CHESTER MORRIS In the 30's
7/17/1930 HDC Elizabeth Yeaman
In spite of the great number of crook and gangster stories which have been brought to the stage and screen, Jesse Lasky believes that the popularity of this type of entertainment has not waned, and he has placed Charles Frances Coe under contract to write original stories for Paramount. For several years Coe’s stories which have appeared in the Saturday Evening Post and other national magazines have enjoyed wide popularity, and Jesse Lasky believes that it is this type of story which is best suited to the talents of George Bancroft. The author will arrive in Hollywood Saturday and start work immediately on Bancroft’s next starring vehicle. There is little doubt that Coe is an authority on this type of fiction, for he admits with pride that he has known many of the world’s most famous criminals intimately. Certainly he has shown a great power of characterization in such stories as "Swag," "Hooch," "Me, Gangster," and "Ward Heeler."
....
Johnny Hines is going to return to the screen. He has signed a contract with Al Christie to make a series of "Gayety" comedies to be released through Educational-Christie. The popular Johnny, you remember first distinguished himself as "Torchie" in a series of humorous Sewell Ford stories, and later he produced his own pictures. Another popular star to become aligned with the Christie organization is Charlotte Greenwood, the lanky loose-jointed comedienne who has been a vaudeville headliner for many years. Special stories will be written for Miss Greenwood who is the first feminine star to be signed by the Christie organization. She will appear in a series of Tuxedo comedies. Other stars who recently have been acquired by Christies are Buster and John West and Bert Roach.
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Edgar Neville, titled Spanish playwright, novelist and diplomat, has relinquished his post with the Spanish embassy in Washington to write Spanish scenarios for MGM. His latest, "Fender," is now being prepared for production in New York where it will be presented in English translation. Under the terms of his studio contract Neville will adapt English plays and stories for the Spanish talking screen as well as contribute original stories.
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Ullrich Haupt, an experienced stage and screen actor who speaks English, French and German, has been given an important role in Morocco, which Josef von Sternberg is directing for Paramount with Gary Cooper and Marlene Dietrich heading the cast. During the 23 years of his theatrical career Haupt has directed, produced and acted. Coming from Europe several years ago, he played in several Broadway productions before migrating in Hollywood. He made his film debut with John Barrymore in The Tempest, and won distinction for his portrayal of the physician in The Greene Murder Case. Marlene Dietrich, the tall blonde stage star of Berlin, will make her American debut as a singing and dancing girl in a Moroccan theater in this picture.
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"Several years ago Christies made the silent version of Charley’s Aunt, with Sid Chaplin in the starring role. The success of the picture was so great that Christies are going to make a talking version of this humorous story, and they have borrowed Charlie Ruggles from Paramount to play the title role. Ruggles, who is a favorite on Broadway’s legitimate stage, made his first screen appearance in Gentlemen of the Press, and also has completed a part in Little Miss Bluebeard.
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Pauline Garon is to make a series of short reel situation comedies for Universal playing opposite Slim Summerville with Al Ray directing. Summerville, who was placed under long term contract by Carl Laemmle Jr., as a result of his work in All Quiet, will be kept busy at Universal, for he also is to be featured in See America Thirst.
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The Studio Round-Up–Since Joan Bennett made her talking picture debut in 1929, she has played in eight films, including Bulldog Drummond and Disraeli. Mrs. Monte Blue has returned home from the Hollywood Hospital where she recently underwent an operation for appendicitis. Harry Langdon is enjoying a week’s vacation at the beach before starting work on his next picture, See America Thirst, at Universal. James Hall will soon start work on his third picture for Warners’ which has been which has been titled, A Husband’s Privileges. Sue Carol is the lucky Miss who has been chosen as the leading lady of Amos ‘n’ Andy in their RKO picture, Checked and Double Checked. Robert Harris, an old Alaska miner and friend of Rex Beach during the gold rush days, gave Paramount material technical advice during the filming of The Spoilers. Raymond McKee who recently composed Carribean Sea, has returned with his family from a vacation at Big Bear Lake and is now engaged in writing a new song.
CHESTER MORRIS In the 30's
1/7/1930 LAR The Show of Shows
Warner Brothers Downtown—With 77 stars and 300 chorus girls. Directed by John Adolphi. Dances by Larry Ceballos and Jack Haskell. Louis Silvers, musical director.
By Llewellyn Miller
As a review, this collection of adjectives is going to be a nice list of credit lines. There won’t be room for anything else. For The Show of Shows which opened at Warner Brothers Downtown Theater last night boasts 77 stars, and when that many names are placed end to end it leaves little room to say that The Show of Shows is a grand screen revue.
Hobart Bosworth, H.B. Warner and William Courtenay introduced the two hours of high pressure acts with a clever skit. A swirl of brilliantly clad figures sweep up the steps of a guillotine, and, as the knife falls, shout "Prologue has been killed. On with the Show of Shows."
Three hundred dancing girls take the screen. Upon a steep sweep of black marble stairs they parade in military formation led by Monte Blue. Long shots show the phalanx of slim stepping girls maneuvering in split squares in triangles, in wheeling stars, and if you think that you can save money and see the same thing in any military school on class day, just try it once!
"The Floradora Sextette" features Alice Day, Lila Lee, Sally O’Neil, Patsy Ruth Miller, Myrna Loy and Marion Nixon in coquettish ruffles and trailing ostrich plumes. But the big surprise of the act is when the boys they left behind them sound a bitter plaint. Ben Turpin, Heinie Conklin, Bert Roach, Lloyd Hamilton, Lupino Lane and Lee Moran do a dainty melange of dance steps, even while their brave hearts are breaking at the tough deal the years have given the boys of the Floradora Sextette.
PIRATE SCENE COLORFUL
"Skull and Crossbones" is played against the dusky orange of a salt-weathered sail that swings across half of the screen. There are plenty of villains, bloodthirsty, swash-buckling, and singers all. Noah Beery, Tully Marshall, Bull Montana, Anders Randolph, Kalla Pasha, Wheeler Oakman, Otto Matiesen and Philo McCullough lay for Ted Lewis, and threaten him with the plank unless he amuses them.
He plays "Motion Picture Pirates" and "The Pirate Band" with his orchestra. Words by J. Kiern Brennan, and music by M.K. Jerome give him a chance to declare an ambition "to make everybody happy," something he has been working at for quite a long while, it seems to me.
Georges Carpentier sings "If I Could Learn to Love," assisted, and considerably, by Patsy Ruth Miller and Alice White. The best part of this act happens before it starts. It is Frank Fay’s struggle with a trainer who is busily getting him into boxing gloves, while he tries to announces the big fight that Carpentier will stage.
A moment might as well be taken off here as anywhere to pay tribute with one of my golden-voiced giggles to that master of ceremonies who holds the show together with his ill-fated attempts to do a number of his own. He shares honors with Louise Fazenda, Lloyd Hamilton and Beatrice Lillie in a skit that is so glamorously sappy that it is a treasure. Incidentally, the worst fault of the film is that there is not nearly enough of Beatrice Lillie in it.
A sister act is interesting, even if it isn’t art. It features the real sisters, Dolores and Helene Costello, Sally Blane and Loretta Young, Sally O’Neil and Molly O’Day, Lola Vendril and Armida, Harriette Lake and Marion Byron, Alice and Marceline Day, Adame and Alberta Vaughn and Shirley Mason and Viola Dana.
"Interruptions" is all about Frank Fay’s attempts to say a piece that begins, "Dear little pup." By the time he gets a chance, the pup is a full grown police dog, and Fay has a long gray beard, if you believe that the camera never lies.
BURLESQUE NUMBER FUNNY
"Singing in the Bathtub" shows Winnie Lightner brandishing her arms in coquettish circles to interpret the words by Ned Washington and Herb Magidson. You haven’t heard nothing yet until you have heard these words, and, though you may not know it, you have been waiting all of your life to hear dainty Bull Montana roar out the tender strains of "You Were Meant For Me."
Irene Bordoni sings one of those intense ballads that come out half through the Bordoni nose and half through the Bordoni mouth with such telling effect. It is "just an Hour of Love" with words by Al Bryan and music by Eddie Ward.
Nick Lucas sings the song hit of the show, "Lady Luck," with words and music by Ray Perkins. He appears, also, in an elaborate "Chinese Fantasy" with the exotic Myrna Loy.
"A Bicycle Built For Two," features Chester Conklin, Douglas Fairbanks Jr., Chester Morris, Jack Mulhall, William Collier Jr., Grant Withers, William Bakewell, Lois Wilson, Gertrude Olmstead, Pauline Garon, Sally Eilers, Edna Murphy and Jacqueline Logan.
The dances staged by Larry Ceballos and Jack Haskell are one of the admirable special features. Imagine 300 girls sauntering up black stairs, so black that the dancers seem to be dancing on black air, and weaving themselves in deliberate, intricate routines. Then there is the famous Ceballos "black and white ballet," that always ends too soon, and numerous other routines.
