NO LURE TO STAGE-STRUCK GIRL IN “MACHINE PATTERN” OF FILMS

Pretty Erin O'Brien-Moore is Irish - and has a mind of her own.
So, after a season in Hollywood where she couldn't reconcile her ideas of acting with those current in the movies, she is back on the New York stage.

New York, April 2 (Associated Press)
It may be assumed from her name that Erin O’Brien-Moore is Irish, which also explains why she is a determined young woman.

Because, as she says herself, “I’m terribly stage-struck,” she turned aside a movie career and its accompanying wealth as it was interfering with her ambition to be a star in the theater.

This auburn-haired Irish girl first caused a murmur among the critics when they stumbled upon her in an obscure Greenwich Village playhouse.

There she was doing her best to give life to a futuristic art play called “Him” written by e. e. cummings, an author who is opposed to all capital letters.

PLAYED IN STREET SCENE

The following season, as the young sweetheart in “Street Scene,” she became what would have been the toast of the town if this were still an age when gay young blades drank champagne from their favorite’s slipper.

Immediately Hollywood beckoned and Miss O’Brien-Moore, with some misgivings, signed her name to a contract that brought her more money than she ever imagined there could be in one place.

“When I reached the studios,” she explains, “I found they had a vastly different idea about acting. To me, a performance in the theater is something creative, something that can’t be turned out as if it were pattered by a machine. I just couldn’t act according to rules as they wanted me to do.”

COULDN’T UNDERSTAND HOLLYWOOD



So Miss O’Brien-Moore refused to make a picture. She remained a year in Hollywood, where the directors could never understand the determined ideas of this young actress.

Now she is back on Broadway in “Riddle Me This,” and it is a coincidence that she plays the role of the sweetheart of a newspaperman. For Miss O’Brien-Moore comes from a family of newspapermen.

Her grandfather was editor of papers in Galveston, Dallas and New Orleans. Her father was editor of journals in Charleston, W. Va., Tucson, Ariz., and St. Louis.

April 3, 1932

GLORIA HOPES BABY IS BOY

London, April 2 (Universal News Service)
Gloria Swanson, Hollywood star, thus revealed today that she and Michael Farmer, her latest husband, expect a son and heir next week.

Beyond that Miss Swanson would not talk of the interesting event today.
She did say, however, that she had hoped to knit some things for the little newcomer, but that illness prevented. A most luxurious layette has been purchased from Bond street shops.

Gloria is confined to her bed by bronchitis which, although not regarded as serious, is sufficiently delicate to require careful medical attention.

Farmer, sturdy, youthful-appearing Irish sportsman, does not care whether the baby is a boy or a girl, he says, but Gloria confided secretly that he would be delighted to be presented with a son.




CHASE RE-SIGNED

Charley Chase, who has been a star with Hal Roach for twelve years, has been re-signed to a new starring contract for a series of comedies to be released next season.



(Joseph Jefferson as "Rip Van Winkle)

THOMAS L. JEFFERSON, ACTOR, DIES AT 75

Son of Joseph Jefferson, He Followed His Father in Role of Rip Van Winkle for Many Years

Los Angeles, Cal., April 2
Thomas L. Jefferson, son of Joseph Jefferson, famous actor, and himself a well known player, died today at his home here. He had been on the legitimate stage more than half a century, following his father as a portrayer of Rip Van Winkle for many years.

Mr. Jefferson, who was 75 years old, had been in ill health for some time, and his illness took an acute form on Easter Sunday. Funeral services will be held from the Pierce Brothers Mortuary Tuesday afternoon with interment in Inglewood Cemetery. The services will be in charge of the Masons.

So well did the Jeffersons – both father and son – characterize the leading figure of Washinton Irving’s “Sleepy Hollow,” that after the elder Jefferson’s death, a stained glass window, portraying him in his favorite role, was place in the Little Church Around the Corner in New York.

Thomas Jefferson was also well known for his characterization of Lightnin’, in the play of that name. After the death of Frank Bacon, who originally starred in the play, Mr. Jefferson was given the partwhich he played on several tours of the United States.

Mr. Jefferson had resided in Hollywood eight years, and appeared in many films, two of his most recent appearances being in “Forbidden,” and in “The Hatchet Man.” He leaves his wife, Mrs. Daisy Jefferson, who was with him at his death, and three daughters by a former wife.

