when a little
more brilliance would have added to
the clarity of the faces. The photog-
raphy or rather the direction of the
photography is characteristic of the
Russians, employment of whirling and
rapidly succeeding shots. Seemingly
there is but one justification for
changing scenes so rapidly that the
subjects are blurred, and that is when
presumably they represent the vision
of one whose faculties are blunted by
drink or illness.
If these contributing elements are
not present then the customer out
front is entitled to see his pictures
with an absence of blur whether the
difficulty be caused by too short a
flash or too rapid panning.
The slim information that usually
accompanies foreign pictures holds
true in this instance. There is not a
word as to the identity of the photog-
rapher and his associates.
Fritz Kortner is Karamazov and
Anna Sten is Gruschenka. The pic-
ture was shown a week at the Holly-
wood Filmarte.
Karl Freund
BACK STREET
First cameraman, Karl Freund : operative cam-
eramen, Al Jones, Fred Eldredge ; assist-
ants, Ross Hoffman, Paul Hill ; stills,
Sherman Clark ; sound, Joe Lapin.
AN ABSORBING picture is Uni-
versale "Back Street," one of the
company's best in a long time,
one that any company would be glad
to send out under its brand. Like
"Cimarron," it is a triumph for Irene
Dunne. The story
fairly w h i rl s
about her per-
sonality, and inci-
dentally it throws
practically every-
thing in the way
of audience sym-
pathy into her
lap.
John Boles is co-
featured with her,
but the "co" is a
paper fiction. By
reason of the tale
itself, which
plants Boles as
the husband of
another woman, continuing as a mat-
ter of course to live openly with her
even as he does clandestinely with
the attractive Ray Schmidt, the sym-
pathy is bound to ride on the one
side.
Then again we see so little of the
wife, just a few flashes, there is no
chance to build sympathy for her.
Nevertheless there is a son and also
a daughter of the marriage. The
daughter scarcely is heard or seen,
but of the little we see of the son it
counts big. William Bakewell in his
few moments' excoriation of the
woman who has secrified her life
that she might be near the father of
this Richard the partisan of his
mother holds the centre of the stage.
It all goes to show what an im-
press may be made upon a produc-
tion by the entrance of a new char-
acter for hardly more than two or
three minutes. You know the charac-
ter basically and sentimentally ,is,
wrong even as morally he is irre-
proachable in his position. What we
admire here is the masterly and
deeply eloquent manner of the pres-
entation of this son's viewpoint of
the social status of the suffering
woman before him. It is a bit that
October, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-nine
will stand out in the memory of pic-
turegoers.
Then later when chastened by the
father's death and with clearer un-
derstanding of the love the father
bore this long time friend there is
another scene that deeply stirs as
the son seeks out Ray and tells her
that as necessarily there could have
been no provision for her in his fa-
ther's last testament she will con-
tinue to receive the same allowance
as he had provided in his life.
The two incidents here are magni-
fied out of proportion to their real
relation to the story as a whole,
but they are written and will stand.
The picture is one that will bene-
fit and instruct those hidebound crea-
tures who through environment and
lack of temptation in their sheltered
and protected lives have no concep-
tion or charity for lives that are not
100 per cent conventionally pure. The
picture is not a plea for free love.
On the contrary it is exceedingly
strong in its antidotal effect.
Furthermore, in spite of the mo-
ronic sop thrown in at the conclusion
of the story, showing on the screen
what would have happened across
the years had the course of a sin-
gle but pivotal and early event
been along lines originally planned —
a clear case of anti-climax — it is a
powerful and appealing story. That
story is not strengthened, it is weak-
ened, when an attempt is made to
mitigate the tragedy of its close. If
the producer here has the courage of
what dramatic instinct would con-
vert into convictions he will cut out
the one blot on a craftsmanlike piece
of work.
Director John Stahl's conception
and execution of this Fanny Hurst
tale will add to his reputation. So,
too, will Gladys Lehman's continu-
ity contribute to hers. There is an
unusually long and well selected cast.
Karl Freund directed the camera
work, one of the last at which he
may so officiate for a long time. Fol-
lowing "Back Street" the Icamera-
man was assigned to codirect "Im-
hotep."
CHANDU THE MAGICIAN
First cameraman, James Howe : operative cam-
eraman, Irving Rosenberg ; assistants,
Paul Lockwood, Jack Epstein : stills, An-
thony Ugrin ; sound, Joseph Aiken.
BRINGING a radio drama to the
screen in itself is enough of a
novelty to demand attention.
There will be two opinions as to
whether it is entirely fair to judge
the subject from the viewpoint of one
who in his occasional turnings of a
radio dial never has bumped into the
famous Chandu and therefore is in-
troduced to his screen counterpart
with the chilly and indifferent atti-
tude of the "show me" stranger.
Fox's "Chandu the Magician" from
the approach of the aforesaid stran-
ger who also may not be remote from
looking at the screen from a picture
slant is notable for its skillful and
craftsmanlike presentation. We are
speaking primarily from the special
effects and photographic departments.
And that statement in no degree is
designed to minimize the work of the
directors and actors.
Plainly the picture, melodramatic
in the extreme, is planned to appeal
most strongly to the littler folks. Ed-
mund Lowe lends the quality of his
voice and the striking adaptability of
his personality to the character of
Chandu. His interpretation of the part
is studied without appearing so to be.
Bela Lugosi is Ruxor. Henry Walthall
as Robert Regent the inventor is as
finished as we would expect him to
be. Irene Ware is the princess. Charles
Stevens as the servant provides the
comic element and does it well.
Marcel Varnel and William C. Men-
zies direct from Barry Conners and
Philip Klein's adaptation of the radio
drama by Harry A. Earnshaw, Vera
M. Oldham and R. R. Morgan.
David Abel
THE PHANTOM PRESIDENT
First cameraman, David Abel ; operative cam-
eraman, Ernie Laszlo ; assistant, Arthui
Lane ; stills, Irving Lippman ; sound,
Eugene Merritt.
WHEN George M. Cohan ex-
ploded about Hollywood he
may have made a tactical mis-
take. He may find that when he said
motion picture executives know not
what it is all about that possibly
a large part of
the public which ,
sees Paramount's
"Phantom Presi-
dent" will dis-
agree with him,
at least so far as
that particular
subject is con-
cerned.
There are many
moments of
mirth in this
frankly farcial
tale of a medicine
man with person-
ality who wins a
presidential nomi-
nation and makes a successful cam-
paign for the election while his cold-
blooded employing double remains at
home out of sight of the public. Of
course Cohan plays both parts.
Creation of illusion always is diffi-
cult under these circumstances, but
the chief player does measurably well
with the assistance of the camera
crew. There are spots where the con-
versation fails to synchronize with
the lips, mainly in the scenes where
the playwright-player is shown in
double exposure.
To the credit of the production
staff the interest of the picture does
not lean solely on Cohan; although
it must be said that while the New
Yorker holds the stage he commands
the closest attention. Doubly inter-
esting will be his performance to the
older picturegoers, to those who re-
member when, say, as one of the Four
Cohans the present star was a strip-
ling of a youth just starting in on a
stage routine of which we see some
very striking examples in the picture.
With maturity and prosperity has
come the cumulative pounds that fol-
low along with a generation as hu-
mans measure time.
Jimmy Durante has an abundance
of work to do, and he does it to the
great satisfaction of his partisans.
His buffoonery carries from start to
finish. Claudette Colbert has not so
much in the way of a part, but never
has she shone to better advantage as
one of the most attractive women on
the screen.
The four politicians are heard from
frequently — George Barbier, Sidney
Toler, Louise Mackintosh and Julius
McVicker — and so also is Jameson
Thomas as Jerrido, the butler.
Norman Taurog directs from the
script of Walter De Leon and Harlan
Thompson adapted from the novel by
George F. Worts. Strikingly catch-
ing are the music and lyrics by Rich-
ard Rogers and Lorenz Hart.
Regardless of Cohan's remarks
about motion picture men — with the
notable exception of cameramen and
technicians, to whom he paid tribute —
it is likely the intake from "Phantom
President" in New York State, the
player's own state, will go a long
way toward reimbursing Paramount
for the cost of the negative.
The picture has the earmarks of a
popular subject.
Georyc Robinson
THE ALL-AMERICAN
First cameraman, George Robinson ; operative
cameraman. King Gray ; assistants, Mar-
tin Glouner, Paul Hill ; stills, Shirley-
Vance Martin ; sound, Gilbert Kurland.
ONE need not be a dyed-in-the-
wool football enthusiast to en-
joy Universal's "All-American."
While unquestionably in many re-
spects it is the greatest football ",-c-
ture ever produced nevertheless be-
hind the stadium
scenes there is a
story of such
power that the
really spectacular
is submerged by
the dramatic —
an unbeatable
combination for
a great picture.
The theme of
the subject is a
healthy one, for
it is a tale with
a moral for the
consideration of
those heroes of
the arena who
may be obsessed with the delusion
that after graduation their brief but
great fame by the mention of their
names will command the opening to
them of all doors, the doors to oppor-
tunity and to riches.
The story shows there may be a
hitch in such a conviction of the mo-
ment, shows how while some skilled
in the game of football will succeed
through the possession and exercise
of qualities not altogether related to
acquisition of skill in playin"- the
game there will be others who will
fail in the battle of life.
Surrounded and fortified by the
greatest collection of football players
ever assembled for the benefit of any
one picture, Richard Arlen is the fea-
tured player in the part of Garry
King. It is Garry who for a brief
time following graduation travels the
primrose path and goes down in de-
feat, whose eventual return to sanity
is topped or followed by his success-
ful efforts to save his brother from
the pitfalls, feminine as well as mate-
rial, of which he had been a victim.
James Gleason, as the coach of the
Forty
The INTERNATIONAL PHOTOGRAPHER
October, 1932
Varsity, divides honors with Arlen
and submerges every other plaver
through sheer skill in authoritative
portrayal. John Darrow plays the
younger brother.
Aside from the sixty noted football
players and the ten authorities of the
game, members of the All-America
board of football, there is an unusu-
ally long list of actors and actresses.
Among these are such names as
Huntley Gordon. Ethel Clayton, Andv
Devine, Gloria Stuart, Preston Fos-
ter, June Clyde, Merna Kennedy,
George Lving, Florence Roberts,
Frederick Burton and Rockliffe Fel-
lowes.
Russell Mack directed. Richard
Schayer and Dale Every wrote the
screen play, while the adaptation and
continuity was done by Frank Wead
end Ferdinand Reyher. The produc-
tion was arranged by Christy Walsh
and approved by the All-America
board — and it would seem it hardly
could have done otherwise. Among
the many football pictures to follow
it is doubtful if any will equal this
one.
While it is assumed the scrimmage
scenes were secured from varied
sources, nevertheless the feeling rides
while the picture is being shown that
here we have a clarity and intelligi-
bility in the depiction of field plav
that appeal even to those who know
hardly a trace of what it is all about.
And singular as it may seem to some,
there are adults otherwise ordinarily
sane who never have been near
enough to football to get excited
about it.
CARMEN
UNDER the sponsorship in this
country of that long-time mo-
tion picture executive P. A.
Powers the opera "Carmen" again
comes to the screen. This particular
work, taken from the famous prod-
uct of Bizet, probably holds the rec-
ord of being the screen's most fre-
quent visitor, operatic in any event.
That statement applies to the silent
days. Farrar among others has played
it — on the Lasky lot in 1915.
In the present British Internation-
al subject the silent production has
been synchronized with the instru-
mental aid of the London Symphony
Orchestra and on the vocal side by
Marguerite Namara, Don Jose by
Tom Burke and the Toreador by
Lance Fairfax. Direction is by Cecil
Lewis, and the music has been adapt-
ed and arranged by Dr. Malcolm
Sargent.
The picture was photographed in
Spain, and whatever effort and ex-
pense may have been thereby en-
tailed were highly justified in the
picturesque result. There are appeal-
ing views of real mountains and
striking shots of the bull ring.
The recording is excellent, and at
the Filmarte, where the production
was shown in mid-September, so also
was the reproduction. The photogra-
phy is worthy of mention, but cred-
its on both of the factors noted in
this paragraph are missing. Should
it prove the system employed in re-
cording the picture is American and
also that the chief photographer also
was an American it would seem that
in the United States the subject would
lose no measure of interest if the
facts were accordingly set forth.
The subject will have interest for
the average picturegoer, non-musical
as well as otherwise.
WILLIAMS'
SHOTS
TERRORS OF THE AMAZON
THERE is being released by El-
mer Clifton "Terrors of the
Amazon," a three-reel subject
photographed by Otto Bertram, a
German. Under the Art Reeves' re-
cording system the picture has been
successfully synchronized, Roger King
reading the lecture written by Wil-
fred Lucas.
Close-ups are shown of the snowy
egrets, there being many intimate
shots of the birds with their young.
So, too, are there views of the honey
creeper, the tiniest of humming birds.
We see the showbill, the beak of
which is described as being strong
enough to crack Brazil nuts. And it
looks it.
Through the story we see much of
Fernando the hunter and his young
son, to whose education in the ways
of the jungle the father gives much
attention. A colony of wasps, or fly-
ing1 ants, build their nests of many
thicknesses of plant pulp, which they
masticate into moist wads and then
spread out into thin layers — like tis-
sue paper. "No doubt," says the
lecturer, "the mediaeval scientists
learned the secret of papermaking
from the wasp."
There are other varieties of wasps.
And there are strange trees — clovs,
vanilla, capsicum, ginger, nutmeg—
each tree seeming to have some sort
of private pest living off its leaves.
A tiny mother bug calls her babies
to eat under her shadow because she
knows if the sun hits them they will
die.
Farnando sends his pupil into a
high tree — which he climbs jackknife-
like — an assay palm in fruit, a cluster
of what resembles overgrown cher-
ries.
Then we encounter the caymans,
the largest of the saurian tribe, often
fifteen to eighteen feet in length and
deadly silent. Of these we see much.
There is an offscreen tragedy in
which we surmise a child is destroyed
by one of the fiercer specimens.
Then in accordance with tribal cus-
tom the natives plan to destroy all
the caymans they can kill in the hope
that one of these may carry the tell-
tale amulet worn by the lost child.
In the shallows of the great river we
see hundreds of the brutes herded into
a mass and destroyed by the men of
the neighborhood with great clubs.
The hazard encountered by these
natives would seem to put ordinary
big game hunting into a much smaller
niche than that sport, if such it be,
ordinarily is accorded. One of the
elements of the slaughter that adds
to the spectacular side of the foray
is the use of the lasso by the vaqueros
or cowboys. Their throw is deadly in
its accuracy, and certainly those
whirling, twisting creatures do put
up a strenuous fight.
The picture is more than an ordinar-
ily theatrical novelty. It is painlessly
and excitingly educational — and that
October, 1932
The INTERNATIONAL PHOTOGRAPHER
Forty-one
is an achievement anywhere, any
time.
THE MONKEY'S PAW
First cameraman, Leo Tover ; operative cam-
eraman, Harry Wild : assistants, Joe Biroc,
Harold Wellman, Jimmie Daly ; stills,
Oliver Sigurdson ; sound, Hugh McDowell,
Jr.
By Fred Westerberg
IF YOU were to provide a lux-
urious easy chair beside an open
fireplace on a cold winter evening,
also a pair of snug slippers, a curved
stem pipe, tobacco,, matches and other
concomitant accessories, you would
have the proper setting in which to
read a tale like R.K.O.'s "The
Monkey's Paw," by W. W. Jacobs.
But as matinee fodder or as di-
version for Lizzie and her boy friend
the screen version of "The Monkey's
Paw," written for Radio Pictures by
Graham John and directed by Wesley
Ruggles, is greatly handicapped by
its unrelenting sombre mood.
The story tells of a British
sergeant-major who visits a strug-
gling middle-aged couple upon his
return from India. The couple have
an only son who for lack of money
cannot marry the girl of his choice.
The sergeant-major full of wild
tales shows the family a monkey's
paw, which he claims is capable of
granting three wishes to any one who
holds the paw in the right hand. The
father steals the paw when the
sergeant-major leaves, and in the
course of the story makes three
wishes, all of which are fulfilled in a
dramatic and tragic manner.
Even the inevitable happy ending
that wags its tail at the end is hardly
sufficient to dispel the gloom.
The cast is uniformly capable, but
the lack of a dominant screen per-
sonality is keenly felt. The lovers
receive scant attention. The young
woman, played by Betty Lawford,. is
allowed to sit decorously on the lap
of her fiance, played by Bramwell
Fletcher, while they both discuss the
depression.
C. Aubrey Smith as the sergeant-
major looks the part and talks with
the necessary hot potato accent — a
little hard to understand, perhaps,
but undoubtedly authentic. Ivan
Simpson and Louise Carter as the
father and mother respectively do
most of the work and do it well, al-
though without particular brilliance.
The photography is an example of
what can be done with the new super-
sensitive emulsions using very little
light. The extremely low key permits
the light from an actual candle for
instance to be used effectively. The
candles incidentally revealed rather
strongly the flare produced under
certain conditions by existing diffusion
discs.
There is a real need for a dif-
fusion disc designed especially for use
with the shorter focal length lenses
that will produce an evenly diffused
image without sacrifice of brilliance.
Seatage Increase in Berlin
Trade Commissioner George R.
Canty reports whereas the number of
Berlin cinemas has only increased
from 379 to 384 since June, 1930, the
seating capacity has increased from
188,930 to 196,478. Berlin's popupla-
tion of persons over 20 years old is
now calculated at 3,384,000 persons;
that is, there is now 1 seat for every
17 persons.
Bell and Howell Guarantee
Is Extended to Three Years
LEARNING through nine years of
experience that maintenance costs
on Filmo Cameras and Projectors
are so low as to be negligible when
the equipment is given proper care
and subjected to ordinary use, and
naturally desiring to convey this fact
to potential users in a convincing way,
Bell & Howell is currently extending
the duration of the guarantee on this
equipment to three years.
A two year guarantee has been
given on Films since the first models
were marketed in 1923. The Eyemo
35 mm. Cameras also are covered by
the new guarantee.
An additional feature of the guar-
antee, one which is believed to be
unique in the photographic industry
at least, is the provision for free an-
nual cleaning and lubrication for the
duration of the guarantee. Under the
terms of this provision the owner may
have his camera and projector thor-
oughly gone over once a year for
three years.
It is expected this service will be
commonly requested just previous to
periods of intensive equipment use —
for instance, on cameras, in the
spring,, ahead of the vacation season.
Thus users can assure themselves in
advance of carefree operation when
such operation is most desired.
Bell and HoweWs Dry Scraper
to Aid Amateurs in Splicing
HERETOFORE the amateur in
removing emulsion from his 16
mm. film preparatory to mak-
ing a splice has used a hand-held
scraping blade, often first moistening
the emulsion with water so that it
would yield more readily to the
scraper. The professional, however,
has done this work faster with his
scraper block with its blade set to
correct cutting depth.
Bell & Howell has now made it
possible for the amateur to remove
emulsion in splicing by very much
the same method that the professional
uses. The new B&H Dry Scraper at-
taches to any B&H 16 mm. hand splic-
ing outfit in place of the ordinary
film scraper guide, being fastened by
the same single screw which ordina-
rily holds that guide.
The Dry Scraper block then slides
on its own track over the diagonally
cut film end, while its scraper blade
removes the film emulsion in an easy
stroke or two. The blade is easily
set and locked at the correct cutting
depth. It has four cutting edges.
Cinesound ISewsreel Absorbs
HeraUVs Reel in Australia
A REPORT has been received
from Assistant Trade Commis-
sioner H. P. Van Blarcom of
Sydney, Australia, to the effect that
the managing director of Cinesound
Productions, Ltd., Sydney, producers
of the Cinesound Review, announces
the Herald Newsreel produce d by
The Herald and Weekly Times, Ltd.,
of Melbourne has been absorbed by
Cinesound Productions.
In the future the newsreel will be
known in Victoria as the Herald Cine-
sound Review, but will continue to be
known as the Cinesound Review in
New South Wales and Queensland.
Cinesound Productions, Ltd., will
have complete control and will ac-
quire the plant of Australian Sound
Films Pty., Ltd., the subsidiary which
controlled the Herald Newsreel. The
Melbourne Herald, however, will con-
tinue to use its publicity power for
the benefit of the combined newsreel.
16 Millimeter Theater in Munich
Trade Commissioner George R.
Canty reports that in Munich the
first narrow gauge film cinema with
a regular program was recently
opened. Two short cultural films
and a feature, all reprinted from
standard stock, were shown.
IMPROVE YOUR
HOME MOVIES WITH
BIOPHOR
PROJECTION LENSES
Bausch & Lomb's new Biophors are highly corrected pro-
jection lenses for 16 mm. film. The screen images show
brighter, clearer, with penetrating detail. Designed to fit
most standard projectors.
Biophors in seven focal lengths permit picture widths of
I foot up to II feet or more; or a projection distance of
3 feet to 100 feet and beyond.
Send for descriptive illustrated folder or ask your dealer
about the new Biophors. You'll be amazed at the big im-
provement.
Bausch & Lomb Optical Company
St. Paul St.
Rochester, N. Y.
Forty-ttvo
The INTERNATIONAL PHOTOGRAPHER
October, 1932
Chairman of Golf Committee Says
By JSMMIE PALMER
THE big day is over for the year. Thanks to Eddie Blackburn of
Brulatour, Wes and Sime of Smith and Aller and E. M. St. Claire
of Agfa the luncheon part of the show was a huge success. Bob
Morton was responsible for handling the food and did a capable job.
He was aided by Ted La Barba and Tod Le Clede.
To the Hollywood Post of the American Legion I wish to extend
thanks of the committee and the organization for the use of a large
amount of dining room equipment.
To Banet's Barbecue on Cahuenga Pass, which so kindly and skill-
fully barbacued the meats, also go our thanks. It was the genuine
B'anet cooking.
Our thanks go, too, to Roos Brothers of Hollywood for the offer of
their store facilities for the distribution of the prizes, declining because
of prior arrangements.
Words fail me in attempting adequately to express the appreciation
of the committee to the many who aided in making the fourth annual
tournament a success. Also please remember this: "When better golf
is played the cameramen will play it."
Fox's 'Wild Girl9
Rare Portrayal
FOX "Wild Girl" is a honey. It is
all of that in any man's language.
Shown at the company's studio in
the closing days of September its
curtain brought an unusual demon-
stration from reviewers. It was
handclapping of the genuinely enthu-
siastic and not of the perfunctory
order. As a matter of fact reviewers
do not indulge in perfunctory ap-
plause. It is against their ideas of
the trade to indulge in any kind, to
display feeling either for or against.
Following the curtain there was a
moment's hesitation. No one dared
be the first. Then it began, probably
initiated by some well trained mem-
ber of the publicity department.
This is merely to indicate that
"Wild Girl," an absurdly misleading
title for a story the leading charac-
ter of which never has been kissed, is
a great picture. We said leading
role. That should have read titular
role.
With Ralph Bellamy in frock coat,
fussy shirt with lace sleeves, flowing
black tie, boots and silk hat in the
role of the suave gambler, there is a
part that will cause a woman to rave
and even the unemotional male per-
son to display interest in the story.
Bellamy brings the same contribu-
tion that Menjou brought to "The
Woman of Paris" — which incidentally
stamped that actor in the minds of
the producers and in the minds of
the public as a player of unusual
type.
Then there is Charley Farrell as
the silent young man who comes
from Virginia to the primitive min-
ing country to settle a score with one
who had injured and caused the death
of his only sister. The visit results
in a killing, closely followed by an-
other in this community where life is
9 Brings to Screen
of Bret Harte Story
so cheap. Then in the course of the
drama there is a hanging, the more
morbid portrayal of which is screened
from the observer.
Farrell's work throughout is most
restrained, in keeping with the Bret
Harte character he is delineating. In
fact, this brings to mind the charac-
terizations of the different players —
all reflecting to the credit of Director
Raoul Walsh.
Joan Bennett as the "wild girl" has
a part to which she is highly suited —
interpreting the character of a girl
raised among men who usually are
frank and act as they talk. She is
one of the several striking factors in
a story that is out of the ordinary.
Eugene Pallette supplies the com-
edy— and there is the usual mirth
following his outbursts. Minna Gom-
bell has her chance — in both fields of
comedy and drama — just bits, to be
sure, but they are bright spots.
Others whose work stands out are
Sarah Padden as the wife of the
shiftless Red Pete, played by Wil-
lard Robertson; Louise Beavers as
Mammy, Morgan Wallace as Bald-
win, James Durkin as Madison Clay,
Murdock MacQuarrie as Larabee and
Alphonse Ethier as the sheriff.
The screen play was written by
Doris Anderson from Bret Harte's
"Salomy Jane's Kiss," a corkingly
apropos title and describing the act
on which the whole story turns. Miss
Anderson would seem to be entitled
tc a real hearty bow.
Cameraman Norbert Brodine and
Sound Recorder Georg-e Leverett also
are entitled to parallel bows. The
work of the two, the one in bringing
to us in all the brilliance of the
mountain's photographic color and
sharp contrasts of sunlight and shade,
the other the convincing reproduction
of all sounds, human, canine and
otherwise.
Don't miss seeing this delightful
Bret Harte romance of the early days
of the West — portrayed in the Giant
Forest of Sequoia National Park.
G. B.
Hollywood Wise Guy Arouses Ire
of Newsman When He Throws Brick
IN an interesting communication to
one of Hollywood's smart boys,
one who for some reason or as-
sumption seemingly takes himself
quite seriously, Ray Fernstrom, In-
ternational Photographer, took rather
sharp issue with something the afore-
said smart boy had uttered in print.
One swallow does not make a sum-
mer. And you can't judge a craft by
any one man. Newsreelmen are re-
porters, and if they are to remain
newsreelmen they cannot permit
themselves to vegetate — no more
than can a reporter. Nevertheless the
calling of a newsman easily may be
classified as a hazardous one — we are
talking of those who shoot cameras
for a living — and the writer of the
comeback would seem to have with
him the elements of truth and reason.
But here's what the newsman
wrote:
What do you mean exactly by that
remark you made in that September
publication that "Even newsreels are
faked"?
I don't quite get the inference, but
I have shot news for these same
newsreels for ten years, and somehow
I can't swallow that remark without
this query. Naturally we newsmen
are forced to create some news, for
there is actually not enough spot
news. Take for example army and
navy subjects.
If a newsreel outfit gets a good
idea the authorities co-operate and it
becomes a part of the newsreel, but
listen, it does that because it IS news.
When I read your crack I have to
think of the boys who are out shoot-
ing every day.
When Sam Greenwald was knocked
off the top of his truck by a runaway
plane was he faking?
When Joe Johnson got a broken
leg from a bucking broncho that
knocked him and his camera for a
row, at a rodeo, was that faking for
the newsreels ?
When Shorty Randolph lost his life
several years ago up in Washington,
as he was shooting a dynamite job of
a mountain, was that perhaps the
kind of faking you refer to ?
Before me lies a paper, dated Sep-
tember 12. Among a group of per-
sons en route to Europe by plane, re-
ported lost way off Greenland some-
October, 1932
The INTERNATIONAL PHOTOGRAPHER
Forty-three
where, is a newsreel cameraman,
Norman Alley. Out there in the un-
known he still stands by his camera
faking the newsreels, eh ?
Feller, you burn me up.
Here is a proposition. You come
with me on a few news stories as we
newsreel men cover them here in Los
Angeles, or I'll get some one in New
York, if you're there. Visit with us
on the job for a while. I'll take you
out on board one of the airplane carv
riers, and let you stand up backward
in the rear cockpit as a navy fighter
takes off and climbs.
I'll take you up, where we so often
go, atop the uppermost ledge of high-
est buildings. You can set up the
150-piund camera on that ledge and
stand there, all day, to get a few
faked scenes as you watch other fak-
ers climb up to the top of the Radio
towers across the street.
Come along, feller, and I'll show
you how much faking there is in the
newsreels.
Educators Recognize Novelty
Photographed by Roy Klaffki
THE work of an International
Photographer, Roy H. Klaffki,
vice president of the west coast
organization, is brought to attention
of educators in the August issue of
International Review of Educational
Cinematography, issued in Rome in
various languages by its publisher,
The League of Nations.
Quoting the Cinema of London the
Review says: "An exceptional nov-
elty is announced in the film 'Igloo,'
made among the Eskimos at an aver-
age temperature of 60 degrees below
zero.''
STATEMENT OF THE OWNERSHIP, MAN-
AGEMENT, CIRCULATION, ETC., RE-
QUIRED BY THE ACT OF CON-
GRESS OF AUGUST 24, 1912,
Of the International Photographer, published
monthly at Los Angeles, California, for Octo-
ber 1, 1932.
State of California, County of Los Angeles-ss.
Before me, a Notary fublic in and for the
State and county aforesaid, personally ap-
peared George Blaisdell, who, having been duly
sworn according to law, deposes and says that
he is the Editor of the International Photog-
rapher, and that the following is, to the best
of his knowledge and belief, a true statement
of the ownership, management (and if a daily
paper, the circulation), etc., of the aforesaid
publication for the date shown in the above
caption, required by the Act of August 24,
1912, embodied in section 411, Postal Laws
and Regulations, printed on the reverse of
this form, to wit:
1. That the names and addresses of the
publisher, editor, managing editor, and the
business managers are: Publisher, Interna-
tional Photographers, Los Angeles, California ;
Editor, George Blaisdell, Los Angeles, Califor-
nia ; Managing Editor, none ; Business Man-
ager, George Blaisdell, Los Angeles, Cali-
fornia.
2. That the owner is : (If owned by a cor-
poration, its name and address must be stated
and also immediately thereunder the names
and addresses of stockholders owning or hold-
ing one per cent or more of total amount of
stock. If not owned by a corporation, the
names and addresses of the individual owners
must be given. If owned by a firm, com-
pany, or other unincorporated concern, its
name and address, as well as those of each
individual member, must be given.) Interna-
tional Photographers, Local 659, International
Alliance of Theatrical Stage Employees and
Moving Picture Operators of the United States
and Canada, 1605 North Cahuenga Ave., Hol-
lywood, California; President, Alvin Wyckoff;
First Vice-President, Roy H. Klaffki ; Second
Vice-President, Arthur Edeson ; Third Vice-
President, Gilbert Warrenton ; Treasurer and
Financial Secretary, Ira B. Hoke ; Recording
Secretary, Lyman Broening ; Sergeant-at-
Arms, Len Powers. The address of all the
foregoing is 1605 North Cahuenga Avenue,
Hollywood, California.
3. That the known bondholders, mortgagees,
and other security holders owning or holding
1 per cent or more of total amount of bonds,
mortgages, or other securities are : None.
4. That the two paragraphs next above,
giving the names of the owners, stockholders,
and security holders, if any, contain not only
the list of stockholders and security holders as
they appear upon the books of the company
but also, in cases where the stockholder or
security holder appears upon the books of the
company as trustee or in any other fiduciary
relation, the name of the person or corporation
for whom such trustee is acting, is given ; also
that the said two paragraphs contain state-
ments embracing affiant's full knowledge and
belief as to the circumstances and conditions
under which stockholders and security holders
who do not appear upon the books of the com-
pany as trustees, hold stock and securities in
a capacity other than that of a bona fide
owner ; and this affiant has no reason to be-
lieve that any other person, association, or
corporation has any interest direct or indirect
in the said stock, bonds, or other securities
than as so stated by him.
GEORGE BLAISDELL, Editor.
Sworn to and subscribed before me this
28th day of September, 1932.
(Seal) HOWARD E. HURD.
(My commission expires Dec. 14, 1932.)
LINCOLN
GLADSTONE 5172
J.
E.
SUMMERTON
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Forty-four
The INTERNATIONAL PHOTOGRAPHER
October, 1932
What V Doing Among Nezvsreelers
(Continued from Page 35)
more Carpet stuffing, eh? Much as
we may have squawked together up
at Lake Placid, Jack, let's hear from
you. Were you with Martin Johnson,
too, or was it Dick Maedler alone?
Who is your sound man ? And Dick's ?
Let us know these facts, gang, so we
can get the low-down on all of you.
Hey, Santino Sozio, do you get In-
ternational Photographer over there?
You are a pip at letter writing. Why
not let us hear how working condi-
tions are in Mussolini land? Or are
you too busy?
I know, the same old alibi, but dog-
gone you, I'll keep after you, so you
might just as well open up, like you
did when you thought I was taking
you for a sleigh ride in that boat out-
side Oslo, back in 1925. (That'll get
him. He won't take it.)
Hello 644 and all the boys
afield. Rout up some news for YOUR
sheet, right here. Let's give it so
much stuff the gang here'll have to
raise the dues to carry the paper.
Let's help them sell this book, too.
Reel News Notes
Sanford Greenwald, Paramount
News staff cameraman in Los An-
geles, has completed during his vaca-
tion a two reel comedy. Having seen
it I can speak with authority. Boys,
it's a proverbial knockout, called
"Yokel Dog Makes Good." Two of
the cutest dogs ever to play in Holly-
wood productions are featured. Here's
wishing you the best of luck with it,
lost entirely to the old newsreel. Such
a loss cannot well be replaced.
Buddy (Young) Hooper is another
newsreel cameraman who has turned
successfully to making pictures on his
own. Bud kicked because I called him
old in a recent issue. Said his girl
gave him the razz, because Bud had
her posted on his age as twenty, the
deceiver. But swears, though, he's
not a day over twenty-two.
A bunch of us newsbirds looked at
Bud's picture, the other day, "Gift of
the Soil," and it's a pip. It was made
for some packing company to sell its
product. It's an excellent example of
just how well a commercial can be
made if the right guy with good tools
tackles the job. 'THE SWEDE.
Russian Film Industry Plans
to Reorganize and Expand
SOWKINO, the Soviet State film
organization, which monopolizes
production and distribution in
Russia, is to be reorganized according
to Governmental instructions.
Russian film production will hence-
forth be handled by the following
trusts: Rus-Film, Bel-Film, Ukrain-
Film and Wostok-Film.
A special trust will be in charge of
film constructions, and another one,
entitled "Tech-Film," of educational
and cultural films and also news-
reels. It is proposed to produce 60
long educationals and 100 shorts in
19.32-3.
Cameraman Tony G audio studies with critical eye the make-up of Boris Kar-
loff as it has been applied by Cecil Allen. Karloff is playing the name part of
M. G. M.'s "Fu Manchn." Incidentally when the call for his fellow players
reads 9 o'clock in the morning Karloff' s reads 6. In other words his making-up
requires three hours
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PALKO, INC.
823 Washington Blvd.
CHICAGO, ILL. U.
S. A.
October, 1932
The INTERNATIONAL PHOTOGRAPHER
Forty-five
The International Photographer's Family Album
Anniversary of the Stork 's Visit
OCT. 1 — Irving- Glassberg, Clarence
Graves, James V. King, J. Earl
Metz, Homer A. Scott, Roger
Shearman, Frederick E. West.
2 — John Shepek.
3 — Charles Bohny, Frank D. Evans,
Edward P. Fitzgerald, Frank B.
Good.
4 — Donald H. Brigham, Paul A.
Lockwood.
5 — James C. Clancey, Frank Booth.
6 — Reggie Lanning.
7 — John A. Grout.
9— E. L. McManigal.
11 — Edward M. Hammeras, Alexander
Kahle, George F. Kelley.
12— L. Guy Wilky.
13— Ernest Crockett.
14 — Mickey Marigold.
15 — Fred Bentley.
16 — George Barnes, Ed Elwert.
17— Milton Ayers, Art Lloyd.
18 — Joseph A. Dubray.
19— Clifford Blackstone.
20 — Ernest Bachrach, Max Constant,
Carroll D. Dunning, Oliver
Sigurdson.
22 — Harry Davis, Otto Himm, Roy
Kluver, Frank Tanner.
23— Robert Tobey.
24 — Carl Day, Arthur Edeson.
25 — Lee Crawford, Nicholas Musu-
raca, Willard Van Enger.
26 — Sherman Clark, Don Dickerson.
29 — Harry Marsh, Jackson J. Rose,
George Unholz, Michael Walsh.
31— Earl Hinds.
The Front Cover
THE unusual cover of this is-
sue shows a newsman on a
roof. It just happens the
newsman is the Midwest corre-
spondent of International Photog-
rapher, Fred A. Felbinger.
Giving added color to this re-
markable picture is the figure of
the 100 per cent hobo interestedly
looking on the subject being photo-
graphed.
The picture was shot in Peoria,
111., by O. L. Snider, a personal
friend of the newsman and also
photographer for the Caterpillar
Tractor Company. The newsman
and his sound man, W. F. Robert-
son, were in the Illinois City with
their Paramount truck shooting
news reel stuff last year.
The tractor company cooperated
with the news crew in every possi-
ble way, even as F. H. Higgins,
news editor of the company, has
cooperated with this magazine in
securing the picture and the data
connected with it.
Keeping Track of the Golfers at the Tourney
The editor horns in on this depart-
ment in which he is so much inter-
ested to beg permission to include in
it a picture of his most important
neighbor, three-year-old Jackie Coenen
junior, the patter of whose footsteps
when visiting his grandmother over-
head imparts that indefinable thrill to
his humble disciples underneath;
■whose faint tap on the floor and
scarcely audible call of "Halloo, down
there!" brings noisy response from
sometimes staid elders; or whose in-
sistent voice heard through adjoining
back doors draws like a, magnet those
same elders on the chance they may
exchange a word with that most im-
portant neighbor — and with him to
take silent where he takes vocal issue
with the conservative mother insist-
ing "But they don't want you in there
all the time!"
Standing, left to right, Howard Hurd, Jimmie Palmer, Eddie Blackburn,
Charlie Glouner, Ira Morgan, Roy Klaffki, Ted La Barba, commissary ; seated,
Charles (Outa Focus) Boyle, Paid Perry, Raider Olsen
Los Angeles Camera Club to
Hear Talk by Jackson Rose
DUE to not having fully recovered
from the effects of an automo-
bile accident Jackson Rose, mem-
ber of International Photographers,
was unable to appear before the Los
Angeles Camera Club as guest speak-
er at its meeting on the evening of
September 29. The talk he was to
give on lighting from the viewpoint
of 16mm. photographers will be de-
livered at a later date.
The Developer, the club's bulletin,
for September announced "This is a
rare opportunity to brush up on light-
ing technique. Mr. Rose, by the way,
will be remembered for his display in
our last All- American Salon, where he
exhibited two pictures of downtown
New York."
Forty -six
The INTERNATIONAL PHOTOGRAPHER
October, 1932,
Qi 1 OCWS
JUST ONCE A YEAR
Annual Golf Game . . . only one
this year . . . nice weather . . . nice
and foggy . . . can't see your hand
behind your back ... I can see my
nose in front of my face . . . Virg
Miller takes off 7:20 and battle royal
is on . . . Paul Perry and Raider Ole-
son figuring handicaps . . . Eddie
Blackburn gives a hand . . . Pop Cran-
dall shooting stills . . . Fat Thomson
with graflex . . . Bob Morton in charge
of kitchen . . . Ted Labarba and Tod
LeClede the charges . . . Pans of pota-
toes and onions for the salad.
Ray Fernstrom arrives with red
shirt . . . has one club, niblick, and
buys one ball . . . George Blaisdell
says it's his day to yell . . . Jimmie
Palmer in six places at the same
time . . . Everytime he is asked a
question he replies "Its not cold yet"
. . . Fernstrom would have been there
sooner, but forgot his ticket . . . Says
he had to get up so early that his
wife thought he was going deer hunt-
ing, hence the red shirt.
Weather getting warmer . . . Jim-
mie Palmer says its getting cooler . . .
So that's where all the tape goes . . .
first foursome comes in after the first
nine . . . Jimmie Manatt reports that
they forgot to defrost the ninth hole.
Bill Thomas makes a shot that will
get him a prize . . . those two big
husky brothers, Dev and Gordon Jen-
nings . . . Dyer, Sickner and Novak
make 200-yard drives and the three
balls are in a line and about 30 feet
apart . . . Fernstrom comes in with
three clubs and six balls.
Starting on second nine some of
the players are stripped to the waists
. . . getting warmer . . . Palmer says
its getting colder . . . Mescall in
Europe, a break for some one . . .
Palmer yells "come and get it" . . .
claims the content is F.8 . . . not so
bad and a fine lunch . . . Tod LeClede
doing the honors . . . has had previous
experience ... in fact, its very good
. . . Fulton a cinch for first prize . . .
88 foursomes played . . . Harold Gates
makes it in 158.
Weather better and Palmer was
right. It is cold . . . that old Ameri-
can game of reademanweep . . .
Miller does pretty well in "How many
do you want?" . . . Blackburn not so
well . . . Yep! I lost as usual . . . Red
Grant said he only had 11 and felt
fine . . . Karl Struss and Charlie Lang
talking it over . . . Al Nicklin says
its a great game . . . Kymie Meade
hasn't played since the last tourna-
ment.
Everybody happy . . . Some of the
gang start out for another eighteen
holes . . . Palmer says "no more until
they all get in" . . . they get in and in
By CHARLES P. BOYLE
a very short time there is no more
. . . home to where there is more.
How about a picnic next year ?
WHAT OF IT DEPT.
Elmer Fryer has a cabin at Crest-
line, near Arrowhead, called the Dog
House. I don't have to go that far
to get in the doghouse.
Heard a marvelous speaker over
the radio, campaigning for Redwine,
and was I surprised to find out later
it was Ed Estabrook?
Tod LeClede reports he is six days
on a picture and it's only seven days
behind schedule.
Roy Klaffki is a manufacturer's
agent and has several good items. He
has a glass percolator that is a honey.
Swell for Xmas presents.
Speed Hall and Joe Kealy break
out as business men, not tired. Clean-
ing, pressing, shoes, anything. Will
call and deliver. HO 9133.
Paul Perry has an "interest" in the
Coffee Shop at Highland and Melrose.
Maury Kains met Ipana Kodaki,
cousin of Ikara Kardi, who used to
contribute to this magazine through
Ira Hoke.
Karl Struss won an electric photom-
eter in the golf tournament. Yeh?
That's nothing. I got a tie and a
pair of cuff links the first Xmas I
was in the Army.
Nature in the roar.
Lion on main title.
The M.G.M.
NEW DISCOVERY
An ad in another pretty good cam-
eramen's magazine claims that a state
official 60 years old complained of
being dizzy and having tremors. He
swallowed a handfull of "pearls," and
was he good ! They cured his tired
feeling; his mental powers were im-
proved— all for five dollars (cash,
register or money order). This
should be a good selling article for
the studio. It could be passed out at
the end of a sixteen-hour period and
might do away with the eight-hour
rest period.
score turned in by a camera depart-
ment head. Word of it came in a bit
late. Virg Miller copped it. There
was no competisch.
DO YOU KNOW
That Alex Phillips has the longest
name of anyone in the Local.
That Joe New was Desk Sergeant
at Beverly Hills. Old No. 8.
That Joe Novak and Jackson Rose
were cracked up pretty badly, but are
both getting along O.K.
That Ries Bros, are more Bros,
than any other Bros, in the Local.
That Joe Walker has been with
Columbia for over six years.
That Ted McCord was formerly
called T. D. and before that Thamer
David.
That Ray Wise is now called Chee-
ak and is referred to as a new sheik
of the screen. See him in "Igloo."
That William Nelson Williams
(Billy) was with the Photo Division
of the Army during the war.
That they tell Earl Hinds he was
in it also.
That John Philip Whalen changed
his name to Mickey when he came to
this country.
That Local 659 has only two Fin-
gers. Frank and John.
That Ollie Marsh worked for Mack
Sennett.
That Billie Marshall is a Philate-
list. Saves stamps.
That I would like to be a Numis-
matic. Save coin.
That John McBurnie was an elec-
trician for Tom Ince.
That I would like to hear from
Bob Martin.
That Floyd Jackman Dr. has more
pull than any other member.
That that's a bum gag but gets
his name in.
That donkeys divided becomes Don
Keys. See him for portraits.
That the original colored camera
man is Harry Gant. Made a series
of black and white colored pictures
SOCIETY NOTE
The OTTO HIMMS and EARL
HINDS attended the farewell party
for some prominent citizens of Los
Angeles recently. They were leaving
for Washington via motor and expect
to return when the soldiers' bonus is
granted. It is presumed they will be
gone some time.
NOT SO BAD AT THAT
One of the unexpected prizes at the
tourney was a golf bag to best gross
COOL IN SUMMER
Faxon Dean went to work at RKO
and went home and told his wife that
he was working in shorts. (You
finish it.)
October, 1932
The INTERNATIONAL PHOTOGRAPHER
arc
Forty-seven
INTERS
fraloR CWli^W mi Ni^Mttfoh in Hiyri
Ftj Sctmi- DiKurifcu and marry vlbir iffrcts.
Ask your dealer, or write to
GEORGE H. SCHEIBE
ORIGINATOR OF EFFECT FILTERS
W. A. SICKNER
F[RST CAMERAMAN
COMPLETE AKELEY
EQUIPMENT
CRestview 7255 GLadstone 5083
HEmpstead 1128
CINEX TESTING MACHINES
CINEX POLISHING MACHINES
Barsam - Tollar
Mechanical Works
7239 Santa Monica Blvd.
Phone GRanite 9707 Hollywood, California
Phone GLadstone 4151
HOLLYWOOD
STATE BANK
The only bank in the Industrial
District of Hollywood under
State supervision
Santa Monica Boulevard at
Highland Avenue
Take Your Optical Problems to
C. C. MINOR
CONSULTING ENGINEER
OPTICAL TECHNICIAN
Special Cinema Lenses, Prisms,
Optical Flats, Etc. Your Ideas
Developed and Materialized
New and superior Optical Unit
for sound on film.
GRanite 7331
1806 Whitlev Ave., Hollywood,
Calif.
