Allure

Ketti Gallian

2011-12-27T13:33:00.016-05:00

Ketti Gallian was born December 25, 1912 in Nice, France. She went to Paris in 1927 and found work as a chorus girl and mannequin. Returning to Nice, Ketti secured minor roles in two Les Studio Paramount films. However, it was her performance opposite Raymond Massey in the London stage production of The Ace, a mystery, that resulted in a screen contract from Fox. Perhaps they thought they might have another Dietrich or Garbo. Ketti was starred in Marie Galante (1934) and Under the Pampas Moon (1935), neither of which were well received. She seemed to suffer the same fate as Lilian Harvey, who just didn't click with American audiences. Ketti returned to France after supporting roles in Espionage (1937) and Shall We Dance? (1937). She made 6 more films before leaving the screen forever in 1956.

Ketti died in Paris, France, in December 1972.

Click on the images for a larger view.

Three early publicity stills.

Marie Galante frame grabs.

Marie Galante publicity still.

Marie Galante Swedish poster.

Publicity still.

Cigarette cards.

Publicity Still.

Three publicity stills for Under the Pampas Moon.

Frame grabs from Espionage.

Publicity still.

Ketti Gallian - What do you think - Allure?

Screen Book - July 1929

2011-11-26T17:43:00.023-05:00

Screen Book Magazine was an interesting publication. As its name might suggest, they took the "book" of one film and made it the dominant subject of the issue. This July, 1929 edition, brought its readers The Broadway Melody through about 50 pages what was really a novella with images. The film was the first all talking, all singing, all dancing motion picture. It won the Oscar for Best Picture (1930).

This particular issue was 114 pages, so there were shorter narratives (see table of contents) of other films, reviews and so forth, including a picture section of on and off screen couples. The tag line for the magazine was "Love Stories From The Movies".

I have included the opening spread for The Broadway Melody, two pages showing a typical text and images layout, all the on and off screen couple images, and some ads. All that and more was available for 25 cents, one quarter of a dollar, get your issue today.

Double click on the images for a larger view.

Screen Book Magazine, July 1929.
Cover image of Bessie Love by: John Ralston Clarke

Table of Contents

Page one of the opening spread for The Broadway Melody.

Page two of the opening spread for The Broadway Melody.

Typical pages telling the story.
This was back when reading something more than 140 characters was in vogue.

Ronald Colman and Joan Bennett
Bulldog Drummond

Pick up the latest hit records from the film.

Conrad Nagel and Leila Hyams
The Idle Rich

Douglas Fairbanks, Jr. and Joan Crawford
Our Modern Maidens

Billie Dove and Rod La Rocque
The Man And The Moment

Mary Brian and Charles Rogers
Released as River Of Romance

Gilbert Roland and Norma Talmadge
Released as New York Nights
It was Norma's penultimate film.

Back Cover.
Ciro Perfumes were available from 1923 to 1961, if my research is correct.

Before Lights, Camera, Action.

2011-05-29T08:12:00.023-04:00

Most early film actresses began their professional life before they made an appearance on the silver screen. Some found success in films, others were already past the mid-point in their careers by the time movies became a major attraction to the public at large.

What follows are images of actresses photographed from 1906-1913, while they were still primarily performing in legitimate theater or stage shows. Some names you may recognize, but I'm guessing most will be unfamiliar.

One of the most apparent things we can see is how drastically fashion changed after World War I and on into the 1920's. I'm guessing the entire female population welcomed the change, but I must say, I love those big hats.

These images are all at least 100 years old and needed some restoration before I was ready to publish them. You will still see some "blemishes", but we should be thankful they exist at all.

Click on the images for a larger view, and the name links for more information.

Gladys Cooper (1888 – 1971) made her first film in 1913. She was nominated for the Oscar as supporting actress in My Fair Lady (1965), The Song of Bernadette (1944), and Now, Voyager (1943).

Pauline Chase (1885 - 1962) appeared in only one film (1916), but her fame came from having the title theatrical role of Peter Pan from 1906-1913. J.M. Barrie personally selected her for the part.

Annette Kellerman (1887 - 1975), here looking like the perfect role would be as Mrs. Lovett in Sweeney Todd. However, she was actually an accomplished swimmer and her life story was made into the 1952 film Million Dollar Mermaid (1952) starring Esther Williams.

Grace La Rue (1880 - 1956) Was an actress and singer who had a very successful stage career. She did appear in a couple of films, including two singing shorts in 1929 and in Mae West's She Done Him Wrong in 1933.

Ruth St. Denis (1878 - 1968) is acknowledged as one of the pioneers of modern dance. She only appeared in two films, but was a choreographer for three. One of her more famous pupils was Martha Graham, who attended St. Denis' school of dance. Louise Brooks was also a student at her school.

Dancer Stacia Napierkowska (1886 - 1945) appeared in 86 films, her last in 1926. In 1913, she was arrested during a performance of one of her dances in NYC when it was declared indecent. After returning to France, Stacia said, "Really, I have not brought away a single pleasant memory from the United States" and "What a narrow-minded people they are -- how utterly impervious to any beautiful impression!"

Polaire (1874-1939) made her name on the stage around 1902, stepping up from a revue singer and dancer. Her first film was in 1911 and and she made a total of 35 during her career. Polaire wore her hair short, unusual in women before the 1920s: she apparently adopted the style in the 1890's. To me, this picture could easily been taken in the mid 20's, though it is from August, 1910.

Ina Claire (1893 - 1985) was a very successful Broadway stage actress before appearing on screen. Of her 11 films, she is best known as the second female lead after Garbo in Ninotchka (1939). I enjoy her performance in The Greeks Had A Word For Them (1932), where she is teamed in the lead with Joan Blondell and Madge Evans.

Geraldine Farrar (1882 - 1967) was one of the most famous opera singers of the early twentieth century. Interestingly, Cecil B. de Mille cast her in her first film, Carmen, a silent film of an opera. A success (and available on DVD), de Mille used Farrar in six more films. She would make 15 films through 1920 and then returned to opera until retiring in 1922.

Gaby Deslys (1881 - 1920) was a dancer and stage actress who only made 5 films before her death from the 1919 influenza epidemic. Her carved and gilded bed, in the form of an enormous swan, was bought at auction by the Universal Studios prop department, and was used in the 1925 film of "The Phantom of the Opera". In 1950 it was in "Sunset Boulevard" as the bed of Norma Desmond.

Jane Cowl (1884 - 1950) was known for her interpretation of Shakespearean roles, and made Broadway history by playing Juliet over 1000 consecutive performances in 1923. Jane was the lead in two silent films, Garden of Lies (1915) and The Spreading Dawn (1917), and then after taking nearly 30 years off from films, she returned for several supporting roles in the 1940s. Her final film was Payment on Demand (1951) with Bette Davis. She was also a playwright. Her play Smilin' Through has been filmed three times.

Hazel Dawn (1891 - 1988) was a member of the original Ziegfeld Follies in 1907. A popular singer and stage actress, she made her first film in 1914 playing the lead role in One of Our Girls. Another 13 films followed through 1925. She appeared briefly on the TV screen in 1951 and 1954.

Irène Bordoni (1885 - 1953) arrived in the U.S. and made her Broadway debut in a Shubert brothers production of Broadway to Paris. She is probably best remembered from musical theatre as the star of the 1928 Cole Porter musical Paris that featured the song "Let's Do It, Let's Fall In Love", which became Porter's first big success. Irène mad several short films in France, two with Stacia Napierkowska, but her first major film was Paris (1929), adapted from the play. She appeared in a few more films prior to retirement, but had a comeback success in the role of "Bloody Mary" in the 1951 national tour of the musical South Pacific.

Helen Mack

2011-05-01T19:48:00.020-04:00

Helen Mack was born November 12, 1913 in Rock Island, Illinois. At age seven she was enrolled at the Professional Children's School in New York City. She appeared on Broadway, in vaudeville and in five silent films beginning at age ten, her first being Ralph Ince's Success, (1923) featuring Mary Astor. Her first talkie saw her in a small role in D. W. Griffith's last film The Struggle (1931). Her Fox Film screen test came in March 1931 and within three weeks she was making films. Her debut as a leading lady was opposite Victor McLaglen in While Paris Sleeps (1932). Helen played in several westerns in the early 1930s, including Fargo Express (1933) with Ken Maynard, and The California Trail with Buck Jones. Helen may be best remembered for the 1933 movie sequel The Son of Kong, and also played an important role as Tanya in Merian C. Cooper's production of H. Rider Haggard's She (1935). Helen made over twenty films from the mid to late 30's including The Lemon Drop Kid (1934) opposite Lee Tracy, as the female lead in The Return of Peter Grimm (1935), starring Lionel Barrymore, Harold Lloyd's The Milky Way (1936), King of the Newsboys (1938) with Lew Ayres, and she closed out the decade with Calling All Marines (1939). Helen made six films between 1940 and 1945, including His Girl Friday and Girls of the Road, both in 1940.

In the 1940's and 1950's, Helen worked as a producer and director of radio programs including the series Richard Diamond, Private Detective, and The Saint. With the advent of TV Helen wrote and produced episodes for a number of programs.

Helen died in California Aug. 13, 1986.

Double click on the images for a larger view.

Publicity stills for While Paris Sleeps.

Publicity still for The California Trail.

The California Trial poster image.

Publicity still for Melody Cruise. (1933)

Blind Adventure (1933) publicity still.

Blind Adventure frame captures.

Fargo Express poster image.

Fargo Express frame captures.

Son of Kong poster image.

Son of Kong publicity stills.

All Of Me (1934) lobby card image.

All Of Me publicity stills.

Kiss and Make Up (1934) publicity still. The film stars Cary Grant.

Four Hours To Kill (1934) publicity still.

Paramount publicity still - 1934.

The Lemon Drop Kid lobby card image.

She publicity still.

She frame captures.

The Return of Peter Grimm publicity still.

Fit For A King (1937) poster image.

Fit For A King frame captures.

King of the Newsboys frame captures.

Gambling Ship (1938) lobby card image.

Girls Of The Road poster image.

Girls Of The Road frame captures.

Helen Mack - What do you think - Allure?

Leila Hyams

2011-04-03T18:43:00.033-04:00

Born in New York on May 1, 1905, to vaudeville comedy performers John Hyams and Leila McIntyre, Leila appeared on-stage with her parents while still a child. As a teenager she worked as a model and became well known across the United States after appearing in a successful series of newspaper advertisements. This success led her to Hollywood.

She made her first film, Sandra, in 1924, and thirteen more supporting roles followed, and her looks and general professionalism led her to be taken seriously as an actress. By 1928 she was playing starring roles, achieving success in MGM's first talkie, Alias Jimmy Valentine (1928) opposite William Haines, Lionel Barrymore and Karl Dane. The following year she appeared as the female lead opposite Conrad Nagel in Tod Browning's The Thirteenth Chair, a role that offered her the chance to display her dramatic abilities as a murder suspect. The quality of her parts continued to improve as the decade turned, including a role as Robert Montgomery's sister in the prison drama The Big House (1930) with Chester Morris and Wallace Beery, for which Hyams once again received positive reviews. She also appeared earlier that year in The Bishop Murder Case starring Basil Rathbone.

Although she succeeded in films that required her to play pretty ingenues and developed into a capable dramatic actress in 1930's crime melodramas, she is perhaps best remembered for two early 1930's unique classics, working for Tod Browning again as the tough but vulnerable circus performer Venus in Freaks (1932), and as the heroine in Island of Lost Souls (1932). Leila was the original choice to play Jane in Tarzan the Ape Man (1932), but turned it down. The role was ultimately played by Maureen O'Sullivan.

She also appeared in the Jean Harlow film Red-Headed Woman (1932), the musical comedy The Big Broadcast (1932) with Bing Crosby, George Burns and Gracie Allen, and was praised for her comedic performance in Ruggles of Red Gap (1935) opposite Charles Laughton and Charlie Ruggles.

After twelve years and 52 films, Leila retired from acting in 1936 to concentrate on raising a family, but remained part of the Hollywood community. She was married to the agent Phil Berg from 1927 until her death on December 4, 1977.

Click on the images for a larger view.

Ad in a British Newspaper for Alias Jimmy Valentine, MGM's first talkie.

Publicity still for The Bishop Murder Case.

Frame captures from The Bishop Murder Case.

Frame captures from The Big House.

Leila got the role in the 1930 film Way For A Sailor when Edna Best fled Hollywood for the safety of London.

New Movie Magazine - June 1931

Screen Romances Album -1931

Movie Mirror - February1932
For the film Surrender.

Undated publicity still.

Frame captures from Freaks.

Freaks publicity still.

Freaks publicity still.

Photoplay - March 1932

New Movie Magazine - May 1932
Part of a summer fashion spread

New Movie Magazine - May 1932

Frame captures from Island of Lost Souls.

Frame captures from Red-Headed Woman.

Undated publicity still.

Undated publicity still.

Undated publicity still.

Leila Hyams - What do you think - Allure?

Covers, Touched And Untouched.

2011-03-14T17:09:00.017-04:00

Here are some more wonderful covers from film magazines of the 20's and 30's. When I get these magazines, they often show their age with stains, tears, creases, fading, etc. I always clean them up before posting, as I have done here. However, I have left (for now) the June 1931 New Movie Magazine cover unretouched so you can see what I see before it goes under my Photoshop knife. To make up for the cover, I have included a number of inside pages, including a spread on swimwear our female readers may want to consider for this summer. Enjoy.

Click on the images for a larger view.

Marion Davies
Motion Picture Classic - February 1926
This issue is tabloid size. By the 1930's the publication was standard size.
Cover Artist: Leo Kober (1878-1931)

Olive Borden
Picture Play - February 1928
Artist: Modest Stein (1871-1958)

Bessie Love
Screen Book Magazine - July 1929
Artist: John Rolston Clark

Marion Davies
The New Movie Magazine - February 1931
Artist: Jules Erbit (1889-1968)

Janet Gaynor and Charles Farrell
Photoplay - April 1931
Artist: Earl Christy (1883-1961)

Lupe Velez
Picture Play - October 1931
Artist: Modest Stein

Barbara Stanwyck

The New Movie Magazine - January 1932
Artist: Penrhyn Stanlaws (1877 - 1957)

Greta Garbo

Modern Screen - April 1934
Artist: Rolf Armstrong (1899-1960)

Gloria Stuart
Picture Play - June 1934
Artist: Victor Tchetchet (1891 - 1974)

Constance Bennett

The New Movie Magazine - June 1931 (As purchased, awaiting restoration.)
Artist: Rolf Armstrong

Summer swimwear, 1931 style.

