THE WEDDING MARCH

Sun (Auckland), Volume I, Issue 133, 26 August 1927, Page 15

THE WEDDING MARCH

LATEST PARAMOUNT PICTURE Thirty-six separate and distinct sets have been built for Erich Von Stroheim’s latest Paramount picture. “The Wedding March.” These exteriors and interiors are exclusively Viennese and Tyrolean. Richard Pay, art director, together with von Stroheim, spent several months In reesarch connected with them. It is a well known fact among picture technicians that von Stroheim secures many of his most sensational effects through the atmosphere provided by his foreign settings. Vienna before the war is presented, featured by its great central landmark, the Cathedral of St. Stephen's. Here, rearing its columns, domes, belfrys, cupolas and crosses skyward, an exact duplicate of St. Stephen’s with the famous square behind it has been erected. its interior, partially duplicated, partakes also of another cathedral in that it presents for the first time on the screen the sunburst altar topped by a gigantic crucifix. The cathedral is the Gothic style of architecture, slightly inclining to the Norman in some of its details, the interior also pursuing the same general effects. The sunburst and crucifix on the altar rise to a height of sixty feet, with a background of stained glass and a bronze grill. Wooden pews, handcarved on the exact dimensions of the actual church interior, together with choir stalls, side altar and confessional follow the interior of St. Stephen’s exactly. Herbert Brenon, who is now filming some scenes of “Sorrell and Son,” at Buster Keaton Studio, Hollywood, once appeared in vaudeville in the team of Brenon and Powning (the Downing member of the team has been for more than 25 years Mrs. Herbert Brenon) on the same bill with The Three Keatons Joe, Myra and little Buster, so christened by the late Harry Houdini. Carlotta Monta, a dancing girl in Douglas Fairbanks’s “The Gaucho,” was attending Lincoln High School and working after school hours in a medical clinic, and dancing evenings at the Jonathan Club, Los Angeles, when she received an offer to appear in Douglas Fairbanks’s “The Gaucho.” at £4 a day.

“The Third Sisters” of two famous pairs of screen sisters, the Talmadges and the Duncans, are not screen artists, preferring to devote themselves to domestic lives with their husbands and children. Natalie Talmadge, the sister of Natalie Talmadge, the sister of Norma and Constance Talmadge, is in private life Mrs. Buster Keaton, and the mother of Joseph and Robert Keaton- The sister of Vivian and Rosetta Duncan is in private life Mrs. Stewart McClellan of New York City, mother of Rosetta and Vivian McClellan, fiveyear old Stewart McClellan, and twoyear old Duncan McClellan. The third sister of the Duncans, accompanied by her husband and four children, travelled from New York to Los Angeles to be present at the premiere of “Topsy and Eva,” first film of the Duncan sisters..

s The taxi used for the Fox version of “7th Heaven,” once having tolled 3 over many miles of shell torn roads, i carrying French troops to the First# f Battle of the Marne, will make a last f journey from Hollywood to New York, 1 before being given a permanent pen--1 sion in a museum. t Joan Standing, who appears in supr port of Betty Bronson, in ‘ Ritzy” and . is now supporting Bebe in _ “Senorita,” was literally dragged into 1 the movies. Miss Standing, daughter / of Herbert Standing and sister of - Wyndham Standing, had always de--3 sired to go on the stage. Instead a ■/ casting director saw her, decided that - she was “just the type,” and put her ■in the movies.