Thelma Todd In the 30's
9/2/1933 HCN Elizabeth Yeaman
They still talk about Dietrich and Hepburn being formidable rivals of Garbo. But who is the rival who tops them all? For your answer just talk to most anyone in any city or town in the country and you'll probably hear Mae West. In the vast and incredible annals of Hollywood, the spectacular success of Mae West is unrivaled. Mae's triumph amounts to a psychological phenomenon.
When I was living in New York I never went to see Mae West on the stage, although some of her plays ran two years. Discriminating theater-goers simply did not put Mae West on their list. Occasionally some of the so-called highbrows would venture to her theater in something of the spirit that they would go on a slumming tour. But I never saw her until I attended her trail for producing "Sex." The judge finally had to clear to courtroom when Mae started to make monkeys of the state's witnesses.
New York, a scant few years ago, regarded Mae West as declasse. Today the highbrows of Park Avenue are her fans and she made them fans in one picture, She Done Him Wrong.
However, those same highbrows assiduously patronized the Theater Guild [obscured]inted producing organization which produced Eugene O'Neill erotica such as "Mourning Becomes Electra" or "Strange Interlude." But then the Theater Guild was not criticized because it operated under the aegis of ART. Mae West was frowned upon because she sponsored plain, wholesome sin without the trimmings of art. Personally, I regard Mae West's popularity today as a healthy and wholesome trend of the public mind. There is nothing insidious about her. She scorns the unhealthy implications of O'Neill.
The power of Mae West is not confined to these United States. In Paris she is a sensation. All summer long the social elite of Paris have entertained with "Lady Lou" parties, at which the feminine guests came attired in the costumes made popular by Mae in She Done Him Wrong. Those guest went to the finest designers for their costumes and the parties were the ultra social affairs of the season. This country's most exclusive women's magazine has devoted much space to pictures and comments on those "Lady Lou" parties of Paris which were inspired by Mae West. And when such a magazine toots the horn of Mae West, not even Emily Post would dare to scorn her.
Meanwhile, Mae goes quietly about her business in Hollywood. She does not even endeavor to live up to the reputation of Lady Lou. In fact she goes so far as to make it known that she neither drinks nor smokes.
In public Mae is one of the quietest persons in the film colony. Her public appearances are confined mostly to prize fights, which she genuinely enjoys. After all, her father was a professional fighter. But at the prize fights she sits quietly in a ringside seat. She neither yells or parades to attract attention. Lupe Velez, a few seats away, may scream herself hoarse. But Mae West is always quiet and self-contained.
When you talk to Mae, you will find her both quiet and literate if you yourself are quiet and literate. However, she will lapse into Bowery verbiage if she discerns that you expect it of her.
Only in her dress does she exemplify the type she portrays on the stage or screen. Mae will hang herself with diamonds and don an evening dress for a matinee at the circus. She will have the long white gloves, evening bag, white fur coat and a colored maid in attendance. But Mae knows better. She is too shrewd and clever to be unintentionally gauche in the matter of dress. She merely dons those trappings to give the public what it expects. That is astute showmanship.
Furthermore, Mae strenuously avoids personal scandal. She maintains a certain privacy without making a public issue of it. Out of all the yards of stories that have been written about her, you will find very few facts of her private life. And what is more, the stories of her kindness and generosity to old friends are true. They are not just high-sounding publicity stories. She does not bleat in print about her right to privacy. But she is cunning enough to give anybody a story at anytime, without trespassing on her privacy.
A great part of her success, I am sure, is due to her first-hand study of all types of people. She understands human psychology. Never, in her checkered career, has she held herself aloof from people. Not even her unparalleled success has turned her head. And that she has an unusually level head is proved in a remark she made to me not long ago.
"I have to make two pictures a year for Paramount. I don't want to make more than that because I realize that my pictures HAVE to be good. I know that if they aren't good I can lose my popularity just as fast as I have gained it."
When Mae makes a picture she contributes much more than an acting performance. She writes her own stories and every line of her own dialogue. She plans her own costumes and even gives much thought to her coiffures. I suspect that she also lends a hand in the direction.
