April 5, 1932

DAUGHTER BORN IN LONDON TO LA SWANSON

London, April 5 (AP)

A daughter was born to-night to Gloria Swanson, American movie actress. Miss Swanson has been in London for some time with her husband, Michael Farmer.




IT’S NO JOKE TO BUSTER

San Diego, Cal., April 4 (UP)

Buster Keaton, straight faced Hollywood comedian, transferred his funny antics to police headquarters for a time today when it was rumored that he was trying to kidnap his own children.

“Well, well,” Keaton said as he landed at the airport. “It looks like I don’t know where I stand matrimonially.”

“I wasn’t kidnapping anybody,” he protested. “I just wanta show her who’s the head of this family, and I’m on a little trip.”

“Natalie surprised me by stopping us,” he continued. “We – my two boys and I were on our way down to Ensenada where I have an option on a ranch. I am going to buy the ranch anyway. We are going to live down there and raise animals. I’ll commute to Hollywood. If Natalie doesn’t like it, she knows what she can do.”



He was referring to his wife, Natalie Talmadge, who had asked San Diego police to stop him and prevent his going to Ensenada, Mexico, with the two young sons, Jimmy, 9, and Bobby, 8.

“Have you had any trouble with Natalie?” reporters asked him.
“Well, we had a quarrel about airplanes,” the comedian answered.

Keaton, traveling with the children and their nurse, Connie Costello, in a plane owned by Hoot Gibson, also of the films, and piloted by Jim Granger, landed here late today en route to Ensenada. Police took him, the children and the nurse to headquarters for questioning.

While there he talked by long distance telephone with Buron Fitts, Los Angeles district attorney. Mrs. Keaton was in Fitts’ office.

“I’m just showing her a few things,” Keaton told Fitts. “I want her to know who’s the head of this family. I’m taking a little weekend trip to Ensenada with the children.”

Fitts advised him to stay at the San Diego jail for a while.

“No, I won’t stay here,” retorted Keaton. ‘You’re the last person in the world I want to see. Buron Fitts, I’m leaving here and going to Ensenada or some place.”

Then the children talked with their mother.

“We’re down here with daddy,” said Jimmy, “and we had a swell trip. Don’t worry.”

Keaton turned to the police chief.

“Well, I guess we can’t hold you said the official. There’s no charge against you. Seems like Mrs. Keaton didn’t want the children to ride in an airplane.”

The comedian slapped his hat on his head, took the children by the hands and began striding for the door.

“Ha, I guess I’m head of my own house after all,” he muttered.



Los Angeles, April 4 (UP)

Natalie Talmadge Keaton became so hysterical when she learned that her children were riding in an airplane that she had San Diego authorities stop the plane and apprehend her husband and the boys.

After a long conference with District Attorny Buron Fitts, she denied she had separated from Buster Keaton, comedian.

“We’ve argued over airplane riding,” she said, “and that’s what this is about. I don’t want the children in a plane.”




MRS. LUBITSCH TO WED AGAIN

Los Angeles, April 5

Mrs. Helene Lubitsch, divorced wife of Ernst Lubitsch, motion picture director, who socked him in the jaw in defense of Hans Kraly, scenario writer, is going to be married again – but not to Kraly.

Today she announced her engagement to Albert Edward Smith, 29-year-old broker and sportsman, who is a member of a wealthy Winipeg, Canada, family and internationally known as a hockey player. No date for the wedding has been set.

The jaw-socking episode occurred at a benefit ball given by Mary Pickford and Douglas Fairbanks a year and a half ago. Lubitsch first socked Kraly, claiming that the scenario writer and Mrs. Lubitsch were “sneering” at the way he danced. Mrs. Lubitsch promptly socked her ex-husband.




FATTY ARBUCKLE TO WED FILM ACTRESS

Hollywood, Calif., April 5 (AP)

Roscoe (“Fatty”) Arbuckle, former screen star, announced at a dinner here last night that he would marry Addie McPhail, screen actress, “as soon as it is legally possible.” Mrs. McPhail’s divorce from Lindsay McPhail, song writer, becomes final on June 12.




MOST ENGAGING --- AND MOST ENGAGED!

