Friday, January 22, 2010

April 16, 1932


Rumors are about in Hollywood saying Greta Garbo may not re-sign with Metro or give any indication of her future choice of film producer until after she had a vacation in her native Sweden. That vacation is apt to start before the summer.

Stories are that other proposals are before Garbo. These offers, it is said, cannot be offered by the producers’ recent arbitration agreement on contractual adjustments of talent, since back of the proposals are independents not aligned with the Hays’ organization.

It’s said Metro’s possible money offer has had no influences on Garbo since the new proposition under consideration by her is reported to contain an equal partnership deal by its producer. Garbo’s current Metro contract at $7000 weekly runs out May 1.

Wash-up of Harry Edington, Metro associate producer in charge of foreign production, whose contract was completed March 31, strengthens the reports that Garbo may not re-sign with this studio. Edington is Garbo’s manager and personal adviser. Jack Cummings and Fred Pelton will probably take over Edington’s foreign duties.

Edington will leave Hollywood shortly for Japan and China, thence to his villa in Italy where Mrs. Edington is studying music.


Lewis Milestone, director, is in Hollywood to begin production in about two weeks of the first of several pictures. Accompanied by Chester Erskin and H. D’Abbadie D’Arrest, directors, and Charles Lederer, writer, Milestone spent several months in New York.

While in the East he signed contracts with Schenck under which he will supervise at least four pictures for the forthcoming Untied Artists program.

First of these doubtless will be “Rain,” an adaptation of the Jeanne Eagels stage play, upon which Maxwell Anderson, playwright, had been working for several weeks. Another will be an Al Jolson picture from an original story by Ben Hecht, and Jolson will close his run of “Wonder Bar” at San Francisco this week in order to prepare for it. Erskin is expected to direct “Rain” and D’Arrast probably will handle the Jolson assignment.

Meanwhile other member producers of United Artists are busily engaged in the preparation of their programs. Samuel Goldwyn already is at work on “The Brothers Karamazov” for Ronald Colman and “The Kid from Spain” for Eddie Cantor, and shooting on these two is expected to be started before the first of the month. Goldwyn also has “Cynara” for Colman and “Ballyhoo” for Cantor, those to be made after the first two named pictures.

Douglas Fairbanks is now in his third week of shooting “Robinson Crusoe of the South Seas,” most of his camera work being done around Papeete. Mary Pickford will get to work with Frances Marion in New York in about two weeks upon her story.

From Luella O. Parsons

My congratulations to David Selznick and his Radio associates. He has purchased the screen rights to Moon and Sixpence, one of the few really good books that have not been grabbed by the movies. When Somerset Maugham wrote Moon and Sixpence (in my opinion his best novel,) every film company put in a bid but Mr. Maugham refused to sell.

Through some sorcery David Selznick persuaded him to part with what I am told is his favorite novel. Perhaps he was influenced when he heard that John Barrymore will play the artist. What a part! Do you remember Strickland, who leaves a conventional wife and two children to go to the South Seas to spend his time painting at will? Mr. Barrymore should be superb at that role.

Someone has to take Clara Bow in hand. Turning down four or five marvelous offers on the screen, she has taken herself to Rex Bell’s ranch in Nevada to write poetry. She just won’t listen to any of her well-meaning advisers; and here is another thing, Clara must not put on any more weight.

Conrad Nagel, who has been addressing clubs and congressmen on behalf of the movies, has been absent from Hollywood for five months. He is one of our best speakers.

Tay Garnett’s first directorial job at Universal City is “Men Without Fear.” It’s an original by Tom Gilpatrick and Martin Brown is writing the adaptation. Tay says he hears from Patsy Ruth Miller every day and it is his personal and private opinion that she is homesick for Hollywood. She is appearing in a play with Charlie Ray.

Marcel De Sano has sailed for Europe, broken in health and facing a nervous breakdown. His case is one of the strangest on record. The scenario of “The Red-Headed Woman” was all ready with Marcel chosen as the director. He had been preparing for this job for seven months when he left town suddenly. He felt that he could not go through with the responsibility. This is the second or third time De Sano was ready to direct a picture when his nerve left him. There is a report that he and his wife, Arlette Marchal, are to be divorced. She is a French actress who was first brought to this country by Gloria Swanson.
Jack Conway has been assigned to direct the much-discussed “Red-Headed Woman.”