Time was in New York when first class leading men never sought a job with Mae West. Although her plays always had long runs which guaranteed steady salary for her casts, particular actors did not seek jobs with her, even though they might need the money badly. But today the finest talent in Hollywood seeks a role in the Mae West pictures.
Mae jumped from the class of the declasse to the elite over night! And now the elite are imitating her.
Thelma Todd In the 30's
ABBREVIATIONS
DN – Daily News (Los Angeles)
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
IDN – Illustrated Daily News
LAR – Los Angeles Record
LAPR – Los Angeles Post Record
LAX – Los Angeles Examiner
MPH – Motion Picture Herald
1/29/1930 HDC Society In Filmland
MANY PARTIES GIVEN AT ROOSEVELT HOTEL
"Song Writers' Night" in the Blossom Room of the Roosevelt Hotel Monday night proved to be the incentive for many charming parties.
Among the celebrities who entertained in honor of the guests of the evening were Misses Lois Moran, Thelma Todd and Molly O'Day; Messrs. and Mesdames Charles King, Lou Anger, William Beaudine, Irving Berlin, George Irving and Joe Rock.
Messrs. Buster West, Conrad Nagel, Billy Kent, Leon Errol, Gus Edwards, Al Christie, Jack Kearns, Eddie Nugent, Clarence Brown, Jack Oakie, Harold B. Franklin, Roscoe Arbuckle, Arthur Ungar, Con Conrad, Harry Tierney, Louis Alter, Jerome Kern and others.
2/5/1930 HDC Society in Filmland
By Elizabeth Yeaman
One of the brilliant parties given recently was presided over by Mr. and Mrs. William Davey, who entertained at tea Sunday afternoon in their home at 805 Linden Drive, Beverly Hills. The guests of honor were Mr. and Mrs. Edward Hillman of Chicago (Marion Nixon) who recently returned from their honeymoon abroad. Mrs. Howard Hodge of Louisville, Kentucky, Miss Cordelia Strong and Miss Wilena Ruzicka of New York City.
The house was a power of spring flowers, and many persons prominent in film circles called during the afternoon and evening.
Among those present were Betty Francisco, Dorothy Dwan, Sally Eilers, Cordelia Tilden, Vera Reynolds, Pauline Garon, Jeanette Loff, Dorothy Lee, Katherine Bennett, Josephine Houston, Virginia McKinney, Thelma Todd, La Dessa Gibson, Jo Wallace, Gladys McConnell and Margaret Francisco.
And the Messrs. Fred Spradling, Hoot Gibson, Jack King, Bob Ellis, Dr. William Branch, James Fidler, Bobby Agnew, Harry Greenbaum, Harvey Priester, Eddie Albertson, James Gleason, and Robert McQue.
Also Mr. and Mrs. Paul Speyer, Mr. and Mrs. Norman McLeod, Mr. and Mrs. William Cronin, Mr. and Mrs. Robert Armstrong, Mr. and Mrs. George Lewis, Mr. and Mrs. John Scantlin, Mr. and Mrs. Reginald Denny, Richard Arlen, Clarence Hudson and others...
2/12/1930 HDC Society In Filmland
By Elizabeth Yeaman
JOHNNY HAMP PROVES POPULAR AT COCOANUT GROVE
Nancy Welford, Al St. John Marie Wells, Laurel Nemeth, Ernest Wood, Wilbur Evans and other members of the "Bambina" company were guests of honor last night at the Cocoanut Grove of the Ambassador Hotel. Johnny Hamp and his Kentucky Serenaders featured a program of dance numbers from this colorful operetta, and the Grove was especially decorated with Venetian lanterns for the affair.
Among those who entertained at the Cocoanut Grove during the week are Sue Carol, Thelma Todd, Lilyan Tashman, Patricia Norton, Polly Ann Young, Raquel Torres, Janet Chandler, Blanche Sweet, Nick Stuart, Clarence Brown, Edmund Lowe, Wilson Mizner, Grant Clarke, Cosmo Bellew, John P. Medbury and Jerry Hoffman.