Thirty-eight fiancés in three years must be an all-time record. Anyhow, that’s how often wistful Anny Ondra, European film star, is reported to have been engaged. Among those who have been rumored to be her future husband are a young Austrian archduke, a French banker, an American film producer, a London stock broker, and a heavyweight champion.




MRS. SIDNEY CHAPLIN ARRIVES AT L. A.

Los Angeles, April 5 (UP)

Mrs. Sidney Chaplin, wife of Charles Chaplin’s actor-brother, was in Los Angeles today from London. She reported the brothers are traveling together through the Orient, and will arrive in Hollywood late next month.


From Luella O. Parsons:



The mad dash Bebe Daniels and Ben Lyon made from the train yesterday was not to avoid any process servers or such like. They were hurrying home to see Barbara Bebe before she was put to bed. After eight weeks absence the young lady has grown so that they could hardly believe she is the same baby.

Ben had to tear himself away to talk business with Fox company. He is slated to play opposite Joan Bennett in “Week-End Girl.” John Halliday has also been put into the Bennett picture. Let’s hope Ben does as well as he did for Joan’s sister Constance. Everyone is still talking about “Lady With a Past.” Connie had the good sense to insist that all Ben’s scenes be left in the picture because she said the better he was in the role, the better it was for her and the picture.




That long talked of Barrymore picture, featuring the three, Ethel, Lionel and Jack, will be made on the Metro-Goldwyn-Mayer lot as soon as a story can be found. Everyone wondered just which company would make this picture which ought to be unique and well worth seeing.

Speaking of the Barrymores, Mrs. Lionel is out of the hospital but Lionel is laid up with the flu.




I tell you this James Dunn is getting to be the Beau Brummel of Hollywood. He and blonde Joan Marsh were together at the Cocoanut Grove and he seemed to be paying her the same devoted attention that he paid June Knight a few months ago. Well, Joan is as pretty as any of the younger generation and they look well dancing together.




Carl Laemmle, Jr. has a lot of ideas for Paul Lukas. He borrowed Mr. Lukas for the role of the opera singer in “Strictly Dishonorable” and since that day he has had great respect for the Lukas personality and talents. Paramount has lots of respect for Mr. Lukas also, but there are so many featured Paramount players and so many stars he has never seemed to have as much individual success as he deserves. To make a long story short, Junior Laemmle has taken over the Lukas contract, which has four years to run, and he will find appropriate stories for him.




It has been a long time since we have heard any word of Vincent Barnett, Hollywood’s public insulter. Nearly everybody grew to know Mr. Barnett’s jibes and sneers were all in fun, but apparently there are still many who have never met him. Joan Crawford and Douglas Fairbanks gave a party last week and invited Mr. Barnett to do his best insulting. He came as a German producer and did his best to annoy the flower of the picture industry. Ramon Novarro, Elissa Landi, Clark Gable, Laura Hope Crews were among the guests. When Clark Gable resented some of Barnett’s loud accusations, as he rightly should, Barnett pulled the old stuff of trying to fight with him. When things got hot and heavy the host and hostess explained it was all in fun so everybody was happy once again.


From Wood Soanes:



Kay Francis is being co-starred with William Powell in the screen adaptation of “The Jewel Robbery,” done on the stage by Basil Sidney and Mary Ellis. Miss Francis replaces Bette Davis, who had the role first.




Bobby Vernon is soon to be seen in the films again. The old-time comedian will try a come-back in “Ship a Hooey” on the Christie lot, where Vernon reigned as a star for 12 years.




Another old star of the silent era, Mae Busch, is to have a chance at a come-back in First National’s production, “Doctor X,” a film version of the stage mystery. Lionel Atwill will have the chief role.


Roscoe Arbuckle, still trying to step back into the limelight, goes to Seattle for a guest starring engagement with the Moore Players, replacing Perry Askam. Arbuckle recently appeared at the Pantages in Hollywood.




MIRIAM HOPKINS STARS IN FILM AT PARAMOUNT

‘Dancers in the Dark’ Is Picture Featuring New Personality of Hollywood

Hollywood’s recent starring personality, Miriam Hopkins, comes to the Paramount theater tomorrow in her newest triumph, “Dancers in the Dark,” in which she is seen as the enticing taxi dancer of a fashionable night club.

Jack Oakie and Eugene Pallette have the comical roles, with William Collier, Jr. as the saxophone player who believes in girls and love and marriage.