Carole Lombard
"...been getting a number of prominent roles lately." Ya Think?

Kay Francis
Has a contract with Warner Brothers that will eventually make her a star. A bold prediction.

An early shot of Marlene in the German film, Ships of Lost Men.
She had the lead female role.

Portrait of the perfect couple, at least from June 1929 to May 1933.

For the Love of Film (Noir) Film Preservation Blogathon

2011-02-14T07:06:00.006-05:00

I find film noir is sometimes difficult to define, with a thin line existing between it and a crime drama, detective story, etc. The setting might be the lower depths of a city, or it may center around swank penthouses and high rollers. However, I think the dialogue as much as the location sets the scene and helps define a film as noir. Since this blog primarily centers on actresses, this post will take a look at lines spoken by or about female characters in a number of noir films. The images from the films have been grabbed from the scenes where the lines are delivered.

It should be clear from some of the lines spoken that many of these characters won't be reformed, rehabilitated, or restored. However, the films themselves are another matter, and many fine noir films have not yet been restored to their original pristine condition. This is where the blogathon comes in. We hope the readers of the great posts submitted to this year's event will donate whatever they can to help realize the goal of coming up with the funds to restore the noir classic, The Sound of Fury. The restoration is in part being undertaken by the the Film Noir Foundation, who needs your support. Just click and Donate to be one of the cool kids. To see all the great posts by bloggers participating in this event, go here or here for all the links.

Double click on the images for a larger view. Sorry about the inelegant way the sound clips are presented, but I haven't found a good solution yet for embedding sound clips. Enjoy.

Cry Danger – 1951

"I'm Darlene LaVonne." "I bet you are at that, dear."
Jean Porter and Dick Powell's retort.

Ace In The Hole – 1952

“I don't go to church. Kneeling bags my nylons.”
Jan Sterling (Lorraine Minosa) to Kirk Douglas.

The Big Combo – 1955

“What is there about a hoodlum that appeals to certain women?" "Hoodlums, detectives, a woman doesn't care how he makes his living, only how he makes love." Helene Stanton (Rita), and detective Cornel Wilde. BTW, Great opening music and quite a cast.

The Big Heat – 1953

"Hey, that's a nice perfume." "Something new, it attracts mosquitoes and repels men." "Doesn't work that way with me." "It's not supposed to." Exchange between Gloria Graham (Debby Marsh) and Lee Marvin.

The Big Heat – 1953

“We're sisters under the mink." Gloria to Jeanette Nolan.

Body and Soul – 1947

“Irma, are you decent?” Not particularly-bring him in.” Lilly Palmer (Peg Born), to roommate Virgina Gregg.

Hollow Triumph – 1948

"You're a bitter little lady." "It's a bitter little world." Joan Bennett's (Evelyn Hahn) retort to Paul Henreid.
PS- the Film Noir Foundation offers a T-Shirt with "It's a bitter little world." and the Foundation's logo. No noir fan should be without one.

Clash by Night – 1952

“What do you want Joe, my life's history? Here it is in four words: Big ideas, small results.” Barbara Stanwyck (Mae Doyle) to her brother.

Clash By Night – 1952

"When I want you to kiss me, I'll let you know. By special messenger!" Marilyn Monroe (Peggy) to Keith Andes. Love her tone on "By special messenger."

Crossfire – 1947

“What did your say your name was?” “Ginny – ‘cause I’m from Virginia.” Gloria Graham to To George Cooper.

Gilda – 1946
“If I’d been a ranch, they would have named me the Bar Nothing.” Rita Hayworth (Gilda) to Mark Roberts.

The Narrow Margin – 1952

“You make me sick to my stomach.” “Yeah? Well use your own sink.” Marie Windsor (Mrs. Neil) in retort to Charles McGraw.

I Wake Up Screaming – 1941

“Hotcakes and Coffee.” “Is that all?” “No, but the rest of it isn’t on the menu.” “You couldn’t afford it if it was.” Exchange between Carol Landis (Vickie Lynn) and Allyn Joslyn.

The Killing – 1956

“I know you like a book, you're a no good nosy little tramp. You’d sell out your own mother for a piece of fudge.” Sterling Hayden to Marie Windsor (Sherry Peatty)

Nocturne – 1946
“What's your name?” “Susan Flanders, I work here.” "As what?" "Housemaid."
Myrna Dell (Susan Flanders) and detective Walter Sande.

Pitfall – 1948

"Have you ever noticed if for some reason you want to feel completely out of step with the rest of the world, the only thing to do is sit around a cocktail lounge in the afternoon." Lisabeth Scott (Mona Stevens) to Dick Powell.

Scarlet Stree t – 1945
"Oh you idiot, how can a man be so dumb." "Kitty." "I've wanted to laugh in your face ever since I first met you. You're old, and ugly, and I'm sick of you -sick, sick, sick." Joan Bennett (Kitty March) and Edward G. Robinson.

They Drive By Night – 1940

"Hey waitress, this steak's tough." "Well, you can't send it back, you bit it." Ann Sheridan (Cassie Hartley) to patron.

The Underworld Story – 1950

"I never asked you for a nickel, baby, did I?" "You wouldn't have gotten it, You were never worth that much." Exchange between Dan Duryea co-worker Frances Chaney (Grace). Note: Frances Chaney was Lon Chaney's first wife and the mother of Lon Chaney Jr.

Don't forget, click and Donate any amount you can afford to help restore our noir heritage.

Grace Bradley

2011-01-31T19:20:00.007-05:00

Grace Bradley, one of the few actresses who kept her given name, was born on September 21, 1913 in Brooklyn, New York. She attended The Eastman School of Music and wanted to become a professional pianist, but also studied voice and dance. Her first professional gig was on Broadway in the 1930 production of Ballyho, and it was followed by numerous nightclub and stage appearances. Hollywood was the logical next step.

Grace's first film was an uncredited part in 1932's Tip Tap Toe, but 1933 saw her in a featured role in Too Much Harmony. Bing Crosby was the film's star. In the 1930's she was in 30 films including Girl Without A Room (1933), Harold Lloyd's The Cat's Paw (1934), Stolen Harmony (1935) starring George Raft, Anything Goes (1936) with Crosby again and Ethel Merman, Wake Up and Live (1937), Larceny on the Air (1937), and The Big Broadcast of 1938.

Things really changed in May 1937. Grace went on a blind date and met Hopalong Cassidy star William Boyd. They were married the following month, her first marriage and his fifth (and last). She was 23 and he was 42. They remained married for 35 years until his death in 1972. Grace continued to act after the marriage, but her career was not heading anywhere and after five films in the early 40's, she retired from the screen. She remained active however, traveling and helping promote her husband's Hopalong Cassidy films, television shows and personal appearances. She was quoted as saying, "I made a point of being in the background. As far as the kids were concerned, Hoppy was Hoppy. He didn't have a wife or family. When the young ones would ask, "Who are You?," I'd say, "I'm Hoppy's mommy."

Lastly, as often featured as a nightclub performer or possible other woman type, Grace had some interesting character names. They included Verne La Mond, Nada, JoJo La Vern, Flossie, Trixie La Brey, Bonnie La Tour, and Lily Lamont.

Grace Bradley Boyd died on her 97th birthday; Tuesday, September 21, 2010, and was interred with her husband.

Double-click on the images for a larger view.

Movie Classic Magazine - September 1934

Here are several publicity photos of Grace.

Publicity still from The Cat's Paw.

Frame captures from Sitting On The Moon (1936)

Frame captures from Larceny On The Air (1937)

Frame captures from Romance On The Run (1938)

Grace Bradley -What do you think - Allure?

Asides - Covers From The Silent 20's

2011-01-02T11:50:00.016-05:00

Some of the best artists and illustrators of the twentieth century produced cover illustrations for the leading film publications. The images in this post cover each year from 1920 to 1929, and are excellent examples of their work. I have also included a few inside pages and one ad to help pay for this blog - so be sure to contact the advertiser and say you saw it here.

Double click on the images for a larger view.

Picture Play-October, 1920
Artist: Unknown
Picture Play did not always credit the artist.
Cover: Constance Binney

Photoplay-November 1920
Artist: Rolf Armstrong
Cover: Anna Q. Nilsson

Photoplay-December 1920

Artist: Rolf Armstrong
Cover: Anita Stewart

Photoplay-October 1921
Artist: Rolf Armstrong
Cover: Agnes Ayres

Photoplay-October 1921
Marie Prevost, in the latest swimwear.

Photoplay-January 1922
Artist: Rolf Armstrong
Cover: Corinne Griffith

Picture Play-October 1921
Artist: Henry Clive
Cover: Lila Lee

Photoplay-July 1923
Artist: J. Knowles Hare
Cover: Pauline Garon

Photoplay-August 1923
Artist: J. Knowles Hare
Cover: Marion Davies

Picture Play-November 1924
Artist:Unknown
Cover: Mae Murray

Picture Play-November 1924
Jetta Goudal - publicity still for Open All Night, which is available on DVD.

Picture Play-November 1924
Artist: White Studios, NY
This may be the same studio known for its photography of Broadway productions.
Cover: Betty Bronson

Picture Play-September 1925
Artist: Hal Phyfe
Hal is best remembered as a Hollywood portrait photographer, but began his career as an artist and illustrator.
Cover: Renee Adoree

Picture Play-September 1925
The great profile, along with Mary Astor in a film that was never made or released.

Photoplay-December 1925
Artist: Livingston Geer
I cannot locate any bio on Mr. Geer.
Cover: Georgia Hale

Photoplay-December 1925
La Boheme was released in 1926 and also starred Renee Adoree.

Photoplay-December 1925
Bille Dove in her 23rd film, available on DVD.

Photoplay-December 1925
Esther Ralston, The American Venus.

Photoplay-August 1926

Artist: C(K)arl Van Buskirk
Best info I can find dates him from 1887-1930
Cover: Doris Kenyon

Photoplay-June 1927
Artist: Charles Sheldon
Cover: Mary Brian

Photoplay-September 1928
Artist: Charles Sheldon
Cover: Gloria Swanson

Screenland-December 1928
Artist: Georgia Warren
I cannot locate any bio on Ms. Warren.
Cover: Nancy Carroll

Picture Play-September 1929
Artist: Modest Stein
Cover: Baclanova -Olga to her friends.

Picture Play-September 1929
Beautiful portrait of Joan Bennett

Please don't forget to support our sponsor, so send for your Kissproof Beauty Box now.
You can also get the Kissproof girl painting by Rolf Armstrong.
Don't hesitate.

Toby Wing

2010-12-14T13:27:00.021-05:00

Martha Virginia Wing was born in Virginia on July 14, 1915. Toby found herself in Hollywood in the early 1920's when her father became an assistant director at Paramount. As as result of his position, Toby ended up a juvenile extra in several films her dad was working on, and had been in 11 silent films by 1926. Her next film role, after finishing high school, was as a Goldwyn girl in Eddie Cantor's Palmy Days (1931). Of her next twenty films, beginning with a Mack Sennett short, Jimmy's New Yacht (1932), up through Torch Singer (1933), she was uncredited in sixteen. Those where she was credited were minor roles. What is interesting is that even with those small roles, her beauty and personality made her one of the most photographed "uncredited" actresses of all time. Toby particularly stands out, but still uncredited, in 42nd Street (1933), and one might have thought that would allow for a breakthrough. It wasn't to be. She appeared in another twenty films from 1934, Including Murder At The Vanities, credited, to her final film in 1938, Sweethearts, as an uncredited telephone operator.

On the personal side, Toby was said to be one of the most engaging and engaged actresses in Hollywood at the time. After several engagements, including one to Jackie Coogan, she married world-record setting Eastern Airlines pilot Dick Merrill, who was 22 years her senior. They married in June, 1938 and remained together until his death in 1982.

Toby, a chorus girl, with very few prominent appearances on film, still made her mark, and has a star on the Hollywood Walk Of Fame to prove it. Toby died in March of 2001 in her home state of Virginia.

Double-click on the images for a larger view.

Publicity photo for 42nd Street.

Warner Baxter is in a tough spot.

Toby glows throughout the "Young and Healthy" number.

Publicity photo for 42nd Street, featuring uncredited Toby.

Frame grabs from The Kid From Spain (1932), another uncredited role, with the star of the film.

Publicity still, wearing an outfit from The Kid From Spain.

Publicity still for The Kid From Spain.

Modern Screen - December 1933, pictures Toby for her role in This Day and Age, again uncredited.

Frame grabs of Toby in Torch Singer and Baby Face (1933).

Frame grabs from Murder At The Vanities. Toby has about 15 seconds near the beginning of the film, and about 2 minutes in the final scene.

Frame grabs from Mr. Boggs Steps Out (1938). Toby is credited, but between her and Helen Chandler, the split is about 90/10, with Toby having the 10.

Undated publicity still.

Photoplay Magazine -September 1934, when they still hadn't mastered color imagery. Consuelo of Claghorne is Toby's role in the Cary Grant film Kiss and Make Up (1934).

Two publicity stills at the beach and on the rocks.

Love the image, not sure of the film or what's actually going on.

Pensive publicity still.

Four undated stills.

Toby Wing - What do you think - Allure?

Asides - Film Fun, April 1927

2010-11-24T18:18:00.014-05:00

In an earlier post I provided some information on Film Fun ( here ), along with some covers and inside spreads from a few assorted issues. However, this time out we are concentrating on just one issue, April, 1927. This means we will only be looking at images and stills from silent films. However, Film Fun was already in full swing with its successful formula of emphasizing the female form, coupled with "witty" copy provided by the editors. This approach kept the magazine in business until 1942, when the censors stepped in. Tame by today's standards, Film Fun is a delight because of its lighthearted approach and frisky/risque nose thumbing at more "sophisticated" magazines of the day.

Be sure to double-click on the images to read the copy that accompanies the images.