Mr. Jefferson was a member of the St. Louis Lodge of Elks.
Mr. Jefferson’s daughters, all residents of New Jersey, are Mrs. Rumsey W. Scott of Montclair, Mrs. Carrington Howard of Caldwell, and Mrs. Charles H. Raymond of Morristown.




CROMWELL LOANED

Richard Cromwell, featured with Jack Holt in Columbia’s “Maker of Men,” will shortly move over to Warner Bros.’ studios. His services have been lent to this company for one production, in which he will play the juvenile lead, the role of “Jimmy,” in a feature tentatively titled “Tinsel Girl,” It will be directed by Michael Curtiz.




THE MIX PICTURES

After being remarried to his recent bride, the former Mabel Ward, while on location at Yuma, Ariz., for scenes for “Destry of Death Valley.” Tom Mix has returned to Universal City and his second talking picture is now in the hands of film editors.

“Destry of Death Valley” has been directed by Al Rogell, with Lois Wilson and Fred Kohler appearing in Mix’s support, and in addition to providing a thrilling dramatic story, the backgrounds for the new Mix film are said to be among the most beautiful desert scenes he has presented. His third vehicle will be either an untitled original story by Peter B Kyne or “Pony Boy,” recent written by Nina Wilcox Putnam.




DOOMED BATTALION

“The Doomed Battalion,” Universal’s surprise special for 1932, is looming into “All Quiet “ proportions. Already it has had three previews on the coast, and the underground instantaneous telegraph system of the moving picture industry has tapped this one as a great money-getter. “The Doomed Battalion” is the story of the heroic defense of a mountain on the Italian front during the Great War. It contains unusual shots and unequalled photography as well as the most exciting dramatic situations.




SPRING TOUCH SEEN IN COIFFURES

Among coiffures refecting the enhanced importance of the hair as it is revealed by the tilts of the new spring millinery are those of Sylvia Sidney (left), Miriam Hopkins (center) and Frances Dee.

Miss Sidney’s long hair helps to make the Madonna coiffure effective. Unwaved and parted to the center, it is drawn back low on the neck, divided and twisted into two figure eights, ending on each side at a line just below the ear lobes.

Miss Hopkins achieves the 1932 version of the windblown bob with her naturally blond and curly hair. It is parted on the left side, the top hair combed off the forehead, but that on the side covering the ears and clinging to the cheeks in soft curls.

The debutante mode is exemplified in Miss Dee’s partless bob. This coiffure demands a partless effect. The long ends of the hair are curled upward, giving a full appearance at the back.




OUT IN STYLE

Sidney Fox is dividing a brief vacation between film plays and learning to play golf, bareback riding, and posing for the celebrated portrait artist McClelland Barclay. Miss Fox’s next picture, her initial stellar vehicle, bears the tentative title “Out in Style,” and Edward Luddy is its author.




LORETTA YOUNG AT MAJESTIC SOON

Loretta Young, who has appeared successively for four different producing companies in her last four pictures, makes her Fox Film debut as the heroine of “3 Girls Lost,” the feature attraction at the Majestic theater Friday. John Wayne and Lew Cody have the prominent male roles in this exciting story of modern youth, which Sidney Lanfield directed.




ELISSA LANDI AT RIALTO FRIDAY

Playing her first role since her success in “The Yellow Ticket,” Elissa Landi appears as the leading character in “Devil’s Lottery,” Fox Films’ romantic drama coming Friday to the Rialto theater. She is supported by a cast that includes Victor McLaglen, Alexander Kirkland, Beryl Mercer, Paul Cavanaugh, Ralph Morgan, Barbara Weeks, Herbert Mundin, and Halliwell Hobbes, The picture was directed by Sam Taylor, from Guy Bolton’s screen story which is based on Nalbro Bartley’s successful novel.




LEW AYRES IN STATE FEATURE

Though Lew Ayres never before appeared on the Football field in a regular game, he put in three weeks of intensive training before starting work in his latest Universal picture, “The Spirit of Notre Dame,” under the expert tutelage of Frank Carideo twice All-American quarterback, “The Four Horsemen” and other backfield stars who appear with him in the production. As a result, when the picture comes to the State theater on Wednesday, Lew will be seen as an adept player in the slashing style developed by the late Knute Rockne, dean of coaches.




