Phillips Holmes in the 30's
6/29/1933 HCN Elizabeth Yeaman
Sylvia Sidney, who is the dramatic heroine of Jennie Gerhardt, is to have an exceedingly colorful role in her next picture to be made for Paramount under the B.P. Schulberg banner. The title of the picture is Reunion and that title probably will be changed because of its similarity to Reunion In Vienna. It is an unproduced play by Alfred Davis. Herbert Marshall, who inspires me to excessive enthusiasm, is to be co-starred with Sylvia in this picture. Marshall is still in England, but he returns next month to start work opposite Dorothea Wieck in White Woman. After that picture he will be ready for Reunion.
The story revolves about a strong war-time romance behind the firing lines. Miss Sidney and Marshall will have the roles of a theatrical team, Complications arise when it finally is discovered that Miss Sidney is a spy for the German army and Marshall is a spy for the English army. True, there have been lots of spy stories on the screen but the appeal of a really good spy story seems to be perennial.
....
Fanchon Royer no longer will have the distinction of being the only woman producer in Hollywood. Helen Mitchell, known in private life as Mrs. Oliver Morosco, has established headquarters at Tiffany studio where she will produce six pictures for Universal. Miss Mitchell is a brilliant young woman who has just as many ideas as her famous theatrical husband. Her first production will be Waffles, to be made from her own original story. Sari Maritza, Buster Collier, Alan Mowbray, Barbara Luddy and Ivan Simpson have been signed for the ast which Warren Millais will direct. The picture will have a 16-day shooting schedule, so with such a cast, it will not be any "quickie." her second picture will be Dance, Fools, which also will be made from another one of Miss Mitchell's stories, with Millais directing.
Oliver Morosco, meanwhile, is very much concerned with his own productions to carry the banner of Oliver Morosco Ltd. He is to make four pictures a year for an RKO release. His first picture scheduled is titled The Last of Her Men. He is now casting for the picture. And a rather reliable rumor bears the exciting news that Morosco is negotiating with Maude Adams to play the grandmother in the picture. Morosco and Miss Adams have been friends for a quarter of a century, and if Miss Adams does decide to emerge from her seclusion, it will be because of that friendship.
....
Deals between Chester Morris and Universal have been on and off so many times that I become confused keeping track of them. Chester, you know, was to have had the lead in H.G. Wells' Invisible Man. But he declined to take the assignment at the last moment and Clause Rains was engaged in his place. Now it seems that Chester will make some pictures after all. He is expected to sign a two-year picture contract with Universal, and one of those pictures probably will be Kid Gloves. That is the picture Pat O'Brien was supposed to have made last year, but it was postponed so often that O'Brien had left Universal by the time the studio revived plans to make the film.
....
Illness is making it necessary to recast several important pictures. Doug Fairbanks Jr., will not be strong enough to start work on Paramount's film adaptation of Design For Living. The studio cannot hold the production up much longer, so a new actor is being sought for the role. And out at Fox Jesse Lasky is experiencing great difficulty in casting The Worst Woman In Paris. This is the Monta Bell story which Bell will direct. After a long search Myrna Loy was chosen for the role, but her doctor ordered her to rest to prevent a breakdown from overwork. Production was withheld for several weeks, and as Miss Loy is still unable to start to work, Lasky and Bell are now looking for another star. Then, too, Harvey Stevens was slated for one of the important roles. Bt he is being detained for Paddy, The Next Best Thing and will not be available for The Worst Woman In Paris. So now he must be replaced. John Boles probably will get the part. So far Adolphe Menjou remains in the cast.
....
Dorothy Tennant, Broadway character actress who landed in Hollywood during the bank holiday, has been engaged by Warners for a featured role in Footlight Parade. She will be teamed with Guy Kibbee, and the two of them have been cast as a Jewish couple. Both Kibbee and Miss Tennant are blond. At least I suppose you might classify Kibbee's bald pate as blond. And speaking of illness again, Dick Powell's attack of pneumonia has made it necessary to find another actor for the featured role in Footlight Parade and Stanley Smith was hurriedly summoned for the part.
....
Ann Harding will have Clive Brook as well as William Gargan as her leading men in Beautiful, which goes into production before long. Brook, who has been under contract to Paramount, allowed Radio Pictures to buy up his contract.
Phillips Holmes in the 30's
ABBREVIATIONS
EE – Los Angeles Evening Express
EH – Los Angeles Evening Herald
EHE – Los Angeles Evening Herald Express
FD – Film Daily
HCN – Hollywood Citizen News
HDC – Hollywood Daily Citizen
LAR – Los Angeles Record
LAPR – Los Angeles Post-Record
LAX – Los Angeles Examiner
MPH – Motion Picture Herald
10/26/1929 EH Scouting the Sinema
By Dorothy Herzog
Speaking of Universal's All Quiet on the Western Front, there's a report circulating that directors Lewis Milestone and George Kukor are anxious to sign Douglas Fairbanks Jr. to play the lead. Corking good part, whoever gets it. A few names have been added to the cast, including Ben Alexander, Phillip Holmes, and Billy Bakewell. Ben Alexander is an ex-boy star making good in his adolescence without the Harterschaft & Marx.
1/13/1930 LAX Louella O. Parsons
A new angle to this many-sided film business of ours looms on the horizon. I speak of the royalties on song. I hadn't thought of it until Edmund Goulding told us that if he doesn't get his share of royalties on the song "Love," in Swanson's picture he is going to take his case to the courts. I suppose in that event it would be a legal battle between Mr. Goulding and Joseph Kennedy. Eddie, meanwhile, is at Paramount getting ready to direct The Devil's Sunday, which will star Nancy Carroll and feature Phillips Holmes. I hear tell Rudy Cameron, former husband of Anita Stewart, is up for a part.
1/14/1930 HDC Doris Denbo
Edmund Goulding is at Palm Springs getting inspiration to complete The Devil's Sunday which is to star Nancy Carroll and which he is to direct. He left yesterday and plans on staying there for several days. Phillips Holmes, featured Paramount player, accompanied him. He too will vacation for a few days at this popular desert resort. Goulding has become quite famous for his Trespasser with Gloria Swanson and he also wrote The Broadway Melody, you know. He has written several successful novels and seems to be surging ahead in the talking picture field.
1/27/1930 EH Screenographs
By Harrison Carroll
Another juvenile getting his first big break is Phillips Holmes. He has been chosen by Edmund Goulding to play opposite Nancy Carroll in The Devil's Sunday.