Film Fun, April, 1927, sporting a St. Patrick's Day look, presuming the magazine actually hit the stands in March. The cover artist is Enoch Bolles, who did all the covers for Film Fun from 1923 until its last issue in 1942.

Released as When a Man Loves, this film with opulent sets and costumes is available from the Warner Archive Collection. Dolores Costello, Drew Barrymore's grandmother, has the lead female role. More about Dolores here on this site.

Gotta have a least one harem shot in any issue of Film Fun worth its salt.
A Harem Knight was the release title for this 19 minute comedy.
Madeline Hurlock one of thirteen Wampas Baby Stars of 1925.

I hadn't know of Jane Winton, but she did appear in 42 films before her retirement from the screen in 1935.

Poor Helene Costello (Dolores Costello's sister) is second to Rin Tin Tin in While London Sleeps.

Some quips from Sally Phipps and a scene with Louise Fazenda from 1926's Millionaires. More on Sally Phipps here on this site.

Tillie the Toiler was a newspaper comic strip created by cartoonist Russ Westover. The strip ran from 1921 to 1959. This ad is on the second inside page. Unfortunately the film is not available.

One of Ruth's non-serial roles. And we get a tip for males.

Here is a typical page layout for Film Fun. Always a bit of whimsy and some cheesecake.

Here is Olive Borden in a lost film from late 1926, The Country Beyond. A bit more about Olive here on this site.

The Vaughn sisters appeared together in this picture, but in reality they were only in one film together, Stop Kidding, a Hal Roach comedy short in 1921. Ada Mae, a Wampas Baby Star for 1927, only made 9 films, three uncredited, while Alberta was in 131 films. She was a Wampas Baby Star of 1924.

Of the close to 40 films released in March of 1927, only seven still exist, and only two are outside of an archive and available for public viewing.

Somebody's Fault - Not lost, but not avail.
Children of Divorce - Not lost, but not avail.
Tarzan and the Golden Lion - Available
The Notorious Lady - Available
Tillie the Toiler - Not lost, but not avail.
Turkish Delight - Not lost, but not avail.
Sensation Seekers - Not lost, but not avail.

What an amazing product, carries your smokes and wards off thugs and other lowlifes. Read all the copy - it's hilarious. And...Style Number 2 does away with the pack of cigarettes option and has three screw-cap bottles for buttermilk, cider, and near-beer. Ah, prohibition and how the public and business made the best of it.

Glenda Farrell

2010-11-02T10:09:00.023-04:00

Glenda Farrell was born June 30, 1904, in Enid, Oklahoma. With a stage and Broadway background, and after one uncredited film role and and one comedy short, Glenda was signed with Warner Brothers in July, 1930. For her first role she was given the female lead in Little Caesar (1931), opposite Edward G. Robinson and Douglas Fairbanks,Jr. In 1932 she received another female lead role in I Am A Fugitive From A Chain Gang (1932), opposite Paul Muni. Both films are classics, but Glenda was generally not given roles of that magnitude going forward. That said, she became one of Warner's busiest actresses throughout the 1930s, appearing in 53 films prior to 1940.

A hard boiled, sassy personality, was Glenda's strength. The films she appeared in were mostly "A pictures", and headed by leading stars of the day. They included The Match King (1932), Mystery Of The Wax Museum (1933), Lady F or A Day (1933), The Keyhole (1933) starring Kay Francis, Bureau of Missing Persons (1933), starring Bette Davis, and Hi, Nellie (1934), in the female lead role, again paired with Paul Muni. Her popularity was such that eventually she was starred in her own series as Torchy Blane, "Girl Reporter", and portrayed Torchy in seven films from 1937 to 1939.

When her Warner's contract expired she concentrated on her stage career once again. However, in the 50's she returned to the camera, but this time on television, and in 1963, won an Emmy Award for her work on TV's Ben Casey. In 1971, Glenda died from lung cancer, aged 66, at her home in New York City.

Glenda has a star on the Hollywood Walk of Fame at 6524 Hollywood Boulevard.

Double click on the images for a larger view.

Frame captures from Little Caesar.

Nominated for a best picture Oscar, strong female performances were
provided by both Glenda and Noel Francis.

Glenda sings and dances as Missouri Martin in this
Capra Oscar nominated film.

Glenda appeared in nine films with Allen Jenkins.

Glenda and Joan Blondell were together in eight films.

Fay La Rue is Glenda's name in this film and you can guess she is not the shy and retiring miss, that is left to Loretta Young.

Publicity still from Man's Castle.

Film still from The Personality Kid (1934)

Publicity still from Hi, Nellie.

Glenda and Allen Jenkins again, along with Joan Blondell and Pat O'Brien.

The picture belongs to Aline McMahon and Ann Dvorak, but Glenda holds her own.

Glenda shared the screen with Guy Kibbee in five films and Hugh Herbert in eight films.

Publicity still from Merry Wives of Reno.

Here is Hugh again.

I've got them all, except Fly Away Baby, hence the lobby card.

Publicity still from Smart Blonde.

Glenda Farrell - What do you think - Allure?

Asides - Seen, But Not Heard, Second of Two.

2010-10-03T18:12:00.031-04:00

The previous post presented "Seen, But Not Heard" actresses from the first half of the alphabet as they appeared in the 1924 Stars Of The Photoplay publication. This post gives us the balance of those actresses, stars in the silent era, that didn't make make the transition to sound, and sadly in some cases, though still young, didn't live to see the sound era.

I've also posted the complete list of actresses and actors that were profiled in the book. There should be quite a few names you recognize and many more that have been forgotten.

Double click on the images for a larger view.

Anita Stewart appeared in 99 films between 1911 and 1928.
She was also a producer on 17 films.

Constance Talmadge made 83 films, all silent. Her sister Norma appeared in 160, but her last was a talkie, so Constance gets the coverage here. Both retired knowing their Brooklyn accents didn't translate well to sound.

Talmadge Street in Hollywood, California, is named for the sisters. It ran along the west side of Vitagraph's West coast studio where the Talmadges made some of their movies in the 1910's. The studio is now the ABC Television Center.

Edna Purviance appeared in 40 films, almost all with Charlie Chaplin as director, or director/actor. Edna actually retired from film in 1926, but appeared in two non-speaking extra parts in two of Chaplin's later films, Monsieur Verdoux (1947) and Limelight (1952).

Ethel Shannon appeared in 34 films between 1919 and 1927. She was a WAMPAS Baby Star of 1923.

Gertrude Olmstead appeared in 58 films and was married to director Robert Z. Leonard from 1926 until his death in 1968.

Alice Terry's first of 39 films was made when she was 15, though she was uncredited in it and several of her early films. In 1921 she married director Rex Ingram, who featured Alice in many of his subsequent films, including The Prisoner of Zenda (1922), and Scaramouche (1923).

Gladys Walton made 36 films between 1920 and 1928, and one in 1908! The bulk of her films were made by 1923, when she married and began a family that eventually included 6 children. Gladys lived to age 90.

Katherine MacDonald , who appeared in 35 films, was one of the most highly paid actresses in the 1920's, earning about $50,000 per picture from her contract with First National. She also became one of the first female film producers, with 5 films to her credit.

Kathleen Key appeared in 30 films between 1920 and 1930. She was uncredited in a couple of early 30's films with non-speaking roles. Her claim to fame (infamy) was her romantic affair with Buster Keaton. Like Ethel Shannon, Kathleen was a WAMPAS Baby Star of 1923.

Alma Rubens , who appeared in 58 films from 1913 to 1929, led a troubled life due to her heroin habit and other addictions. She died in 1931, not of a drug overdose, but of pneumonia due to the ravaged state of her body and health. She was married to Ricardo Cortez at the time of her death.

Laurette Taylor only appeared in four films, the last in 1924, but is considered one of the most influential stage actresses of all time. She was a model and inspiration for Katherine Hepburn, Uta Hagen, who praises her in her book "A Challenge for the Actor", Martin Landau, Maureen Stapleton, and Spencer Tracy, among others.

Lucille Ricksen was a child and teenage star at the top of her game when she died at age 15 in 1925 after appearing in 36 films. After her death from tuberculosis, the media charged her illness was caused by working non-stop for twelve years under poor conditions. Her death was used as an example for parents not to exploit their talented children.

Mabel Normand is well known to early film buffs, having appeared in 221 films from 1910 to 1927. She helped make Keystone successful. She also directed 15 films and wrote several of her films. Unfortunately, she may be best remembered for her off-screen life of partying and cocaine and alcohol use. Those behaviors were coupled with her being a suspect in the William Desmond Taylor murder. Mabel died of tuberculosis in 1930.

Mary Miles Minter, very popular from 1912 to 1923, appeared in 54 films. However, when she was 20 and reportedly romantically involved with director William Desmond Taylor, he was murdered in his home. She wasn't considered a suspect by any means, but because of a young woman involved with a man who was old enough to be her father caused the audience to shun her. After filming Drums Of Fate in 1923, Mary never returned to the silver screen.

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To learn more about the William Desmond Taylor still unsolved murder, click here.

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Mary Philbin made 31 films from 1921 to 1929, but is best remembered for her lead role in 1925's The Phantom of the Opera opposite Lon Chaney. She was an actress favored by Eric Von Stroheim, and credited him with furthering her career. Her personal life, particularly the strict control exercised by her parents, made it difficult for Mary to make her own way in Hollywood. She was named a WAMPAS baby star of 1922, the first year of the organization's existence. Mary live long enough to attend the Los Angeles premiere of the musical adaptation of The Phantom of the Opera starring Michael Crawford.

Mimi Palmeri, her real name, became Mona Palma by her fourth of seven films. There is not much information about Mimi, but I do know that at least one Cuban tobacco card, featuring her image, was published. She died at age 92.

Mary Thurman, born Mary Christiansen, appeared in nearly 59 films from 1915 up until her death in 1925 from bronchopneumonia. Mary's movie career began with roles in the comedies of Mack Sennett, as did so many actresses of the day.

Nita Naldi, after a successful stage run with the Ziegfeld Follies, landed in Hollywood. In 1920, at the age of 25, she starred in her first film, Dr. Jekyll and Mr. Hyde, along side John Barrymore. In 1921, she appeared in Experience, as Tempation. She was the vamp of the moment.

However, it was 1922's Blood and Sand that was to set her apart from others. Nita starred opposite Rudolph Valentino in one of the silent era's epic last truly great productions. Nita would go on to be Valentino's most frequent co-star.

However, while still a box office draw, in 1926 she eloped and relocated to Paris. She made three more films and retired from the screen. Nita did continue to perform in the theater.

Shirley Mason made 119 films, 61 of them before age 20. As a child and young actress, she was in small and uncredited roles. However, as she matured, more substantial parts came her way and by the mid 1920's until her final film in 1929, a part talkie, Shirley had the female lead in most of her films. She was the sister of silent film actress Viola Dana.

Pearl White left the screen in 1924 after 217 films! If you know the name, it is undoubtedly because of her roles as Pauline, in 1914's serial, The Perils of Pauline. This however, was just the first of 11 serials in which she starred. Flying airplanes, racing cars, swimming across rivers, and doing other similar feats, she did much of her own stunt work and suffered injuries that would force her to use a stunt double in her later films. Pearl left film and the U.S. in 1923, moving to Paris and living there until her death in 1938.

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The Silent Stars of 1924.

Asides - Seen, But Not Heard

2010-09-19T17:51:00.009-04:00

In 1924, Photoplay magazine came out with their second edition of the "Stars of the Photoplay" hard cover book, filled with 250 images and bios of the leading stars of the day. Actresses accounted for 121 of these. There are many that will be familiar to anyone with an interest in classic film. These include major stars who were well established by 1924 and continued their careers into the sound era - Clara Bow, Mary Astor, Evelyn Brent, the Gish sisters, and Marion Davies, are examples.

However, there are many actresses who made a substantial number of films, but never crossed over to talkies. Five years after this book was published, these actresses were gone from the silver screen forever, never having uttered a word to their fans. Some left because of "fear" of the talkies, others settled into family life, and others left for reasons we will probably never know.

Here are their images and bios, still mute to this day, but pioneers in the early days of film.

Double-click on the images for a larger view.

There were, as far as I can tell, three editions of Star of the Photoplay, 1916, 1924, and 1930. I have not be able to find of copy of the 1916 (which I've seen listed as 1918) edition, but the other two are available if you hunt around a bit.

Sylvia Breamer appeared in 48 films, her last in 1926. She did have one uncredited role in 1936 in a small non-speaking part. Dipping her toe in the water after a 10 year absence didn't turn the tide.

Winifred Bryson was in 19 films, the last in 1928. She was married to Warner Baxter for over thirty years.

May Allison was in 59 films from 1915 to 1927. She became editor for Photoplay magazine after her editor/husband James Quirk died in 1932.

Marjorie Daw was in 71 films, the last in 1928. She was the bride's attendant at the marriage ceremony of Mary Pickford and Douglas Fairbanks.

June Elvidge appeared silently 71 times, the last in 1924.

Elaine Hammerstein was the granddaughter of Oscar Hammerstein. She made 44 films before retiring in 1926.

Dorothy Dalton made 56 films and left the screen in 1924. She was related to Elaine Hammerstein through her 1924 marriage to Arthur Hammerstein.

Constance Binney made only 16 films and retired in 1923, a year before being featured in Stars of the Photoplay - guess they thought she would continue to act. She died at age 94 in 1989.

Carol Dempster made 19 films through 1926, all for D.W. Griffith, with whom she had a romantic relationship while he was estranged from his wife.

Ann Forrest hailed from Denmark. She appeared in 34 films from 1915 to 1925.

Alice Calhoun retired at age 29 in 1929 after making 47 films. Like Sylvia Breamer, she had a small uncredited role, in this case after five years (1934), that also didn't turn the tide.

Mabel Ballin was in 28 films through 1925, including the title role in the 1921 version of Jane Eyre.

Sally Phipps

2010-09-05T19:53:00.005-04:00

Recently I was contacted by Sally Phipps son, who had seen the April 2007 post about his mother on this blog. He was writing to let me know that the postcard I "posted" was actually not her, even though it showed her name at the bottom and was put out by Ross, one of the movie postcard giants of the era. It was actually Sue Carol, whom her son agreed looked quite a bit like her and could understand how the studio and postcard publisher could get it wrong.