AGFA
Positive Film
Worthy
a a
Agfa Raw Film Corporation
6368 Santa Monica Boulevard
Hollywood, California
Factories: Binghamton, New York, U.S.A.
NOW • • uve serve
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CAMERAS • PRINTERS • DEVELOPING
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PORTABLE SOUND PROJECTORS • •
'PARIS
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^ AlVJDRjE DjEBRIJE inc.
115 WEST 45^ STREET
NEW YORK
Forty-eight
The INTERNATIONAL PHOTOGRAPHER
October, 1932
LAP DISSOLVES
PROCESS SHOTS
TRICK WIPEOFFS
EVERY FORM OF OPTICAL PRINT WORK
and complete laboratory facilities for making
our own dupe negatives and first prints
DUNNING PROCESS CO.
932 N. LaBrea
GL 3959
CLASSIFIED
BASS-CHICAGO
Pays Spot Cash for used
Bell & Howell Professional
Cameras and De Brie
Motion Picture Cameras.
Bass Camera Co.
179 W. Madison St., Chicago
We Waitlt Wmm., travel,
fight, thrill and curosity films, from
all parts of the earth and unusual
and interesting films depicting the
life and habits of Asiatic peoples
as well as others.
Send us description and length of
subject. Cash will be remitted for
any subject accepted.
We have for sale negative and
positive short ends, both Eastman
and Du Pont.
Continental Film-Craft, Inc.
1611 Cosmo Street, Hollywood, Calif.
Dr. G. Floyd Jackman
DENTIST
Member Local No. 659
706 Hollywood First National Bldg.
Hollywood Blvd. at Highland Ave.
GLadstone 7507 Hours: 9 to
And by Appointment
FOR SALE OR RENT— Mitchell and Bell &
Howell silenced cameras, follow focus. Pan
lenses, free head, corrected new aperture.
Akeley, De Brie, Pathe, Universal, Prevost,
Willart, De Vry, Eyemo, Sept, Leica. Motors,
printers, lighting equipment. Also every va-
riety of 16 mm. and still cameras and projec-
tors. Everything photographic bought, sold,
rented and repaired. Send for our bargain
catalogue. Open 8 A.M. to 10 P.M. Holly-
wood Camera Exchange, 1600 Cahuenga Blvd.
Phone GLadstone 2507. Hollywood 9431. Cable
address Hocamex.
TRADE $3500 equity in house near First
National studio for $2000 standard motion
picture camera and equipment clear. Address
Beckett, 600 North Irving Boulevard.
FOR SALE— 400 ft. Pittman, dissolve and
turret front, 4 Goerz lens from 50 mm to
6 in., tripod with pan and tilt ; $150 takes all.
Hillside 7462.
FOR SALE — Debrie, 35 mm. Camera, perfect
condition, 8 magazines, Zeiss lenses, F 3.5 50
mm. and 75-mm. cases. Debrie tripod.
HE 2375.
WANTED— DeVry speed 24; Graflex 2%x4%
or reflex ; tripod medium weight. Albert
Winton, 603!)'... Hollywood Blvd. GL 1957.
PHOTOS WANTED, NEWS AND PICTO-
RIAL, to sell on commission. Write Paul's
Photos, 537 S. Dearborn, Chicago.
FOR RENT— Mitchell and Akeley cameras
fully equipped for sound. Norman De Vol,
6507 Drexel av., OR 7492.
WANTED
ONE 35 MM. DUPLEX PRINTER
•
Richter's Photo Service
7901 Santa Monica Blvd.
Los Angeles, Calif. OXford 2092
PETERSON
Pays Cash for Cameras —
Lenses
Peterson's Camera Exchange
356 So. Broadway- Upstairs MU 4529
ROY DAVIDGE FILM
LABORATORIES
An Exclusive "Daily" Laboratory
6701-6715
Quality and Service
SANTA MONICA
G Ranite 3108
BOU L E VA RD
bringing
the mountains
to Mahomet...
• General Electric Mazda lamps plus the
Dunning and other similar processes bring
"the mountains" to the studio. These frames
of him suggest the variety of settings which
can now be utilized by the camera man, with-
out loss of realism and without having to move
an expensive cast out "on location."
G. E. Mazda lamps are especially adapted
for this "process" work because their light has
the full colors of the spectrum and the proper
balance of all colors.
They are equally valuable for every lighting
need in the studio. The wide range in types
and sizes of these lamps enables you to light
each scene as best suits its mood and action.
The steady, uniform light of G. E. Mazda
lamps makes them excellent for sound record-
ing. And they lend themselves readily to many
other special cinema applications.
Another reason for the important role G. E.
Mazda lamps play in the life of the camera
man is their DEPENDABLE QUALITY.
General Electric, by constant research and
development at Nela Park, "Lighting Head-
quarters of the World," as well as by exacting
manufacture, assures you of the best lamps
for your purposes that money and brains can
produce. General Electric Company, Nela
Park, Cleveland, Ohio.
GENERAL® ELECTRIC
MAZDA LAMPS
7 ■■"'HE Maintenance of Camera
Equipment in first class condition
is essential for the economical pro-
duction of pictures* Avoid costly delays
by keeping your equipment in good
condition, ^ Our thoroughly trained
mechanics and completely equipped
plant offer you excellent service for
your maintenance and repair work.
<J A monthly service contract is avail-
able to those desiring one.
Mitchell Camera Corporation
665 N. Robertson Boulevard
West Hollywood, Calif.
Cable Address "MITCAMCO" Phone OXford 1051
INTERNATIONAL
PHOTOGRAPHER
HOLLYVOOD
■fl
4h aa.
*
*r
*r*
odotLdc^
NINETEEN •■ THIFfTY-TWO #
so-eigEacs-
In bright sunlight or deep shadow,
under incandescent or arc light
ffllPOK
will give a better result than
is otherwise obtainable
"The ^ulQfiP trade mark has never been
placed on an inferior product"
smith & \u j:k. ltd.
6656 Santa Monica Baulevarcl, Hollywood 5147
HOLLYWOOD, CALIFORNIA
Pacific Coast Distributors for
Do Pont Film Mfg. Corp.
35 West 45th Street New York City
Noi'ember, 1932
The INTERNATIONAL PHOTOGRAPHER
(hit
There Is No Substitute For
6*
RICO
$9
a
The Finest in Sound"
"RICO" STUDIO TRUNK CHANNEL
Variable Area Recording
PRICE $5500
Amplifier and mixer, two microphones, microphone
boom, new "Rico" studio sound camera with variable
area equipment, two magazines, two camera motors
and blimps, 12C volt wet cell motor system battery
and ac-dc motor generator for studio use, all ampli-
fier batteries, complete equipment case assembly, 400
feet of motor and microphone cables, extensive spare
parts and accessory list.
THE INTERNATIONALLY FAMOUS
"RICO" SENIOR
PRICE $8000
No finer channel on the market. Complete equip-
ment: "RICO" noiseless recording amplifier, port-
able extended mixer, studio sound camera, 3 micro-
phones, microphone boom, motors and blimps for
two cameras, power supply generator set, 12 record-
ing lights, two magazines, output test set. 600 feet of
cables, three years' supply of accessories, portable
scund projector, tuned motor control.
ANSWERING THE NEWSREEL
PROBLEM
"RICO" SINGLE SYSTEM
PRICE $3365
Renewed and silenced Bell & Howell camera, com-
plete with lenses and all accessories, and with
"RICO" optical unit for single system recording,
"RICO" JUNIOR Amplifier, Silencing Blimp, Cam-
era Motor, Two Recording Lights, Microphone, and
necessary accessories.
(The addition of a "RICO" sound camera costing
$1430 will provide a complete double system.)
Delivery dependent upon supply of B&H used
cameras.
THE INCOMPARABLE "RICO" JUNIOR
Selected by tlie U. S. Govt.
PRICE $3000
Complete in every detail; Recording amplifier and
mixer, sound camera, magazine, synchronous motor,
picture camera synchronous motor, camera blimp.
2 recording lamps, condenser microphone, spares,
accessories.
"RICO" PARTS PRICES
SENIOR Noiseless recording amplifier $1500
JUNIOR Trunk Channel amplifier 770
REBUILDING Bell & Howell camera, install-
ing "RICO" single system 385
PORTABLE extended mixer 165
STUDIO two-stage condenser microphone,
with head and tubes 275
REMLER stand microphone, complete 125
CONDENSER microphone head 110
CAMERA silencing blimp 50
POWER supply motor generator 150
MICROPHONE boom 160
STUDIO sound camera, with motor and ac-
cessories $2200
VARIABLE AREA equipment for studio
sound camera 500
GLOW LAMP optical unit assembly for studio
camera 250
JUNIOR portable sound camera, complete with
all accessories for glow lamp 1430
CAMERA MOTORS 1 10 HP, 110 Volt DC
Synchronous 165
PORTABLE SOUND PROJECTOR with
synchronous motor for scoring and rerecord-
ing with "RICO" sound units 1000
RADIO INSTALLATION CO.
LOS ANGELES
Phone: GL-9400
Incorporated
6059 Santa Monica Boulevard
CALIFORNIA
Cable Address, "Deming*7
Vr/
M
INTERNATIONAL
PHOTO GPAPHE R
Official Bulletin of the International
Photographers of the Motion Pic-
ture Industries, Local No. 659, of
the International Alliance of The-
atrical Stage Employes and Mov-
ing Picture Machine Operators of
the United States and Canada.
Affiliated with
Los Angeles Amusement Federa-
tion, California State Theatrical
Federation, California State Fed-
eration of Labor, American Fed-
eration of Labor, and Federated
Voters of the Los Angeles Amuse-
ment Organizations.
Vol. 4
HOLLYWOOD, CALIFORNIA, NOVEMBER, 1932
No. 10
"Capital is the fruit of labor, and could not exist if labor had not first existed.
Labor, therefore, deserves much the higher consideration." — Abraham Lincoln.
C 0 N T
Pakichy Looks Over Rialto Sector. ... 3
By Esselle Pa rich y
Zane Grey Hunts Thrills in Rapids.. 5
By J. E. Morhardt, Jr.
25mm. Finder Permits Both Assistant
and Director to See Shot 7
When Eight Lives Lean on Thread. . . 8
Told by Jerry Altifleish to the
Sassiety Reporter
Gordon Pollock Returns from Paris.. 10
Sound Recorder Developed by Fear. . . .12
Chicago 666 17
By Fred A. Felbinger
Engineers Discuss Progress in Color. .18
United Air Lines Employ 16mm. Film. .19
E N T S
The Dope Sheet 22
By Ray Fernstrom
Tracing History of Silver Grain 23
By Earl Theisen
Death of Bob Kurrle Shocks Friends 29
Looking In on Just a Few New Ones. .30
By George Blaisdell
When Seen Through Feminine Eyes.. 34
By Helen Boyce
Catholics Plan to Use Educational
Film 35
The Family Album 36
Ivano and Ballard Visit Parichy 36
Out of Focus 37
By Charles P. Boyle
The International Photographer is published monthly in Hollywood by Local 659, I. A.T.S.E.
and M. P. M. O. of the United States and Canada
Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles, Calif., under
the act of March 3, 1879
Copyright 1932 by Local 659, I. A. T. S. E. and M. P. M. O. of the United States and Canada
Howard E. Hurd, Publisher's Agent
George Blaisdell - Editor Fred A. Felbinger - Midwest Correspondent
Ira Hoke - Associate Editor Lewis W. Physioc \ t h ■ l wj't
Esselle Parichy - - Staff Correspondent Freo Westerberg ) " l ecnmcaL naiiors
John Corydon Hill, Art Editor
Subscription Rates — United States and C anada, $3 a year. Single copies, 25 cents
Office of publication, 1605 North Cahuenga Avenue, Hollywood, California. HEmpstead 1128
McGilPs, 179 and 218 Elizabeth Street, Melbourne, Australian and New Zealand agents.
The members of this Local, together with those of our sister Locals, No. 644 in New York, No. 666 in Chicago, and
No. 665 in Toronto, represent the entire personnel of photographers now engaged in professional production of
motion pictures in the United States and Canada. Thus THE INTERNATIONAL PHOTOGRAPHER becomes the
voice of the Entire Craft, covering a field that reaches from coast to coast across North America.
Printed in the U. S. A. at Hollywood, California.
November, 1932
The INTERNATIONAL PHOTOGRAPHER
Three
Parichy Looks Over Rialto Sector
Philosophizes on Main Stem Generally as He
Recovers from Hotchacha Superinduced by
Strenuous Nights in Ballyhooland
By ESSELLE PARICHY
Staff Correspondent International Photographer
With His Own Illustrations
THE Rialto Sector of the
Main Stem, better known
as the Great White Way,
dishes out the greatest "bally-
hoo" on earth ... a sort of hors
d'oeuvre for the jaded palates of
those suffering from "Broad-
wayitus."
I myself am just recovering
from a relapse, and "hotchacha."
It gave me plenteee trills ... I
am one of the gay gazelles that
ascended the brilliant benison of
electric bulbs, and ran around in
a narcotized stupor of satiation,
gawping at the blazing edifices
of Make Believe.
Broadway assays you on your
potentialities, and like a cou-
chant lion waits its chance to
down you if it can . . . there are
as many disappointments on
Broadway as there are incan-
descent lights, but many a local
yokel has taken the old beast by
the tail and tamed it to the tune
of fame and fortune.
In the sacrosanct of immortals
echoes the spirit of the great
producers . . .Frohman, Belasco,
and many others, and now
Ziegfeld leaves a galaxy of bril-
liant stars in the firmament of
Broadway successes. Their touch
of genius leaves to posterity an
amaranth of beauty and enter-
tainment.
The Blase Blond
In spite of the w.k. depression
(forgive me) show business
seems to be very lucrative along
Broadway . . . Try to crash, if
you can, the queue of humanity
that ever waits box office open-
ings. This annotator burned
his "dogs" many an hour wait-
ing for the blase blond ticket-
pusher at the Paramount ; and
such nice girls at the Roxy and
Capitol, too, who say "Thank
you!"
I saw every flicker from
"Strange Interlude" to "Micky
Mouse" and such legits as "Of
Thee I Sing," "Cat and Fiddle,"
"Show Boat," "Another Lan-
guage," "Here Today" and many
others, and I'll give them all
four buttons, as I consider them
worthy of the elusive shekels
even in these hard times.
The Broadway brand of flick-
ers differs from those on "Main
Esselle Parichy
Street" in that they are accel-
erated by the presence of such
luminaries as screen stars, radio
crooners, torch singers and old
show troupers.
The tympanum of my 'shell-
like ears (did I say what kind
of a shell?) was glorified with
the wail of Rubinoff's violin . . .
the silver voice of Don Novis,
Atwater Kent's audition winner
. . . Kate Smith . . . Mildred
"Rocking-chair" Bailey . . . The
The incandescent glow of Broadway illuminates towering structures for blocks. At right the
feature pictures feed the box office coffers
Four
The INTERNATIONAL PHOTOGRAPHER
November, 1942
Here at left is New York's Public Library, Astor-Tilden-Lenox Foundation, at Fifth avenue and Forty-second
street, and looking north. As the writer remarks: "With 'broadwayitis' there is no time for highbrow thiyiking or
public libraries." At right we are back on Broadway in the Roaring Forties, gazing on the array of stars in lights
at the Paramount Theatre
Street Singer . . . Sophie Tucker,
good old Sophie, may she sing
forever, and Tom Terriss, who
still stirs the old romance of
vagabond wanderlust.
I focused my protuberant orbs
on Pola Negri, Lilyan Tashman,
Buddy Rodgers, Norma Tal-
madge, George Jessel, Mills
Brothers, Georgie Price, Stoop-
nagle and Bud ... I was fasci-
nated by the trick fingers of the
"Old Maestro," Ben Bernie, and
the dental ad teeth of George
Olsen, but stop me or I shall go
on . . . and on.
Caught at Both Ends
A gag that struck me funny
in New York was at Bryant
Park, where they charge you 5
cents to view, through the big
telescope, persons on the obser-
vation tower of the Empire
State Building, who in turn have
just paid a dollar in order to go
Looking north from, old Times Building in Times Square at Forty-third street
or thereabouts. Broadway here crosses from lower right to upper left and
Seventh avenue from lower left to upper right. In centre behind the mass
of signs may be detected WOO Broadway, occupied for
so many years by Universal
up and look down at you . . .
The thing has endless possibili-
ties . . . they took me at both
ends.
I liked to watch the ebb and
flow of the plush of humanity
with its acres of faces . . . eager
faces, hard, tired and brooding
faces, .all carrying the indelible
marks of twentieth century
madness ... I have watched
statuesque chorines and portly
dandies at stage doors . . . beg-
gars recoiling under the scru-
tiny of flatfoots . . . stuffed
shirts in theater cabs . . . push-
carts weaving in and out of
clouds of monoxide gas from
hurrying taxis.
Symphony of Ballyhoo
I often stopped to study old
Rosey, the vendorine, milling in
the crowd at the Booth Theater
. . . old Rosey, who always wears
a pink net on her head, the kind
we used to see over baskets of
peaches to bring the illusion of
ripe lusciousness.
One is ever conscious of the
clanging of street cars, the rat-
tat-tat of riveters, the siren of
emergency hurry-up wagons,
the raucous voices of newsboys
and bus barkers, and the rumble
of subway all blend to create a
symphony of Broadway Bally-
hoo.
This may all seem like a
Broadway complex, but I feel
sure, to "youse guys," I am just
a tourist.
November, 1932
The INTERNATIONAL PHOTOGRAPHER
Five
Zane Grey Hunts Thrills in Rapids
For Benefit of Camera Troup of Fifteen in Nine
Boats Negotiate Perils of Oregon's Most
Aptly Named River Rogue
By J. E. MORHARDT, Jr.
Photographs by Romer Grey, H. C. Anderson and J. E. Morhardt, Jr.
MORE and more in late years
the motion picture industry
has turned to an exploitation
of nature. We are just discovering
that every one likes to travel; that
the charm of far places and new
sights stirs the imagination of an
audience more readily than the old
time-worn everyday plots.
Zane Grey is in a position to sat-
isfy this audience hunger for ad-
venture in pictures as well as in
stories. Perhaps that in part explains
his summer location on the North
Umpqua, Campbell River and the
Rogue, for there was to be found
real fishing, hard sport and some-
thing to catch.
I was, fortunately for me, a mem-
ber of the party. There were fifteen
of us in all, including Romer Grey, in
charge of production of the motion
pictures; H. C. Anderson, camera-
man; Bob Carney, who assisted in the
production of "South Sea Adven-
tures," and last but by no means least,
George Tahahashi, Zane Grey's cook,
who is a picture, either motion or
still, silent or sound, all by himself.
We started the summer at Steam-
boat Creek, on the North Umpqua
River. The weather was wet for two
weeks, so wet that you could fish quite
conveniently in the middle of your
tent and with fully as much chance
of catching something there as in
the icy river. Finally a week of sun-
shine dried the maps out enough to
enable the party to locate itself and
get comfortable now and then.
The river began to go down to
normal. Romer Grey brought in the
first catch of the season, an 11%
pound steelhead. He followed the
fish up and down the river for an
hour before tiring it out.
Presently the camp was flooded with
fish, every evening wild with activity
as the crew took turns trying to fig-
ure out where a steelhead migiht
jump when there was hardly enough
light to see the mat box and you were
afraid the "take" would look like a
Scotchman's exposure.
Nine Ships in Fleet
Unfortunately fish don't bite well
when there is any sort of illumina-
tion, and you can't stick up inkies all
over a mile of river, so we missed as
much as we got.
During the daytime, when the fish-
ing fell off, there were always the
rapids to consider. We were looking
forward to considerable white water
on the Rogue and found the Umpqua
a good stream to practice on. Our
fleet numbered nine craft of varying
sizes, ranging from a seagoing pea-
nut shell to a twenty-three-foot grub
boat. If anyone became restless he
shot a bit of the river, not infre-
quently pushing the stem of the par-
ticular boat in an inch or two.
Accompanied by the Mitchell and
plenty of film we ran the river from
Steamboat Creek down to the nar-
rows. The whole country turned out
to watch the shooting of the Rock
Creek rapids, which are tough in any
language. The cameraman, as usuai,
got hung up on a rock and had a
swell time till someone threw him an
oar.
Our success on the lower river
being so great, we decided to do it
up right and come down from
the headwaters, portaging two falls
and spending ten days at it. We built
our own boats and all they lacked
were wheels. We started near Dia-
mond Lake.
The first day we portaged 15 logs,
Romer Grey and Fred Popken taking camera boat through upper Black Bar,
Cameraman Anderson's magazines shown at bottom left.
Six
The INTERNATIONAL PHOTOGRAPHER
November, 19.12
Romer Grey Shooting Argo Falls. H. C. Anderson on Rock.
3 logging bridges, 10 falls and ended
up by carrying the boats through the
dense forest instead of rowing them.
That one day was plenty. We
hauled one beat through the timber
a mile or more, in fact we rowed
just fifty yards during the course of
the day. Everytime we'd reach a nice
stretch of rapid to run it would end
up in a twenty-foot fall that resem-
bled a couple of Niagaras.
Tire of Steelhead
We packed the boats out on our
backs, deciding wisely, no doubt, that
some other time, with better equip-
ment and a year to spare, would be
soon enough to complete that epic.
Eventually we became tired of
shooting, smoking, and eating steel-
head, so we changed location to the
Campbell River, at the upper end
of Vancouver Island. There is much
to recommend that lovely spot both
from a phctogranhic and a fishing
standpoint.
Here the great silver tyre salmon
lies along the edge of the kelp beds
waiting the autumn rains to ascend
the river for the spawning grounds.
They are hard to catch, as they do
not eat, and strike the trolling spoon
only out of the spirit of fight.
Here, on the edge of the inside pas-
sage to Alaska, we pitched camp and
shot a number of scenes depicting
the fight a fifty-pound salmon can put
up on a light rod. Fortunately, Zane
Grey always catches fish, so we got
plenty of footage that would make
any fisherman break the tenth com-
mandment.
The cameraman fished incessantly
while working, rowing up and down
the straits, working himself into a
lather, and when he finally did hook
one, he pulled the shirt off its back
and lost it.
Finally, having shot enough film to
make three feature length thrillers
on tyre fishing, Zane Grey turned
eagerly to the greater adventure of
'he Rogue River. Most of the group
had shot the stream previously, and
the talk ran to waterproof contain-
ers for this and that, the best sort
of patching material for boats, what
to do when you found yourself three
feet under water in the middle of a
rapid, and how to keep the cook from
committing suicide over a waterfall
with several hundred dollars worth of
grub.
Blisters —
Time went fast in planning, and
one bright morning in August found
us trying to pack a ton and a half of
stuff into eight boats. A swell job,
but if you lack ingenuity there's no
use tackling river running.
The first twenty miles from Grant's
Pass contain no rapids. In fact, it's
just a hell of a long row. Moreover,
the wind took a turn up river, and if
you stopped rowing you went back
up stream. Everybody rowed blisters
m the hands and elsewhere for days.
At Jumpoff Joe Creek we made the
final packing, loaded all the boats
to the point of sinking and started
with some trepidation for Galice.
Every so often some one of the party
would hang up on a riffle and get
the bird from the rest of the party.
We set up the camera about ten
times during the day and most of us
spent the night doing the same in our
dreams, wiggling around to take the
weight off one bruised spot on to
another.
The next day brought us our first
rapids of any importance, but it was
always the same story: "Now this
doesn't amount to much, but wait till
we hit Grave Creek or Black Bar."
We negotiated Alameda with the
sun in our eyes, unable to see a thing
but silver water and gold sunshine,
coming out at the bottom as much
by chance as good management.
Advance Meditations
The special thrill in rapid running-
is just before you make the first
plunge into a mass of foam and rocks.
Maybe you won't hit it just right,
maybe you've misjudged the current.
You say to yourself, "Oh, oh, I'm
going to hit that rock," and very
frequently you do.
Or, having started nicely down
a long white chute, you lose a row-
lock and spend a frantic six seconds
racing against time to get it back in
before you smack head-on into a rock.
It's a big risk, for once in the
water there's nothing to do but cling
to the boat, hoping it won't break up
completely before you reach the bot-
tom. Too many lives have been lost
on the Rogue to make one feel safe.
The next day brought as a gift
Argo, Grave Creek, and the Wing-
Dam. The last was not pleasant —
two inches out of line and the papers
would be carrying some more
vital statistics. The cameraman slid
twenty feet down a smooth rock hold-
ing a Bell, dropped it and smashed it
all up, and missed going into the river
himself by bare inches.
Every so often some one would say,
"wait till we reach Black Bar," and
the whole crowd would look funny.
The next task consisted of hauling
everything two hundred yards, each
November, 1932
The INTERNATIONAL PHOTOGRAPHER
Seven
yard like a mile, around Rainie Falls.
Nothing there but round, slick, water-
worn boulders! One misstep meant a
broken leg. One boat got away and
filled in a few seconds. We almost
lost it.
Cheerful Miners
Then down Russian bar, every one
bailing frantically at the bottom and
dumping out soggy bedding. The
miners at their small placer claims
took us all in stoicly, reminiscing on
the number of boats and men lost
there of late years.
Black Bar was still in the distance,
but getting closer; and then suddenly
down a steep pitch round a rock wall
we pulled into an eddy above a smooth
green lip of water with two waves
boiling below it. Black Bar at last!
No one liked Black Bar. No boat
goes through it without swamping.
Ours were certainly no exceptions.
All the large boats hung on the brink
and one after another disappeared
in white water, drifting out below
sinking to catch a rope thrown from
shore just in the nick of time.
We left the two small boats till
last, undecided as to what might hap-
pen to them. If the wave sucked them
in under the falls it meant curtains
for the boatman; if they smacked the
cliff too hard, there wouldn't be
enough left for a salvage job.
Finally it was decided to take a
chance and run them through. One
of the party volunteered for the first,
and with all cameras trained on him
he made the plunge. Smack — he hit
the wave and slowly the stern rose
out of the foam.
Up it went higher and higher until
the little boat stood straight up. Then
it sank completely out of sight, and
we all gasped wondering what was to
come next.
Would it be sucked back into the
falls? Would it capsize and pin the
boatman under it? Ten seconds went
by and a head appeared below the
wave; shoulders, then arms, and,
still in the boat, the adventurer
drifted down stream.
Some Ride
He was white when we rescued
him, and he wasn't the sort of per-
son who goes pale easily. "Boys," he
said, "that was some ride," and he
climbed out on a rock and sat down
heavily.
Romer looked at the writer of this
tale. "We'll take the next one
through. You can put your weight
in the stern so we won't go over back-
ward." This writer will never forget
the first drop in that tiny boat,
straight down into the thunder of
water at the base of the falls.
Down, down — everything in front
blotted out in a wall of water that
struck across the chest, then up, and
more up though we threw all our
weight into the stem. Romer was
knocked flat by the shock and lost
both oars. Still we went up and with
a sickening lurch the boat started
back under the falls.
I -wanted to jump overboard, but
couldn't. I wanted to yell bloody
murder, but not a sound could I make.
I strove helplessly against the disas-
ter. Then, in a second, the bow came
up and feh with a terrific smash
against the cliff. It shot down the
rapid ! Seconds more and we were
out of danger. They pulled us in and
that was that. What a ride!
The rest was hard work and beau-
tiful scenery. Twenty-four hours haul-
ing the boats and luggage around
Blossom Bar, rapid after rapid, easy
and difficult. Zane Grey himself shot
almost all of them. Campfire at night
and feet dry for a few hours. And
finally the last stretch of calm water
into Gold Beach. A tired, hard, lean
happy crew, with boy, Oh boy, what
memories! What a trip!
This 25mm. Finder Permits Both
Assistant and Director to See Shot
ONE of the latest contraptions to
be added to the cameraman's al-
ready large supply of new gad-
gets is a wide-angle finder capable of
taking in a greater scope than a 25-
mm. lens on standard 35 mm. film.
Of course since there has been a
long felt need for such a finder Fred
Hoefner, who makes the mechanical
parts, and Harrison and Harrison,
who make the optical works to go in-
side, may be excused from deliberate-
ly planning to add to the cameraman's
worries, in fact United Artists gave
Harrison an order for the first two
finders and then had to wait for eight
months before they finally got them.
Although the size and weight of the
finder is slightly more in keeping with
blimps than cameras, it has all the
earmarks of old fashioned ruggedness.
For instance, in focusing, the entire
optical assembly, including the front
of the finder, is slid back and forth
on gibs by means of a screw which
turns very easily with one finger, the
length and contact surface of the gibs
being amply sufficient to insure a
smooth working condition at all times.
The magnifier box, instead of being
in two pieces, is in one solid piece.
The ground glass and magnifying lens
are slipped in from the large end and
held in place from the outside. This
should give at least one extra chance
to drop the finder without raising the
breakage risk.
Pinchbar Not Needed
In aligning the finder with the
camera lens, the bracket of course
takes care of the right and left posi-
tions, but for up and down, instead
of the good old fashioned way of
slightly bending the camera or finder
bracket v/ith a pinchbar, all that is
necessary is to turn a screw on the
front of the finder and the image can
be raised or lowered any amount de-
sired, as the whole optical assembly
is fastened upon a secondary movable
plate controlled by the screw in front.
The optical system differs from any-
thing that has been used before in
that, although the minus lens is used
in front to increase the angle, the
amount of barrel distortion which al-
ways accompanies the use of a minus
lens in front is surprisingly small due
to a five-element lens system used in
combination with two reflecting
prisms. The lenses are all cemented
to the prisms and the arrangement
and separation of the lenses and
Drisms are such that not only distor-
tion is taken care of but also travel
ghosts are so faint they are of no
consequence.
As a rule when an assistant cam-
eraman and director want to look into
a finder at the same time a problem
is presented. With this device any
two of them can look into the finder
at the same time, as the position of
best view is from seven inches on
back from the finder, and as the im-
age is very large two persons on
friendly terms may look in, one over
the other's shoulder, and see exactly
what is happening.
Army and Navy Installing
RCA Photophone Equipment
WITH upward of 300 battle-
ships, destroyers, cruisers and
shore stations equipped with
Photophone sound reproducing appa-
ratus, the Navy Department has
awarded a contract to RCA Victor for
installation of similar apparatus
aboard the Farragut, Dewey, Mc-
Donough, Hull, Minneapolis, Tusca-
loosa, San Francisco and Worden.
The United States Army, which has
Photophone reproducing equipment in
seventy-five posts in various parts of
the world, also has placed an order
for an installation at Quarry Heights.
25 mm. Firidt
Eight
The INTERNATIONAL PHOTOGRAPHER
November,. 19-13
JVhen Eight 'Lives Lean on Thread
Altifleish Tells How His Greenland SOS Is Picked
Up by Station Active but Four Fifteen-
Minute Periods a Day
As told by JERRY ALTIFLEISH
To the Sassiety Reporter
PROLOGUE
LIFE . . . What a merry-go-round!
. . . round and round . . . one
becomes dizzy . . . one falls off
the merry-go-round! . . . naturally
one seeks an antidote . . . Friendship !
. . . what a soothing antidote . . .
Friendship . . . but one must grope
for the remedy ... so I ankle down to
Ches's place . . . just a speakeasy to
most people . . . but to me a shrine
. . . yes! just a speak! . . . but
nevertheless a gathering place for
newsreelers . . . for friends . . .
I'm a mortal . . . aren't we all?
. . . down with a mild attack of the
blues ... I need solace . . . perhaps
just a soothing of an immature ego
. . . that word 'blues.' . . . But I set
out to kill the blues ... at least
that is definite ... so I ankle over
to Ches's . . . the newsreeler's hang-
out.
Ches's is quite deserted this blue
eve . . . not like it used to be . . .
a melting pot of experiences . . .
of newsreelers ... of men . . .
men who have the knack of laughing
. . . laughing at the grueling grind
of Life . . . but tonight . . . Ches's
Place ! . . . a tomb ... a silent
monument to the past ... a happy
past . . . where once newsreelers
gathered . . . and drank . . . and
laughed at the sordid . . . the foun-
dation of Life . . . Reality . . .
So I ankle into Ches's place . . .
the newsreel shrine ... It is deserted
. . . save for Ches . . . the bartender
. . . that quaint, strange philosopher
of Life ... a bartender . . . but one
who understands fully Blues . . .
destroyer of the happiness of Life.
So I sit there . . .and silently
drink . . . with only Ches to per-
ceive . . . presently I become animated
... I confess my troubles to Ches
. . . good old Ches the bartender
... I am in the desolate confessional
of Ches's Place ... a speak!
Ches the Philosopher
On the walls hang a few 'eight by
tens' of newsreel pals . . . once they
graced the bar ... in person . . .
but all is quiet tonight . . . save the
inanimate pictures on the wall . . .
a far cry of Life now dead ... of
Friendships . . . newsreel friendships
. . . even if in a barroom . . . Life
goes on . . . the merry-go-round of
Life . . . bringing alternately its
subtle substitute . . . Blues.
Ches being a philosopher of Life
. . . senses the downtrodden acute
attack that temporarily undermines
the giddy ride on that merry-go-
round ... he works hard to deaden
the pain . . . with his merciful drug,
liquor . . . and halfway succeeds.
Then the telephone jingles . . .
nothing extraordinary in Ches's place,
a telephone bell jingling . . . but
nevertheless it inspires hope on a blue
night like this. . . mebby a voice of
The City of Richmond joins Davy Jones's Locker off an uncharted
island of Greenland.
— Photo by Altifleish.
kindliness calling . . . Ches answers.
"Hello, why, you old baboon! No-
body here! Jest Red! Want to talk
to him? . . . Okeh!" . . .
So I ankle over ... I answer with
a forced humor. . ."Swimming Pool!"
Thank the lord for that sense of
humor! . . . Sometimes it helps a
awful lot . . . Yea, you old baboon!
Your voice sounds familiar! . . .
who ? . . . Jerry ? . . . not Jerry
Altifleish? . . . why, you old mutt!
. . . thought you was drowned long
ago ... up there in Greenland . . .
read sumpin about it in the papers
. . . but didn't follow it much . . .
you know a guy never worries much
about things . . . and friends . . .
and dangers . . . unless they concerns
yourself!
"What you doing? . . . Come on
over! . . . We'll hoist a few . . . and
talk over old times . . . Okeh! . . .
It's still the same old address . . .
I'll be waitin'.
"Hey, Ches, gimme another drink!"
Swell world . . . old pal comin'
over! . . . Fresh from the dangers
of Life . . . The Flyin' Fambly!
Forced down in Greenland . . . and
saved! . . . Saved by them nimble
fingers of Jerry Altifleish. . .dashin'
out the magic call letters S-O-S . . .
and now Jerry Altifleish on his way
over to give me the inside dope on
the flight . . . modestly . . . but never-
theless the inside dope . . . Life . . .
a merry-go-round . . . but neverthe-
less . . . very interesting.
"Ches! Gimme another drink until
Jerry arrives!"
JERRY'S STORY!
NORMAN ALLEY and I drew
the assignment to accompany the
Flying Family, in their Sikorski am-
phibian plane, City of Richmond, on
a transatlantic flight by way of the
northern route. Norm was to be the
lens pointer and I was to handle the
sound, or noise ketcher as you call it.
Our equipment consisted of a
Mitchell RCA sound outfit, a DeVry
and two still cameras. We also took
along 15,000 feet of negative raw
stock. All unnecessary equipment
was left behind to keep the weight
of our gear down to a minimum.
Well, we were on edge plenty wait-
ing for the take-off, as it seemed like
a glorious adventure to both of us,
to be the first newsreel men actually
to participate in a transatlantic
flight and make a motion picture rec-
ord of an event to go down in aviation
history.
Finally we were under way. We
made some sound stuff on our stops
at St. John's, N. B., and Hopedale,
Labrador. Enroute Norm was shoot-
ing air shots with the little DeVry.
You know Norm always was a DeVry
and Eyemo expert back in the old
silent days before we noise ketchers
got mixed into things, you dumb red-
head !
Leaving Labrador, we started on
November, 1932
The INTERNATIONAL PHOTOGRAPHER
Nine
our flight across the Atlantic proper,
and here we were to get our taste of
being participants in a transatlantic
venture by way of the air. Norm
was carrying a supply of those silly
little caps you cameramen insist on
wearing — berets.
We See the Ocean
Flying between Labrador and An-
ticosti Island Norm stuck his head
out of the hatch and, zip, beret No. 1
joined the list of the missing. Later
the same thing happened to beret
No. 2. Then came the nemesis of
transatlantic flying — fog.
Our pilot started to climb the ship
until we reached an elevation of
12,000 feet. We were flying blind
now. It seemed uncanny being out
there in space. Presently the motors
were freezing from the cold at the
altitude we were moving in.
Hutchinson had to bring the ship
down to a lower altitude. Slowly we
dropped, when suddenly at 2000 feet
we could see the water below. We
had a 2000 foot ceiling with fog and
cloud banks above, below the ocean
and clear visibility. We could see
Greenland 100 miles away. We landed
at Godthaab, Greenland.
Here we made some more sound
stuff and became quite a curiosity to
the natives, mostly Eskimos. I noticed
that on Sundays the gals wear a
quaint beaded, cone-shaped neckpiece.
I decided I wanted one of these to
bring back to make into a lamp shade
for my den. Well, they are very pretty
(I mean the neckpieces, not the gals,
you dumb redhead) and I decided I
better get going on a dicker for one
of "em.
Gals No Spik
Well, these gals don't understand a
word of English, and it seems they
use this ornate piece of dress as sort
of an engagement affair. All the
single gals have them and when they
marry, why they stop wearing them.
In trying to bargain for the partic-
ular one I selected all that I would
get was a dirty laugh from the girl.
All the other islanders joined with
her in her merriment. It was begin-
ning to get my goat.
Finally, I went to the big shot of
the island and told him my troubles
of trying to reach a bargain on the
neckpiece. He went back with me,
engaged in a brief conversation with
the gal, and started to laugh himself.
My blood temperature was beginning
to go up by now. Well, it seems this
silly frail thought I was asking her
to marry me in asking for this durn
neckpiece. Every time I would point
to it and then to me why all I'd draw
would be a hearty ha-ha. Finally I
got the bargain through. Paid 50
kroner, or about $10 in our dough,
for it. A fortune to them and a fair
price for a year's work, which it takes
to make one of these things.
Christen Heifer Hall
At Julianehabb, Greenland, we
found that at one time or another the
village must have possessed a goat,
for we put up in a joint that
had all the earmarks of having been
a goat den. What a place! Norm
and I immediately christened the joint
Heifer Hall. Three days in this place
Making a scene at Godthaab, Greenland.
— Photo by Altifleish.
and we organized the Knights of
Heifer Hall.
All the settlements up that way are
composed of three or four whites and
perhaps 30 or 40 Eskimos who live in
rock houses of ungodly conditions.
Greenland is a strange, closed
country where visitors are prohibited
and the Eskimos are never allowed
to leave. They want to be called
Greenlanders, and resent being re-
ferred to by any other name. Most
ports have only two or three boats a
year. The sole trading is furs and a
bit of fishing. The scenery is won-
derful by plane — glaciers, mountains
with 12,000 foot elevations, ice caps
and the beautiful northern lights
play their symphony of color on
the horizon.
Then the take-off from Julianehaab,
and to experience the climaxing finish
of our flight. The weather was beau-
tiful on the take-off, but we suddenly
ran into a heavy blizzard and winds.
Our pilot was flying low. Below us
were icebergs, and snow and sleet
were forming on the wings of the
ship and on the windshield.
Cameraman on Wing
Again we were flying blind, and I
knew we were in a dangerous predic-
ament. Then we were forced to land
and into what seemed sure oblivion.
Norm Alley was out on the wing try-
ing to kick small pieces of ice away
from a pontoon. Half an hour of this
and he sure was wet, with the waves
continuously breaking over him.
As serious as those minutes were I
couldn't help being thankful that I
was the radio operator and had to
stick to my post in the ship instead,
of being the cameraman on the flight.
I did not know at the time that I
was to get my drenching later. Norm
and Pete Redpath, our navigator,
scrambled ashore and helped the rest
out of the ship, Hutchinson and my-
self remaining aboard. I was busily
sending out the S-O-S and giving our
position, which Redpath had given to
me. I did not know it at the time,
but the station that picked up my
S-O-S only went on four times a day
fifteen minutes at a time.
Fortunately for us it so happened
we just struck one of those periods,
otherwise we would have been
doomed. "Newsreel luck," they call it,
I believe. Finally my transmitter
gradually died out as the current in
the batteries became exhausted.
We were in the great unknown
alone. We salvaged what we could
from our fast sinking ship, scrambling
up the ragged rocks, and started to
establish our camp, such as it was
to be. Norm and I salvaged what we
could of the movie equipment. Some
of the sound equipment was lost, but
we had presence of mind enough to
save all our exposed and unexposed
raw stock and the De Vry.
Newreelers* Comforts
We cut up the upholstery of the
seats in the plane out of which we
made shoes to keep our feet warm.
There are many places more comfort-
able than being on a Greenland island
for two days and nights with clothing
frozen stiff and sleeping in snow, with
absolutely nothing to burn. All there
are there are rock and water, icebergs
and more of the same.
We thought we were on the main-
land of Greenland and decided that
some of us could perhaps set out for
Angmagsalik, which we figured to be
about twenty-five miles away. Later
we heard we were wrong, that we had
landed on an uncharted, small island.
Again "newsreel luck" had guided us.
At Julianehaab we had picked up
half a lamb that we were carrying to
the radio operator at Angmagsalik
This came in mighty handy now.
Norm Alley announced that he was
nominating himself for position of
chef. He was unanimously elected —
good cook, too, we were to find out.
So Norm set out and erected his
kitchen, equipped with five cans of
canned heat and the lamb and some
Ten
Tlu INTERNATIONAL PHOTOGRAPHER
November, 1932
Upper, back from oblivion! Jerry
Altifleish arrives in old New York.
Center, Ruff, mechanic, and Jerry
aboard Lord Talbot examine their
beards after rescue. Lower, Norm
Alley, cameraman, and a few Eskimo
dames at Godthaab, Greenland.
— Photos by Altifleish.
grease we had salvaged from the
plane. Norm built a fire with the
canned heat, a bit of film and the
grease and we settled down to our
first meal in oblivion.
A real treat, boy. I'll recommend
Norm as a cook to my dying day. I
had one bottle of good old three-star
Hennessey, but it broke its neck being
transported ashore. Also had one
small bottle of champagne. I divided
this between eight, and what have
you? A king's meal cooked in dirty
film cans, but nevertheless probably
the greatest meal of my life, thanks
once more to Norm Alley.
Then we set out to the serious task
of watching for a rescue. We had a
few signal flares and we sent them
up. Finally we resorted to the neg-
ative raw stock — burned it in hopes
of being seen. Norm and I hung on
to the precious exposed film and used
only unexposed film — news reel in-
stinct. After two days and nights of
this, bitter cold and snow, again it
came my turn to watch. It was my
good fortune to be the one selected
by Fate to sight the rescue ship. First
there was just a faint glare of light
in the distance. I pointed it out to
the rest of our camp. Frantic signals
followed then with our film flares.
Then Came the Beaner
Burning film! What a godsend.
Slowly the rescue ship got to us, the
Lord Talbot, a fishing- trawler. We
were safe — rescued from oblivion.
Then came nine days on the Lord
Talbot. It was terribly dirty, but we
had a picnic. Two rations of rum a
day ! Then the last day out the last
is consumed, "beaner," they call it.
Wow ! what a rum beaner I went
on, too. Life owed it to us, I figured.
So ended my experiences on the first
transatlantic flight made by two news-
reelers. No more for me. I am going
to take up checkers or something like
that. As for going back to Green-
land? Yes, when palm trees grow
there!
Gosh ! I don't want to be a hog . . .
Give someone else a chance. Oh,
yeah! Hey, Ches, fill 'em up once
more for Red and me. Isn't every
day two old cronies can sit together
at a bar and talk over experiences."
The telephone jingles. Ches an-
swers. "Wait, I'll see if he is here!"
Red answers — speaks awhile and
hangs up. "Well, so long, Jerry!
Gotta go! Have to cover a style
show! Newsreels! From thrilling
rescues in Greenland to a lousy style
show with a bunch of frails prancing
around in gowns made out of stuff
with names you and I ain't ever
going to be able to pronounce. What
a lousy business? But I guess we all
love it! So long, Jerry!'"
EPILOGUE
Ches's place! Another quiet even-
ing . . . "Hello Ches!"
"Howdy! See the paper tonight
yet?"
"No!"
"Well, look!"
You scan the front page . . .
nothing of particular interest . . .
wait a minute . . . something- refer-
ring to the Flying Family here . . .
Davenport, Iowa, dateline . . .
Gerald Altifleisch, radio operator on
the flight of the Flying Family, be-
comes engaged to be married . . . Old
Jerry . . . Happy ending . . . News-
reelers . . . funny people . . . but
human people.
Gordon Pollock Returns From Paris
After Tzvo Years Still a Good Yank
GORDON B. POLLOCK returns
from a two-year sojourn abroad
and is more than happy to be
back in Hollywood after working
under the Paramount banner in
France, England, Germany, Czecho-
slovakia, Holland, Belgium and Italy.
Though still wearing a beret he as-
sures us that he has not gone "fur-
ren," that he is a much better citizen
now than when he left, and feels the
best cure for those of us who are dis-
contented with things here is a trip
there.
When one pays just a little less
than $1,700 for a Ford eight in Paris,
$2.38 for one package of Chesterfields
in Berlin and 40 cents for a Saturday
Evening Post in Italy there must be a
reason.
He reports that Harry Stradling
and Ted Paul are still the P.P.P.s
(Paramount Photographic Pillars) of
the Joinville Studio and are thriving
on continental soil.