When Collier offers his love to the sophisticated Miriam there evolves a character battle in which Miss Hopkins fights to overcome her past and prove worthy of this new and trusting love.

The Paramount stage tomorrow will feature “Chicago’s World’s Fair-est” starring beauty contest winners from the Midwestern city.
Lou Kosloff and the Paramounters will offer for their overture a modern arrangement of the popular melody, “You’re My Everything” with Kosloff playing a violin solo.




DOLORES COSTELLO STARRED AT LYRIC

A beautiful woman, the more or less innocent cause of a murder, is willing to accept the blame for the crime which is not hers, because she knows it will be difficult to secure a conviction against her.

This, briefly, is the plot of “Expensive Women,” the Warner Brothers picture which plays at the Lyric Theater to-day and Wednesday.

Dolores Costello, Warren William, Anthony Bushell, H. B. Warner, Joe Donahue, Polly Walters and others form the cast. Hobart Henley directed.

April 4, 1932

CONNIE TALMADGE JEWELS STOLEN FROM BUREAU

Santa Monica, April 4
When Townsend Netcher prepared a month ago to take a vacation with his wife, Constance Talmadge, motion picture actress, he placed $4,200 worth of jewels in a bureau drawer. They returned from their trip to find the jewels gone, Netcher reported to police today.




LIONEL BARRYMORE IS SUED ON NECKTIE BILL

Los Angeles, April 4
A suit on file today by a New York firm accused Lionel Barrymore, actor, of having purchased neckties valued at $116 and not paying for them. The complaint did not specify the number of ties.




JETTA CAN’T WAIT FOR LAW

Hollywood, April 4
Jetta Goudal, motion picture actress, kept right on going when her chauffeur was halted on a charge of speeding. Hurrying to her studio, the actress opened the door and started walking as soon as her car was stopped, a police report related today.




If Hollywood gossip can be trusted, Evalyn Knapp will walk altarwards one of these days with Donald (Donn) Cook.

La Garbo has applied for a European passport

Paul Lukas, actor, leaving Paramount, joins Universal.




Grant Withers, Loretta Young’s ex-hubby, is attentive to Sally Starr.




George Raft has been cast as the heavy in Paramount’s “Countess of Auburn,” and it’s likely that Richard Bennett will be supplanted by J. Farrell McDonald. Raft was Miriam Hopkins’ rough-house Romeo in “Dancers in the Dark,” and her word for him is “terrific.”




Andre Luguet, recent Hollywood recruit from Paris, has signed a contract under which his services for a long term will be devoted exclusively to Warner and First National pictures. He is seen on the screen in “The Man Who Played God,” George Arliss’ latest starring vehicle for Warner Bros. Luguet plays the part of the king for whom Mr. Arliss gives a “command performance.”




Charles Starrett, who plays opposite Billie Dove in “The Age for Love,” is a former gridiron star of Dartmouth University. Starrett played his first film role in a football picture, “The Quarterback,” while still a student at Dartmouth.




Eddie Quillan, featured with Maureen O’Sullivan and Roscoe Ates in “The Big Shot,” is a member of the “Hole-In-One” club, an honor coveted by every golfer. On the same program is Robert Montgomery and Madge Evans in “Lovers Courageous.”


From Luella O. Parsons



Los Angeles, April 4
Paramount has put the matter squarely up to Stewart Walker to select new faces and new talent. Walker, famous stage director and credited with the discovery of such favorites as Peggy Wood, Kay Francis, Mary Ellis, Charles Starrett, Alexander Kirkland and Blanche Yurka, will start a school on the Paramount lot.

This school is vastly different from the one that educated Buddy Rogers, Josephine Dunn and others at the Paramount Studios some six years ago. No amateurs can attend. Walker will find his pupils among young people who have always shown talent on the stage or in minor screen roles.
He will groom them in plays and motion pictures, developing them for important Paramount roles.

The original idea belongs to B. P. Schulberg, who has great respect for Walker’s knowledge of the stage and screen. The title given Walker will be “Creator of Stars,” and that, my friends, is something now. Am I right?




If Barbara Stanwyck ever changes her type and goes in for comedy I am going to register a nation-wide protest. There is no one who can be as tragic as Barbara and there is no one who can play these worldly young things with more emotional appeal.