However, here at Allure we must be sure to right any wrongs, and due to her son's generosity, we can now present you with a series of wonderful images he supplied and are guaranteed to be the real thing. :-)

He also supplied some additional information on her career. She made her debut earlier than I originally posted, appearing at the age of three - see the image below. She is also uncredited, but easily spotted in F.W. Murnau's Sunrise, A Song of Two Humans (1927) , appearing in the ballroom scene and in the "kissing couple" scene. Additionally, after leaving Hollywood, she appeared on Broadway in Moss Hart and George S. Kaufman's hit play, "Once in a Lifetime". It ran for 406 performances, opening September 24, 1930 at the Music Box Theater.

For reference, here is the text that appeared in my initial post in April 2007.

"Byrnece Beutler, how she got Sally Phipps out of that we will never know, was born in Oakland California in 1911.

Not much is available about her early life, but she had just completed high school when she began making films and in 1927 she was named a WAMPAS baby star. Her first role in motion pictures was in Bertha, the Sewing Machine Girl (1926). She went on to make only 15 films before leaving the industry in 1929, even though she had signed a five year contract with Fox in October of '27. In searching the NYT film review archives I found several reviews of her work and while they all refer to her beauty and vivaciousness, not much is said about her ability to actually act. This may be why she only lasted three years in the business - just another pretty face?

Sally Phipps died in Long Island, New York in 1978."

According to her son, leaving Fox may have been as a result of some in-fighting with a rival actress of the time, who seems to have prevailed in getting her way.

I am pleased to be able to bring my readers and followers these images of Sally Phipps, and again thank her son for sending them along and chatting with me about his mother's career. He is currently working on an article on his mother for Classic Images magazine.

Double click on the images for a larger view.

Here is Sally at age 3 or 4 when she made her first appearance on film.
Billed as Bernice Sawyer, she played the part of the Baby in Broncho Billy and the Baby for Essanay in 1915. She was in three Broncho Billy westerns that year.

Publicity stills.

Sally Phipps - What do you think - Allure?

Jobyna Ralston

2010-08-22T15:01:00.011-04:00

Jobyna Ralston was born Jobyna Lancaster Raulston in South Pittsburgh, Tennessee on November 21st, 1899. She was named after actress Jobyna Howland, a favorite of her parents. Jobyna left Tennessee at age fifteen to appear with Ned Wayburn's troop of dancers and performers. While still in the East she appeared in a few Reelcraft comedies in 1920 and also in the lost Marx Brothers film Humor Risk. Broadway saw Jobyna on the boards in "Two Little Girls In Blue" in 1921.

Jobyna remained in comedy after heading West, working mostly for Hal Roach, but was taken seriously enough as an actress to become a WAMPAS Baby Star in 1923, the second year the designation was awarded.

Jobyna's break came when Harold Lloyd saw her work and signed her as his leading lady to replace Mildred Davis, his former leading lady, whom he was planning on marrying. Her films with him include Why Worry? in 1923, Girl Shy (delightful) and Hot Water, both 1924, The Freshman in 1925, For Heaven's Sake in 1926, and The Kid Brother, 1927. I should mention that all these films are available and worth watching for some of the best in silent comedy.

In 1927 Jobyna was also given the second female lead in Wings, the first film to win a Best Picture Academy Award, and also the only silent film to win the award. She also received top billing for the features Lightning and Pretty Clothes, both also in 1927. Jobyna and Wings co-star Richard Arlen were married that year.

Jobyna made a few sound pictures, including 1929's The College Coquette, and Rough Waters (1930). Unfortunately, a noticeable lisp (disputed by one reader, but found in a couple of my sources), and ultimately, child rearing (Richard Arlen, Jr.) ended her film career.

Jobyna Ralston died January 22nd, 1967 in Woodland Hills, California.

Double-click on the images for a larger view.

Jobyna in print

Stars of the Photoplay 1924 hardcover book.
Somehow, Jobyna turns up five years younger in this bio.

Photoplay, January 1926.

A review of For Heaven's Sake in the June 1926 issue of Photoplay.

Photoplay, April 1927

Jobyna stars with Eddie Cantor in Special Delivery, directed by "Fatty" Arbuckle.

Photoplay, October 1927
The text mentions the nuptials between Jobyna and Richard Arlen.

Jobyna Publicity Stills

Early Twenties studio still.

Two publicity stills from The Freshman.

Publicity still from 1926's Gigolo
Jobyna starred opposite Rod La Rocque.

Publicity still from The Kid Brother.

Three publicity stills, the last probably from 1929 or 1930.

Jobyna Ralston - What do you think - Allure?

Asides - Cards, Covers, And More, Oh My.

2010-08-02T12:15:00.016-04:00

Postcards, covers, and ads featuring actresses make up the content of this post. The actresses have all appeared here before, but the material is making it's debut. Enjoy.

As always, double click on the images for a larger view.

Brigitte never struck me as one to play with dolls, and here I am thinking the dolls are a little unsure as to whether or not they really want to be there.

Brigitte appeared as the lead in Alraune in both the 1928 silent version and the 1930 sound version, two completely separate productions.

Thanks, gentlemen, but I light my own.

Is this the outfit that got Errol Flynn interested in and then marrying Lily?

This is the reverse side of the Lily Damita card. Bonus points for anyone who can translate it.

A very early Lilian Harvey card in her brunette at the seashore days.

--------------------------------------------------------------

COVERS

Photoplay, October 1920
A beautiful Rolf Armstrong cover of Mary Pickford

Picture Play, September 1921
Betty Compson as portrayed by Knox, an illustrator unfamiliar to me.

Motion Picture Classic, July 1925
Norma Talmadge by E. Dahl

Motion Picture Classic, March 1927
Betty Bronson by Don Reed

Motion Picture Classic, January 1927
Alice Joyce by Don Reed

Motion Picture Classic, November 1930
Dorothy Lee by Marland Stone

The following are pages and star studded ads from
the above Motion Picture Classic, November 1930.

Attention, Loretta on board.

Bebe Daniels (and just about every other star in Hollywood) loves that Lux.

Lila Lee was twenty-nine in 1930, but adored Seventeen perfume.

Joan asks, "How much do I get to hawk silverware? That much? Huh, I'll do it."

A very nice portrait of Joan that I haven't seen anywhere else. The interesting thing lies in the copy. The film "Great Day" (not The Great Day) was never completed for reasons never fully understood. They tried again a few years later, but it was never made.

Hedda Hopper

2010-07-18T15:16:00.016-04:00

Elda Furry (Hedda Hopper) was born May 2, 1885, in Hollidaysburg, Pennsylvania. She is primarily remembered as one of the two most famous Hollywood gossip columnists ever, the other being rival Louella Parsons. However, Hedda began her career in Hollywood as an actress and had appeared in 121 films before beginning a string of radio shows and debuting her gossip column, "Hedda Hopper's Hollywood" in the Los Angeles Times on February 14, 1938. Up until the time of her death in 1966 she continued to produce six daily columns and a Sunday column for the Chicago Tribune syndicate, as well as writing for various fan magazines.

Hedda was generally hated, or at the least feared by many in the Hollywood community because of the amount of "dirt" she was able to dig up and the innuendos she let drop. Her friendship with J. Edgar Hoover and Joseph McCarthy, and her testimony at the House Un-American Activities Committee, didn’t help her popularity either.

Nevertheless, she has a star on the Hollywood Walk of Fame, and it’s not for her mostly forgettable, but workmanlike performances in film.

Some speculate her decided mean streak may have come from never breaking through to lead actress status. In any event, she preceded Perez Hilton and TMZ and would surely hold her own in today’s gossip heavy world.

All that said, this post presents Hedda in her film persona. Few if any of her early films, 1915 through 1930, are available. By the time sound came around, Hedda was 45 and most of her roles, and what you see in this post, have her playing wealthy, married socialites, and similar types. She made few appearances after the mid-thirties, but was in both Topper (1937) and The Women (1939), where she played a columnist.

Her son, actor William Hopper, became famous as investigator Paul Drake in the "Perry Mason" TV series.

Click on the images for a larger view.

Mid to late Twenties publicity still.

Photoplay August 1931 - Hedda shares a fashion spread with Constance Bennett.

Movie Mirror February 1932
I guess Hedda was ok with the term matron, but that wouldn't fly with most 40 somethings I know.

Three MGM publicity stills from the early Thirties.

The Racketeer (1929) , Let Us Be Gay (1930), Rebound (1931)
The Racketeer is available here for download.

Downstairs (1932), Skyscraper Souls (1932)

John Gilbert married Virgina Bruce shortly after filming Downstairs, so ads for the movie proclaimed "starring Mr. and Mrs. John Gilbert".

Hedda Hopper - What do you think - Allure?

Asides - One Sheets, Half Sheets, Lobby Cards, Window Cards, Inserts

2010-07-04T09:36:00.014-04:00

One (27 x 41 in.), two (41 x 54 in.) and three (41 x 81 in.) sheets, display sheets (22 x28 in.), lobby cards (11 x 14 in.), window cards (14 x 22 in.), and inserts (14 x 36 in.), all designed to get you intrigued and into the theater. Since the mid 80's, lobby cards, window cards, and inserts went down with the demise of the single or double feature movie house. However, in the 20's and 30's... This post has an assortment of promotional material for films with actresses we have featured on this blog. Some are lesser known films by well known actresses. Each film is linked to its IMDB page.

Double click on the images for a larger view.

The Big Brain (1933)
Fay made 11 films in 1933.
Lobby Card

Millie (1931) is perhaps the role for which Helen is best remembered - well worth seeing.

One Sheet

The Saturday Night Kid (1929)
Clara's forty-eighth film.
Lobby Card

My Past (1931)
Bebe entered film in 1917 and was one actress that successfully made the transition to sound.

Insert

Comet Over Broadway (1938)
Kay would liked to have forgotten this film.
Lobby Card

It Pays To Advertise (1931)
Carole's forty-second film appearance.
Lobby Card

High Flyers (1937)
Where Lupe's character is "Maria Juanita Rosita Anita Moreno del Valle"
Lobby Card

Laughter (1930)
This was Nancy's sixteenth film when she was at the height of her career.
One Sheet

Dance, Fools, Dance (1930)
This was recently released through the Warner Classic Archive series.
Lobby Card

The Garden Of Eden (1928)
Corinne only made six more films, before retiring, another casualty of sound.
However, she needn't have worried, becoming a multi-millionaire through her real estate business.
Modified One Sheet I believe.

The Man Who Reclaimed His Head (1934)
Joan's twenty-fourth film.
One Sheet

The Kennel Murder Case (1933)
Mary Astor of course. This film is public domain and available here.
Lobby card

Danger Patrol (1937)
Sally made eleven more films before retiring in 1950.
Lobby Card

The Purchase Price (1932)
Barbara's tenth credited film.
Lobby Card

Slightly Scarlet (1930)
Evelyn's seventy-second film.
Lobby Card

Bette Davis

2010-06-18T19:34:00.026-04:00

Bette Davis, 1908 -1989, needs no introduction and if you are looking for detailed biographical information there are sufficient resources on the web, including this one. This post gives us a glimpse of the 28(!) films she made from 1931, when she entered the business at age 23 to 1935, when she won her first Oscar. There is very little material for a few of the films, but they are all represented. They all have a link to their IMDB page.

Double-click on the images for a larger view.

Before film, Bette made her mark on Broadway. This is a still for the play Broken Dishes. It opened at the Ritz Theater on November 5, 1929 and ran 158 performances. It was one of two performances that got Bette noticed by Hollywood.

The Bad Sister (1931)
We can see here that Bette still had the Broken Dishes look, plain and mousy.

Seed (1931)
Bette is third from the left, though hard to distinguish.

Waterloo Bridge (1931)
We start to see Betty emerge with a more sophisticated look.

Way Back Home (1931)
Shown in these two stills with Frank Albertson.

The Menace (1932)

This is all I could find - Not sure it was ever on TCM, but if so, I missed it.

Hell's House (1932)
Available at Internet Archive.org

The Man Who Played God (1932)
Bette credited George Arliss with giving her a real break by choosing her for the role.

So Big (1932)
This is Stanwyck's picture, but note the review in Movie Mirror, July 1932

The Rich Are Always With Us (1932)
Bette's look is continuing to mature. Here she plays a "flirt" named Malbro.

The Dark Horse (1932)

Bette and Warren William, good enough for me.

The Cabin In The Cotton (1932)
The is the film where we get one of her classic lines,
"I'd like to kiss you but I just washed my hair."

Three On A Match (1932)
Bette looks great here, but this film also stars and has good performances by Joan Blondell and Ann Dvorak, who is particularly strong. A film worth seeking out.

20,000 Years In Sing Sing (1932)
Bette stars with Spencer Tracy. A new, cleaner (I trust) print was just released on Warner Archive Classics.

Parachute Jumper (1933)
Patricia 'Alabama' Brent is Bette's character and she sports a southern accent.

The Working Man (1933)
Bette's second outing with George Arliss.

Ex-Lady (1933)

Bureau Of Missing Persons (1933)
Did she murder her husband? Pat O'Brien is on the case.

The Big Shakedown (1933)

Fashions Of 1934 (1934)

Not Nick and Nora, but a very good pairing with the same comedy/drama mix.

Jimmy The Gent (1934)
Hasn't yet seen release on VHS or DVD. Gagney and Davis, com'on.

Fog Over Frisco (1934)
She's got the wicked thing working well in the crime drama.

Of Human Bondage (1934)
Ok, so this is the one that screams major star on the horizon. Many feel this should have been her first Oscar performance, and I am in agreement, especially against the competition that year. The last frame grab is when Bette is giving Howard these manic, crazed and memorable lines:
"You cad!, you dirty swine! I never cared for you not once! I was always makin' a fool of ya! Ya bored me stiff, I hated ya! It made me SICK when I had to let ya kiss me. I only did it because ya begged me, ya hounded me and drove me crazy! And after ya kissed me, I always used to wipe my mouth! WIPE MY MOUTH!"

Housewife (1934)
Bette and George Brent

Bordertown (1935)
Three great publicity stills from Bordertown.