Chatter in Hollywood:
Believe it or not (apologies to Ripley,) Grace George went to the Cocoanut Grove to try to find some film stars the other night. Unfortunately, she didn’t choose a Tuesday night so there weren’t many of the favorites present. Kay Johnson and John Cromwell escorted her, Mary Phillips and Jimmy Townsend.

I can remember W. A. Brady telling me that his wife, fine stage actress, didn’t care so much for the movies. Well, she has changed and so have they.

Harpo Marx went to the circus and stole the honors away from clowns with his own brand of comedy.

Mary Brian and Ken Murray will be together again at Warner Brothers studios. They have been vaudevilling and doing well. Reports have continually reached here that he was interested in little Mary. We cannot blame him. We know others who feel the same way.

Adrienne Ames is expecting a visit from her millionaire husband. In this case, my friends, he is the real and genuine thing and not a P.A.s dream. Friend husband arrives Sunday and Miss Ames is going to Barstow to meet him.

Here is where they are: Billy Bakewell is on the Universal lot, so is Doris Lloyd. They have checked in for “Back Streets.” Charlie Bickford is also at Universal City. He has just been put on a long term contract. Spencer Tracy is at Fox, and what a time we have getting Spencer and Lee mixed. He is emoting in “After the Rain” opposite Peggy Shannon. Mary Phillips, a New York stage actress, has cast her lot with Warner Brothers. She plays one of the important parts in “Woman’s Day.” Fred Kohler, bad man of the screen for a long, long time, and at one time considered a worthy rival of George Bancroft, is in “Good Bad Man,” Tom Mix’s next picture. Willard Robertson, who won fame as Skippy’s father, likewise is in the Mix cast.

Snapshots of Hollywood:

Lila Lee, in a smart black outfit, getting a big play for her autographs.

Elissa Landi moving into a new home at Palisades Del Rey.

Colleen Moore on the Metro-Goldwyn-Mayer lot, giving rise to the rumor that she has been talking shop.

Mitzi Green visiting Grandma in Flushing. She writes to say she is well, but homesick for Hollywood.

Janet Gaynor taking tennis lessons each day.

George O’Brien dancing with Marguerite Churchill at the Frolics. Claudette Colbert and Norman Foster at the same place.

Wallace Beery, suffering with tooth troubles, traveling to the dentist every day.

Mae Murray, in dark blue pajamas, at the Brown Derby.


By: The Looker On
Fifteen years or so ago every fence would carry a big poster asking: “Have you a little fairy in your home?” It showed a picture of a little girl with long golden curls and who carried a muff and sat on a cake of soap. That little girl was Madge Evans and now she has grown up. Tomorrow she will be seen at the Majestic in “The Greeks Had a Word for Them,” and those who recall the poster will be able to compare the little girl in it with the tall, slim blonde who plays the role of a gold-digger – one of the gold-diggers, to be exact. She plays the part of Polaire and, though the principal part is Ina Claire’s as Jean, Madge Evans’ work is that around which much of the interest turns.

Ina Claire was a headliner in the Ziegfeld “Follies” before the dramatic stage or pictures had ever heard of her, and she was a feature of musical shows like “The Quaker Girl” and “The Belle of Bond Street” previous to the “Follies.” It was her singing of a song about a Belasco play in the “Follies” which moved the late David Belasco to take her in hand and put her on the legitimate stage and “Polly With a Past,” “The Gold Diggers,” “Bluebeard’s Eighth Wife” and “Grounds for Divorce” were some of the hits she played for Belasco. Her most notable stage successes were “The Last of Mrs. Cheney” and in a revival of W. Somerset Maugham’s “Our Betters.”

Miriam Hopkins is a Georgia girl who made a hit on the stage after a struggle. She was a consistent players always from her first small role, but when she played in “Lysistrata,” the Greek play that Los Angeles police recently objected to without avail, she brought Broadway to its knees. She knew more about what Aristophanes meant to say than most people and she got away with the prize and her name in electric lights. In the talkies she has appeared as the plain princess who went jazzy in “The Smiling Lieutenant,” and also as the cabaret singer in “Twenty-Four Hours,” before her appearance in “Dr. Jekyll and Mr. Hyde.”

Francis X. Bushman returns to picture work in “For Hire,” which Irwin R. Franklyn wrote and will produce in New York. It’s the former matinee idol’s first job in some time. Production will be at the Ideal Studios. Norma Talmadge also has a deal on with Franklyn.