2/17/1930 EH Scouting the Sinema by Dorothy Herzog
At ye Cocoanut Grove: Thelma Todd, in black velvet frock, dancing with Harvey Priester...Wilson Mizner and Grant Clark at a ringside table talking about this and that and looking at ditto....Marion Nixon and her husband, Eddie Hillman, twirling the jazz fantastic....Morton Downey and Barbara (the missus) Bennett requesting the orchestra leader, Johnny Hamp, to play "Chant of the Jungle." An appropriate theme song for the village.
3/5/1930 HDC Doris Denbo
Harry Langdon has made good with a vengeance out at the Hal Roach Studio. He has just signed a new contract with them under which he will make four pictures a year and will have a definite say in the choice of stories which he films and will assist in gagging and stunting them. The King was Langdon's last under the old contract. Thelma Todd, that stunning and most charming blonde, played the queen. There is a lot of fun in this one, according to reports, if Langdon does not run away with himself in managing his own pictures.
3/14/1930 EH Scouting the Sinema
By Dorothy Herzog
Thelma Todd has been borrowed from the Hal Roach kumpny to portray a featured fem role in Famous' musik-komik, Follow Through, along with Nancy Carroll, Zelma O'Neill, Buddy Rogers, etc. This is Miss Todd's first picture for Famous Players in several years. Her return is auspicious. Incidentally, as she must play a golf champ in this vocaloid the Todd is taking her golf lessons daily.
3/15/1930 LAX Louella O. Parsons
Thelma Todd and Louise Fazenda lunching together at the Roosevelt Blossom Room.
5/6/1930 LAX Louella O. Parsons
Thelma Todd dancing with Harvey Priester five times in succession at the new Montmarte.
6/18/1930 HDC Society In Filmland
By Rachel Rubin
PARTIES HELD AT ROOSEVELT
Honoring Irving Aaronson's Commanders, who made their farewell appearance in the Blossom Room at the Roosevelt Hotel on Monday evening last, many of Hollywood's celebrities entertained parties.
Among those present were Messrs. and Mesdames Douglas Fairbanks (Mary Pickford) and Misses Lina Basquette, Merna Kennedy, Betty Boyd, Alice McCormick, Thelma Todd, Grace Kingsley and Betty Pierce.
Also Messrs. James Hall, Josef von Sternberg, Billy Joy, Nino Martini, Hal Horne, Ben Goetz, W.S. Van Dyke, John K. Arthur, William Wellman, Sid Grauman, Efe Asher, Rex Lease, Carle Laemmle Jr., Joe Frisco and others.
6/25/1930 HDC Society in Filmland
Miss Ona Wilson of Milwaukee, who is visiting her aunt, Mrs. Ona Wilson Brown, was the guest of honor at two charmingly appointed events today.
Miss Lina Basquette entertained for her with a luncheon at the Embassy, having as her guests the honoree and Mesdames Ernest Reicher, Ona Brown, Pearl Dannenberg and Charles Irwin; the Misses Grace Simpson, Renee Torres, Carla and Elinor Guterlein (the Sisters G).
Mrs. Pearl Dannenburg was hostess at tea this afternoon at her home in North Havenhurst Drive, honoring Miss Wilson. Those present included Mr. and Mrs. Finis Fox, Mr. and Mrs. Charles Irwin, Mr. and Mrs. Finis Fox, Mr. and Mrs. Charles Irwin, Mr. and Mrs. Ben Bard (Ruth Roland); Mesdames Ona Brown, Peggy McIntyre, Harvey Priester and Efe Asher; the Misses Natalie Kingston, Lina Basquette, Pauline Garon, Thelma Todd, Renee Torres, Grace Simpson, Helen Ferguson and Rose Perfect.
Messrs. Frances J. O'Brien, Robert Ransom, Vernon Rickard, Art Goebel, Arnold Berry and Edward Halliday.
....
SALLY EILERS WILL BECOME HOOT GIBSON'S BRIDE FRIDAY EVENING
Scarcely has the film colony recovered from the round of festivities which had its climax in the wedding of Bebe Daniels and Ben Lyon, when another popular pair made know their nuptial plans.