Phil Tannura has gone British in a
large way, though at present he is in
charge of photography for the Alex-
ander Korda Productions in Paris.
Borradaile the Benedict is doing
some good work as first cameraman
in England and one to whom the
British slogan "Made in Great Brit-
ain" would most aptly apply.
Pollock further informs us he will
shortly be in a position to reveal a
number of very important develop-
ments of his pertaining to silent
camera construction. A number of
our members are familiar with his
research work and are enthusiastic
over the ingeniously simple and direct
manner with which he has solved a
most difficult technical problem.
W yckoff Travels to Ozarks
to Make Two Reels in Color
TO make a two-reel picture in
color Alvin Wyckoff has left
Hollywood by way of St. Louis
for the heart of the Ozark mountains.
The cameraman knows the country
into which he is taking his camera,
for he produced a picture there some-
thing- over a year ago. The present
very satisfactory contract is the re-
sult of the photographic and enter-
tainment quality returned at the
time.
November, 1932 The INTERNATIONAL PHOTOGRAPHER Eleven
I
HE OLD ERA
WENT OUT WHEN
THIS FILM CAME IN.'
HERE are some of the contributions which
Eastman Super-sensitive Panchromatic Neg-
ative has made to the motion picture indus-
try: greater artistic opportunities for the
cameraman . . . adaptability to any kind of
light. . . lowered lighting costs on the lot and
in the studio . . . lessened strain for director
and actor . . . greater latitude for the labora-
tory. . . better prints for the exhibitor . . . All
along the line there have been changes in
procedure and improvement in results. In
fact, the old motion picture era definitely
went out when this film came in. Eastman
Kodak Company. (J. E. Brulatour, Inc., Dis-
tributors, New York, Chicago, Hollywood.)
EASTMAN SUPER-SENSITIVE
PANCHROMATIC NEGATIVE < gray-back ed,
Twelve
The INTERNATIONAL PHOTOGRAPHER
November, 1932
Sound Recorder Developed by Fear
Camera Builder Resumes Business Activity as
Consulting Engineer of New Cinema
Sound Equipment Company
EVERY year since the advent of
sound in motion pictures new de-
velopments have aroused the in-
terest of technicians connected with
the industry. The current depression
has largely curtailed development
work, and the year 1932 has seen few
changes. Yet there are some pro-
gressive individuals who have had the
courage and optimism to go ahead
with the development of new appara-
tus. Among these are Ray C. Wilcox
and C. F. Wilcox, who, operating
under the name of Cinema Sound
Equipment Company, deserve praise
for their work in developing what is
described as a new sound recorder of
super-quality and design. This is
being introduced after four years of
research and development work.
Capt. Ralph G. Fear, one of the
best known engineers in the motion
picture industry, has acted as consult-
ing engineer in the work on both the
electrical and mechanical features of
this recorder. Capt. Fear is best
known for having invented the equip-
ment manufactured by the Fearless
Camera Company, but also he is
recognized as one of the pioneer
engineers in the field of sound record-
ing.
The new company has leased quar-
ters in the Fearless Camera building
in Hollywood in order that all manu-
facturing activities may be guided by
Mr. Fear. It is anticipated the re-
quirements of the industry will make
necessary the designing of much
equipment. To handle this Cinema
will be placed in a strong position.
New Sound Recorder
The new Cinema portable sound
recorder, using glow lamp recording,
consists of a recording amplifier of
new design, having automatic volume
control and noiseless recording built
in as an integral part. The amplifier
itself, a four stage unit, is over-
powered so that perfect sound ampli-
fication may be had without distor-
tion. Provision is made in the ampli-
fier for using two microphones, the
mixing circuits being built into the
main amplifier.
Meters are provided for reading
the volume level, battery current to
the recording lamp, and voltages of
the various batteries used in the
system. Cannon water-proof plugs
are used for connecting the micro-
phones and recording lamp to the
amplifier. The amplifier is built into
a neat suit-case type of carrier and is
designed so that when in use it may
be mounted on top of the amplifier
battery case. Two plug-in jacks are
provided for the monitoring phones.
Two battery cases are supplied
with the recorder, one case for a com-
plete set of batteries for operating
the amplifier, glow lamp and micro-
phones, the other for a set of bat-
teries for operating the camera and
recording head motors. By using
two sets of batteries in this way little
trouble is experienced with the bat-
teries running down. A battery
eliminator can be supplied where
alternating current is available.
Head Designed by Fear
A condenser microphone with two
stages of amplification built into a
bullet type housing is supplied as
regular equipment. This microphone
is built by a company internationally
known for its high quality products.
It is supplied with its own stand,
but may be detached for recording
from a boom or cable support. The
microphone cable is of the five con-
ductor shielded type with Cannon
water-proof connectors for attaching
to the recording amplifier. The tubes
used in the amplifiers are standard
type R. C. A. Radiotrons.
The recording head was designed by
Capt. Fear, who says this new record-
ing head has features embodied in its
design that are not found in other
types of recording head. Patent ap-
plications have been filed on these
features. The Cinema company has
the exclusive license to use these new
inventions in their recorders.
The recorder is of the double
sprocket type with recording being
done through a mechanical slit of im-
proved design. A quickly removable
mechanical slit is used because this
type gives least trouble. A gauge
made from shim stock is furnished
for setting the slit to the proper open-
ing of one-thousandth of an inch.
In addition to this the slit surface
is made one-half thousandth inch
below the surface of the film and
this reduces further the possibility of
trouble from dirt in the slit. Inas-
much as dirt is the only thing that
can cause trouble with the mechani-
cal slit, provision is made for cleaning
the film before it passes in front of
the recording slit.
This film cleaning device is found
in no other recording head and tends
to make better recording. The slit
may be removed for cleaning, when
necessary, in a few seconds.
New Type Filter
Two sprockets are used in the re-
corder, one for feeding the film to and
from the magazine and the other for
feeding the film past the recording-
slit. Suitable loops between the two
sprockets prevent any irregularity of
film motion reaching or being trans-
mitted to the recording feed sprocket.
A new type of mechanical filter
with a filter retard is used on the re-
cording feed sprocket. The name
"filter retard" was coined to describe
a new invention of Capt. Fear's that
eliminates possibility of "wow-wows"
in recording. The head is driven by
precision cut worm and worm gear,
made in the Cinema's own plant, as
the so called stock gears are not ac-
curate enough for motion picture
work and sooner or later cause trouble
in recording.
An automatic belt tension device,
which prevents film buckles and
places a uniform load on the record-
ing head motor, is built in. This
feature was first used in the Fearless
Camera, where it demonstrates that
constant motor speed is assured.
There is practically no difference in
power consumption for a full 1000-
foot roll of film.
A Westinghouse A.C.-D.C. Selsyn
type inter-lock motor is used for
driving. This motor is the same type
as is used for the camera drive.
Automatic speed control of the gover-
nor type can be furnished at a slight
additional cost to those who require
a more elaborate equipment.
The main drive shaft is connected
directly to a tachometer, situated at
the back of the head. In addition to
the tachometer, which is calibrated in
feet per minute, there is a Veeder
footage counter, also situated con-
veniently at the back.
The glow lamp tube holder is also
at the rear of the head, where it is
at all times visible to the operator.
Sassiety Reporter's Sister
Gives Hollywood Onceover
VISITING Los Angeles the latter
part of October at the conclusion
of a month's vacation have been
Bernice Felbinger and Lillian Dobat
of Chicago. Miss Felbinger is a sister
of International Photographer's Mid-
west correspondent, Fred A. Felbin-
ger. The two visitors report Holly-
wood, with the exception of Chicago,
the most interesting community they
have known.
The only evidence to cause skepti-
cism regarding the accuracy of their
nomination for first place in their
municipal affections was their quite
apparent reluctance to leave the one
to return to the other. Miss Dobat
went directly home, while Miss Fel-
binger traveled north to San Fran-
cisco to visit friends.
British Censors Report
THE total number of feature
films passed by the British
Board of Film Censors during
August, 1932, was 49, all in sound,
showing a decrease of 5 over the out-
put for July, 1932, and a decrease
of 1 as compared with August, 1931.
The total of short films was 113,
111 of them sound, as compared with
191 during July of this year and 64
in August of last year.
@ream oth Stills
Yours is f/ie heritage of those pioneers They dreamed a dream, and that dream still prevails,
Who fired by visions sought out new frontiers As with your pen you blaze a thousand trails —
And, blazing a way across the wilderness, Opening wide the doors of high romance
Revealed the wonders of the unknown west. To wanderers held in thrall by circumstance.
Zone Grey, with morning's catch of stcelhead, eiaht, nine and eleven pounds. Verse by Berenice Betillion.
@ream oth Stills
ct^L'O*
'*>«»*«'
Taken from the
western part of
Hollywood the
camera points
to the east.
In foreground
to right may
be seen the
Boulevard
leading to
the business
district.
Photo by
R. S. Crandall
Edward H. Kemp,
one of the
San Francisco
members, sends
from the
Grand Canyon
de Chelly
this specimen
of towering walls
that might have
been carved with
a huge knfe
,*!^cu.
tax*
Gream oth Stills
C**?*°A.
be**,**
From the eastern
part of Hollywood
Photographer
Crandall this time
points his camera
toward the west.
Hollywood
Boulevard now
is several blocks
away from the
set-up
Here is a quiet
moment in the
life of a
dude ranch
near Hot Springs,
Arizona,
an caught by
James Manatt
e.**^.
Qream oth Stills
c**™0A
Here is Karl Freund, long time cameraman and now director, following Boris Karloff in his character in
Universal's "Im-ho-tep," with Charles Stumor at the camera. Photographed by Fred R. Archer.
November, 193Z
The INTERNATIONAL PHOTOGRAPHER
CHICAGO
Seventeen
In Focus — In Spots!
WELL, old Gar Wood went out
and brought the speed record
back to America agin for
splashing a speed boat kinder gantly-
like over the drink at the tame speed
of 125 miles an hour... Of course,
sumpin like this jest couldn't be done
unless them ole 666 news snoopers
was around with them gossipy leases
of theirs and their trigger aim with
the supersensitive.
The usual Windy Village button
pushers made the trek to Algonac,
Mich... There wuz Eddie Morrison
and that woman tamer noise ketcher
of his, Phil Gleason. . .Tony Caputo
and Ralph Saunders rolled the Pathe
truck over. . .Floyd Traynham got up
at dawn for Universal. . .Me and my
dial twister Robertson brought up the
end of the parade of Chi film burners
over there.
George Hoover and Don Altendorfer
were still twirling as Gar Wood's per-
sonal celluloid historians. . .To make
a movie of the event for them birds
as just mentioned wuz jest as easy as
it wuz for Gar to break the record . . .
Nothing to it. . .but to do it the gang
had to get up at 4 A.M. every day,
rain or shine, and it wuz kinder rain-
ing most mornings. . .which meant
getting up jest the same, dashing
down to the course, and finding out
the thing again wuz postponed ac-
count of the weather.
Finally Gar got tired of the
weather and went out and made the
run in the rain anyhow... and it still
wuz a pushover for him. . .You know,
Gar Wood happens to be one of them
birds up in the public eye what the
news gatherers love to work with . . .
Gar always has got the time to chin
with you and do anything you want in
the way of a pix.
Also he has a manager, Steve Han-
nigan, what rates aces with the boys
. . .Steve always handles the publicity
for speed . . . It's gotta be mixed up
with the speed game for Steve to be
on the job. . .Whether it's the Indian-
apolis auto Race or Florida Speed
dashes Steve's always on the job with
the old newsreel gang. Wal, I said
the story itself wuz a pushover to
cover, outside getting outa bed at
4 A.M.... but what lingers in the
minds of them silly newsreelers is the
set-up of the joint we were camped
at... up at St. Claire, Michigan.
Lived in a inn like you see por-
trayed in the feature fillum stories
...right on a beautiful river, the St.
Claire... And ships passed right be-
By the Sassiety Reporter
As Told to
FRED A. FELBINGER
fore your winder all day and nite
long.
At night the moon beamed down
and made them ripples kinder shim-
mer on the water, and I noticed a
couple guys what pushes buttons and
is kinder immune to romantic idears
sorta stand there and watch the ships
pass in the night beneath that moon
on the St. Claire. . .and kinder wish
the story would agin be postponed on
the morrow jest so's they could again
be there the next night to git another
eyeful of the stuff them silly song
writers mush about in their songs.
Well, you know, anybody kin be
human in the proper settin, even
newsreelers.
Following the Candidates
Out at Des Moines the President of
the United States, Herbert Clark
Hoover, made an appearance .. .and
boy, what a mess of newsreelers can
pop up for an occasion like that...
The streets was lined with mobs of
people to get a look at the Chief Ex-
ecutive and the First Lady of the
Land, but they hadda kinder crane
their necks as the President was sur-
rounded by the sound buggies of the
636 mob from Chicago. . .besides
them, I seen old Arthur De Tita, Bob
Denton and Al Waldron. . . the boys
who travel with the President no
matter where he may roam.
While at Chicago the RooseveL
special makes a stop and out pops
one big mess of old timers of the pan-
handles . . . The Roosevelt train's press
car was used as sort of a reunion hall
for the old knights of the groan
boxes.
A Author Visits Chi
Harry Birch and Bob Duggan, two
old retired newsreelers, dropped
down to swap lies with an old crony
still batting them out. . .ole Lou Hutt
. . .and during the reunion in pops
Eddie Morrison, Tondra and his
writing noise ketcher, Chick Peden...
Peden, you know, has wrote the book
"Newsreel Men"! . . . sumpin well
worth reading, too... I ain't got my
autographed copy yet, but maybe
Chick will limber up and rush it on
if he lamps this.
Always chiselin', but never mind, I
is already forwarded Chick the two-
fifty for it, as I guess he has received
plenty calls for free copies. . .being
Automotive Men Amazed at
Strafford's Revealing Film
BILLY STRAFFORD, business
manager of 666, startles the
automotive industry with a
scientific film he produced with his
super-slow motion camera. Billy's
camera is capable of making slow
motion 62% times slower than the
old normal of 16 frames to a sec-
ond, running a 400-foot roll
through in six and a half seconds.
Billy's picture shows what happens
in the intake manifold of an auto-
mobile engine. His camera re-
cords an interesting expose show-
ing how the gasoline explodes as
it passes through a manifold. The
picture will prove of great value
to automotive engineers.
in the game that he is. . .Jimmie Per-
gola was also on the train and
dropped in to say Howdy to the old
timers.
Is you heard Tondra's victrola yet
playing "Song of the Islands"? . . .It's
one of those one buck records he's got
and he really gets tears in his eyes
for old Honolulu every time the needle
scrapes over the disk.
Business and Science
And while the news snoopers is
prancing about hounding down the
interesting from Life the more artis-
tic element of the 666 tripod jugglers
is found doing the following:
Roger Fenimore returns from an
extensive trip filming a series of
scenic shots on America's interesting
cities.
Reed N. Haythorne again is pack-
ing trunks and equipment for an ex-
pedition into another unknown corner
of the earth . . . Reed again is to accom-
pany, into Asia, Professor Charles
Breasted of the Oriental Institute of
the University of Chicago.
Dick Ganstrum, Dave Hargan and
Charlie O'Conner blew into the Windy
Village the other day fresh from
completing a series of industrials for
the automotive industry at Detroit. . .
The boys looked as prosperous as the
old boom days of '29 . . . Harry Birch
hibernated to his cutting room to sort
out many miles of scenes he has com-
pleted shooting on his soundie on the
coming World's Fair to be held here
next year.
Lables and Dead Bottles
Quinn Ryan, ace announcer of
WGN, does the offstage for Harry's
new pix. . .Bill Wienand sits up of an
Eighteen
The INTERNATIONAL PHOTOGRAPHER
November, 19J2
evening up there in St. John, N. B.,
with nothing else to do but spend the
night soaking the labels off of dead
bottles to mail to yours truly. . .and
rubs it in still more in his letter ad-
mitting to me "It wuz great stuff!"
. . .and us with this thinned-out shel-
lac floating around hereabouts.
Guy H. Allbright pops up with a
letter postmarked Ridgeway, Va.,
where he is convalescing from a
serious major operation . . . Guy says
he enjoys reading about the old gang
in International Photographer and
hopes he will be back in the firing
line real soon again. . .So do we, Guy
... if any you blokes wonder how you
can reach Guy with a postage stamp
his address is Box 15, Ridgeway, Va.
All you guys what had sech a
hearty laff over the silly antics of
dumb noise ketchers following the
adventures of Roddy Giles better be
reminded it ain't a worm if it can't
turn . . . Maybe Noise Ketchers is en-
titled to a laff or two on them dumb
button bushers they have to work
with . . . meaning what ?
Nuthing, only the Sassiety Reporter
again is burning the midnite oil peck-
ing away at his typewriter. . .This
time he's picking on "Lens Snoopers!"
. . . Proving even newsreelers kin pro-
vide a laff or two for other readers.
Engineers Hold Final Meeting for
Discussion of Progression in Color
THE West Coast branch of the
Society of Motion Picture Engi-
neers held its second and final
meeting of its color symposium Oct.
26. It was of particular interest in
that it was a resume of what is being
done by the various engineers work-
ing on the color problem. There is
a definite promise of new things in
a color way, and many of the proc-
esses shown and explained were good
and probably will solve the need of
color.
The past failures of color have
made engineers conservative, and
they are out to solve their problems
before imposing upon the public with
inferior color. Like sound before it
was a commercial possibility, color
must be specially good in the labora-
tory and judging from the examples
seen it shows some wonderful possi-
bilities.
The first color shown was the Bell
and Howell "Morgana" process, in-
vented by Lady Juliet Williams,
daughter of Eleanor Glyn, working in
collaboration with S. G. Short for
several years. Recently it was taken
over by Bell and Howell and made a
commercial possibility.
It utilized the regular 16 mm. pan
film in an additive system requiring
very little more light than black and
white, and has a method incorpo-
rated in the projector of projecting
each film three times, thus minimiz-
ing color pulse or flicker over other
additive systems.
This system is little more expen-
sive than regular black and white and
has great promse for the amateur,
since it only photographs 24 frames,
thus cutting film consumption.
The next process shown was the
Technicolor three color cartoon proc-
ess in the form of a Disney Silly
Symphony and was an innovation in
sound and color. Words are inade-
quate in describing this demonstra-
tion. It was remarkable. Even the
critical engineers were enthused. Very
little was forthcoming in the way of
method explanation. It was assumed,
however, that it was an imbibition
process, using three negatives.
Another process that has promise
is the two system, being worked on
by the Cinecolor Company. The first
demonstration was a subtractive film
photographed by the bi-pack method.
The colors were good, particularly
the red, which in itself is a promise,
since this system is similar to the
recent Multicolor, which had a poor
red. Their other system is an addi-
tive two-color method where only one
negative is photographed. The meet-
ing was interested to hear William
Crespinel of Cinecolor say he got a
thousand feet of color picture from
a thousand feet of pan negative.
They use a split frame method and
apply the color directly to the fin-
ished positive in an additive princi-
ple.
It is claimed to cost little more than
regular black and white. This sys-
tem is the outgrowth of considerable
research on the part of William V. D.
Kelley and the color shows promise.
Carrol Dunning gave a talk on his
forthcoming color that is considering
the needs of the industrial market
for color in their demonstraton reels.
He has recently photographed a full
length five-reel picture for the Cali-
fornia Packing Company, covering
the entire packing industry from the
budding flowers to the labeled can.
He uses an additive system on 35mm.
film that is to be reduced to 16mm.
in the final form.
R. C. A. is working on an elongated
method of introducing sound on the
longer film required by the additional
frames necessitated in an additive
color system for Dunning Process.
Judging from the results of this
meeting color is due for another bow
and it will be greeted cordially.
E. T.
Adolf h, Son of Capt. Henry Lonib,
Passes Away at Age of Sixty-six
ADOLPH LOMB, vice president
of Bausch and Lomb, died at
his home in Pittsford, N. Y., a
suburb of Rochester, Sept. 30, after
a brief illness. He was 66 years old.
The eldest son of Capt. Henry
Lomb, the co-founder of Bausch and
Lomb, he had been connected with
the optical institution established by
his father and John Jacob Bausch for
fifty-three years. He entered the
company when a lad of fourteen, leav-
ing temporarily to continue his uni-
versity studies.
Besides being an executive of
Bausch and Lomb, Mr. Lomb was
identified with a number of scientific
and patriotic societies chief among
which was the Optical Society of
America. He had been treasurer of
that organization since its inception
and one of its prominent financial
supporters.
Carrying on a work instituted by
his father, Mr. Lomb was interested
in the welfare and activities of civil
war veterans and the sons of civil
war veterans.
He also was prominently identified
with German-American Societies in
Rochester, and during the strained
days of the World War was active in
promoting the best interests of Ger-
man born residents in the United
States.
Mr. Lomb was born in Rochester in
1866, was a graduate of the Univer-
sity of Rochester, Class of 1892, and
also had taken advanced work at the
Massachusetts Institute of Technol-
ogy and the University of Berlin,
Germany.
Mr. Lomb leaves his mother, Mrs.
Emilie Klein Lomb, widow of Capt.
Henry Lomb; a brother, Henry C.
Lomb of New York City; a nephew
and two nieces. He was unmarried.
Motion Picture Equipment
Moves to Larger Quarters
GAINING markedly in factory
and office area the Hollywood
Motion Picture Equipment Com-
pany, Ltd., is now settled in its new
quarters at 645 North Martel street.
The location is at Melrose, six blocks
west of La Brea, Hollywood. Also
with offices at the same address is
the Pacific Industrial Films, an allied
corporation, its chief executive being
Arthur Reeves, head also of the
equipment company.
In the front of the structure at
North Martel are demonstration and
sales rooms and the private office of
Art Reeves. In the remainder of the
building, containing over 3000 feet of
floor space, are cutting, recording,
monitor and projection rooms. Al-
terations are being made so that a
sound truck may drive right on to the
floor of the recording department.
November, 1932
The INTERNATIONAL PHOTOGRAPHER
Nineteen
United Air Lines Employing 16mm.
Film to Show Cross Country Flight
still men producing- worthwhile pic-
tures. Such recognition is bound to
be an incentive to bring- out that last
ounce of talent residing in the indi-
vidual.
TO PROMOTE interest in air
travel, United Air Lines are us-
ing motion pictures. A 16 mm. 800
foot film, "Across America in Twenty-
seven Hours," is being shown by Air
Lines traffic representatives before
luncheon clubs, business men's organ-
izations, women's clubs, colleges, and
high schools. Ten Bell & Howell
Filmo projectors are being used for
presenting the subject in various parts
of the country.
The film consists of a pictorial nar-
rative of a flight from California to
New York and includes many remark-
able views of planes flying over scenic
and historic country, particularly the
western mountain areas. There are
splendid shots of the big Boeing 14-
passenger mail tri-motored transport
with a background of the Rockies and
the Sierras, and fine aerial views of
fourteen cities flown over on this 2700-
mile flight from the Golden Gate to
the Statue of Liberty.
Interior scenes of the plane in flight,
including the serving of iunches by uni-
formed stewardesses, give the public
a new appreciation of the comforts
now available in the modern multi-
motored transport.
An interesting part of the film is
the depiction of the many new aerial
navigation aids, such as the two-way
radio telephone whereby pilots talk to
ground stations and to pilots of other
planes hundreds of miles away, and
the direct radio beam, the dots and
dashes of which hold the pilot on
his true course even if the land-
marks are not visible. There are in-
teresting views of the cockpit and its
instrument board with ninety instru-
ments and controls.
The modern air transport system is
now much more than merely a plane
in the sky, and sections of the film
have to do with the servicing and
preparation of airplanes for fligbts at
division points. The audience gets a
new insight into the extremely care-
ful manner in which responsible air
transport companies care for their
equipment.
"We know of no more effective sales
solicitation method than the showing
of such films," said a United Air Lines
official.
Wainpas Plan Merit Awards
for Best in Publicity W ork
FOR the purpose of "bettering mo-
tion picture publicity, advertising
and still photography," plans for
the presentation of a series of annual
awards of merit for these three
phases of showmanship were drawn
up at an organization rejuvenation
meeting of the Wampas, held re-
cently at the Writers' Club.
At the next gathering of the pub-
licity men committees will be ap-
pointed to settle the details of the
awards plan, which, if present plans
go through, will embrace the work of
theaters everywhere in the United
States and the efforts of New York
and Hollywood publicity and adver-
tising departments.
So far as concerns betterment of
still photography this magazine begs
to suggest one of the most certain
ways of accomplishing that end
would be adoption of a policy of as-
suring recognition or credit to all
Victor to Make Cleaner
The Victor Animatograph has
taken over the manufacture and sale
of the 16mm Simplex film cleaner
which has been manufactured on a
small scale by H. M. Reynolds during
the past year.
Victor will manufacture only the
improved Model C, which involves
three film cleaning processes — immer-
sion in cleaning fluid, passage between
saturated stationary pads and light
polishing between revolving felt discs.
EXPANSION
I am pleased to announce that I am
now located in my new and
larger quarters at
645 North Martel Avenue
Hollywood
-ART REEVES
PHONE:
WYoming 4501
]-^olrV^vood
MofiON Picture/Equipment (9. |]p
6A 5 NORTH MARTEL AVE-
CABLE ADDRESS ARTREEVES
HOLLYWOOD, CALIFORNIA, USA
Twenty
The INTERNATIONAL PHOTOGRAPHER
November, 1932
EASTMAN
FILMS
BRULATOL
WHAT'S WHAT!
Published Monthly by J. E. Brulatour, Inc., Distributors, Eji
Hal Rosson for Honolulu
Ace Cameraman of M.G.M. Draws Sweet
Assignment in South Seas
HAL ROSSON, one of M.G.M's ace photographers, is booked to sail for
Honolulu, which will be headquarters for the M.G.M. production unit
under direction of Jack Conway for the submarine story "Pig Boats."
Adjacent Honolulu in the group islands a number of locations already have
been selected and others will be chosen upon the company's arrival.
"Pig Boats" will offer an all-star cast in a story of unusual angles. It has
been in preparation for almost a year.«|»
This is an important assignment for
every member of the unit, and particu-
larly for the cameraman, who must
contribute both interiors and exteriors
in special effects and lightings.
Rosson will be accompanied by a
HAL ROSSON
second and an Akeley operator. The
unit will be shooting three or four
weeks and is due back in Culver City
about December 15.
"Red Dust," starring vehicle for
Jean Harlow and Clark Gable, is Ros-
son's most recent photographic achieve-
ment, and is the outstanding box office
attraction of the moment among the
brand new releases.
Columbia Studios
Len Smith (formerly of The Singer
Midgets) is listening to the wisecracks
of Director Eddie Cline while he takes
care of the photographic details of the
Wheeler-Woolsey laugh-coaxer, "That's
Africa." George Seid, who sits at the
throttle of Columbia Labs, has helped
plenty in convincing the tiny titan
that Eastman Supersensitive Panchro-
matic has everything in the deck.
Bennie Klein (no relation of Eddie)
is photographing another Meteor Pro-
duction for Irving Briskin. F. M.
Brown, Fred Dawson and Jim Goss
make up the crew.
John Boyle has finished "Reckless
Romance." directed by Lambert Hill-
yer.
Teddy Tetzlaff and Joe August are
taking a breather on Joe's miniature
golf course in Westwood.
The Cub Reporter
MODESTY forbids even casual
mention of our untiring ef-
forts to make The Brulatour Bulle-
tin always interesting and always
bright. The Editor simply can't
cover every spot in the field for
hot news while it's hot. Result — -
we have to depend on our two
shadows who manage to cover every
studio every day. "Get the dope,"
says we, "and slip it on our desk
in a memo."
Here's an example which we pass
along without benefit of rewrite.
"HAL MOHR still photograph-
ing 'Tess of the Storm Country' —
Fox — Mohr tickled to death with
the negative and first print that
Mike Leshing is turning out. Al
Santell directing. Janet Gaynor
the star. Second cameramen, Bill
Skall, Blake Wagner. Settings'll
knock their eyes out. Make a crack
about the settings and the swell
effects Mohr is getting. Be sure
to crack about the sets. Decor is
the word in French. Put it on —
you can't miss."
Okay for sound !
Educational Active
Educational Talking Pictures have
been breaking records turning out
comedies that clock plenty of laughs.
Dwight Warren and Gus Peterson have
been busy at the cameras registering
the antics and snappy frolics of Moran
and Mack. Andy Clyde and other fun-
makers under the Educational banner.
Stout to Location
Archie Stout (Trem Carr Produc-
tions) is leaving for location at Big
Bear for opening scenes on "Young
Blood," which will be directed by Phil
Rosen, with Bob Steele in the featured
role. Stout is assisted by Russ Harlan.
Brodine Clicks with K.B.S.
Norbert Brodine, who moved from
Fox to K.B.S. (Tiffany) for the Victor
Schertzinger production, has completed
his first picture for Sam Biseholf (pro-
duction chief for K.B.S.) and was at
once given a ticket for another fea-
ture which started October 29.
K.B.S. productions have hit in the
big houses of the key cities and we like
to feel that part of the reason is Bis-
choff's wisdom in selecting the top-
notch cameramen of Brodine's calibre
on all of his features. First three on
this season's program carried Arthur
Edeson's name on the credit title.
Etieore For Miller
VIRGIL MILLER has been hand-
ed a new term ticket by Para-
mount. This is a good move — for
Paramount and for Miller. It's not
always easy to find a good cam-
eraman who's a good executive-
who wins the friendship and loy-
alty of his associates and his fel-
low cinematographers and fights
for the best interest of everyone
concerned.
That Miller has amply qualified
in this direction, especially in the
opinion of the executive personnel
of Paramount, is eloquently at-
tested by their action. Miller was
recently elected chairman of the
American National Committee of
the International Congress of Pho-
tography.
Tover Transfers
Leo Tover moves to Paramount after
almost four years in constant service
at the R.K.O. studios, where he has
photographed some of its greatest
pictures. His first assignment with
Paramount will be the Wesley Ruggle.,
production with an all-star cast head-
ed by Clark Gable, Miriam Hopkins
and Dorothy Mackaill.
Charlie Lang has finished "Book-
worm Turns" and is on a vacation up
north around San Francisco (We're in
a position to put a notary seal on this,
because he smashed our hat and broke
our glasses when U.S.C. made that
first touchdown against Stanford last
Saturday).
One of the photographic opportuni-
ties of the year falls to Dave Abel.
who was selected to photograph the
Paramount special "Madame Butter-
fly." Abel will lose no detail of his
achievement through his final selection
of Eastman Supersensitive Panchro-
matic Negative for this delicate job.
Among the most consistent of the
Paramount cameramen, Vic Milner
justly claims a niche well toward the
top. He's been with this company for
many years and every picture offers
some new evidence of his ability. His
current vehicle is "Under Cover Man,"
which is the initial directorial effort
of Jimmy Flood ("Life Begins" — War-
ner) under the Paramount banner.
We have no way of knowing whether
Flood drew Milner or asked for his
services — Either way, both men are to
be congratulated.
Henry Sharp holds the same crew
for three in a row for Charles Rogers
Productions (Paramount). Milt Kras-
ner, second ; Irving Glassberg. assist-
ant. "Manhattan Garage," directed by
Ben Stoloff. Eddie Lowe. star.
Ernie Haller handles the cameras for
another young director who is making
his Paramount debut — Lucky Humber-
stone, who megaphoned his way into
fast company with Sam Bisehoff
(K.B.S.)
Laughter in Hell
Johnny Stumar is topping all his
previous good work with his photog-
raphy on the convict camp yarn,
"Laughter in Hell," which Universal
is producing. The unit has just re-
turned from location near Sonora.
King Grey is Stumar's second ; assist-
ants, Bill Dodds and John Martin.
Chicago Section
A HOT fire on the fourth floe
to spread to the headquart
made a great effort to carry
unsuccessful. We would like to ki
"BIG BILL" STRAFFORD, the
and heaviest camera, speeded up t
of 1100 pictures per second, to sh'
an automobile. Engineers in charg
Eastman supersensitive has nullifi
will probably be used in settling i
CHARLES FORD, director of t
is installing automatic processing n
the increased output in the Middle
JUDGING from the way Felbim
News office are working, the politic
reel business.
CHARLIE GEIS, cameraman wit
graphing the student corps at the
reports he got many thrills watch
on their first test jumps. We got
physically fitted, nor has the neces
Applause For Edouart;
Executives and technicians who
seen the Paramount Production,
Phantom President" (photographec
Dave Abel ) , have been generous im
praise of Farcio Edouarts, who
ated some delightful effects in
special background shots for this
duction.
Edouarts has been with Parami
many years — is seldom heard fro
seldom seen — but very often
through his influence and moods, w
are so cleverly interpolated in
of the Paramount pictures. He i
charge of the transparencies here
has as his assistant Dewey Wrif
Loyal Griggs is second cameraman
the department.
Gaudio to Burbank
Tony Gaudio has finished his
duction at M.G.M. and was in
diately given a call from Milton Ci
at Warner Brothers-First Nati
Studios for the Ray Enright pro
tion, "Blonde Johnson," the star
vehicle for Joan Blondell. Tony
placed Jim Van Trees, who was
temporary assignment pending his
of tests for the forthcoming Ge
Arliss picture which Jack Adolphi
direct.
This call is nice recognition on
part of Warner execs for the fine ]
of work turned in by Gaudio
the Edward Robinson picture "1
Shark," which is Tony's most re
effort at the Burbank plant.
Mov
"Cavalcade," the big super fea
is as big as it appeared on Pi
Ernie Palmer is No. 1 boy at the
eras, and has as his immediate
ciate L. W. O'Connell. Frank I
is directing.
A second unit started last week
der the capable direction of Bill J
zies, and Glen MacWilliams drew
camera assignment.
George Schneiderman is at the
era on "Robber's Roost," whicl
being directed by Lou King. Se
cameraman. Curt Fetters ; assisl
are Dave Gordon and Lou Kunkle.
Artie Miller has made a fine im
November, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-one
I BULLETIN
EASTMAN
FILMS
eo--!.p£jC--
i| Films, in Cooperation with The International Photographer
WHO'S WHO!
B'ulatour Bulletin
U South Wabash avenue threatened
ical 666 Sunday night. The boys
■safe down the fire-escape, but were
■ill this anxiety about the safe.
Ilmeraman with the world's fastest
■rth;i to the extraordinary amount
fcappens in the intake manifold of
hthat this world's record on regular
■iblished engineering theories, and
■ entanglements.
|;al Chicago Daily News Newsreel,
I the Chicago Laboratory to handle
Be boys of the Chicago Paramount
Igns are a great help to the news-
I Movietone News, has been photo-
Ltion Field at Rantoul, III. Charlie
lys bail out and pull the rip cord
pssion that Charlie feels he is not
ol, for parachute jumping.
R.K.O.
rne Walker has been placed in
?e of photography on special ef-
miniatures and process shots at
it.K.O. plant. Delightful examples
genius are found in his work on
Conquerors," which is outstand-
His associate technicians are
. Taylor and Lloyd Knechtel.
ck Musuraca, having finished the
Schlesinger-Warner production,
returned to his home lot, where
i at the camera on a Tom Keene
ern.
die Cronjager is responsible for
splendid camera work in the J.
er Rubin production, "No Other
len." Second, Bob DeGrasse ; as-
nt, George Diskant.
die Linden is back from New York
continues on "Kong."
llowing productions now finished:
Hunt. "Men of America" ; Henry
ard, "Penguin Pool Murder" : Jack
enzie, "Little Orphan Annie," and
lie Rosher, "Rock-a-Bye."
ey Had to Get Married
me of these picture titles make
•ctly grand heads for a little item
this. Flocks of real value. Peo-
looking for scandal — but what we
led to say is that Eddie Snyder is
ng paid for this four-weeks-laugh
ly because he's at the camera and
les every riotous situation from
to finish. It's another from Uni-
il and is directed by Edward Lud-
and features Slim Summerville
Zasu Pitts. Al Jones and Ross
man are assisting Snyder.
City
with his work on "Pier 13," fea-
}g Joan Bennett, Spencer Tracy
George Walsh. Raoul Walsh is
director. Miller is seconded by Bill
idl and Don Anderson,
larlie Clark, after finishing the
Rogers picture "Jubilo," started
ediately on Sally Eilers' starring
uction, "Second Hand Wife." Joe
onald is the second, while H. C.
.h and Robert Mack hold down the
tant spots.
ilph Hameras and Mike Farley con-
? to turn out delightful effects
baffling mysteries in trick shots
h amplify most of the Fox pro-
ions.
Cold Facts
WE'VE received a letter from
31yde DeVinna, written from
Camp Taksuk, near Teller, Alaska.
This is the location of the M.G.M.
unit on "Eskimo." DeVinna has
won the Academy award for his
artistry in the south seas and he
frankly admits he's now shooting at
an encore from the other end of the
globe. The troup is digging in for
the winter after turning in around
a hundred thousand feet of exposed
negative made this summer.
What Clyde says about Eastman
Supersensitive Panchromatic Nega-
tive (exposed under the most try-
ing conditions) gives us just one
more reason to be darn proud of
our job — and our product. He
must have meant what he said
because we've just shipped him
another hundred thousand feet.
Incidentally, "Igloo" was the
first far-location picture photo-
graphed with this wonder negative
by Roy Klafki.
Seitz Returns to First
National
John Seitz, who bowed out of Bur-
bank when Corinne Griffith retired
from that studio, is back at the First
National plant after completing an en-
viable string of top feature produc-
tions for Fox during the past three
years.
Seitz is at the camera for the Bar-
bara Stanwick picture, "Lady 6142,"
a prison story which is being directed
by Howard Bretherton. Seitz's staff
is Harry Davis at second and Vernon
Larson as assistant.
Sol Polito is completing the big
musical "Forty Second Street" under
the direction of Lloyd Bacon and has
Mike Joyce as his second and Speed
Mitchell as assistant.
Chick McGill is photographing "The
Inside," directed by Mervyn LeRoy.
His second is Kenneth Green and Bill
Whitley is assistant.
Sid Hickox is learning all about
bridge in "Grand Slam," directed by
William Dieterle. Tommy Branigan,
second; Wesley Anderson, assistant.
Ray Rennahan continues his splen-
did work on the Technicolor feature,
"Wax Museum," which promises to be
a worthy follow-up on "Doctor X"
(also Technicolor I. Michael Curtiz is
directing. Ray Musgrave, second cam-
eraman ; Thad Brooks, assistant.
Darmour Resumes
First of the new series of "Mickey
McGuire" comedies, produced by Larry
Darmour, has been completed with Jim
Brown (as usual! in charge of the
photography. Brown has announced
his intention of using Eastman Super-
sensitive Panchromatic Negative ex-
clusively in the entire series.
Charlie Stumar Starts
Moving to Paramount Studios, Char-
lie Stumar has been assigned to the
Charles Rogers-Paramount production,
"Billion Dollar Scandal," which will
be directed by Harry Joe Brown.
Featured players are Robert Arm-
strong, Jimmy Gleason and Carole
Lombard. Stanley Cortez is Stumar's
second. Jack Breamer, assistant.
James Wong Howe to Europe
Cameraman Given Splendid Recognition for Artistry
and Courage
AMONG the passengers of the S.S. California, sailing through the Panama
Canal from San Pedro on its current voyage, is Jimmy Howe, Fox cam-
eraman, bound for Berlin, Paris, Rome and other European cities, and
booked to return to his home lot about February 1.
Jimmy's career has been most colcrful and interesting. In the old days he
clicked in a big way on the old Paramount lot. There he was at the camera
'{•for some of the greatest directors and
stars, and his services always were in
"Innocents Abroad"
WITH the opening of the duck-
hunting season Fred Gage and
Pete Steel of the Warner lab de-
cided to join the regiment. Neither
had ever hunted and neither had
shot a gun. However, they went
their separate ways and purchased
full outfits. Both were mighty
proud of their guns, boots, coats,
caps and sweaters and displayed
them to all friends who would look
and listen. Pete had a mysterious
grin from ear to ear while he
hinted that he wasn't showing ALL
his equipment —
Came the dawn of opening day —
Down in Mecca — Fred and Pete —
shivering in a foggy cold blind
while they waited for the first audi-
ble flutter of their prey —
"Whirrrrr — bzzzz" — they swooped
in like a flock of tri-motored Fok-
kers — "Bang !" — Gage gave 'em the
first barrel. "Whirrrr — bzzzZZZ" —
they flew on and over "Bang !"
The other barrel from Fred's gun.
Same result. — Gage stood looking
after the retreating specks in the
early sky as he scratched his head —
then started at a sound behind
him —
"Burrrp — Oorrk — Book — Boop" -
There was Pete, crouching low with
a mysterious black object between
his cupped hands his cheeks dis-
tended while he blew out the funny
sounds —
Gage saw red. Socko ! — and poor
Pete went spinning —
"Give ME the Bronx cheer just
because I missed my first shot !"
thundered Fred-
Pete staggered to his feet —
"Bronx cheer, my eye — you poor
sap. I was simply callin' the
ducks back !"
Schmitz Moves Up
Johnny Schmitz, who has been with
Fox for many years, both as second
and first cameraman, is photographing
his first feature production with Di-
rector Dave Butler. Picture titled —
"Handle with Care." Johnny believes
in titles — he asked for Eastman gray-
back Supersensitive Panchromatic Neg-
ative. Smart boy.
Bob Plank is at second, while Lou
Malino and Ted Weisberg drew the
assistant assignments.
Robinson Continues
George Schneiderman is at the cam-
ganna," the African locale story <>t
Universal. Dick Fryer is second and
Paul Hill assistant.
demand. He drifted from Paramount
and bobbed up on this lot, and then
the other, over a period of about five
years. Then came one of those dis-
couraging breaks when Jimmy found
JAMES WONG HOWE
another candidate had always been
selected for the picture which he
sought.
Director Bill Howard assigned Jim-
my to "Transatlantic" at Fox. Over-
night Jimmy again found himself on
top. But it was not for long. He
drew a picture with a dainty little
girl star and just simply couldn't hit.
Jimmy had the courage to ask for his
removal from the picture and the next
day Hollywood shook its camera head
and said Jimmy was washed up.
Jimmy, however, did not share the
opinion. He sawed wood and waited.
Von Stroheim started 'Walking
Down Broadway" (also Fox I, and
Jimmy drew the job. Before the pic-
ture was even finished Jimmy was
called into the front office and told he
had been selected to make the Euro-
pean trip — to scout the latest steps in
photography in European production
and to make some special shots for
forthcoming Fox Productions. He will
join Director Bill Howard in Paris and
return with him via the Panama Canal.
It's scarcely necessary to point the
moral in this story.
P.S. — Jimmy shoots Eastman Super-
sensitive grayback Panchromatic — ex-
clusively.
Twenty-two
The INTERNATIONAL PHOTOGRAPHER
November, 19-12
No Filter
Aero 2
G-15
The Dope Sheet
By RAY FERNSTROM
THESE newsreel boys here in the
West have certainly been kept
busy of late. Even your Swed-
ish emissary went away to cover the
Tehachapi flood damage, this time for
Pathe News. Good ole pal Jimmy
Duffy did the honors at the amplifier.
Maybe you fellows don't know it, but
Yimmy is one of the original sound-
men of the craft. No wonder his
work is so topnotch. He surely can
mix 'em, whether it's sound recording
or radio or what will the boys in the
back room have.
That flood had raised havoc an:!
everything down a deep gully. And
who should we find down the gap
but little Mac Henry from San Fran-
cisco. Swell guy, Mac, and what a
trip he must have had from up north
driving through the tough washouts
en route! Just like him, though —
never a kick — too bad that cannot be
said of all us guys. Some of us are
always bellyaching about something.
While Mac, Yimmy and I were
grinding away on wreckage the rest of
the gang, Sammy Greenwald, Irby
Koverman, Marshall MacCarroll, and
Bob Sawyer, all from Paramount
News, Al Brick and Oscar Darling
of Fox Movietonews, Frank Blackwell
of Pathe News and Freeman of Uni-
versal, went north to cover a navy
picture off San Francisco.
They hung up some kind of new
record, sure enough. With all the
sound outfits they were in on sixteen
different boats, and still didn't get a
picture because of that ole devil fcg.
From a tug they were transferred to
the Texas, and when the Texas fouled
her anchor a destroyer was sent back
to pick up the stranded eagle eyes.
At sea they were shifted from the
destroyer to the Tennessee. In the
harbor at San Pedro there was an-
other boat trip ashore.
As you all know, the arrangements
had been made the previous day
aboard another ship, the Omaha,
which covered three boats. Then
after arriving at San Pedro there was
the following day another trip from
shore to the Omaha again for Admiral
Leigh's speech.
Lot of Boat
That's a lot of boat for just fog
and a speech.
While on the subject of boats, John
Bockhurst and Jack Dunn, both from
New York, are off for Penang to shoot
some animals for Fox Movietone.
Probably the title will be "Bring 'em
back stiff" or as ye editor suggests
"Bring Back the Hides."
Good luck, "Brocky"! I wonder why
Brocky has given up flying. He's the
guy who covered the round the world
flight of the United States Army
away back when. And that's not all,
either. He went from high up in the
air to far below the sea; and almost
stayed there once.
They were covering a test in a sub-
marine of the Mommsen lung. A
bunch of men were leaving the sunken
sub by this means. John had the
"pig" filled with water, but when the
salt water hit his movietone batteries
even John and his sound man had to
leave the same way. 'Twas a close
shave.
Another feller far at sea is Chubby
Lehman. Don't know how he got the
moniker "Chubby" because he's skin-
ny. Well, he's off shore shooting
tuna. Went out for a two week's trip
to shoot for Pathe, but has not been
heard from since. It's some six
weeks. Hope he's back by the time
this hits print. Cheer up, Chubby,
look at the dough you made.