Since Holmes was brought to Hollywood from the Princeton campus, he has been gaining experience in supporting casts at Paramount. He recently finished such a part with Gary Cooper in Only The Brace;
Goulding has just returned from Palm Springs, where he has been putting the finishing touches on The Devil's Sunday, which is his original story.
3/1/1930 LAR Previews by Jimmy Starr
Only The Brave
Starring Gary Cooper, with Mary Brian. Directed by Frank Tuttle. Story by Keene Thompson. Adaptation by Agnes Brand Leahy. Dialogue by Edward E. Paramore Jr., Produced and released by Paramount.
Gary Cooper's success in The Virginian aroused Paramount into finding another southern story for him.
Only the Brave is a good choice. It is, perhaps, of the ancient formula of the action-packed, adventurous romantic things. Nevertheless, it makes charming entertainment and abounds with novel twists and much rare comedy.
The story is laid in the time of the end of the Civil War at the Union Army headquarters and at a Virginian plantation. Gary plays a Union cavalry captain, who, jilted and embittered by the girl he loved, volunteers for the almost certain death of spy duty. This takes him behind the Confederate lines, where he meets a little Southern coquette–and then things begin to happen.
Once again Gary has Mary Brian as his leading lady, and once again little Mary almost succeeds in stealing the honors of the picture away from him. Mary reaches new cinematic heights in this part, which she plays with a decided Southern accent. It's awfully cute, and she handles the lines well, making the most of their humorous value. Some trouper, this Mary Brian.
Gary is quite splendid as the cavalry captain, and he will certainly cause more feminine hearts to flutter. Gary CAN wear a uniform.
A truly outstanding performance is given by William LeMaire, former vaudeville star, who makes his debut in talking pictures as a slovenly guard. His dialect and manner of speaking lines provides some of the most uproarious fun I have listened to in a long time.
Phillips Holmes does excellently as a jealous rival. Virginia Bruce, Morgan Farley, Elda Voelkel, James Neill, Guy Oliver and Lalo Encinas complete the well-selected cast.
Only the Brave is a highly entertaining romantic and adventurous story, and the direction has been handled capably by Frank Tuttle. The dialogue by Edward E. Paramore Jr., at times lapses into rather modern phrases, but that can be forgiven almost as it provides amusement.
I think you'll like it.
3/8/1930 EH Taylor Holmes Sums Up
By Dick Hunt
A broker, preferably, but if one is not available, anyone who engages in mathematics contends that two and two are four. Usually they are correct in their assumption.
But, on the other hand, an actor may contend that two and two are five, six or even seven. And he's also correct, according to Taylor Holmes.
"With the broker or the theater treasurer, it's a set mathematical rule," explained the comedian. "With the actor it's imagination.
"Now the broker comes to the theater, fits out front and lets the actor convince him that two and two are five and enjoys it," he continued.
HE KNOWS WHAT'S GOING TO HAPPEN
"As he watches he knows that the boy is going to win the girl in the last act, the villain is going to be denounced or something worse. He has it all figured out. But the actor must also prove it to him. And before that, the actor must prove it to himself in order to prove it to the broker.
"However, the next day the broker phones the actor, and two and two are definitely four," he added, sadly. "At least until the curtain goes up at 8:30.
"Two and two can equal 10 or 12 as far as the performer is concerned, and the play will be enjoyable," he continued. "But when he has to make the two figures add to 50 or 100 he will be lower than adequate, and the play will be pretty terrible. That's just beyond all imagination."
I found Taylor engulfed in a wave of humanness that was almost overpowering. And he wasn't acting.
.....
3/9/1930 FD Only the Brave
Paramount Time, 1 hr., 7 mins.
(All-Talker)
Nice programmer of Civil War days charmingly produced, with first-rate acting by Gary Cooper.
A pleasant picture, going back to the Civil War period for its material and thereby offering a welcome relief from the sort of tales that have gone into the making of most of the talking films. Though as a motion picture plot it is not exactly new, it comes at a time when the public has become tired of backstage talkers. The story has to do with a Northern officer who falls in love with a Southern girl while doing duty as a spy. To have his plans succeed he must arrange to have himself captured by the Confederate troops. He does manage to have himself caught but is rescued as he is facing a firing squad. The producer has capture much of the tender charm of the South. Gary Cooper plays the spy with fine skill and remarkable restraint.
CAST: Gary Cooper, Mary Brian, Phillips Holmes, James Neill, Morgan Farley, Guy Oliver, John H. Elliott, E.H. Calvert, Virginia Bruce, Elda Voelkel, William LeMaire, Freeman S. Wood. Lalo Encinas.
Director, Frank Tuttle; Author, Keene Thompson; Adaptor, Agnes Brand Leahy; Dialoguer, Edward Paramore Jr.; Editor, Doris Drought; Cameraman, Harry Fischbeck; Monitor Man, not listed.
Direction. Good Photography, Fine.
4/1/1930 EE PIPE ORGAN ON A PICTURE SET
For the first time in talking pictures an electric pipe organ has been moved on a motion picture set merely to supply incidental music.
The organ was taken to the set of Edmund Goulding's The Devil's Holiday at the Paramount Studio.
Director Goulding wanted to have as a background to a dramatic scene between Nancy Carroll and Phillips Holmes the music of a pipe organ playing a hymn in a near-by church.
In order to secure this music and keep the players in the mood necessary, the huge organ was transported from the music building to the set.
It remained there for several days after its use and was played between the scenes to preserve the mood of the sequences while the players were waiting for the lights to be adjusted and cameras set into place.
4/3/1930 EH Screenographs
By Harrison Carroll
Excellent reports are forthcoming from The Devil's Holiday, Edmund Goulding's story in which he directed Nancy Carroll. This picture will also raise the stock of young Phillips Holmes, it is said. At any rate, after looking at it, Paramount assigned him to the juvenile lead in Grumpy.
4/2/1930 EH Screenographs
By Harrison Carroll
Richard Arlen has been cast out of paradise by Paramount. Undergoing one of those mysterious changes of mind that makes life interesting in the movies, this studio has decided to feature Fredric March instead of Arlen in The Lost God.
Nor is that all. They have assigned Phillips Holmes to the romantic lead in Grumpy, which Arlen was to have had.