Miss Sally Eilers, daughter of Mr. and Mrs. H.P. Eilers of North Manhattan Place, and Edward B. (Hoot) Gibson, son of Mrs. Wayne Anderson, will plight their troth Friday evening. One hundred guests have been bidden to the ceremony, which is to take place at Mr. Gibson's ranch near Saugus, with Rev. James Hamilton Lash of the Hollywood Congregational Church officiating. The occasion will mark the birthday of Mrs. Eilers, mother of the bride.
The bride, who will be given in marriage by her father, will wear a gown of satin ivory trimmed with real lace and headed with pearls. Her veil of lace will be fastened to the cap of lace and pearls, and she will carry orchids and lilies of the valley.
Miss Carmen Pantages has been chosen to serve as maid of honor. The bridesmaids will be Mrs. Reginald Denny, Mrs. Edward Hellman (Marion Nixon), Miss Marie Prevost and Mrs. Mae Sunday. They will wear georgette frocks in pastel shades, with picture hats in harmonizing tones.
William (Buster) Collier Jr., will be the best man and ushers will be Dr. Harry Martin and Messrs. Arthur Rosson, Reginald Denny and Wallace Davis.
After the honeymoon trip to Lake Louise and Banff in the Canadian Rockies, the couple will make their home at Mr. Gibson's ranch.
Those who have been bidden to the wedding include Messrs. and Mesdames Edward Cline, Lonnie Darsay, Alexander Pantages, Ray Schrock, Allan Dwan, Robert Leonard, George Lewis, Al Rogell, B. Reaves Eason, Ben Lyon, Arthur Rosson, Richard Hyland (Adela Rogers St. Johns), Charles Mack, Reginald Denny, Irving Thalberg (Norma Shearer), James E. Granger, Buster Keaton, James Gleason, Monte Blue, Morton Downey, Townsend Netcher, Felix Hughes, Millard Webb, Alfred Martin, Al Christie, Richard Gallagher and Rex Barber, Dr. and Mrs. Harry Martin.
Mesdames Sadye Murray, Phyllis Daniels, the Misses Mary Fleury, Mary Astor, Jeanette Loff, Marie Prevost, Eileen Percy, Carol Lombard, Billie Dove, Dorothy Mackaill, Helen Ferguson, Linda Cronin, Anita Murray, Mary Catherine Reticher, Helen McEvilly, Lila Lee, Almerita Hawpe, Hedda Hopper, Marion Smith, Thelma Todd, Mina Wallis, Ruth Collier, Marion Davies and Beatrice Lillie (Lady Peel).
Messrs. Cliff Edwards, Bud Eilers, Lew Lipton, David Ganzer, Victor Fleming, Harry Cohn, Norman Kerry, Lew Cody, Roscoe Arbuckle, Harvey Priester, Mel Coakley, Walter O'Keefe, James Shields, Roger Davis, Jerry Miley, William K. Howard, Lt. Col. Roscoe Turner, Edward Brandstatter, Richard Hargreaves, Sam Wolf, Hal Howe, Joseph Schenck, Lloyd Pantages, Harlan Fengler, Jack Pickford, Howard Hughes, William Haines, Edward Hatrick, William Randolph Hearst, Hal Rosson, Lt. William Sweeley and Col. Art Goebel.
6/29/1930 HDC Elizabeth Yeaman
From the same studios [Pathe] comes the glad word that casting for Her Man is completed, with the addition of Matthew Betz and Thelma Todd. Tay Garnett is directing the picture along that will delight everyone who ever sang the tragic-comic old song, "Frankie and Johnnie." For that's the story.
7/30/1930 HDC Society In Filmland
By Rachel Rubin
LUNCHEON GROUP AT EMBASSY
Miss Lina Basquette entertained a small group of friends at luncheon recently in the Embassy Club, included were Miss Thelma Todd, Mrs. Ernest Belcher and Dorothy Woolridge.