BARRYMORE IN FINE BIT
John Barrymore for once fails to turn the other cheek in profile, and delivers Richard’s soliloquy on the mound, in a superb fashion that justifies this grim bit of Shakespeare in the setting of gaiety and laughter. He shows the warped, malignant desire for power that animated the hunchbacked duke, with such authority, that it is far and away the most distinguished part of the film.
John Adolphi, director, Larry Ceballos and Jack Haskell, dance directors, Louis Silvers, musical director, Estras Hartley and Max Parker who designed the settings, Louis Gelb, technical director, and a lot of the others responsible for the success of the show were introduced at one point. They take a quick how in safety masks of long black beards.
The Show of Shows, because of its color and its comedians rivals The Hollywood Revue, and that should satisfy those who think revues are the ultimate in screen art.
2/11/1930 HDC Doris Denbo
And still Norma Shearer’s Divorcee cast enlarges. The attractive and cultured Theodore Von Eltz will play the role of the foreign lover in this feature. He has just recently played in The Furies, The Awful Truth and The Very Idea. Here is a man bound for the top ranks of popularity with enough roles given him on the talking screen. Chester Morris, Robert Montgomery, Conrad Nagel, Florence Eldredge, Zelda Sears, Helene Millard, Mary Doran and Helene Johnson make up the rest of the interesting cast for this smart production. Robert Z. Leonard is directing. They left for Catalina via plane yesterday where they will board the yacht, Gentry for water scenes.
2/12/1930 HDC Society In Filmland
By Elizabeth Yeaman
Roses and carnations banked the tables at the dinner dance given last Saturday night by Lila Lee, who entertained at the Embassy Club in honor of her sister, Mrs. Leonard Tufford of Elyria, Ohio.
Covers were laid for Mr. and Mrs. William Hawks (Bessie Love), Mr. and Mrs. William Seiter (Laura LaPlante), Mr. and Mrs. Lydell Peck (Janet Gaynor, Mr. and Mrs. Tay Garnett (Patsy Ruth Miller), Mr. and Mrs. Gus Edwards, Mr. and Mrs. Eric von Stroheim, Mr. and Mrs. Myron Selznick, Mr. and Mrs. Al Rockett, Mr. and Mrs. Bartlett Cormack, Mr and Mrs. Chester Morris, Mr. and Mrs. Bud Lighton (Hope Loring), Mr. and Mrs. Frank Lloyd, Mr. and Mrs. Benjamin P. Schulberg, Mr. and Mrs. William K. Howard, Mr. and Mrs. Ray Rockett, Dr. and Mrs Harry Martin, Mr. and Mrs. Ned Martin, Mr. and Mrs. Sam Jaffe, Mr. and Mrs. Ben Goetz, Mr. and Mrs. Roland West.
And the Misses Bebe Daniels, Virginia Valli, Edith Mayer, Irene Mayer, Natalie Gallitzen, Dolores Del Rio, Billie Dove, Leatrice Joy, Margaret Ettinger, Lillie Hayward, Seena Owen, Happy Rand, and Messrs. Ivan St. John, William Goetz, Charles Farrell, Lawrence Stallings, Larry Kent, Howard Hughes, David Selznick, Dennis McSweeney, Paul Bern, Ross Shattuck, Ben Lyon, John Farrow, Joe Willicombe and Harry Davis.
2/24/1930 HDC She Couldn't Say No
By Doris Denbo
"She Couldn’t Say No" to Chester Morris, could Winnie Lightner in the picture of that same name which opened at Warner Brothers Downtown Theater at midnight Saturday. She couldn’t even sing "No" to him, though she sang a generous number of other songs during the run of the film.
This is another singing picture where the star reaches the heights of stardom and then drops down again only to rise to greater heights, all through her love for the leading man. Winnie is a struggling chorus girl and singer with a song writer (Johnny Arthur) deeply in love with her. She falls for Morris, a racketeer about town, and he for her. He becomes her manager and gives up the old racket and they are seemingly are going to live blissfully ever after.
HAS TWO SWEETHEARTS
But there is a society girl whom Chester falls in love with. Sally Eilers plays this girl, and she finds in him quite a new thrill, with a wee bit deeper note in it. Chester has a bad time between the two of them and when he breaks with Winnie she cannot go on. On her triumphant opening night she breaks down and then runs away, but faithful Johnny finally finds her again and brings her back to Broadway and new fame and a new show. Chester is shot–but then I’m telling all the story now and it is really worth seeing for yourself.
Winnie sings, clowns, emotes and acts broadly throughout this picture, and she is good. She has a most emotional role to fulfill and does well with it. Morris is always the convincingly sincere performer and makes a rather weak, worthless hero, rather lovable and completely understandable.
Sally Eilers is attractive, as the little society debutante and Johnny Arthur is, as always, both funny and pathetic at the same time. Tully Marshall and Louise Beavers are the other two members of the cast and they are both good in character roles. Lloyd Bacon directed a too long story, with an anti-climax so smooth and interesting that the attention is held every moment.
SHORT SUBJECTS GOOD
There are two splendid short subjects accompanying this feature. James Barton and a ragged little dog bum their way through the city streets, starving but cheerful. They finally enter amateur night in a movie picture show and win the $20 prize money, after which they have a big dinner with all the trimmings.
Vivienne Oakland and John T. Murray are in a playlet of an extravagant wife who turns the table on her complaining husband and has him guessing–and then paying her bills without further complaint.
3/30/1930 FD Playing Around
(All-Talker)
First National Time: 1 hr., 6 mins.
Good programmer with Alice White giving a satisfactory performance in the stellar role. Story moves smoothly and direction is well handled.
Although there is nothing exceptional about the story of this film to lift it out of the "average program" class, it does however, hold enough general entertainment value to please. Despite the lightness of the script handed her, Alice White manages to turn out a pleasing performance as the daughter of a cigar store manager, whose craving for the highlife leads her to turn down her soda clerk boy friend for the attentions of a "polished" crook. She is taken on a tour of the "bright way," but is brought back to realism when the crook shoots her father in a holdup. The usual happy ending forms the climax. Good work is done by the supporting cast headed by Chester Morris. Direction and photography well done and recording is good. Suitable as programmer anywhere.
Cast: Alice White, Chester Morris, William Bakewell, Richard Carlyle, Marion Byron, Maurice Black, Lionel Belmore, Shep Camp, Ann Brody, Nellie V.Nichols.
Director, Mervyn LeRoy; Author, Vina Delmar; Adaptor, Adele Commandini; Titler, Not Listed; Editor, Not Listed; Dialoguer, Humphrey Pearson; Cameraman, Sol Polito.
Director, Good. Photographer, Good.
5/15/1930 LAR The Divorcee
By Llewellyn Miller
Fox Criterion--Norma Shearer in The Divorcee, from the novel "Ex-Wife." Directed by Robert Z. Leonard.
"From now on you are the only man to whom my door is closed," says the disillusioned wife in The Divorcee, starring Norma Shearer at the Fox Criterion. And out she steps to have a series of philanders that are only hinted at, but that are sufficiently hectic for all of that.
Jerry and Ted think they have every hope of happiness, because Jerry has what they call "a man’s outlook on life." Her outlook cannot quite give her resignation when she discovers Ted’s affair with another woman, however. He assures her that it means nothing. She takes him at his word, and, for the sake of evening their score, spends a night with one of his friends while he is out of town.
When, quite frankly, she tells him what she has done, Ted is shocked to the point of packing a dressing gown and some handkerchiefs, and drowning all in drink.
There is a sensational motor car smash, enlivened by a powerful bit of shrieking. Helene Millard does the part of the girl who loses her head when her sister is seriously hurt with a thoroughness that is effective and quite hard on the nerves. Wild parties, a gay group of people, and some thwarted love and interest to the background of the story.
Norma Shearer is good in her straight dramatic moments. She shows the change in the girl who believes every word of the marriage ceremony to a hardened sensation seeker admirably. In the early part of the film she affects a laugh that is used too frequently to be effective. It carries a quality of ineffectuality that seems to me to be in variance with the independence of a woman who could hand a man his own medicine.
Chester Morris plays the husband, Conrad Nagel gives his expected sympathetic portrayal as a devoted suitor. Robert Montgomery is funny, especially in the party scenes, where he imitates a monkey. Others in the exceptionally good supporting cast are Florence Eldridge, Robert Elliott, Mary Doran, Tyler Brooke, George Irving, Helen Johnson and Zelda Sears, who also made the adaptation with Nick Grinde.
Dialogue by John Meehan is easy and telling, and Robert Leonard’s direction is tactful, always, without shadowing the implications of wild life among the married.
I have not read Ursula Parrott’s novel, Ex-Wife, so I cannot tell whether the story was followed closely or not. Most of the town wants to find out for itself, anyway, judging by the lines that besieged the Criterion box office yesterday.