Joel McCrea, who plays opposite Constance Bennett in “Born to Love,” is one of those rare animals, a boy who made good in his own home town. It took him two years to rise from the extra ranks to leading parts, but he has arrived. He was born in Pasadena, not many miles from Hollywood, and all part of the same settlement around Los Angeles as a center, and he graduated from Pomona College, in the same county. He had the lead in “The Silver Horde,” and the juvenile lead opposite Will Rogers in “Lightnin’.” His father retired recently after serving many years as secretary of the Los Angeles Gas and Electric Corporation. Just the contrary to Constance Bennett, his early days had absolutely nothing of stage life about them and his acting is a natural gift. In “Girls About Town” he shows his versatility as the hero in an entirely changed scene.

Ken Murray hasn’t seen a baseball game for fifteen years, though he is a fan…

In “Ladies of the Jury,” two of the cast, Edna May Oliver and Roscoe Ates, were in “Cimarron” together…

George O’Brien’s father is director of penology in California and was once chief of police in San Francisco.

Ruth Chatterton began her stage career as a chorus girl in musical comedy, but by the time she was eighteen she was the leading woman in “Daddy Longlegs,” with Henry Miller. She first starred in “Come Out of the Kitchen,” but she also made the main hit of “The Green Hat.” Her first motion picture, made under Jannings, was “The Sins of the Fathers.”

Helen Hayes, seen in “Arrowsmith,” has had a successful stage career despite her youth. She starred in “Coquette,” which Mary Pickford afterward filmed, and this is her second picture. She is now playing on the Broadway stage in “The Good Fairy,” and will continue to carry on her stage work despite her few but well-paid excursions to the screen. Despite this, her first screen appearance was in the old Vitagraph studio in Brooklyn as an infant, when John Bunny, Mabel Turner and Maurice Costello were Vitagraph stars, which was some time ago, please. Even then she was playing as a child in Weber and Fields shows.

Boulder Dam as a film topic looms again with Universal readying a script titled “Reclamation” around the project. Martin Mooney, returned to Hollywood from a few days’ jaunt to the scene of operations with the germ of an original story, with the dam as the scene.


Universal’s English contingent was increased by the arrival of Ernest Theiseger and Eva Moore for “Old Dark House” and R. C. Sheriff to adapt “The Road Back.” Leads in “House” are Boris Karloff and Lillian Bond, also Britishers.


By Dan Thomas
Hollywood, April 16

Now that songs are returning to favor in motion pictures, it is interesting to note a few of the things that are being done differently than they were back in the original “Tin Pan Alley” regime out here.

Songs came in with a bang and went out just as rapidly during the early talkie days. Producers are still a bit scared that the same thing might happen again. So they are handing musical numbers with kid gloves.

One of the things being done now, which was overlooked before, according to Nacio Herb Brown, formerly with the team DeSylva, Brown and Henderson, is the writing of songs especially for those who are to sing them.

“Whether or not a song fits the person who introduces it is of tremendous importance,” Brown declares. “For example, Norma Shearer might put a number over with a bang, But Lupe Velez would be a total loss with the same song.”

He Stayed Overtime

Incidentally, Brown had such a good time last summer while he was in Reno getting his divorce that he stayed five months instead of the required three.

This Is New One

Publicity note from RKO Studio. In order to take off weight, Joel McCrea has been wrestling every day with Pansy, gigantic turtle brought back from Honolulu by “The Bird of Paradise” company, with the result that the turtle has lost ten pounds while Joel has gained five.

And if you believe that, you’ll believe anything.

Did Irving Muff One?

Irving Thalberg has been considered just about perfect in Hollywood, but now he has chosen Buster Keaton to play the leading role in Clarence Buddington Kelland’s “Footlights.” Maybe it will go and maybe it won’t, but if it doesn’t, Hollywood is going to wag its head wisely and say: “Now I would have given that role to Edward Everett Horton and what a picture it would have been.”


Hollywood likes to think that its public is just a lot of dumb morons, but the fans have better taste and filmland will have to change its opinion, says Robert E. Sherwood, pioneer film critic.