The Girl From 10th Avenue (1935)
Alison Skipworth is a hoot in a small role counseling Bette on getting someone's goat.

Front Page Woman (1935)

Special Agent (1935)

Bette as bookkeeper to a mobster.

Dangerous (1935)
Bette wins the Oscar for her performance as Joyce Heath, an actress with high highs, and low lows. This role may have presaged All About Eve (1950).
It's said Bette liked her performance and the Oscar, but felt this was a consolation prize for not being given the Oscar for Of Human Bondage.

To conclude:
Many people seem to think of Bette as always looking like Baby Jane Hudson, and are surprised to see how, dare I say, alluring, she was in her early films. I hope this post will open some eyes to the total package that was Bette Davis, one of America's great actresses.

Asides - Serial Sisters.

2010-05-30T08:31:00.017-04:00

The stepchild of the film business, the movie serial/chapter play/cliffhanger nonetheless thrilled and entertained audiences from the industry's earliest days. There were a staggering 277 silent serials, beginning in 1912 with Edison's What Happened to Mary? (12 ch.), through Pathe's 1929 Queen of the Northwoods (10 ch.) The advent of sound saw the production of 231 serials. The first was Universal's 1929 Tarzan the Tiger (15 ch.), and the last, Columbia's 1956 Perils of the Wilderness (15 ch.) This post concentrates on, no surprise, the thirties. During that decade 107 serials were produced, beginning in 1930 with Universal's The Indians Are Coming (12 ch.), released as a talkie and also as silent for theaters not yet equipped for sound, and ending with Republic's Zorro's Fighting Legion (12 ch.) in 1939.

One thing you can bet on is that practically every serial had an actress who was in peril in at least one chapter, and often in several. She was the daughter, the sister, the girlfriend, the reporter, the secretary, the rival, or just the sidekick along for the ride. What follows is a look at some of the thirties serials and mostly forgotten actresses who braved exploding buildings, collapsing rooms, buzz saws, raging rivers, out of control vehicles, including stage coaches, motorcars, and rocket ships, and just about any other peril the producers could conjure up.

All of the actresses have a link to their IMDb page, and they would love you to take a moment to drop by, they are so rarely visited these days. You will find that some had quite successful careers, but many had their 15 minutes at the dream factories and then vanished.

Double-click on the images for a large view.

Allene Ray, Virginia Brown Faire
Dorothy Gulliver, Edwina Booth*
Lucile Brown, Nora Lane
The asterisk indicates the link is to a page on this blog
because the actress has been featured.
Note: Both Edwina and Lucile appeared in the 1932 serial
The Last of the Mohicans as sisters Cora and Alice Munro.
Virginia was a WAMPAS Baby Star of 1923 and Dorothy was named one in 1928.

Dorothy Gulliver, Dorothy Gulliver
Cecilia Parker, Viva Tattersall
Lucile Brown, Evalyn Knapp*
Evalyn was named a WAMPAS Baby Star of 1932.

Gloria Shea, Verna Hillie
Lola Lane, Lucille Lund
Patricia Farr, Marion Shilling
Lola was sister to Priscilla and Rosemary Lane.
Marion was a WAMPAS Baby Star of 1931 and Lucille was named in 1934.

Maria Alba, Jean Rogers
Ula Holt, Claudia Dell
Joan Gale, Joyce Compton
Claudia is thought to be the original model for the Columbia pictures logo.
Joyce Compton was named a WAMPAS Baby Star for 1926.

Lois Wilde, Ruth Mix and Mae Busch
Lona Andre*, Jean Rogers
Jean Rogers, Ruth Mix
Ruth was Tom Mix's daughter. Lona was a WAMPAS Baby Star for 1932.

Joan Barclay, Mamo Clark
Kay Hughes, Jean Rogers,
Maxine Doyle, Joan Barclay
Mamo Clark appeared in two far more well known films, The Mutiny on the Bounty and The Hurricane. Maxine was married to one of the most prolific serial directors, William Witney.

Helen Christian, Frances Robinson
Lynn Gilbert, Kay Hughes
Jean Rogers, Betty Jane Rhodes and Evelyn Brent*
Evelyn was named a WAMPAS Baby Star of 1923.

Eleanor Stewart, Lynne Roberts, Gwen Gaze, Constance Moore, Doris Weston, Shelia Darcy

Our cutoff is 1939, but Shelia portrayed the Dragon Lady in the 1940 serial Terry and the Pirates. Maybe she shot some scenes in '39...

Some members of the sisterhood, with a special nod to Jean Rogers who appeared in six serials during the thirties.

Who wouldn't want to return each week to see a new episode when they had chapters with names like these. Hmmmm... Collapsing Room, trash compactor, Star Wars, nah, just a coincidence.

Lastly, yup, for better or worse we have watched all these serials and about 100 more over the last 15 years.

Constance Cummings

2010-05-16T09:27:00.015-04:00

Constance Cummings (previous post's Mystery Guest #5) was born Constance Halverstadt on May 15, 1910, in Seattle, Washington. As young girl she wanted to be a classical dancer, but in her mid-teens, after a walk-on bit as a prostitute in a summer stock production of Seventh Heaven, she left her ballet shoes behind and began acting and dancing in stage musicals. In only two years, accompanied by her mother, she was on Broadway. As was common at the time, movie moguls, in this case Samuel Goldwyn, scoured Broadway for those with potential for film, and Constance found herself in Hollywood.

Her first film was to be The Devil to Pay, with Ronald Colman. However, after a director change she was replaced by Loretta Young. That event allowed Columbia to offer her a contract and cast her as prison warden Walter Huston's naive daughter in Howard Hawks's 1931 The Criminal Code. Constance made five films that year, including The Last Parade and Traveling Husbands. 1932 found her in demand and another eight films were released including the very successful Movie Crazy with Harold Lloyd, American Madness, again with Walter Huston, and Attorney for the Defense with Edmund Lowe.

Big changes were ahead for Constance in 1933. While there were another five films made that year, including one of my favorites, The Mind Reader, with Warren William, and Billion Dollar Scandal, the big event was her marriage. She had met the British playwright and director Benn W. Levy, who was there to do a script. They were married that year and settled in London a year later. She had to win a court fight with Columbia to make movies in Britain. Her final Hollywood film before leaving permanently for England was the comedy-whodunit Remember Last Night? (1935), with Robert Young.

Though a good number of films appeared in the ensuing years, including Blithe Spirit (1945) with Rex Harrison and Margaret Rutherford, Constance was spending more of her time on the stage. Among her few films in the 1950's was The Intimate Stranger, AKA Finger of Guilt(1956), directed by blacklisted Joseph Losey (under the pseudonym Joseph Walton).

In 1974, Constance was made a Commander of the British Empire for her contributions to the British entertainment industry. In 1979, she won a Tony Award for Best Actress for her performance in the role in the play Wings. Constance has a star at 6211 Hollywood Blvd.

Constance died on November 23, 2005 at the age of 95.

Double-click on the images for a larger view.

The Criminal Code (1931)

Traveling Husbands (1931)

Attorney for the Defense (1932)

American Madness (1932)

Movie Crazy (1932)

Night after Night (1932)

Publicity still from Billion Dollar Scandal (1933)

Publicity still from The Mind Reader 1933

Seven Sinners (1936) - a Gaumont (British) production

Finger of Guilt (1956)

Undated publicity still.

Constance Cummings - What do you think - Allure?

Mystery Guest #5

2010-05-01T10:08:00.011-04:00

Welcome to Mystery Guest #5. As with Mystery Guest #4, this it will be a rolling post, with one new image and clue added over the next week or so to help you guess. Three previous mystery guests were identified, while one remained unidentified and I had to "give her up".

I am asking that if you you think you know who it is, post it to the comments, but since they are now moderated (thanks spammers), I will hold off on publishing comments until the end. I will post any wrong guesses and if any visitor guesses correctly, he or she will be given the proper accolades when time is up.

Here we go. Since this actress is not as obscure as previous guests we will start with a really minimal clue. She was born west of the Mississippi.

Here is the next clue and picture. This actress eventually did turn her career east of the Mississippi, in fact east of the Atlantic Ocean, but not until the 1950's.

This is a frame grab from her very first film. Unfortunately someone blocked out her name.

So far two folks have correctly guessed her identity. Clearly it was the picture, not the "clue" that gave it away.

Here is clue and picture #3 of our mystery guest. This screen capture is from her 13th film. The film itself introduces another actress who would become world renowned for years to come and the first breakthrough role for an actor known for tough guy roles.

We have had another guess, but unfortunately, incorrect. It is not E. Arden.

Here is our next clue and picture. I knew this guest was not going to be to difficult to identify because her career was quite successful and long lived. I have received a number of correct guesses, again I believe due to the pictures, not the actual clues. Today's clue should give those who still don't know her, with a little digging, the correct identity.

Our mystery guest was awarded the C.B.E. (Commander of the Order of the British Empire) in 1974 . Won the Tony Award, an Obie Award, and a Drama Desk Award in 1979, pointing to her talent and longevity.

Movie Classic, June 1934.
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So here we go. I thought this might be too easy due the this actresses long career. That said, I must give congratulations to those who identified our mystery guest.

The first to answer correctly was Mary - who sent her comment the same day.
Two days later Carrie Liz properly identified our guest.
Peter0315 hit it on the head two days after Carrie.
71Duffy74 gave the correct answer that day as well.
Finally, the following day, R.J. submitted his guess. It was incorrect, but about a half hour later he tried again and got the answer.
For the others that guessed and came up short, thanks for trying.

And the answer is:

Constance Cummings

Now that you know, you can look to my next post for a more complete look at this talented actress. Still assembling some elements, but it should post soon.

Errata
I said the first frame grab above was from her first film, but that is incorrect (Too many folders, films and frame grabs) :-). You will see it properly identified in her "named post."

Anny Ondra

2010-04-17T20:00:00.021-04:00

Born Anna Sophie Ondrakova in Tarnów, Galicia, Austria-Hungary, now Poland, on May 15, 1903, Anny was the daughter of an Austro-Hungarian officer, and spent her childhood in Prague. Early on she knew she wanted to be an actress. As a child and teenager she played on the major stages of Czechoslovakia, and was discovered at the age of 16 by the film world.

From 1920 through 1928, mostly under the direction of Carl Lamac (to whom she was married for a time), she made 40 films in Czechoslovakia and Germany, virtually all of them in leading roles. I have not been able to discern if any of those films exist, and would love any information from those in the German film community, but her two films made in Britain are available. What is so interesting about the two British films is that they were both directed by Alfred Hitchcock; The Manxman (1929), was Hitchcock's last silent film, and Blackmail (1929) was his first talking picture. Anny has the female lead in both. Blackmail was shot as a silent for theaters that weren't yet equipped for sound and voices were dubbed in to take advantage of the new talking picture craze (it will never last) for the theaters with sound capability. Anny's thick accent prevented her from doing the voice dubbing, which was handled by Joan Barry. While the talkies prevented her from moving on to American cinema, if that was ever a desire, Anny became a European superstar and one of the most beloved German film stars. All together she made more than 88 films.

She retired from film in 1957 and lived near Hamburg with her husband, boxing champion Max Schmeling, whom she married in 1933, and starred opposite him in 1935's Knockout. Anny was given the Honorary German Film Award in 1970. She was portrayed by Britt Ekland in the television movie Ring of Passion (1978), where the character was named "Amy Ondra Schmeling." She was also portrayed by Peta Wilson in another television movie, Joe and Max (2002), the true story of the Louis - Schmeling championship fight. Anny died in on Febuary 28 1987, and was buried in the Saint Andreas Friedhof cemetery in Hollenstedt, Germany. Her husband died in 2005 and is buried next to her.

Double click on the images for a larger view.

This is the only card I have showing her given last name.

Frame captures from The Manxman.
Before Hitch turned to crime...

Frame captures from Blackmail. This was Cyril Ritchard's 3rd dramatic role. Anny had already appeared in 40 films. These frames show his moves, and her response.

From Blackmail: note Anny on the right and Hitch on the left.

Here is Anny's sound test for Blackmail. Hitch is a bit frisky at the end.

Anny Ondra - What do you think - Allure?

Asides - Hollywood via Cincinnati and Anna Sten Addendum

2010-04-04T10:21:00.012-04:00

In 1933 the Nielin Publishing Co. of Cincinnati, Ohio, began publishing a serialized story named "Ransom, The Story of a Lost Child, Intimate Chapters of a Film Star's Life". Each 32 page, 6 x 8 inch issue advanced a story that runs the gamut of romance, sex, & drugs in the life of a film starlet and her kidnapped child. I have no idea how many were ultimately published, but I do know there were over 74 issues, filling more than 2000 pages!

When I found these I was immediately attracted because of its 30's film setting, pulp nature, general obscurity, and "racy" artwork. I was interested to see that the illustrations were signed. I tracked down information on Cincinnati artist Walter E. Groniger (1891-1941) and it became clear that this was a job to pay the bills while he traveled with his wife around the country in a specially designed trailer looking for landscapes to paint. He is known for his watercolors. Below are pages scanned from issues three, four, and five. Also shown is one of Groniger's paintings.

Double click on the images for a larger view.

Front cover of issue 5.
I don't know if Groniger did the cover, which was always
the same except for the issue number.

Typical back cover

Groniger painting from the late 1930's.

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The previous post took a look at Anna Sten, but I was unable to show any images from her work in Russia. A few days ago I got a copy of The Girl with the Hatbox and did some screen captures to show you Anna pre-Hollywood and pre-Goldwyn.

I also posted a British hand tinted postcard, but forgot to include an interesting bit of information found on the back of the card. As was mentioned, Anna's lack of commercial success in leading roles caused Goldwyn to cancel her contract. However, it seems she was scheduled to star in Barbary Coast, a vehicle that eventually went to Miriam Hopkins. Note the text on the card back.

Anna Sten

2010-03-21T15:32:00.009-04:00

Anna Sten was born in Kiev December 3, 1908, as Anjuschka Stenski Sudakewitsch. Her father, a Russian ballet master died when she was 12. At 15, while acting in an amateur play in Kiev, Anna was discovered by Method Actor "father" Konstantin Stanislavsky, who arranged an audition for her at the Moscow Film Academy. Her first credited role was in Boris Barnet's 1927 comedy The Girl with a Hatbox (Available on Netflix). She soon relocated to Germany, where she starred in several films, including Trapeze (1931) and The Brothers Karamazov (1931), both well received. It was in the latter film she was noticed by Samuel Goldwyn, who brought her to the United States with the aim of creating a new screen personality to rival the popularity of Greta Garbo.