EDNA MAY OLIVER STAR IN LYRIC FILM

RKO-Radio Pictures’ comedy-drama, “Fanny Foley Herself,” starring Edna May Oliver, will be the feature attraction at the Lyric Theater Sunday and Monday.

The story tells how girls, seeing their mother in action on the stage for the first time, are ashamed for her. They are mortified, forgetting her comic artistry was responsible for their education.

Also in the cast are Hobart Bosworth, Helen Chandler, John Darrow and Florence Roberts.

KIBBEE FORGETS BROADWAY AFTER SCREEN HOLIDAY

Hollywood, April 2

“Broadway or Bust,” slogan of troupers for generations, is just another catchline of Guy Kibbee, veteran actor, who has been appearing for First National in important roles for several months. Kibbee is not even convinced there is a Broadway at the moment – for all that he has played on it, even made an outstanding hit on it.

For many years Kibbee trouped the provinces waiting for the break that seemed to grow more remote each season. He played in stock companies in every section of the country. He played in vaudeville. Also, he had good parts in Broadway productions from time to time, but always after they had left Broadway. Whenever he could afford it, as he tells the story, he would come to New York to wait for that chance on the Big Street. But each time the wait would outlast the funds that he would have to accept the first touring job that came along.

Finally he gave up. By now, he figured, he was too old to get there. What was the use of hoping? So he settled down philosophically to a life-time of “the road,” determined to be satisfied with his lot.

Suddenly, when it was least expected, the chance came. Kenyon Nicholson, author of “Torch Song,” which Arthur Hopkins was about to produce, had seen Kibbee in one of his numerous stock assignments. He remembered him when it was necessary to cast the benevolent traveling salesman who played so significant a role in the drama. Kibbee, a little dazed, responded to the summons from Hopkins. He rehearsed, he appeared, he made one of the resounding hits of the decade.

After “Torch Song” he got another part or two, none of them offering the opportunities the Nicholson play had. But anyhow he was on Broadway. Nothing else mattered. It was too good to be true; too good to last, at any rate.

Hollywood heard about Guy Kibbee and Hollywood wanted Guy Kibbee, though he did not altogether approve of it, succumbed at length to West Coast persuasions. After all, he would be going back to Broadway after a picture or two. Why not make a flying trip to California?

It has proved no flying trip. One of two pictures, and audiences began to clamor more for Kibbee. Now he is under a long-term contract to the affiliated companies, Warner Brothers and First National, and Broadway, unapproachable Broadway, is as far away as it ever was.



Lately he has become a sort of trademark for these two companies’ pictures, for his appearance has been frequent and widely noted. The public has seen him as the cheerful tramp in “Union Depot,” the equally cheerful “dummy” president in “High Pressure,” the harassed baseball manager of “Fireman, Save My Child,” the veteran cabman of “Taxi!” and in many other roles. Most recently he has been appearing for First National in “Tinsel Girl,” which has just been completed.

If this goes on much longer, Kibbee feels he will never get back to Broadway. Already it beings to seem just the name of a street some place, a place one always likes to go, but can’t; a blur on the horizon.

NEW PICTURE BUILT UPON HISTORY OF PROHIBITION

By A. L. Woodbridge
Hollywood, April 2

Father and mother, their flapper daughters, their rah-rah sons, drunkards, bootleggers, “speakeasy” bosses, the United States government and politicians are going to have something to talk about.

“The Wet Parade,” Metro-Goldwyn-Mayer’s picture telling the story of prohibition, scourges not only liquor-drinkers and open saloons, but also the present bootleg and speakeasy conditions. It is packed with “dynamite” from every angle. It is a castigation of law enforcement methods. It holds up to ridicule all classes of society from the day laborer who slinks into a varnish shop for a jug of alcohol, to the owners of exclusive estates who maintain private bars in their home and give lavish parties.



The production reviews the whole situation in America, starting with the drinking of bourbon in an aristocratic Southern home in pre-war days when whisky was a before-dinner beverage instead of a start of a carousal. Yet it portrays a haughty Colonel committing suicide in a pig pen when denied his bottle bought in an open saloon. Lewis Stone enacts the role of this colonel.