Declaring that movie patrons are through with the old hokum and are showing real discrimination, Mr. Sherwood writes in McCall’s:

“By all in Hollywood – directors, stars, screen writers and those beings known as ‘supervisors’ – it is agreed that the average film fan is incurably dim-witted lacking utterly in the capacity to appreciate the finer and better things which are occasionally conferred upon him. Ask any of the more articulate of Hollywood’s inhabitants what he thinks of his patrons and you will gather that every cinema palace is just another home for the feeble-minded. If you demand proof of this melancholy belief you are shown plentiful statistics which indicate that the most artistic pictures are spurned by the mob, whereas the most shameless specimens of hokum are handsomely supported. In other words: ‘The customer is always wrong – so what’s the use?’

“This is an effective means of shifting the responsibility for the generally low quality of Hollywood’s products; it is not, however, an entirely legitimate one. It may have been valid back in the Cecil B. DeMille era, but today the ratio existing between artistic merit and commercial value is not nearly so inverse as is generally imagined. Indeed, if hokum were still infallibly profitable, there would be no shadow of excuses for the present meagerness of box-office returns. The old sure-fire formulas are still available – but alas, they are no longer sure. This is not to be blamed upon the public’s lack of appreciativeness, but upon the public’s newly developed critical sense.


Louise Fazenda and James Gleason have been engaged by Warren Doane to make a series of two-reelers for Universal. Doane is producing twenty-four two-reel comedies for U, working at the studio.


Paramount studio office and maintenance workers took a cut last week, most dramatic for femme secretaries and stenos, whose checks have been dropped from $55 to $30.


The much talked of comedy, full of comical scenes and withal so sophisticated that it leaves “Gentlemen Prefer Blondes” weeks behind, this comedy, no less than “The Greeks Had a Word for Them” is the bill at the Majestic for tomorrow and until Tuesday, inclusive.

It is the tale of three gold-diggers, as Broadway calls girls who are huntresses of millionaires, with the curious complications of their personal friendship and the undercover war they make against one another when a man appears in sight. There is a real plot. The girls, called on Broadway “The Three Musketeers,” are Ina Claire, Joan Blondell and Madge Evans. The principal men’s roles are taken by Lowell Sherman, David Manners and Phillips Smalley. The screen version of the play is from the hilarious stage success of the same name.

Thursday, January 14, 2010

April 15, 1932


Los Angeles, April 15 (UP)
The total assets of Mary Nolan, motion picture actress, and her husband, Wallace T. McCreary, Jr., are 15 cents in cash, they told a municipal court referee when brought in on bench warrants for examination as judgment debtors. They said they have been living on the charity of friends.


Los Angeles, April 15, (UP)
Fritzi Ridgeway, actress, failed to pay $860 due for milk furnished her at Hotel Tahquitz, a suit on file to-day alleged.


Los Angeles, April 15 (UP)
A romance of the South Seas that budded and blossomed under tropical Kleig lights became known to-day in a letter received at Douglas Fairbanks’ office telling of the marriage of Walter Pahlman, chief of Fairbanks’ technical staff, to Simone Terai, a Polynesian girl.

Fairbanks, who, with company which accompanied him to the South Seas to film motion pictures, halted production two days the early part of April to celebrate the wedding of Pahlman and Miss Terai, which in English means “grand.”

The marriage, performed in true native fashion in the Tairiroo district, on the island of Tahiti, was attended by 500 Polynesians, the letter said. Fairbanks presented Pahlman and his bride with a phonograph, which the motion picture actor said was “enjoyed more by Simone’s relatives than by the bride.”

Pahlman and his wife are en route with Fairbanks to San Francisco, where they will arrive May 7.


Hollywood, Calif., April 15
Greta Garbo has been granted a six months extension on her United States Immigration Bureau permit, which will allow her to remain here until January.

From Luella O. Parsons:

Try to find Joan Crawford for the next two weeks. She has finished her last picture and she is taking a vacation and where she’s going only two or three people know, and they’re not telling. When Joan returns, she will be handed “The Education of a Princess” to read. Metro-Goldwyn-Mayer has bought the screen rights to this interesting story by Grand Duchess Maria of Russia and we are told it’s for Joan.

Her imperial highness, the author, is well known and liked in Hollywood. She hasn’t let the tragedies of her life, and they have been many, affect her sense of humor.
Ansel Wichfeld, who sold M-G-M the grand duchess’ first book, is in Hollywood now, transacting business and selling other plays and novels.

For the second time within the last few months James Cagney is mad at Warner Brothers. Mr. Cagney’s spells of refusing to play usually can be cured by a raise in salary.