Started Something All Right
Here's a funny one. One of the
boys bought a gag that fits on the
hood and a spark plug of a car. He
put it on Blackwell and Duffy's Pathe
News Studebaker.
Came the two, unsuspecting. Jummy
stepped on the starter of the grand
car he's always praising when a ter-
rific explosion occurred under the
hood of old trusty.
Smoke, black, thick and pungent,
poured forth from both sides. Black-
well leaped out and went to raise
the hood. There was another big
bang and more clouds of smoke
belched all over him.
They haven't got over it yet. Watch
out, you may be next. It's some sort
of firecracker that goes off when
either the hood is raised or the engine
is switched on.
Joe Johnson and Leonard Poole,
being good friends and ole newsreel-
ers of Paramount and Fox respective-
ly, sometimes get together for a little
tete-a-tete or so.
Joe called Len to come on over. Len
did. Meanwhile Joe had a rush tele-
phone call and forgot Len. Len came.
House lit up like a church. No one
home. Len searched all around — in-
side the back door stood a familiar
5N 5
23 A
November, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-three
kind of bottle. Len gurgled a long
one — Phew! glycerine.
Len left. Joe returned. Saw some
one had been there, and next day Joe
was shopping for a gun. Said bur-
glars getting fresh. And then it came
out.
'Tsa good thing Joe had no gun,
and that he didn't come back and see
that hand reach for the bottle. Len
might be short a hand now.
Dick Maedler is also en route to
Penang with John Bockhurst.
Speaking About Filters
Russell Muth (Old Dutch), head of
Fox Movietonews in Berlin, is back in
New York for a visit. Russ is the
guy who made the first air shots of
Vesuvius in eruption.
So much for news. If your story
is not here it's because vou are either
too lazy to write in or else you don't
give a hang. Let's hear from you.
More about filters. When you use
glass ones be sure to focus with the
glass filter ON your lens, otherwise
your stuff will be out of focus.
For you fellows who want to use
the new faster DuPont super pan
remember that it's a stop faster in
speed than supersensitive Eastman or
DuPont Special pan. A good all-
around filter for this one is the Kl%,
but remember, the K's are out when
using either Eastman Super or Du-
Pont Special pan.
If you want more contrast than this
Kl% use a 23A as per our filter
chart of last month.
Some of the boys have been asking
about the XI and X2 filters (green).
They are not advised except for Du-
pont's new superpan. Allow a stop
and a half for XI and two stops for
X2. They make great stuff, contrasty
and beautiful, but stick to the two
others except for experimental pur-
poses.
Very little mail so far. Are you
guys interested in this stuff, or not?
Let's know, and give us some dope
for the sheet. You have all got ideas,
so don't be selfish. Let the other fel-
low benefit, too. And also send
stills. A lot of your mugs should
adorn this page. Let the gang know
you are alive. At least write.
Thanks to the Hollywood Camera
Exchange, which has all such cameras,
fillers and gadgets, I borrowed a
Leica to give you birds a few ideas of
what prints look like, using the filter
chart given you in our last issue. On
this I used Eastman Super. Next
month we will talk on DuPont super.
Tracing History of Silver Grain
It Was in 1727 Johann Schulze Discovered Actinic
or Light Action on Silver, but It Wasn't
Utilized Until 1802
By EARL THEISEN
Honorary Curator Motion Picture Collection,
Los Angeles Museum
IN THE past the ancients labori-
ously chiseled records in stone
and told of themselves in this
manner, using pictures and inscrip-
tions. Out of this grew as an im-
provement paper and printer's ink.
Now still another medium has been
perfected, and that is celluloid and
the silver grain.
This new system is a vast improve-
ment over all previous methods be-
cause it deals in pictures directly,
whereas the others tediously spell out
stories letter by letter, creating
mental pictures. Some one has said
that it requires about five hundred
words to describe a scene as vividly
as the mental picture resulting from
a momentary flash of a picture of the
same scene.
Throughout history pictures have
been international and have expressed
themselves in a universal language,
but until photography on celluloid
was invented they could not narrate
and tell stories.
Looking back on the history of this
new medium we find that Johann
Schulze discovered the actinic or light
action on silver in 1727, although it
was not until 1802 that it was utilized
to record pictures photographically
by Wedgewood in his "sun pictures."
There are many early workers that
deserve credit for contributing to the
evolution of celluloid, chief among
these being Parkes, who invented a
substance known as "Parkesine" in
1856 by mixing wood alcohol with
the nitro-cotton or gun cotton in-
vented by Bottger and Schoenbein ten
years earlier. Another worker was
Spill, who invented Xylonite in 1867.
Collodion, the twin sister of cellu-
loid, was discovered in 1847 and was
used a year later by Frederick Scott
Archer in his famous "wet plate"
process that he published in The
Chemist in 1851. John Hyatt mixed
camphor with collodion and made
pvroxylene, which he patented in
the United States June 15, 1869, as
solid collodion or imitation ivory.
This substance was the direct fore-
runner of the photographic celluloid
base, but found its earlier use as bil-
liard balls, ornaments and various im-
itations of ivory. The first appear-
ance of the word celluloid in the U. S.
patent office gazettes is in July, 1872,
as The Celluloid Company, asignee of
the various Hyatt patents along these
lines.
Celluloid as Photographic Support
John Carbutt started commercially
to coat thick sheets of celluloid with
a photographic emulsion in 1884. His
product was far from perfect, due to
methods of manufacture, which left
the celluloid discolored, full of air-
bells, and too inflexible to roll as
would be required for motion pictures.
In May, 1887, the Rev. Hannibal
Goodwin applied for a patent cover-
ing a method of making thin sheets
which he specified as a "photographic
pellicle and a method for preparing
same."
This famous patent was not granted
until September 13, 1898, as No.
610 860 and was only a conceptional
patent and not reduced to practice by
Goodwin.
A successful commercial method
was not perfected until Hariy Reich-
enbach evolved a system of coating a
solution of ethyl alcohol, camphor,
Photograph of the first order of film
shipped from, the Eastman Company
to the Edison Laboratories on Sep-
tember 2, 1889. Photo courtesy Leo
G. Young.
From the Laboratory of Thomas Edi-
son, Orange, N. J., Sept. 2, 1889.
Eastman Dry Plate Company.
Dear Sirs:
Enclosed please find sum of $2.50
P. O.O. due you for one roll Kodak
film, for which please accept thanks.
I shall try same today and report.
It looks splendid — I never succeeded
in getting this substance in such
straight and long pieces.
Sincerely yours,
WM. K. L. DICKSON.
Can you coat me some rolls with
your highest sensitometer? Please
answer.
Twenty-four
The INTERNATIONAL PHOTOGRAPHER
November, 1932
nitro-cellulose and fusel oil upon a
polished support for drying. This
gave a perfect sheet of very fine tex-
ture which was quite suitable to mo-
tion picture work.
A patent was applied for on April
9, 1889, and granted on December 10
of the same year, and since Reichen-
bach was working with George East-
man the patent was assigned to the
Eastman Dry Plate Company.
First Positive Raw Stock
The first order of this new stock
for motion picture use on record in
the Eastman files was shipped to
Dickson at the Edison Laboratories
September 2, 1889. It was with this
roll that the first successful Edison
motion picture equipment was per-
fected. This strip of film, about fifty
feet long, was something of an open-
ing line in a romantic record of the
human race written in celluloid and
silver. It was comparable to the
early morn awakening and yawn of a
Celtic Bard who later in the day went
down the country singing and carry-
ing tales.
The first celluloid was all coated
with a negative emulsion and was
first intended for the Eastman hand
cameras that were loaded in the fac-
tory and had to be returned to the
factory to be unloaded, at which time
the pictures were finished and a new
roll of negative sufficient for a hun-
dred pictures loaded in the "Kodak."
The use of this first stock for the
experimental stages of the motion
picture was just incidental. There
was not sufficient demand for a spe-
cially designed positive stock, hence
Edison and the other experimenters
used in the negative coated stock for
both negative and positive making
until 1895. In August of that year
Eastman made the first positive stock
in the longest length of 100 feet. A
hundred-foot roll of this stock was
sufficient for two or three feature
length pictures of 1895.
It was the practice of the pioneers
to cement the short ends of the stock
together, some of the forty or fifty
foot pictures of this period being
composed of several short pieces. Ex-
amples of these early pictures in the
Los Angeles Museum show that the
raw stock emulsions were not of con-
sistent quality, but greatly varied
with the different rolls.
They were all one scene and the
single scene would flash indiscrimi-
nately at patches to night or daylight
density. This did not keep away the
throngs who regarded the "pictures
that move" only as curiosities and
were concerned with the movement
shown in the picture. A visitor saw
plenty of movement not intended in
the action of the scene.
Drawing Power of Novelty
Even running these pictures on to-
day's perfected apparatus they jiggle
in "four dimensions," remaining as a
mute testimonial to the patience of
the people of the nineties and the
drawing power of a new novelty. The
unsteadiness was due to the imper-
fections of the camera sprockets and
film perforations, many of them being
done by hand. The highest aim of
these pictures was to show motion,
the subjects being mainly dancers,
prizefights, weightlifting or just a
man sneezing as in the case of Fred
Ott, who was photographed by Edison
for his Kinetoscope Peep-Show. Ott's
sneeze was faithfully recorded for his
public and in so doing established him
as one of the very first stars of the
industry.
ff£3C3V
T
M
19
t0iswf,.f\
TA«Un
Sandow, the strong man, made by Edison in 1890 for the Kinetoscope peep
shoiv. From actual specimens in the Los Angeles Museum. Center, Carmen-
cita, the dancer. Made for the Kinetoscope in 1890 by Dickson. Right, first
motion picture made by the Edison Laboratories, under the present 35m. stand-
ard, in 1889. Edison's famous helper Dickson is standing with his hand on
the back of the horse. Courtesy W. K. L. Dickson. Actual specimens in the
Los Angeles Museum.
Returning to the evolution of cellu-
loid and silver, the next step was the
introduction of a non-inflammable
celluloid. The first patent on this was
issued to W. C. Parkin in France in
1904. He made it non-inflammable by
the addition of a soluble metallic salt.
Subsequently his formulae were varied
in many ways, chiefly by experiment-
ers in France.
First Panchromatic Emulsion
The Eastman Company introduced
the first panchromatic emulsion on
Sept. 9, 1913. This great advance in
the photographic emulsion that could
record colored objects in correct mon-
ochrome was not appreciated or taken
advantage of until fourteen or fifteen
years later, when the forerunner of
the "Pan Type 1" gradually came into
use. This stock was very contrasty
and grainy originally, but was greatly
improved after a series of experi-
ments during the winter of 1926 at
Rochester by Emery Huse and Ned
Van Buren for the Eastman Com-
pany. The next great improvement
in negative stock was the supersensi-
tive pan emulsion on non-halation
gray base announced on May 2, 1931.
According to the present records the
first films of any great length to use
an emulsion to give a corrected color
rendition were some westerns photo-
graphed by Glenn Gano in 1920.
The first dyed celluloid base was
introduced on March 1, 1921, in nine
colors and clear base b" Eastman.
This remained in general use until
the advent of sound, at which time it
was discontinued in favor of a type
of dyed base having little effect upon
the light transmission to the photo-
electric cell. This new base was in-
troduced as Sonochrome in sixteen
colors in April, 1929.
The reversal film so popular with
the 16mm. fans was first sold in April,
1923, which made it possible for the
first time successfully to reverse the
camera negative to a positive, thus
cutting the cost of making motion
pictures by the amateur about in half.
It gave the amateur film a bid for
popularity.
Stenciled Edges
Another great advance was due to
the foresight of Joseph Aller, who
perfected a system of stenciling the
negative edge with footage numbers.
Aller patented this in 1917. The patents
were acquired by Eastman, and the
first stock to be issued using this was
on May 2, 1918. This evolutionary
step was at first thought impractical,
but today it would be impossible to
do without these footage numbers in
synchronizing and cutting. They
measure out mile after mile of film
going to all parts of the world from
the film capital.
Louis B. Mayer said "The screen
shall some day be the diary of the
human race." How true that is, ex-
cept it need not be in the future
tense. Today upon celluloid and sil-
ver is inscribed a record of every-
thing human, and in some future
time a people looking back on us may
go to this saga for a most authentic
record of our every custom and mode
of living.
@ream oth Stills
ciWo*,
//ere seen awd tmseen are tivo International Photographers whose work is well known to readers of this
magazine. In the centre foreground is James Manatt about to photograph Lionel Barrymore in the charac-
ter of M-G-M's "Rasputin," while at the unseen camera is William Grimes.
.♦"^.
'°GR^
Qream oth Stills
c«.**Tl0jL
As one of the
sound men adjusts
the "mike" and
others in the
staff prepare
for the next
scene in
"The First Year"
Director
William Howard
outlines his
interpretation
of the script
as Janet Gaynor
and Charles
Farrell and
others absorb it.
Photo by Joe List
Scene on
canal in England
as Robert Martin
and Robert
De Grasse
photograph picture
for Assocated
Radio.
R. C. A. portable
recorder wagon
is seen as well
as concentrator
mike. Forward
also is shown
barge family
home 6 by 12
feet
*a**u
Qream a th Stills
d*™°*
°GRN^
In unusual
setting
Chevalier sings
solo Apache
number in
'Love Me Tonight."
Only part of
orchestra is
shown in
photograph,
which also and
incidentally
indicates the
number of
persons employed
on some sets
when screen
reveals but one.
Photographed
by Otto Dyar
Impressive
burial scene
in "Tiger Shark"
as character
impersonated by
Edward Robinson
utters the
improvised
prayer.
Photo by
Mac Julian
Qream oth Stills
WW
Jackson Rose's work with the Leica is seen here — in one of his characteristic outdoor shots. Photographed in
Griffith Park, Los Angeles.
November, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-nine
Commercial Altitude Records Fall
When Pilot and Cameraman Go Aloft
WHEN Oliver (Boots) Le Boutil-
lier of the motion picture pilots
and J. P. (Mickey) Whalen of
International Photographers on the
morning of October 27 went aloft in
an attempt to break the altitude rec-
ord for commercial airplanes, U. S.
service excepted, they did just that.
At an elevation of 21,600 feet, accord-
ing to their field altimeter, they made
photographs. At 18,000 feet they had
resorted to oxygen tanks.
At the extreme elevation the tem-
perature was approximately 15 de-
grees below zero, and it was neces-
sary to wear masks on account of the
cold. Cameraman Whalen was un-
able to handcrank more than 25 or
30 feet of film at one time. All un-
necessary equipment, including mo-
tors, had been left on the ground to
avoid weight.
The ship took off from Wilson Air-
port, Burbank, at 8:38 and landed at
Metropolitan Airport at 11:29. Pilot
Le Boutillier chose the latter landing
place on account of the added room
and because of his desire to make a
speedy landing to get the exposed film
into the hands of the developer.
Ordinarily after an ascent to this
altitude it is customary for the pilot
to "play around" for some time be-
fore landing in order to get accus-
tomed to the change in pressure.
The ship used was an open Stear-
man carrying a 300 horsepower
Wright motor. The ship now is be-
ing prepared for an attempt to break
all commercial altitude records, in-
cluding those of the army and navy
flyers.
Pilot Le Boutillier, during the war,
was a member of the Royal Air Force
Squadron that brought down Richtho-
fen, German ace.
Sudden Death of Bob Kurrle Shocks
Legion of Friends in Film Industry
Rico Offers Variable Area
Recording Trunk Contained
N AN effort to overcome labora-
tory processng difficulties fre-
quently encountered by foreign
producers, Rico has developed and is
now offering a high quality, medium
priced variable area recording unit.
In keeping with the modern trend
in producing studios of substituting
fixed recording channels with light
trunk type units, the new Rico va-
riable area equipment is trunk con-
tained.
This equipment has been designed
for use in conjunction with the newly
perfected Rico studio sound camera
now available to major producers
throughout the world.
Many advanced design features
are incorporated in this new product,
which may be used with any system
now in operation and may be fitted
for either variable area or variable
density recording.
Netvs-Reel House in Belgium
Recently the first news-reel motion
picture house was opened in Brussels
under the name of Cineac at 152
Boulevard Adolphe Max. This is the
first house of this type in Belgium,
and started the first week with the
projection of news reels covering the
whole world.
THE passing of Robert Bard
Kurrle at Cedars of Lebanon
Hospital in Los Angeles October
27 was a shock to his many friends
in the film industry. The end came
suddenly following an attack of men-
ingitis. Services were held on the
evening of October 29 at the Little
Church of the Flowers, Glendale.
Many representatives of the industry
also were present. Executives of In-
Robert (Bob) Kurrle
ternational Photographers and mem-
bers were pall bearers.
Mr. Kurrle was born in 1890. He
had at one time or another been em-
ployed as cameraman in practically
all the studios on the west coast, and
for the past six years at Warners-
First National. His last picture was
"The Lawyer Man." He joined In-
ternational Photographers at its or-
ganization in 1928.
Mr. Kurrle leaves a wife, a brother,
Ernest, and father and mother.
Ed Estabrook Going Strong
as Hollywood Campaigner
FROM those close to the local polit-
ical situation, word comes that
Ed Estabrook, International Pho-
tographer, who has charge of the Re-
publican party's campaign in the Hol-
lywood district, is making an enviable
reputation in his work.
Estabrook was appointed to the po-
sition after he had successfully man-
aged the primary campaign of Kent
Redwine, named by the Republicans
for the State Assembly. He quietly
introduced new methods into political
campaigning in that contest, and is
following up his original ideas in
handling the local end of the presi-
dential campaign.
Scarcely a day passes but what
visitors from other districts are
found looking in on the Hollywood
headquarters, which has become
known as a model for efficiency and
organization. Estabrook may be go-
ing places when the campaign ends
in November.
25mm.
FINDER
Finder instantly aligned with
camera lens.
Wide angle.
Brilliant upright image.
Inclosed focusing screw.
Optics by
Harrison & Harrison
Optical Engineers
Fred Hoefner
CINEMA MACHINE SHOP
5319 Santa Monica Blvd.
GLadstone 0243 Los Angeles
Thirty
The INTERNATIONAL PHOTOGRAPHER
November, 1932
Looking In on Just a Few New Ones
Victor Milncr
TROUBLE IN PARADISE
First Cameraman, Victor Milner : operative
cameraman, Billy Miller ; assistant, Guy
Roe; stills, Earl Crowley; sound, M. M.
Paggi.
PARAMOUNT has gone pedagogi-
cal— oh, so pedagogical ! You
must come over the first chance
you get and hear these actors in
"Trouble in Paradise" rave about
Madame Colet's sekkertrie. That's
the word, sekker-
trie. And you
don't have to lis-
ten at all sharply
to catch the word
necesssry also.
And if you look
in an everyday
American diction-
ry — be sure of
that pronuncia-
tion— you can find
not the slightest
excuse in the
world for the
abortions and
abominations
noted herewith.
The authority for the ordinary
everyday Americanism in the fore-
going is not Worcester's nor Stor-
mouth's nor any of the across-the-
water tomes nor even a domestic
"collegiate" edition. It is just a cas-
ual and resident Webster's New In-
ternational Dictionary of the English
Language. Springfield, Mass., 1927 :
G. & C. Merriam Co. 2880 pp.
Paramount has joined the self-im-
portant apeing collegians who accept
as gospel whatever is conceived and
uttered by the restricted number of
humans who establish the so-called
Oxford way of saying things; it is
apeing the disciples of the apeing col-
legians. It is ignoring the ninety-
nine out of a hundred ordinary Amer-
icans who have no truck with that
Tommy of whom it was said by a dis-
tinguished and world minded English-
man that he dearly loved a lord.
If we are to accept as settled the
dictum of the German Ernst Lubitsch
no longer may it be said that the
American picture is the United States'
greatest Ambassador to the world at
large. Rather will it be said the
American picture is England's great-
est ambassador to the world at large.
American Good Enough
Of course Lubitsch may have been
influenced by the language employed
by one of the leading players, Herbert
Marshall, one of the finest of the many
actors England has sent us. Marshall
speaking as an Englishman is quite
well justified in employing his own
style of conversation. In "Troubles
in Paradise" there is nothing so far
as this observer noted to identify the
characters as Englishmen rather than
Americans, even though the locale
be the continent.
So far as that is concerned what
difference can there be whether the
characters presumably are English or
American ? If the situation be a se-
By GEORGE BLAISDELL
rious one the dialogue in an American
picture should be in the approximate
language of the man in the street in
an American community. You may
be sure if it be an English picture the
rule will be the reverse.
If a picture be made in the native
tongue in an American studio the
ordinary language of 120,000,000
Americans — meaning grammatical
language pronounced in accordance
with the best American practice of
recent years — should be good enough.
There is no sensible reason for twist-
ing that to conform to the pedagogi-
cal dictators of half that number.
In no manner are these words de-
signed to belittle John Bull or his
disciples. Merely are they feebly
attempting to set forth the idea that
Brother Jonathan is now old enough
and large enough to stand on his own
feet without going to school to any-
body whether phobe or phile.
The battle has got to be fought and
fought in Hollywood sooner or later.
Pictures are going to be made pri-
marily for Americans or for peda-
gogues who cannot believe the bulk
of the people have anything to say
how their language may be uttered,
or distorted.
This particular type of pedagague
is of the same stripe as the prohibi-
tionist who would impose his whims
on the vast majority; the same stripe
as the censor who would eliminate
certain scenes from films — and pos-
sibly later have them collated and
secretly shown for the entertainment
of his equally pernicious and porno-
graphic friends.
No Quarrel With England
It is not so long ago we had the
example of an American actress cast
in a picture as an American woman
temporarily residing in a community
of cultured Englishmen. While the
only American in the picture and sur-
rounded by English actors talking
the language of their native land, this
American woman out-Englished them
all in her pronunciation.
And so it goes. From the English-
man of the world who does not take
himself too seriously no American will
be conscious of any great disparity in
tongue. It is the ape, whether the
underlying motive be superciliousness
or affectation it makes no difference,
from whom the American screen
sooner or later is going to require
protection.
Sooner or later if someone be bold
enough to declare we have got to get
on common ground on this thing then
let the answer be ready:
"All right. In that case come over
and play in our yard. We've got a
lot of room."
For the question is bound to be
raised.
The American picture business, we
are told, is in a bad way. It has been
hit hard by happenings outside and
inside. Its most important market is
at home, especially now that sound
reaches practically all theatres. The-
atre men are interested in anything
that threatens the attendance at their
houses. Describing a stenographer
as a sekkertrie may sound sweet to
one in a hundred customers, but it is
going to administer a pain in the ear
to the everyday picture goer. And
it won't add any dollars to the re-
ceipts.
The Picture Is Good
Coming to the picture itself, aside
from an example of bad taste in the
closing scenes, it is excellent enter-
tainment. It is not a Sunday school
story, for it is a story of a man thief
and a woman thief who fall in love;
of a wealthy woman who falls in love
with the man thief, so deeply as to
permit the latter to make away with
valuable jewelry before her eyes,
knowing it is taken for the benefit of
the woman thief.
This particular act comes after
much sympathy has been built up for
the man thief, played by Marshall.
The low-down action leaves a bad
taste in the mouth as the picture
fades. It does that in spite of the
entertainment that has been created
by the sterling work of Miriam Hop-
kins, who plays the woman thief; of
Kay Francis, the wealthy Mme. Colet;
Charles Ruggles and Edward Everett
Horton, two social feudists who pro-
voke much mirth, and Marshall as
already noted.
The direction is Lubitsch's, the peak
of continental sophistication — a de-
light as always except where speci-
fied. Grover Jones adapted the script
from Laszlo Aladar's play of "The
Honest Finder."
TRAILING THE KILLER
HAVING in mind the low cost of
production there is a large en-
tertainment interest in "Trail-
ing the Killer," being released by E.
W. Hammons for World Wide Pic-
tures. It was di-
rected by Herman
C. Raymaker
from a story by
Jackson Richards.
The subject has
been synchronized
with music and
dialogue through
the R. C. A. Pho-
tophone system.
The story is
about Caesar,
under the name
of Lobo, the wolf
dog, and also and
incidentally the
rather extensive
family of the same animal. The theme
centers around the depredations of a
mountaiii lion, for the sheep killing
activities of which Lobo is blamed.
Traps are set for him. A reward of
$100 is posted, payable for the body
of the dog.
Francis McDonald is Pierre, owner
Pliny Goodfriend
November, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-one
of Lobo. Pierre is a trapper who
kills only when necessary. About
his camp is a young menagerie made
up of animals he has captured and
brought home. The suspense comes
when Lobo is sought for capture, the
lion meanwhile continuing his rav-
ages. The action at times is drawn
out, with the result the observer is
yanked out of the illusion. Never-
theless as remarked, there is unques-
tioned interest in this story of ani-
mals.
There is a fight between Lobo and
a rattlesnake which provides abun-
dant suspense as the wary dog circles
about the cautious reptile. It is a
case of the animal trying to tire out
the reptile.
Then there is a battle between Lobo
and the lion. We do not see much of
this as a great deal of the muss
takes place behind the brush and be-
yond the penetration of the lens.
DOWN OUR STREET
IT is unlikely any of you read-
ers will have an opportunity of
seeing British Paramount's "Down
Our Street." That is too bad. It is
inexplicable that a picture combining
so much of art and drama, so much
of life and where life is lived, so
much that is of another land than
the one we usually see pictured on
the screen, speaking English so to
speak, should be given no hearing in
a land where the tongue recorded is
the same as that natively spoken.
Reviewers gathered at the Fox
studios were given a treat when they
were shown a film brought into the
country not for purposes of public
showing but merely for revealing to
the hosts of the evening just what
kind of a picture Harry Lachman had
directed. It may be said the English-
man now is making a picture for
Fox — and after looking at "Down
Our Street" the reason is apparent.
The subject as a motion picture
takes us back twenty years, to the
heyday of Biograph, when that
company under the guidance or per-
haps influence of Griffith clung to the
simpler things in life, simple humans
and simple surroundings — before the
days of absurd and exotic "produc-
tion values." The tales were of the
soil and of those who lived near it.
So in "Down Our Street" there is
not a silk stocking. To be sure there
is a fur coat, about and around which
much happens. It is a story of hum-
ble lives and a humble neighborhood.
There is an everyday English family,
with the hardworking mother, the
shiftless father and the daughter
growing into womanhood.
With eyes on the latter is a young
man whose previous reputation in the
community is not exactly spotless.
Nevertheless in spite of parental op-
position and of course fed by it the
friendship of the lovers thrives.
In the course of this story's unwind-
ing we see London streets, sometimes
from the top of a bus and sometimes
from the sidewalks. We enter saloons
and see what goes on there. We here
sit in on an impromptu entertainment
where one man plays the smallest
harmonica in the world — possibly an
inch and a quarter long — and four
men play its big brother perhaps
thirty inches long. We look over
the men and women, the boys and
girls in some instances, and somehow
they fit their surroundings.
And all through this story there
stand out three characters — the first
and foremost the mother of the girl
she fears may become wayward. Here
is a character, played by Nancy Price,
the portrayal of which will linger long
in the memory. Somehow it is an illu-
minating exposition of the tragedy that
rides in the life of the family drudge,
of one who toils for one end in life
and that perhaps the bringing of a
daughter into a safe marital haven.
It is a remarkable and an impressive
performance this woman gives us.
Then there are Hugh Williams, the
young lover, and Elizabeth Allen, who
plays the daughter. Their interpre-
tation, like that in fact of the entire
cast, is worthy of all praise.
Ernest George writes the story,
Holmes Paul is art director and Ru-
dolph Mate is photographer.
SECRETS OF THE FRENCH
POLICE
First cameraman, Al Gilks ; operative camera-
man, Harry Wild ; assistants, Joe Biroc.
Harold Wellman and Jimmie Daly ; stills,
Eddie Cronenweth.
THERE'S a story out of the usual
n RKO's "Secrets of the French
Police," directed by Edward
Sutherland. The tale is frankly melo-
dramatic, is well staged and played,
and as is to be expected in a Suther-
A Swedish Explorer Discovers Hollywood
and the EYEMO
Clinging to a narrow Faroe Island
rock-shelf in a tempestous gale strug-
gling with a large studio camera, the
light coming and going "with mad-
dening irregularity", Captain Sten de
Nordenskiold of Sweden's Royal Geo-
graphic Society, found himself wishing
devoutly for a "light camera, portable,
merchanically driven — a camera that
one could sight and operate with the
quickness and accuracy of a rifle."
Arrived in Hollywood, the Captain
found the camera he had been looking
for — the Bell & Howell Eyemo 35 mm.
hand camera. And through its quick
fye, the Captain caught so much of all that is spon-
taneous and natural and admirable in Hollywood, that
his Eyemo-made film, "Hollywood, City of Celluloid", is
now on its way to the cinema theaters of the world.
In Captain Nordenskiold's story of his Eyemo lies the
whole story of Eyemo's quickness and mobility. Equipped
with Cooke lenses, seven him speeds, three-lens turret, and
built-in hand crank, as well as spring-driven motor, it is
the camera most often chosen for field
work and scientific purposes.
Captain St?n
with his Bell
And now, the Eyemo may be had
equipped with electric motor drive
(24 frames per second, 12 and 1 10 volt
storage battery operation) and also a
200 or 400 foot magazine, which
greatly extends its versatility and use-
fulness for the making of movies of
thorough-going professional quality.
Motor and magazine may be quickly
detached.
Write to Bell & Howell for full and
complete data dn the Eyemo, which is
priced, tax-paid, at $450 (motor and
magazine extra).
Bell Sl Howell Company
1849 Larchmont Ave., Chicago; 11 West 42nd St., New York;
716 North La Brea Ave., Hollywood; 320 Regent St., London
(B. & H. Co., Ltd.). Established 1907.
d? Nordenskiold
$ Howell Eyemo
Thirty-two
The INTERNATIONAL PHOTOGRAPHER
November, 1932
land story any opportunities for in-
jecting comedy are pretty sure to be
accepted. The general result is more
than reasonably certain to hit the
fancy of the crowd.
The subject is based on the Ameri-
can Weekly serial story of "Secrets
of the Surete," by H. Ashton-Wolfe,
and "The Lost Empress," by Samuel
Ornitz. The screen play is by Or-
nitz and Robert Tasker.
Interest largely is centered on four
principals. Frank Morgan is Francois
St. Cyr, representing the authority of
the French police — a well-turned char-
acterization. Opposing him is Gen-
eral Moloff, melodramatically inter-
preted by Gregory Ratoff.
The somewhat diminished love in-
terest is in the care of Gwili Andre
as Eugenie, a flower seller, out of
whom the Russian court clique would
create a daughter of the Czar, and
John Warburton as a thief as genial
as accomplished and one whose sole
religious touch seems to be he will
not steal from a Frenchman.
MEN ARE SUCH FOOLS
First cameraman, Charles Schoenbaum ; oper-
ative cameraman, Earl Stafford ; assist-
ant, Bernard Moore; stills, Fred Archer;
sound, Lambert Day.
THERE'S a lot of good entertain-
ment in RKO'S "Men Are Such
Fools," featuring Leo Carrillo
and Vivienne Osborne — yes, and Una
Merkel also. A colorful player is
Carrillo, this man of Spanish descent
who so strikingly _____^___
portrays the tem-
peramental Ital-
ian. It is a de-
light to follow
him, in moods
swiftly changing
from .happiness
to despair, from
the heights to the
depths.
Vivienne Os-
born contributes
to the strength of
the story, too, not
the least of her
att ractiveness
being due to the
Charles
Schoenba it m
appeal of the singing with which she
is introduced to her audience. Her
part of Lilli Arno is not a sympa-
thetic one by ony means. Rather it
is the role of the feminine heavy, in
this department sharing with Earl
Fox as Darrow, the woman-chasing
night club owner. Una Merkel is
Molly, consecutively hat check girl,
maid in the home of the newly wedded
musician and singer, and then fol-
lowing the musician's entrance into
prison the faithful friend of the lat-
ter.
A very much grayer Joseph Caw-
thorne is shown as Werner, friend of
the musician and his family. The
New York comedian brings to his
role much of the spirit and gayety for
which he was famous in another gen-
eration. Paul Hurst is shown as the
cellmate and friend of the musician,
a sharp contrast in character of
types — the one portraying the un-
emotional mugg, the other a high-
strung devotee of music.
Then there is J. Farrell MacDon-
ald as the humane prison warden —
finely drawn by the one who conceived
the character and as finely played.
Tom Moore, former screen leading
man, plays a headquarters man.
The closing scenes are tense and
really stirring. In their interpreta-
tion they reflect credit on Director
William Nigh, another who emerges
from the past and thereby empha-
sizes by his work the fallacious policy
or custom of the industry that as-
sumes once a director is a few
months off the screen there can be
no possible place for him again. A
man who could make good pictures
years ago with comparatively slight
cooperation from the production staff
should now with the greater skill and
training of writers and technicians be
able relatively to make much better
pictures than he could ten or fifteen
years ago.
The story is by Thomas Lloyd Len-
non, with Viola Brothers Shore doing
the adaptation and Ethel Dougherty
the continuity. As Viola Lawrence
did the film editing there would seem
to be good reason why the story
should interest women.
MADISON SQUARE GARDEN
First cameraman, Henry Sharp ; operative
cameraman. Milt Krasner ; assistants,
Irving' Glassberg and Lloyd Ahern ; stills,
Elwood Bredell ; sound, Frank Goodwin.
WHILE there may be a difference
of opinion as to the particular
individual entitled to head the
cast of Paramount's "Madison Square
Garden" there will hardly be a con-
troversy over the suggestion that the
subject is a direc-
tor's picture.
Harry Joe Brown
has done notable
work in the past
ten years, has
done it when at
his command was
a budget not to
be mentioned in
the same sentence
as that upon
which he drew
for the subject
under review.
The sum allotted
in the present in-
stance, whatever
it was, was employed to excellent ad-
vantage. The result is am enter-
taining picture with a mighty stir-
ring finish.
That is the impression remaining
with the reviewer five days after see-
ing the subject and having looked on
six other pictures in the interim. Jack
Oakie gets a real break — for once,
anyway. He plays a wise guy, to be
sure, as in other pictures, but it is a
likable wise guy, not the kind that
imparts to the man out front an
unaccountable desire to administer a
slap on the wrist. In other words,
the freshness is "in character" as
well as being much minimized. He
plays a prizefighter.
One of the high spots of the sub-
ject is the work of Willie Collier
senior, that veteran of the stage. It
is a part, too, that must have had
particularly strong appeal to this
long time New Yorker. The actor
Henry Sharp
puts into it all he has — his heart as
well as his head — and the result is
a moving one.
And right here we are reminded
that one of the characters is Tom
Meighan, a veteran whose friends —
and there's a legion of them — will
mightily enjoy looking upon his face
again as well as to hear his voice. To
the majority the voice will be new.
Marion Nixon and Zasu Pitts sup-
ply the feminine interest, which is
more or less incidental, it being a
man's story. Singularly enough one
woman present at the showing for-
got her well settled antipathy to
stories of the ring and admitted she
was highly entertained.
There's a host of old-timers appear
through the picture, ranging from
Jack Johnson to Tod Sloane. The
story is by Thomas Burtis, and the
excellent script comes from the hands
of P. J. Wolfson and Allen Rivkin.
jS« $"***■
Karl Freund
AIRMAIL
First cameraman. Karl Freund ; operative
cameraman, James Drought; assistant,
Jack Eagan ; stills, Sherman Clark;
sound, Joe Lapis.
ADMIRERS of stunt flying will
get their fill in Universal's
"Airmail," written by Dale Van
Every and Frank Wead and directed
by John Ford. There is an abund-
ance of hazard, much of which is
actual even
though some may
be simulated. The
strength of the
picture is not
confined to the
thrills created by
the pilots, of
whom one of the
outstanding is
Paul Mantz. For
after all it is a
dramatic story,
all the stronger
by reason of its
stressing of the
camaraderie o f
men over the love
of a man and a maid. To be sure
there is some of the latter, wholesome
and engaging, and finely exemplified
by Ralph Bellamy as Mike, the chief
mail flyer, and Gloria Stuart as Ruth,
sister of a flyer who crashes and
thereafter fearful something tragic
will happen to Mike.
Bellamy and Pat O'Brien, the one
as the steadygoing managing flyer
and the other as the reckless ace who
takes his danger and his liquor and
his women as he finds them, are the
first in interest in the tale. A clever
twist avoids the incorporation of the
two into the same triangle.
Nevertheless the gallantries of Duke
with the wife of one of the fliers
brings the speedy condemnation of
Mike and establishes the rift between
them. The rift widens as the widowed
Ii-ene and Duke depart without bene-
fit of clergy for places unknown.
There is a stirring sequence and
incidentally an accompanying comedy
tinge when Duke in celebrating join-
ing up with the mail flyers takes out
one of the ships after freely imbibing
rum. What he does through the un-
gentle ministrations of the doubling
November, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-three
stunt man is plenty, even to shooting
back and forth through the none too
spacious doors and interior of a
hangar.
Then near the close when the fail-
ing eyes of Mike have contributed to
his crack-up in the upper reaches of a
mountain it is Duke who walks out
on the woman who is celebrating her
widowhood with a left-handed honey-
moon, purloins a plane and without
a chute climbs up the mountain and
drops down alongside of Mike. It's
a great sequence, this dropping down
of the ship and in spite of broken
landing gear slipping over the snow
to a getaway.
There are plenty of thrills preced-
ing and during the landing of the
ship, when Mike refuses to bail out
at Duke's command. The answer
comes quickly when the ship is given
a roll and Mike just naturally slides
out into the open. The cracking up
of Duke and his ship makes a corking
finale to a story of alternating thrills
and laughs, of tension and relaxation,
of men who do and dare even if all
of them be not quite spotless in their
human relations.
THE BIG BROADCAST
First cameraman, George Folsey ; operative
cameraman, Guy Bennett ; assistant, Tom-
my Morris ; stills, Earl Crowley ; sound,
J. A. Goodrich.
TO MANY it may seem strange
that to one person at least the
most moving and the most dra-
matic thing in a screen subject really
rich in entertainment value should be
the singing of a simple song. The
words were those
of that remark-
able poem written
by Joyce Kilmer
shortly before his
death in the late
war and the great
theme of which is
"Only God can
make a tree."
Much laughter
had preceded the
singing of those
inspired words
set to the music
of Oscar Rasbach
— had put a small
studio preview
audience into that peculiarly receptive
mood which always follows recurrent
bursts of mirth, a mood in which the
appeal of a stately song impressively
sung takes deep hold. So it was that
to Donald Novis seemingly went the
honors of a long screen subject filled
with rare entertainment.
These lines are being written before
the public release of Paramount'?
"Big Broadcast," but the writer is
taking the risk of saying the picture
will have wide public appeal. When
a show is made up of performers who
have unmistakably succeeded before
the unseen legions of listeners-in to
radio programs there would seem to
be no reason why they should not in-
crease the measure of that success
when to their voices are added their
more than less insubstantial figures
on the screen.
Stuart Erwin and Bing' Crosby
share honors on the dramatic as dis-
tinguished from the purely entertain-
ment side. The first named is a bunch
of Easy Money at large in New York
— gullible, something of a boob and
as always in his work most convinc-
ingly sincere. The other is a radio
performer who takes life easy, is none
too scrupulous in keeping his appoint-
ments and in spite of shortcomings
turns out to be a pretty wholesome
sort after all.
There's something unusual about
this Bing Crosby chap. Here is a
case where the crooner constituted one
man's pet abomination on the radio,
yet on the screen proved to be most
likable. Leila Hyams plays the girl
in love with the crooner and Sharon
Lynne the one in love with him and
also the winner of the contest.
Burns and Allen are seen as the
manager of the radio station and as
the reception clerk respectively — and
both George and Grace make a real
team. Then there are Kate Smith, the
Mills Brothers, the Boswell Sisters,
Arthur Tracy the street singer, Don-
ald Novis, Vincent Lopez and his or-
chestra and Cab Calloway and his
orchestra.
George Marion Jr. wrote the screen
play from William Ford Manley's
play of "Wild Waves." Somewhere
between these two a fine piece of work
has been accomplished. Then Leo
Robin wrote the lyrics for Ralph
Rainger's music. Frank Tuttle directed
a picture that should provide enter-
tainment for the mass.
NIGHT AFTER NIGHT
First cameraman, Ernest Haller ; operative
cameraman, Guy Bennett; assistant.
Tommy Morris ; stills, Gordon Head ;
sound, Don Johnson.
IN Paramount's "Night After
Night" we have a highly enter-
taining picture — certainly it
should be to those who claim to be
ordinarily worldly wise, who still are
human beings and who still are cap-
able of indulging
in laughter. Much
of the laughter
comes near and
at the finish, at
those stages of
the running
wherein is made
the deepest im-
pression on the
auditor.
The story is
notable in that it
is not created
around one per-
sonality. Being
a tryout for a
newly featured
player no chances could be taken, and
as a result a full half dozen players
have full opportunity to shine individ-
ually.
George Raft is the newcomer to the
featured ranks — part of the under-
lying reason for the elevation un-
doubtedly being the strong impression
created by his work as the coin-toss-
ing racketeering aid in "Scarface."
Ernest Haller
peedy — Accurate — Economical
Convenient to Handle
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Leica weighs only 19 ounces. It is easily carried in
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for night photography, or stereo camera. Your
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more uses.
The revolutionary new LEICA built-in range
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focusing, enables you to see your picture In
exact focus right up to the moment of ex-
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that you can catch even the speediesl subject
in sharp focus.
Takes up to 36 pictures on a single inexpen-
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E W Y O R
(Left) GLENN R. KERSHNER,
Cinematographer with the Mac-
millan and other Expeditions,
Alio uses the LEICA for "stills"
s moving picture work,
says "The LEICA will give
you pictures at all kinds of
speeds from time exposures to
five -hundredths of a sect mil
with the assurance that one
will never spoil a prize shot by
a double exposure, for it can't
be clone.
(Right) Jackson Rose. Olivers*] Pictures cinematographer, says:
"l had a difficult time convincing photographic experts that these
remarkably brilliant prints (11x11 nches) with their extremely sharp
detail were enlarged from Leica negatives. It was not until I dis-
played the 1 by 1% inch originals they were convinced."
Thii tij-four
The INTERNATIONAL PHOTOGRAPHER
November, 1932
He makes an excellent start in spite
of the tough mugg role assigned him.
Fortifying Raft is Constance Cum-
mings, whose charming personality is
topped by her unusual acting ability,
especially in scenes of stress and ter-
ror. That statement hardly is fair,
either, for she is equally brilliant in
moments of gayety, of repartee and
verbal fencing. She puts life into
her lines.
Mae West as Maudie Triplett, the
friend of the night club owner, is all
of what is sometimes referred to as
a "scream." Breezy is not the word.
Nothing less than a gale will fit her.
When Maudie confides to Mabel Jel-
lyman, private preceptor of the night
club owner and delightfully charac-
terized by Alison Skipworth, that she
may pass up her pupils and come with
her as hostess of one of her chain
of beauty shops at a hundred a week
and a cut in on the profits she starts
a train of laughter that still lingers
after the curtain has been drawn.
Wynne Gibson as the discarded fav-
orite of the hero portrays the woman
scorned, enraged to the killing point.
Roscoe Karns is the confidant of the
hero, and causes plenty of amusement.
Archie Mayo finely directs this
melodrama with its comedy moments.
From Louis Bromfield's "Single
Night" Vincent Lawrence has written
the screen play, with continuity by
Kathryn Scola.
When Seen Through Feminine Ryes
Bv HELEN BOYCE
Jack MacKenzie
LITTLE ORPHAN ANNIE
First cameraman. Jack MacKenzie; operative
cameraman, Frank Redman ; assistant,
Cecil Cooney ; stills, Oliver Sigurdson ;
sound, D. A. Cutler.
A CERTAIN young fellow has
just crashed the movies — and
how! His name is Buster
Phelps, his age about five. Without
exception he is the most irresistible
juvenile the reviewer has seen since
sound pictures
were produced —
or before. Under
the able direction
of John Robert-
son this young-
ster just makes
you cry for more.
And speaking
of crying, Bus-
ter's is more ef-
fective than a
California rain.
It digs in deeply
and not for an
instant does he
falter in his lines
nor does he seem
to experience the difficulty with enun-
ciation so noticeable in these younger
juveniles. He plays Mickey, the pro-
tege of Mitzi Green, in R.K.O.'s
"Little Orphan Annie." Mitzi of
course never fails to entertain, and as
Annie you'll see a new Mitzi.
May Robson as the dignified,
though irascible, grand dame who
adopts Mickey admirably fills the
role of Grandmother Stewart. She is
as lovable as ever, even Mickey ques-
tioning whether there are any angels
in heaven as beautiful as she.
The cast also includes Matt Moore,
Edgar Kennedy, Kate Lawson and
Sidney Bracey.
Wanda Tuchock and Tom McNa-
mara have written the characters of
Harold Gray's comic strip into a
most entertaining screen play. The
only sour note is struck in yielding
to the temptation of having Mitzi
Green give an imitation of the Marx
Brothers. Not that the imitation is
bad, but just why it might be con-
ceived that such entertainment would
interest little Mickey, who is the audi-
ence, is a question. Furthermore
under what circumstances would it
have been possible for the paths of
Harpo and the orphanage child to
have crossed?
Otherwise it's a mighty creditable
offering that undoubtedly will appeal
to the whole family from grandma
and grandpa down to the youngest
member just being initiated in the
audience.
SIX HOURS TO LIVE
First cameraman. John Seitz ; operative cam-
eraman, Arthur Arling ; assistants, Luis
Molina and Bud Mautino ; stills, W. An-
thony Ugrin ; sound, Arthur Von Kirhach.