Comes the call for soldiers to go overseas, the mobilization of the army, the march to the transports with flags waving and military bands playing. A glimpse is given of the fleet of American battleships plowing through the Atlantic, of the air armadas in France and finally of the trenches.



Then starts the move for prohibition in the States, the plea that wheat and rye and barley were going into intoxicating drinks when they ought to be conserved for the doughboys on the firing line. And finally the ratification of the Eighteenth Amendment and that wild last night when liquor could be bought, the crowds in their “final” revels, the burial of “Old John Barleycorn” and then “prohibition.”



There the story turns to present-day conditions. It shows the disintegration of a great orator (Walter Huston) and his sinking lower and lower until, when his wife destroys his jug of cheap alcohol, he beats her to death. At his trial he is found guilty of murder and sentenced to prison for life – just a shadow of a man.



A private bar in a magnificent home is pictured with guests in evening attire getting drunk; prohibition agents snooping around in “dives” and drinking the “evidence,” a policeman entering a side door and warning the barkeeper that the front door, at least, must be kept locked for the night.



Of course, there is a love story running through the production and centering about a young woman and young man, without whom the picture in many ways would be revolting.

At Grauman’s Chinese Theater in Hollywood, where the production had its premiere, an audience filed out with the comment – “powerful picture!”

HOLLYWOOD STARTS PAJAMA VOGUE

By Robert Grandon – April 2, 1932

Is this pajama craze ever going to end? I think not, for all the little pals of Mrs. Rob and myself turn up at the most unusual hours, day and night, sporting the latest nifties.

Little Joan Bennett threw a party the other day and what do you think she wore? Black velvet pajamas trimmed with ermine.

With her delicate blonde coloring, Joan stood out among her studio sisters in a manner to make her the most admired… and the most envied. And now, black pajamas are popping up in all the shops and for dress!




Of course, Jean Harlow started it with that funny sort of suit which is a cross between a sweat shirt and a pair of sailor pants. And when she went away on her vaudeville tour, pajamas started to really blossom.

Joan Crawford, Marlene Dietrich and Tallulah Bankhead prefer lace and chiffon and navy blue and pastels. But black velvet and ermine is becoming a national habit and seems fair to spread.




Anna May Wong has introduced the bang craze. For a long time, she has adopted this head-dress and now it seems to be catching on. The other stars are copying her.




The other night at the Embassy I saw Kay Francis with black nails. It’s the newest craze, she told me. You have your manicurist dye them to match your evening dress and remove the stain the next morning. And if it’s an afternoon party, why, silver is quite the latest thing.




It used to be that Paris set the styles. Now it’s Hollywood. Watch for the Mata Hari turban introduced by Greta Garbo.

CHAMPS FLOP IN FIRST MOVIE

By Luella O. Parsons – Universal Service Motion Picture Editor

Hollywood, April 2
Champions in any field can be assured of a contract with the movies. Producers just love to sign these celebrities and when they do, nine out of every ten make one picture and then blow up. A champion prize fighter, baseball player, football hero, runner, swimmer, aviator doesn’t necessarily make a champion movie star.

Johnny Weissmuller, swimming expert, is one of the few who was ever invited for a return engagement. He just seemed to hit it off in “Tarzan of the Apes.” If he had a picture in which he was inappropriately cast, Mr. Johnny Weissmuller would be back swimming in less time than it takes to write this.




Ruth Elder, one of the prettiest girls who ever made headlines, was signed by Paramount at a good salary. One picture and Ruth found herself listed among the non-movie folk. She married a rich man so her career needn’t worry her. Her fame as an aviatrix, in any event would have exceeded any claim to screen popularity.




Pavlowa, one of the most famous dancers of any generation, was starred by Lois Weber in a picture 12 years ago. Graceful as she was Madame Pavlowa never again made another picture. There just didn’t seem any demand for her although Miss Weber’s picture was called an artistic triumph by many critics.




What about Rudy Vallee? His fame has become synonymous for mob enthusiasm. Women and children stormed the door of every theater in which he sang. Here was a sure-fire thing for the movies. Rudy and his megaphone! He made one picture for RKO and while I never saw the box office receipts, I do know they weren’t sufficient to get him a return invitation.


LINDY WAS WISE



I doubt if our national idol, Charles Lindbergh, would have been good for more than one movie if he had accepted the $1,000,000 offer made him. Mr. Lindbergh was too wise to let himself be starred in a movie drama.