5/19/1930 HDC Elizabeth Yeaman
Another permanent stage acquisition to the talking screen is seen in Walter Huston, who has been signed as a United Artists star. Huston’s portrayal of the title role in Abraham Lincoln, the recently completed D.W. Griffith epic, was instrumental in winning his contract which will place him on a footing with such stars as Mary Pickford, Douglas Fairbanks, Norma Talmadge, Charles Chaplin, Gloria Swanson, Ronald Colman, Dolores Del Rio, Joan Bennett and Chester Morris. After completing Abraham Lincoln, Huston went to First National to make The Bad Man, and he will also make The General for Paramount before permanently joining the United Artists organization. For many years he was one of the greatest Broadway stage stars, playing in Desire Under the Elms and The Barker. His talking pictures include Gentlemen of the Press, The Lady Lies, and The Virginian.
6/26/1930 LAX The Big House
By Louella O. Parsons
Dark visaged men with brutal faces, crooks with weak, stuttering voices, violent murderers, youthful robbers and boys who have succumbed to the easiest way, held a large audience enthralled at the Criterion Theater yesterday. A superb piece of casting placing in even the smallest roles artists who did their finest work, is largely responsible for the success of this engrossing drama, The Big House.
Wallace Beery, who has made many a day for the movie fans in other dramas, excels even his own finest efforts as "Butch." A character splendidly drawn, incredibly wicked and yet with a certain indefinable charm he inspires unbelievable sympathy, as well as laughter with his comedy.
Mr. Beery in his characterization, which should really be numbered among the fine performances of the year, has a worthy running mate in Chester Morris. Not since an eager movie public woke one day to acclaim this lad in Alibi has he offered anything that compares with his work as Morgan. A slick thief, one of the gang, but a boy with a certain code of morals in his dealings with men that not even threats of death could erase.
PATHETIC CONTRAST
Contrasting with the virility of "Butch" and Morgan is the weakness of Kent, stool pidgeon, pathetic in his youthful misery. Robert Montgomery is excellent in this role, made doubly difficult by reason of its rather unpleasant side.
George Hill, the director, and Frances Marion, the author, picked their men with the training of two experts. You see among the vast gathering of criminals inside the prison wall such players as Karl Dane, Matthew Betz, and others in small parts. Lewis Stone as the kindly warden, DeWitt Jennings as Wallace, the merciless guard, are only a part of this amazing panorama of life in a penitentiary.
The Big House is a story of men. Women are only incidental. Yet the potent influence of one girl, is subtly predominant. Leila Hyams, decorative, attractive and with a charming speaking voice, adds just the right note of femininity.
Life behind the iron bars seems to hold a curious fascination for those who live and breathe the fresh air. Many plays and movies were inspired by the recent outbreak in the Canon City prison, where so many guards mingled their blood with that of the lawless men who planned this futile dash for freedom.
Yet with all of these movies and fictional offsprings of this real event, not one measures up to The Big House, a Cosmopolitan production, written for MGM release by Frances Marion.
CAPABLE DIRECTION
Miss Marion has prepared a drama that stands the most careful and minute investigation. She tempers the bitter, heart-breaking moments with comedy that comes easily and naturally. Surprising to hear the genuine outbursts of laughter yesterday following some line uttered by "Butch" or some wisecrack of his pals.
It is true Miss Marion sometimes wanders into the path of sentimentality, but she does it with such true craftsmanship that you are grateful for a little tenderness in the shadow of the gloomy prison wall. She has the excellent help of Joseph Farnham and Martin Flavin in writing the dialogue.
Without George Hill’s direction there is no doubt The Big House would not have scored so heavily. His deft touches and his fine understanding of necessary drama is evident throughout. Particularly good is the outbreak of the men who fight like trapped animals in their eagerness to be free. He paints a picture of prison life strong, to be sure, but without the exaggerations that are frequent in stories of this kind.
As early as 11 o’clock it was impossible to get a seat. This reviewer was about to give up in disgust when a chair in a corner was found. The Divorcee which established a record at this same theater, will have a healthy rival. A Fox Movietone and a Charley Chase Comedy complete the program.
6/27/1930 HDC Elizabeth Yeaman
The Bat Whispers is the exciting title of Roland West’s forthcoming production for United Artists in which Chester Morris will be starred. West, who makes but one picture each year, has written the screen adaptation and dialogue from the stage play "Whispers," a recent New York success. Chester Morris, who was featured in West’s last picture, Alibi, is returning to his home lot for the first time since Alibi was made. Since then he has been loaned to other studios for important roles in The Big House, The Divorcee, The Case of Sergeant Grischa, She Couldn’t Say No, Woman Trap, Playing Around, Second Choice and Fast Life. In The Bat Whispers he will be featured alone. A strong supporting cast has been engaged which includes Una Merkel, Gustav Von Seyffertitz, Ben Bard, Grace Hampton, Spencer Charters, Charles Dow Clark and Maud Eburne. Miss Merkel, a New York stage actress has appeared in but two pictures, and Miss Hampton, Charters, Clark and Miss Eburne are from the London and New York stages.
7/2/1930 HDC
Before we leave the all-intriguing subject of the sound screen, it is interesting to note that Roland West’s new production, The Bat Whispers, featuring Chester Morris, is to be a real experiment in sound. Already, it is termed "the picture of a thousand sounds," with screams, shattered glass, creaking hinges, ghostly footfalls and other varieties of noises ranging from music to thunder, caught with more than usual realism. Rehearsals are getting under way with Una Merkel, Gustav von Seyffertitz, Ben Bard, Grace Hampton, Spencer Charters, Charles Gow Clark and Maud Eburne in the cast. Roland West can be expected to make something very spirited and invigorating out of this comedy. It’s a real "hair-raiser" and Roland’s first production since his Alibi, made about a year ago.
7/18/1930 HDC Elizabeth Yeaman
Observing the utmost sorcery, Roland West is filming his new mystery comedy drama, The Bat Whispers, exclusively at night. When the studio gates close at 6pm, West begins shooting and continues until 3am. In this way he hopes to preserve the secret of the screen play, and also to intensify the mood of the players. It is his belief that mystery, suspense and supernatural effects can be best obtained under the cover of darkness. Chester Morris is featured in the production with a supporting cast including Una Merkel, Gustav Von Seyffertitz, Ben Bard, Grace Hampton, Charles Dow Clark, William Bakewell, Spencer Charters, Maud Eburne and S.E. Jennings.
7/21/1930 HDC Elizabeth Yeaman
The Studio Round-Up—Both Sue Carol and Arthur Lake, co-stars of She’s My Weakness, abandoned their real names of Evelyn Loderer and Arthur Silverlake when they entered pictures. Neil Hamilton has an amazing number of diversified roles to his credit, for he has appeared as a soldier, Sailor, aviator, screen lover, miner, bank clerk and chauffeur. Constance Bennett emphatically denies that she is leaving the screen and announces that she will complete her contract with Pathe before making any other plane. Myron C. Fagan, New York playwright, arrived in Hollywood Saturday to make the screen adaptation of Joseph Santley’s next film for Pathe. Chester Morris, whom United Artists are grooming for stardom, has been given the lead in Death Takes a Holiday, and will start work as soon as he finishes The Bat Whispers.
8/6/1930 HDC Elizabeth Yeaman
Another promising young actor who has been given a break out at MGM is Russell Hopton, who has been signed to play the juvenile "heavy" opposite Wallace Beery in Dark Star. When studio executives discovered that they could not secure Chester Morris for the part, a great many juveniles were tested for the role, and it was just by chance that director George Hill saw an unusually good screen test which Hopton had made for The Passion Flower. Chester Morris is now starring in The Bat Whispers for United Artists. Hopton completed an important role in College Lovers for First National last week, and he also appeared in the stage production of "The Last Mile."
8/11/1930 HDC Elizabeth Yeaman
Having just completed The Last of the Lone Wolf, for Columbia, Bert Lytell will start work immediately on his second picture for this company, which will be the talking screen version of his popular stage success, "Brothers." Lytell will portray the dual title role, and Dorothy Sebastian, who recently scored a hit in Hell’s Island, has been cast for the feminine lead. Others in the supporting cast are Louis Natheaux, Maurice Black and William Morris, father of Chester Morris. Walter Lang is slated to direct.
1/6/1931 EE Jimmy Starr
If Norman Foster, husband of Claudette Colbert, hadn't been loaned to MGM for a role in Among the Married he could have gotten the part of "Hildy Johnson" in The Front Page, which Lewis Milestone is directing for Howard Hughes.
Chester Morris was all set for the important part, but Pat O'Brien, a New York stage actor, was finally chosen. Rehearsals started today.
1/14/1931 HDC Society In Filmland
Celebrating their seventh wedding anniversary, Mr. and Mrs. Darryl Zanuck entertained a large number of guests at a delightful dinner dance Monday evening in the Indian room of the Ambassador Hotel.
Those bidden included: Messrs. And Mesdames John Adolfi, Lloyd Baker, William Beaudine, Ralph Blum (Carmel Myers), Lou Brown, Pan Berman, Michael Curtiz (Bess Meredyth), Arthur Caesar James Cornelius, George Converse, Nat Deverich, Frank Fay, James Flood, George Fitzmaurice (Diana Kane), Ben Goetz, William Goetz, Tay Garnett (Patsy Ruth Miller), Al Green, Ray Griffith, Edward Hillman (Marian Nixon), Alan Hale, and Joseph Jackson.