8/6/1930 HDC Society In Filmland
By Rachel Rubin
Hollywood extended a welcome to Miss Gilda Gray upon her return after a long absence in the east, Monday night, when she was guest of honor in the Blossom Room of the Roosevelt Hotel.
Many of her friends entertained for the occasion. Among those present were Messrs. and Mesdames Ivan Kahn, Lou Anger and Maurice Chevalier; Messrs. Charles "Buddy" Rogers, Maurice DeMond, Don Alvarado, Tom Waring, Joe Frisco, Charles Farrell, Mack Sennett, Basil Woon and Tom Douglas; the Misses Thelma Todd, Colleen Moore and Lillian Roth.
8/27/1930 HDC Society In Filmland
By Rachel Rubin
SPANISH SUPPER IS RECENT EVENT
Mr. and Mrs. George Crone of the Casa Granada apartments will entertain a group of friends in a novel manner Saturday evening, when they will be hosts at a Spanish supper. Mrs. Crone lived in Spain for a number of years and she plans to carry out details in an authentic manner.
Those who have been bidden include Dr. and Mrs. Rudolph Marx, Mr. and Mrs. William deFrees Mann, the Misses Mollie and Helene Merrick, Miss Thelma Todd, Capt. James F.J. Archibald and Burton Holmes.
9/4/1930 EH Follow Thru
By DeSylva, Brown, Henderson and Laurence Schwab. Directed by Laurence Schwab. Opened at U.A. Sept. 3, 1930.
CAST: Charles Rogers, Nancy Carroll, Zelma O'Neal, Jack Haley, Eugene Pallette, Thelma Todd, Claude King, Kathryn King, Margaret Lee, Don Tomkins and Albert Gran.
By Dick Hunt
If musical comedy is on the wane, it was not apparent at the United Artists last night, judging from the filled theater that enjoyed Paramount's version of Follow Thru, featuring Buddy Rogers and Nancy Carroll.
Like the stage production of this musical, the picture version goes a long way toward breaking "par" as far as entertainment is concerned. Follow Thru leans heavily upon comedians and they are not found wanting. Its one big drawback is having its romantic leads sing too many songs which slacken the tempo in spots. Otherwise it is a fast moving, rollicking film capable directed and played.
PAR FOR LAUGHS
Outstanding is the work of Jack Haley and Zelma O'Neil, who scored so heavily in the stage production. Appearing before the camera for the first time this pair duplicate their former comical stage efforts and are the source for many laughs. Eugene Pallette is another who helps this film breeze along with his wise-cracks.
The love interest shows Buddy Rogers and Nancy Carroll struggling with meager material, but nevertheless giving pleasing performances. Some day someone is going to write a musical comedy in which the romantic leads become really important both in dialogue and song.
SCORES IN ROLE
A straight role which offers a bit of characterization is ably played by Thelma Todd. Margaret Lee and Don Tompkins are responsible for a few laughs in supporting parts.
The direction of Follow Thru has been effectively handled by Lawrence Schwab and Lloyd Corrigan.
Accompanying the picture are shorts which include a Tom Terriss vagabond travelogue, the vaudeville star, Luly McConnell, in The Introduction of Mrs. Gibbs and a newsreel. Gaylord Carter completes the program with an organ recital.
9/4/1930 LAX Follow Thru
By Jerry Hoffman
Oh, dear! Now we're in for it. Just because Follow Thru, which came to the United Artists Theater yesterday, happens to be unusually good as a screen musical comedy, the recess given fans from the constant feeding of words and music may be suddenly terminated. It really isn't worth worrying about. If the rest of them contain as much charm and enjoyable moments as Follow Thru they will be sincerely welcome.
It shouldn't be necessary to relate the plot of Follow Thru. George M. Cohan once startled his intimates with the sudden statement:
"Boys! I've got a great idea for a show." Breathlessly they all shouted, "What is it?"
George replied slowly: "A boy loves a girl."
There you have it. In Follow Thru, two boys love two girls, and several girls love one boy. That's to add complications, you see. There must be complications to make plot. There must be such things in order that a boy and a girl may sing a love song and then repeat a chorus with a seeming ache in their hearts. Don't let it worry you. They're only acting.