No explanations are forthcoming, but Dick's latest picture, Under Western Skies, is reported to be a fine one, so he hasn't any cause for worry. The fact that Paramount has eight stories lined up for him is another reason why he can feel secure.
4/11/1930 EH Only the Brave
By Edward Stodel
What's a man going to do when he wants to die like a Nathan Hale—and people just won't give him a break?
Unaccommodating you might call it, yet that is the problem faced by Gary Cooper as the devil-may-care Union officer of Only the Brave, which opened yesterday at the Million Dollar. Disappointed in love, and accordingly through with women, Gary as the young officer volunteers for an assignment into the Confederate lines.
MEANS CERTAIN DEATH
All espionage duty is risky but this task does not give the boy at least a chance, although he asks for none. He must purposely fall into enemy hands so that they will act on misdirecting orders he carries, which, of course, means the firing squad for him.
Cooper, per usual, presents a stalwart and serious visaged figure as the young officer. Arriving at a Confederate division headquarters, where the staff is being entertained with Virginia reels by comely northern belles, and particularly, the coquetry of the hostess, Barbara Calhoun, played by Mary Brian, he is accepted as a brother officer.
Miss Brian, abetted by a sure enough Dixie accent, appeals with her unaffected youthfulness as the "coquettish" young lady who is quite rebuffed when the stern but handsome young officer does not become entranced by her wiles. And more so when he tells her his uncomplimentary views on girls as a whole, which naturally makes her fall the harder for him. After the spy does convince, with much difficulty, the Confederates that he is what he is, she attempts to keep him from being seized. And of course that isn't according to Hoyle.
SITUATION HUMOROUS
The situation is funny, in fact, the whole picture, though of a semi-historical nature, is of a humorous and entertaining vein. In the end when love declares itself and the firing line actually looms, the "Yanks are Coming" is sounded and the day is saved.
Phillips Holmes brings credit to himself as the jealous suitor of Miss Barbara. An effective scene at the conclusion shows the surrender of Lee to Grant.
Frank Tuttle, the director, captured a distinct charm of the old South and the picture has been excellently photographed.
Besides the feature film, and comic cartoon, six acts of vaudeville, headed by Winona Winter, are presented.
4/11/1930 LAR COOPER IN NEW FILM
Million Dollar--Gary Cooper in Only the Brave, directed by Frank Tuttle. In the cast: Mary Brian, Phillips Holmes, James Neill, Morgan Farley, Guy Oliver, John H. Elliot, E.H. Calvert, Virginia Bruce, Elda Voelkel, William La Atare, Freeman Wood and Lale Encinias. Paramount Song Cartoon, The Prisoner's Song. Six Acts of Vaudeville.
A spy of the northern army during the Civil War, who must allow himself to be captured by the army of the south so that false messages may fall into their hands, is the fate of Gary Cooper in his latest vehicle which premiered at the Million Dollar yesterday.
Everything was progressing according to schedule until Mary Brian as the general's daughter, decided that she liked the 'big, handsome soldier of the north.' Then complications and comedy set in, and an interesting picture is the result.
Six acts of vaudeville round out the show. The Bell Duo open the bill and handle with ease some acrobatic stunts that appear to be very difficult. Xylophone duets by Flack and Flack, two young men who are adept with their hands and feet, tap dancing to their own accompaniment.
4/20/1930 FD Paramount On Parade
Paramount Time, 1 hr. 42 mins.
Galaxy of big names should make this should make this a drawing card. Lots of comedy.
With its smashing lineup of popular personalties, representing all of Paramount's Coast stars and principals, plus a load of comedy and specially enjoyable performances by Maurice Chevalier, little Mitzi Green, and Nino Martini, an unusually promising singer from abroad, this revue should get over everywhere with a bang.
Cast: Richard Arlen, Jean Arthur, William Austin, George Bancroft, Clara Bow, Evelyn Brent, Mary Brian, Clive Brook, Virginia Bruce, Nancy Carroll, Ruth Chatterton, Maurice Chevalier, Phillips Holmes, Gary Cooper, Leon Errol, Helen Kane, Stuart Erwin, Kay Francis, Skeets Gallagher, Harry Green, Mitzi Green, James Hall, Phillips Holmes, Dennis King, Abe Lyman and his band, Frederic March, Nino Martini, Mitzi Mayfair, David Newell, Jack Oakie, Warner Oland, Zelma O'Neal, Eugene Pallette, Joan Peers, William Powell, Lillian Roth, Charles Rogers, Stanley Smith, Fay Wray.
Directors, Dorothy Arzner, Otto Brower, Edmund Goulding, Victor Heerman, Edwin H. Knopf, Rowland V. Lee, Ernst Lubitsch, Lothar Mendes, Victor Schertzinger, Edward Sutherland, Frank Tuttle; Cameramen, Harry Fischbeck, Victor Milner; Lyrics and Music, Ballard MacDonald, Dave Dreyer, Elsie Janis, Jack King, L. Wolf Gilbert, Abel Baer, Leo Robin, Richard A. Whiting, Raymond B. Eagan, Sam Coslow, Mana Zucca, David Franklin; Dance Numbers, David Bennett, Marion Morgan.
Direction, good. Photography, splendid.
4/25/1930 EH Paramount On Parade
By Harrison Carroll
Offering no startling departures but consistently amusing and pleasing to the eye, Paramount On Parade contains much that will appeal to the followers of screen revues.
Its two brightest lights are Maurice Chevalier and little Mitzi Green, the latter scoring a strong hit with her imitations of the French star and of Charles Mack of the "Two Black Crows."
Save for the finale, the technicolor sequences in the picture are very dim and fuzzy. This may be due to some extent to the diffusion of the magnified image projected upon a big screen. Even allowing for this, however, the photography is not up to the usual technicolor standards. It's a shame, too, for the acts and costumes are beautiful.
CHEVALIER IS HIT
Chevalier has three numbers, each of which will be remembered as a highlight of the production. He and Evelyn Brent appear in a subtly daring skit, "The Origin of the Apache." Again the star is seen as a gendarme on duty in a park which is a rendezvous for lovers. In this episode, Chevalier sings the lively "All I Want Is Just One Girl." The third appearance of the star comes in the brilliantly colorful finale, "Rainbow Revels." His rendition of "Sweeping the Clouds Away" is accomplished with infectious enthusiasm.
In the one dramatic number of the revue, Ruth Chatterton contributes a telling bit of characterization as a French coquette.