Messrs. And Mesdames Frank Joyce, Ben Lyon (Bebe Daniels), Morgan LeRoy, Bert Lytell (Grace Mencken), Sol Lesser, Mike Levee, Rufus LeMaire, Edmund Lowe (Lilyan Tashman), Lew Lipton, Edward Mannix, Ned Marin, Archie Mayo, Antonio Moreno, Chester Morris, Herman Politz, Harry Rapf, M. Reingold, Arthur Stebbins, Hunt Stromberg, B.P. Schulberg, Myron Selznick, Leon Schlesinger, Herbert Somborn, William Seiter (Laura LaPlante), Hal Wallis (Louise Fazenda), Sol Wurtzel, King Vidor, Victor Varconi and Jack Warner, Dr. and Mrs. Harry Martin.
Also the Misses Joan Bennett, Joan Blondell, Pauline Garon, Doris Gittleson, Marian Marsh, Harriet Parsons, Marquita Greasby; Messrs. H. Beaumont, Graham Baker, Fred Beetson, John Considine, George Frank, Fred Fox, Arthur Franklin, Sid Grauman, Hobart Henley, William Koenig, Carl Laemmle Jr., Lewis Milestone, James Oviatt, Eddie Wood, Lou Schreiber, Mack Sennett, William Wellman and Harry Wilson.
1/26/1931 EE The Bat Whispers
By Jimmy Starr
It is quite likely that you will be afraid to go home in the dark after viewing The Bat Whispers, the mystery thriller, which is now playing at the United Artists Theater.
If you’re fond of spooky noises, weird happenings, sliding panels, trick fireplaces and house maids that turn loose blood-curdling screams at the proper, or improper moments, then you will certainly have the time of your life with this picture.
Director Roland West set out to do a scare film and I wouldn’t be surprised if he hadn’t scared himself. He has the usual spooky house, the storm raging outside, the funny-faced butler, a constantly frightened maid, the mysterious doctor and–of course, the young romantic couple.
....WHO IS THE BAT?...
Naturally, I’m not going to reveal The Bat. That would be telling, and it certainly would spoil a perfectly good evening of chills for your spine. There are all sorts of dastardly villains running around this strange house–arch criminals at large, performing all manner of phantom-like movements.
Director West is rather a master of securing weird camera angles and, for once, they are particularly good for this type of entertainment. And just to make it doubly interesting, Mr. West uses the magnifilm, which projects images twice the ordinary size. I like the wide film for this production.
...SPLENDID CAST...
Besides Chester Morris, who is quite excellent as the detective, there is an unusually good cast of players. Una Merkel, Grayce Hampton, Maude Eburne, Gustav Von Seyffertitz, Ben Bard, Hugh Huntley, Charles Dow Clark, William Bakewell and Spencer Charters.
Of course, mystery plays seldom stand analysis. This one won’t either. But that isn’t the question. It is, nevertheless, entertainment. Despite all the unanswered tricks, it contains enough mystery to keep one on edge throughout.
When persons in the audience cry out warnings to the players on the screen–as they did yesterday afternoon–I believe it proves the drama is getting over and that everyone in the theater is definitely concerned.
Charlotte Greenwood stars in a very funny Christie comedy, Girls Will Be Boys. A cartoon comedy and Paramount news reel are also on the program.
12/19/1931 LAX Corsair
By Jerry Hoffman
Well, pirates aren’t what they used to be. Instead of jewels and gold it’s rum, champagne (Scotch and rye in a pinch) they’re after. They call it "hijacking" nowadays, and yesterday came a picture to the United Artists Theater named Corsair that tells lots about it.
Of course, it isn’t much like our old fashioned pirates who hunted treasure islands. Instead of "Long John" Silver, in Corsair there’s a "Big John" who has both his legs–and a very, very, nasty laugh. But then he’s the villain, and who has a better right to a nasty laugh? There is Hawks in Corsair, a John Hawks, played by Chester Morris. This lad was a swell football player who worked his way through college, got a whiff of smelly Wall Street business methods and decided the air of sea-hijacking was healthier, even if the business wasn’t quite honest.
Walton Green wrote one of the most thrilling adventure stories in his novel Corsair. In bringing it to the screen Roland West made some changes, retained quite a bit of the thrills and suspense, and does show some lovely photography. Thelma Todd, who is renamed Alison Lloyd for this picture, is none the less lovely under her new name. True, she rarely has been photographed as effectively, and this is one of the few opportunities Thelma Todd Alison Lloyd has been given to show her very fine acting ability.
For Chester Morris Corsair is something new in characters. Aside from unnecessary steps to show him as an uncouth "hick" in the first reel, he registers very well. It seems silly to make an audience believe that a boy would be quite as ignorant after four years in college. The introduction of the "Silly awss" English character also weakens the story. William Austin plays this. Very good work is done by Mayo Methot. Fred Kohler does his brutal villain stuff. Frank Rice adds a praiseworthy bit; also convincing is Emmett Corrigan, Frank "Drunk Again" McHugh disposes of his usual film quota of glasses.
The dialogue and scenic direction, sponsored by Rollo Lloyd and Robert Ross for Roland West’s production, is exceptionally good. Tom Howard appears in a comedy on the United Artists program, further augmented by a Foreign Legion reel, the news and Chauncey Haines Jr., at the organ.
1/15/1932 LAR Llwellyn Miller
Regis Toomey and Chester Morris are to be teamed again. They will be seen for the first time in three years in The Glass Key, which Paramount will make from the story by Dashiell Hammett.
Toomey and Morris both registered heavily in one of the earliest of the successful talking pictures, Alibi.
The Glass Key was another of those pictures which was intended for Gary Cooper, but since his vacation in Africa, seems to be extending indefinitely, other actors are being cast in his roles.
1/15/1932 EHE Harrison Carroll
Movie-makers go merrily on, juggling casts and crossing up columnists.
Chester Morris, it now develops, will play opposite Carole Lombard in The Beach Comber, thus leaving Phillips Holmes free to resume his interrupted vacation.
Several days ago, Phil was hastily summoned from New York--they were in such a hurry he had to fly--to make an added scene for the Lubitsch picture, The Man I Killed. When he got out here, it turned out to be a single close-up, ironically enough, a smile.
Then, when they announced him for The Beach Comber, his dreams of further loafing faded away completely.
But, on second thought, the studio decided Chester Morris fits better into the Mildred Cram story, so everybody is happy. Chester has a good role and Phil can devote himself to leisure.
Incidentally, Paramount also is going to change the title of this picture. William DeMille directs.
1/18/1932 HCN Elizabeth Yeaman
Adrienne Ames won another nice assignment today when she was cast in the second feminine lead in The Beach Comber at Paramount. This is the picture which was to have co-starred Phillips Holmes and Carole Lombard. A sudden switch of plane took Holmes out of the picture with Chester Morris now replacing him. William DeMille will direct and the production is slated for early shooting.
1/22/1932 HCN Elizabeth Yeaman
I wonder if Paramount is planning to make a co-starring team of Carole Lombard and Chester Morris? Before they have even started their first picture together, the executives have cast them in another. Carole and Chester are to have equal billing in The Glass Key, the semi-mystery story by Dashiell Hammett. This will be made immediately following The Beachcomber, on which they will start work very shortly. Louis Weltzenkorn of Five Star Final fame, is ow working on the screen adaptation of The Glass Key, and a director will be assigned to the picture any day now. Another important member of the cast will be Regis Toomey is getting assignments so fast he will have to make a catalogue to keep track of them all. When a featured player is assigned to several pictures in advance you may depend upon it that his services are highly valued by the company. Usually only the stars rate this advance booking. Carole Lombard used to play pretty consistently opposite William Powell. Then they were married and shortly thereafter Powell went to Warners on a term contract. Now it looks as if Chester Morris will become her screen partner.
2/13/1932 EHE Jimmy Starr
Cary Grant is a young man the film fans of the world will soon be talking about. In fact, they--the film fan--will probably be writing for his photograph to replace former favorites upon that well known mantle shelf above the fireplace, or the walls around the dressing-table mirror.
That is the way with the fickle public-and Cary Grant, according to Paramount officials, has a certain way with the cinema devotees. So much so that he has been given a featured role in Sinners in the Sun, which co-stars Carole Lombard and Chester Morris under William DeMille’s direction. This is the Mildred Cram yarn formerly captioned The Beachcomber.
Mr. Grant, recently of the New York stage, was brought to Hollywood for a minor role with Lily Damita in This is the Night, and so impressed studio executives with his work that he was immediately cast in the new production.
DeMille has selected a special featured group of "names" for the supporting roles. Walter Byron, Reginald Barlow, Kent Taylor and Luke Cosgrove have important parts. Taylor is another contract player who is being groomed for featured spots.
10/2/1933 EHE 14 quit film academy in code protest, denouncing proposal to write a salary control board into the film industry's NRA code. Adolphe Menjou, Frederic March, Gary Cooper, Ralph Bellamy, George Raft, James Cagney, Boris Karloff, Warren William, Paul Muni, Robert Montgomery, Frank Morgan, Ken Thompson and Chester Morris.
