Vintage Movie Resources
Jack Holt — En Famille (1927) 🇺🇸
Jack Holt had to resort to a most ingenious stratagem to win the lady who is his charming wife, but a glimpse into his contented and attractive little family makes you realize how well worth while it was.
A Pot of Gold for Billie Dove (1927) 🇺🇸
For five years she has followed a rainbow of dreams that, it seemed, would never be realized. At last she has won her reward.
Charles Ray — Bucking his Hoodoo (1927) 🇺🇸
Charles Ray, whose bad luck has amounted to a hoodoo and reduced him to bankruptcy, survives defeat because he has never acknowledged himself beaten — not even now, when he pays rent for the home he once owned.
Rod La Rocque — Rod Takes the Bitter with the Sweet (1927) 🇺🇸
Along with the tremendous success that has come to Rod La Rocque in the past four years, there has crept into his soul a trace of bitterness, but Rod takes bitter and sweet alike with a grin, and holds himself alone responsible for whatever happens to him.
Jacques Lerner — A Man Who Makes a Monkey of Himself (1927) 🇺🇸
Jacques Lerner, the French actor who portrays the title role of the “monkey” in “The Monkey Talks,” has for years been making a specialty of impersonating apes.
John Bowers — What a Man Should Not Wear (1927) 🇺🇸
John Bowers, one of the most correctly dressed men in Hollywood, tells exactly what a man should and should not wear on certain occasions, and points out many mistakes in dress made by men who may think they are being very fashionable.
Alec Francis — Gray Hairs and Stardom (1927) 🇺🇸
The starring of Alec Francis in The Music Master and “The Return of Peter Grimm” brought a belated reward to this skilled elderly actor, who had for years been quietly taking second place to more youthful players.
Conrad Nagel — Too Good to Be Romantic (1928) 🇺🇸
That’s what producers and the fans have been thinking about Conrad Nagel, but Conrad has some ideas on the subject
Gilbert Roland — Norma Talmadge’s New Leading Man (1927) 🇺🇸
But instead of being wildly excited over his big role in Norma’s “Camille,” young Gilbert Roland was much more interested in showing “Picture-Play’s” interviewer how to fight bulls.
Clarence Thompson — An Actor by Request (1927) 🇺🇸
Clarence Thompson, who prefers to be called “Tommy,” wanted to write, but was forced to become an actor to get inside a studio.
Arthur Edmund Carew — Released from Villainy (1927) 🇺🇸
Arthur Edmund Carew, long established as one of the screen’s most menacing villains, is at last being given an opportunity to break away from wicked roles, and may even become a romantic hero.
Marian Nixon — From Pillar to Post (1927) 🇺🇸
Marian Nixon has been borrowed and lent so often in the course of her progress from extra to leading roles, that she doesn’t know where she belongs nor what she wants to do. Perhaps you can tell her.
Harry Langdon — Well, Sir, He’s a Scream (1927) 🇺🇸
Harry Langdon, a comparatively recent entrant in the ranks of the snicker snarers, receives his just due in this critical analysis of his technique.
Has Success Changed Ben Lyon? (1927) 🇺🇸
The writer who was the first to interview him in his early days pays him another visit after four years and finds him a little more mature, but still the same merry prankster.
Louise Lovely — Is (1921) 🇺🇸
Even the studio carpenters say so, and when they compliment a star — it’s genuine.
Mae Murray — The Temperamental Blonde (1921) 🇺🇸
“No ingénue stuff for me,” says the fair but stormy Mae Murray.
Hobart Bosworth — A Man Who Refused to Die (1921) 🇺🇸
In spite of the dictates of doctors, Hobart Bosworth wouldn’t let an incurable ailment keep him from rising to stardom.
Russell Simpson — Have You Any Whiskers? (1921) 🇺🇸
Maybe you can trade places with Russell Simpson, who’s getting tired of his crape hair.
Tsuru Aoki — To One Lot of Kimonos — $25,000 (1921) 🇺🇸
Such an item on a bill would stagger even an American millionaire, but Sessue Hayakawa paid it cheerfully, thinking how well his wife would look in them on the screen.
Ted Dickson — The Discovery of Dickson (1921) 🇺🇸
He’s a youngster who’s been making big strides of late.
Helen Jerome Eddy — The Agate Girl (1921) 🇺🇸
Helen Jerome Eddy is that and more, but what she wants to be is a hyphen-woman.
Eileen Percy — Directed by Friend Husband (1921) 🇺🇸
Not in pictures, but everywhere else, and Eileen Percy likes it.
Colleen Moore — Sometimes They Tell the Truth (1921) 🇺🇸
Colleen Moore does most of the time — but on one subject she allows herself just a little latitude.
House Peters — Straight from the Shoulder (1921) 🇺🇸
House Peters says his say without any hemming or hawing, and what he says is well worth while.