Warner Brothers have bought a novel called They Call It Sin by Alberta Stedman Egan. Miss Stanwyck was in mind when the story was purchased. It’s about a girl whose life is ruined when she finds out she is a foundling, a girl also who loves the wrong man. Sounds very Barbara Stanwyck, doesn’t it?




Surprising that Janet Gaynor said thumbs down on Rebecca of Sunnybrook Farm. The critics, it is true, weren’t very kind to Daddy Long Legs but the public liked it and it made money. Janet, it seems, registered a vehement protest against playing the little girl part in Rebecca. Since they paid Mary Pickford a nice hunk of cash for it and the public seems to crave those Pollyanna yarns, Fox has decided to give the role to Marian Nixon.



Marian, who is small and slim and very young, although she has had considerable screen experience, took tests for Rebecca. All the office boys, stenographers and prop men were invited to express an opinion with the result that Miss Nixon was given the part.

Snapshots of Hollywood:



Jack Holt in a turtle neck sweater, giving several tourists from the Middle West a run for their money. He was lunching at the Brown Derby. So was Lew Cody who came in for his share of admiring stares.




Lily Damita sent a telegram to Lupe Velez congratulating her on her “Follies” success.




Lowell Sherman is contenting himself with playing a director in “The Truth About Hollywood.” He will not direct it.


ADLIBBING ON FIRST NIGHTS




By Wood Soanes
The Barrymore brothers – Lionel and John – are pitted against each other for the first time at the Fox Theater this week in the revised version of Maurice Le Blanc’s old French detective story, “Arsene Lupin,” which has been brought up to date for the occasion.

“Arsene Lupin,” while heavy-handed at times and not always impressive in its story construction, manages to remain consistently good entertainment, the while it permits students of screen acting to compare and contrast the methods and techniques of the two stars.

Perhaps the first surprise was the fact that the men are about the same height and that each possesses an entirely different technique, although they belong to the same school of exposition. Heretofore John has seemed to have an advantage of stature over Lionel.

The choice of this old play with its flamboyant melodrama was ideal for this case because the two roles are about as evenly matched as were those of the brothers in “The Jest,” in which the Barrymores appeared in New York back in 1919.



If you would like to see a movie actor with a jaw you’d love to sock, go to the RKO Majestic and see Eric Linden and Helen Twelvetrees in “Young Bride.” As “Good Time Charley Riggs,” Eric plays the role of a dance hall sheik who talks big business, big deals and big money and lets his wife make the living.

While the picture is not altogether pleasant and possibly the kiddies wouldn’t understand it (but where else can they go this week?) it is a powerful story.

Cliff Edwards adds to the merriment of the New York dance hall wisecracking crowd.

The picture has a modern youth cast and with the exception of Miss Twelvetrees, they show it, yet here is a picture of these youngsters you read so much about and perhaps it is better as it is. Arlene Judge has a golddigging role.

There is a boxing spotlight by Grant Rice, Earl Abel, a deep sea comedy, and RKO News.



With Roland Young, Jeanette MacDonald, Charlie Ruggles and Genevieve Tobin, Maurice Chevalier is not so hard to take in “One Hour With You.”

This light and airy comedy of a wandering wife (Roland’s) and Maurice and his young bride is filled with catchy songs and neat lines, some of which the kiddies understand.

(The poor kiddies; I wonder where they’ll go this week?)

Maurice is a young doctor with apparently but one patient, Mitzi, she being the love-hungry wife of Roland Young.

Young is a professor of ancient history. And Mitzi happens to be Jeanette’s best friend, and so she sends Maurice out in the middle of the night to see Mitzi.
And if you don’t like this, there is Ford Sterling in “Twenty Horses” and a color scenic “Honeymoon Heaven,” a cartoon and Paramount Sound News.



A new picture came into the Aztec Sunday, “Disorderly Conduct,” with Sally Eilers, Spencer Tracy, and El Brendel, and last but not least, Dickie Moore.

Spencer is a motor cop who arrests Sally, bootlegger’s daughter, and is demoted. Dickie is his nephew, one of several. The plot thickens and it turns into a sort of motor cop opera.

It is quite entertaining, and there is a comedy, cartoon, musical novelties and sound news.

THIS IS THE AGE OF REAL ROMANCE

By Alice L. Tildesley
April 3, 1932

That another romantic period is upon us is asserted by those who like to think they know.