In spite of the great number of crook and gangster stories which have been brought to the stage and screen, Jesse Lasky believes that the popularity of this type of entertainment has not waned, and he has placed Charles Frances Coe under contract to write original stories for Paramount. For several years Coe’s stories which have appeared in the Saturday Evening Post and other national magazines have enjoyed wide popularity, and Jesse Lasky believes that it is this type of story which is best suited to the talents of George Bancroft. The author will arrive in Hollywood Saturday and start work immediately on Bancroft’s next starring vehicle. There is little doubt that Coe is an authority on this type of fiction, for he admits with pride that he has known many of the world’s most famous criminals intimately. Certainly he has shown a great power of characterization in such stories as "Swag," "Hooch," "Me, Gangster," and "Ward Heeler."
....
Johnny Hines is going to return to the screen. He has signed a contract with Al Christie to make a series of "Gayety" comedies to be released through Educational-Christie. The popular Johnny, you remember first distinguished himself as "Torchie" in a series of humorous Sewell Ford stories, and later he produced his own pictures. Another popular star to become aligned with the Christie organization is Charlotte Greenwood, the lanky loose-jointed comedienne who has been a vaudeville headliner for many years. Special stories will be written for Miss Greenwood who is the first feminine star to be signed by the Christie organization. She will appear in a series of Tuxedo comedies. Other stars who recently have been acquired by Christies are Buster and John West and Bert Roach.
....
Edgar Neville, titled Spanish playwright, novelist and diplomat, has relinquished his post with the Spanish embassy in Washington to write Spanish scenarios for MGM. His latest, "Fender," is now being prepared for production in New York where it will be presented in English translation. Under the terms of his studio contract Neville will adapt English plays and stories for the Spanish talking screen as well as contribute original stories.
....
Ullrich Haupt, an experienced stage and screen actor who speaks English, French and German, has been given an important role in Morocco, which Josef von Sternberg is directing for Paramount with Gary Cooper and Marlene Dietrich heading the cast. During the 23 years of his theatrical career Haupt has directed, produced and acted. Coming from Europe several years ago, he played in several Broadway productions before migrating in Hollywood. He made his film debut with John Barrymore in The Tempest, and won distinction for his portrayal of the physician in The Greene Murder Case. Marlene Dietrich, the tall blonde stage star of Berlin, will make her American debut as a singing and dancing girl in a Moroccan theater in this picture.
....
"Several years ago Christies made the silent version of Charley’s Aunt, with Sid Chaplin in the starring role. The success of the picture was so great that Christies are going to make a talking version of this humorous story, and they have borrowed Charlie Ruggles from Paramount to play the title role. Ruggles, who is a favorite on Broadway’s legitimate stage, made his first screen appearance in Gentlemen of the Press, and also has completed a part in Little Miss Bluebeard.
....
Pauline Garon is to make a series of short reel situation comedies for Universal playing opposite Slim Summerville with Al Ray directing. Summerville, who was placed under long term contract by Carl Laemmle Jr., as a result of his work in All Quiet, will be kept busy at Universal, for he also is to be featured in See America Thirst.
....
The Studio Round-Up–Since Joan Bennett made her talking picture debut in 1929, she has played in eight films, including Bulldog Drummond and Disraeli. Mrs. Monte Blue has returned home from the Hollywood Hospital where she recently underwent an operation for appendicitis. Harry Langdon is enjoying a week’s vacation at the beach before starting work on his next picture, See America Thirst, at Universal. James Hall will soon start work on his third picture for Warners’ which has been which has been titled, A Husband’s Privileges. Sue Carol is the lucky Miss who has been chosen as the leading lady of Amos ‘n’ Andy in their RKO picture, Checked and Double Checked. Robert Harris, an old Alaska miner and friend of Rex Beach during the gold rush days, gave Paramount material technical advice during the filming of The Spoilers. Raymond McKee who recently composed Carribean Sea, has returned with his family from a vacation at Big Bear Lake and is now engaged in writing a new song.
CHESTER MORRIS In the 30's
1/7/1930 LAR The Show of Shows
Warner Brothers Downtown—With 77 stars and 300 chorus girls. Directed by John Adolphi. Dances by Larry Ceballos and Jack Haskell. Louis Silvers, musical director.
By Llewellyn Miller
As a review, this collection of adjectives is going to be a nice list of credit lines. There won’t be room for anything else. For The Show of Shows which opened at Warner Brothers Downtown Theater last night boasts 77 stars, and when that many names are placed end to end it leaves little room to say that The Show of Shows is a grand screen revue.
Hobart Bosworth, H.B. Warner and William Courtenay introduced the two hours of high pressure acts with a clever skit. A swirl of brilliantly clad figures sweep up the steps of a guillotine, and, as the knife falls, shout "Prologue has been killed. On with the Show of Shows."
Three hundred dancing girls take the screen. Upon a steep sweep of black marble stairs they parade in military formation led by Monte Blue. Long shots show the phalanx of slim stepping girls maneuvering in split squares in triangles, in wheeling stars, and if you think that you can save money and see the same thing in any military school on class day, just try it once!
"The Floradora Sextette" features Alice Day, Lila Lee, Sally O’Neil, Patsy Ruth Miller, Myrna Loy and Marion Nixon in coquettish ruffles and trailing ostrich plumes. But the big surprise of the act is when the boys they left behind them sound a bitter plaint. Ben Turpin, Heinie Conklin, Bert Roach, Lloyd Hamilton, Lupino Lane and Lee Moran do a dainty melange of dance steps, even while their brave hearts are breaking at the tough deal the years have given the boys of the Floradora Sextette.
PIRATE SCENE COLORFUL
"Skull and Crossbones" is played against the dusky orange of a salt-weathered sail that swings across half of the screen. There are plenty of villains, bloodthirsty, swash-buckling, and singers all. Noah Beery, Tully Marshall, Bull Montana, Anders Randolph, Kalla Pasha, Wheeler Oakman, Otto Matiesen and Philo McCullough lay for Ted Lewis, and threaten him with the plank unless he amuses them.
He plays "Motion Picture Pirates" and "The Pirate Band" with his orchestra. Words by J. Kiern Brennan, and music by M.K. Jerome give him a chance to declare an ambition "to make everybody happy," something he has been working at for quite a long while, it seems to me.
Georges Carpentier sings "If I Could Learn to Love," assisted, and considerably, by Patsy Ruth Miller and Alice White. The best part of this act happens before it starts. It is Frank Fay’s struggle with a trainer who is busily getting him into boxing gloves, while he tries to announces the big fight that Carpentier will stage.
A moment might as well be taken off here as anywhere to pay tribute with one of my golden-voiced giggles to that master of ceremonies who holds the show together with his ill-fated attempts to do a number of his own. He shares honors with Louise Fazenda, Lloyd Hamilton and Beatrice Lillie in a skit that is so glamorously sappy that it is a treasure. Incidentally, the worst fault of the film is that there is not nearly enough of Beatrice Lillie in it.
A sister act is interesting, even if it isn’t art. It features the real sisters, Dolores and Helene Costello, Sally Blane and Loretta Young, Sally O’Neil and Molly O’Day, Lola Vendril and Armida, Harriette Lake and Marion Byron, Alice and Marceline Day, Adame and Alberta Vaughn and Shirley Mason and Viola Dana.
"Interruptions" is all about Frank Fay’s attempts to say a piece that begins, "Dear little pup." By the time he gets a chance, the pup is a full grown police dog, and Fay has a long gray beard, if you believe that the camera never lies.
BURLESQUE NUMBER FUNNY
"Singing in the Bathtub" shows Winnie Lightner brandishing her arms in coquettish circles to interpret the words by Ned Washington and Herb Magidson. You haven’t heard nothing yet until you have heard these words, and, though you may not know it, you have been waiting all of your life to hear dainty Bull Montana roar out the tender strains of "You Were Meant For Me."
Irene Bordoni sings one of those intense ballads that come out half through the Bordoni nose and half through the Bordoni mouth with such telling effect. It is "just an Hour of Love" with words by Al Bryan and music by Eddie Ward.
Nick Lucas sings the song hit of the show, "Lady Luck," with words and music by Ray Perkins. He appears, also, in an elaborate "Chinese Fantasy" with the exotic Myrna Loy.
"A Bicycle Built For Two," features Chester Conklin, Douglas Fairbanks Jr., Chester Morris, Jack Mulhall, William Collier Jr., Grant Withers, William Bakewell, Lois Wilson, Gertrude Olmstead, Pauline Garon, Sally Eilers, Edna Murphy and Jacqueline Logan.
The dances staged by Larry Ceballos and Jack Haskell are one of the admirable special features. Imagine 300 girls sauntering up black stairs, so black that the dancers seem to be dancing on black air, and weaving themselves in deliberate, intricate routines. Then there is the famous Ceballos "black and white ballet," that always ends too soon, and numerous other routines.
BARRYMORE IN FINE BIT
John Barrymore for once fails to turn the other cheek in profile, and delivers Richard’s soliloquy on the mound, in a superb fashion that justifies this grim bit of Shakespeare in the setting of gaiety and laughter. He shows the warped, malignant desire for power that animated the hunchbacked duke, with such authority, that it is far and away the most distinguished part of the film.