After arriving in Hollywood, Anna was tutored in English and taught Hollywood's film making technique. Unfortunately, Anna's first American production, Emile Zola's Nana (1934), was not successful at the box office, nor were her two subsequent Goldwyn films, We Live Again (1934) with Frederic March and The Wedding Night (1935), opposite Gary Cooper. Goldwyn reluctantly let her contract lapse. Personally, I think while Anna's performances were solid, the films themselves weren't exceptional, and American audiences were growing tired of European stars being transported to Hollywood. Anna had to walk in the footsteps Garbo and Dietrich, which probably didn't help matters either. Goldwyn's tutoring of Anna is mentioned in Cole Porter's 1934 song "Anything Goes" from the musical of the same name: "If Sam Goldwyn can with great conviction / Instruct Anna Sten in diction / Then Anna shows / Anything goes."

Rather that retreat back to Germany or Russia, probably impossible at the time anyway, Anna continued to work in Hollywood. In the 1940's she worked with Fox and Universal in films including The Man I Married (1940), So Ends Our Night (1941), again opposite Fredric March, They Came to Blow Up America (1943) with George Sanders, Three Russian Girls (1943), and Let's Live a Little (1948). In the 1950's she appeared in one film and had several television appearances. Her final film role was in The Nun and the Sergeant (1962).

Anna Sten died November 12, 1993 at the age of 84.

Double click on the images for a larger view.

Motion Picture magazine November 1932

German postcard.

Early Thirties portrait.

British postcard - hand tinted.

Nana - publicity still.

Alberto Vargas painting of Anna from the photograph above.

Another Nana publicity still, this on a postcard mailed from Rotterdam.

Nana publicity still.

Players 1934 Film Stars cigarette card.

Frame captures from We Live Again.

Publicity stills from We Live Again.

Frame captures from The Wedding Night.

Publicity still from The Wedding Night.

Frame captures from So Ends Our Night.

Anna Sten - What do you think - Allure?

Asides - The Boys Are Back In Town.

2010-03-07T09:20:00.010-05:00

Back in April of 2008, I created a post (here) featuring active 1930 actors sporting pencil thin mustaches, quite a popular trend at the time. I decided it was time to give the clean shaven group their due as well. The images in this post all come from the same 1930 Stars of the Photoplay hardcover book that was published periodically by Photoplay magazine.

It's up to the reader to decide which crop of matinee idols fits your fancy, mustachioed or clean shaven. All but one married at least once, so the clean shaven group definitely had its admirers.

Double click on the images for a larger view.

Spouse

Sandra Shaw 1933 -1961, his death

Spouses
Florence Eldridge 1927 -1975, his death
Ellis Baker 1925 - 1927, divorced

Spouses
Elizabeth Harkness 1950 - 1981, his death
Elizabeth Allen 1928 - 1950, divorced, 2 children, including Elizabeth

Spouse
Cornelia Connie' Foster' 1926 - 1974, his death, 4 children
The good guy white hat cowboys never sported facial hair.

Spouses
Grace Bradley 1937 - 1972, his death
Dorothy Sebastian 1929 - 1935, divorced
Elinor Fair 1926 - November 1929, divorced
Ruth Miller 1921 - 1924, divorced
Laura Maynard 1917 - 1921, divorced
Hoppy got around, and though a good guy cowboy, he wore, perhaps fittingly, a black hat.

Spouse
Kathryn Scott 1925 -1981, her death, 2 children

Never married, was closeted during his acting years.

Spouses
Diana Hall 1964 - 1996, his death, 1 child
Ginger Rogers 1934 - 1940, divorced
Lola Lane 1931 - 1933, divorced

Spouse
Virginia Valli 1931 - 1968, her death
Of course he was also father to My Little Margie.

Spouses

Margaret Belle ? - April 1977, his death
Christine Coniff Lee 1934 - 1940, divorced
Alma Rubens 1926 -1931, her death

Spouses
Lillian Kenton Barker 1940 - ? 1 child
Suzanne Kilborn 1927 - 1939, divorced, 2 children

Jean Harlow

2010-02-28T09:24:00.017-05:00

Born March 3, 1911, and gone June 7, 1937, at age 26, Elton John could have written "your candle burned out long before your legend ever did" for Jean Harlow. She remains a legend to this day and her performances, comedic, dramatic, naughty, or nice, are a joy to watch. There is so much written about her that I will not spend time reviewing her career, you can find information here and her images are all over the web.

I have always thought that some images of Jean didn't do her justice. Her facial structures were made overly harsh when using the dramatic and stark lighting popular at the time. However, when done right...

Because there are so many images available, I have tried to post ones that may be less well known. You may have seen some of them, but hopefully there will be a few that are new to viewers.

Click on the images for a larger view.

Screen Play magazine, February 1931

Picture Play magazine, February 1931

British postcard

Publicity photo

Movie Classic magazine, September 1932
This picture, as I see it, suffers from the lighting.

Photoplay magazine, August 1932 - Artist: Earl Christie

Movie Classic magazine, September 1932 - Artist: Marland Stone

Photoplay magazine, July 1933
More Photoplay 1933 duotone experiments

Publicity still.

German postcard

Publicity still for Dinner at Eight (1933)

Screen Play magazine, January 1934

Cigarette card from the 1935 Gallaher Film Partners series.

Reckless (1935) publicity still

Movie Classic, November 1935 - Artist: Charles Sheldon
Also in my cover post of April 2008, but worth posting again - love this image.

Publicity still

Jean Harlow - What do you think - Allure?

Film Preservation Blogathon - Now You See It, Now You Don't

2010-02-14T00:02:00.038-05:00

I am (and you should be too, hint, hint) a proud National Film Preservation Foundation (NFPF) contributor who believes the motion picture was one of the most culturally important developments of the twentieth century. Preserving films as the historical and artistic artifacts they are is tremendously important. It isn't just the films themselves, the actors and directors, etc., but the moving images of people, places and things that document our shared history. The main text of this post limits itself to commercial films, but amateur, independent, and institutional films need to be preserved as well. I have a clip of teenagers riding the roller coaster at Coney Island in the early forties that shows so much about the people and the era. It couldn't be evoked in any other or better way.

For this post I decided to take a look at films in theaters in 1931 that are available today, those which aren't or are given only limited private screenings, and those that may be lost. The reasons: we know today that many studios were at best shortsighted, and in the opinion of some, criminal. It didn't want to look at an earlier year because I suspect that would have been really disheartening.

Interspersed throughout the text are images analogous to the deterioration and potential loss of many wonderful films. The Granada theater, built in Chicago in 1926, was allowed to fall into disrepair, wasn't preserved, and was eventually torn down and is now lost. We don't want this to happen to films languishing in vaults and isolated storage facilities. Donate to NFPF here. Click here or here to be taken to the blogathon host sites and a list of all the other wonderful contributors.

What follows is Photoplay's monthly listing, "Brief Review of Current Films", for the September 1931 issue.

This list contains 186 films. 68 are available in some form today. They may have been restored or transferred in their current condition. 65 are not available, possibly in vault storage, 45 more are not available or lost, I couldn't determine their status from my sources, and 6 are definitely lost. To determine their status I used IMDB, Wikipedia, various film sites, etc. I am sure it's off in places, but the bottom line is that almost 2/3 of the films listed are not available currently.

Photoplay, September 1931 - Cover artist: Earl Christy

Films with an asterisk are available.
All the text was scanned in and then OCR'd, but there may by some typos.

AFFAIRS OF ANNABELLE, THE—Fox.Jeanette MacDonald and Victor McLaglen in a laugh- worthy farce.
*ALEXANDER HAMILTON — Warners.— George Arliss, need we say more? Another superb characterization of an historic figure.
ALMOST A HONEYMOON—British International—A light bedroom farce. The gags would have been funny ten years ago. Very mild.
ALOHA—Rogell-Tiffany Production.—The old "Bird of Paradise" plot made over for the talkies. Some quite-good comedy and a lot of surefire sob stuff. Ben Lyon and Raquel Torres work hard.
ALWAYS GOODBYE—Fox.—Elissa Landi gives a charming performance in a rather ordinary piece. Lewis Stone and Paul Cavanagh support her.
*AN AMERICAN TRAGEDY—Paramount.— Dreiser's great tragedy becomes one of the month's best pictures. Phillips Holmes and Sylvia Sidney head a glorious cast. Not for the children.
*BACHELOR APARTMENT—Radio Pictures.— The superb direction and acting of Lowell Sherman make this sophisticated story interesting from start to finish. Mae Murray returns as a modern vamp, a restless married woman. Splendid cast.
*BAD SISTER—Universal.—Sidney Fox, talented little newcomer, plays the title role in this entirely natural story based on Booth Tarkington's "The Flirt." Conrad Nagel is the hero.

*BEHIND OFFICE DOORS—Radio Pictures.— Mary Astor fine as the clever secretary who helps her boss (Robert Ames) to rise to importance in the industrial world. Interesting story.
*BEYOND VICTORY—RKO-Pathe.—Poor war film, starring Bill Boyd. ZaSu Pitts, Lew Cody and Jimmy Gleason make the effort but can't do much for this one.
*BIG BUSINESS GIRL—First National.—Lively comedy of 1931 styles in business and love. Plenty of laughs, some thrills, Ricardo Cortez, Frank Albertson and Loretta Young in pretty clothes. A good movie.
BODY AND SOUL—Fox.—See this one. Great entertainment. Charlie Farrell and Elissa Landi (from the stage). You'll like her. Myrna Loy is the mean one.
*BORN TO LOVE—RKO-Pathe.—Ancient plot of the war nurse. Two officers and whose-baby-is-it fails to be highly entertaining in spite of the efforts of Constance Bennett.
*BROAD MINDED—First National.—Joe E. Brown tries hard to bring a lot of moribund jokes and gags back to life, but there's scarcely a giggle.
*BY ROCKET TO THE MOON—UFA.—The Germans present an interesting lesson in astronomy, if you like astronomy.
CAPTAIN THUNDER—Warners.—A dull story about a Robin-Hoodish captain whose lawless deeds are all for a good end. Victor Varconi and Fay Wray.
CAUGHT CHEATING—Tiffany Productions.— George Sidney and Charlie Murray get tangled with a Chicago gangster's wife and are taken for a ride. Fast-moving and pretty good fun.
*CHANCES—First National.—Young Doug's first starring picture is a war thriller. The lad is good but the story is so-so.
CHARLIE CHAN CARRIES ON—Fox.—Grand mystery with lots of thrills and romance. Warner Oland marvelous as Chan. John Garrick and Marguerite Churchill are the love interest.
CHILDREN OF DREAMS—Warners.—A musical which you can miss and think nothing of it.
*CITY LIGHTS—Chaplin-United Artists.— The one and only Chaplin makes another masterpiece. Magnificent comedy and heartbreaking pathos intermingled. You can see it again and again.
*CITY STREETS — Paramount. — Absorbing, fast-moving gang melodrama, well directed. Gary Cooper and Sylvia Sidney (from the New York stage) give grand performances. Don't miss it.

*CLEARING THE RANGE—Allied.—Hoot Gibson and the wife. Sally Filers, in a fine Western with thrills, laughs and plenty of action.
*COMMON LAW, THE—RKO-Pathe.—A poor adaptation of an old favorite but Constance Bennett is worth seeing. Sophisticated fare.
*COMRADES OF 1918—Forentilms.—Gruesome, harrowing German talkie follows the fortunes of four young Teuton soldiers in the last year of the late war. Don't take the children.
CONFESSIONS OF A CO-ED—Paramount. Not a very convincing piece with Sylvia Sidney, Phillips Holmes and Norman Foster. College atmosphere.
*CONNECTICUT YANKEE, A—Fox.—It's better than the silent version and you'll love Will Rogers. William Farnum and Myrna Loy are excellent. Maureen O'Sullivan and Frank Albertson supply the love interest.
CONQUERING HORDE, THE—Paramount.Dick Arlen makes this Western fine entertainment. Fay Wray adorable as the girl.
*CRACKED NUTS—Radio Pictures.—Wheeler and Woolsey in a rush of dialogue to the screen, and not very good dialogue. Amusing in spots.
*DADDY LONG LEGS—Fox.—The beloved classic with Janet Gaynor in a role just suited to her but just a little too saccharine. Warner Baxter as the bachelor. Take the family.
DAMAGED LOVE—Sono Art—World Wide.— Pretty mild. June Collyer's charm and dimples save it from being an entire waste of time.
*DANCE FOOLS, DANCE—M-G-M.—Fast and thrilling entertainment. Joan Crawford again proves herself a great dramatic actress. Billy Bakewell fine as the weak young brother who falls in with gangsters.
*DAYBREAK—M-G-M.—The charming performances of Helen Chandler and Ramon Novarro, as the student prince, make this romantic and wistful love story well worth seeing.
DER GROSSE TENOR—UFA.—A slow moving, all-German talkie with Emil Jannings in a typical Jannings role. A song or two.*
*DIRIGIBLE—Columbia.—Thrilling melodrama of adventure at the South Pole. The Navy helped make it and the airplane and dirigible shots leave you breathless. Ralph Graves, Jack Holt and Fay Wray take high honors.
*DISHONORED—Paramount.—Marlene Dietrich exciting as an Austrian spy in a tense story, splendidly directed. Victor McLaglen great as the Russian officer.
DOCTORS' WIVES—Fox.—Joan Bennett, Warner Baxter and Victor Varconi in a story of jealousy. Not very convincing.
DON'T BET ON WOMEN—Fox.—Husbands, wives and lovers mix-up. Good adult entertainment, with smart dialogue. Roland Young, Edmund Lowe, Jeanette MacDonald and Una Merkel make the most of their parts.
*DRACULA—Universal.—A mystery story full of creeps and thrills. Helen Chandler grand as the terrified heroine.
*DRUMS OF JEOPARDY, THE—Tiffany Prod. —Mystery melodrama with enough murders to satisfy the bloodthirsty. Good cast headed by Warner Oland and June Collyer.
DUDE RANCH—Paramount.—Jack Oakie woos and wins June Collyer in this hilarious comedy on a dude ranch, locale of many complications. Not a dull moment.
*EASIEST WAY, THE—M-G-M.—A modern sophisticated story, beautifully directed. Constance Bennett. Adolphe Menjou, Anita Page and Bob Montgomery do some grand acting—and what costumes!
EAST LYNNE—Fox.—Don't miss this one. Beautiful, artistic production of the heart‑breaking old melodrama. Ann Harding captivatingly beautiful. Fine support by Conrad Nagel and Clive Brook.
*EVERYTHING'S ROSIE—Radio Pictures.—One of the talkiest talkies yet released.
EX-BAD BOY—Universal.—If you like gag- farce, you'll get a kick out of this. Robert Armstrong and Jean Arthur give fine comedy acting.
EXPENSIVE WOMEN—Warners.—A pretty unhappy return to the screen for Dolores Costello. The less said about it the better.
FAME (LOST)—First National.—Beautifully and humanly told story of everyday people. Nothing spectacular, but full of charm. Doris Kenyon heads a perfect cast.
FIFTY MILLION FRENCHMEN—Warners. American tourists in Paris. Moves so fast it leaves you weak. One good gag after another. Don't miss it.
FIGHTING THRU — Tiffany Productions. — Worth the price of admission. Ken Maynard and his horse "Tarzan" do some fine work and the beautiful Jeanette Loff helps considerably.