To this writer, the most beautiful thing in Paramount On Parade is the "Dream Girl" sequence, in which appear Richard Arlen, Mary Brian, Gary Cooper, Fay Wray, Virginia Bruce, James Hall, Phillips Holmes, David Newell and Joan Peers. The scene is one of fluid artistry, and had the photography been perfect, the effect would have been exquisite.
SONG APPEALS
Perhaps the most likely song-hit in the production is "Any Time's The Time to Fall In Love," which Buddy Rogers and Lillian Roth sing most appealingly
A comedy sketch starring George Bancroft excites the heartiest laughter. It gives two versions of a party, the first in which everybody behaves politely and the second in which all the guests do and say what they really feel. Nothing new in the idea, but it is handled with rare gusto.
Of the three masters of ceremony, Jack Oakie is the most amusing.
In addition to the revue, the Paramount Theater offers as Aesop's Fable cartoon, a Grantland Rice Sportlight on aquatic sports, and a sound newsreel.
4/30/1930 HDC Elizabeth Yeaman
An English accent opened the door to talking pictures for Luray Doris, stage actress. Miss Doris has been selected to play the part of the maid in Paramount's Grumpy, which features Cyril Maude in the title role. The locale of the picture is London and environs. Miss Doris was born in England where she lived for 16 years, and her perfect accent proved to be the deciding factor in winning the part for her. All her stage experience, however, has been in the United States, where she has appeared in a number of Shubert productions and played several seasons in stock at Boston. Coming West, she took the part of Peggy in "The Front Page," and when the play left Los Angeles for engagements up the coast, she returned to Hollywood to find an entrance in pictures. Phillips Holmes and Frances Dade carry the romantic leads in Grumpy.
5/11/1930 FD The Devil's Holiday
Paramount 1 hr. 15 mins.
Splendid dramatic story revealing Nancy Carroll in a new light. Fine direction, good story and important cast.
It has taken The Devil's Holiday to show where Nancy Carroll's talent really lies. Cast in a strong emotional role, she reveals she is a dramatic actress of more than passing ability. Her performance is in keeping with the sincere and honest quality of the film itself. Edmund Goulding has written the story as well as directed it. He has created a tense narrative possessed of gripping dramatic moments. Miss Carroll appears as a manicurist who in her spare time works as a come-on girl for salesmen with doubtful prospects. A meeting with a young chap from the wheat lands who is in the market for farm machinery takes on a serious turn. She becomes his wife to spite his brother for insulting her. Finally she surrenders to her love for the youth. Here's absorbing entertainment.
CAST: Nancy Carroll, Phillips Holmes, James Kirkwood, Hobart Bosworth, Ned Sparks, Morgan Farley, Jed Prouty, Paul Lukas, ZaSu Pitts, Morton Downey, Guy Oliver, Jessie Pringle, Wade Boteler, Laura La Varnie.
Director, Edmund Goulding; Author, The Same; Adaptor, The Same; Dialoguer, The Same; Editor, George Nicholls; Cameraman, Harry Fischbeck; Monitor Man, Not Listed.
Direction, Fine. Photography, Fine.
5/22/1930 EH
Phillips Holmes needed no rehearsal, so it was revealed, for his part in Edmund Goulding's The Devil's Holiday, opening today at the Paramount.
For more than a month, the popular young actor witnessed the growth of the part he plays, that of David Stone, an unsophisticated middle-westerner, for he was with Edmund Goulding, author and director of the picture.
Other featured players in the cast of impressive screen and stage names are Nancy Carroll, in a portrayal of emotional intensity, Hobart Bosworth and James Kirkwood. Completing the list of players are Ned Sparks, ZaSu Pitts, Paul Lukas, Morton Downey, and Jed Prouty.
Surrounding The Devil's Holiday are an interesting number, of other presentations including The Cossack's Bride," a Tiffany-Stahl color symphony, with Lloyd Hamilton.
5/23/1930 LAX The Devil's Holiday
By Louella O. Parsons
Ideas with Edmund Goulding are always prolific. Sometimes he wanders off into space and gives us nothing practical, and then again he will come forth with an idea so unique, so different and so well worth our attention, we are moved to up and call him a genius. The Devil's Holiday, now playing at the Paramount Theater, is Edmund Goulding at his best.
There is drama in this screen play which takes the human emotions and dissects them as cleverly as a surgeon dissects the human anatomy. I am told Mr. Goulding directed The Devil's Holiday in 18 days. If so, he should be penalized for taking more time for his future pictures. He has never done a better piece of work.
FINE PHOTOGRAPHY
Fundamentally the story is solid. He has written a really brilliant piece of work. Then there is photography by Harry Fischbeck that is as good as anything I have seen in the talkies. A daring characterization is that of Hallie Hobart, gold digger and ambitious manicurist. Nancy Carroll has never had a role that approaches it unless it was her stage play, "Chicago."
Her voice, shrill and almost shrewish at times, seems to indicate, curiously enough, her state of mind. You feel little sympathy for her in the beginning. A girl who sees only money and Paris ahead. A difficult role, but it makes a new Nancy Carroll and gives her best opportunity.
With all this unscrupulous planning to make money Hallie is careful about one thing. That is she is like Owen's Johnson's "Salamander," giving the men her society, but nothing else in return for their dollars.
Another surprising performance is that of Phillips Holmes, the boy David Stone, who goes to the city from the wheat fields and falls into the hands of this Hallie Hobart. Young Holmes, an actor by inheritance, being the son of Taylor Holmes, is admirable in his scenes with the girl. His naive account of his religious father and their manner of living is enchantingly real.
SUPERBLY PLAYED
The father, kindly, narrow in his viewpoint and unworldly in his idealization, is superbly played by Hobart Bosworth. I should like to inscribe it as one of the best performances of the year. James Kirkwood as brother Mark Stone, bitter to the point of fanaticism against Hallie, also gives a really fine performance.
Others we would like to mention are ZaSu Pitts as the telephone girl, Jed Prouty as Kent Carr, Guy Oliver as Hammond, Morgan Farley as Monkey McConnell and Paul Lukas as Dr. Reynolds.
In a paragraph all by himself, we place that sterling actor, Ned Sparks. He is what you might slangily term "a little bit of all right."
The program at the Paramount also includes Follow the Swallow, The Cossack's Bride, a Lloyd Hamilton comedy, a newsreel and—oh, yes, Milton Charles at the organ. The Paramount Theater really ought to fill the house with this picture.