Women’s clothes have gone completely feminine. She has abandoned the severe boyish bob and no longer starves herself into a sticklike imitation of her brother. Magazines reflect the current feeling by devoting pages to varying aspects of love instead of business.

Romance and not realism is emphasized as the best avenue of escape from the deep hole of depression. But what is romance?

“I think excitement over an idea, any idea, no matter what; that’s the essence of romance,” decided Rose Hobart, her blue eyes ashine.

“We are more romantic than we have ever been. A hundred years hence people will look back on us as the romantic generation. We think of ourselves as very realistic, but we’re not. We’re too easily moved.

“Romance is the ability to be tremendously thrilled. And boredom is death to romance.”

She sat at our table in the studio café Indian room, clad in the gingham dress and checked green apron of her current role, her soft brown curls pinned high, plum-colored makeup outlining her expressive lips, and managed to look the epitome of that quality she discussed.

“When we are thrilled over anything, we are keenly alive. It makes no particular difference what the thing is, if we care enough. Look at the unworthy sweethearts men and women love. It isn’t the object of our devotion that must be perfect, it’s the feeling in us.

Enthusiasm is the key to life. If we can keep our enthusiasm over anything, whether it is a person or a career, we usually succeed.

“The catch is, I suppose, to find the person and the work that can hold our interest. Nobody can advise us about that, because no one else sees that strange excitement that lies for each of us in the other person, or one other type of person, in one kind of work above another. We have to recognize these for ourselves.

“My parents adore music. My father is first cellist of the New York Symphony orchestra, and my mother, Marguerite Hobart, was a well-known opera singer when I was born. Naturally they felt that I should also adore music.

“My sister followed their path and is a wonderful musician. I studied music for years as a child and still enjoy it, but I knew I’d never be more than another pianist if I spent my life at the keys.

“At first I thought dancing was what I wanted to do, so the family let me study that, but it all boiled down to acting at the end. Acting was the thing that fired me; music and dancing were merely helps to learn rhythm and timing for my real career.

“My father opposed it because for him all romance lay in music and he hoped that his children would find it there, too. My mother, when she saw that I was really in earnest, did what she could to help me.

“Mother happened to be staying with Vivians, a talented English family who used to bring the Ben Greet Players to this country every year, when Percival Vivian mentioned that he was looking for an ingénue to play over Chautauquas with his company. He wanted to pay very little, which may explain his willingness to take me when mother sent for me.

“We played one night stands for 18 weeks, and I still loved it when we finished the run.



“Mother knew no theatrical people, but she heard of the Shuberts, so she took me to their offices.

“’This is all I can do for you,’ she told me, ‘If they won’t have you, I’m afraid you’ll have to do as your father wishes and be content.’

“I was only 15 and I had had 18 week’s work. I thought I must succeed because I loved it.

“I remember I was wearing a plaid skirt and a woolly white sweater with a roll collar and no hat. I looked at all the smart actresses in their furs and satins and wondered if I would ever be like them. While we waited, a little dark man came out of an inner office, glanced around and said to me: ‘What’s your name?’

“I stammered, ‘R-r-rose Hobart!’ and he sent me into the private room. Afterward I found out that he was one of the Shuberts. The other sat at a desk and hardly looked at me as he asked what I’d done. I proudly told about the Chautauquas. ‘Same as nothing,’ he commented. ‘Can you act?’

“I think so. I d-don’t know.’

“If you don’t know you can act, don’t bother me,’ he returned. So I assured him I did know, and he gave me a note to Eva Le Gallienne, who was casting ‘Liliom’ at the time.



“Miss Le Gallienne told me later that when she saw me she cried: ‘At last they show some sense!’ They had sent her dozens of small blond chorus girls for the part, which was that of her 14-year-old daughter. I played it for more than a year.

“There I was, launched on the work that means romance to me. I can’t imagine any other taking the place of it.

”That, in my opinion, is the way one should feel about the person one marries. Not having been married so far, perhaps my ideas on the subject don’t count.

“According to the studio, you know, I have no sex appeal, so maybe I am out of order in discussing romance. I haven’t discovered how they know I lack the essential quality, but I notice that whenever any official meets me out socially with an escort, he can’t conceal his surprise. He gazes at the man with a ‘Just what is the matter with that one?’ expression.