*FINGER POINTS, THE—First National.—Dick Barthelmess as a reporter for one of Chicago's biggest newspapers, gets in with gangsters. An intensely absorbing story. Fay Wray and Regis Toomey give splendid support.
FINN AND HATTIE—Paramount.—One long howl. Mr. and Mrs. Haddock's trip abroad ruined by a fiendish nephew and a daughter, played well by Jackie Searl and Mitzi Green.
FIVE AND TEN—M-G-M.—Marion Davies with a splendid cast. Adapted from the Fannie Hurst story—jerky in spots.
FLOOD, THE—Columbia.—A weak, poorly directed story which the good acting of Eleanor Boardman and Monte Blue cannot save.
FORBIDDEN ADVENTURE—(Also released as Newly Rich)—Paramount.—An entertaining picture for kids and grown-ups. Jackie Searl and Mitzi Green in some swell acting. Don't miss it.
*FREE SOUL, A—M-G-M.—Norma Shearer and Lionel Barrymore in a picture that will hold you, but in plot and treatment it's for grown-ups only.
*FRONT PAGE, THE—United Artists.— Whirlwind newspaper talkie, full of thrills, laughs and sobs. You've simply got to see it. Adolphe Menjou great as the managing editor.
GANG BUSTER, THE — Paramount. — Comedy-melodrama with Jack Oakie at his best. William (stage) Boyd menaces as the gang leader and Jean Arthur is the pretty heroine.
GENTLEMAN'S FATE — M-G-M. — This tense drama brings us Jack' Gilbert with all his old appeal. The beautiful Leila Hyams and Anita Page support him and Louis Wolheim gives a flawless performance.
GIRL FROM THE REEPERBAHN, THE(DAS MAEDEL VON DER REEPERBAHN)—SonorProd.—The Germans crash through with a good one. Grim melodrama with plenty of action and some good songs.
GIRL HABIT, THE—Paramount.—An uproarious farce that boosts Charles Ruggles to stardom. It's all laughs. See it.
GIRLS DEMAND EXCITEMENT—Fox.—Marguerite Churchill, John Wayne, Virginia Cherrill and William Janney are a fine cast wasted in a story that never rings true.
*GOD'S GIFT TO WOMEN—Warners.—Frank Fay is the gift—Laura La Plante the receiver, but after many hilarious complications. Well worth seeing.
*GOLD DUST GERTIE—Warners.—Exuberant Winnie Lightner gambols through a poor story.
GOLDIE—Fox.—If you like lusty, gusty stuff, this'll do. Spencer Tracy and Warren Hymer make a new comedy team.
*GOOD BAD GIRL, THE—Columbia.—The old plot of the girl who leaves the racket to marry and go straight.
GUN SMOKE—Paramount.—Great for the kids, this old-time Western melodrama, with Dick Arlen as a cowboy, Mary Brian, the girl, and William Boyd, the menace.
HELL BOUND—Cruze-Tiffany Prod.—Good gang story if you're not tired of them. Leo Carrillo plays the broken-Englished speakeasy operator and Lola Lane is completely charming.
HELL'S VALLEY—National Players, Ltd.—Very little story, if any, but lots of riding and shooting in this Western, with Virginia Brown Faire, Wally Wales and Vivian Rich sharing the acting honors.
HIGH STAKES—Radio Pictures.—Lowell Sherman as an amateur detective is the main reason for seeing this. Mae Murray is the woman in the case.
HOLE IN THE WALL, THE (Nar Rosorna Sla Ut) — Paramount. — Swedish talkie brings us Sven Gustafsson, Garbo's brother, but nothing like his famous sister. Light and chatty love story.
*HOLY TERROR, A—Fox.—A two-fisted stern with George O'Brien. Good, wholesome entertainment.
HONOR AMONG LOVERS—Paramount.Good dialogue in this story of love between boss and secretary, with excellent performances by Fredric March, Claudette Colbert and that Ace of Cads, Monroe Owsley.
HOW HE LIED TO HER HUSBAND—British International.—George Bernard Shaw surrenders to the talkies. Amusing, if you like the Shaw wit.
HUSH MONEY—Fox.—Another gangster film and not a very thrilling one. Joan Bennett and Hardie Albright try hard. A print of this film survives in the UCLA Film and Television Archives.

*INDISCREET — United Artists. — Good, entertaining story. Gloria Swanson sings well. Ben Lyon and Arthur Lake great support.
*IRON MAN—Universal.—Lew Ayres is starred as the prize-fighter but -Bob Armstrong, in the role of manager, steals the picture. Jean Harlow plays her usual vamp role.
IT PAYS TO ADVERTISE—Paramount.—The old stage play revamped for the talkies with plenty of speed and lots of laughs. Skeets Gallagher, Norman Foster and Carole Lombard head a perfect cast.
TAKE THIS WOMAN—Paramount.—A wheezy old plot dressed up for Gary Cooper and Carole Lombard. Just another movie. (Aug.)After its release, the original nitrate negative and fine grain prints were given to Mary Roberts Rinehart. She had a 16mm safety print made from the 35mm negative so she could see the film. Over the years, all original material was destroyed, and to date, only that one 16mm print is known to have survived, which has since been copied and preserved.
IT'S A WISE CHILD—M-G-M.—Marion Davies' rare gift for comedy and Robert Leonard's direction make this old stage play a brand new hilarious farce not to be missed.
JAWS OF HELL—Sono Art—World Wide.—Depicts the old poem "The Charge of the Light Brigade" and makes the charge a pretty thrilling business. The romantic story's a bit weak.
JUNE MOON—Paramount.—You'll like this one. Ring Lardner wrote the wisecracking lines and Jack Oakie puts them over with a bang.
JUST A GIGOLO—M-G-M.—William Haines in a spicy, amusing offering. But leave the children at home.
*KEPT HUSBANDS—Radio Pictures.—Lively entertainment. Dorothy Mackaill and Joel McCrea an attractive pair and the still beautiful Clara Kimball Young returns to us.
KICK IN—Paramount.—They tried hard to make Clara Bow dramatic, sympathetic and emotional in this one. Regis Toomey is great. Restored.
KIKI—United Artists.—Presenting a new Mary Pickford, saucy and sophisticated in a grand comedy. You can safely take the kids. Reginald Denny is the lead.
LADIES' MAN—Paramount.—William Powell as a sympathetic and attractive gigolo, charms Olive Tell, Carole Lombard and Kay Francis. Entertaining picture.
LADY REFUSES, THE—Radio Pictures.—If you want a good cry, here's your chance. Rather an old story, but Betty Compson, Gilbert Emery and John Darrow make it realistic.
LAST PARADE, THE—Columbia.—Another gangster picture and good too. with thrills, suspenie, romance and laughs. Jack Holt and Tom Moore are rivals for Constance Cummings' favor. Jack wins.
*LAUGH AND GET RICH—Radio Pictures.— Misadventures of a boarding house mistress, played by Edna May Oliver, and her chronically tired hubby, Hugh Herbert. Good for plenty of laughs.
*LAUGHING SINNERS—M-G-M.—Not so good, but if you are a Joan Crawford fan you may like it. Clark Gable and Neil Hamilton, too.
LAWLESS WOMAN, THE—Chesterfield Pictures.—An uninteresting, unimportant film. A gangster-newspaper plot, poorly done. Two nitrate prints of this film survive in the UCLA Film and Television Archives, and neither are listed for preservation.
LAWYER'S SECRET, THE—Paramount.Clive Brook, Charles Rogers, Richard Arlen, Fay Wray and Jean Arthur give fine performances. Intense drama. A nitrate print of this film survives in the UCLA Film and Television Archives, and is not listed for preservation.
*LE MILLION—Tobis Production.—It's not necessary to understand the language to get all the fun out of this French musical farce.
LIGHTNING FLYER, THE—Columbia.—Jimmy Hall as the wild young son, who makes good and wins the love of a good woman—Dorothy Sebastian. Not so good; then again, not so bad.
LITTLE CAFE, THE (Le Petit Cafe)—Paramount.—Chevalier's French version of "Playboy of Paris" and simply great. Gay and charming with more songs added and his wife, Yvonne Vallee.
*LONELY WIVES—Pathe.—Edward Everett Horton great, in a side-splitting farce. Patsy Ruth Miller, Esther Ralston and Laura La Plante are the girls involved.
LOVE HABIT, THE—British International.— British conception of a French bedroom farce. Very heavy.
LOVE KISS, THE—Celebrity Productions.—A nice little college comedy with plenty of romance and laughter.
LOVER COME BACK—Columbia.—Betty Bronson changing her type with rather sorry results.
*MAD GENIUS, THE—Warners.—Magnificently produced and photographed, but John Barrymore's artistry is so perfect in an unsympathetic role that the story leaves a bad taste.
MAD PARADE, THE—Liberty Productions.— The woman's side of the war done brilliantly by an all-feminine cast.
*MALTESE FALCON, THE — Warners. — Gripping mystery story from the novel by the same name. The sleek Ricardo Cortez plays the demon detective superbly and Bebe Daniels does excellent work. Don't miss it.
MAN FROM CHICAGO, THE—Elstree Productions.—The British go hay-wire on this story of Chicago gangsters and their ladies. Skip this, one.
MAN IN POSSESSION, THE—M-G-M.— Robert Montgomery in a spicy comedy full of situations and sparkling lines. Amusing.
*MAN OF THE WORLD—Paramount.—Good picture; not much action but plenty of drama and a great performance by William Powell. Carole Lombard is the lovely heroine.
MAN WHO CAME BACK, THE—Fox.—Farrell and Gaynor sink to the depths, but love reforms them. Not a "7th Heaven" but worth seeing.
MANY A SLIP—Universal.—Joan Bennett and Lew Ayres in a wise-cracking dialogue comedy. You may, but you probably won't, like it.
MEET THE WIFE—Columbia.—Lew Cody and Laura La Plante excellent in a hilarious farce taken from the old stage play. Plenty of laughs.
MEN CALL IT LOVE—M-G-M.—(Reviewed under the title "Among the Married.") Sophisticated story of married life in the country club set. Adolphe Menjou excellent. Norman Foster and Leila Hyams good as the young lovers. Not for the children.
MEN ON CALL—Fox.—Edmund Lowe wastes his time and talents in a bad story. A print of this film survives in the UCLA Film and Television Archives.
MIDNIGHT SPECIAL, THE—Chesterfield Prod. Nothing new, but plenty of excitement. Good for the kids.
*MILLIE — Radio Pictures. — Helen Twelvetrees splendid in this tense drama. Enough tears and chuckles to make it well worth seeing.
*MILLIONAIRE, THE—Warners.—George Arliss—need we say more? This time he plays a wealthy American automobile manufacturer. Evalyn Knapp is the attractive daughter and David Manners, the business partner. See it.
*MIRACLE WOMAN, THE—Columbia.— A well staged, directed, and photographed picture with Barbara Stanwyck doing her best work as a female evangelist.
MONSTERS OF THE DEEP—Nat. Spitzer Prod.—Fishing adventures in Magdalena Bay, off the Mexican coast, where mammoth fish abound. For fish fans.
MR. LEMON OF ORANGE—Fox.—El Brendel, starring, in some mistaken identity stuff. Riotously funny in spots, and Fifi Dorsay helps a lot.
NEVER THE TWAIN SHALL MEET—M-G-M. Lavishly produced remake of the old silent, but not nearly so good. Leslie Howard great in some scenes.
NIGHT ANGEL, THE—Paramount. —A bad display for the talents of Nancy Carroll and Fredric March.
NIGHT BIRDS — British International. — Mystery melodrama, with much a-do over a killing. Not so bad.
*NIGHT NURSE—Warners.—Drag out your pet adjectives, go see this and use 'em. Its great. Barbara Stanwyck, Ben Lyon and a grand cast.
NO LIMIT—Paramount.—Clara Bow as a flapper, an usherette and a gangster's moll, and wearing some amazing clothes. You may be amused.
NOT EXACTLY GENTLEMEN—Fox.—Three men's battles for a map, a girl (Fay Wray) and riches. Top-notch entertainment. Victor McLaglen, Lew Cody and Eddie Gribhon share acting honors.
ONCE A SINNER—Fox.—The oldest type of triangle story. The really fine performances of Dorothy Mackaill, Joel McCrea and John Halliday make it well worth seeing. A print of this film survives in the UCLA Film and Television Archives.
PAGLIACCI—Audio Cinema Prod.—Bad grand opera poorly transferred to the screen.
*PAINTED DESERT, THE—Pathe.—A Western which you'll like. Bill Boyd is the virile hero and Helen Twelvetrees the girl.
*PARLOR, BEDROOM AND BATH M-G-M.—It's a howl, this farce. Buster Keaton and Charlotte Greenwood race for honors. As a heavy lover, Buster is amazing. Available on Archive.org
PARTY HUSBAND—First National.—Dorothy Mackaill and James Rennie work hard as the newlyweds, but the story is weak.
PRODIGAL, THE — M-G-M. — (Reviewed under the title "The Southerner") — Lawrence Tibbett in a gay, charming comedy—and how he sings! Esther Ralston, too, and more beautiful than ever.