Edwin Carewe offered the Queen of Rumania some fabulous sum. Marie was much intrigued until the diplomats in her country stepped in and refused to give her permission to face a movie camera in anything but a newsreel.
While the fascinating Marie may have been good for one picture, I doubt if the public would have paid twice to see her emote. This public of ours does not select its screen gods from men and women who have been famous in other endeavors.




MARY’S FAILURE

Mary Garden, whose “Thais” in the opera has been sensationally popular, made a lamentable failure in the movie version of “Thais.” Of course, that was before the talkies. But even with the opportunity now given singers to sing their favorite numbers on the screen none of them have made great successes.




The Fox company lost a young fortune trying to make a movie star of John McCormack. And there are a few on stage, or concert platform, with his popularity.





There are many more who were ballyhooed as coming into the movies at fabulous salaries and who lasted for a brief moment. Red Grange, football hero, crashed the gates of Hollywood with a noise that resounded throughout the world. He made one or two pictures and then after he ceased playing football, we heard no more about him as a movie star.




What would have happened if Knute Rockne had lived? He had a great personality and he was much loved but even so, I doubt if he could have become a permanent movie actor. Jack Dempsey, Gertrude Ederle, Charles Paddock are other champions who, while much discussed as movie prospects, have never been established as screen idols.

As I said, the public want to pick its own movie stars.

April 2, 1932

COOPER, SCREEN ACTOR,
REFUSES $3 DANCE OFFER

New York, April 2 (Universal News Service)
Vicki Baum offered Gary Cooper $3 for a dance, and was turned down cold.

Miss Baum, author of Grand Hotel, admitted it freely when the liner Europa, with both the novelist and the film star aboard, arrived in port to-day.

Cooper, according to Miss Baum, sent back a firm refusal of her offer, explaining that $3 was not sufficient insurance against peril of life and limb by the rocking of the boat.

The tall movie idol brought back some fifty skins of game shot during his recent African hunting trip.

Miss Baum sighed:
“I like American men. They are so different, so boyish. I think I’ll become an American citizen.”




KALLA PASHA, EX-COMEDIAN, JAILED FOR NICKEL ROW

Movie Star of Mack Sennett Days, Broke, Vows to Swat All Motormen

Los Angeles, April 2 (UP)
Kalla Pasha, former boxer, wrestler and motion picture comedian, free-spending squire of noted actresses, who once carried $150,000 cash with him, was behind jail bars today as the result of an argument over five cents.

And, apparently, he didn’t regret it. Arrested on a charge of assault after assertedly breaking a bottle of “Kalla Pasha’s purple penetrating ink” over the head of H. F. Christopher, street car motorman, was quoted as saying:
“I’ll dedicate the rest of my life to assaulting motormen. I’ll leap from street car to street car swatting them on the ko-ko’s with bottles of Kalla Pasha’s purple penetrating ink.”

He had accused Christopher of short-changing him a nickel.
Now “broke,” Kalla Pasha boasted he used to take Norma Talmadge and Mabel Normand out “many an evening” wearing $150,000 strapped on his stomach and spending $100 bills freely.

He was in the movies for 21 years, at his height during the Mack Sennett bathing beauty days.




FILM DIRECTOR DIVORCED

Los Angeles, April 2 (AP)
Ralph Ince, film producer and director, and his wife, Lucille, known on the stage as Lucille Mendez, were divorced to-day on her complaint that he had injured her professional reputation by his refusal to permit her to accept theatrical engagements.




CLARA BOW’S SUCCESSOR AS REDHEAD FAVORITE IS POSSIBLY GINGER ROGERS

Hollywood, April 2 (Special – by Dan Thomas)
Reports to the contrary notwithstanding, our little girl friend Ginger Rogers isn’t all that her name implies. True, there is a lot of ginger in the little girl – flaming tresses, lots of pep and wisecracks galore – but they comprise only two thirds of this rapidly ascending actress. The other third is made up of the seriousness seldom found in girls of her type.

On the screen Ginger usually typifies the ultra modern 1940 model flapper. Nor are we surprised at that because she looks the part. She also looks the part in real life – at first glance. Study her closely however, and you will find that there is something above those sparkling eyes besides red hair.