“I believe it must be because my collar bone shows. They like soft and squashy necks.
“But whether or not I am an authority on romance between two persons, I stick to my ideas on romance in everyday life. People who are easily bored miss it altogether.

“Sometimes I think there should be special education against boredom. Children should be taught to interest themselves in something; in many things.

“There’s a big thrill in lines outside our own if we investigate them. I’m terribly interested in psychology. Before I came out here I studied for a year with a famous doctor, who has done marvelous things by psychoanalysis for patients who seemed hopeless under other medical care. I wanted to know why people behave as they do and what it is that changes them. I thought it would be valuable to me in depicting character, but it was also valuable because it was so thrilling.

“It was like witnessing miracles. Men and women who couldn’t get along in life were made over new when they were shown that there was no reason for them to fail.

“If I had time to find them, no doubt I could be just as much moved by other subjects. It would be rather a good thing if we could educate children to search for worthwhile occupations for spare time.

“I’m told that there is no necessity to search after the kind of romance that culminates in the altar. That is supposed to come out of its own accord.”




Roland Young’s eyes crinkled with mirth until they were mere slits of blue in his suntanned face. He is slender and fair, not very tall, and looks exactly like his photographs.

“What is romance?” he repeated in his pleasant English voice. “What a question to ask a man at 4:30 in the afternoon.

“I think romance is a different thing to each of us. To me, life is romance. Or perhaps I should put it that romance is life as we live it, a mixture of adventure, hard work, luck and sentiment.

“Enthusiasm is a grand thing, but I don’t think it is all of romance. Life isn’t all high spots.

“Romantic periods are like measles; they come along every so often in the history of the world, for no particular reason. They are good for us. All art and poetry is created during these periods, not during the hard stretches of realism between them. I don’t know why it should be considered that to be romantic is to be soft. I don’t agree with that idea.

“Everything that happens to us can be romantic, in a certain light. That is, if we look back on it from a safe distance. We don’t remember how bored we were with poverty. Supposing that we have arisen from the gutter to greatness, it looks to us from the pinnacle of success that the days when we had to stretch a penny to make it cover half a dollar’s worth of goods were exciting. We didn’t find them so at the time.

“If we look on romance as an adventure, then the dangerous moments of life are romantic; but when we are living them, the romance is not so apparent.

“Some of the most exciting moments of my life have passed during the making of pictures, but I can’t say that I enjoyed them.



“While we were filming ‘Madame Satan,’ the action called for a group of us to be dropped from a Zeppelin. Most of the cast were permitted to leap, but I was to be thrown out.

The idea, as explained to me, was that I would be tossed out while the ship was quite low into a net spread to catch me, but when the time came the ship was high and the net far, far below. The expert suggested that I remember to keep my feet high, my head forward, and land on my back so as not to break a leg or my neck. The advice was not easily followed. I took the drop about a dozen times, and why I escaped intact is still a matter of amazement to me.



“In a late picture with Pola Negri, she as queen and I as king were being driven to our coronation in a coach drawn by four white horses. The horses used were coyboys’ mounts, accustomed to perform in rodeos, and I presume the scene was too tame for them. They bolted. They plunged off to the edge of a cliff, where the side of the coach got jammed against the two rear animals, while the leaders attempted to climb each others’ backs. There we were caught in a jam.

Pola was yelling, ‘Save me,’ and I couldn’t do a thing. Fortunately, we were rescued from our perilous position in due time. I can’t look back at it yet with any particularly romantic feeling, but in due time I suspect I will catalogue it in my memory as one of my romances.”

The walls of Roland Young’s den are covered with pictures of penguins; the shelves are stocked with hundreds of tiny reproductions of the bird that walks like a man; there are doorstops, book-ends, paper weights, penholders, ashtrays, cigarette boxes and bottle-stoppers made in the image of the fascinating bird.

“Penguins are romantic,” asserted the hero of many screen plays. The male is always faithful to his choice. He courts her just as a human being courts his mate. When his eye and lays it at her feet. Rocks are used to make nests so that the eggs shall be in safe, high and dry spots.

“If the female bird like him, she give him a peck on the chest; if she doesn’t like him, she probably gives him a jab in the eye.