WHILE the plot by Gordon Mor-
ris and Morton Barteaux is fai
fetched and highly improbable,
that minor detail is overlooked when
interpreted by a combination like
Warner Baxter, John Boles, Miriam
Jordan and a sup-
porting cast such
as Fox has pro-
vided in ''Six
Hours to Live."
The screen adap-
tation is by Bral-
ley King. Wil-
liam Dieterle di-
rects.
Baxter as Paul
Onslow, represen-
tative of Sylva-
ria at the World's
Trade Confer-
ence, with the
welfare of his
country at heart,
invites the animosity of every other
member by a negative vote. Threats
and supplications fail to swerve him.
The meeting is set for final adjourn-
ment at 11 o'clock that evening.
In the meantime things happen. On-
slow is strangled, then through
the so-called scientific invention of
Professor Bauer (George Marion,
Sr.) is brought back to life for six
hours. In that short period he ac-
complishes a great deal. He insures
the welfare of his country and the
happiness of the girl he loves, and
with a beautiful understanding leaves
John Seitz
a trail of peace and contentment be-
hind him.
Baxter displays commendable re-
straint in the handling of a role it
would have been easy to overact.
John Boles lends excellent support
as his friend and Miriam Jordan as
the girl he loves.
The backgrounds include the Palace
of the League of Nations at Geneva
and street scenes in that colorful city,
beautifully portrayed.
Dan Clark
THE FOURTH HORSEMAN
First cameraman, Dan Clark ; operative cam-
eraman, Norman De Vol ; assistants, Paul
Hill, Ross Hoffman, Lloyd Ward; stills,
Adolph Shafer ; sound, Fred Feichter.
THERE'S plenty of action in Uni-
versale "The Fourth Horseman"
featuring Tom Mix and his hard-
riding crew. There should be and as
a matter of fact there is plenty of
story as well as action in the tale,
for Nina Wilcox
Putnam wrote
the original and
Jack Cunning-
ham, he of similar
contribution to
"Covered Wagon,"
did the screen
play. Hamilton
McFadden di-
rected.
The tale is of
a deserted town
taken over by a
bad man and his
crew shortly be-
fore the mortgage
falls due, the
plan being to grab the property on
the foreclosure. Fred Kohler is the
bad man, and there's no doubt about
the classification. The plan fails
partly, though, when Molly, the
owner, drops into town to take over
her property.
Margaret Lindsay has the part of
the genuinely wholesome and most
natural Molly, the owner who at a
late hour discovers her property will
be lost on the morrow if it is not
cleared of charges by noon. You have
one guess as to the identity of the
man who gets into action and starts
for the county seat to straighten out
matters. You don't even need that to
figure out the one who plans to block
the arrival.
The chase is laid in a most pictui--
esque country, with snow-topped
mountains in the background. It is
an interesting sequence. Then there
is plenty doing in the climax, when
the enraged settlers storm the town
and its exploiters in the effort to eject
the carpetbaggers. It all contributes
to a smashing finish.
THE GOLDEN WEST
First cameraman, George Schneiderman ; oper-
ative cameraman, Curtis Fetters ; assist-
ants, James Gordon and Lou Kunkel ;
stills, Bert Lynch ; sound, Barney Free-
ricks.
ZANE GREY'S story "The Golden
West," adapted by Gordon Rig-
by, is superlatively all the title
implies. Director David Howard does
not for an instant deviate from a
thrilling tempo and there is a pleas-
ing lack of that long suspense so
November, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-five
often employed in western pictures.
There's not a gangster, not a poli-
tician, not a disrobing scene, not a
football in the whole picture. It's a
welcome change. There is a stam-
pede of buffalo that will make even
the sophisticated old-timers sit up and
take notice.
The plot is — just Western, done on
a lavish scale with backgrounds en-
hanced by excellent photography.
George O'Brien and Janet Chandler
both have dual roles, first as sweet-
hearts in old Kentucky, where by a
Montagu and Capulet situation, even
to the masked ball, they are sepa-
rated and O'Brien flees to the West.
In time they both marry, and it is
around the son of the one marriage
and the daughter of the other the
real plot centers. Here O'Brien be-
comes Matano, a renagade white,
whose parents were massacred by the
Indians when he was a babe. Janet is
the daughter of the original Janet —
and of course the result is romance,
with an unusual Indian fight, the
kind that Griffith staged, and other
thrills thrown in for good measure.
Mention should be made of Bert
Hanlon's fine impersonation of Den-
nis Epstein, an Irish Jew.
MERRY GO ROUND
First cameraman, Karl Freund ; operative
cameraman, Richard Fryer ; assistant,
Jack Eagan ; stills, Sherman Clark ;
sound. Jesse Moulin.
WITH so many waxing eloquent
about the presidential campaign
"Merry Go Round" seems time-
ly. It emphasizes our diffidence as to
the quality of the candidates in the
equally important local elections.
From the drama by Albert Malt and
George Schlar, with adaptation by
Tom Reed, it is strong medicine that
is not so palatable. It may leave us
dizzy, but it does make us think.
The story primarily is a preach-
ment on the helplessness of the inno-
cent victim of police third degree
methods and of the public at the
mercy of the crooked politician and
gangster. Eric Linden, as a bellboy,
is the innocent victim who is shot
during a gangster murder, then third
degreed into a confession. It is cer-
tain this part of the story depicting
police brutality will not get past the
censors in some cities.
Sidney Fox as the girl wife enlists
our sympathy, although her part is
small. Edward Arnold as Jig Zelli
is a convincing gangster.
While interpreted by an excellent
cast the reviewer doubts if the sub-
ject will have great appeal to femi-
nine fans.
Get the Once Over
A number of the special cameras
made by Andre Debrie for the United
States Government and used by naval
aviators have been sent to the New
York Debrie service station for their
first examination.
These cameras include the Ultra
Speed "GV" and have been in use by
the Government for a period of years.
Catholic Film Congress in Milan
Plans Use of Educational Pictures
PRESS reports from Rome state
that Catholic film interests there
are becoming increasingly active.
Although Italy, especially Rome, is the
centre of the Catholic Church and its
spiritual world, up to now film inter-
ests had remained practically inactive.
It is reported that present efforts are
being made in order to establish a
centre of Catholic film activity in
Rome.
A Catholic Film Congress which
was held in Milan, on the initiative
of the CUCE (Consorto Utenti Cine-
matografi Educativi), decided to
create a central Catholic film organ-
ization, which among other things
should try to incorporate the feature
film in the public instruction.
This organization, headed by Com-
mander Luporini, intends to handle
distribution and sales of films and
motion picture equipment and also of
narrow film stock.
A NEW
PORTABLE SOUND RECORDER
PRICED AT
$|Q7S00
Equipment Includes —
I — Recording Amplifier with 2-position
mixing panel.
2 — Bullet Type Condenser Microphone with
2-stage amplifier, 20' cable and stand.
3 — Complete set of cables with Cannon
Connectors and with carrying case.
4 — Complete set of Batteries in carrying
case.
5 — Recording Head of Improved Design
with carrying case.
Recording Head embodies features of
construction necessary to a successful Sound
Recorder.
It is SILENT in operation, having all
mechanical parts running continuously in
oil, and all gears precision cut. An im-
proved mechanical filter and the addition
of a filter retard insure a SMOOTHNESS
of operation heretofore not attained.
Standard equipment includes interlock
drive motor, A.C.-D.O, Mechanical' Slit,
Film Speed Indicator and Footage Counter.
Head Only— As Illustrated— Price $1,000.00
UNCONDITIONALLY GUARANTEED TO GIVE SATISFACTION
Cinema Sound Equipment Co*
R. C. Wilcox
7160 Santa Monica Blvd.
Phone
GRani+e 7111
C. F. Wilcox
Hollywood, Calif.
Thirty-six
The INTERNATIONAL PHOTOGRAPHER
November, 1932
The International Photographer's Family Album
Anniversary of the Stork V Visit
NOV. 1 — Jerry Fairbanks, Edward
Gheller.
2— Ellis Carter.
4— Frank M. Blackwell, John P.
Fulton.
5 — Guy M. Bennett, John Eckert,
Farciot Edouart.
6 — Irving Rosenberg, G. G. Trafton.
7 — Paul Ries.
8 — Frank Finger, J. A. Grant.
9 — John Hickson, Irving Lippman,
Otto H. Stolberg.
Mark Marlatt, Anthony Ugrin.
10— Allan C. Jones, Fred E. Kaifer,
11 — Martin Cornica, Samuel C.
Manatt.
12— Sol Polito, Russell Collings.
14 — Donald C. Cunliffe, Jack Epstein.
16— R. O. Binger, Charles W. Russell.
17 — Leland E. Davis.
18 — Sanford E. Greenwald, Harry
Kaufman, Bernard B. Rav, Jean
C. Smith.
19 — Lucien Andriot.
20— Charles M. Crane, Harry W.
Dawe, Bernard Moore.
22 — Harry Underwood.
24 — Gustav Schoedsack.
25 — Edward Kearns, Sidney C. New-
burg, William J. Schuck, J. P.
Whalen.
26 — Gaetano Gaudio, George Bourne.
27— William H. Dietz.
30— William G. Heckler, Karl Struss.
An Open Letter to the Editor of
The International Photographer
Bv ESSELLE PARICHY
AS I sat reading the other night,
listening to the soughing of the
palm trees in one of those
pseudo-hurricanes, so popular this
time of the year in these yere tropica]
parts, my telephone rang. And who
should be on the other end but Paul
Ivano and his "good man Friday,"
Lucien K. Ballard, with a grand
"Cheerio" from Local 659 way out in
the West.
With a gust of nostalgia I hastened
down to meet and greet them.
"Hello! Cocoanuts to youse
guys. What are you doing down
here?"
"How's the old Florida Crack-
er?" retorted Ivano.
It seems that the boys are West
Indies bound with miles of super-
panchromatic and their trusty film-
eaters to gather atmosphere for the
Sternberg-Dietrich vehicle.
In the interim of waiting for high
winds and local inundations to sub-
side to more favorable flying weather
to board the chartered Pan-Am-Sikor-
sky for Havana, us boys dallied with
Leicas snapping the local color of the
"Magic City." So far there are 831
(and six blanks) snaps of these boys
in every conceivable synthesis of
hokum and gesture. .. Here are a
couple showing your 659 orphans
performing a favorite indoor sport,
etc., for the 'Fambly Album.'
I took the boys on a "Parichy Tour"
and showed them a few of the inter-
esting places in this millionaire's
winter playground, such as the world
famous Hialeah race track, Seminole
Indians in the Everglades, Coral
Gables and Miami Beach, where the
ocean temperature is always 82, air
83.
I introduced the boys to the photo-
graphing deputy sheriff at the County
Jail, who mugged and finger-printed
us... (just in case)... and then we
looked in on the rest of the photo
boys and news editors.
Ivano and Ballard are two fine boys
and an asset to the 659 organization,
and I was proud to present them as,
types that represent the industry.
Some of the Miamians remarked:
"If these boys are the mine run of
your International Photographers we
would like to meet more of them."
Lykins to Make Travelogues
on Famous Kentucky Ground
JOSEPH LYKINS, International
Photographer, accompanied by
Percy Knight, left Hollywood in
mid-October for Cumberland and
Breathitt counties, in Eastern Ken-
tucky. The two expect to be away a
couple of months in the production
of several travelogues. Knight will
write the skits with a dramatic touch,
which will be photographed by
Lykins.
Eastern Kentucky has not been
visited to any extent by photogra-
phers, especially in Cumberland and
Breathitt counties. That section for
a generation has been famous for its
feuds and for its careful examina-
tion of visitors before extending the
glad hand.
Any handicaps that may be placed
in the way of casual visitors will not
be encountered by this International
Photographer, however as he is going
to his own country and to meet his
own people. He is a native of East-
ern Kentucky.
Left, Esselle Parichy, deputy sheriff, all set in case; Lucten K. Ballard and Paul Ivano in Miami jail. Right, prisoners'
vieiv of Miami.
November, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-seven
uoocos
so-eifiDts-
NEW STOCK
This ex-Spectrogram was obtained
without effort by this department.
Curves show that it is in pretty good
condition for the shape it, is in. Also
that the infra reds and infer greens
are all the vogue this season. This
stock has a non-halitosis base which
consists of a series of beautiful sun-
sets and in the event no exposure has
been made, due to non-swingie-over,
film can be developed and sunsets
placed in stock library. Also bear in
mind when you are using ex-Specto-
gram that Gamma is the third letter
in the Greek alphabet and not your
mother's mother. So do not expect
too much from an ex-Spectrogram.
HAVE you tried the new Du-East
Film? Type double X. Rebound-
ing flexibility and non-thicken-
ing base? This film is so fast that
a roll dropped off a 25-foot parallel
beat the assistant to the ground; that
the blues turn green with envy. So
fast in the reds that should your star
blush (I said IF she should) her face
would be chalky white. So sensitive
to red that the laboratory men cannot
wear red neckties.
It has been reported from Chicago
that Charles David of the Chicago
Local photographed a parade of Reds
and on the screen they looked like
white men. Also, that the film is so
fast the news men have a hard time
keeping up with it, and from reading
the "Sassiety Reporter" I had the
By OTTO PHOCUS
impression they were accustomed to
fast company.
At some of the studios where they
have been using one camera they
tried using one light, but the film was
not quite that fast. One assistant
that was considered very bright lost
his job becaue he was so bright he
fogged the film in the dark room. The
Du-East can be used in the far west
as well as the north and south.
ABOUT THAT VOTE
WELL, here we are everybody.
On the air again, and while
waiting for some one that wants some
shooting done I will interview my
assistant, Cerise "Red" Phylter, on
the political situation.
Well Red, who are you going to
vote for ?
Wyckoff.
You can't vote for Wyckoff this
time.
Why, isn't he going to run again?
You misunderstand. I mean at the
presidential election.
Well, Wyckoff is the best President
we ever had!
That's right, but I mean for Presi-
dent of the United States.
Oh, that's different. I like Roose-
velt, but I think I will vote for Louis
B. Mayer.
Why vote for Mayer? He is not
running for office.
That's right. But he is for Hoover,
and you never heard of a president
hiring assistant cameramen, did you ?
Well, that's not a bad idea, but you
must have other ideas.
I have. Didn't Hoover get us out
of the booths.
Yes. And most of us out of the
studios as well.
Well, that's different. I guess I
will vote for Roosevelt then.
Why change your mind ?
If Roosevelt gets in we will have
beer.
Maybe. Btit you will find it will
cost a whole lot more than it does
when you make it now.
Hell! Are they going to charge us
for it? I guess I will stick to Hoover
then.
All right. Tell me what you think
of the tariff situation.
Is that job open ?
No. That is not a job. It is a tax
that is put on imports from foreign
countries to protect home industry.
Was that Hoover's idea?
Yes.
Well, I'm against that. I don't see
why he put a 5 per cent tax on us.
We don't import anything from for-
eign countries.
You have got that all wrong. There
is no connection. Tell me what you
think of the forgotten man. Do you
know who he is ?
Yes. He is the assistant on the 25
foot parallel when lunch is called.
That's not bad, but not right. What
do you know about the R. F. C. ?
R. F. C. ? That means rewind film
carefully, doesn't it?
No. That stands for the Recon-
struction Finance Corporation. It is
sponsored by the Government and has
plenty of money and they have in-
vited the bankers and railroads to
borrow some. When they have been
taken care of they will pass it along
to other branches of industry, and if
it lasts long enough conditions are
bound to be better.
That's swell. I wish they would in-
vite me to borrow ten bucks. Do you
have to be paid up to get it?
It will not go to individuals so that
lets you out, but keep paid up regard-
less. Have you made up your mind
who you will vote for ?
No! Not yet. What is this I hear
about chickens and cars ?
That was a campaign slogan that
there would be a chicken in every pot
and 2 cars in every garage.
Oh, yes, I remember it now. But it
is all wrong. Sam Kress the druggist
found out years ago that half the
people in Hollywood didn't have pots
and instead of 2 cars in each garage
the finance companies have all the
cars in one garage.
Well, it's hardly that bad. What do
you think about the farmers ? They
have millions of bushels of rye and
corn rotting in the northwest.
That's their fault. Why don't they
bottle it like they do in California?
What do you think of the condition
of the unemployed ?
Well, speaking for myself I'm in
perfect condition.
That's enough of that. Now tell
me who you are going to vote for.
I don't know. After listening to both can-
didates over the radio it is pretty hard to
make up my mind. One says that if the other
pets in things will be worse. The other says
that they can't be worse. They are both
pretty smart men and one of them might he
right. I hardly think they can both be
wrong.
Well, what are you going to do about it?
You will have to make up your mind soon.
I have an idea, we won't have to take any
chances, and it might do the country a lot
of good.
What is it?
Why not let Hoover and Roosevelt merge.
Put them both in office and try both plat-
forms. Then if things did not work out,
fire them both and get a good production
manager and supervisor from one of the
studios and with the aid of some exploitation
things are bound to improve.
Well, I have my doubts. By the way, where
are you going to vote ?
I haven't made up my mind yet. I guess
in Hollywood some place.
Haven't you registered yet?
No. Are you supposed to register ?
Well, I guess that you won't vote this year
so we will now give Red the air once more.
Goo bye !
Thirty-eight
The
INTERNATIONAL PHOTOGRAPHER
November, 1932
Bob Roberts Collects Two
Broken Ribs on Alaskan Job
WORD reaches Hollywood that
Bob Roberts, cameraman with
M-G-M, suffered two broken
ribs while filming' "The Eskimo" in
Alaska. He was rushed by airplane
from Teller to Fairbanks for treat-
ment. Accompanying- him were Jerry
Jones, Pacific Alaska Airways pilot;
Frank Messenger, production man-
ager, and George Nogle, advance
Josiah (Bob) Roberts
agent and cameraman. Following
treatment he returned to Teller.
According to a Fairbanks paper o.»
Sept. 6, "Work on the film is coming
along at a good pace. The company
will move into winter quarters at Tel-
ler in a couple of weeks. Most of the
contingent will come out about Feb-
ruary, but some will remain all
winter."
It looks as though Bob is all pre-
pared for a right smart cold spell with
the latest in Alaskan chapeaus.
Entertainment Tax in Berlin
Falls Much Below Estimate
ESTIMATES of the Berlin Mu-
nicipal authorities provide for
a total entertainment tax of
9,519,000 marks for the fiscal year
April 1, 1932, to March 31, 1933. Dur-
ing- the first four months of the year
in question, ended July 31, the enter-
tainment tax as collected amounted
to 2.079,319 marks, as compared with
3,173,000 marks estimated, a deficit
of more than a million.
Paul Perry and Guy Jf ilkie
to Make Feature in India
ON their way to India to make
a super-feature native picture
with jungle animals Paul Perry
and Guy Wilkie sailed on the Mari-
posa October 21. In Honolulu the
cameramen will tranship to the Em-
press of Canada for Hong Kong.
From there they will proceed to Sing-
apore and Colombo, which latter city
will be their headquarters.
Messrs. Perry and Wilkie expect to
be away from Hollywood for at least
five months.
SHOW
HOME
MOVIES
OF
PLAY-
HOUSE
GRADE
On your 16 mm. films you have -far better
pictures than you've shown on your screen.
Fit your projector with Bausch & Lomb's
new BioDhor Lenses and see your shots leap
out brighter, clearer, in penetratinq detail.
Seven focal lengths, designed to fit stand
ard projectors, give picture widths of I to
I I feet, or more; projection distances, 3 to
100 feet and beyond. In every case with
the brilliant sharpness that movie audiences
find at theatres.
Ask your dealer. Or send for free folder
describing these remarkable Biophors.
BAUSCH & LOMB
OPTICAL COMPANY
678 St. Paul St. Rochester, N. Y.
CRESCENT BROKERAGE CORPORATION
Gustave A. Blumenreiter, President
INSURANCE IN ALL ITS BRANCHES
SPECIAL SERVICE FOR CAMERAMEN
Rolan C. Kennell, Manager
416 W. 8TH ST., LOS ANGELES TRINITY 8677
H8—-"?-v
In All the World No Other
Camera Like This!
Because it is the only
QUICK-ACTING, AUTOMATIC
WINDING, GROUND-GLASS-FOCUS-
ING CAMERA USING STANDARD
ROLL FILMS.
NO DOUBLE EXPOSURES WITH
"PAL KO" CAMERA.
Outdoor views, moving objects, interiors,
stills, portraits or distances. . . . No De-
tail too fine! No Distance too great! You
get them all perfectly with the Wonder
66
PALKO
99
Used by Government and Educational In-
stitution Experts where perfect records
are required, yet so simple, so positive,
so dependable, that a novice or even a
youngster can operate it and get perfect
pictures.
— 3 Cameras in 1 —
PALKO enables you to take full post-card
3A, 2/3 or 1/3 size pictures. . . . As many
as 19 exposures on a 6 exposure film and
NO SEPARATE PARTS OR ATTACH-
MENTS ARE NECESSARY.
GROUND GLASS FOCUSING
GETS PERFECT PICTURES
Send for FREE Catalog.
PALKO, INC.
823 Washington Blvd., Dept. C.
CHICAGO, ILL. U. S. A.
November, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-nine
spp
ICTEHS^
prelaw MwoK^ft in J WiqhKFhKTt in Tiayrinw-
FfjSnm'ltiffariltus and many »IW effects.
Ask your dealer, or write to
GEORGE H.SCHEIBE
ORIGINATOR OF EFFECT FILTERS
W. A. SICKNER
FIRST CAMERAMAN
COMPLETE AKELEY
EQUIPMENT
CRestview 7255 GLadstone 5083
HEmpstead 1128
CINEX TESTING MACHINES
CINEX POLISHING MACHINES
Barsam - Tollar
Mechanical Works
7239 Santa Monica Blvd.
Phone GRanite 9707 Hollywood, California
Phone GLadstone 4151
HOLLYWOOD
STATE BANK
The only bank in the Industrial
District of Hollywood under
State supervision
Santa Monica Boulevard at
Highland Avenue
Take Your Optical Problems to
C. C. MINOR
CONSULTING ENGINEER
OPTICAL TECHNICIAN
Special Cinema Lenses, Prisms,
Optical Flats, Etc. Your Ideas
Developed and Materialized
New and superior Optical Unit
for sound on film.
GRanite 7331
1806 Whitlev Ave., Hollywood,
Calif.
AGFA RAW FILM CORPORATION
6368 SANTA MONICA BOULEVARD HOLLYWOOD, CALIFORNIA
FACTORIES: BINGHAMTON, NEW YORK, U.S.A.
now
in A
menca
CAMERAS .. PRINTERS . . .
DEVELOPING MACHINES . .
LABORATORY EOUIPMENT .
PORTABLE SOUND PROJECTORS
EDITING MACHINES . . . .
'Smus
Andre Debbie
115 WEST 45:? STREET
,INC.
NEW YORK
Forty
The INTERNATIONAL PHOTOGRAPHER
November, 1932
BLACK AND WHITE
SOUND AND SILENT
16mm* Reduction Prints
from 35mm* Negative
To 16mm. clients is extended the benefit of
the same laboratory facilities developed in
our necessarily exacting 35 mm. department —
both in craftsmanship and quick service.
Dunning Process Company
932 North La Brea, Hollywood
SL 3959
CLASSIFIED
Alvin Wyckoff
BASS-CHICAGO
Pays Spot Cash for used
Bell & Howell Professional
Cameras and De Brie
Motion Picture Cameras.
Bass Camera Co.
179 W. Madison St., Chicago
We Want 3 5mm., travel,
fight, thrill and curosity films, from
all parts of the earth and unusual
and interesting films depicting the
life and habits of Asiatic peoples
as well as others.
Send us description and length of
subject. Cash will be remitted for
any subject accepted.
We have for sale negative and
positive short ends, both Eastman
and Du Pont.
Continental Film-Craft, Inc.
1611 Cosmo Street, Hollywood, Calif.
Dr. G. Floyd Jackman
DENTIST
Member Local No. 659
706 Hollywood First National Bldg.
Hollywood Blvd. at Highland Ave.
GLadstone 7507 Hours: 9 to 5
And by Appointment
FOR SALE OR RENT— Mitchell and Bell &
Howell silenced cameras, follow focus. Pan
lenses, free head, corrected new aperture.
Akeley, De Brie, Pathe, Universal, Prevost,
Willart, De Vry, Eyemo, Sept, Leica. Motors,
printers, lighting equipment. Also every va-
riety of IB mm. and still cameras and projec-
tors. Everything photographic bought, sold,
rented and repaired. Send for our bargain
catalogue. Open 8 A.M. to 10 P.M. Holly-
wood Camera Exchange, 1600 Cahuenga Blvd.
Phone GLadstone 2507. Hollywood 9431. Cable
address Hocamex.
FOR SALE — Finest portable film recording
outfit ever built, including recording head
for Mitchell camera, can be used as single or
double film system, Samson recording ampli-
fier microphones, cables, etc. Beautiful qual-
ity recording. Very low priced for cash. Will
sell amplifier or recorder separately. Don
Malkames, Hazleton, Penna.
FOR SALE— 408 ft. Pittman, dissolve and
turret front, 4 Goerz lens from 50 mm to
6 in., tripod with pan and tilt ; $150 takes all.
Hillside 7462.
FOR SALE— $275 ; De Brie movie : Zeiss
lenses F.3.5, 50 mm. and F.3.5 75 mm. 8
magazines. Cases. Tripod. HE. 2375.
PAYS CASH FOR CAMERAS
LENSES
Peterson's Camera Exchange
i5(. SO. BROADWAY - UPSTAIRS MUTUAl 452?
Brass
Aluminum
Bronze
CASTINGS
CAMERA HEAD CASTING
A SPECIALTY
3020 South Main St., Los Angeles-
Stephenson Foundry —
Office, PRospect 8894
Foundry, Richmond 1302
Come in and discuss your experimental
problems
HARRY A. LOVE
PLINY HORNE, Representative
ROY DAVIDGE FILM
LABORATORIES
An Exclusive ' 'Daily ' ' La boratory
Quality and Service
6701-6715 SANTA MONICA BOULEVARD
GRanite 3108
AKELEY
brings you a
SIMPLIFIED Focusing SHIFT
A partial turn of a single knob, conveniently mounted on
the flywheel housing at the side of the camera, instantly re-
places the film with a focusing ground glass, and at the
same time automatically positions the shutter.
Where the use of a blimp is necessary this simplified device
offers these important advantages: It permits the use of a
smaller, lighter blimp; the combining of the shift and focus-
ing turret affords direct and easy control from outside the
blimp; the focusing finder remaining in a fixed position al-
lows focusing without opening the blimp.
This is but another of the advances offered by Akeley
Dual Cameras. Write for full details and folder.
AKELEY
175 VARICK ST.
CAMERA
NEW YORK, N. y.
Camera
Maintenance
The economical maintenance of
camera equipment requires thorough-
ly trained men in each division of the
equipment, precision machines to
handle the various types of work and
a complete supply of replacement parts-
Our maintenance men have had
years of experience on their respective
work and are able to accurately and
quickly complete repairs. Our mod-
ern plant is equipped with the latest
type machines and a large stock of
parts for replacements enables us to
make repairs without delay.
Mitchell Camera Corporation
665 N. Robertson Boulevard
West Hollywood, Calif.
Cable Address "MITCAMCO" Phone OXford 1051
INTERNATIONAL
PHOTOGRAPHER
HOLLYWOOD
In bright sunlight or deep shadow,
under incandescent or arc light
moot.
SuperpaN
will give a better result than
is otherwise obtainable
"The (jfllPOifl) trade mark has never been
placed on an inferior product"
SMITH & All IH. LTD.
6656 Santa Monica Baulevard, Hollywood 5147
HOLLYWOOD, CALIFORNIA
Pacific Coast Distributors for
Du Pont Film Mfg. Corp.
35 West 45th Street New York City
December, 1932 The INTERNATIONAL PHOTOGRAPHER One
The RCA Victor Company
Announces
Highest Fidelity Sound
The supreme achievement in the field of sound reproducing equipment
for theatres of all sizes
Assuring accurate reproduction of the widest ranges in sound recording
attained in the production of any sound-on-film motion picture at any studio
NOW AVAILABLE IN FOUR TYPES:
STANDARD SUPER SIZE STANDARD LARGE SIZE
For Theatres having 2,500 to For Theatres having 1,400 to
4,000 seats. 2,500 seats.
STANDARD SMALL SIZE SPECIAL SIZE
For Theatres having 600 to For Theatres up to 600 seats.
1,400 seats.
LEASE FOR CASH or DEFERRED PAYMENTS
The only all AC Operated Equipment for both large and small theatres.
NEW FEATURES OF STANDARD SUPER, LARGE and SMALL SIZES
| New "rotary stabilizer" soundheads — no sound gate — no flutter — no "wow" — free running drum.
2 Direct drive soundheads — no chains — no belts — few parts requiring replacement — simplest possible design.
3 Improved AC operated amplifier — extended frequency — richer tone — more natural sound.
4 Remote Volume Control at projector station and auditorium on larger equipments.
5 Ten-foot loudspeakers for De Luxe theatres to give reproduction of maximum frequency range — particularly low fre-
quencies.
SPECIAL SIZE
I Greatly improved AC operated amplifier — highest fidelity sound — flat characteristics — greater power.
2 DC exciter lamp — more low frequencies.
3 New monitor amplifier speaker — no power diverted from main amplifier.
4 Belt drive soundheads — no noise — smooth operation.
5 Separate fader switch for wall mounting.
Orders now being accepted for December delivery
For detailed information concerning this new equipment or the modernizing of your present apparatus, communicate with
PHOTOPHONE DIVISION
RCA Victor Company, Inc.
Camden, N. J. (RCjflX*3P"'* ) Branches Principal Cities of the World
3m>
INTERNATIONAL
PHOTO GPAPHE R
Official Bulletin of the International
Photographers of the Motion Pic-
ture Industries, Local No. 659, of
the International Alliance of The-
atrical Stage Employes and Mov-
ing Picture Machine Operators of
the United States and Canada.
Affiliated with
Los Angeles Amusement Federa-
tion, California State Theatrical
Federation, California State Fed-
eration of Labor, American Fed-
eration of Labor, and Federated
Voters of the Los Angeles Amuse-
ment Organizations.
Vol. 4
HOLLYWOOD, CALIFORNIA, DECEMBER, 1932
No. 11
"Capital is the fruit of labor, and
could
not exist if labor had not first existed.
Labor, therefore, deserves much the higher consideration." — Abraham Lincoln.
C 0
N T
E N T S
Cover "Arrowhead"
The Newsreeler's Dope Sheet
.24
Ira Hoke
By Ray Fernstrom
Parichy Praises Antillean Paree. . .
. . 3
RCA Introduces "Highest Fidelity"..
.29
By Esselle Pa rich a
Here Is Judd's Tale About Wyckoff.
.. 5
A Comment or Two by the Editor
30
By Samuel Judd
William (Bill) German Drops In....
.32
Edison Parent of Mechanical Age. .
. . 6
Lee Garmes Wins Academy's Award. .
.32
By Earl Theisen
Arrowhead's Genesis a Mystery
By Ira Hoke
8
Looking In on Just a Few New Ones.
By George Blaisde.ll
.32
Cruising Photographer Meets Rain . .
. .10
From the Feminine Viewpoint
.36
By Nelson C. McEdward
By Helen Boyce
Chicago 666
17
International Photographers' Family
By Fred A. Felbinger
Album
37
No Ennui for Travelers in China. . .
. .22
Out of Focus
.38
By Jack Smith
By Charles P. Boyle
C'A'v
The International Photographer is published monthly in Hollywood by Local 659, I. A.T.S,E.
and M. P. M. 0. of the United States and Canada
Entered as second class matter Sept. 30, 1930, at the Post Office at Los Angeles, Calif., under
the act of March 3, 1879
Copyright 1932 by Local 659, I. A. T. S. E. and M. P. M. 0. of the United States and Canada
Howard E. Hurd, Publisher's Agent
George Blaisdell ----- Editor Fred A. Felbinger - Midwest Correspondent
Ira Hoke - Associate Editor Lewis W. Physioc ) r*rh*,irn1 Fditnr*
Esselle Parichy - - Staff Correspondent Fred Westerberg ) l CCMllcai ^a«°™
John Corydon Hill, Art Editor
Office of publication, 1605 North Cahuenga Avenue, Hollywood, California. HEmpstead 1128
James J. Finn, 1 West 47th St., New York, Eastern Representative.
McGill's, 179 and 218 Elizabeth Street, Melbourne, Australian and New Zealand agents.
Subscription Rates — United States and Canada, $3 a year. Single copies, 25 cents
The members of this Local, together with those of our sister Locals, No. 644 in New York, No. 666 in Chicago, and
No. 665 in Toronto, represent the entire personnel of photographers now engaged in professional production of
motion pictures in the United States and Canada. Thus THE INTERNATIONAL PHOTOGRAPHER becomes the
voice of the Entire Craft, covering a field that reaches from coast to coast across North America.
Printed in the U. S. A. at Hollywood, California.
\T/
December, 1932
The INTERNATIONAL PHOTOGRAPHER
Three
Parichy Praises Antillian Pane
Revels in Old World Atmosphere Clinging- to
Havana's Prado with Its Gay Sidewalk
Promenades and Alluring- Cafes
By ESSELLE PARICHY
Staff Correspondent International Photographer
With His Own Illustrations
BROADWAY, to the south,
en route to Havana, is
halted in the cul-de-sac
called Key West, Florida, after
tripping seaward over the coral
rosary of verdured atolls that
link the oversea railroad. Then
a few hours aboard a luxuriant
steamer and you are in the
Paris of the Antilles.
Although I have visited Hav-
ana almost to the term of com-
muting I still feel the Old World
charm of my first visit.
The initial landmark to greet
the eye from seaward is El
Morro. Grim, forbidding, is this
old war-scarred sentinel of cen-
turies as we pass it at twilight,
while beyond the dusky city is
blinking a million eyes and
stretching for the night life
with all its seductive essence of
cosmopolitan lure.
Latin Glamor
Not even in Paris, Barcelona
or Madrid can one boast gayer
sidewalk promenades and cafes
to be enjoyed along Havana's
Prado. Even without Bacardi-
fused impressions the eye is in-
trigued with the glamor of
Latin hospitality.
Many a languorous hour I
lulled away at the attractive
sidewalk cafe of the Saratoga,
fronting the magnificent new
Capitol Building, and watched
the perambulating populace . . .
a veritable potpourri of con-
trasts . . . Americans, Spaniards,
Cubans, Chinese and blacks . . .
beggars and vendors inter-
spersed with the lorgnetted elite
that seemed to gaze downward
from personal heights.
Continental Atmosphere
One marvels, at such conti-
nental atmosphere so close to
the U. S. shores . . . winding,
narrow streets flanked with
shuttered buildings . . . open
doorways that portal sunny
patios . . . laurel bordered ave-
nues secluding cozy nooks . . .
smart shops where you can pur-
chase the dernier cri of the
boulevards of Paris . . . perfumes
and Spanish shawls . . . aigret
and bird of paradise fancies . . .
French gowns and hats . . . laces,
linens and embroideries in end-
less profusion, and wines and
liqueurs without independence
and "hurrahs."
Here pre-Volstead beverages
can be sipped in comfort with-
out straining the eyeballs to
lamp the flatfoot.
The food is excellent, too, but
why mention it, for you can
always get that back home . . .
Try a "Presidente" or "Sara-
toga Special" . . . one won't hurt
you and just to get away from
the home routine. Or you might
ask for a "Daiquiri" (dye-kee-
ree), all cool, pink and soothing
in a thin-stemmed glass . . . your
first thought is "What a lady-
like drink this is !"
But don't fool yourself ... it
has goblins in it ... a mixture of
Bacardi, Vermouth, lime and
shaved ice, and there are a
few "don'ts" that go with the
formula :
Don'ts for Doers
Don't drink too many of them be-
fore or after dinner. . .you are sup-
posed to be from a dry country.
Don't overtip the waiter, for he'll
think you are in your cups.
Don't refuse Cuban money. . .you
get five quarters for a dollar in silver.
Don't try to sing theme songs;
they know them better than you do.
Don't flirt with pretty, sparkling
Cuban girls, as the chaperoning moth-
ers are ever in their wake.
Don't hiss like a serpent unless you
want service or you'll call every
waiter and vendor around you . . .
hissing in Cuba means a "come on."
Don't argue with the wife (if you
Left, Fraternidad Park and statue of Indian queen who named Havana. Right, the eagle that once adorned the Maine
Monument, blown down by 1926 hurricane.
Four
The INTERNATIONAL PHOTOGRAPHER
December, 1932
Left, winding narrow streets flanked with shuttered buildings. Right, Fraternidad Park with statue symbolizing the
queen, of Indian tribe who named Havana.
have one) when she says your eyes
look sleepy. . .she knows.
All these "don'ts" accompany
Bronx cocktails, dry martinis,
gin fizzes, whiskey sours, Tom
Collinses, gin bucks, side cars,
dump carts, horses' necks or
what have you . . . But don't
bear down too hard on these
liquid delights of Havana, as
there are other entertainments
that will hold your attention . . .
racing at Oriental Park, golf at
Havana Country Club, bathing
at La Playa, gaming at the
Casino and jai alai at the
Fronton.
But this is every day fare in
Havana, and I wanted to see
something that I had not seen
before, so I hizz-zz-zzed and
pronto, I was taken to see the
Cuban native dance, where the
danzon, a modified tango, was in
full sway. Brilliant and fast is
this Cuban dance, but the hors
d'oeuvres of the evening I was
yet to feast on was the country
dance called Son, with its intri-
cate variations and fast cadence
of whirls and clicking heels that
responded to the beat of the
bango drums.
Sees the Danzon
Two orchestras play and there
are no intermissions . . . the
dance goes on and on. There
The inner harbor of Havana ivith the new Capitol Building in the background.
seems to be more women than
men and I was informed that
this is a sort of taxi-dance acad-
emy and the girls get 75 per
cent of the ticket receipts.
From a Latin standpoint this
is considered better than work-
ing in shops and stores ; combin-
ing recreation and livelihood, as
it were, and they are all well
chaperoned.
Always Dramatic
I noticed a few in the group
wearing a special kind of dress
with a matching heavy silk cord
about the waist Padre fashion,
and learned this was called a
"Promesa." These girls have
promised their favorite saint to
wear this dress for six months
in gratitude for returning health
to some ill member of the
family.
Purple, white and yellow are
the colors used according to the
symbol of the saint. Although
a dance hall seems hardly an in-
violable spot, it does not seem
incongruous to these Latin per-
sonalities, who ever are enacting
a tremendous drama in every-
thing they do.
Ravishingly fascinating are
these Cuban types, who cast
covert glances from heavy lidded
eyes that could conquer king-
doms.
Contrasting the prosaic work-
a-day world is romantic Havana
close at hand, a panaceac oasis
with everything to delight . . .
May it ever retain that Old
World charm!
(To be continued)
December, 1932
The INTERNATIONAL PHOTOGRAPHER
Five
Here Isjudd ys Tale About IVyckoff
Story Begins in Ozarks Where Writer Sits In
with Director-Cameraman and Learns
About Pictures from Him
By SAMUEL JUDD
JUST before Thanksgiving Al-
vin Wyckoff, recently returned
from making an industrial pic-
ture in Missouri, received a letter
from Samuel Judd of St. Louis.
Mr. Judd had written the dialogue
for the production. During the
location trip the enthusiastic writer
had been asked to set down his im-
pressions and had promised so to
do. The story written in fulfill-
ment was accompanied by a brief
letter in part as follows:
Dear Mr. Wyckoff:
Remember that you asked for
this. I think it serves you right.
Here are about a thousand
words, which is more than you
asked for, but which allows some-
thing for any shrinkage you care
to make. These words were writ-
ten in a log cabin on an Ozark
hillside with the wind whistling
outside, with the ground covered
with snow, with the temperature
about 12 above, with a wood fire
going and dogs lying around it —
in fact, there is no excuse for these
thousand words not being better.
Exceeding1 glad was I to hear
that you liked the dialogue. I am
beginning to like it myself. I tried
to account for all the footage, but
if some is missed I am sure it will
be safe in your expert though
harsh hands. (See story.)
In fact, I strive to please.
Hoping you are the same.
SAMUEL JUDD.
WHEN Louis H. Egan, president
of Union Electric Light and
Power Companv of St. Louis
and also president of Ozarks, Inc.,
asked me to run down to the Lake
of the Ozarks in Missouri and write
some dialogue for a motion picture to
be made of the lake and dam little
did I know what I was getting into.
In the first place I brought what is
often laughingly referred to as "the
outside viewpoint" to the motion pic-
tures. (This story really is going to
be about me. I started to write about
Alvin Wyckoff, but I'm sure you all
know about him already.) I had
seen pictures of movie cameras, but I
thought they still were run by cranks.
You know what I mean.
Imagine my surprise when I saw a
switch pushed and the camera start
to turn by electricity miles away from
a light socket. Imagine my further
surprise when I obligingly started to
pick up and carry for a while what
looked like a long and narrow suit-
case, only to find it contained three
tons of batteries.
But pardon me, please. I'm getting
ahead too fast.
I was told one morning to go down
to the lake as fast as I could, look up
Mr. Wyckoff, and work with him.
That was all. Nothing was said
about the three musketeers. Nothing
was said about air rifles carried to
shoot at blinding headlights at night.
Gangsters at Breakfast
Something was said about artistic
temperament, but nothing was said
about it running to impersonation of
gangsters at breakfast, just to startle
the non-startleable lady manager of
the hotel. It was just as well. Ordi-
narily I dislike people who are happy
at breakfast.
Then out in the field we w<*it. I
suppose I should say out on location,
and that will be all right if "location"
is plural in the motion picture sense.
Scenes were made, all to be repro-
duced in color, I was told, of every
nook and inlet of that lake and its
surroundings from every conceivable
angle and from every kind of motor-
driven contrivance except a sub-
marine.
That was probably the only over-
sight, because there is a town below
the lake, flooded when the dam was
closed. The town, however, is fifty
feet below the surface, and I'm sure
Mr. Wyckoff would not have been
satisfied with the light down there.
How different he was after break-
fast! Most of us are. But he, dif-
ferent in most things, was differently
different. Most people are human fc-w
10 o'clock, but not before. He was
human before, but not after.
As soon as the camera was set up
he became the highly-trained tech-
nician, the cinematographer par ex-
cellence, the president of Inter-
national Photographers, the artist
who had supervised the photography
of such stars as Gloria Swanson,
Thomas Meighan and Geraldine Far-
rar. I marveled at him. At times I
wanted to sock him.
Three Musketeers
But I didn't. Neither did anyone
else, and anybody who had would
have had to deal first with the two
other musketeers, Bill Jolley, the
assistant cameraman, and Lee Murin,
who was doing the business managing.
How those three did stick together.
Veterans of various campaigns and
pictures they appeared to be, and
they got along together like three
trapeze performers in nublic appear-
ance.
Alvin and Bill and Lee they were
to each other, and I didn't hear a
jarring note in a week. The weather
was rather good, however, and the
lake is a beautiful place.
Alvin Wyckoff, out in the field, or
is it on location, appears to be hard.
I said appears to be. He seemed un-
necessarily harsh, for instance, to a
girl who was supposed to ride a surf-
board behind a speeding motorboat
and who failed because something
appeared to me to be wrong with the
board's hook-up.
All he considered was her failure.
Board, ropes, boat, nothing else mat-
tered. She was supposed to ride that
board and she didn't. Therefore she
must go home.
The Impersonal Director
After watching him a few days I
became aware that there was nothing
personal in his censure. He had, in
the case referred to, not struck at the
girl but the failure. He had no
patience with anything short of per-
fection, and couldn't help but show it.
Anything imperfect must go. He and
I got along very well.
He seemed to have infinite patience.
One morning we had a boy scout troop
ready for a short scene, and were
having trouble with the sun. For
hours he rehearsed them, just to keep
them occupied, for a shot that finally
took five minutes.
It was the same with a troop of
girl scouts, and their guardians and
proud mammas. His gallantry was
impeccable, sometimes cordially so,
and sometimes icily so, but always so.
If I had a lot of money I wouldn't
take it for the experience. It was my
first contact with the motion picture
industry since the earlier days — in
fact, since it became an industry. If
I had tried to picture the business,
but I hadn't, I should most likely have
thought of the cameraman as a cigar-
smoking individual in his shirtsleeves
turning a crank and of the director
as a rather heavy-set individual bawl-
ing at a beautiful blond through a
megaphone.
But then I met Alvin Wyckoff.
And I learned about pictures from
him.
Academy's Research Council
Preparing Quarterly Report
THE Research Council of the
Academy of Motion Picture Arts
and Sciences has five sub-com-
mittees actively engaged in study of
motion picture technical problems,
while one group, which has been in-
vestigating the proposed standardiza-
tion of costumes and set tints for the
purpose of preventing "halos" under
the brilliant lighting used on studio
sets, is compiling a final report.
Reports by all the sub-committees
will be presented at the quarterly
meeting of the Council, to be held in
the near future.
Six
The INTERNATIONAL PHOTOGRAPHER
December, 1932
Edison Parent of Mechanical Age
Developed to Final Stage Not Only His Own
Conceptions but Also Those of Others
Which They Had Abandoned
By EARL THEISEIN
Honorary Curator Motion Picture
Los Angeles Museum
THOMAS A. EDISON, the great
inventor, earned his greatness.