John Adolphi, director, Larry Ceballos and Jack Haskell, dance directors, Louis Silvers, musical director, Estras Hartley and Max Parker who designed the settings, Louis Gelb, technical director, and a lot of the others responsible for the success of the show were introduced at one point. They take a quick how in safety masks of long black beards.
The Show of Shows, because of its color and its comedians rivals The Hollywood Revue, and that should satisfy those who think revues are the ultimate in screen art.
2/11/1930 HDC Doris Denbo
And still Norma Shearer’s Divorcee cast enlarges. The attractive and cultured Theodore Von Eltz will play the role of the foreign lover in this feature. He has just recently played in The Furies, The Awful Truth and The Very Idea. Here is a man bound for the top ranks of popularity with enough roles given him on the talking screen. Chester Morris, Robert Montgomery, Conrad Nagel, Florence Eldredge, Zelda Sears, Helene Millard, Mary Doran and Helene Johnson make up the rest of the interesting cast for this smart production. Robert Z. Leonard is directing. They left for Catalina via plane yesterday where they will board the yacht, Gentry for water scenes.
2/12/1930 HDC Society In Filmland
By Elizabeth Yeaman
Roses and carnations banked the tables at the dinner dance given last Saturday night by Lila Lee, who entertained at the Embassy Club in honor of her sister, Mrs. Leonard Tufford of Elyria, Ohio.
Covers were laid for Mr. and Mrs. William Hawks (Bessie Love), Mr. and Mrs. William Seiter (Laura LaPlante), Mr. and Mrs. Lydell Peck (Janet Gaynor, Mr. and Mrs. Tay Garnett (Patsy Ruth Miller), Mr. and Mrs. Gus Edwards, Mr. and Mrs. Eric von Stroheim, Mr. and Mrs. Myron Selznick, Mr. and Mrs. Al Rockett, Mr. and Mrs. Bartlett Cormack, Mr and Mrs. Chester Morris, Mr. and Mrs. Bud Lighton (Hope Loring), Mr. and Mrs. Frank Lloyd, Mr. and Mrs. Benjamin P. Schulberg, Mr. and Mrs. William K. Howard, Mr. and Mrs. Ray Rockett, Dr. and Mrs Harry Martin, Mr. and Mrs. Ned Martin, Mr. and Mrs. Sam Jaffe, Mr. and Mrs. Ben Goetz, Mr. and Mrs. Roland West.
And the Misses Bebe Daniels, Virginia Valli, Edith Mayer, Irene Mayer, Natalie Gallitzen, Dolores Del Rio, Billie Dove, Leatrice Joy, Margaret Ettinger, Lillie Hayward, Seena Owen, Happy Rand, and Messrs. Ivan St. John, William Goetz, Charles Farrell, Lawrence Stallings, Larry Kent, Howard Hughes, David Selznick, Dennis McSweeney, Paul Bern, Ross Shattuck, Ben Lyon, John Farrow, Joe Willicombe and Harry Davis.
2/24/1930 HDC She Couldn't Say No
By Doris Denbo
"She Couldn’t Say No" to Chester Morris, could Winnie Lightner in the picture of that same name which opened at Warner Brothers Downtown Theater at midnight Saturday. She couldn’t even sing "No" to him, though she sang a generous number of other songs during the run of the film.
This is another singing picture where the star reaches the heights of stardom and then drops down again only to rise to greater heights, all through her love for the leading man. Winnie is a struggling chorus girl and singer with a song writer (Johnny Arthur) deeply in love with her. She falls for Morris, a racketeer about town, and he for her. He becomes her manager and gives up the old racket and they are seemingly are going to live blissfully ever after.
HAS TWO SWEETHEARTS
But there is a society girl whom Chester falls in love with. Sally Eilers plays this girl, and she finds in him quite a new thrill, with a wee bit deeper note in it. Chester has a bad time between the two of them and when he breaks with Winnie she cannot go on. On her triumphant opening night she breaks down and then runs away, but faithful Johnny finally finds her again and brings her back to Broadway and new fame and a new show. Chester is shot–but then I’m telling all the story now and it is really worth seeing for yourself.
Winnie sings, clowns, emotes and acts broadly throughout this picture, and she is good. She has a most emotional role to fulfill and does well with it. Morris is always the convincingly sincere performer and makes a rather weak, worthless hero, rather lovable and completely understandable.
Sally Eilers is attractive, as the little society debutante and Johnny Arthur is, as always, both funny and pathetic at the same time. Tully Marshall and Louise Beavers are the other two members of the cast and they are both good in character roles. Lloyd Bacon directed a too long story, with an anti-climax so smooth and interesting that the attention is held every moment.
SHORT SUBJECTS GOOD
There are two splendid short subjects accompanying this feature. James Barton and a ragged little dog bum their way through the city streets, starving but cheerful. They finally enter amateur night in a movie picture show and win the $20 prize money, after which they have a big dinner with all the trimmings.
Vivienne Oakland and John T. Murray are in a playlet of an extravagant wife who turns the table on her complaining husband and has him guessing–and then paying her bills without further complaint.
3/30/1930 FD Playing Around
(All-Talker)
First National Time: 1 hr., 6 mins.
Good programmer with Alice White giving a satisfactory performance in the stellar role. Story moves smoothly and direction is well handled.
Although there is nothing exceptional about the story of this film to lift it out of the "average program" class, it does however, hold enough general entertainment value to please. Despite the lightness of the script handed her, Alice White manages to turn out a pleasing performance as the daughter of a cigar store manager, whose craving for the highlife leads her to turn down her soda clerk boy friend for the attentions of a "polished" crook. She is taken on a tour of the "bright way," but is brought back to realism when the crook shoots her father in a holdup. The usual happy ending forms the climax. Good work is done by the supporting cast headed by Chester Morris. Direction and photography well done and recording is good. Suitable as programmer anywhere.
Cast: Alice White, Chester Morris, William Bakewell, Richard Carlyle, Marion Byron, Maurice Black, Lionel Belmore, Shep Camp, Ann Brody, Nellie V.Nichols.
Director, Mervyn LeRoy; Author, Vina Delmar; Adaptor, Adele Commandini; Titler, Not Listed; Editor, Not Listed; Dialoguer, Humphrey Pearson; Cameraman, Sol Polito.
Director, Good. Photographer, Good.
5/15/1930 LAR The Divorcee
By Llewellyn Miller
Fox Criterion--Norma Shearer in The Divorcee, from the novel "Ex-Wife." Directed by Robert Z. Leonard.
"From now on you are the only man to whom my door is closed," says the disillusioned wife in The Divorcee, starring Norma Shearer at the Fox Criterion. And out she steps to have a series of philanders that are only hinted at, but that are sufficiently hectic for all of that.
Jerry and Ted think they have every hope of happiness, because Jerry has what they call "a man’s outlook on life." Her outlook cannot quite give her resignation when she discovers Ted’s affair with another woman, however. He assures her that it means nothing. She takes him at his word, and, for the sake of evening their score, spends a night with one of his friends while he is out of town.
When, quite frankly, she tells him what she has done, Ted is shocked to the point of packing a dressing gown and some handkerchiefs, and drowning all in drink.
There is a sensational motor car smash, enlivened by a powerful bit of shrieking. Helene Millard does the part of the girl who loses her head when her sister is seriously hurt with a thoroughness that is effective and quite hard on the nerves. Wild parties, a gay group of people, and some thwarted love and interest to the background of the story.
Norma Shearer is good in her straight dramatic moments. She shows the change in the girl who believes every word of the marriage ceremony to a hardened sensation seeker admirably. In the early part of the film she affects a laugh that is used too frequently to be effective. It carries a quality of ineffectuality that seems to me to be in variance with the independence of a woman who could hand a man his own medicine.
Chester Morris plays the husband, Conrad Nagel gives his expected sympathetic portrayal as a devoted suitor. Robert Montgomery is funny, especially in the party scenes, where he imitates a monkey. Others in the exceptionally good supporting cast are Florence Eldridge, Robert Elliott, Mary Doran, Tyler Brooke, George Irving, Helen Johnson and Zelda Sears, who also made the adaptation with Nick Grinde.
Dialogue by John Meehan is easy and telling, and Robert Leonard’s direction is tactful, always, without shadowing the implications of wild life among the married.
I have not read Ursula Parrott’s novel, Ex-Wife, so I cannot tell whether the story was followed closely or not. Most of the town wants to find out for itself, anyway, judging by the lines that besieged the Criterion box office yesterday.
5/19/1930 HDC Elizabeth Yeaman
Another permanent stage acquisition to the talking screen is seen in Walter Huston, who has been signed as a United Artists star. Huston’s portrayal of the title role in Abraham Lincoln, the recently completed D.W. Griffith epic, was instrumental in winning his contract which will place him on a footing with such stars as Mary Pickford, Douglas Fairbanks, Norma Talmadge, Charles Chaplin, Gloria Swanson, Ronald Colman, Dolores Del Rio, Joan Bennett and Chester Morris. After completing Abraham Lincoln, Huston went to First National to make The Bad Man, and he will also make The General for Paramount before permanently joining the United Artists organization. For many years he was one of the greatest Broadway stage stars, playing in Desire Under the Elms and The Barker. His talking pictures include Gentlemen of the Press, The Lady Lies, and The Virginian.