“If she peck him, he has to fight several other contestants for her favor, and if he comes out the victor, even though bloody, they go off together in triumph and build their nest. And he is true to her forever.

“That’s romance, isn’t it?”

Roland should know. He met his wife when she was a child of 10 and lover her and her only, though he had to wait until she grew up before they could be married.
When the now Mrs. Young was in her teens, she and Roland played together in a comedy written by her mother, Clare Kummer. In one scene the girl had to pluck a pink carnation from a basket of these blooms and hand it to the young actor.

Pink carnations are still his favorite flower.

He believes in sentiment and thinks there can be no romance between two persons without it.

A pretty bit of sentiment set their wedding ceremony on the back porch of the girl’s summer home “because the sun was setting and the light looked so beautiful on the garden.”

“A caterpillar got down the neck of one of our bridesmaids and we had to halt the ceremony to get it out,” he remembered, whimsically.

All of that was a dozen years ago.

What is romance to you?

Whatever it is to you or to me, it’s coming back in style!

(Copyright 1932 for the TRIBUNE)

IN STUDIOS AND THEATERS

New York Times, April 3, 1932

Four new pictures, in addition to “Shopworn,” will be shown at the Paramount Theatre during the month of April. These are “Misleading Lady,” based on the stage hit of the same name and featuring Claudette Colbert, Edmund Lowe and Stuart Erwin; “This Is the Night,” with Lily Damita and Charles Ruggles; “Sky Bride,” with Richard Arlen, Jack Oakie and Virginia Bruce, and “Sinners in the Sun,” with Carole Lombard and Chester Morris.




The introductory work on Sidney Howard's film version of Dostoevsky's “The Brothers Karamazov” has begun in the West Coast studio of Samuel Goldwyn. Ronald Colman will take the part of Dmitri. Production has been tentatively scheduled to start May 15.




“Congress Dances,” which has been tentatively slated for the Rivoli Theatre, will have its premiere at the conclusion of the run of “One Hour With You” at the Rialto. The leading part in “Congress Dances” is taken by Lillian Harvey, assisted by Conrad Veidt, Lil Dagover, Henry Garat and others. It was produced by Erich Pommer and will be released by United Artists.




In order to seek local color Eddie Cantor has gone to Mexico, it is announced by Samuel Goldwyn. Mr. Cantor will appear as the main character in “The Kid From Spain.” Among new writers and composers for the same staff are Harry Ruby, Bert Kalmar and William Anthony McGuire. Messrs. Ruby and McGuire recently finished their work on “Horse Feathers,” in collaboration with S. J. Perlman. Mr. McGuire wrote “Kid Boots” and “Whooppee.”




A much-discussed subject of late has been that of misrepresentation in pictures dealing with newspaper film plays. The United Artists Corporation is the latest group to voice its opinion in the controversy in announcing that it has given its pledge “that pictures made by member producers of this company will assiduously refrain from bringing discredit upon the Fourth Estate.”

The pledge was given in a letter sent by Al Lichtman, vice president and general manager of United Artists, to the Pennsylvania Newspaper Publishers' Association.

“Reflection upon the American Press by stage and screen,” wrote Mr. Lichtman, “is regrettable, and I may say that no picture released by this company will bring discredit to your business.”




Several photoplays are to be started before April 15, according to an announcement by RKO-Radio. In one of these, to be entitled “The Roar of the Dragon,” Gwili Andre, who despite her non-Scandinavian name, is hailed as a “Norse beauty,” who will make her screen debut here. Other pictures announced by the same organization are: “Hold 'em in Jail,” a comedy based on the Sing Sing prison football team; “Hell Bent for Election,” a political satire, and “Is My Face Red?” said to deal with the worries of a New York columnist. Edna May Oliver will play the principal roles in the first two comedies.




Latest additions to the cast of “The Dark Horse,” a political drama now in production at the West Coast studios of First National Pictures, are Robert Warwick, Sam Hardy, Burton Churchill and Harry Holman. Other performers in this vehicle include Warren William and Bette Davis, Vivienne Osborne, Guy Kibbee and Frank McHugh.




Paramount Publix Corporation announces a picture tentatively entitled “Bride of the Enemy,” in which the stars will be Claudette Colbert and Clive Brook. Mr. Brook is just back in Hollywood after a six weeks' vacation in England.