Sylvia Sidney, who is the dramatic heroine of Jennie Gerhardt, is to have an exceedingly colorful role in her next picture to be made for Paramount under the B.P. Schulberg banner. The title of the picture is Reunion and that title probably will be changed because of its similarity to Reunion In Vienna. It is an unproduced play by Alfred Davis. Herbert Marshall, who inspires me to excessive enthusiasm, is to be co-starred with Sylvia in this picture. Marshall is still in England, but he returns next month to start work opposite Dorothea Wieck in White Woman. After that picture he will be ready for Reunion.
The story revolves about a strong war-time romance behind the firing lines. Miss Sidney and Marshall will have the roles of a theatrical team, Complications arise when it finally is discovered that Miss Sidney is a spy for the German army and Marshall is a spy for the English army. True, there have been lots of spy stories on the screen but the appeal of a really good spy story seems to be perennial.
....
Fanchon Royer no longer will have the distinction of being the only woman producer in Hollywood. Helen Mitchell, known in private life as Mrs. Oliver Morosco, has established headquarters at Tiffany studio where she will produce six pictures for Universal. Miss Mitchell is a brilliant young woman who has just as many ideas as her famous theatrical husband. Her first production will be Waffles, to be made from her own original story. Sari Maritza, Buster Collier, Alan Mowbray, Barbara Luddy and Ivan Simpson have been signed for the ast which Warren Millais will direct. The picture will have a 16-day shooting schedule, so with such a cast, it will not be any "quickie." her second picture will be Dance, Fools, which also will be made from another one of Miss Mitchell's stories, with Millais directing.
Oliver Morosco, meanwhile, is very much concerned with his own productions to carry the banner of Oliver Morosco Ltd. He is to make four pictures a year for an RKO release. His first picture scheduled is titled The Last of Her Men. He is now casting for the picture. And a rather reliable rumor bears the exciting news that Morosco is negotiating with Maude Adams to play the grandmother in the picture. Morosco and Miss Adams have been friends for a quarter of a century, and if Miss Adams does decide to emerge from her seclusion, it will be because of that friendship.
....
Deals between Chester Morris and Universal have been on and off so many times that I become confused keeping track of them. Chester, you know, was to have had the lead in H.G. Wells' Invisible Man. But he declined to take the assignment at the last moment and Clause Rains was engaged in his place. Now it seems that Chester will make some pictures after all. He is expected to sign a two-year picture contract with Universal, and one of those pictures probably will be Kid Gloves. That is the picture Pat O'Brien was supposed to have made last year, but it was postponed so often that O'Brien had left Universal by the time the studio revived plans to make the film.
....
Illness is making it necessary to recast several important pictures. Doug Fairbanks Jr., will not be strong enough to start work on Paramount's film adaptation of Design For Living. The studio cannot hold the production up much longer, so a new actor is being sought for the role. And out at Fox Jesse Lasky is experiencing great difficulty in casting The Worst Woman In Paris. This is the Monta Bell story which Bell will direct. After a long search Myrna Loy was chosen for the role, but her doctor ordered her to rest to prevent a breakdown from overwork. Production was withheld for several weeks, and as Miss Loy is still unable to start to work, Lasky and Bell are now looking for another star. Then, too, Harvey Stevens was slated for one of the important roles. Bt he is being detained for Paddy, The Next Best Thing and will not be available for The Worst Woman In Paris. So now he must be replaced. John Boles probably will get the part. So far Adolphe Menjou remains in the cast.
....
Dorothy Tennant, Broadway character actress who landed in Hollywood during the bank holiday, has been engaged by Warners for a featured role in Footlight Parade. She will be teamed with Guy Kibbee, and the two of them have been cast as a Jewish couple. Both Kibbee and Miss Tennant are blond. At least I suppose you might classify Kibbee's bald pate as blond. And speaking of illness again, Dick Powell's attack of pneumonia has made it necessary to find another actor for the featured role in Footlight Parade and Stanley Smith was hurriedly summoned for the part.
....
Ann Harding will have Clive Brook as well as William Gargan as her leading men in Beautiful, which goes into production before long. Brook, who has been under contract to Paramount, allowed Radio Pictures to buy up his contract.
Phillips Holmes in the 30's
ABBREVIATIONS
EE – Los Angeles Evening Express
EH – Los Angeles Evening Herald
EHE – Los Angeles Evening Herald Express
FD – Film Daily
HCN – Hollywood Citizen News
HDC – Hollywood Daily Citizen
LAR – Los Angeles Record
LAPR – Los Angeles Post-Record
LAX – Los Angeles Examiner
MPH – Motion Picture Herald
10/26/1929 EH Scouting the Sinema
By Dorothy Herzog
Speaking of Universal's All Quiet on the Western Front, there's a report circulating that directors Lewis Milestone and George Kukor are anxious to sign Douglas Fairbanks Jr. to play the lead. Corking good part, whoever gets it. A few names have been added to the cast, including Ben Alexander, Phillip Holmes, and Billy Bakewell. Ben Alexander is an ex-boy star making good in his adolescence without the Harterschaft & Marx.
1/13/1930 LAX Louella O. Parsons
A new angle to this many-sided film business of ours looms on the horizon. I speak of the royalties on song. I hadn't thought of it until Edmund Goulding told us that if he doesn't get his share of royalties on the song "Love," in Swanson's picture he is going to take his case to the courts. I suppose in that event it would be a legal battle between Mr. Goulding and Joseph Kennedy. Eddie, meanwhile, is at Paramount getting ready to direct The Devil's Sunday, which will star Nancy Carroll and feature Phillips Holmes. I hear tell Rudy Cameron, former husband of Anita Stewart, is up for a part.
1/14/1930 HDC Doris Denbo
Edmund Goulding is at Palm Springs getting inspiration to complete The Devil's Sunday which is to star Nancy Carroll and which he is to direct. He left yesterday and plans on staying there for several days. Phillips Holmes, featured Paramount player, accompanied him. He too will vacation for a few days at this popular desert resort. Goulding has become quite famous for his Trespasser with Gloria Swanson and he also wrote The Broadway Melody, you know. He has written several successful novels and seems to be surging ahead in the talking picture field.
1/27/1930 EH Screenographs
By Harrison Carroll
Another juvenile getting his first big break is Phillips Holmes. He has been chosen by Edmund Goulding to play opposite Nancy Carroll in The Devil's Sunday.