*PUBLIC ENEMY, THE—Warners.—A gangster picture that is lining the thrill-seekers up at the box- office.
QUICK MILLIONS — Fox. — Another excellent gangster picture if you go for them. Spencer Tracy is the leader of the racketeers, and you'll like Sally Filers.
*REBOUND—RKO-Pathe.—Not in the big amusement class but worth seeing. Ina Claire and Robert Ames.
RECKLESS HOUR, THE—First National.—An old story with a few new twists. Dorothy Mackaill and a good cast. Just fair.
RESURRECTION—Universal.—Talkie version of the old tale is a triumph for Lupe Velez. She's all fire, beauty and sincerity. Well directed and John Boles sings nicely.
RIDER OF THE PLAINS, A—Syndicate.— Grand old Western full of hokum, and a happy, happy ending.
RIDIN' FOOL, THE—Tiffany Prod.—Great little Western. Will furnish the kids with plenty thrills.
ROAD TO SINGAPORE, THE—M-G-M.—(R viewed under the title "Cheri Bibi.") Jack Gilbe in an entertaining drama. Lots of tragedy, but happy ending and Leila Hyams as the heroine. We worth seeing.
*SEAS BENEATH—Fox.—Dashing adventure story of submarines during the war. Georg O'Brien does a grand job. All the family will like it.
SECOND HONEYMOON, THE—Continental —Farce comedy of domestic felicity with Josephin Dunn and Edward Earle. Entertaining.
*SECRET SIX, THE—M-G-M.—Still another gang story but with more humor. Splendicast, includes Wallace Beery, Lewis Stone, Clar
Gable, Johnny Mack Brown and Jean Harlow.
SEED—Universal.—Interesting and realistic story based on Charles Norris' novel. Joh Boles doesn't sing but his acting is superb. Lois Wilson and Genevieve Tobin both excellent. Don' miss it.
SHE-WOLF, THE—Liberty Prod.— (Reviewed under the title "Mother's Millions")—Humopathos, bright dialogue and splendid acting make this a delightfully entertaining story. May Robso is the mother.
SHIPMATES—M-G-M.—Plenty of pep and action, plus the United States Navy, make this a ver table gale of laughter from beginning to end. Robert Montgomery heads the cast.
SHIPS OF HATE (LOST)—Trem Carr.—Murder and gruesomeness on shipboard. Just fair. Don't pass up game a of bridge for it.
SINGLE SIN, THE—Tiffany Prod.—Nothing new, but splendidly handled. Kay Johnson does some fine acting. Bert Lytell, Mathew Betz and Paul Hurst lend good support.
6 CYLINDER LOVE—Fox.--An amusing farce with a pretty obvious plot.
*SKIPPY—Paramount.—Jackie Cooper as Skippy, and Bobby Coogan as Sooky entirely lovable in this grand picture based on Percy Crosby's famous comic strip. Young and old alike will love it.
SKY RAIDERS, THE--Columbia.—Gangsters in the air! Thrilling stuff and good entertainment.
*SMART MONEY—Warners.—Moves as fast as the money on the gambling tables in it. Plenty of laughs and excitement.
*SMILING LIEUTENANT, THE Paramount.—One of the breeziest and most tuneful entertainments in a long time. Chevalier at his best, under Lubitsch direction. See it.
*SON OF INDIA—M-G-M.—A fairy-tale sort of thing with Ramon Novarro as Prince Charming. If you like Oriental romance, this is it!
SQUAW MAN, THE—M-G-M.—A new version of a grand old story. See it by all means. Warner Baxter and Lupe Velez.
STEPPING OUT—M-G-M.— Charlotte Greenwood. Leila Hyams, Reg. Denny, Cliff Edwards, Merna Kennedy, Harry Stubbs and Lilian Bond make this light comedy one continual laugh. See it.A print of this film with sound discs, survives in the UCLA Film and Television Archives.
STOLEN HEAVEN—Paramount.—Slow, unreal story. Nancy Carroll and Phillips Holmes fine in the romantic moments.
*STRANGERS MAY KISS—M-G-M.—Norma Shearer, the last word in sophistication and beautifully gowned in a vivid drama of modern life by the same author as "The Divorcee." To be seen.
SUBWAY EXPRESS—Columbia.—Jack Holt in a thrilling mystery of the stage that lost its kick in the movie version.
*SUNRISE TRAIL, THE—Tiffany Productions. —A Western with too much talking and not enough action.
*SVENGALI —Warners.— Well worth seeing for John Barrymore's superb performance in the title role. The story is rather gruesome. Don't take the children.
SWANEE RIVER (LOST)—Sono Art-World Wide.— Thelma Todd and Grant Withers try, but just can't save this melodrama from being anything but ordinary.
SWEEPSTAKES—RICO-Pathe.—Some romance, thrills and fast lines in a race-track yarn. Quillan and Gleason take honors.
*TABU—Paramount.—A poem of a picture laid in the South Seas, with an all-native cast, beautifully directed by the late F. W. Murnau. Fine synchronized musical score.
TAILOR MADE MAN, A—M-G-M.—The jaunty and self-confident Bill Haines plays this old Charlie Ray silent with a new restraint that is delightful. You'll laugh and like it.
TARNISHED LADY—Paramount.—Introducing Tallulah Bankhead, from Alabama and the London stage, in a heavy love drama. Clive Brook is the leading man.
TEXAS RANGER, THE—Columbia.—Carmelita Geraghty is the gal, Buck Jones the hero.
Three GIRLS Lost—Fox.—Loretta Young, Joan Marsh and Joyce Compton are the three little girls who come to the big city. Lew Cody good as the racketeer and John Wayne not so good. )Exists at UCLA Film Archives
THREE LOVES—Terra.—Marlene Dietrich is the only reason for seeing this three-year-old German silent.
THREE WHO LOVED—Radio Pictures.—Excellent acting by Betty Compson and Conrad Nagel in a production that suffers from too much story.
TOO MANY COOKS — Radio Pictures. — Bert Wheeler's first starring picture, minus Mr. Woolsey. Plenty of laughs, some lumps in the throat and Dorothy Lee as the heart appeal.
*TRADER HORN—M-G-M.--Harry Carey magnificent as Trader flora. Story of the African jungle, full of the tensest drama and perfection in photography.
*TRANSGRESSION—Radio Pictures.—The same old angle of the eternal triangle. Kay Francis wears swell clothes.
TRAPPED—Big Four.—Fights, songs, gangsters, night clubs, murders, chases, plus a confused plot.
TRAVELING HUSBANDS — Radio Pictures. Risque but not objectionably so. Top-notch acting, with Evelyn Brent in the lead.
TWO-GUN MAN, THE—Tiffany.—A Western in old swashbuckling style, nothing new but good entertainment. Ken Maynard and horse!
*UNFAITHFUL—Paramount.—Ruth Chatterton, a society matron who can't divorce her faithless husband (Paul Cavanaugh) without involving her; own sister-in-law, and so goes to the dogs. Good for the Chatterton fans.Exists but hard to find.
UP FOR MURDER—Universal.—(Reviewed under the title "Fires of Youth.") Talkie version of the old silent, "Man, Woman and Sin." Lew Ayres and Genevieve Tobin struggle through. Pretty badly worn plot.
*UPPER UNDERWORLD — First National. — Different from the average racketeering picture and bound to make you think.

The Granada in 1926, looking beautiful. The headliners are Benny Meroff and Choreographer Jack Haskell's The Love Boat, both stage shows, but the movie is Leatrice Joy's The Clinging Vine (1926), happily available.

UP POPS THE DEVIL—Paramount.—Young love and its struggles neatly handled by Norman Foster, as a young author, and his wife, played by Carole Lombard. Sprightly dialogue
VICE SQUAD, THE—Paramount.—Besides being something that will keep you interested, this is a picture you'll think about. Paul Lukas, Kay Francis and Helen Johnson are excellent.
*VIKING, THE—Varick Frissell Production.—picture of the boat that met Arctic tragedy. Good photography.
VIRTUOUS HUSBAND, THE—Universal.—One of those over-sexed things. Starts off to be a howl and then goes serious and ends by being pretty bad.
WAITING AT THE CHURCH—Radio Pictures. —An amusing story with lovely Technicolor effects.
WHITE SHOULDERS (LOST)—Radio Pictures.—Rex Beach's dramatic story makes an interesting picture. Jack Holt, Mary Astor and Ricardo Cortez form the triangle.
WHITE THUNDER. (LOST)—The eternal triangle story is secondary to the magnificent photography showing the terrifying vast iciness of Newfoundland.
WILD WEST WHOOPEE (LOST)—Cosmo.—Jack Perrin in a conventional Western saved by a thrilling rodeo sequence and the noble work of his horse, Starlight. Josephine Hill is the heroine.
WOMAN BETWEEN, THE—Radio Pictures.— Heavy drama with lots of emotion and a song from Lily Damita. Miriam Seegar is the one bright spot.
WOMAN OF EXPERIENCE, A—RKO-Pathe.— Only average entertainment, in spite of a cast which does its best. Helen Twelvetrees, ZaSu Pitts and Lew Cody.
WOMEN LOVE ONCE—Paramount.—Producers wasted their time and that of Eleanor Boardman and Paul Lukas on this one.
WOMEN OF ALL NATIONS—Fox.—Edmund Lowe and Victor McLaglen as Quirt and Flagg of "What Price Glory" fame, continue their adventures. Good, rough entertainment, but not a Sunday school text.
YOUNG AS YOU FEEL—Fox.—Another grand Will Rogers' film, funny enough to make you forget a toothache.
YOUNG DONOVAN'S KID—Radio Pictures.—Good. From Rex Beach's story "Big Brother." Little Jackie Cooper practically steals the show in spite of Dix's excellent work.
YOUNG SINNERS—Fox.—The old story of modern kids in a jazz and cocktail setting. Thomas Meighan is a bright spot. Dorothy Jordan and Hardie Albright give an exhibition of couch wrestling. A Nitrate Print of this film survives in the UCLA Film and Television Archives.

Asides - 3 plus 3 plus 3 plus 20,679

2010-01-31T09:20:00.020-05:00

Here is a roundup of three new magazines, postcards, movie ads, and a word from our sponsor. Enjoy.

Click on the images for a larger view.

Motion Picture Classic, January 1931 - Artist: Marland Stone

Motion Picture Classic, April 1931 - Artist: Marland Stone

Motion Picture Classic, July 1931 - Artist: Marland Stone

Movie Classic, March 1933

Movie Classic, April 1933 - just because it involves a zoo, this is not one for the kiddies.

Photoplay, July 1933 - though late in her career, Marion is still receiving star treatment with a color ad, quite a rarity for movie ads in the film publications of the day. Strangely, the illustration looks more twenties than thirties.

I am guessing this is a publicity still image from The Divorcee, but I don't recall a scene exactly like this in the film. However, given the title of the picture and them both wielding weapons...

Beautiful example of a hand tinted J. Beagles & Co. embossed card from Great Britain.

Una Merkel

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And now a word from our sponsor.

Motion Picture Classic, December 1930

If you think it was easy to contact 20, 679 doctors in 1930, think again.

Adrienne Ames

2010-01-23T18:46:00.017-05:00

Adrienne Ames was born Adrienne Ruth McClure on August 2, 1907, in Fort Worth, Texas. She began her film career in 1927 as a stand-in for Pola Negri, after her sister's belief that she could become a successful actress. Her break, however, came following her marriage to stockbroker Stephen Ames, who was quite involved in New York society. Adrienne was spotted by a talent scout from Paramount and is said to have been signed without a screen test. Her first role for Paramount was a small part in Road To Reno (1931). She moved up the marquee a bit in the Clive Brook, Kay Frances film, 24 Hours (1931), and by 1932 was the second female lead under Carole Lombard, in Sinners in the Sun. Adrienne finally landed the female lead in Guilty as Hell (1932). From Heaven to Hell (1933) found her second to Carole Lombard again. From 1933 to 1935 Adrienne moved between Fox and Paramount. For Fox she starred opposite Joan Blondell and Ginger Rogers in Broadway Bad (1933) and with Rudy Valle and Jimmy Durante in George White's Scandals (1934).

Adrienne made 30 films during the 1930's, but after 1935, the quality roles began to diminish, perhaps because of her off screen behavior as it concerned third and last husband, King Kong hero Bruce Cabot. In 1939 she left Hollywood, and shortly after began a New York City talk and interview radio show on WHN that revolved around society, celebrities and beauty tips.

Sadly, Adrienne died of cancer on May 31, 1947 at age 40. She has a star on the Hollywood Walk of Fame at 1612 Vine Street.

Click on the images for a larger view.

Motion Picture magazine, October 1933 - Artist: Marland Stone

Clipping from Motion Picture magazine. They could have picked a better photo.

Frame captures from Guilty as Hell.

Frame captures from The Death Kiss. Of interest is that this film has three of the principal actors from the original Dracula: Bela Lugosi, David Manners, and Edward Van Sloan, better known to his friends and fellow vampire hunters as Van Helsing.

Publicity still with David Manners.

Frame captures from Broadway Bad.

Frame captures from two of her less distinguished roles, Woman Wanted and Panama Patrol.

Publicity still from Panama Patrol.

Publicity still from 1934.

Undated publicity still.

Adrienne was known throughout Hollywood for her fashion sense.

No caption necessary.

Adrienne Ames - What do you think - Allure?

Asides - Luise and Anita

2010-01-10T08:51:00.010-05:00

Short and sweet.

Happy Birthday to back to back Oscar winner Luise Rainer, who turns 100 on January 12. What a remarkable career.

Cigarette Cards
Click on the image for a larger view.

Born the same year, Anita Page left us at age 98 in 2008. However, in 1993, she gave a wonderful interview on her early days in film and Hollywood. She is sharp as a tack. I didn't pick the interviewer, but so glad this was recorded.