6/26/1930 LAX The Big House
By Louella O. Parsons
Dark visaged men with brutal faces, crooks with weak, stuttering voices, violent murderers, youthful robbers and boys who have succumbed to the easiest way, held a large audience enthralled at the Criterion Theater yesterday. A superb piece of casting placing in even the smallest roles artists who did their finest work, is largely responsible for the success of this engrossing drama, The Big House.
Wallace Beery, who has made many a day for the movie fans in other dramas, excels even his own finest efforts as "Butch." A character splendidly drawn, incredibly wicked and yet with a certain indefinable charm he inspires unbelievable sympathy, as well as laughter with his comedy.
Mr. Beery in his characterization, which should really be numbered among the fine performances of the year, has a worthy running mate in Chester Morris. Not since an eager movie public woke one day to acclaim this lad in Alibi has he offered anything that compares with his work as Morgan. A slick thief, one of the gang, but a boy with a certain code of morals in his dealings with men that not even threats of death could erase.
PATHETIC CONTRAST
Contrasting with the virility of "Butch" and Morgan is the weakness of Kent, stool pidgeon, pathetic in his youthful misery. Robert Montgomery is excellent in this role, made doubly difficult by reason of its rather unpleasant side.
George Hill, the director, and Frances Marion, the author, picked their men with the training of two experts. You see among the vast gathering of criminals inside the prison wall such players as Karl Dane, Matthew Betz, and others in small parts. Lewis Stone as the kindly warden, DeWitt Jennings as Wallace, the merciless guard, are only a part of this amazing panorama of life in a penitentiary.
The Big House is a story of men. Women are only incidental. Yet the potent influence of one girl, is subtly predominant. Leila Hyams, decorative, attractive and with a charming speaking voice, adds just the right note of femininity.
Life behind the iron bars seems to hold a curious fascination for those who live and breathe the fresh air. Many plays and movies were inspired by the recent outbreak in the Canon City prison, where so many guards mingled their blood with that of the lawless men who planned this futile dash for freedom.
Yet with all of these movies and fictional offsprings of this real event, not one measures up to The Big House, a Cosmopolitan production, written for MGM release by Frances Marion.
CAPABLE DIRECTION
Miss Marion has prepared a drama that stands the most careful and minute investigation. She tempers the bitter, heart-breaking moments with comedy that comes easily and naturally. Surprising to hear the genuine outbursts of laughter yesterday following some line uttered by "Butch" or some wisecrack of his pals.
It is true Miss Marion sometimes wanders into the path of sentimentality, but she does it with such true craftsmanship that you are grateful for a little tenderness in the shadow of the gloomy prison wall. She has the excellent help of Joseph Farnham and Martin Flavin in writing the dialogue.
Without George Hill’s direction there is no doubt The Big House would not have scored so heavily. His deft touches and his fine understanding of necessary drama is evident throughout. Particularly good is the outbreak of the men who fight like trapped animals in their eagerness to be free. He paints a picture of prison life strong, to be sure, but without the exaggerations that are frequent in stories of this kind.
As early as 11 o’clock it was impossible to get a seat. This reviewer was about to give up in disgust when a chair in a corner was found. The Divorcee which established a record at this same theater, will have a healthy rival. A Fox Movietone and a Charley Chase Comedy complete the program.
6/27/1930 HDC Elizabeth Yeaman
The Bat Whispers is the exciting title of Roland West’s forthcoming production for United Artists in which Chester Morris will be starred. West, who makes but one picture each year, has written the screen adaptation and dialogue from the stage play "Whispers," a recent New York success. Chester Morris, who was featured in West’s last picture, Alibi, is returning to his home lot for the first time since Alibi was made. Since then he has been loaned to other studios for important roles in The Big House, The Divorcee, The Case of Sergeant Grischa, She Couldn’t Say No, Woman Trap, Playing Around, Second Choice and Fast Life. In The Bat Whispers he will be featured alone. A strong supporting cast has been engaged which includes Una Merkel, Gustav Von Seyffertitz, Ben Bard, Grace Hampton, Spencer Charters, Charles Dow Clark and Maud Eburne. Miss Merkel, a New York stage actress has appeared in but two pictures, and Miss Hampton, Charters, Clark and Miss Eburne are from the London and New York stages.
7/2/1930 HDC
Before we leave the all-intriguing subject of the sound screen, it is interesting to note that Roland West’s new production, The Bat Whispers, featuring Chester Morris, is to be a real experiment in sound. Already, it is termed "the picture of a thousand sounds," with screams, shattered glass, creaking hinges, ghostly footfalls and other varieties of noises ranging from music to thunder, caught with more than usual realism. Rehearsals are getting under way with Una Merkel, Gustav von Seyffertitz, Ben Bard, Grace Hampton, Spencer Charters, Charles Gow Clark and Maud Eburne in the cast. Roland West can be expected to make something very spirited and invigorating out of this comedy. It’s a real "hair-raiser" and Roland’s first production since his Alibi, made about a year ago.
7/18/1930 HDC Elizabeth Yeaman
Observing the utmost sorcery, Roland West is filming his new mystery comedy drama, The Bat Whispers, exclusively at night. When the studio gates close at 6pm, West begins shooting and continues until 3am. In this way he hopes to preserve the secret of the screen play, and also to intensify the mood of the players. It is his belief that mystery, suspense and supernatural effects can be best obtained under the cover of darkness. Chester Morris is featured in the production with a supporting cast including Una Merkel, Gustav Von Seyffertitz, Ben Bard, Grace Hampton, Charles Dow Clark, William Bakewell, Spencer Charters, Maud Eburne and S.E. Jennings.
7/21/1930 HDC Elizabeth Yeaman
The Studio Round-Up—Both Sue Carol and Arthur Lake, co-stars of She’s My Weakness, abandoned their real names of Evelyn Loderer and Arthur Silverlake when they entered pictures. Neil Hamilton has an amazing number of diversified roles to his credit, for he has appeared as a soldier, Sailor, aviator, screen lover, miner, bank clerk and chauffeur. Constance Bennett emphatically denies that she is leaving the screen and announces that she will complete her contract with Pathe before making any other plane. Myron C. Fagan, New York playwright, arrived in Hollywood Saturday to make the screen adaptation of Joseph Santley’s next film for Pathe. Chester Morris, whom United Artists are grooming for stardom, has been given the lead in Death Takes a Holiday, and will start work as soon as he finishes The Bat Whispers.
8/6/1930 HDC Elizabeth Yeaman
Another promising young actor who has been given a break out at MGM is Russell Hopton, who has been signed to play the juvenile "heavy" opposite Wallace Beery in Dark Star. When studio executives discovered that they could not secure Chester Morris for the part, a great many juveniles were tested for the role, and it was just by chance that director George Hill saw an unusually good screen test which Hopton had made for The Passion Flower. Chester Morris is now starring in The Bat Whispers for United Artists. Hopton completed an important role in College Lovers for First National last week, and he also appeared in the stage production of "The Last Mile."
8/11/1930 HDC Elizabeth Yeaman
Having just completed The Last of the Lone Wolf, for Columbia, Bert Lytell will start work immediately on his second picture for this company, which will be the talking screen version of his popular stage success, "Brothers." Lytell will portray the dual title role, and Dorothy Sebastian, who recently scored a hit in Hell’s Island, has been cast for the feminine lead. Others in the supporting cast are Louis Natheaux, Maurice Black and William Morris, father of Chester Morris. Walter Lang is slated to direct.
1/6/1931 EE Jimmy Starr
If Norman Foster, husband of Claudette Colbert, hadn't been loaned to MGM for a role in Among the Married he could have gotten the part of "Hildy Johnson" in The Front Page, which Lewis Milestone is directing for Howard Hughes.
Chester Morris was all set for the important part, but Pat O'Brien, a New York stage actor, was finally chosen. Rehearsals started today.
1/14/1931 HDC Society In Filmland
Celebrating their seventh wedding anniversary, Mr. and Mrs. Darryl Zanuck entertained a large number of guests at a delightful dinner dance Monday evening in the Indian room of the Ambassador Hotel.
Those bidden included: Messrs. And Mesdames John Adolfi, Lloyd Baker, William Beaudine, Ralph Blum (Carmel Myers), Lou Brown, Pan Berman, Michael Curtiz (Bess Meredyth), Arthur Caesar James Cornelius, George Converse, Nat Deverich, Frank Fay, James Flood, George Fitzmaurice (Diana Kane), Ben Goetz, William Goetz, Tay Garnett (Patsy Ruth Miller), Al Green, Ray Griffith, Edward Hillman (Marian Nixon), Alan Hale, and Joseph Jackson.