Since Holmes was brought to Hollywood from the Princeton campus, he has been gaining experience in supporting casts at Paramount. He recently finished such a part with Gary Cooper in Only The Brace;
Goulding has just returned from Palm Springs, where he has been putting the finishing touches on The Devil's Sunday, which is his original story.
3/1/1930 LAR Previews by Jimmy Starr
Only The Brave
Starring Gary Cooper, with Mary Brian. Directed by Frank Tuttle. Story by Keene Thompson. Adaptation by Agnes Brand Leahy. Dialogue by Edward E. Paramore Jr., Produced and released by Paramount.
Gary Cooper's success in The Virginian aroused Paramount into finding another southern story for him.
Only the Brave is a good choice. It is, perhaps, of the ancient formula of the action-packed, adventurous romantic things. Nevertheless, it makes charming entertainment and abounds with novel twists and much rare comedy.
The story is laid in the time of the end of the Civil War at the Union Army headquarters and at a Virginian plantation. Gary plays a Union cavalry captain, who, jilted and embittered by the girl he loved, volunteers for the almost certain death of spy duty. This takes him behind the Confederate lines, where he meets a little Southern coquette–and then things begin to happen.
Once again Gary has Mary Brian as his leading lady, and once again little Mary almost succeeds in stealing the honors of the picture away from him. Mary reaches new cinematic heights in this part, which she plays with a decided Southern accent. It's awfully cute, and she handles the lines well, making the most of their humorous value. Some trouper, this Mary Brian.
Gary is quite splendid as the cavalry captain, and he will certainly cause more feminine hearts to flutter. Gary CAN wear a uniform.
A truly outstanding performance is given by William LeMaire, former vaudeville star, who makes his debut in talking pictures as a slovenly guard. His dialect and manner of speaking lines provides some of the most uproarious fun I have listened to in a long time.
Phillips Holmes does excellently as a jealous rival. Virginia Bruce, Morgan Farley, Elda Voelkel, James Neill, Guy Oliver and Lalo Encinas complete the well-selected cast.
Only the Brave is a highly entertaining romantic and adventurous story, and the direction has been handled capably by Frank Tuttle. The dialogue by Edward E. Paramore Jr., at times lapses into rather modern phrases, but that can be forgiven almost as it provides amusement.
I think you'll like it.
3/8/1930 EH Taylor Holmes Sums Up
By Dick Hunt
A broker, preferably, but if one is not available, anyone who engages in mathematics contends that two and two are four. Usually they are correct in their assumption.
But, on the other hand, an actor may contend that two and two are five, six or even seven. And he's also correct, according to Taylor Holmes.
"With the broker or the theater treasurer, it's a set mathematical rule," explained the comedian. "With the actor it's imagination.
"Now the broker comes to the theater, fits out front and lets the actor convince him that two and two are five and enjoys it," he continued.
HE KNOWS WHAT'S GOING TO HAPPEN
"As he watches he knows that the boy is going to win the girl in the last act, the villain is going to be denounced or something worse. He has it all figured out. But the actor must also prove it to him. And before that, the actor must prove it to himself in order to prove it to the broker.
"However, the next day the broker phones the actor, and two and two are definitely four," he added, sadly. "At least until the curtain goes up at 8:30.
"Two and two can equal 10 or 12 as far as the performer is concerned, and the play will be enjoyable," he continued. "But when he has to make the two figures add to 50 or 100 he will be lower than adequate, and the play will be pretty terrible. That's just beyond all imagination."
I found Taylor engulfed in a wave of humanness that was almost overpowering. And he wasn't acting.
.....
3/9/1930 FD Only the Brave
Paramount Time, 1 hr., 7 mins.
(All-Talker)
Nice programmer of Civil War days charmingly produced, with first-rate acting by Gary Cooper.
A pleasant picture, going back to the Civil War period for its material and thereby offering a welcome relief from the sort of tales that have gone into the making of most of the talking films. Though as a motion picture plot it is not exactly new, it comes at a time when the public has become tired of backstage talkers. The story has to do with a Northern officer who falls in love with a Southern girl while doing duty as a spy. To have his plans succeed he must arrange to have himself captured by the Confederate troops. He does manage to have himself caught but is rescued as he is facing a firing squad. The producer has capture much of the tender charm of the South. Gary Cooper plays the spy with fine skill and remarkable restraint.
CAST: Gary Cooper, Mary Brian, Phillips Holmes, James Neill, Morgan Farley, Guy Oliver, John H. Elliott, E.H. Calvert, Virginia Bruce, Elda Voelkel, William LeMaire, Freeman S. Wood. Lalo Encinas.
Director, Frank Tuttle; Author, Keene Thompson; Adaptor, Agnes Brand Leahy; Dialoguer, Edward Paramore Jr.; Editor, Doris Drought; Cameraman, Harry Fischbeck; Monitor Man, not listed.
Direction. Good Photography, Fine.
4/1/1930 EE PIPE ORGAN ON A PICTURE SET
For the first time in talking pictures an electric pipe organ has been moved on a motion picture set merely to supply incidental music.
The organ was taken to the set of Edmund Goulding's The Devil's Holiday at the Paramount Studio.
Director Goulding wanted to have as a background to a dramatic scene between Nancy Carroll and Phillips Holmes the music of a pipe organ playing a hymn in a near-by church.
In order to secure this music and keep the players in the mood necessary, the huge organ was transported from the music building to the set.
It remained there for several days after its use and was played between the scenes to preserve the mood of the sequences while the players were waiting for the lights to be adjusted and cameras set into place.
4/3/1930 EH Screenographs
By Harrison Carroll
Excellent reports are forthcoming from The Devil's Holiday, Edmund Goulding's story in which he directed Nancy Carroll. This picture will also raise the stock of young Phillips Holmes, it is said. At any rate, after looking at it, Paramount assigned him to the juvenile lead in Grumpy.
4/2/1930 EH Screenographs
By Harrison Carroll
Richard Arlen has been cast out of paradise by Paramount. Undergoing one of those mysterious changes of mind that makes life interesting in the movies, this studio has decided to feature Fredric March instead of Arlen in The Lost God.
Nor is that all. They have assigned Phillips Holmes to the romantic lead in Grumpy, which Arlen was to have had.
No explanations are forthcoming, but Dick's latest picture, Under Western Skies, is reported to be a fine one, so he hasn't any cause for worry. The fact that Paramount has eight stories lined up for him is another reason why he can feel secure.