The last time he absented himself from the studio he came back when Darryl Zanuck doubled his salary. Today Mr. Zanuck received a wire saying “Very sorry, I cannot be on the coast Monday for ‘Blessed Event.” This, with a previous intimation that a little more money was needed to make Mr. Cagney happy, caused the organization to assemble for a hurried conference.

If Mr. Cagney is raised again what then? Will he, in a few months, take leave just when he is about to make a picture? “Blessed Event” was to have gone into production Monday but now that Mr. Cagney is not available it will be held up until Mary Brian can be brought from the East for the leading feminine role.

“Laughing Boy” with Lew Ayres is held up pending the selection of a leading lady. Carl Laemmle, Jr. is appealing for suggestions for the role of “Slim Girl.” So far so good, but please remember suggestions must be sent to Mr. Laemmle at Universal City and not to this office.

The girl is young, slim and with more than just a pretty face. While junior is pondering over the difficulties of getting the right girl for the part, United Artists are conferring on another little plan. Arthur Kelly, head of foreign distribution, believes if Al Jolson will sing in French and German in his United Artists picture, “Happy Go Lucky” will have an enormous sale abroad.

Splendid notices were received on Mae Marsh’s work as the mother in “Over the Hill,” but the picture is so saccharine that the critics’ lamentations centered on the poor story rather than on anyone’s work. Edward Tinker, Richard Rowland and Al Rockett have wisely overlooked all else but the really great characterization given by Mae and they are putting her in “Rebecca of Sunnybrook Farm.”

In her second talkie, “Little Sister” of “Birth of a Nation” fame also plays an older woman. She is slated for Aunt Jane while Louise Closser Hale plays Aunt Miranda. The whole company leaves for Santa Cruz on location – and in that merry little party besides the two aunts, are Marian Nixon, Ralph Bellamy, Sarah Padden, Allan Hale, Eula Grey and Harry Beresford.

A sea story is next on the program for Columbia. A thriller called “The Thirteenth Man,” by Elmer Clauson, is Harry Cohn’s choice for Jack Holt. Walter Wanger, who is now in New York interviewing authors and attending to Columbia business at that end, also read the story which features a sailor. From past experience we know that the majority of men should like this, for Joseph Conrad’s seas stories are popular with the male sex who care little for frills and furbelows in their movies. Howard Higgin will direct.

Snapshots of Hollywood:

Walter Huston is building a new home for his bride in the San Bernardino Mountains.

John Miljan telling a few cronies that his wife is awaiting a visit from the stork.

Vivienne Osborne is fighting the demon flu.

Claudette Colbert and Norman Foster selecting flowers and giving the clerk a thrill when they took his suggestions.

Thelma Todd, one of Hollywood’s prettiest blondes, was at the Brown Derby escorted by two men friends. Constance Cummings, in green, at the same place.

From Wood Soanes:

After various excursions into the realms of higher screen art with varying results, The Screen Guild, planned as comparable to the Theater Guild in New York, has been projected in Hollywood under the sponsorship of the Academy of Motion Picture Arts and Sciences.

M. C. Levee, president of the academy, is named as the originator of the plan which is described as “one of the most constructive movements for combining and organizing on a practical and equitable participating basis, the best creative and business forces for the making of higher quality screen plays for public consumption.”

Something of this sort was planned with the formation of United Artists, but that studio eventually developed into an out-and-out commercial enterprise useful and unique only to the extent that it permitted individual stars to do the things they liked to do and to gain profit by their good judgment or errors.

Since there is nothing definite in the announcements of the Screen Guild, it will be for the future to decide its place. The first production has not yet been determined but Levee would like very much to do a picture with the three Barrymores, borrowing John and Lionel from M-G-M and Ethel from the theater for a single production.
That there is a need for an institution of this sort goes without saying, but its likelihood of success depends upon a number of items that must be settled before it is launched.

Hollywood has made pictures before this that were artistic in form and production. It wasn’t so long ago that M-G-M produced “The Guardsman” with the Lunts, but the fact that the story was sophisticated and the Lunts unknown to movie audiences limited the scope of the picture. “The Sin of Madelon Claudet” with Helen Hayes had a similar fate.

