WHEN HOLLYWOOD ROARED

Evening Star, Issue 23693, 28 September 1940, Page 5

WHEN HOLLYWOOD ROARED

While New York became the symbol of the post-war period' which gives its name to James Cagney’s new starring picture— ‘ The Roaring ’Twenties ’ —for Warner Bros., Hollywood was a roaring town in its own right. Maybe it didn’t make as much noise as New York, but it was no “ small voice ” in the Californian orange wilderness. It was as extravagant as Broadway, as boisterous and as colourful, even if not as populous.

Those were the days for fine pictures. A youngster riiamed Rudolph Valentino was making box office history on his brief and tragic flight through the cinema heavens. The walls of ‘ Intolerance ’ still stood to awe visitors driving along the Santa Monica Boulevard. In Santa Monica wore favourite play places for stars who had more money than they knew how to use. How they roared.

George Arliss made ‘ Disraeli 1 for the first time and held the fort of dignity almost single-handed. Eric von Stroheim directed and acted in such pictures as ‘ Foolish Wives,’ and spent money like an East Indian potentate. Jesse Lasky, important producer, said that dialogue had no place on the screen. Automobiles got bigger and bigger, more and more colourful. Bessie Love had a pink sedan One of the Talmadges rode round in a lavender limousine. Patty Arbuckle’s car boasted of everything for human comfort except a shower bath. Tox Mix had a leathercovered automobile and rode on a saddle while in it. Mary Bickford put on boy’s clothes and played ‘ Little Lord Fauntleroy.’ Charles Ray spent all his money,-on ‘The Courtship of Miles Standish.’ Wally Reid died, as did Rudolph Valentino during this decade, and millions ,mourned their passing. A Swedish director named Mauritz Stiller brought his protegee, Greta Gustafson, to Hollywood, where her name was promptly changed to Greta Garbo. Stars began building pink stucco mansions on Hollywood hills. Agua Caliente opened, and filmland took to it in a big way. The Ambassador was built, dimming the early glory of the Alexandria downtown, famous, among other things, for its “ million dollar rug.” There was an orange grove at the corner of Vine street and Hollywood Boulevard. The Egyptian Theatre, opened with ‘ The Covered Wagon.’ A picture that didn’t play 20 weeks first run in New York and Los Angeles was called a failure. The “It ” girl was named, and, Charlie Chaplin married Lita Grey. Pickfair was built and ‘ Queen Kelly ’ was shelved, while Gloria Swanson was rushed into _ ‘ The Trespasser ’ as a substitute picture. Cafes opened and closed regularly as they were raided for the serving of liquor. Marion Davies made ‘ Little Old New York,’ and built the biggest beach house in California. John Gilbert began to “ wow ” the box office. Nazimova taught Hollywood some new wrinkles in temperament. A new company, with John Barrymore as its star and Ernst Lubitsch as its big-name director, started a studio on _ Sunset Boulevard, using a barn as its first stage. It was called “ Warner Bros.” Most of the big companies reorganised, and many of them were renamed. Warner Bros, introduced Vitaphone, putting all producers into a panic and standing the industry on its collective ear for many months. A 1 Jolson starred in ‘ The Jazz Singer ’ in place of George Jessel, who refused to sing on the screen. The stock market went “ boom ” and ‘ Variety ’ reported : “ Wall Street lays an egg.” Hollywood went through the “ roaring .’twenties ” and emerged intact but shaky. Many a star, many a producer, directors, and “ gag men ” heard the echo of the' final line in the picture. ‘ The Roaring ’Twenties,’ spoken by Gladys George in answer to the obvious question. “He used to be a big shot,” she says.