Messrs. And Mesdames Frank Joyce, Ben Lyon (Bebe Daniels), Morgan LeRoy, Bert Lytell (Grace Mencken), Sol Lesser, Mike Levee, Rufus LeMaire, Edmund Lowe (Lilyan Tashman), Lew Lipton, Edward Mannix, Ned Marin, Archie Mayo, Antonio Moreno, Chester Morris, Herman Politz, Harry Rapf, M. Reingold, Arthur Stebbins, Hunt Stromberg, B.P. Schulberg, Myron Selznick, Leon Schlesinger, Herbert Somborn, William Seiter (Laura LaPlante), Hal Wallis (Louise Fazenda), Sol Wurtzel, King Vidor, Victor Varconi and Jack Warner, Dr. and Mrs. Harry Martin.
Also the Misses Joan Bennett, Joan Blondell, Pauline Garon, Doris Gittleson, Marian Marsh, Harriet Parsons, Marquita Greasby; Messrs. H. Beaumont, Graham Baker, Fred Beetson, John Considine, George Frank, Fred Fox, Arthur Franklin, Sid Grauman, Hobart Henley, William Koenig, Carl Laemmle Jr., Lewis Milestone, James Oviatt, Eddie Wood, Lou Schreiber, Mack Sennett, William Wellman and Harry Wilson.
1/26/1931 EE The Bat Whispers
By Jimmy Starr
It is quite likely that you will be afraid to go home in the dark after viewing The Bat Whispers, the mystery thriller, which is now playing at the United Artists Theater.
If you’re fond of spooky noises, weird happenings, sliding panels, trick fireplaces and house maids that turn loose blood-curdling screams at the proper, or improper moments, then you will certainly have the time of your life with this picture.
Director Roland West set out to do a scare film and I wouldn’t be surprised if he hadn’t scared himself. He has the usual spooky house, the storm raging outside, the funny-faced butler, a constantly frightened maid, the mysterious doctor and–of course, the young romantic couple.
....WHO IS THE BAT?...
Naturally, I’m not going to reveal The Bat. That would be telling, and it certainly would spoil a perfectly good evening of chills for your spine. There are all sorts of dastardly villains running around this strange house–arch criminals at large, performing all manner of phantom-like movements.
Director West is rather a master of securing weird camera angles and, for once, they are particularly good for this type of entertainment. And just to make it doubly interesting, Mr. West uses the magnifilm, which projects images twice the ordinary size. I like the wide film for this production.
...SPLENDID CAST...
Besides Chester Morris, who is quite excellent as the detective, there is an unusually good cast of players. Una Merkel, Grayce Hampton, Maude Eburne, Gustav Von Seyffertitz, Ben Bard, Hugh Huntley, Charles Dow Clark, William Bakewell and Spencer Charters.
Of course, mystery plays seldom stand analysis. This one won’t either. But that isn’t the question. It is, nevertheless, entertainment. Despite all the unanswered tricks, it contains enough mystery to keep one on edge throughout.
When persons in the audience cry out warnings to the players on the screen–as they did yesterday afternoon–I believe it proves the drama is getting over and that everyone in the theater is definitely concerned.
Charlotte Greenwood stars in a very funny Christie comedy, Girls Will Be Boys. A cartoon comedy and Paramount news reel are also on the program.
12/19/1931 LAX Corsair
By Jerry Hoffman
Well, pirates aren’t what they used to be. Instead of jewels and gold it’s rum, champagne (Scotch and rye in a pinch) they’re after. They call it "hijacking" nowadays, and yesterday came a picture to the United Artists Theater named Corsair that tells lots about it.
Of course, it isn’t much like our old fashioned pirates who hunted treasure islands. Instead of "Long John" Silver, in Corsair there’s a "Big John" who has both his legs–and a very, very, nasty laugh. But then he’s the villain, and who has a better right to a nasty laugh? There is Hawks in Corsair, a John Hawks, played by Chester Morris. This lad was a swell football player who worked his way through college, got a whiff of smelly Wall Street business methods and decided the air of sea-hijacking was healthier, even if the business wasn’t quite honest.
Walton Green wrote one of the most thrilling adventure stories in his novel Corsair. In bringing it to the screen Roland West made some changes, retained quite a bit of the thrills and suspense, and does show some lovely photography. Thelma Todd, who is renamed Alison Lloyd for this picture, is none the less lovely under her new name. True, she rarely has been photographed as effectively, and this is one of the few opportunities Thelma Todd Alison Lloyd has been given to show her very fine acting ability.
For Chester Morris Corsair is something new in characters. Aside from unnecessary steps to show him as an uncouth "hick" in the first reel, he registers very well. It seems silly to make an audience believe that a boy would be quite as ignorant after four years in college. The introduction of the "Silly awss" English character also weakens the story. William Austin plays this. Very good work is done by Mayo Methot. Fred Kohler does his brutal villain stuff. Frank Rice adds a praiseworthy bit; also convincing is Emmett Corrigan, Frank "Drunk Again" McHugh disposes of his usual film quota of glasses.
The dialogue and scenic direction, sponsored by Rollo Lloyd and Robert Ross for Roland West’s production, is exceptionally good. Tom Howard appears in a comedy on the United Artists program, further augmented by a Foreign Legion reel, the news and Chauncey Haines Jr., at the organ.
1/15/1932 LAR Llwellyn Miller
Regis Toomey and Chester Morris are to be teamed again. They will be seen for the first time in three years in The Glass Key, which Paramount will make from the story by Dashiell Hammett.
Toomey and Morris both registered heavily in one of the earliest of the successful talking pictures, Alibi.
The Glass Key was another of those pictures which was intended for Gary Cooper, but since his vacation in Africa, seems to be extending indefinitely, other actors are being cast in his roles.
1/15/1932 EHE Harrison Carroll
Movie-makers go merrily on, juggling casts and crossing up columnists.
Chester Morris, it now develops, will play opposite Carole Lombard in The Beach Comber, thus leaving Phillips Holmes free to resume his interrupted vacation.
Several days ago, Phil was hastily summoned from New York--they were in such a hurry he had to fly--to make an added scene for the Lubitsch picture, The Man I Killed. When he got out here, it turned out to be a single close-up, ironically enough, a smile.
Then, when they announced him for The Beach Comber, his dreams of further loafing faded away completely.
But, on second thought, the studio decided Chester Morris fits better into the Mildred Cram story, so everybody is happy. Chester has a good role and Phil can devote himself to leisure.
Incidentally, Paramount also is going to change the title of this picture. William DeMille directs.
1/18/1932 HCN Elizabeth Yeaman
Adrienne Ames won another nice assignment today when she was cast in the second feminine lead in The Beach Comber at Paramount. This is the picture which was to have co-starred Phillips Holmes and Carole Lombard. A sudden switch of plane took Holmes out of the picture with Chester Morris now replacing him. William DeMille will direct and the production is slated for early shooting.
1/22/1932 HCN Elizabeth Yeaman
I wonder if Paramount is planning to make a co-starring team of Carole Lombard and Chester Morris? Before they have even started their first picture together, the executives have cast them in another. Carole and Chester are to have equal billing in The Glass Key, the semi-mystery story by Dashiell Hammett. This will be made immediately following The Beachcomber, on which they will start work very shortly. Louis Weltzenkorn of Five Star Final fame, is ow working on the screen adaptation of The Glass Key, and a director will be assigned to the picture any day now. Another important member of the cast will be Regis Toomey is getting assignments so fast he will have to make a catalogue to keep track of them all. When a featured player is assigned to several pictures in advance you may depend upon it that his services are highly valued by the company. Usually only the stars rate this advance booking. Carole Lombard used to play pretty consistently opposite William Powell. Then they were married and shortly thereafter Powell went to Warners on a term contract. Now it looks as if Chester Morris will become her screen partner.
2/13/1932 EHE Jimmy Starr
Cary Grant is a young man the film fans of the world will soon be talking about. In fact, they--the film fan--will probably be writing for his photograph to replace former favorites upon that well known mantle shelf above the fireplace, or the walls around the dressing-table mirror.
That is the way with the fickle public-and Cary Grant, according to Paramount officials, has a certain way with the cinema devotees. So much so that he has been given a featured role in Sinners in the Sun, which co-stars Carole Lombard and Chester Morris under William DeMille’s direction. This is the Mildred Cram yarn formerly captioned The Beachcomber.
Mr. Grant, recently of the New York stage, was brought to Hollywood for a minor role with Lily Damita in This is the Night, and so impressed studio executives with his work that he was immediately cast in the new production.
DeMille has selected a special featured group of "names" for the supporting roles. Walter Byron, Reginald Barlow, Kent Taylor and Luke Cosgrove have important parts. Taylor is another contract player who is being groomed for featured spots.
10/2/1933 EHE 14 quit film academy in code protest, denouncing proposal to write a salary control board into the film industry's NRA code. Adolphe Menjou, Frederic March, Gary Cooper, Ralph Bellamy, George Raft, James Cagney, Boris Karloff, Warren William, Paul Muni, Robert Montgomery, Frank Morgan, Ken Thompson and Chester Morris.
posted by GDH at 9:43 PM
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