4/11/1930 EH Only the Brave
By Edward Stodel
What's a man going to do when he wants to die like a Nathan Hale—and people just won't give him a break?
Unaccommodating you might call it, yet that is the problem faced by Gary Cooper as the devil-may-care Union officer of Only the Brave, which opened yesterday at the Million Dollar. Disappointed in love, and accordingly through with women, Gary as the young officer volunteers for an assignment into the Confederate lines.
MEANS CERTAIN DEATH
All espionage duty is risky but this task does not give the boy at least a chance, although he asks for none. He must purposely fall into enemy hands so that they will act on misdirecting orders he carries, which, of course, means the firing squad for him.
Cooper, per usual, presents a stalwart and serious visaged figure as the young officer. Arriving at a Confederate division headquarters, where the staff is being entertained with Virginia reels by comely northern belles, and particularly, the coquetry of the hostess, Barbara Calhoun, played by Mary Brian, he is accepted as a brother officer.
Miss Brian, abetted by a sure enough Dixie accent, appeals with her unaffected youthfulness as the "coquettish" young lady who is quite rebuffed when the stern but handsome young officer does not become entranced by her wiles. And more so when he tells her his uncomplimentary views on girls as a whole, which naturally makes her fall the harder for him. After the spy does convince, with much difficulty, the Confederates that he is what he is, she attempts to keep him from being seized. And of course that isn't according to Hoyle.
SITUATION HUMOROUS
The situation is funny, in fact, the whole picture, though of a semi-historical nature, is of a humorous and entertaining vein. In the end when love declares itself and the firing line actually looms, the "Yanks are Coming" is sounded and the day is saved.
Phillips Holmes brings credit to himself as the jealous suitor of Miss Barbara. An effective scene at the conclusion shows the surrender of Lee to Grant.
Frank Tuttle, the director, captured a distinct charm of the old South and the picture has been excellently photographed.
Besides the feature film, and comic cartoon, six acts of vaudeville, headed by Winona Winter, are presented.
4/11/1930 LAR COOPER IN NEW FILM
Million Dollar--Gary Cooper in Only the Brave, directed by Frank Tuttle. In the cast: Mary Brian, Phillips Holmes, James Neill, Morgan Farley, Guy Oliver, John H. Elliot, E.H. Calvert, Virginia Bruce, Elda Voelkel, William La Atare, Freeman Wood and Lale Encinias. Paramount Song Cartoon, The Prisoner's Song. Six Acts of Vaudeville.
A spy of the northern army during the Civil War, who must allow himself to be captured by the army of the south so that false messages may fall into their hands, is the fate of Gary Cooper in his latest vehicle which premiered at the Million Dollar yesterday.
Everything was progressing according to schedule until Mary Brian as the general's daughter, decided that she liked the 'big, handsome soldier of the north.' Then complications and comedy set in, and an interesting picture is the result.
Six acts of vaudeville round out the show. The Bell Duo open the bill and handle with ease some acrobatic stunts that appear to be very difficult. Xylophone duets by Flack and Flack, two young men who are adept with their hands and feet, tap dancing to their own accompaniment.
4/20/1930 FD Paramount On Parade
Paramount Time, 1 hr. 42 mins.
Galaxy of big names should make this should make this a drawing card. Lots of comedy.
With its smashing lineup of popular personalties, representing all of Paramount's Coast stars and principals, plus a load of comedy and specially enjoyable performances by Maurice Chevalier, little Mitzi Green, and Nino Martini, an unusually promising singer from abroad, this revue should get over everywhere with a bang.
Cast: Richard Arlen, Jean Arthur, William Austin, George Bancroft, Clara Bow, Evelyn Brent, Mary Brian, Clive Brook, Virginia Bruce, Nancy Carroll, Ruth Chatterton, Maurice Chevalier, Phillips Holmes, Gary Cooper, Leon Errol, Helen Kane, Stuart Erwin, Kay Francis, Skeets Gallagher, Harry Green, Mitzi Green, James Hall, Phillips Holmes, Dennis King, Abe Lyman and his band, Frederic March, Nino Martini, Mitzi Mayfair, David Newell, Jack Oakie, Warner Oland, Zelma O'Neal, Eugene Pallette, Joan Peers, William Powell, Lillian Roth, Charles Rogers, Stanley Smith, Fay Wray.
Directors, Dorothy Arzner, Otto Brower, Edmund Goulding, Victor Heerman, Edwin H. Knopf, Rowland V. Lee, Ernst Lubitsch, Lothar Mendes, Victor Schertzinger, Edward Sutherland, Frank Tuttle; Cameramen, Harry Fischbeck, Victor Milner; Lyrics and Music, Ballard MacDonald, Dave Dreyer, Elsie Janis, Jack King, L. Wolf Gilbert, Abel Baer, Leo Robin, Richard A. Whiting, Raymond B. Eagan, Sam Coslow, Mana Zucca, David Franklin; Dance Numbers, David Bennett, Marion Morgan.
Direction, good. Photography, splendid.
4/25/1930 EH Paramount On Parade
By Harrison Carroll
Offering no startling departures but consistently amusing and pleasing to the eye, Paramount On Parade contains much that will appeal to the followers of screen revues.
Its two brightest lights are Maurice Chevalier and little Mitzi Green, the latter scoring a strong hit with her imitations of the French star and of Charles Mack of the "Two Black Crows."
Save for the finale, the technicolor sequences in the picture are very dim and fuzzy. This may be due to some extent to the diffusion of the magnified image projected upon a big screen. Even allowing for this, however, the photography is not up to the usual technicolor standards. It's a shame, too, for the acts and costumes are beautiful.
CHEVALIER IS HIT
Chevalier has three numbers, each of which will be remembered as a highlight of the production. He and Evelyn Brent appear in a subtly daring skit, "The Origin of the Apache." Again the star is seen as a gendarme on duty in a park which is a rendezvous for lovers. In this episode, Chevalier sings the lively "All I Want Is Just One Girl." The third appearance of the star comes in the brilliantly colorful finale, "Rainbow Revels." His rendition of "Sweeping the Clouds Away" is accomplished with infectious enthusiasm.
In the one dramatic number of the revue, Ruth Chatterton contributes a telling bit of characterization as a French coquette.
To this writer, the most beautiful thing in Paramount On Parade is the "Dream Girl" sequence, in which appear Richard Arlen, Mary Brian, Gary Cooper, Fay Wray, Virginia Bruce, James Hall, Phillips Holmes, David Newell and Joan Peers. The scene is one of fluid artistry, and had the photography been perfect, the effect would have been exquisite.