This will be the first problem of the Screen Guild. There isn’t much profit in superior pictures, if those pictures are not booked; and, from local managers’ viewpoint, there isn’t much profit in playing pictures with appeal only to the intellectuals in the theaters that depend upon volume of trade for their existence. Perhaps Levee has some system of underwriting the pictures in his mind. This would seem to be the only solution.

The promoters of the scheme are enthusiastic, however, and Harry D. Wilson, the publicity director, views it with the assurance of success.

“Every great upward step taken by the films has been during a depression,” Wilson
writes. “This is traced back as far as 1893, when, in that poor business period, the late Thomas A. Edison’s Kinescope or the ‘peep show’ was first put on the market, quickly followed by the mutiscope, later the biograph; they spread everywhere.

“In the 1907-08 depression, motion picture store shows known as nickelodeons, increased so rapidly that the motion picture theater may be said to have become established. The years 1912-13, another depression period, saw the advent of longer films and the entrance of the theatrical element into the business.

Reference is also made to the advancement of the American motion picture during the depression of 1921-22. All of which brings us to the present time of a low business barometer calling for a readjustment in methods of production that may very well result in another great step in advance.

The Hollywood film colony is tremendously interested in the announcement of the Guild’s formation. It will help the industry, its artists and the public alike, for it fills a recognized gap in the motion picture business through which the latest available creative and business forces for the making of higher quality motion pictures for the screens of the world will become a reality.”

Word is relayed from Hollywood by Santa Cruz that Janet Gaynor has turned down “Rebecca of Sunnybrook Farm” because “the critics were not too kind to her in ‘Daddy Long Legs’ and she objects to playing a little girl part in the new picture.” The part goes to Marian Nixon.

It seems that Miss Gaynor got better notices in “Daddy Long Legs” than she received in any other picture in recent years, and certainly the picture did more business than her previous releases since “Seventh Heaven.” There must be some other reason. The picture, incidentally, is to be made in Santa Cruz.

Kay Francis’ picture, “A Dangerous Brunette,” now bears the title “Man Wanted,” and she has gone to work on “The Jewel Robbery.” “Man Wanted” will be released late this month.

“Dr. X,” the new First National mystery, is to have the distinction of being made in color, if that is a distinction. Fay Wray will be opposite Lionel Atwill in the chief role.

Discovered while playing in a Philadelphia stock company, Diane Sinclair, nineteen and a brunette, has been signed by M-G-M. Born in Dutch Guiana of French and Dutch parentage, she was adopted by an American family and reared here.


Metro Would Team the Magician With Jackie Cooper

By Chester B. Bahn

Last minute Rialto news –
Howard Thurston’s talkie bow impends; M-G-M, Radio and Paramount are bidding for his services… The chances at present favor M-G-M which contemplates co-starring the magician and Jackie Cooper in an autobiographical story by Thurston…

Helen Charleston will replace Mary Brian in Ken Murray’s vaudeville turn…

The Four Mills Brothers, Paramount-bound, may be seen with Bing Crosby in “Wild Waves;” production starts in June…

Regis Toomey anticipates a Broadway legit appearance ere he returns to Hollywood…

Refusing Paramount’s $36,000 offer for the talkie rights, A. C. Blumenthal may picturize “Child of Manhattan” independently…

Fearful of fan reaction to a flood of screen satire, producers are toning down “exposes” in both political and Hollywood story cycles…

Marion Davies wants Clark Gable opposite her in another picture, but M-G-M is reported cold to the suggestion…

“Grand Hotel” is expected to inspire a round of all-star productions, all major studios contributing…

Joseph I. Schultzer, former president of Radio Pictures, is bidding for the talkie rights to “The Song and Dance Man” as a vehicle for Hal Skelly

Donald Ogden Stewart is the newest writer attempting to salvage “The March of Time,” M-G-M’s shelved revue…

Dickie Moore, between “Our Gang” comedies, will make three pictures for Bryan Foy.

Buster Keaton can’t seem to get along without Cliff Edwards. “Sidewalks of New York,” Keaton’s latest at the Riviera, is the third Keaton talkie in succession in which Edwards has been given a featured role. The previous two were “Dough Boys” and “Parlor, Bedroom and Bath.” On the same program, Tom Keane stars in “Partners.”

Jessie L. Lasky has signed Herbert Marshall, much-sought-after player in “There’s Always Juliet,” Broadway play, to work in Paramount pictures.