On every hand can be seen the
results of his life — his scientific con-
tributions left behind have caused a
revision or turning point in life to-
day. Through his inventions he wove
a new pattern into the warp of this
mechanical era; in fact, he did much
to cause this mechanical age. People
do things differently because of Edi-
son. Where his hands touched whole
systems of living were revamped and
bettered — as King Midas in mythol-
ogy, whose touch turned things to
gold.
Edison is populai-ly credited with
being the "Father" of many new
things, but the student of the indus-
trial arts finds something other than
fatherhood in his inventions. His
work was more than like that of a
mother. He would take a germ idea
from others and develop it; or adopt
the responsibility for a brain-child
in swaddling clothes, one that numer-
ous others before him had tried to
raise to usefulness, and with all the
astuteness of a mother raise the son
to manhood to serve. It is in this
manner he took ideas that others for
generations had worked on and then
cast aside.
Edison's fame lies not alone in
originality but in bringing to ma-
turity. He has the credit of perfect-
ing the electric light even though
more than a score of pioneers tried
to make electric lamps after Hum-
phrey Davy discovered the underly-
ing principle of them in 1802. The
same is true of the phonograph and
the motion picture. It is particuarly
noticeable, though, in the motion pic-
ture.
Even before Roget, who compiled
the Thesaurus, and who discovered
the underlying principle of the mo-
tion picture in his discovery of "Per-
sistence of Vision" in 1826, a score of
men had tried to make pictures move,
and after this practically every year
brought forth a new man who used all
his resources to make moving pictures.
Their pictures moved in a sense, but
it was due to Edison they found a
tongue to tell stories.
Nurse to Motion Picture
In 1877 Edison started his helper
Dickson to working on the problem
of giving eyes to his phonograph,
After a series of experiments cover-
ing a period of two years they finally
late in '89 nursed the idea to the
point where pictures crawled out of
the crib and "gadded" about.
These first experiments were closely
parallel to the phonograph, in fact
one of the earliest pictures made was
of Dickson walking out on the screen
and raising his hat and saying as a
welcome to Edison upon his return
from Europe, in synchronization with
a phonograph record, "Good morning,
Mr. Edison. Glad to see you back."
From here these two men worked
and worried with their "Kinetoscope,"
as it was called, bringing it to the
point of usefulness. They would pho-
Thc Black Maria, kindergarten of the motion picture, completed February 1,
1893, at the Edison Laboratory in Orange, N. J.
Photo courtesy Leo G. Young. First printed in "History of the Kineto Phonograph,"
by W. K. L. Dickson, 1895.
tograph bits of nonsense, "bits of
slapstick comedy staged in a solemn
laboratory," as Ramsey points out,
and after photographing it Dickson,
like a wet nurse, would go to the
"dark room" of the laboratory and
put the kinetoscopic pictures through
the solutions, and when through hang
the pictures up to dry.
First Picture Studio
It might be said Edison built the
first studio in order to have a play-
ground for his Kinetoscope. At any
rate the first studio was completed
by him in an optimistical mood on
February 1, 1893, with a cost of
$637.67. It was a rough building,
covered with black wall paper of
rather sombre appearance, which
promptly acquired the pseudonym of
"Black Maria," that being the current
patois for the patrol wagon.
The building was on rollers on a
track so that it might follow the sun
as photography was still rather slow
and the inside of the stage was hung
in black drops to get the most in pho-
tographic speed. This gave a con-
trasty, silhouettelike picture, but pho-
tographic quality was to them as
evening clothes are to the office boy
before he becomes president. Like the
active office boy they were concerned
with movement rather than appear-
ance. And these early pictures showed
movement if they showed nothing
else.
Edison's first star in this studio
was Fred Ott, a worker in his lab-
oratories, who was photographed
sneezing, a thing he could do well or-
dinarily, but in this instance both
snuff and red pepper were required
to bring a sneeze, which was re-
corded in all dignity.
Following the first few initial pic-
tures they began casting about for
outside talent, choosing such well
known persons as Eugene Sandow,
the strong man; Mae Lucas, the Gai-
ety Girl from the famous George Ed-
wards' Girl Show; Annie Oakley,
from Buffalo Bill's Wild West Show;
Mme. Bertholdi, the contortionist.
Dr. Colton, who invented gas in
dentistry, was pictured while taking
out a tooth. All these feature pro-
ductions were less than fifty feet in
length.
First Peep-Show Parlor
The first parlor for showing these
pictures from the "Black Maria" was
opened on April 14, 1894. at 1155
Broadway, New York. This show
was opened by the Holland Brothers
on this date after Edison had sent
the first order of ten peep-shows to
them eight days earlier.
A visitor here would pay 25 cents
at the door and then go down the
line of peep-boxes and look into the
eyepiece to see the new novelty of
pictures that moved. These visitors
would still hear after entering and
be plagued with the cries of the
bally-hoo man pleading, coddling and
December, 1932
The INTERNATIONAL PHOTOGRAPHER
S<rc».
threatening others on the street out-
side to enter and see Edison's new
marvel. It was a synchronization of
noisy jumble quite like the talkers
of 1927.
The first story telling- pictures were
made by Edison. "The Life of an Am-
erican Fireman," made in 1900 in a
length of 100 feet, is the earliest at-
tempt at forming a story plot. This
was followed three years later by the
first really pretentious picture, "The
Great Train Robbery," made with a
gesture and flourish that has since
been adopted as the mode for pro-
ducers today.
The picture w« directed and pho-
tographed by Edwin S. Porter, then
working for Edison and later in 1912
the partner of Adolph Zukor when
Famous Players was formed. Into it
entered all the resources available at
this time, including those of the
Lackawanna Railroad. The cast for
this famous picture included Frank
Hanaway, a stunt rider in the TTnited
States Cavalry; George Barnes, a
performer at Huber's Museum; Max
Aronson, later known as Broncho
Billy Anderson, who on way to loca-
tion fell from his horse and led the
animal back to the liverv stable, and
Marie Murray, the "Phoebe Snow"
Girl, the latter the railroad's adver-
tising mascot.
The picture when finished was
about 800 feet in length and opened
its first night at Hammerstein's on
Broadway; the Eden Musee, and at
Huber's Museum.
Following this first night it was
road-showed all over the country for
several years, with great success.
Even today it is vastly interesting
from other than a standpoint of cu-
riosity. It is a picture that gave the
motion picture a definite place and
will live as the most famous subject
in all the history of the screen.
The industry was now placed on
its feet and could falteringly walk
and tell things after the manner of
the young. And at this time while
the nickelodeons held sway, pictures
permitted themselves all the vagaries
of youth, in which a lot of unorgan-
ized phantasy and seriousness some-
how were mixed in the same train of
thought.
Last Edison Picture
Edison continued like a watchful
parent guiding and counseling until
1918, when on February 28 he re-
leased "The Unbeliever," directed by
Alan Crosland. This was the last
picture made by the man who had
breathed life into pictures to make
them both live and move.
The studio he had built as a kin-
dergarten had by this time become an
institution — a monument to himself;
and this monument is something of a
promontory upon which man may
climb to see just a bit farther.
Edison Honor Roll, 1910-1912
Players
Elsie McCloud
Richard Ridgley
Laura Sawyer
Richard Neil
Bessie Learn
Yale Boss
Edna Mae Weick
Gladys Hulette
Mary Fuller
Edwin August
Viola Dana
Edna Flugrath
Shirley Mason
May Abbey
William Wadsworth
Arthur Hausman
Frank McGlynn
William West
George Lessey
John R. Cumpson
Mae Wells
Gertrude McCoy
Alice Washburn
Dan Mason
Charles M. Seay
Edward Bolton
Charles Sutton
Guy Coombs
Carrie Clark Ward
Jeanie McPherson
Richard Tucker
Harry Beaumont
Ben Wilson
Pat O'Malley
Cameramen
John H. Theiss
Lewis Physioc
Ned Van Buren
Richard Fryer
Otto Brautishan
Henry Bredeson
James S. Brown
Frederick Brace
George Lane
James Ramsey
Frank Kugler
Charles Gilson
John Bauman
Phil Rossen
Directors
Harold Shaw
Frank Apfel
Frank McGlynn
J. Searle Dawley
Charles Brabin
Charles M. Seay
Charles France
Richard Ridglev
C. Jay Williams
Walter Edwards
George Lessey
Berlin Theatre Statistics
From official statistics recently pub-
lished it appears that every inhabitant
of Berlin is going to the cinema an
average of thirteen times a year.
Total attendance during 1931 amount-
ed to 55,600,000. This represents a
steady decline since 1928, when attend-
ance figures reached more than 60,-
000,000.
^L* aSd^>
orv_^— .
Herbert Prior
Mabel Trunnelle
Marc MacDermott
Miriam Nesbitt
Charles Ogle
Robert Brower
Harry Eytinge
Robert O'Connor
Drawn by J. Stuart Blackton for Evening World, New York, March 12, 1896.
When the drawing had been completed Edison, at that time %9 years old, said
to artist: "I can draw, too." He made good his remark by drawing the pig
and subscribing the signature made famous to a generation of phonograph
users. The meeting had aroused the interest in motion pictures of the artist.
Four months later was organized what became the Vitagraph Company,
the controlling triumvirate of Rock, Blackton and Smith becoming in a few
years one of the most powerful factors in the industry. At one time it was
admitted the three men were splitting over $6,000,000 annually in profits.
Eight
The INTERNATIONAL PHOTOGRAPHER
December, 1932
Arrowhead's Genesis a Mystery
Legends of Indian and Even Mormon Sources
Clash with Scientists Who See in Great
Scar Simply Natural Phenomenon
Associate
By IRA B. HOKE
Editor International Photographer
In this revelation there appeared to
me a great Arrowhead smitten upon
a broad hillside by the will of God,
our Eternal Father, to mark for us
the fertile valley below, whereon ye
will find peace and plenty after the
long, bitter trail to the
westward across the
desert.
A MORMON legend
has it that thus
Brigham Young
saw in one of his visions
the great mark upon a
distant hill and sent his
colonists unerringly to
the San Bernardino val-
ley of California, where
in the very shadow of
the colossal arrowhead
they laid out wide streets
and founded a beautiful
city.
Historians, however,
question the legend,
claiming that Captain
Jefferson Hunt, a Mor-
mon, previously had re-
ported the Arrowhead to
his chief, thus robbing
the tale of some of its
glory.
Countless legends have
been woven about the
huge Arrowhead etched
in the hillside on the
south slope of the San
Bernardino foothills.
Probably the most
stirring of these is that
of an ancient race of
highly cultured people,
presumably of Toltec or
Inca origin, that once
roamed in great num-
bers along the Pacific
coast. It was they,
claims the legend, who
fashioned the Arrow-
head to guide their no-
madic people to the life-
giving waters that rose in warm bub-
bles almost from the very tip of the
guiding pointer.
Father Torquemada, Spanish ex-
plore!-, in 1542 mentions the fair com-
plexioned natives of California and
likens their appearance and mode of
worship to the Toltecs and the Incas.
Glidden Confirms
Ralph Glidden, archaeologist of the
channel islands off the California
coast, finds in his recent excavations
many objects that tend to confirm
Torquemada's theory. Mr. Glidden
goes so far as to estimate that 15,000
years have elapsed since such a civil-
ization was at its height.
Assuming the general idea of these
theories a possibility, it would not be
strange if a people as energetic as
the Toltecs or the Incas might have
With the dawn is cast the shadow of the Great Spirit
coming to see if his braves have passed safely
through the night
Like the copy for the front cover this picture was photo-
graphed by Mr. Hoke
conceived the idea of converting a
natural landslide of white quartz into
a form that would be of use to them.
What more appropriate figure could
they have fashioned than an arrow-
head? For in all nations and through
all ages the arrow is known as a
pointer of direction.
Indian legend differs somewhat in
that it regards the mark with rever-
ence, as a sign made by their Great
Spirit to guide the redmen to this
fertile valley where they could live
in peace, secure against their foes,
and enjoy the game of the abounding
forest and the fruits of the field.
The Coahuilla Indians, for instance,
tell that hundreds of years ago their
tribe lived far to the eastward (prob-
ably in what is now New Mexico or
Arizona), where continually they
were at the mercy of larger bands of
hostile foes.
One night their chief saw a great
star fall, like an arrow, from the
western sky. At dawn he led his tribe
away from the desert, following al-
ways the direction whence the great
sign had appeared to him.
At last they found the mountain
whereon the arrow of fire had seared
its mark and nearby pitched their
wigwams in peace and
happiness. And at dawn
watchful Coahuilla sen-
tinels beheld a great
shadow slowly form over
the Arrowhead.
It was the head of an
Indian chieftain in full
headdress, and was in-
terpreted as the shadow
of the Great Spirit com-
ing with the sun to see
that his braves had been
safe through the night-
time.
In the early spring of
1774 Juan Batista de
Ansa, captain of the
Presidio of Tubec, toiled
slowly across the desert
from southeast to north-
west by way of what is
now Yuma, San Gorgo-
nio pass, and the San
Bernardino Valley.
The party numbei-ed
240 persons, of whites
and Indians. They en-
tered the valley on the
15th of March and were
probably the first white
persons of our modern
time to see the great
Arrowhead.
They found the In-
dians inhabiting this
section of the valley
were known as the Gau-
chamas, hence the early
name: Valley of the
Gauchamas. The word
Gauchamas signified the
place of plenty to eat.
The Gauchamas regard-
ed the arrowhead, at the
very topmost part of
their valley, as their own special
"sign" from the Great Spirit. They
were a friendly tribe, though they
boasted little culture and could in no
manner be considered equals of their
eastern contemporaries.
As It Was Sixty Years Ago
If the Arrowhead was made by man
it is, therefore, certain it must have
been at some very remote period, as
even Indian legend has lost its origin
in the limbo of superstition.
Early settlers of the San Bernar-
dino Valley apparently took this ex-
planation of the mystery, for in the
December, 1932
The INTERNATIONAL PHOTOGRAPHER
Nine
journal of Eugene B. Hoke, this writ-
er's father, is found the following
entry, dated January 1, 1875:
"I will describe the Arrowhead. It
is up the side of the mountain, and
is simply a spot of differently colored
vegetation than the rest of the moun-
tain, and can ba seen for ten or
twelve miles from the valley below.
"Right at the foot of this mountain
is a little tableland where is situated
the springs, which I have mentioned.
It seems to me as though some nation
of the past had recourse to this place.
"The Arrowhead was a sign or
mark that they had formed, but if
this is so, it would be strange how
they could make light colored vege-
tation grow only upon this spot and
then abruptly all around the green
vegetation grow."
Now, as if in answer to the last of
the just quoted paragraph, we come
to the modern theory of geologists,
who account for the Arrowhead not
as a shape fashioned by man but as
a natural phenomenon.
As Geologists See It
They find the Arrowhead due to a
peculiarly shaped area of disinte-
grated white quartz and gray gran-
ite, differing enough from the rest
of the hillside that it encourages only
the growth of certain light colored
shrubs, while the main hillside is able,
because of more fertile soil, to sup-
port the heavier growths which out-
line the mark.
The fact that the soil has formed
such a perfect image, and that it
points directly toward one of Amer-
ica's finest curative springs, are at-
tributed solely to a coincidence of
nature.
Botanically the Arrowhead itself is
formed within its area principally of
a good growth of white sage, with
occasional plants of manzanita, yucca
whipplei, mountain lilac, chaparral,
deer weed, Indian paint brush, and
lupine.
The darker background outside the
Arrowhead is chiefly chamise, or
greasewood, all plants being native to
the general locality. The distinctness
of outline thus changes somewhat
with the seasonal colorings of the
vegetation.
The dimensions of the Arrowhead
are worthy of note, as one can thus
gain an approximate idea of its im-
mensity. From top to tip it measures
1376 feet. It is 449 feet wide at the
shoulders, and the shank measures
350 feet. It covers an area of about
seven and one-half acres.
Uncle Sam as Guardian
The hot springs below its point
were known to the Indians as medici-
nal waters many years before the
coming of the white man. The Mis-
sion Fathers tell of the various bath-
houses built there by the tribes and
of their sweat baths; not unlike pres-
ent-day methods.
The temperature of the water
ranges up to 193 degrees Fahrenheit,
and analysis shows it to be similar
to the famous Carlsbad waters in
mineral content.
At the present time the outline and
surface of the arrowhead are being
carefully maintained by the United
States Forest Service, as it lies within
the boundary of the San Bernardino
National Forest.
The Forest Service has recently
completed a gigantic fill about half
way up the west side of the light
colored area. The fill was necessitated
by a landslide some years ago which,
because of continual erosion during
the rainy seasons, has threatened seri-
ously to deface the landmark.
Take your choice of the legends, or
take none of them. Believe with the
geologists, if you wish, that the mark
is purely a freak of nature there on
its lonely hillside.
But if you take this latter attitude
never sit at dawn before the great
Arrowhead to witness the sun and
shadow slowly form a silhouette of
an Indian's face and feather head-
dress over the lower portion of the
mountain, for if you do you will prob-
ably reread the legends and wonder,
as do we all, on the mysteries of that
past civilization of California to
which we have lost the key.
fi5^
w^mpmtufii*
WWl^rfil
mpffi* 4rfe«flfe
" WK «F4%
W WC til*. «ffh
&9lr $*£> £f% <s&
tfV* %*»* PiWL m%
Motion picture record (reading down) of the first screened sneeze. Photo-
graphed by W. K. L. Dickson in 1S93 at Edison Laboratory in Orange, N. J.
Subject was Fred Ott, Edison employe, who appeared in practically all the
first motion pictures, of which this was one.
Photo courtesy Leo G. Young.
Ten
The INTERNATIONAL PHOTOGRAPHER
December, 1932
Cruising Photographer Meets Rain
But Then in the Orient in Compensation There
Are Indoor Sports Like Haig and Haig with
Ginger Ale All for a Lone Quarter
By NELSON C. McEDWARD
Ship's Photog raphe)- SS. Coolidge. With his own illustrations.
THIS is a story of a ship's pho-
tographer on a round trip Asiat-
ic cruise. Now there may be
readers who long- have been con-
vinced that answering "the call of the
Orient" is one grand vacation, but of
course that depends largely on the
particular point of view. When one
considers the work a ship photog-
rapher has to do it is not the case.
In fact, that particular vocation is not
what may be called a cinch job.
There is an abundance of detail
work to be done in the darkroom.
Much of it is on the run from Hong-
kong to Manila and return, when the
thermometer registers around a hun-
dred or so. It is no wonder the tem-
perature of the soup jumps from 65
to 85 in less than five minutes, neces-
sitating" continual packing of ice
around a separate tank for even tem-
perature.
It was a smooth trip from San
Francisco to Honolulu. Approaching
the port of the latter city at 6 o'clock
in the morning: is a sight one never
forgets. On landing the camera
equipment is inspected, and then we
are off for Waikiki to shoot some of
the Kanaka boys coming in on the
beach at fifty miles an hour.
After a wait of two hours contact is
made with Pua Kealoha, a fine boy,
and we are fixed up with an outrigger.
We start toward Diamond Head, about
1500 yards out. The outrigger is
straddled and the Eyemo is focused on
a native who has just started toward
shore. He is followed for quite a dis-
tance, but believe me it is no fun tear-
ing- into shore at fifty miles an hour
trying- to preserve your balance and at
the same time keep your eye in the
finder. But the shot is made.
Picturesque Farewell
There is a yen to try the luck on a
surfboard. The first two tries are
flops, but the third is something differ-
ent. We ride 150 feet to shore, and
what a thrill. Surely it is the greatest
sport in the world.
In the afternoon at the famous
cocoanut grove a few shots are made
with the graflex and using a 23A filter
with good results. Mr. Baker, another
photographer, is along.
At night we are back to shipside
and a farewell to Honolulu. Aloha is
ever present, and wonderful colored
leis are floating- in the water. It all
contributes to a picturesque sight.
To Yokohama it is a long hop. On
landing we collide with an abundance
of rain. As a consequence there is
nothing else to do but go in for indoor
sports. Asahi beer may not be so
good, but considering the fact that the
yen is four for a dollar in gold you
may judge how much may be bought
for a dollar.
Japan is an interesting country,
very clean, and the people are cour-
teous at all times. The rickshaw men
are patient, and will wait for hours
without grumbling.
To Kobe through the Inland Sea is
a beautiful trip ordinarily, but on this
occasion there was nothing but over-
hanging clouds and rain. Muji and
Shimoneseki are passed as well as
many little islands. A shot is made of
the Japanese fishing fleet, and the hun-
dreds of little sailboats make quite a
sight.
In Kobe there is more rain,, and as a
natural consequence there are more
indoor sports, alternated with shop-
ping in Motomachi and the Diabutsu
silk store. Marvelous Fuji silk — if
you know silk — and peacock silk and
many other attractive things to draw
your yen away from you. But there's
only a single day here and then we
again are on our way.
At Shanghai we have to wait for
the tide in the Whampoo River. And
what a river! Compared to that stream
the Mississippi is like artesian water.
About three miles from the city we
anchor in the dirtiest river in the
world. Then boarding a Dollar tender
we steam up the Whamnoo to dock
alongside the customs jetty at Shang-
hai.
Fighting the Rain
Then there is more rain, and of
course also more indoor sports. After
being soaked outside by rain the
Astor bar makes up for everything.
A large half glass of Haig and Haig
with ginger ale costs $1 Mex, the
equivalent of 25 cents American
money. And then it rains all day and
all night. But supposing it does.
Hongkong is reached early in the
morning. We are greeted with over-
hanging clouds, with a spattering of
rain, and then two seconds of sun-
shine. It is a great break, I don't
think, with not a °-ood chance for an
exposure since we left Honolulu.
Docking at Kowloon we are be-
sieged by Hindoo sew-sew women for
washing. Entering Hongkong there
is more money exchanging, and also
more perspiration. Setting up a
camera invites hundreds of Chinese to
gather and give you the onceover. In-
cidentally it is advisable also at all
Left, largest sun dial in the world near Dewey Boulevard, in Manila; right, Nelson C. McEdward returning to
waterfront.
December, 1932
The INTERNATIONAL PHOTOGRAPHER
Eleven
Left, ruins at Chapei, Shanghai; right, deck tennis at sea.
m 1
times to keep a weather eye on your
equipment.
It is no picnic trying to steal a shot
all the time watching for a break in
the clouds. So we hike to the Hong-
kong Hotel, if we may be forgiven for
mentioning these minor matters, for a
glass of Pilsener German beer. And
the rains descend some more.
The next day we sail for Manila. As
we land the sun is shining! And what
a sun! Two showers before landing —
we are speaking of baths — help not
in the least to fortify us against the
fierce rays. Going ashore by means of
the electric movable cranes for a
gangplank we make a shot of the
world's largest sundial near Dewey
Boulevard.
Then we taxi to a shoe factory
fifteen miles out of town, being greeted
by any army of small ants and each
one exceedingly voracious. We get
several shots of the natives making
wooden shoes. It is necessary to bring
into play a fresh roll of film. As the
hands are inserted in the changing
bag the ants begin to work — on the
photographer, if you please.
Loud cussing helps not at all, espe-
cially when the victim is a human
shower bath. Perspiration on the
hands makes the situation approxi-
mately complete. Anything lacking is
supplied making a shot with the
graflex. A legion of ants on the ground
glass gives the impression you are
stopped down to 128. A half hour is
usefully employed cleaning the camera,
usefully employed in the way of pro-
viding hilarious entertainment for a
host of natives.
(To be continued)
East Africans Prefer Own
Tongue to American Brand
ALTHOUGH bilingual silent
films have been exhibited in
Portuguese East Africa for
some time the most modern and larg-
est moving picture house in Lourenzo
Marques, the Scala, exhibited for the
first time an American sound film in
English and Portuguese. The film
was made both in English and Portu-
guese, the latter version with Portu-
guese artists, and a questionnaire was
circulated among patrons of the the-
atre with the object of finding out
which artists they preferred.
The vote was overwhelmingly in
favor of the Portuguese version, with
314 votes out of 345 cast. This was
not unexpected when the very large
proportion of Portuguese residents of
Lourenzo Marques are considered. Of
the 11,410 reported to be Europeans
living in the Lourenzo Marques dis-
trict it is estimated over 10,100 are
Portuguese and only 882 are of Eng-
lish extraction.
Work of German Censors
The following table shows the num-
ber of feature films censored in Ger-
many during 1931-2 as compared with
1930-31 by countries of origin:
Country 1930-31 1931-2
Germany 139 139
United States 101 62
France 26 21
Austria 4 6
Russia 5 3
Czechoslovakia 8 2
Denmark 3 2
Italy 2 1
Hungary 1 1
England 7
Sweden 2
Poland 2
Total 300 237
Left, death house in Bilibid -prison; right, the bund, Shanghai.
Twelve The INTERNATIONAL PHOTOGRAPHER December, 1932
I
HE BIGGEST
MECHANICAL FACTOR
TODAY'S MOVIES
EASTMAN Super-sensitive "Pan" has caused
such widespread changes and improvements
that it easily rates as the biggest mechanical
factor in the excellence of today's motion
picture. On the foundation supplied by this
film, cameramen, directors, actors, and labo-
ratories have been able to build a motion
picture art as far ahead of old techniques as
movies on the original Eastman "Pan" were
ahead of color-blind photography... Eastman
Super-sensitive "Pan" finds its fullest possible
expression with the gray-backed base on
which it is now supplied. Eastman Kodak
Company. (J. E. Brulatour, Inc., Distributors,
New York, Chicago, Hollywood.)
L/\b I /Vl/xlN SUPER-SENSITIVE
PANCHROMATIC NEGATIVE .gray-backed.
Gream a th Stills
^^'cu.
Possibly this graceful creature when it was photographed by Ed Witt in a Los Angeles park was admiring
its own reflection in the mirrorlike surface of the water.
&*az.'o*.
Qream oth Stills
i?. Lyman Broening
made this still in
Havana in 1912.
Shown are
Wellington Playter
and Bertha Kalisch
while working in
"Marta of the
Lowlands," one
of the earliest
productions of
Famous Players —
the foundation
of Paramount
At the table
from left to
right are David
Butler, director;
Will Rogers
and Irene Rich,
with Brandon Hurst
in the background.
Fox was making
"Down to Earth"
when this still
was exposed by
Alexander Kahle
Qream oth Stills
C&OL'OJL
A muffled microphone
protected by a
guardian reflector
indicate the
lively breeze
prevailing as a
Warner crew
discuss a
scene for
"Tiger Shark."
Tony Gaudio
is at camera
and Director Hawks
in midships,
with Robinson
and Arlen at
extreme right.
Photo by
Mac Julian
Edna May Oliver,
juror in RKO's
"Ladies of the
Jury" and accompanied
by her stage
maid, arrives
late for a
murder trial,
to the concern
of all the
spectators.
Photographed by
Donald MacKenzie
*n<w>/
Qream oth Stills
A£ Cairo, on the Nile, Bob Bronner photographs a felucca, showing its odd-shaped bow
December, 1932
The INTERNATIONAL PHOTOGRAPHER
Seventeen
In Focus — In Spots!
THIS is election night!... The
suspense is turribul! . . • I light
another butt... step on the one
I have jest tossed on the floor... I
glance at my watch. . . 10 p.m.. . .the
returns must be in by now... I an-
kle over to my
mm^mmmmmimmm radio . . . sheep-
ishly. . .jest as I
am about to turn
it on I decide to
wait jest a few
more minits.
Maybe I can't
stand the shock
when the tubes on
the ole set warm
up. . .1 ankle back
across the room
. . .then I make a
firm decision. . .
the time must be
athand. . .haven't
I waited for
months jest for this crucial moment?
So I ankle back to the radio . . .
whatahel... all or nothing. . .its al-
ways been my motto anyhow.
So I turn on the radio. . .furiously
I puff on my cigarette . . . Kin I stand
the shock?. . .Slowly the tubes warm
up... and then. . .Hurrah! here it is
. . .what I've wanted and waited for,
for months. . .what I feared I would
not be able to take gracefully from
Fred Felbinger
Dave Hargan, 666, a member of the
Sutherland expedition.
By the Sassiety Reporter
As Told to
FRED A. FELBINGER
my radio... on election night. . .the
tubes are now warmed up . . . and here
it is. . .M U S I C. . .sumpin I ain't
heard on a radio in months. . .jest
politicians shooting off their face...
but now it's all over and I got music
again.
Thank the Lord for Election Night
...and the return of music and en-
tertainment on the radio once again.
SIX-SIXTY-SIX
You Can't Stop 'Em
ONE of the traditions of news-
reelers is to raise their boys to
be anything but cameramen . . .
I ain't met a newsreeler among the
ole timers yet what approves of their
offsprings lookin forward to a future
like papa's present. . .I've seen ole
Harry Birch, one of the ole timers in
the profession ( ?) shoot off his mouth
by the hour about he ain't gonna raise
his boy to be a newsreeler.
I agree with all them old timers . . .
but the other day I hears where one
of the Windy Village High Schools
now has its own newsreel. . .showing
the news of school activities. ..pretty
coeds, etc. . . . Understand the boy
what's putting it out is producing a
pretty high-class newsreel on the
school's activities. . .the lad acts as
cameraman, editor, title writer and
the whole shebang. . .with the little
16mm. outfit he has. . .and it's going
over great up at the schoolhouse.
Well, now, it's pretty nice to see
"newsreeling" joinirg the arts and
sciences, but that ain't my point... I
jest want to tip off the ole timers it
don't go jest to preach to the off-
spring about keeping away from the
smell of the celluloid. . .what you bet-
ter do is watch that he don't git the
camera bug also.
This goes double for ole Harry
Birch, what swears the boy ain't
gonna grow up into a cameraman . . .
Don't talk too loud and furiously,
Harry, the next time you is telling
your boy Billy, age 14, about what a
lousy game the camera business is.
You see, Harry, he may be vour
son up at your house... but over at
Lake View High School he is editor
and head cameraman of the school
newsreel.
Adam of Animal Fillums
SEEING all these here animal fil-
lums from Africa in the theaters
makes me wonder jest who
started 'em and when... well, the
other night I meets one of the grand-
daddies of the cameramen, Conrad
Luperti, showing off some stills he
has from way back when, and I dis-
covers I is talking to one of the first
cameramen what ever invaded Africa
with tripod legs and celluloid instead
of a gun.
Luperti and Dave Hargan, both
666ers, were two of the first crank
twirlers ever to make the trek to Af-
rica... They went there in '14 with
James Sutherland, elephant hunter
and author. . .Sutherland's safari, of
which they were members, went
through Africa long before the days
of sound and motorized safaris.
They hoofed every mile of the way.
. . .They traveled through a jungle
that at the time was infested bv the
dread tsetse fly. . .carrier of the
deadly sleeping sickness. .. For cam-
era equipment Lupe carried the first
Model A Bell and Howell, which was
zinc-lined for the tropical climate and
was equipped with the first 400-foot
B and H magazines built.
Lupe also carried the first 17-inch
teleohoto lens ever mounted for mo-
tion picture work... It was a rare
and priceless lens in those days. . .
Conrad Luperti, 666. Picture taken in
191 U when Mr. Luperti accompanied,
the Sutherland expedition into Africa.
Eighteen
The INTERNATIONAL PHOTOGRAPHER
December, 1932
The expedition started into German
East Africa in 1914... All was quiet
and serene in the world ... in gen-
eral... at the time. . .like th° lull be-
fore the big blow of a hurricane.
Daily Lupe and Dave Hargan la-
bored along in the jungle in search
of celluloid material. . .crossing the
rushing waters of endless rivers. . .
and Lupe tells us the one about the
day after wading one of the rivers
...wet shoes were taken off... and
Lupe, tipped off in advance, filled his
with straw and left to dry while Dave
told his boy Friday to put his best
marching shoes, which were soaked
through and through, next to the
cook's fire... the negro boy did so,
forgot all about 'em, and the next
morning the shoes were about six
inches long.
The Ever-Pervading Bouquet
After reaching the interior it was
decided to send some of the negro
boys back to the coast to the town of
Lindi to pick up some supplies that
were delayed in their arrival. . .a list
was sent along to pick up a certain
number of boxes all marked and prop-
erly identified.
The porters did not know what was
in those boxes, but a goodly number
of them contained choice liquors.
When the porters returned to the
camp it became apparent a number
of the bottles were broken . . . the ne-
groes refused to admit anything. . .
Finally the porter in charge was
given a lashing (25 lashes), but still
he would not talk . . . Then the same
treatment was given a second one...
he finally confessed. . .the boys used
a system . . . they dropped each box . . .
one by one.
If liquor ran out they sucked it up
from the ground... The confiscation
party finally ended in a "bender" for
a whole village of natives en route. . .
That was that. . .it cut the liquor ra-
tion considerable for a while.
Then 650 miles into the interior a
messenger arrived. . .bearing1 a sealed
message from a Captain Graber of
the German Army. . .the safari was
in German territory. . .Germany had
declared war. . .all hell had torn loose
back in Civilization.
Captain Graber ordered the safari
to report to him at once... At mid-
night Sutherland got Lupe and Dave
out of bed and told them he was mak-
ing a break for neutral country. . .
they were welcome to join him. . .but
if not the grub went.
All Lupe and Dave had on their
person was 35 cents in American
money... and they couldn't eat that
... so they agreed to accompany
Sutherland. . .The march started at
dawn. . .sixteen negroes were taken
along... At night they discovered
eight had deserted. . .the natives had
heard about the war bv their grape-
vine of the jungle... the tomtoms...
From here on the negroes were
chained neck-to-neck to discourage
desertion.
Of course, Lupe and his side-kick
did have a couple of thousand dollars
in North German Lloyd travelers'
checks, but, as Lupe remarks, "no
blooming Englishman would give us
one pound for the whole shebang."
The safari headed for Portuguese
territory. . .about September 20 of
1914 it crossed the Rouvama River
into Portuguese Africa. . .The trek
was on toward Port Johnson on the
southern tip of Lake Nyassa.
Tripods and Machine Guns
Again the negro grapevine went
ahead of the expedition to play havoc
with them... the natives sent word
ahead that a group of white men
were on their way to take Port John-
son and that they were carrying three
machine guns... which was nothing
more than three cameras and tripods.
On arrival at Port Johnson the
party found the fort all prepared for
their arrival. . .every one was armed
to the teeth to extend welcome . . .
Things were finally and cautiously ad-
justed.
Here Lupe and Dave took their re-
maining thirty-five cents and bought
themselves a royal feast. . .From here
they proceeded to Zomba, then to
Blantyre. . . At Blantyre Lupe ran
across a brother lodge member, and
with a little buzz-buzz into each oth-
er's ears established the necessary
friendship for Lupe to borrow five
pounds in British money.
Lupe immediately cabled Chicago,
and three days later he was the re-
cipient of 500 pounds of English
money... Lupe changed this all to
gold and again felt pretty well
heeled for the remainder of the ad-
venture.
They proceeded to Port Herald on
a flat pushpole boat down the upper
Shire River, a journey that took five
days. . .At Port Herald they caught a
steamer down the Zambesi River to
Port Chindi, thence by another
steamer to Beira, in Portuguese East
Africa. . .from here a week's journey
by train to Cape Town.
Then twenty-one days by boat to
war-torn England and then back to the
good old U.S. A.... The foregoing is
the humble itinerary of Conrad Lu-
perti and Dave Hargan, two 666ers
and two of the first knights of the
camera to invade Africa... and some
of us birds sit around trying to thrill
parlor audiences about "what ole
timers we is."
SIX-SIXTY-SIX
Who Hit J. Philip?
HERE'S the mystery story of the
month ... J. Philip Gleason,
arch Don Juan of the Middle
West, pulls up in his sound truck,
slams on the brakes, dashes to the
rear of the truck, opens up the door
...and boom... when J. Philip Glea-
son, ace dial twister and arch heart-
wrecker, comes to he discovers he has
the all-American shiner on his left
eye.
Gleason carefully reconstructs the
scene and decides some loose case in
the truck must of up and hit him in
the eye. . .and now, gentle reader,
here is your opportunity to partici-
pate in the solving of the mystery
story of the month . . . What or who
gave J. Philip Gleason his beautiful
shiner?
SIX-SIXTY-SIX
HEWING about the Windv Vil-
lage with the chips falling
about as follows : Martin Bar-
nett equinning his little puddle-
jumper with a siren so's he kin save
time on his nightly dash up to the
little Heart's home.
While Brother Jack Barnett equips
himself with a staff of football nuts
as helpers. . .so's he don't have to
lug the heavy Akeley cases up to the
Press Box roofs at the stadiums.
Ralnh Saunders fina1'- admitting
that he went out and got himself
carried. . .Where's the wife, R»l">i?
Irving Korenman, Fox Noise Ketch-
er, is out shopping for a belated box
of stogie-stogies to pass around . . .
It's a gal and both Mamma Koren-
man and the offspring are doing
nicely.
The fire department in the auiet
village of Oak P?-' 111., was dis-
turbed from its peaceful slumber the
other Sunday morning . . . Lens
Snooper Eddie Morrison was laying
linoleum in his kitchen when the gas
stove went like the last election; and
for once Eddie didn't have to chase
out to a fire; the fire came over to
Eddie's house; so did the entire Oak
Park Fire Department . . . Did you
serve tea, also, Eddie — to the cold
fire fighters? . . . Another high-class
sound commercial winds its way from
the Action Film Company studios.
This one depicts the progress and
growth of that great institution of
learning, the University of Illinois.
Cameraman Ralph Phillips and Red
Kuerstan did the ^hotogra^'c hon-
ors on this one, while Dial Twister
Virgil Bauers nicked up the noise.
And so around to the yearly old
greeting from this snooping agency
to youse birds what might peruse this
baloney now and then...Mebbe it's
a bit early, but likewise jest as sin-
cere.
Merry Christmas ! And here's hop-
ing all youse guys is gonna be in-
cluded in the new deal!
ANNUITANTS LIVE LONGEST
Because: Their old age is without income worries
WHAT better can you do than leave a legacy to yourself?
LET us mail you details of our annuity system under which you are protected
against financial difficulties when your earning power ceases.
A steady income for the rest of your
days -wlien you are tired of daily toil.
Write for information to the Annuity Specialist
Louis Bernstein, 322 Pacific Mutual Bldg., Los Angeles
Name Occupation
Age Address
December, 1932
The INTERNATIONAL PHOTOGRAPHER
Nineteen
No Ennui for Travelers in China
Cameraman Describes Life in Interior of Country
and Adventures and Dangers He
Encountered on Picture Journey
By JACK SMITH
T ACK SMITH, International Pho-
J tographer, went to China last
year as a member of an American
picture expedition. When his em-
ployer departed for America and
left him "flat" the photographer
looked for an engagement in China.
After several months without a
paymaster he was employed to go
on an expeditionary trip into the
interior for three or four months.
At the latest word the photogra-
pher was negotiating for work with
a new company. The opening oper-
ations by the latter have been de-
layed due to the fact that all new
business has to be passed on by the
government.
Word has just been received by
the mother of the traveler, Mrs.
Marie Smith, that he will arrive
home December 22.
August, 1932.
WE ARE back in Shanghai after
a long hard trip that didn't
mean much as far as pictures
were concerned. You can get anything
around here that you can up country.
The entire area in that particular sec-
tion is arid, dry and rolling, and the
mountains are entirely devoid of veg-
etation. The mountains, the houses —
what few you see — and the people's
clothes are all the same color. Every-
where you go you fird the same thing,
and plenty of trouble thrown in.
We had quite a little excitement
going up and more coming down. We
were constantly reminded of bandits,
but didn't run into any of them for
quite some time, so began to think the
bandit stories were all "hooey." Quite
some way up country we were stuck
by rain.
We had a river ahead to be forded,
so with the rain pouring down and
cold as the devil we ran into a small
village as we did not wish to sleep out
in such weather. It was getting cold-
er all the time, in fact freezing. The
cooks, coolies, boys, etc., began their
daily search for water, which was
simply dipped from the muddy river,
and then started preparing dinner.
I had not shaved in a week, so I
stood outside one of the trucks in
freezing weather and shaved in ice
water — and almost didn't have a face
left. People began coming from all
directions to watch.
These caravan inclosures have high
mud walls 2 feet thick and usually
around 12 to 15 feet high. The Chi-
nese could come over like flies. We
would run at them and say "Su-sulu,"
meaning "beat it!" They'd slide off
the wall and when you'd look up again
they'd be thicker than ever. We fin-
ally decided we couldn't wear the
Chinamen down so we had better
leave them alone.
Quite Embarrassing
I ran an old crippled donkey out
in the rain and took his stall with all
its odors and all its odds and ends for
the night. I slept under a kapok
mattress about 2 inches thick, 3 blan-
kets, 1 thick yurta felt, 1 fur robe, a
layer of heavy canvas and a heavy
overcoat.
We broke out early the next morn-
ing to get over the river, which didn't
look any too good. We had some
early morning visitors who wished us
to take some passengers up to Lan-
chowfu. We told them we couldn't
do it because all the trucks were over-
loaded then. Then they left and we
congratulated ourselves, "That's the
way to handle 'em," etc.
Just after starting we were turning
a corner — and these narrow streets
make a turn difficult for some of the
larger trucks — when our lead truck
stopped. Those of us behind couldn't
see what was wrong, so I jumped
down and ran ahead. Upon turning
the corner I bumped into a company
Jack Smith
of Chinese soldiers on their knees and
seemingly everywhere you looked, in-
cluding house tops, with their rifles
cocked and trained on the lead truck.
Imagine my embarrassment when I
turned that corner! General Some-
thing-or-Other came out and said
those same passengers were still de-
sirous of reaching Lanchowfu and we
would have to take them. We told him
that was just what we intended to do.
In fact we were delighted, and they
must have misunderstood us before.
After asking them what town we
were in we found it was the very
place we had been warned about all
the way up, Guyuan, the famous
bandit hangout for all of Kansu. Fur-
ther investigation disclosed the fact
there were 8,000 bandits in that vil-
lage.
General Won Out
If we had any fond hopes of turn-
ing these Chinamen loose on their
roller skates after we got out of town,
the general very neatly squelched the
idea by stating if the men did not
reach Lanchowfu he would see us
later.
The general won. We took them to
Lanchowfu.
When we came to the river several
of the trucks forded it, but the big
trucks stuck. We finally got them out
and in the afternoon the rain started
again. I sampled the five-gallon tin
of vodka in my truck and fortified
myself quite frequently on the trips
back and forth across the river fish-
ing out trucks and men. We covered
only twenty-nine miles that day and
it was anything but a pleasure trip.
The trip from Lanchowfu to Hsin-
ning was almost as bad. This is sit-
uated up near Kokonor, on the border
of Thibet, at an elevation of about
13,000 feet, with plenty of snow.
We were forced to return by way
of the famous Lu Pan Sa*i Pass. Even
a mountain goat would have trouble
climbing that. We had to go through
in order to get to Pinliang, then across
the river to Sianfu. It was here that
Mr. Simpson and a Russian were
killed by bandits. Just before reach-
ing the Pass we stopped on top of a
mountain for about half an hour.
Just Miss a Murder
Coming down we met a car going
up. Mr. Simpson was in that car. and
as we had met before we stopped and
chatted for a while. Of course most
of the conversation was about bandits.
We warned them to steer clear of
Guyuan. When we arrived in Pin-
liang we heard that Mr. Simpson and
the Russian had been shot on top of
the mountain just about fifteen min-
utes after we left them — and just
where we had stopped for half an
hour.
The interior is no health or pleas-
ure resort just now or at any other
time. We were not allowed to ure our
radio, the Chinese officials forbidding
it due to the trouble in the interior.
(Continued to Page 23)
Twenty
The INTERNATIONAL PHOTOGRAPHER
December, 1932
EASTMAN
FILMS
BRULATOL
WHAT'S WHAT!
Published Monthly by J. E. Brulatour, Inc., Distributors, Et
Mac Williams to Europe for Year
Fox Cameraman Accepts Assignment with British
International Pictures
GLEN MacWILLIAMS, one of the old timers on the Fox lot
who was loaned by that company to Howard Hughes for his
production "THE' FRONT PAGE," which set up new and
greater laurels for MacWilliams on his splendid photography,
has deserted Hollywood for at least a year.
This is the term of the contract which was arranged for
MacWilliams by his business*
representatives with British In-
ternational Pictures at Elstree
(London), England.
The contract provides for a
minimum of four feature pro-
ductions in this period, and car-
ries an option for an extension
Par amount' s Award
One of the most popular awards
made by the Academy in this year's
series is that which was given to
the sound department of the Para-
mount Studios.
Award was accepted for Para-
mount by Franklyn Hansen, chief
sound executive of the studio, who
made a delightful impression with
his friendly little speech, wherein
he gave full credit to his associate
technicians and made special men-
tion of the excellent cooperation ex-
tended by Harry Ensign and his
staff in the Paramount Labora-
tory.
Too seldom do we find the recog-
nized inclined to give recognition.
Hansen is not only a capable exec-
utive and sound technician, but a
swell guy and a grand sport.
Glen MacWilliams
of time beyond the original con-
tract term, which may be ac-
cept or rejected by MacWil-
liams.
Glen has rented his home in
Brentwood Park and has taken
his wife and two children across
the Pond with him. The children
will be placed in school in Lon-
don, where the MacWilliams
family will make their home.
Although busy as the prover-
bial one-armed paper hanger up
to the very last minute before
his departure, Glen managed to
take time out to make arrange-
ments to insure a constant sup-
ply of Eastman Super-sensitive
Panchromatic negative, which
he will employ exclusively in all
of his work on his assignment.
Columbia
Teddy Tetzlaff is shooting "BRIEF
MOMENTS," Eddie Buzzell directing.
Vic Schuerich is second, Jack Anderson
and William Crosby assistants.
John Boyle just finished "RANGER
MAN." which George Melford directed.
It was a Tim McCoy picture. Bob
Cline was second and Jim Goss and
Roy Babbitt assistants.