In a crowd Ginger’s two-thirds majority comes to the fore. At such times she is always ready to make whoopee. Every wisecrack is met with a smarter one. And when it comes to dancing she can wear down any orchestra.

If there ever is to be a successor to Clara Bow – which there won’t – Ginger is the outstanding candidate. There never can be another Bow, just as there can’t be another Mary Pickford or Colleen Moore. However, Clara has vacated the throne as queen of the movie redheads and it is quite possible that Ginger may ascend to that throne.



And now Jean Harlow, famous for her platinum locks, is going to be a redhead.

It’s in the movies, of course, but movie fans who have wondered how Jean would looks sans the platinum hair will find out in “Red Headed Woman.”

Casting of Miss Harlow in this role is rather surprising when you realize that much of her present success is due to the fact that she is generally credited with being the original platinum blond and that she is given plenty of opportunities to show her platinum locks in all of her pictures




When a man gets a kick out of doing something he has been doing for fifteen years almost anything might happen. That’s what the gang around the Harold Lloyd set are saying these days. They really expect to see the impossible accomplished before “Movie Crazy,” Lloyd’s current comedy, is completed. And the reason is that Harold seems to be enjoying his work so much. As a rule the comedian has been like a highly trained prize fighter when it came time to actually start filming a picture. He would be eager to get into action – yet fretful and sullen and jumpy.

“Movie Crazy,” a comedy on Hollywood, also will be the most romantic film ever turned out by Lloyd. Of course, that is almost to be expected. When one deals with Hollywood, one naturally deals with love-making – whether it be synthetic or real. And young Constance Cummings who has been coming ahead so rapidly during the last year, is a perfect foil when it comes to that romantic business.




GABLE FEARS LUXURY EFFECT

Clark Gable is afraid that Hollywood is getting too comfortable for him, says a writer in Picture Play Magazine. She adds, “His fear of softening is not at all without foundation, although few persons not acquainted with all the facts realize his danger.”

Perhaps even Clark Gable himself doesn’t realize all of it.

His danger lies in the fact that he missed many things during his first thirty years of his life, and Hollywood is ready and willing to supply them. Hollywood is ready to give him luxury instead of poverty, relaxation instead of struggle.
Gable’s formula is dangerous toughness, thinly veneered with self-education and a bit of hastily acquired culture and polish. Soften the brutishness, thicken the veneer of culture, and you have a different Clark Gable. No one doubts that it is the screen idol’s rugged masculinity and sex-menace that has placed him at the top of the heap.

It took him thirty years to get that way. Battling youngsters around Pennsylvania mining towns when they poked fun at his big ears; the thing that grits in his speech was ground into him when he was kicked off a moving freight train; when heaving lumps of coal with older and tougher coal miners than himself, when his father called him a sissy for wanting to go on the stage rather than work in the oil fields.




WOMAN IS AHEAD AND LOVE NEXT

If any doubt exists that love still makes the world go ‘round it can be counteracted by a study of the titles selected from motion pictures. During the past seventeen years, 12,577 films have been released. In the titles of these, “love” and its two principal parts “man” and “woman” have appeared more frequently than any other words.
Statistics compiled by Fox Films from the pages of the Film Daily Yearbook for 1932, put “woman” in the lead. The word has been used 286 times. “Love” is second. It has appeared 255 times. “Man” with 222, is third. If words kindred to woman such as “girl,” “lady,” “daughter,” “mother,” “niece” or “her” are counted, the tally of the fairer sex is increased to 522. The derivatives of “man,” “father,” “son,” “boy” and so on have occurred only 335 times.

“Great” in its three degrees of comparison, comes next in frequency among title words. It has been utilized on sixty-nine occasions. “Danger,” with sixty-six, follows. “Devil” is in the select group, having been connected with sixty-one films. Elissa Landi’s current Fox picture, “Devil’s Lottery,” adds another to its total.




DORIS KENYON LIKES STAGE

Most movie players’ idea of really doing something is devoting part of their time to pictures, the rest to the stage.

Doris Kenyon is one of the few who is able to do this. In Hollywood now to play in “Young America” with Spencer Tracy, she is practicing daily for her concert tour which will start sometime this month in New York.

After singing for four weeks she will go back to Hollywood. Several months ago she was in two films and then went to sing in Europe.