The Kay Francis starring picture for Warner Brothers, “Man Wanted,” is director William Dieterle’s third English-speaking picture.
Dieterle was brought to Hollywood to direct foreign language versions of Warner-First National pictures, but revealed such an unusual talent that he was transferred and given English pictures to direct. His first was the well-remembered “The Last Flight,” starring Richard Barthelmess, and his second was Marilyn Miller’s “Her Majesty, Love.”

Cary Grant, new Hollywood personality, who makes his screen debut in Paramount’s “This Is the Night,” asserts the biggest break he ever had was when he was fired by a London theater manager.
Grant, English-born and stage-trained in his native land, came to the United States several years ago to play leading roles on Broadway. His success won him an offer to return to London.
After the first performance the manager told the English actor that he would have to be replaced in the role, because he had become “too American” during his absence from London.
Grant caught the first boat back to New York and resumed his Broadway career that eventually led to Hollywood and a contract with Paramount.

Elocution lessons from Tyrone Powers’ wife, high school and Sunday School players, and of course in a New York dramatic school prepared Una Merkel for a theatrical career, which she began in silent pictures with Lillian Gish, after which she spent several years on the stage. Miss Merkel’s last picture is “The Impatient Maiden,” which stars Lew Ayres.

This that and t’other –

Edward G. Robinson declined to depart on that water location trip off the coast of Mexico, and so a camera crew will go instead for atmospheric footage; Robinson’s “tuna” fishing for “Tiger Shark” will be done off Catalina Island…

In return for Joan Crawford’s services, M-G-M gets a 40 per cent interest in United Artists’ “Rain”…

Marlene Dietrich rejected Flo Ziegfeld’s overtures for an appearance in a Broadway musical…

Radio’s “Truth About Hollywood” becomes “Hollywood Merry-Go-Round”…

Fox has signed Arthur Pierson, stage actor, dropped by Paramount…

Cecil B. De Mille will direct “Sign of the Cross” for Paramount, but will have nothing to do with the talkie version of “The Ten Commandments.” Paramount, however, may salvage some of the original De Mille spectacle footage for the latter…

Radio will not act upon its “Life of Virgie Winters” option until Jane Murfin completes a suggested script; Ann Harding is the star in mind for Louis Bromfield’s heroine…

Paramount is revising the script of “Love Me Tonight,” to give Maurice Chevalier greater opportunity.

I hear that –

Eric Linden and Arlene Judge, both in “Young Bride,” as well as Bob Armstrong, will support Edna May Oliver in “The Penguin Pool Murder”…

Joel McCrea will be seen in “Ace Wonder,” written by the late Edgar Wallace and Merian C. Cooper

Alec Woollcott may go talkie in Columbia’s “Brief Moment” which will star Barbara Stanwyck, probably with Scott Kolk of the stage cast opposite.

Now she’s director! But don’t take this to mean that Ruth Chatterton has given up acting. She’s simply improving her time between pictures by coaching her husband, Ralph Forbes, in a new stage play soon to be presented in Hollywood.


Tomorrow, at noon, the Fox theater will present “Tarzan the Ape Man.”
Entirely new and thrilling is the film version of the famous Edgar Rice Burroughs Tarzan adventures. Johnny Weissmuller, swimming champion, plays the title role in “Tarzan the Ape Man.”

Tarzan is first seen in African jungles where he lives in the trees with the giant apes as though he were one of them. A safari headed by two white men and a white girl press through the jungle wilderness, in search of the mythical elephants burial ground, with its tons of ivory treasure worth thousands of dollars. When Tarzan sees the girl, knowing only the laws of the jungle to take what he wants, he steals her for his mate.

The story is as convincing as it is thrill-packed, and the combats with the lions, the desperate struggle of the expedition to cross a river infested with alligators, the elephant stampede of a pigmie village and many more incidents caught by the camera at close range, make “Tarzan the Ape Man” exciting entertainment from start to finish.

C. Aubrey Smith, Maureen O’Sullivan, and Neil Hamilton are seen as the three white who lead the African expedition.


The first local showing of “Sin’s Pay Day” opens today at the Rialto for a two-day showing.

The action deals with the fall of a brilliant criminal lawyer and his rise due to the efforts of a ragged urchin who befriends him in time of need.

The leading roles are played by Dorothy Revier, Forrest Stanley and Mickey (Himself) McGuire, child star.

Seven selected features are part of the program. News events, cartoon, two-act comedies, travelogue and several novelty subjects are included.