Benny Kline has finished "THE
YANKEE BANDIT," which Lambert
Hillyer directed, and is scheduled to
start a new one next week, an oil
story, which Ross Lederman will direct.
Len Smith finished the Wheeler and
Woolsey picture, "THAT'S AFRICA,"
and will probably return to his old
spot al M.G.M.
Ai Siegler replaced Joe August
while Joe was a victim of the "flu."
but his picture, "ACQUITTED," is
finished now.
Ralph Staub, the "one-Man Unit,"
continues shooting the stars in their
private lives.
Edouart Scores Again
The Transparency Department at
Paramount has just completed two
series of difficult and exceptionally fine
Transparency Process shots on "A
FAREWELL TO ARMS" and "MAD-
AME BUTTERFLY."
These two productions, by the way,
are outstanding and promise to give
plenty of competition in every branch
for next year's Academy Awards.
Farciot Edouart, who heads the
Transparency Department at Para-
mount, has been given another term
ticket for his recent outstanding work.
Dewey Wrigley shooting first camera ;
Loyal Griggs, second camera, and Har-
old Wyckoff handling stills.
RKO
Ernest Schoedsaek has gone to Ara-
bia for RKO1 to obtain some atmos-
phere shots for a forthcoming produc-
tion. His brother, Felix Schoedsaek,
it the first cameraman and Billy Rein-
hold is the assistant. They will be
four weeks en route — eight weeks
shooting and four weeks returning.
Charles Rusher has been ill with the
"flu," but Henry Gerrard and Eddie
Cronjager have been shooting "THE
GOOSE WOMAN" during his absence.
Frank Redman is second and Cecil
Cooney assistant.
Jack MacKenzie just finished a Brock
comedy, "Headliner No. 3" Series, with
Russ Metty and Fred Bentley seconds
and Willard Barth and Charles Strau-
rr.er assistants.
Roy Hunt is in production on "HE-
HOES FOR HIRE." Joe Biroc, sec-
ond, and George Diskant, assistant.
This is a picture of the daredevils of
the movies, the boys who double for
the stars and take the risks, but in
this one they play the part and have
their own names on the credit title.
Upon completion of this picture Hunt
starts another here with Dudley Mur-
phy on the Houdini story.
George Folsey is back doing some
added scenes on "ANIMAL KING-
DOM" with Ann Harding. E. H. Grif-
fith is the director and Harry Wild
second cameraman. Folsey has been
assigned to do another one here in the
next few weeks.
Eddie Linden is finishing up "KING
KONG" which promises to be a sen-
sation when it is released — prehistoric
animals, etc.
Henry Gerrard will soon start the
Richard Dix picture, "THE GREAT
JASPER."
Eddie Cronjager has a good one
siarting soun. "SWEEPINGS."
Bert Glennon can hardly wait for
the starting whistle of "THREE
CAME UNARMED." which stars
Katherine Hepburn.
Nick Musuraca starts very soon an-
other Tom Keene Western.
Fox
Ernie Palmer is finishing "Caval-
cade" and according tu all repurts the
photography is up to his usual splen-
did standard.
Charles Clark is photographing
"HOT PEPPER," new Blystone pro-
duction featuring Lowe and McLaglen.
This is three productions in a row for
Clark, "JUBILO," "SECOND-HAND
WIFE" and the present production.
Joe McDonald has been the second
cameraman on the foregoing three.
Assistants H. C. Smith and Bob Mack.
Hal Mohr is photographing the King
production. "STATE FAIR," starring
Will Rogers. Rogers is ably supported
by International Champion Blue Boy,
the largest and most perfect example
of pork on the hoof this reporter has
ever seen. Blue Boy reports that
Mohr's photography is okay. Bill Skall
is the second cameraman, as usual.
Lee Garmes photographing "FACE
IN THE SKY" for Harry Lachman.
Garmes is seconded by Warren Lynch
(a corking second cameraman I.
Sid Wagner, who has been turning
a crank at Fox since 1919, has the
assignment on "CANYON WALLS,"
the George O'Brien picture being
directed by Dave Howard. Wagner is
seconded by Curt Fetters, assisted by
H. Wrbb and L. Kunkle.
Lee Garmes, left, accepting .
Paramount
Vic Milner continues in produ(
on "LUXURY LINER." Bill M
is second and Guy Roe assistant,
of course, knows all about boats,
ing one of his own.
Ernie Haller's still on that wild
ma! picture, "KING OF THE J
GLE." His sta.f consists of Guy
nttt and Buddy Williams, seconds,
Tommy Morris, Milt Bridenbecker
Charley Starbuck, assistants.
Dave Abel just completed the B
Schulberg production, ' ' M A D A
BUTTERFLY." Ernie Laszlo was
ond and Jimmy King assistant.
After much delay due to sicknes
many members of the cast and c
Leo Tover has resumed productioi
"NO MAN OF HER OWN." ]
Mayer, second, and Neil Beckner,
siitant.
Gil Warrenton has started the 1
Smith picture, "QUEEN OF I
AIR." Harry Hallenberger, sec<
Art Lane and Red Grant, assistant
Charles Lang has returned from
vacation and is scheduled to start l
Monday on Mae West in "RUBY RI
Oh, Oh ! Our high red sensitivity
shine here. Bob Pittack will be
second man and Cliff Shirpser assist
December, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-one
t BULLETIN
EASTMAN
FILMS
H6EJES
i Films, in Cooperation with The International Photographer
WHO'S WHO!
LEE GARMES ACADEMY WINNER
i's trophy from Karl Struss.
M. G. M.
al Rosson returned to the studio
25 and started immediately on
riors for "PIG BOATS." Second
era, Les White ; Harry Parkins and
Noble, assistants.
larley Marshall and Harold Mai-
tti remained in Honolulu to photo-
>h atmospheric shots to be used for
ection background scenes at some
:• date.
Hie Marsh has finished production
'SON DAUGHTER" and has been
rned to Howard Hawks' production,
RN ABOUT." Joan Crawford
be starred. Second camera, Eddie
gerald : assistant, Kyme Meade,
erritt Gerstad has returned to the
.M. lot, photographing "THE
)Y," directed by Brabin. Second
era, Paul Vogel ; assistant camera,
Hoag.
Powers Continues
?n Powers continues with Warren
tie on the comedy series at the
rersal Studios. Mr. Doane has re-
ly been appointed a feature super-
l- at the Universal plant, and it is
guess that Len probably will move
vith his boss.
Popular Cameraman Given Ovation at Academy Awards Banquet
LEE GARMES is the winner of the conveted award by the Academy of Motion Picture Arts
and Sciences for outstanding photography achieved in the season of 1931-32. With Joseph
Von Sternberg at the throttle, "SHANGHAI EXPRESS" carried Lee Garmes to his greatest
triumph as photographer of the Paramount production starring Marlene Dietrich.
The other candidates for the award were Ray June for his delightful artistry so forcefully pre-
sented in the Samuel Goldwyn production, "ARROWSMITH," and Karl Struss, who was given
"similar recognition for his Para-
mount picture, "DR. JEKYLL
Warner Brothers
Jimmy Van Trees as usual shooting
George Arliss in "THE KING'S VA-
CATION" has Lou Jennings as second
and Jim Van Trees, Jr., as assistant.
Sol Polito is shooting "THE MIND-
READER" with Del Ruth directing.
Same old crew, Mike Joyce and Speed
Mitchell, and a strange coincidence in
their respective families — that bird
with the long legs will soon be at the
door.
Gaetano Gaudio has finished with
Joan Blondell in "BLONDE JOHN-
SON" and the old "flu" knocked him
out. As soon as he recovers he will
start another here.
Art Todd moved over from Para-
mount and started "THE BLUE ROOM
MURDER," which Bob Flory is direct-
ing. Billy Schurr is the second and
Louis De Angelis is assistant.
Chick McGill has finished "THE
INSIDER" with Cagney, and has gone
en a well-earned vacation trip in his
new car.
Having finished "THE GRAND
SLAM" bridge picture, Sid Hickox had
a day off and started a new one with
Dick Barthelmess, "GRAND CEN-
TRAL AIRPORT," which Bill Well-
li'an is directing. Tommy Branigan
is second and Wesley Anderson as-
sistant.
Arthur Edeson on his completion of
'TLESH" for M.G.M. immediately
moved to the Warner Brothers Studio,
where he started production on "THE
SUCKER" with Doug Fairbanks, Jr.
Archie Mayo, director ; Harry Davis,
second ; Carl Guthrie, assistant.
Universal
Eddie Snyder is on his second one
here, "DESTINATION UNKNOWN,"
which Tay Garnett is directing. They
have, built a complete boat on their
largest stage, very elegant. Jimmy
Drought, second ; Martin Glowner, as-
sistant.
George Robinson still on "NAG-
ANNA," but should finish Tuesday and
start another next week. He has the
same two boys with him, Dick Freyer,
second, and Paul Hill, assistant.
Dan Clark came back from about a
two months' trip on Mexican Waters
for M.G.M., and his old pal, Tom
Mix, now has him shooting "TERROR
TRAIL." Norman De Vol, second, and
three assistants, Jack Eagan, Ed Jones,
Lloyd Ward.
Charles Stumar finished for Charles
Rigers at Paramount Wednesday night,
grabbed a bit of turkey at home
Thanksgiving Day and dashed out to
Universal Friday morning to start
"PRIVATE JONES" with Lee Tracy,
which Russell Mack is directing. King
Gray, second, John Martin, assistant.
We're In the Army Now
In actual age, the Brulatour
Bulletin is a rather young fellow.
Nevertheless, he gets around.
We can't resist the impulse to
make a claim which will probably
bring George Blaisdell right down
our neck. But, regardless (being
a good little newspaper I, we are
not going to make any claims which
we can't prove.
The circulation of the Brulatour
Bulletin is as great as the circula-
tion of the International Photogra-
pher.
We are in receipt of a letter
from Sergeant Mickey Carlo, Signal
Corps Photo Lab. Eighth C. A.,
Fort Sam Houston, Texas, in which
he expresses great respect and ad-
miration for our young o.fspring,
and tells us he finds the little paper
most instructive and entertaining.
Sergeant Carlo has participated
in some excellent productions which
have been made on location and
which have enjoyed his cooperation.
In the list are "THE WAR-
RENS OF VIRGINIA," "THE BIG
PARADE," "WINGS" and three
or four other major features which
have been mounted with a military
background.
He is particularly interested in
the activity of all of the camera-
men in Hollywood, and frankly ad-
mits that it is his ambition some
day to become one of them.
Valentine Finishes
Jot Valentine has finished his first
feature for Foy Productions, "EAST
OF FIFTH AVENUE," which was di-
rected by Ben Stoloff for Columbia re-
lease.
Viilentine has accepted an assign-
ment at another studio pending his
return to the Foy lot in time for No.
2 of his series with that company.
Fox Improves Sound
Ed Hansen, chief of the sound de-
partment for Fox Movietone City, has
been busily occupied installing Western
Electric valves in the Fox recording
machines. It has been a long, exacting
job, but the results speak for them-
selves. Really they do.
Hansen and in fact all of the Movie-
tone City executives are very well
pleased with the results achieved and
(pardon us!), of course, all of the
recording is on Eastman sound film.
AND MR. HYDE."
Struss was recognized, along
with Charlie Rosher, in the first
award ever bestowed by the
Academy for his work on the
Fox production "SUNRISE."
It is at least interesting to
note that in both instances of
official recognition of the fine
work done by Mr. Struss
("SUNRISE" and "DR. JE-
KYLL AND MR. HYDE")
Eastman negative reflected his
genius.
Of course Eastman Super-
sensitive Panchromatic nega-
tive was the choice of Mr.
Garmes on his winning picture,
"SHANGHAI EXPRESS."
Those who have been fortun-
ate enough to see Garmes' most
recent M. G. M. production with
Norma Shearer, "SMILIN'
THROUGH," are strong in
their belief that he will be very
seriously in the running for
next year's award.
"SMILIN' THROUGH" is a
beautifully photographed pro-
duction. We could employ all
of the adjectives in our vocabu-
lary and we couldn't say any
more.
We are particularly proud of
the part we have been privi-
leged to play in these fine pic-
tures, which have been given
such well deserved recognition
by an unbiased majority of peo-
ple inside the motion picture
industry, whose judgment is
guided by what they see, and,
therefore — must believe.
We extend our sincere con-
gratulations to Mr. Garmes, Mr.
Struss and Mr. June, in which
we feel confident we are joined
by every member of the photo-
graphic and technical craft in
the motion picture industry.
Roach Resumes
After a short dark period at the Ha'
Rrach Studios production is resumed
this week, with Art Lloyd back at the
camera clocking the laughs for the
Roach Titter-Teasers. (Turn to Page 22)
Twenty-two
The INTERNATIONAL PHOTOGRAPHER
December, 1932
EASTMAN
FILMS
BRULATOUR BULLETIN
EASTMAN
FILMS
Published Monthly by J. E. Brulatour, Inc., Distributors, Eastman Films, in Cooperation with The International Photographer
The Academy Honors
When the Motion Picture Academy
of Arts and Sciences sliced its big
cake at its annual banquet held at the
Ambassador Hotel late in November,
it handed a generous slice to Walt
Disney (Mickey Mouse's papa) for his
outstanding achievement in the crea-
tion and production of "FLOWERS
AND TREES," a "Silly Symphony"
which was the first of a series of de-
lightful cartoons produced in Techni-
color.
The recipient of the other piece of
cake, the Technicolor Corporation,
was given the official nod for the vital
part it plays in these delightful color
cartoons.
At the moment Disney and Techni-
color are working hand-in-hand in
preparation of a "Symphony" in the
holiday mood, which will present
Santa Claus in his workshop with a
marvelous arrangement of toys doing
miraculous stunts which are bound to
delight every member of the family
from the baby to grandpa.
It is confidentially whispered that
we may not be greatly disappointed if
we are anticipating Mickey Mouse's
bursting forth in a grand array of
color during the forthcoming season.
Those who have seen the new Tech-
nicolor "Silly Symphonies" will agree
that the entire industry is fully justi-
fied in doffing its hat to this delight-
ful combination.
Dean Bats For Stout
When Archie Stout, cameraman for Trem
Carr, recently broke his toe in a rather un-
usual accident, Faxon Dean was called in to
take his place and complete the Rex Bell pro-
duction, "DIAMOND TRAIL." Dean was as-
sisted by Russ Harlan, who has more than
one qualification which might place him in
front of the camera instead of behind it.
Harlan is an expert swimmer and is just
as much at home in a saddle as a debutante
in a chaise longue. Incidentally (judging
from the flashes of the femmes on the set)
he's not hard to look at. But Russ is a mod-
est chap, so he'll probably continue going
along at the camera.
McClung III
Hugh McClung, laboratory technician with
United Artists, has been confined to his home
with an attack of the (un) -popular "flu,"
which has swept Hollywood during the past
several weeks
At this writing McClung's condition is
greatly improved, and he expects to be back
on the job within a few days.
Jack/nan's Special Effect
Fred Jackman, wizard of the Warner
lot, who has been miraculously "putting
things where they aint" in Warner and
First National productions, has been a
visitor in the Special Effects Department
of the Santa Monica Hospital.
At times Fred may appear just a bit
grouchy, but it is really worry over some
of his perplexing problems. However, his
appendix is happy — it's in alcohol in the
Santa Monica Clinic.
Chicago Supplement
FILMING THE "PAGEANT OF PROG-
RESS" OF THE STATE OF MISSOURI
FOR THE WORLD'S FAIR
Gene Cour is supervising production and
directing the picture that will be a major
part of the exhibit of the State of Missouri
at the Fair next summer. Scenes are being
shot at the many historical places of inter-
est as well as the modern civic develop-
ments of the last few years. The Ozark
Mountain sequences will be shot in natural
color, bringing to the screen the beautiful
fall colorings of the foliage in that region.
In addition to Cour the production crew
consists of Robert Tavenier, first camera-
man ; Rufus Pasquale, assistant, and Jerry
Altifleish (of Flying Family fame), re-
cordist.
Football to Film
During the past six weeks the Newsreel
Cameramen in the Middlewest have been
busy making a photographic record of all
"Big 10" conference games. Every Satur-
day afternoon at the "Big 10" games you
would be sure to find Jack Barnett and
Floyd Traynham of Universal ; Eddie Mor-
rison and Charley Geis of Fox Movietone ;
Jimmy Buchanan and Orlando Lippert of
Paramount, photographing those thrills of
open field running . . . ninety-five yard re-
turn of punts for a touchdown . . . long
forward passes . . . hard smashes through
the line . . . and so on . . . and so on . . .
on Eastman Super Pan.
Movies on Glass
Dick Ganstrom and Charley O'Connor of
Jam Handy Productions at Detroit are
photographing an unusual picture on the
subject of Safety Glass, visualizing many
of its interesting and romantic develop-
ments of manufacture, along with the
safety advantages of this industrial prod-
uct. The "Dance of the Wooden Soldier"
sequence is a knockout and certainly some-
thing di.ferent from what you would ex-
pect in the process of the manufacture of
glass.
When the cameras are clicking, it's East-
man Super that's going through.
McCord Again
T. D. McCord has
completed another
Schlesinger-Rogell pro-
duction at the Warner
Brothers Studio.
"SOMEWHERE IN
SON OR A," starring
John Wayne and di-
rected by Mack V.
Wright. Bernard Guf-
fey held the spot as
second, and John Mac-
Burnie and Bill Clo-
thier were assistants.
Jennings Blows Up
The annual golf tournament of Local 659
will probably be shy one entrant when Jimmy
Palmer completes his list for 1933. Gordon
Jennings seems to be out of the running.
The big. strong fella, who is otherwise busy
in his Special Effects Department at Para-
mount, is posolutely off the game.
He has been spending a lot of money at
the golf shops about Hollywood ; new woods,
new irons and even new tees, but it is no
good : three straight Sundays he's tried to
kill his slice with the terribly disheartening
and discouraging result that he hasn't been
able to do better than a 75.
(Anyway, Hap Depew doesn't care. George
Blaisdell is whistling at his work, and Johnny
Mescall hasn't even heard the hard-luck
story.)
John Swain Due
John Swain, popular New York lab-
oratory executive, who is well and fa-
vorably known to most of the camera-
men in the industry, is scheduled to
arrive in Hollywood about the time
we go to press, at which time he will
be associated with the local RKO Stu-
dios. He will enter immediately upon
his duties there as supervisor of lab-
oratory work.
Roach Gang Frolics
Recently Charlie Levin, lab superintendent
of the Hal Roach Studios, set out to promote
a quiet little party among the boys and girls
on the lot. It was a party — oh, yes, it was a
party — but it was not such a quiet one. Lots
of things happened.
Very sad incident when some of the boys
and girls found themselves in the bathing
pool without stopping to remove even a shoe.
Dancing contest brought everybody a first
prize — and growling dogs. Horseback riding
brought many sore recollections to the few
whose jobs provide a chair at a desk.
It was a grand success and they are plan-
ning another one any minute — or just as soon
as the whole gang recovers from the last one.
The Forgotten Man
There is a group of fellows in Hollywood
who are never seen and very seldom heard —
the night superintendents of the laboratories
in whose hands rests the result of many dif-
ficult hours spent by the cameramen day
in and day out.
We hear a lot of talk about contrast, high-
'ights, shadow details and what have you ;
but here are the boys that really know all
of these things and a lot more. It isn't
necessary to mention that these men, who
actually develop the negative, play a vital
part in the success or the failure of every
cameraman in the business.
Among those whom we have particularly
noted recently are Irvin Millard at the Con-
solidated Plant, who has been on the job here
for eight or nine years ; Albert Douglas, in
Roy Hunter's Universal Lab, who has been on
the job at this spot for seven years, and Cy
Spencer, who has held this spot at the Colum-
bia Lab for about a year (according to the
calendar) — but on the amount of work he has
turned out — well, write your own ticket.
Normal Hinckey is the chef de soup at
M.G.M. and has held this assignment since
the old Goldwyn days back in 1920. At the
Warner Lab Glen Lewis is the czar of the
developing room and has been there long
enough to have a long pink beard.
Mike Leshing at the Fox Lab never loses
any sleep, knowing that Bud Thompson, who
also has been in charge of the negative for
many years, is doing his stuff with full credit
to himself, to the cameramen and to his com-
pany.
Fanchon Royer Completes
Ernie Miller has finished another production
for Fanchon Royer under the direction of
Breezy Eason. This one carries the tag of
"BEHIND JURY DOORS." Ernie was as-
sisted by Monty Steadman, and upon complet-
ing the Royer picture started immediately for
Mascot (Nat Levine) at the same studio.
Hey, Pop!
Pete Steele, who is Fred Gage's shadow
at the Warner Lab, took a runout powder
early last week and was mysteriously ab-
sent for a day and a half. When he
came back he had circles under his eyes,
and just a glance at him instantly regis-
tered that here was a man who had suf-
fered. He handed out the cigars and weak-
ly wispered, "It's a boy !"
December, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-three
Jack Smith in China
(Continued from Page 19)
In fact, I believe they would have
taken it away from us if they'd had
a man who could operate it.
Exchange here in Shanghai is still
very low. That is why so many are
holding off starting work and buying
their equipment. For instance a new
Mitchell camera fully equipped costs
about $6,000 gold in the United States
and the same camera would cost $30,-
000 Mex here plus freight and duty.
The duty has just been raised to 90
per cent of the cost, so you can under-
stand some of the delays. Negative
here costs 25 cents a foot against 4
in "four dimensions," remaining as a
cents a foot at home.
Salaries work the same way. If
they pay us even $150 a week gold
that is around $750 Mex a week here
— and there are mighty few persons
in any part of China getting such a
salary from any company.
I appreciate Roy Hunt's effort to
reach us by radio, but as I mentioned
we were not allowed to use ours.
Traveling No Picnic
I met the Ford dealer in Sianfu on
my way down. He said he was going
to Ksining with a few men, cars,
trucks, etc. I heard the other day
that he and several of those with him
were killed near Guyuan where we
went through going up.
Traveling in the interior of China
is not a picnic any more. You are
held up, held for ransom, shot out-
right or tortured. I'd just as soon be
hobnobbing with a cage of wild cats
as some of these up country Chinese,
for they are the most merciless lot
of half-human beasts you could ever
hope to meet.
We were just plain lucky, and no
more up-country trips toward Thibet
for me until the Chinese settle down.
You may get through fine going up.
Then some Chinaman will steal a
chicken or an egg from someone,
which starts plenty of trouble. You
wish you were somewhere else, but
can't get through, for there are only
three ways to return — the Lu Pan
San Pass, always guarded; Guyuan,
the chief bandit village, which you
have to come through on account of
rivers and mountain ranges, and Mon-
golia by way of the Great Wall and
the famous Nankow Pass, which right
now is almost suicide.
One dislikes adding to the hardship
of travel the irritation of posing as a
target for some Chinaman. The out-
door life, however, made us all feel
fine and we returned physically fit.
Peking is about two and a half
days by rail from here. The trains
are not so bad. We came down dur-
ing the trouble in Peking and Tsint-
sien. The students wanted to throw
us out and take the car, but for some
unknown reason they didn't.
Leavitt Establishes Library
for 16mm. Projector Owners
THERE is a new kind of library
in Los Angeles. Here the pub-
lic may go and carry away not
books but actual 16mm. motion picture
film, in a great variety of subjects
such as is carried in book form in all
public libraries.
These films may be had with the
same ease that books are procured at
the library. All that is needed is a
membership card which costs nothing
and a 16mm. projector for showing
the films. There are about three hun-
dred pictures of interest in the church,
home and school, covering educational
as well as entertainment films. Within
the past six months it is estimated
the films have been seen by 900,000
persons.
This innovation in the way of
libraries was organized by Harry
Leavitt as the National Film Li-
brary in January, 1931. It is a
private enterprise and receives its in-
come by advertising much in the same
manner as the radio. On each of the
fifteen-minute pictures there is one
minute of advertising in the form of
an animated title trailer. All the ex-
pense entailed is taken care of by a
service charge that is defrayed by the
advertiser.
Mr. Leavitt deserves considerable
credit for this desirable departure and
to date has enjoyed much popularity
as is shown by the fact that he dis-
tributes his entire library of 300 pic-
tures each day. At the present time
he is organizing similar branches in
fifteen key cities in the United States.
The Los Angeles office is in the Rich-
field Building.
"ARTREEVES"
DEPENDABLE
SOUND EQUIPMENT
BUILT WITH ALL NEW PARTS
BEWARE OF IMITATIONS
Many Orphan Equipment companies start up — Many imitations lie
in studio corners — The makers are gone ... no one to service.
We are the oldest Independent manufacturers of sound equip-
ment in the industry . . . An assurance of continued service.
oT\
OTHERS ADMIT THEY IMITATE THIS EQUIPMENT— THEY RECOGNIZE ITS HIGH
STANDARD— NONE HAS DUPLICATED THE PERFECTION OF ITS PERFORMANCE
Phone WYoming 4501
J-folFV^vood
Motion PioTure/^ujipmemT(o. [[d.
6*5 NORTH MARTEL AVE
CABLE ADDRESS ARTREEVES
HOLLYWOOD, CALIFORNIA, USA
Twenty-four
The INTERNATIONAL PHOTOGRAPHER
December, 19J2
The Dope Sheet
By RAY FERNSTROM
All Rights Reserved
YOWSUH, yowsuh, and yowsuh,
as the old Maestro Ben Bernie
would say. Now that the Inter-
national Photographers' Exposition
and Ball is over we can get back to
work.
Too bad you guys back East missed
it. You would have had a great time.
Russ Muth is now back in Deutsch-
land at his editorial desk for Fox
Movietonews. I'm going to tell a lot
of stories about Russ on the air. He
and I covered many exciting ones to-
gether, in the years past. Here is a
feature of his "flight above Vesuvius
in eruption that I didn't mention in a
previous account. Just as his plane
was directly over the crater the
motor conked and died. The rising
gases had choked the engine and
almost the pilot and Russ. They dove
for a landing. Russ threw out his
Akeley as they hit, wrecking the
plane, but not the occupants. Old Russ
ran for the outfit and went on grind-
ing from where he stood. What a
man! What a thrill! And what a
camera !
The great dynamite blast that
diverted the Colorado waters into the
tunnels almost proved fatal to Sam
Greenwald, Frank Blackwell, Len
Poole and Merv Freeman. I told about
this earlier in this sheet, but it turned
out more thrilling and more dangerous
than I thought.
The gang had set up right on the
edge of the canyon, with a thousand-
foot drop below them to the river be-
low. Three thousand charges of
dynamite were fired, on both sides of
the gorge. The ground shook so, like
close heavy artillery fire, that it almost
dislodged to the bottom of the abyss
the rim on which the newsreelmen
stood.
I saw the film as Greenwald shot it,
in the only originally recorded sound,
and it is the best story of its kind I
ever saw (and I've seen most of them,
in the last twenty years). How Bob
Sawyer, Sam's soundman, ever i*e-
corded those rapid, heavy blasts, with-
out breaking strings is beyond me.
Sam has been in bed, with the sick-
ness resulting from the trip, for over
a week. I'm glad to report he's up
now, but still shaky. Take it easy,
Sam.
I'm still waiting to hear from most
of you, New Yorkers especially.
Lawrence Fiferlich of 644 of New
York has promised to collect news in
New York for this column. Thanks,
Larry, we'll be looking for the dope
from you for the next issue.
A Word for Pan
Newsreel photography can very
easily be improved, now that the sun-
ply of regular stock is low in your
vaults.
If only panchromatic film were
used exclusively the quality in news-
reel photography would go up imme-
diately. Use the extremely simple
filter chart we gave you and read the
International Photog-mnhov vpe-ularlv
and we shall strive to be of service
to you all.
Last month I promised you some
data on the new Du Pont superpan
negative. Without wishing to con-
fuse anyone, here are a few salient
features of this emulsion.
It is somewhat faster than Du Pont
Special and Eastman superspeed. It
is more sensitive to all colors than
either. You can use all filters with
it for this reason: It gives you a bet-
ter chance on those late football shots
in the last quarter of the game when
the light gets bad. Du Pont advises
Kl% for all-around use, but some of
the boys using it here prefer G15 and
3N5 and use a 1% more opening for
these.
News Notes
Now that the elections are over,
President-elect Roosevelt should con-
sider his most ardent supporter, Joe
Johnson.
Joe is entitled to at least Secre-
tary of State or something for his
undying efforts to gain democratic
votes.
It won't be long now before the
Californians will be dodging another
siren. Merwyn Freeman, America's
champion chiseler, is p-ettin" a fire
marshal's badge, red light and siren.
* * *
The Los Angeles gang has just
come back from Boulder Dam, but
just made it. The boys were all set up
to shoot the great blast which opened
the diversion tunnels. When the dy-
namite went off they got a swell nic-
ture, but all the gas, rocks, dust and
dirt enveloped them until they were
nearly overcome. As a result half
the boys are on the sick list. It
came near beine a repetition of the
Shorty Randolph disaster up north
five years ago.
And they say nexvsreels are faked!
The American globe trotters have
arrived back at their bases. With
big crews of newsreel men off on both
routes taken by President Hoover and
Governor Roosevelt we have been
able to see and hear the two candi-
dates all along the line. Hopping on
and off trains with cameras, mikes,
etc., is great exercise, but I'll bet
they are all glad it's over.
Now for the next choice trip, eh,
you lucky stiffs !
* * *
Lots of news breaking nowadays
to keep the old gang in an uproar.
Floods and t^^hoons in Japan, floods
and hurricanes on the Atlantic sea-
board, while here in California the
sun shines on and on, and on.
The members of the gang in Wash-
ington, fresh from their western trio,
are all agog for shots of President
Hoover and Governor Roosevelt to-
gether. Wonder if they'll get it.
Fernstrom to Broadcast Over KFI
Thrilling Stories of Newsreelers
H
ERE'S some good news for
everyone interested in giving
newsreel men a better break.
At the time this column idea was
conceived, during the Tenth Olympiad
here in Los Angeles, I also conceived
the idea of further helping publicize
our gang, on the air, by writing a
radio program. Thanks to the help
of our good editor it was pretty good
for a starter.
From one radio station to the other,
I ended finally at the last local broad-
casting outfit, with faint hope, but a
lot of determination. Lo and behold,
who should be sitting there but little
old Dave Ballou, who used to work
enthusiastically for Warner Brothers.
Dave thought the idea usable and
thought the material fine. He worked
me in on a program for a tryout and
it went on the air. Evidently it took
because Dave then worked it up with
me, in our spare moments at home,
and we offered it to a big executive of
the station.
Dave is an excellent dramatist, and
used the material from my book, "I
Shoot for News," as well as other
stuff I had written about us guys, and
made it very thrilling. So much so
that I got all excited just as if we
were out on a wild story. The sound
effects of airplanes he got off a record,
even as you and I, music he took off
another record. They sure have a lot
of those gadgets in radio. It was a
lot of fun.
Now at last, boys, it is on the air
regularly, and I hope it will help
smooth the way for us all on some
of these tough stories. The more the
public realizes the tough job news-
reelers have maybe there will be more
co-operation and less hindrance, as we
pursue our mundane duties. Keep an
ear open for KFI.
Any exciting, thrilling stories you
guys write in, we'll publish in this
sheet, and put on the air for you, and
give full credit to all names and news-
reel companies represented. Let us all
co-operate, and put the newsreel men
right where they belong, in the niche
of fame, recognition, or whatever you
want to call it.
I would like to tell one story over
the air, from every newsreel man in
the business, "Your Most Thrilling
Moment Covering the Newsreel," "The
Closest Call I Ever Had Shooting
News" or some such experience. Every-
thing received will be used as you
personally wish, but I hope you will
all tell at least one yarn, for the read-
ers of this magazine, and the people
who listen to our Newsreel Voice of
the Air.
c&H'o^
Qream oth Stills
c^L'o^
Here is a bit of famed Lake Tahoe as photographed by Robert Tobey. It was on this body of water in the
sixties Mark Twain uttered a remark that always will be appreciated by oarsmen. With a companion in
a rowboat he ivas asked if he did not wish to take the oars. "No," he responded, "it always makes me sick
to ride backward — and work at the same time."
Qream o th Stills
c9**to».
$l>
*-.</&>£
OCRK*
*
Warner Crosby
brings us this
striking picture
of a section of
the quadrangle
at Stanford in
Palo Alto, California
Lindsay M.
Thomson picked
the psychological
moment to expose
his film on the
steamer Yale
on her way
north in a
late afternoon
^^'c,.
0\c
Grearn eft h' Stills
d-^Z'O*.
«.</A-?>^
"«^RN*
**
A desert scene
from the
camera of
Billy Marshall.
Photographed
in the
Mojave section
Grim, forbidding
old Morro
as it was
caught by
the camera of
Esselle Parichy
in his recent
commuting trip
to that
alluring Havana
$$fc
«.<>A'S>
Qream oth Stills
*$%>-
*</M>
Zane Grey expedition in the American Northwest entering Hell Gate
December, 1932
The INTERNATIONAL PHOTOGRAPHER
Twenty-nine
RCA Introduces 'Highest Fidelity'
Company Claims at Recent Demonstrations Sound
Frequencies Ranging from 40 to 9500
Cycles Have Been Reproduced
WITH the development of an
entirely new soundhead that
utilizes a rotating: drum in-
stead of a gate for sound take-off and
with the existing highlv successful
all AC operated equipment as a basis
for design and performance, the
RCA Victor Company announces the
introduction of what is referred to as
Highest Fidelity Photophone sound
reproducing equipment for theatres
and auditoriums of all sizes.
It is claimed this new apparatus
will reproduce the widest ranges in
recording that have been or may be
attained in the production of any
sound picture at any studio. Recent
demonstrations of this apparatus,
employing the new RCA Victor Hie-h
Fidelity system of recording, repro-
duced sound frequencies ranging from
40 to 9,500 cycles with a richness and
clarity of tone and speech that have
never before been attained.
Four types of Highest Fidelity
equipment have been designed — the
standard super size, for theatres hav-
ing from 2,500 to 4,000 seats; the
standard large size, for theatres hav-
ing from 1,400 to 2,500 seats; the
Amplifier for RCA Victor Photophone
special size sound reproducing equip-
ment.
standard small size, for theatres hav-
ing from 600 to 1,400 seats, and the
special size, for theatres having up
to 600 seats. All types are AC oper-
ated, with newly developed and de-
signed voltage amplifiers that are
identical for each type.
Roxy Gets First Equipment
The first major installations of this
new equipment are now being made
in the new RKO Roxy Theatre and
the Radio City Music Hall at Rocke-
feller Center. Obviously, because of
the magnitude of the Rockefeller Cen-
ter building enterprise as a whole and
particularly with respect to these two
magnificent palaces of amusement,
the sound reproducing equipment in-
stallations will be the most complete
ever undertaken in connection with
the building of any theatre in the
world.
Already, in addition to the new
RKO Roxy and the Radio City Music
Hall, contracts have been accepted for
installations in a number of other
theatres.
Outstanding features in the new
apparatus include the improved sound-
head of the drum type, quieter AC
amplifiers and extended frequency
range, directional baffle and improved
cone speaker. Of interest to exhib-
itors whose theatres have been re-
cently equipped with Photophone ap-
paratus is the fact that at moderate
cost the equipment can be modern-
ized.
The amplifiers for the standard se-
ries are mounted on standard chan-
nel iron racks, the height of which
has been increased to 82% inches.
Voltage amplifiers on the three types
are identical. The power amplifiers
vary, the standard small size using
one 10-watt unit, the standard large
size two 10-watt units, and the stand-
ard super size one 40-watt unit. The
voltage amplifier unit has been slight-
ly modified to give improved response.
The fader relay switches are
mounted on a box with a relay and
remote control button, if used, to-
gether with a photocell voltage con-
trol for mounting at each projector
station.
Loudspeaker Filter Provided
The 50-inch directional baffle loud-
speaker is furnished regulaidy with
the standard series equipments. The
best results are obtained from a 10-
foot directional baffle loudspeaker
which can be furnished at an addi-
tional charge. The larger baffle re-
produces low frequencies with about
the same output as the higher fre-
quencies and is more directional than
the shorter baffles for low frequen-
cies. Since this results in the repro-
duction being moi-e independent of
the acoustical characteristics of the
auditorium, the 10-foot directional
baffle loudspeaker should be installed
in de luxe theaters wherever possible.
A loudspeaker filter is provided to
compensate for the response at 300
cycles, thereby providing the smooth-
est and widest frequency range of
any loudspeaker yet produced and
eliminating the necessity of using a
low and high frequency unit to cover
the frequency band.
A loudspeaker coupling transformer
is furnished with the two larger
equipments to make possible the rel-
ative adjustment of the power sup-
plied to the speakers.
The monitor loudspeaker furnished
includes a 16-inch metal directional
baffle with volume control and speaker
unit, providing an extremely efficient
unit.
Fade Switch Furnished
The special size equipment (PG-59)
has been revised to have approxi-
mately the same fidelity of reproduc-
tion as the larger equipments. The
frequency characteristic has been in-
creased considerably in range.
The new amplifier for the special
size equipment is mounted on stand-
Double Channel Amplifier for stand-
ard series RCA Victor Photophone
sound reproducing equipment.
Thirty
The INTERNATIONAL PHOTOGRAPHER
December, 1932
Soundhead for RCA Victor Photo-
phone standard series sound repro-
ducing equipment mounted on rack
beneath Simplex projector.
ard channel iron rack 38 V2 inches high.
It includes a single amplifier unit with
a power output of 6 watts and em-
ploys an RCA-57, an RCA-56, four
UX-245 and two UX-280 radiotrons.
It uses a double push pull power
stage. Two exciter lamp supply units
are included. Loudspeaker field sup-
ply is provided from the amplifier
unit.
The sound head attachments, PS-22
for Simplex, and PS-21 for Power
6B, are the same as the belt-drive
attachment formerly used with this
type of equipment except that the AC
exciter lamp transformer is not re-
quired.
A fader switch for wall mounting'
between the projectors is furnished.
The 37-inch directional baffle loud-
speaker is furnished regularly with
this equipment.
A monitor amplifier loudspeaker
consisting of a speaker unit and am-
plifier unit mounted in a metal box
is included with the special size equip-
ment. This amplifier unit consists of
a simple push-null power stage using
two UX-245 and one UX-280 radio-
trons. Through the use of a separate
amplifier no nower is directed from
the stage loudspeakers for monitor-
ing purposes.
No additional amplifier is required
with this new equipment for theatres
up to 600 seats.
In addition to the permanent types
of equipment designed for the repro-
RCA Victor Photophone Highest
Fidelity loudspeaker.
duction of High Fidelity sound, the
RCA Victor Company manufactures
35 mm. portable apparatus and onlv
recently introduced a new 16 mm. 400
watt sound-on-film portable and an
automatic continuous projector that
have begun to attract widespread at-
tention.
Facilities for the recording, re-
recording, synchronizing and reduc-
tion from 35 mm. to 16 mm. sound-on-
film subjects are maintained at the
company's studios in Camden, N.J.,
and New York.
A Comment or Tzvo from the Sideline
UNDER the caption of "Day
of the Cameraman-Director Is
Here" the Hollywood Filmo-
graph in the course of a laudatory
article about photographers and their
work suggests that many cameramen
have the idea they would like to com-
bine directing with their camera work,
"thereby effecting an economy for the
studio as well as reducing the ex-
penses of production.
"There is no reason why this should
not be a popular combination," con-
tinues the publication. "There are
perhaps twenty cameramen who are
eminently qualified to wield a mega-
phone as well. They should be given
their chance. It is a new thought
which if well proved would be a boon
to the industry and a decided advan-
tage in efficiency. Give the camera-
man his day now."
Cameramen of course will appre-
ciate the kindly spirit that prompted
the foregoing. It is but another and
a cumulating bit of evidence to show
its interest in the studio worker of
the publication uttering it. But even
while appreciating it cameramen will
be the first to declare their belief that
the responsibilities loaded on camera-
man and on director in feature pro-
duction are sufficiently heavy to re-
quire the undivided attention of each
to his own particular duties. In that
way only will the best and as a matter
of fact the most economical results be
obtained.
In past years the industry has had
sad experience with combining the
work of leading man or star and di-
rector. Almost inevitably the screened
result has shown how the player
hogged the lens and so far as he pos-
sibly could the whole show as well. To
the man out front the entertainment
and dramatic value of the experiment
has not been such as to cause him to
write back home advising the folks
there to be sure and see the pro-
duction.
One Thing at a Time
Among all the varied crafts as-
sembled in a motion picture studio
none will be quicker to yield respect
to a brilliant and honest to God di-
rector than the cameraman. He re-
alizes even more than the majority of
others how much depends on the direc-
tor's skill and keenness and under-
standing of human character — in the
humans about him as well as in the
phantoms of the script before him — in
successfully vitalizing and breathing
the breath of life into these same
phantoms.
While the cameraman remains a
cameraman he will continue to do as
he has in the past, to give his director
in effort and in advice the best that
is in him.
So when in the future as occa-
sionally has happened in the past —
and almost invariably with pronounced
advantage to his employer and the in-
dustry at large — when a cameraman
is asked to take up the work of direct-
ing he will be the first to acknowledge
the impossibility successfully of at-
tempting to command a regiment and
a battalion at the same time. And
that will apply even though he happen
to know the routine of the particular
battalion.
Many a man indifferently equipped
or worse who for some reason in-
sci-utable to outsiders has been pitch-
forked into the job of directing a fea-
ture picture has been helped over the
hurdles and saved from a ditching by
his cameraman.
And so also when in the future as
occasionally has happened in the past
a cameraman with neither trepidation
nor egotism takes up the work of di-
recting you may be sure one of his
first steps will be the selection of the
best available cameraman he knows.
And from that cameraman he will
expect as he is certain he will receive
the best that is in him.
Exaggerating Press Agent
Still Short of Perfection
THANKSGIVING Day in Holly-
wood is always a family affair,
as it is all over the United
States. L. B. Mayer gathered his
family around him yesterday and cele-
brated his twenty-five years in the
show business. Just twenty-five years
ago yesterday he opened a theater in
Haverhill, Mass., his first, and played
"From the Manger to the Cross." —
Louella Parsons' Syndicated Hearst
column, Nov. 24.
Louella should gently chide that
very young M.G.M. press agent who
slipped her that misinformation. Very
December, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-one
Artist's drawing of the Gulf Coast Studios in San Antonio, ground for the construction of which already has been
broken.. The studio has installed an Art Reeves sound equipment.
likely the usually genial L. B. already
has himself done that little thing, only
more so, as soon as he saw the item
in print. For L. B. of course will re-
call that even twenty years ago the
picture in question had just been re-
leased. If even a tricky memory serve
it was somewhere around October of
1912 the picture was previewed in the
Auditorium of Wanamaker's New
York store.
Incidentally it was the first picture
to be previewed in the history of the
industry. Then when it completed an
eight months' solid run in Queen's
Hall, London, it established a mark
that stood a long time.
Sidney Olcott, who directed that
famous subject, was in Hollywood re-
cently and if now here possibly has
taken time to advise his old friend the
columnist of the truth. So, too, in
Hollywood are Directors Bob Vignola
and Jack McGowan and also George
K. Hollister, who photographed it, and
George K. Hollister, Junior, an assist-
ant cameraman now, but the child
Jesus at the age of four years, in 1912.
Father and son are members of In-
ternational Photographers. Others
now residents of Hollywood are Alice
Hollister, wife of George K.; Doris
Hollister and Jack Clark.
Recurring to the matter of motion
picture truth as some press agents
construe it when as in the present in-
stance these lessening latter are only
25 per cent wrong their conscience
tells them they are still at least 75 per
cent short of being press agently
perfect.
Just to show there are no irreme-
diably hard feelings we will reproduce
from our morgue a still picture that
from its historical value well is worthy
of hanging in the Motion Picture
Division of the Los Angeles Museum.
It was photographed by George K.
Hollister and is a picture of the
O'Kalems in Egypt, where the troup
was engaged in photographing "From
the Manger to the Cross," its starting-
point incidentally.
The company here shown was the
first to be sent abroad from the
United States to make a picture. Be-
cause it had made productions in Ire-
land the Kalem troup became known
as the O'Kalems. Kalem was a mem-
ber of the General Film Company.
In the picture are Gene Gauntier,
star and also writer of the script, and
Jack Clark. Their marriage in Jerusa-
lem by the United States Consul con-
stituted one of the romances of the
trip.
Reading from left to right are Sid-
ney Olcott, director; Ameen Zaytoun,
courier and adviser, now living in
Philadelphia and whose services had
been loaned the company by the Am-
erican Consul at Beirut, Syria; Allen
Farnham, art director; Alice Hol-
lister, J. P. MoGowan, Doris Hollister,
Gene Gauntier, Robert Vignola, and
(standing) Jack Clark, holding in
arms, George K. Hollister junior.
Gulf Coast Productions Buy
Art Reeves Sound Equipment
ON this page will be seen an
artist's drawing of the studio
being built in San Antonio by
the Gulf Coast Studios. The pictures
to be made in it will go out under the
brand of Kier-Phillips Productions.
Messrs. Kier and Phillips came to
Hollywood to secure sound equipment.
After looking over the field they
selected an Art Reeves system, which
was installed in the company truck.
Jack Britton, cameraman, and Di-
rector Willett took the truck away
with them on their return to their
home lot.
Messrs. Kier and Phillips, who
while in Hollywood made many staunch
friends, announce they will produce
western pictures, at first confining
their efforts to single reelers. They
will have access to all the background
necessary, whether of animal or scen-
ic. Great herds of cattle have been
placed at their disposal.
The two principals of the company
came into town with credentials of the
highest, and during their stay these
were confirmed. The two men are
described as of large resources, and
during their visit some of these latter
did a little talking that was not re-
corded on a microphone. But while
money talks it does so silently.