SONG APPEALS
Perhaps the most likely song-hit in the production is "Any Time's The Time to Fall In Love," which Buddy Rogers and Lillian Roth sing most appealingly
A comedy sketch starring George Bancroft excites the heartiest laughter. It gives two versions of a party, the first in which everybody behaves politely and the second in which all the guests do and say what they really feel. Nothing new in the idea, but it is handled with rare gusto.
Of the three masters of ceremony, Jack Oakie is the most amusing.
In addition to the revue, the Paramount Theater offers as Aesop's Fable cartoon, a Grantland Rice Sportlight on aquatic sports, and a sound newsreel.
4/30/1930 HDC Elizabeth Yeaman
An English accent opened the door to talking pictures for Luray Doris, stage actress. Miss Doris has been selected to play the part of the maid in Paramount's Grumpy, which features Cyril Maude in the title role. The locale of the picture is London and environs. Miss Doris was born in England where she lived for 16 years, and her perfect accent proved to be the deciding factor in winning the part for her. All her stage experience, however, has been in the United States, where she has appeared in a number of Shubert productions and played several seasons in stock at Boston. Coming West, she took the part of Peggy in "The Front Page," and when the play left Los Angeles for engagements up the coast, she returned to Hollywood to find an entrance in pictures. Phillips Holmes and Frances Dade carry the romantic leads in Grumpy.
5/11/1930 FD The Devil's Holiday
Paramount 1 hr. 15 mins.
Splendid dramatic story revealing Nancy Carroll in a new light. Fine direction, good story and important cast.
It has taken The Devil's Holiday to show where Nancy Carroll's talent really lies. Cast in a strong emotional role, she reveals she is a dramatic actress of more than passing ability. Her performance is in keeping with the sincere and honest quality of the film itself. Edmund Goulding has written the story as well as directed it. He has created a tense narrative possessed of gripping dramatic moments. Miss Carroll appears as a manicurist who in her spare time works as a come-on girl for salesmen with doubtful prospects. A meeting with a young chap from the wheat lands who is in the market for farm machinery takes on a serious turn. She becomes his wife to spite his brother for insulting her. Finally she surrenders to her love for the youth. Here's absorbing entertainment.
CAST: Nancy Carroll, Phillips Holmes, James Kirkwood, Hobart Bosworth, Ned Sparks, Morgan Farley, Jed Prouty, Paul Lukas, ZaSu Pitts, Morton Downey, Guy Oliver, Jessie Pringle, Wade Boteler, Laura La Varnie.
Director, Edmund Goulding; Author, The Same; Adaptor, The Same; Dialoguer, The Same; Editor, George Nicholls; Cameraman, Harry Fischbeck; Monitor Man, Not Listed.
Direction, Fine. Photography, Fine.
5/22/1930 EH
Phillips Holmes needed no rehearsal, so it was revealed, for his part in Edmund Goulding's The Devil's Holiday, opening today at the Paramount.
For more than a month, the popular young actor witnessed the growth of the part he plays, that of David Stone, an unsophisticated middle-westerner, for he was with Edmund Goulding, author and director of the picture.
Other featured players in the cast of impressive screen and stage names are Nancy Carroll, in a portrayal of emotional intensity, Hobart Bosworth and James Kirkwood. Completing the list of players are Ned Sparks, ZaSu Pitts, Paul Lukas, Morton Downey, and Jed Prouty.
Surrounding The Devil's Holiday are an interesting number, of other presentations including The Cossack's Bride," a Tiffany-Stahl color symphony, with Lloyd Hamilton.
5/23/1930 LAX The Devil's Holiday
By Louella O. Parsons
Ideas with Edmund Goulding are always prolific. Sometimes he wanders off into space and gives us nothing practical, and then again he will come forth with an idea so unique, so different and so well worth our attention, we are moved to up and call him a genius. The Devil's Holiday, now playing at the Paramount Theater, is Edmund Goulding at his best.
There is drama in this screen play which takes the human emotions and dissects them as cleverly as a surgeon dissects the human anatomy. I am told Mr. Goulding directed The Devil's Holiday in 18 days. If so, he should be penalized for taking more time for his future pictures. He has never done a better piece of work.
FINE PHOTOGRAPHY
Fundamentally the story is solid. He has written a really brilliant piece of work. Then there is photography by Harry Fischbeck that is as good as anything I have seen in the talkies. A daring characterization is that of Hallie Hobart, gold digger and ambitious manicurist. Nancy Carroll has never had a role that approaches it unless it was her stage play, "Chicago."
Her voice, shrill and almost shrewish at times, seems to indicate, curiously enough, her state of mind. You feel little sympathy for her in the beginning. A girl who sees only money and Paris ahead. A difficult role, but it makes a new Nancy Carroll and gives her best opportunity.
With all this unscrupulous planning to make money Hallie is careful about one thing. That is she is like Owen's Johnson's "Salamander," giving the men her society, but nothing else in return for their dollars.
Another surprising performance is that of Phillips Holmes, the boy David Stone, who goes to the city from the wheat fields and falls into the hands of this Hallie Hobart. Young Holmes, an actor by inheritance, being the son of Taylor Holmes, is admirable in his scenes with the girl. His naive account of his religious father and their manner of living is enchantingly real.
SUPERBLY PLAYED
The father, kindly, narrow in his viewpoint and unworldly in his idealization, is superbly played by Hobart Bosworth. I should like to inscribe it as one of the best performances of the year. James Kirkwood as brother Mark Stone, bitter to the point of fanaticism against Hallie, also gives a really fine performance.
Others we would like to mention are ZaSu Pitts as the telephone girl, Jed Prouty as Kent Carr, Guy Oliver as Hammond, Morgan Farley as Monkey McConnell and Paul Lukas as Dr. Reynolds.
In a paragraph all by himself, we place that sterling actor, Ned Sparks. He is what you might slangily term "a little bit of all right."
The program at the Paramount also includes Follow the Swallow, The Cossack's Bride, a Lloyd Hamilton comedy, a newsreel and—oh, yes, Milton Charles at the organ. The Paramount Theater really ought to fill the house with this picture.
Labels: Ann Harding, Douglas Fairbanks Jr., Myrna Loy, Sylvia Sidney
posted by GDH at 8:36 AM
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