Someone attempted to pay her a compliment by saying, “Your face is one that will not grow old. You’ll be in pictures for twenty years.”

“That,” commented Miss Kenyon, “was no compliment. I never want to be a character actress.

A few more pictures and then I shall give them up entirely for concert work.”




CARR TO MAKE WESTERN FILMS

Five de-luxe westerns, starring Bob Steele, will be produced by Trem Carr between now and July 1 for delivery to Educational under a deal just signed.

The first of the series will get under production shortly. It is titled “Riders of the West,” by R. N. Bradbury, who will direct it. The players in this will be Nancy Drexel, Ed Brady, Hank Bell, Charles West, Dick Dickinson, Earl Dwyer and Rose Plummer.

The other four selected stories are: “The Man from Hell’s Edge,” “Son of Oklahoma,” “Texas Buddies,” and “West of the Rockies.” Casts and directors have not been named yet.


From Luella O. Parsons:



To my certain knowledge Ruth Chatterton has read thirty-five plays and novels in a desperate effort to find a story. You would be surprised how few appropriate stories there are available. Yesterday Ruth and Darryl Zanuck okayed an unpublished novel called Children of Pleasure as the next Chatterton epic.

The galley proofs arrived by air mail and a check was in the mail in a few hours. That’s how quickly they reached their decision and how much they liked the story. Just entre nous the first Chatterton-Warner picture is said to be her best in many a day.

Children of Pleasure analyzes the modern woman and her change of standards. It’s by Larry Barretto, author of Indiscreet Years and Sunset.




Sh, sh, don’t dare breath a word but Sidney Franklin and Ernest Vajda are off in a cloud of smoke to New York. They have gone to the big town to take a look at Reunion in Vienna, which Metro-Goldwyn-Mayer will produce this coming season.

And here is another one. If Lynn Fontanne and Alfred Lunt can be talked out of playing in the picture, Norma Shearer will be starred in the Fontanne role.

Miss Fontanne has, it is whispered, insisted upon playing the role on the screen that she created on the stage. Well – she is a swell actress and enormously popular on stage, but much as I hate to say it, her popularity at the motion picture box office is not comparable with that of Miss Shearer.




The train speech of Jimmie (Schnozzle) Durante, the farewell Frank Borzage gave Sol Wurtzel, the dozens of flowers, the fruit and candy boxes carried aboard the train for Mrs. Jack Warner and Margaret Ettinger and Mrs. Durante, all contributed to one of the gayest leave-takings of the year.

The platform was filled with Fox, Metro-Goldwyn-Mayer and Warner Brothers folk, relatives, friends, etc., it looked like a young convention. Constance Cummings and another young lady were so absorbed in the festivities of the east-going choo choo they forgot to get off and were carried on to Pasadena. At the hour of going to press no one has learned whether the girls walked home or hitch hiked back to the village of Hollywood.


Snapshots of Hollywood:



Al Jolson, singing and singing and singing, long after closing time at Wonder Bar. Nary a soul leaving the theater.

Al is welcoming all of his motion picture friends with a royal greeting. The theater was filled with picture people who had been weekending when the play had its regular opening.

Joan Bennett was there with her bridegroom, Gene Markey. Joseph Schenck was hailed by Al as his boss and given a personal performance. Clara Bow in dark green coat, much plumper than I have seen her, in a front seat with her husband Rex Bell.

Claire Windsor, decked out in orchids in one act and gardenias in the other, smiling at her friends in the audience. Genevieve Tobin, in a light ensemble, was escorted by a good looking youth at the theater.




FORBIDDEN TO BE OPENER ON AMERICAN BILL

Barbara Stanwyck, Adolphe Menjou and Ralph Bellamy Play Lead Roles

Barbara Stanwyck will be seen in “Forbidden,” a Columbia drama. It is an original story, written and directed by Frank Capra.

Miss Stanwyck will be seen as the small town librarian who decides to squander her savings so that she might have a mad holiday. She commences by enjoying an ardent romance in Havana with Adolphe Menjou as her Romeo. A newspaper reporter, played by Ralph Bellamy, also falls in love with the girl. The two romances bring about a series of dramatic events which go to make “Forbidden” one of the most powerful stories of the political and press world yet screened.

On the supporting bill the American has arranged for a Mickey Mouse cartoon and other short reels which will be announced later.