Dunning Process was commissioned
to do some lap dissolves and trick
work for the studio, and this was ac-
complished while the Texans were
here.
The O'Kalems at the Sphinx in 1912
Thirty-tivo
The INTERNATIONAL PHOTOGRAPHER
December, 1932
Lee Garmes zvith 'Shanghai Express '
Wins Academy 9s Photographic Nod
THOSE who have followed the
work of Lee Garmes, I. P., the
past few years have known it
was only a question of time before the
Academy of Motion Picture Arts and
Sciences would l'ecognize the unusual
merit characterizing his photographic
product and bestow upon him the an-
nual bouquet for outstanding skill in
his division of motion picture activity.
The expected happened at the 1932
convocation. The particular subject
selected was "Shanghai Express,"
which was chosen by the members
over two other pictures selected by
the committee for honoring. These
were Ray June and "Arrowsmith" and
Karl Struss and "Dr. Jekyll and Mr.
Hyde."
Garmes at the age of thirteen years
was a cameraman's helper, and even
before that had dabbled with a small
box camera and had developed and
printed his own exposures. Following
his photographing of "The Grand
Duchess and the Waiter" Rex Ingram
engaged him to accompany him to
France and shoot "The Garden of
Allah."
Among Garmes' recent pictures
have been "Morocco," "City Streets,"
"An American Tragedy," "Dishon-
ored," "Whoopee" and "Fighting
"Caravans."
William (Bill) Brulatour German
Slips Into Town Just to Greet Gang
W
Lee Garmes
president and general manager
of J. E. Brulatour, Inc., New
York, arrived in Hollywood the last
week in November for a visit with
Eddie Blackburn and the west coast
staff of the Brulatour Company, as
well as the West Coast Eastman
technical staff, and to say hello to the
dozens of his friends in the camera
and technical field.
Mr. German's last visit here was in
February of last year upon the occa-
sion of the introduction of the then
new Eastman super-sensitive panchro-
matic negative.
The eastern executive frankly is de-
lighted with the broad success of the
Eastman high-speed negative and was
not the least reserved in crediting
much of its popularity to the fact that
it has been most intelligently used by
cameramen and expertly handled by
laboratory technicians.
"I am agreeably surprised," said
Mr. German, "to find such great pro-
duction activity in the Hollywood
studios while production in New York
is comparatively quiet. I also am
very much gratified to find the camera-
men so generally interested in the fine
technical points of photography, espe-
cially as affecting negative character-
istics, developing and printing.
"It seems to me the boys know a lot
more about what is actually happen-
ing to their film after it leaves the
camera, and their interest is quite
obviously carried to the screens of the
theatres throughout the country.
"I feel very sure that part of this
good condition can be traced to the
door of the Eastman Research Labora-
tory in Hollywood, which is contribut-
ing a very helpful and effective serv-
ice under the direction of Emery Huse.
"Many of the cameramen have
spoken to me about the real help they
have had from Huse and his staff, and
after all that's why the Kodak Com-
pany maintains such a distinctive
service in which they are alone in the
field so far as its scope is concerned."
William (Bill) German
Looking In on Just a Few New Ones
IF I HAD A MILLION
PARAMOUNT'S "If I Had a Mil-
lion" is a troupers' holiday. Vet-
eran actors from Richard Bennett
to May Robson, from Wynne Gibson
to Charles Laughton, from W. C.
Fields to Alison Skipworth — and down
the line with Lucien Littlefield, Charlie
Ruggles, Gene Raymond, Mary Bo-
land, George Raft, Gary Cooper and
Jack Oakie, to mention a few of the
large number — hold the screen with-
out a lessening in interest through a
long production.
The concluding sequence — it is a
By GEORGE BLAISDELL
tale of practically independent epi-
sodes— is far and away the best of all.
And singularly enough it is conceived
in and around an old women's home.
Surely here is a background calcu-
lated to impart a shudder to your
dyed-in-the-wool Hollywood bow-wow
whose conception of what the public
wants begins and ends roughly with
a girl and a boy, both pretty — pretty
is the word.
Richard Bennett gives a splendid
performance as the millionaire unable
to find among his relatives or em-
ployes anyone in whose ability he has
enough confidence to place in charge
of the estate he expects to leave soon.
May Robson as an inmate of an old
women's home brings to bear all the
quality that stirred New York theatre-
goers a generation ago.
Wynne Gibson executes with stern
fidelity to life a carefully conceived
interpretation of the woman of the
street. Most of her sequence is with-
out dialogue — and when in her new
suite she prepares for bed first by
slamming into a closet one of the two
December, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-three
pillows on the bed and plants the re-
maining one in the center she needs
no dialogue to reveal the thoughts
that surge through the mind of Violet.
George Raft has a strong part, dra-
matic and tragic. So also does Gene
Raymond, whose million out of the blue
is dropped in his lap as he is being
prepared for the executioner's chair.
Charles Laughton makes a brief ap-
pearance in a sequence in which the
wit pretty successfully tops the near
vulgarity of the climax.
Much more might be said of the in-
teresting phases of this screen novelty.
There is a list of seven directors
and eighteen writers. These latter
operate on a story by Robert D. An-
drews. The work of writer and di-
rector is not identified, so the author-
ship or direction of the various sec-
tions is buried in anonymity.
Paramount's camera department re-
ports that in that division of picture-
making as in others on this subject
so many cameramen were employed it
hardly would be possible to name any
one person who could be entitled to
the grade of "chief."
THE BRAHMIN'S DAUGHTER
Chief cameraman, Alvin Wyckoff ; operative
cameraman, Pierre Mohls ; assistant, Wil-
lard Ernerick ; stills, Rex Curtis ; sound,
L. E. Clark.
WHETHER you know anything
about the mechanics or the
mysteries of the recording and
reproduction of sound — or care any-
thing about them — you are due for a
Alvin Wyckoff
real thrill when you listen to the
singing of Esther
Coombs in "The
Brahmin's
D a ughter,"
adapted from
"Lakme," and to
be distributed by
Educational. You
will sit in on
twenty minutes
of rare screen en-
tertainment.
If this be RCA-
Victor's Highest
Fidelity then will
we say it has
been most hap-
pily and most
aptly named. Shown at the RCA-
Victor's Hollywood studio on the even-
ing of Nov. 26 to an audience of a
few newspaper men and members of
the cast and production staff of the
operalogue and others the subject was
received with marked enthusiasm.
The picture is the fifth of the series
of these two-reel operalogues and is
admittedly the high spot of the sched-
ule so far produced. Its showing at
the studio started without any an-
nouncement as to what was coming
and proceeded without anything seem-
ingly out of the ordinary to attract
the attention of the layman. It was
when Miss Coombs, prima donna of
the troup, without any spreading of
feathers swung into her marvelous
soprano that the innocent bystander
sat up and took notice indeed.
It was one of the most thrilling
moments this writer ever encountered
when facing a screen. The thrill per-
sisted and continued the while the
singer held the stage and was re-
newed whenever she resumed her role.
Heretofore the vocabulary and phras-
ing of the hopelessly professional
music critic has been to this writer
something indescribably more than a
pain in the ear, but if the lingo means
anything to anybody else this same
writer would give something for the
privilege of using of it about three
rows of type.
Just Perfectly Natural
But after all what a hopelessly pro-
fessional music critic might not have
thought to say it was a perfectly nat-
ural even if it also were a marvelous
human voice. It was a shock, too, to
sit in on what later privately was de-
scribed as a reproduction of 8500 fre-
quencies, when also it was suggested
that 5500 is a pretty high figure in
the matter of reproduction.
The system has been employed in
Hollywood in the recording of two
Mickey Mouse comedies, one of them
being released for the Christmas
trade; one Silly Symphony and one
of RKO's comedies, "A Full House."
The Highest Fidelity claims a range
of from 40 to 9500 frequencies. If
this writer be entitled to an opinion
it is it certainly has something far
out of the ordinary.
If the legion of irrepressible screen
spokesmen be reasonably accurate
EYEMO..the 35mm
field work of all kinds
The Bell y Howell Eyemo 71-C. 35 mm. Seven speeds. Three-
lens turret head. Speed conversion dial. Built-in hand crank as
well as spring motor drive. Price $450 and up. Electric motor
and 200 or 400-joot magazine extra. Prices upon request.
hand camera for
When news reel men, explorers, scientific expeditions, or
topical film producers take 3 5 mm. film in the field for
sound to be "dubbed in" later, the Bell k Howell Eyemo is
the hand camera to use. The new electric motor drive gives
the even 24-frames-a second speed so important when sound
is to be added, and maintains this speed, if desired, without
interruption through an entire loading of film.
When the work demands more than the ordinary 100-foot
film roll, the Eyemo is the camera. For the motor driven
Eyemo can be fitted with a 200 or 400-foot magazine.
Studios abroad, producing film to which sound is to be
added, also are finding Eyemo an indispensable part of their
equipment.
With Cooke lenses . . . the lenses preferred by professional
photographers everywhere and exclusively supplied for movie
cameras by Bell & Howell . . . fitted on its three lens turret
head; with its easy portability, convenience, simplicity, and
flexibility of operations; Eyemo sets a new standard of pro-
fessional quality in 3 5 mm. hand cameras. Write for full
particulars.
BELL & HOWELL
Bell & Howell Co., 1849 Larchmont Ave., Chicago; 11 West
42nd St., New York; 716 North La Brea Ave., Hollywood;
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19 0 7-
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-19 3 2
Thirty-four
The INTERNATIONAL PHOTOGRAPHER
December, 1932
when they insist a departure radically
novel is necessary to bring back the
crowd to the theatres let them take
heart. The radical novelty would seem
to be here.
Less than four years ago an article
was submitted first to one national
magazine and then to another suggest-
ing that with the coming of sound the
time was near at hand when the great
public would have full opportunity to
sit in on spectacular presentations of
Shakespearean plays and classical
operas. Both magazines departed from
the usual form of printed rejections
to suggest in one instance anyway the
writer was a generation at least and
probably more than that in advance
of the time.
It Can Be Done
It was not long after that Dr. Frank
Nagle, an authority on music, gave an
interview to a Variety reporter say-
ing with the coming of sound the
greatest operas in the history of music
would be available to the residents of
the smallest towns — carried there in
tin boxes. It would seem the doctor
was right, as also was the reporter
who when denied by magazine editors
found a fellow-enthusiast in the doc-
tor. Highest Fidelity apparently will
destroy the barriers that have inter-
fered with perfect reproduction of the
rarer and higher human voice — and
also the lower, too.
Getting back to the picture it was
produced by the Kendall-De Vally
Operalogue Company, Mr. De Vally
supervising and arranging the score.
Howard Higgin directed the opera.
Alfred Megerlin, concert master, for-
merly held that same relation to the
New York Philharmonic.
All of the first chairs in the orches-
tra were occupied by men who have
been members of the greatest musical
organizations, many of them at pres-
ent being connected with the Los An-
geles Philharmonic.
Miss Coombs, who played the role
of Lakme, is a newcomer in opera.
Two years ago she won high honors
in the Atwater-Kent contest. Ettore
Campana was the priest, John Lince
the father, and Alice Reawold the
dancer. The first named recently was
first basso in the Metropolitan of
Mexico City, the second in one of the
first Gilbert and Sullivan operas, and
Miss Reawold successfully toured the
continent in 1931.
The subject was photographed by
Alvin Wyckoff in charming surround-
ings on some of Los Angeles' most
picturesque estates.
THE CONQUERORS
First cameraman, Edward Cronjager ; photo-
graphic effects, Vern Walker ; operative
cameraman, Robert De Grasse and Bur-
nette Guffey ; assistant cameramen,
George Discant and Lester Schorr ; stills,
Fred Hendrickson ; sound, John Tribby.
THERE will be found in RKO's
"The Conquerors" a serious at-
tempt to create another "Cimar-
ron." There are several points of
similarity, among them the sweep and
scope of the background — a story of a
nation for sixty years; the story of a
family running through three genera-
tions, and the story of a business in-
stitution, a bank, under a single
ownership for six decades. It is all a
story of prosperity and turmoil, panic
even, from 1873 to 1932 inclusive.
The subject has a message, too, a
message of hope. It aims to point out
that even as the country recovered
from other and possibly and probably
lesser upsets so will it recover from
the present one.
"The Conquerors" is a panoramic
chronology of a Nebraska town
through sixty years, tracing it from
the beginning. It interests much, but
it stirs the emotions hardly at all.
Like "Cimarron" it is too long, but un-
like "Cimarron" it lacks something
vital the first comer seemed to possess.
Richard Dix and Ann Harding do
everything in their power to breathe
vitality into the subject. At times
they succeed and notably. Guy Kibbee
and Edna May Oliver second their
efforts, so successfully that the two
and especially Kibbee in the part of a
Harvard medical graduate turned
town drunkard or almost that may be
said to have divided the honors with
the two leads.
William A. Wellman directs the sub-
ject. As may be expected the war
scenes are of real conviction. There
is one bit in a western sequence
which will add nothing to the reputa-
tion of the director for good judgment.
It will do distinctly the contrary.
With even greater effect will it im-
pugn the production judgment of the
chief studio executive.
There is a hanging bee. Murderous
riders have been captured, and a
dozen more or less are hooked up
with ropes swung over a limb and se-
cured to the saddle of horses. The
animals start and slowly the heads
and shoulders and then the entire
bodies of all the condemned appear in
view. Lifelike it is not, for all but
two forget to kick. Revolting it is
aplenty.
Robert Lord wrote the screen play
from Howard Estabrook's story.
TOO BUSY TO WORK
First cameraman, Charles Clarke ; operative
cameraman, Joe Mac Don a Id ; assistants,
H. C. Smith and Robert Mack ; stills,
Wally Chewning ; sound, Eugene Gross-
man.
WILL ROGERS never has been
seen in a tenderer or more ap-
pealing production than Fox's
"Too Busy to Work," adapted by
Barry Conners and Philip Klein from
the story by Ben Ames Williams. It
is a story of a tramp, a tramp with
a purpose, with several of them in
fact. One of them of course is the
avoidance of work. Another and the
major one is the discovery of the man
who during the war had won the
affections of his wife and had taken
her along with the family daughter.
The picture is the same as that
made under the title of "Jubilo" at
another studio a decade ago — and
seemingly also in one sequence at least
in the same location. As Jubilo strolls
down a long lane bordered by eucalyp-
tus trees there is a feeling the genial
hobo has been seen in the same sur-
roundings a long time ago.
It is singular the amount of drama
that may ride in a simple scene of a
man and a maid sitting in a yard
and the latter memorizing the words
of an old and simple song — the girl
saying her mother used to sing it and
the audience knowing the man is her
father.
Marian Nixon is the daughter who
takes a strange liking to the tramp
who has dropped into town from a
freight train. It is a charming inter-
pretation she gives us. Frederick
Burton as the judge, Constantine
Romanoff as Axel the farm worker
and Louise Beavers as Mammy all
have much to do and exceedingly well
do it.
John Blystone is the director, and
in his craftsmanship he runs true to
form. He understands the art of de-
veloping power in simplicity of back-
ground and surroundings — of smiles
as well as of the reverse.
George Barnes
SHERLOCK HOLMES
Fiist cameraman, Georges Barnes; operative
cameraman, H. Van Dyke; assistant
cameramen, J. Van Wormer and Stanley
Little; stills, Clarence Hewitt; sound, Al-
bert Protzman.
THERE really is a novel twist in
Fox's "Sherlock Holmes," with
Clive Brook at the top of the
cast. The famous tale of Conan Doyle
is brought up to date. The detective
is shown battling against criminals
not only of Eu-
ropean origin,
France, Germany,
Spain, etc., but
also against Chi-
cago. It is in the
injection of Chi-
cago gangster
methods that we
find stimulation
in interest in an
old story. Stanley
Fields carries the
shield for the
community by the
lake, or at least
for a part of it
that sometimes is
something more than negligible, and
carries it with distinction as judged
from what we are led to believe are
rated the most approved standards.
William K. Howard has directed
this production, which will rate un-
usually high in any company. It pos-
sesses craftsmanship all the way
through the works, from inception to
completion. Several principals stand
out — Brook, Ernest Torrence, Fields
and Miriam Jordan, especially.
It is some time since this writer has
noted Torrence, and when we follow
this tall chap in his remarkable in-
terpretation of Moriarty the criminal
we appreciate most keenly the quality
of the work of which we are deprived
when he is away. In many depart-
ments this man is second to none in
his mastery of impressive portrayal.
Clive Brook, too, is at his best.
Miriam Jordan as the heroine has
notable appeal. Herbert Mundin, the
bartender, as always is serious in his
manner and most amusing at the same
time. There are many actors of stand-
ing in the support.
Bertram Milhauser wrote the adap-
tation from the Doyle story.
December, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-five
THE MUMMY
First cameraman, Charles Stumar ; operative
cameraman, James Drought ; assistant,
Art Glouner ; stills, Fred Archer ; sound,
Joe Lapis.
'"T^HERE are a couple of debuts in
the list of the makers of Univer-
sal's "The Mummy." Of first
importance to the trade generally and
to cameramen specifically is the eleva-
tion of Karl Freund to director. Then
^^^^^^^^^^^^ of lessening im-
^^^^~^H portance, lessen-
ing because for
the action has
1^^^^^ "yS Deen forecast, is
the appearance of
Boris Karloff as
the unquestioned
feature player of
a subject. Both
men acquit them-
selves with honor,
the one as a fore-
gone conclusion
by reason of the
known quality of
his work and the
other of whose ability as a director
the man on the street had no knowl-
edge.
The story frankly is spooky and
goofy. At times it is blood-curdling —
there's no question about that. If the
susceptible spectator already has seen
"Frankenstein" and has survived that
horror in not too bad condition he may
with more or less safety take a chance
on sitting in on "The Mummy."
Charles Stumar
Nevertheless always are we enter-
tained and sometimes thrilled, the
latter to repletion. The subject is
competently and even sumptuously
staged and presented. Zita Johann,
that charming and intelligent player
whose denied chance to make the
grade before the camera years ago is
still one of the film's mysteries, en-
hances her tightening grip on the
screen ladder. David Manners, Arthur
Byron, Bramwell Fletcher and Ed-
ward Van Sloan are other principals.
Nina Wilcox Putnam and Richard
Schayer wrote the story and John L.
Balderston adapted it.
LAWYER MAN
First cameraman, Robert Kurrle ; operative
cameraman, Al Green ; assistant, John
Shepek ; stills, John Ellis ; sound, Oliver
Garretson.
TAMMANY HALL and its boy
friends are not going to like
Warner Brothers' "Lawyer
Man," featuring William Powell, ably
seconded by Joan Blondell. It is based
on the novel of the same name by Max
Trell, with the screen adaptation being
written by Rian James and James
Seymour. The first of these last two
named, of course, knows his New
York, and it is possible inserted a few
harpoon heads under the tough hide
of "the organization."
There are one or two sly allusions
to the late Seabury investigation of
the city administration. Just by way
of passing this same Seabury must be
the one time counsel of the Motion
Picture Board of Trade of New York
and the country at large.
With the Warners aiming to as-
sume the leadership of the industry
before the incoming administration, to
be the mouthpiece as it were, this sub-
ject directed by William Dieterle is
not going to enhance the family in-
fluence in the councils of Tammany.
But then, after all, New York is not
America — only in New York.
Nevertheless to the one whose
withers thereby are unwrung it is a
corking good picture. It fits Powell
all the way. The lines so far as they
assume to utter facts all are within
the realm of the probable. More than
that they reflect an actual situation
either past or present.
David Landau as Gilmurry, typical
and never mythical politician, con-
tributes conviction to the whole by his
handling of his part. Alan Dinehart
is on the job so far as that lesser role
extends. Helen Vinson is Barbara,
the fair weather suitor of the Lawyer
Man.
The picture will have especial inter-
est for cameramen in that it repre-
sents the last work of the late Robert
Kurrle, whose sudden passing was re-
corded in the last issue of this maga-
zine. The well established reputation
of the late cameraman will in no wise
suffer when this last example of his
craftsmanship is subjected to the
critical yet friendly inspection of his
former associates.
Unequalled for Even Definition
over the Entire Picture Area"
That's Raytar — the new Bausch & Lomb
lens. It gives sparkling brilliance, sharper detail and clearer, more complete
coverage than the best lens you've used to date.
Try this fully corrected lens yourself. That's the way to really prove just
how good it really is. Glass will not discolor. Don't take our word for it.
Try Raytar yourself.
BAUSCH & LOMB OPTICAL
682 St. Paul St., Rochester, N. Y.
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City
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BAUSCH & LOMB OPTICAL COM PA NY
682 St. Paul St.
Bausch & Lomb makes its own optical glass
Only B&L glass meets B&L Standards.
Rochester, N. Y.
MICROSCOPES : TELESCOPES : BINOCULARS : SPECTACLE LENSES AND FRAMES
OPHTHALMIC APPARATUS : SCIENTIFIC INSTRUMENTS
Thirty-six
The INTERNATIONAL PHOTOGRAPHER
December, 1932
When Seen Through Feminine Eyes
By HELEN BOYCE
Henry Gerrard
PENGUIN POOL MURDER
First cameraman, Henry Gerrard ; operative
cameraman, Russell Metty ; assistant, Wil-
lard Barth ; stills, Fred Hendrickson ;
sound, Hugh McDowell, Jr.
HERE RKO has produced a mys-
tery not cluttered with grue-
some details, and when Edna
May Oliver and Jimmie Gleason join
forces to track down the murderer,
despite the seriousness of the situa-
tion, they provide
excellent enter-
tainment and not
a little comedy.
Director George
Archainbaud has
shown good judg-
ment in the selec-
tion of the cast.
Willis Goldbeck
has written the
screen adaptation
from the novel by
Stuart Palmer.
In the role of
Hildegard With-
ers, the spinster
schoolma'am who
with her class discovers the murder
at the aquarium, Miss Oliver has a
part that will please her many ad-
mirers. Jimmie Gleason is Inspector
Piper. When he and his associates
arrive on the scene they are all put
in their proper niche by the admirable
Miss Withers. In fact she just "takes
over" and directs operations from
then on. Her keen observation and
intelligence, despite her acidulous re-
marks, win the admiration of the in-
spector— and something more.
Mae Clarke plays Gwen Parker,
wife of the murdered man; Robert
Armstrong is Barry Costello, an at-
torney, and Donald Cooke is Philip
Seymour, a one-time sweetheart. The
fact that all of them "just happened
to be present" when the murder was
discovered serves to make matters
rather complicated.
The observer will find keen satis-
faction in the final sequence, even to
the smart slap that Mrs. Parker re-
ceives. It ends just the way we like
to have 'em end.
YOU SAID A MOUTHFUL
First cameraman, Richard Towers ; operative
cameraman, William Schurr ; assistant,
Vernon Lawson ; stills, Charlie Welborn ;
sound, Don Mair.
THERE'S a steady ripple of
laughter following the showing
of First National's "You Said a
Mouthful." The feature of the show
of course is Joe E. Brown in the guise
of a small town lad from Iowa who
goes to Los Angeles in search of a
fortune. Too late he learns the liabili-
ties that adhere to the legacy quite
outweigh the assets.
Through the remai-kable coincidence
of a famous swimmer bearing the
same name being booked to take the
Catalina steamer preparatory to join-
ing the channel marathon and the
Iowa lad being mistaken for the
swimmer many things happen and in
rapid succession.
The tale naturally is frank farce
and no attempt is made to make it
anything else. Accepted as such the
fun is plenty. Helping out in the
cast are Ginger Rogers as Alice, the
Catalina girl who is smitten by the
presumably great swimmer; Preston
Foster as the chief rival of the sup-
posed champion, Guinn Williams as
the real champ who lands in jail just
before the steamer sails for the island
and Harry Gribbon as the small town
cut-up who becomes a salesman.
Robert Lord and Bolton Mallory
wrote the screen play from William B.
Dover's story and Lloyd Bacon di-
rected it.
PIER 13
First cameraman, Arthur Miller ; operative
cameraman, Joe La Shelle; assistants,
Billy Abbott, Clarence Slifer and Don An-
derson ; stills, Roy Johnson ; sound, George
Leverett.
A LUKEWARM picture that tried
to be warm and funny is Fox's
"Pier 13." Even gangsters and
drunks are thrown in, but they don't
land hard enough to register. Barry
Conners and Philip Klein are respon-
sible for the story
and Arthur Kober
for the screen
adaptation. It's a
story that doesn't
well lend itself to
the screen. Raoul
Walsh directs.
Joan Bennett is
Helen, the pert
cashier in the
coffee shop on
Pier 13. Spencer
Tracy is Dan, the
policeman and
later detective,
who falls for her.
Marion Burns has
the part of Kate, Helen's sister, who
within a few days after her marriage
hides one of the gangsters, an ex-
lover and now an escaped convict, in
the attic of her new home.
If your imagination isn't overtaxed
by this time you will see the gangsters
adjourn to the flat over the bank,
where in a lackadaisical manner they
subdue the family residing there, who
all sit around with fishlike expressions
while the gangsters drill through the
floor into the bank vault beneath and
remove all available loose change. The
villains are finally outwitted, but it
could have been accomplished with
considerably less footage.
Arthur Miller
THE HALF NAKED TRUTH
First cameraman, Bert Glennon ; operative
cameraman, Eddie Pyle ; assistant. Charles
Burke; stills, Oliver Sigurdson ; sound,
John E. Tribby.
MAYBE too many cooks will leave
the soup with too much salt
and too little pepper, but no one
could accuse five writers of leaving
"The Half Naked Truth" without
plenty of flavor. Perhaps it may be
a little too fresh for the taste of some,
but even they will have to admit it
has plenty of pep. The story, written
by Ben Markson and H. N. Swanson,
was suggested by David Freedman's
"Phantom Fame." The screen play
was written by Bartlett Cormack and
Corey Ford. Gregory La Cava di-
rected.
It all starts with a carnival — a
carnival where business is so bad the
fat lady has dwindled to 112 pounds.
Even Lupe Velez in her wicked writh-
ings as Teresita, most emphatically
ballyhooed by Lee Tracy as Bates,
fails to bring in the dimes. Eugene
Pallette as the strong man is even
worse off. Then Bates, who has the
wild makings of a press agent, gets
an idea. As a result of his brainstorm
Teresita, Achilles and himself land in
Farrell's lavish production on Broad-
way. The fact that Teresita and
Achilles have become something out of
a harem and it has been discovered
that Teresita has a lion in her boudoir
are just incidental in landing them on
the great white way. Frank Morgan
has the part of Farrell and he is a
wow.
Achilles as a member of the nudists'
colony riding up Broadway with his
anatomy above the waistline clad only
in a large beard brought laughs
aplenty. The nudists, by the way, are
all part of the press agent's brain-
storm.
The picture was kept moving at a
hilarious tempo without a slapstick
gesture and will undoubtedly be popu-
lar with fans who like 'em fast and
snappy.
THE MATCH KING
First cameraman, Robert Kurrle ; operative
cameraman, Al Green ; assistant camera-
man, John Shepek ; sound, Dolph Thomas ;
stills, Bill Walling, Jr.
BASED on the novel by Einar
Thorvaldson, with adaptation by
Houston Branch and Sidney
Sutherland, "The Match King" is
really the screen interpretation of a
matter of recent history — the passing
of Krueger.
Warren Wil-
liam as Paul
Kroll has a role
that fits him well,
in fact too well.
He was more like-
able in "The Black
Horse." Here we
have him as a
cold, unscrupu-
lous man of un-
limited ambition,
who does not hesi-
tate at murder to
realize this ambi-
tion and add fuel
to an already en-
larged ego.
The affections of women and the
trust and respect of his associates are
ruthlessly used as stepping stones to
accomplish the desired result. He
starts as a street sweeper and ends
as the Match King. Lila Damita as
Marta, the woman who avoids him,
then finally falls in love with him, to
fall out again after his neglect, has
the only part that excites any real
emotion or sympathy — and she does
it in the most gorgeous ideas in
Parisian dressmaking.
Howard Bretherton directs an ex-
cellent cast.
Robert Kurrle
December, 1932
The
INTERNATIONAL PHOTOGRAPHER
Thirty-seven
The International Photographer's Family Album
Anniversary of the Stork's Visit
DEC. 1 — Bert Anderson, Jacob Bada-
racco, William Daniels, Mack
Elliott, I. J. Koverman, Howard
Oswald.
2 — Edward Snyder.
3 — Fred Archer.
4 — George Beckman, Milton Briden-
becker, Aron Hower.
6 — Ernest Palmer, Leo Tover.
7 — Robert Martin.
9 — Frederick Clarke, Ted Weisbart.
10 — Don Anderson, Edward Kull.
11 — Glen Gano, James Gordon, Harry
Marble, Dave Smith.
12 — Willard Emerick, Kyme Meade,
Len Powers.
13 — Frank Carson, Paul Perry, Oren
Roberts.
14 — Bert Haines, Thomas Tutwiler.
15 — Dave Abel, Joe MacDonald, Ar-
thur Marion, Victor Milner.
16— Norbert Brodine.
17— Alfred Smalley.
18 — Reginald Lyons, George Stevens,
Rex Wimpy.
20 — William Hyer, Virgil Miller.
21 — Kenneth Green, Louis Jennings.
22 — Jockey Feindel, Thomas Riddell.
Jim Brown Invents Toy for
Little Ones Young and Old
JIM BROWN, first cameraman at
Darmour's studio for years, has
invented a toy weapon, a Brownie
machine gun. The idea came to the
cameraman while photographing the
Mickey McGuire comedies.
The toy is harmless and incidentally
foolproof. It operates on a spring and
is motivated by pulling the trigger.
The result of that action is a sus-
tained noise like a not too near riveter.
eo-siEEES-
It is twelve inches long. Its use is
not necessarily confined to the little
ones. As a noisemaker for those
slightly older who are strong on New
Year and similar celebrations it will
have definite appeal.
The inventor is having an initial
order of 100 manufactured. The toys
will retail at $1.50.
Welborn — Naylor
Charles S. (Scotty) Welborn was
married November 28 to Miss Ade-
laide Naylor, the ceremony being per-
formed by the Rev. William W. Fleet-
wood at All Saints Episcopal Chui-eh,
Beverly Hills.
23 — Wesley Anderson, Stanley Hors-
ley, William Nobles, William
Sickner.
24— Elwood Bredell.
25 — Max Cohen, Richard Fryer.
26 — Mervyn Freeman.
27 — Linwood Dunn, J. O. Taylor, Ray
Wise.
29— Alfred Gilks.
31 — Hans Koenekamp.
George Stevens, first cameraman,
who for some time has been directing
shorts at the Roach Studio, has been
engaged to direct a feature for Uni-
versal under the supervision of War-
ren Doane.
Lyons Withdraws Car
Reginald Lyons' Dusenberg racing
car entry in the 150-mile champion-
ship race in Oakland was forced out
of the contest on the thirteenth lap
when Les Spangler's car overturned
in front of it. Chris Vest, driver of
Lyons' car, was not seriously in-
jured.
Inability to repair a broken water
pipe in sufficient time caused Lyons
to abandon the race, although at the
time of the collision his machine was
well within the money.
Len Powers Happy
Len Powers photographed Laurel
and Hardy's "Music Box," which won
the short comedy award from the
Academy. And he doesn't feel so bad
about that, either. His friends and
the friends of the two jovial come-
dians are extending congratulations
to the trio.
Six International Locals
Combine for Dinner Dance
SIX locals of the International Al-
liance have combined forces for a
dinner dance on the evening of
December 10 at Sebastian's Cotton
Club, Culver City. The organizations
are Nos. 659, 33, 37, 150, 683 and 695.
Tickets for twenty couples have
been alloted to each local, particulars
regarding which may be obtained from
the business representative of each
body.
It is planned for the couples to be
seated at 11 P.M., with dinner served
at midnight. The dance, it will be
noted, falls on the evening imme-
diately following the Notre Dame con-
test. At this writing on November 30
there are but few tickets unsold.
Master Fred Terzo 2d
Camera Repair Work
We are endeavoring: to keep our high
grade machinists and repair men, long
associated with the motion picture indus-
try, employed by reducing our price on all
repair work to
$1.25 per hour
and feel in so doing we are also co-oper-
ating with the cameraman. Cur work
all carries the Fearless guarantee.
Fearless Camera Company
7160 Santa Monica Blvd. GR 7111
now
In A
merica
CAMERAS . . PRINTERS . . .
DEVELOPING MACHINES . .
LABORATORY EOUIPMENT .
PORTABLE SOUND PROJECTORS
EDITING MACHINES ....
AXDRE DEBRIE ,nc
115 WEST 45? STREET • • NEW YORK
Thirty-eight
The INTERNATIONAL PHOTOGRAPHER
December, 1932
so-eHJEtts-
8.-- 3.PEII." >•
DO YOUR CHRISTMAS SHOPPING
EARLY
This beautiful view was shot right
up by that upright photographer Rex
Clark and is guaranteed to be pure
and unadulterated and contains no
benzoate of soda, although sodium
sulphide and bromo-seltzer were used.
WE have had so many complaints
from the brothers that are un-
able to get into the studios to
look for work and borrow money that
something had to be done at once. A
plan was submitted and is passed
along to the membership. Public
works should have your support and
OtlOCWS
By OTTO PHOCUS
this is the latest in "public works."
Put your idle dollar to work, if you
have one, and if not you may secure
employment on this new project. Our
stock certificates will be more at-
tractive than those issued by the
Guarantee B and L Ass'n or what's
left of it.
It has been proposed that we or-
ganize Tunnellers Inc. This will en-
able us to start secret entrances to the
indifferent studios. All paid-up mem-
bers will have free access to these
tunnels. For revenue we will sell one
way tickets to writers, supervisors
and a few other selected groups that
can use the tunnels as an exit and
save the embarrassment of going out
the front gate, when a change of
policy has been made in the studios,
which is quite often.
This also will come in handy for
those who are trying to dodge bill col-
lectors, and what a break for the boys
who want to dodge the wife on pay
days. Jean Smith suggested that side-
walls be cut into the tunnels and
rented out to the brothers for rooms,
provided that business gets no better
faster. Also, that all entrances to
tunnels be located in speakeasys so
we get first crack at outgoing cus-
tomer's checks.
From the accompanying marine
view you will notice we see two men
and a half.
Although we only see one half of
the man on top it still may be some
one's better half, and that's something
these days. Notice the large cast iron
Dipe. This has no use whatsoever, but
has been put in to help the composi-
tion and give the photographer some-
thing to frame on. The chain is very
handy as it can be pulled from all
positions. If you like the idea don't
tell me, but send in subscriptions at
once.
LETTERS RECEIVED
Dear Mr. Phocus: Read your last
number and thought you were lousy.
Answer: Call Sennett's and prove
it.
Dear Otto: Have tried the No filter,
the Aeroplane filter and the G whata
filter as well as the 23 Ah ! And on
a couple of shots the 5 in 5 which re-
sults in nothing and I still have
scratches. What do you suggest?
Answer: Try taking a bath and if
deficiency is not corrected, write Ray
Fernstrom.
Dear Mr. 0. F. (old fashion) : I
have a Leica camera and no matter
what size lens I use the negative is
always the same size.
Answer: The same thing applies to
the dollar. Even when it's only worth
65 cents you will find it remains the
same size.
DO YOU KNOW
That the Lab Technicians call their
magazine "Flashes." I didn't think
they would boast about them.
That Jack Fuqua has charge of the
mailing department of this Magazine,
and that he is the department.
That Ira Hoke "upped" and did it.
That Chester Lyons made the front
page in a local paper because he
found a skunk under his house.
That Paul Perry and Guy Wilkie
have gone to Ceylon and will be gone
for 5 or 6 months.
That George Schneiderman has
been with Fox since 1915.
That Roland "Roily" Totheroh has
been with Chaplin 14 years.
That Fred Westerberg started with
Lasky in 1916 and finished C. B. De-
Mille's picture recently.
That we have eight Andersons in
the Local.
That Maurice Eugene Kains was a
leading man at M.G.M.
That Adolph Edward Kull was with
Selig in 1907.
That Perry Finnerman's correct
name is Peray.
That I think John Leezer got the
idea for his wonder box from the Na-
tional Cash Register Co., where he
was once employed.
That Lionel "Curley" Lindon was
official cameraman for the Hagenbeck
Wallace Circus.
That Walter Lundin has been with
Harold Lloyd for 15 years.
That the most expensive malt does
not make the best beer.
That the Local has collected over
$10,000 for wages due to members in
the past 10 months.
PANS AND TILTS
GREGG TOLAND was announced over the
radio the other night and did not tell us what
he thought about his latest picture. I know
it's swell.
J. JOSEPH MESCALL (Johnnie to me) has
returned from Europe and still thinks he can
play golf.
PAUL P. PERRY has often had a yen for
a dollar. Upon arriving in China he writes
he can get four yen for a dollar.
CHARLES (CHUCK) GEISSLER was an
expediter before he got caught by the studios.
He is still an expediter.
GEORGE UNHOLTZ has no plasters on his
home.
JOHN W. (no relation) BOYLE has been
working at Columbia Studios and Charles
(Peaker) Boyle took his place at Sennett's.
They got busy and called in Frank Good.
Hold on tight for a crack. When Sennett
hasn't got Boyles it's Good.
MILTON KRASNER did it and doesn't
want anyone to know about it.
ERNIE MILLER is getting measured for a
new blimp, and if he had a motor on the
base he could get more scenes per day.
HARVEY GOULD had a serious operation
the other day. He had his clutch removed
and a new one installed for $7.90.
JIMMIE PALMER is recovering from the
Motion Picture ball.
December, 1932
The INTERNATIONAL PHOTOGRAPHER
Thirty-nine
Phone GLadstone 4151
HOLLYWOOD
STATE BANK
The only bank in the Industrial
District of Hollywood under
State supervision
Santa Monica Boulevard at
Highland Avenue
Walter Bell Resigns from
Hollywood Film Enterprises
WALTER W. BELL has re-
signed his connection with the
management of Horsley Film
Enterprises. Mr. Bell for more than
five years has devoted his entire
time to 16mm. pictures. In that field
he is recognized not only as a pioneer
but an authority. His work is known
to the trade through the medium of
Cine Art Productions, which he
founded, and the distribution of which
was taken over by Horsley Enter-
prises following Mr. Bell's affiliation
with that concern. The retiring offi-
cial still holds a financial connection
with the company.
Mr. Bell is resting and visiting
friends the while he decides upon his
future course in the 16mm. field. That
he will remain in it there is no ques-
tion. Incidentally his determination
to continue in it steadily is being
strengthened by his chats with busi-
ness and personal friends.
Hudson Drops Into Town
Will E. Hudson dropped in from
the Northwest, where he's been
combing the north country shooting-
American game pictures. Will, as
you know, was with Pathe for six-
teen years. He is one of the arctic
experts, having spent twenty-five
months among the Eskimos.
Several years ago he was ship-
wrecked forty miles west of Her-
schell Island and had to walk back
875 miles. Sometimes the tempera-
ture dropped to 65 below. That's
tough enough for any newsreeler. He
dropped from 210 to 145 pounds in
this 41-day arctic pedestrian record.
If you doubt how hard newsreel
men work for a picture, after such a
hike, the newsreel comnanv he was
shooting for used exactly 86 feet.
Take Your Optical Problems to
C. C. MINOR
CONSULTING ENGINEER
OPTICAL TECHNICIAN
Special Cinema Lenses, Prisms,
Optical Flats, Etc. Your Ideas
Developed and Materialized
New and superior Optical Unit
for sound on film.
GRanite 7331
1806 Whitley Ave.
Calif.
Hollywood,
IDTER8,
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GEORGE H. SCHEIBE
ORIGINATOR OF EFFECT FILTERS
25mm.
FINDER
Finder instantly aligned with
camera lens.
Wide angle.
Brilliant upright image.
Inclosed focusing screw.
Optics by
Harrison & Harrison
Optical Engineers
Fred Hoefner
CINEMA MACHINE SHOP
5319 Santa Monica Blvd.
GLadstone 0243 Los Angeles
Brass
Aluminum
Bronze
CASTINGS
CAMERA HEAD CASTING
A SPECIALTY
3020 South Main St., Los Angeles
Stephenson Foundry — ■
Office, PRospect 8894
Foundry, Richmond 1302
Come in and discuss your experimental
problems
HARRY A. LOVE
PLINY HORNE, Representative
Forty
The INTERNATIONAL PHOTOGRAPHER
December, 1932
AGFA RAW FILM CORPORATION
6368 SANTA MONICA BOULEVARD HOLLYWOOD, CALIFORNIA
FACTORIES: BINGHAMTON, NEW YORK, U.S.A.
CLASSIFIED
Alvin Wyckoff
W. A. SICKNER
FIRST CAMERAMAN
COMPLETE AKELEY
EQUIPMENT
CRestview 7255 GLadstone 5083
HEmpstead 1128
W^ WCVflt 35mm.. travel,
fight, thrill and curosity films, from
all parts of the earth and unusual
and interesting films depicting the
life and habits of Asiatic peoples
as well as others.
Send us description and length of
subject. Cash will be remitted for
any subject accepted.
We have for sale negative and
positive short ends, both Eastman
and Du Pont.
Continental Film-Craft, Inc.
1611 Cosmo Street, Hollywood, Calif.
CINEX TESTING MACHINES
CINEX POLISHING MACHINES
Barsam - Tollar
Mechanical Works
7239 Santa Monica Blvd.
Fhone GRanite 9707 Hollywood, California
FOR SALE OR RENT— Mitchell and Bell &
Howell silenced cameras, follow focus. Pan
lenses, free head, corrected new aperture.
Akeley, De Brie, Pathe, Universal, Prevost,
Willart, De Vry, Eyemo, Sept, Leica. Motors,
printers, lighting equipment. Also every va-
riety of 16 mm. and still cameras and projec-
tors. Everything photographic bought, sold,
rented and repaired. Send for our bargain
catalogue. Open 8 A.M. to 10 P.M. Holly-
wood Camera Exchange, 1600 Cahuenga Blvd.
Phone GLadstone 2507. Hollywood 9431. Cable
address Hocamex.
FOR SALE OR TRADE— Bell and Howell
Cameras — Tanner Sound Recording Outfit.
Mervyn Freeman, 1861 N. Whitley, Hollywood.
Phones: REpublic 3171, GLadstone 8753.
PAYS CASH FOR CAMERAS
LENSES
Peterson's Camera Exchange
55*. SO. BROADWAY - UPSTAIRS MUTUAL 452?
Dr. G. Floyd Jackman
DENTIST
Member Local No. 659
706 Hollywood First National Bldg.
Hollywood Blvd. at Highland Ave.
GLadstone 7507 Hours: 9 to 5
And by Appointment
30% to 60% cash savings
on 16 mm. and 35 mm.
Cameras, Projectors
anil Accessories
Write for Bass Bargaingram.
Specify size of apparatus interested
in. For over 22 years Value
Leaders of the nation.
Your copy is ready. Write for it.
BASS CAMERA CO.
179 W. Madison St., Chicago, 111.
ROY DAVIDGE FILM
LABORATORIES
An Exclusive "Daily" Laboratory
670 1-67 15
Quality and Service
SANTA MONICA
GRanite 3108
BOULEVARD
BUT WHY---
SHIP SAND IN TANK CARS?
HERE'S why: the glass bulbs of General Electric Mazda lamps must be uniformly
free from disfigurations in order that each lamp may give you a uniform quality
of light. To obtain such glass, sand which is 99.7% pure must be utilized.
Even sand which is good enough for high grade plate glass is not good enough for
Mazda lamp bulbs. In the one place in the United States where sandstone of the
proper purity can be obtained, the rock is quarried and crushed into sand, eliminating
at the source the incidental impurities always present in native loose sand.
This sand is shipped to the glass works in specially constructed tank cars, as care-
fully sealed and guarded against dust and other contamination as a shipment of milk.
The care taken with this sand is typical of the General Electric Company's unceas-
ing efforts to give you the best lamps for your purpose that it is possible to make.
Hundreds of different processes, inspections and checks guard the manufacture of
G. E. Mazda lamps. A definite percentage of the lamps made each month under-
goes thorough testing in use — use similar to the service you give them. And in ad-
dition, General Electric scientists, familiar with your requirements and operating
conditions, constantly strive to develop better lamps for you.
Is it any wonder then that G. E. Mazda lamps are used in practically every studio,
for every lighting need from "set" lighting to special "process" work ? General Electric
Company, Nela Park, Cleveland, Ohio.
You get the utmost in lamp quality with lamps
that bear the G. E. Monogram
GENERAL® ELECTRIC
MAZDA LAMPS
An adjustable matte, controlled by two
graduated dials, is now offered in our Erect Image
View Finder, The matte consists of metal cross strips
that frame the picture and also permits the viewing
of the surrounding field.
The dials are graduated for the various
size lenses up to six inches with provision for adjust-
ment when necessary.
The graduated dial permits of quick
setting of matte to the desired size and the openings
around the picture show action before entering
the frame.
This finder which is strongly built in-
cludes a positive cam lever lock for attaching the
finder to the camera.
Mitchell Camera Corporation
665 N. Robertson Boulevard
West Hollywood, Calif.
Cable Address "M1TCAMCO'
Phone OXford 1051
CONTACT SHEET: DO NOT SCAN
After scanning, these volumes & boxes should be held to be picked-
up by:
Eric Hoyt
676 Kingswood Way
Los Altos, CA 94022
(310)488-7043
erhoyt@gmail.com
RE: Media History Digital Library
Live Music Archive
Librivox Free Audio
Metropolitan Museum
Cleveland Museum of Art
Internet Arcade
Console Living Room
Books to Borrow
Open Library
TV News
Understanding 9/11