A golf club is the locale for Follow Thur. Golf lovers, miniature or normal (which is normal nowadays, by the way?) May learn how to putt, since "Buddy" Rogers gives Nancy Carroll some very effective instructions. Incidentally, rarely has the beauty of Nancy Carroll been so well exploited as it is in the technicolor of Follow Thru.
There are some new names to screen fans in this production. They are Jack Haley and Zelma O'Neal, who can return to screens as often as they wish in the future if they remain as pleasing as they are in this musical comedy. Thelma Todd is the main factor in lending complications—and the man who wouldn't want to be complicated by or with her—well! Claude King and Eugene Pallette are very good and a little girl named Margaret Lee makes a decidedly good impression as a comedienne. Don Tompkins and Albert Gran are the other principals who do well.
Laurence Schwab, who produced the stage show, directed the screen version with Lloyd Corrigan. DeSylva, Brown and Henderson's music from the original show is still present and entertains highly. Particularly clever is the staging of "I Want to Be Bad."
The Introduction of Mrs. Gibbs is a hilarious farce, with the delightful Lulu McConnell. Another excellent Tom Terris Travelogue enhances the program.
9/14/1930 FD Follow Thru
Paramount 1 hr., 9 minutes
Adapted from the musical comedy by De Sylva, Brown and Henderson. The entire production is in Technicolor and is handsomely mounted throughout. The story concerns the love of a young golf pro for a girl who is the champ golfer of a swell country club. Then, of course, there is the vamp who tries to win the hero away from her. The rest of the plot you can put in a thimble, a la musical comedy. Also in the same style, they introduce songs and dances throughout the action, which doesn't help the interest any. Charles "Buddy" Rogers, Zelma O'Neal, Jack Haley, Eugene Pallette, Thelma Todd, Claude King, Kathryn Givney, Margaret Lee, Don Tomkins, Albert Gran.
Directors, Laurence Schwab, Lloyd Corrigan; Authors, De Sylva, Brown and Henderson; Adaptors, Laurence Schwab, Lloyd Corrigan; Editor, Alyson Shasser; Cameramen, Charles B. Boyle, Henry Gerrard.
Direction, All Right. Photography, Very Good.
9/16/1930 LAX Louella O. Parsons
Thelma Todd among those glimpsed at the Montmarte.
9/21/1930 FD Her Man
Pathe 1 hr., 23 mins.
A knockout underworld melodrama splendidly acted by fine cast under keen direction.
This is the best drama of its kind to come along in quite a while. A compelling human interest story in a Havana dive setting, where the beautiful Frankie, enslaved by the racketeering Johnnie for whom she robs the café patrons, meets the good and brave sailor hero, Dan, who rescues her from the evil environment. Story has deep appeal, principally because of the loveliness of the heroine, Helen Twelvetrees, and the boyish charm of the hero, Phillips Holmes. And the action has real guts. A fight scene in the dive, marking the climax where Dan comes to carry off Frankie, is a robust performance that should just about lift the folks off their seats. The entire cast is aces, and the same goes for the direction and the acting all-around.
Cast: Helen Twelvetrees, Marjorie Rambeau, Ricardo Cortez, Phillips Holmes, James Gleason, Harry Sweet, Stanley Fields, Mathew Betz, Thelma Todd, Franklin Pangborn, Mike Donlin.
Director, Tay Garnett; Authors, Howard Higgin and Tay Garnett; Adaptor, Tom Buckingham; Dialoguer, Tom Buckingham; Editor, Joe Kane; Cameraman, Ed Snyder; Sound Recordists, Earl Wolcott and Harold Stine.
Direction, Excellent. Photography, Fine.
9/24/1930 HDC SOCIETY IN FILMLAND
By Rachel Rubin
DOMINOES COMPLETE REVEL PLANS
Final program arrangements for the revel to be staged by the Dominos Saturday evening at their clubhouse in North Sycamore Avenue have been announced by Mary Forbes, chairman of the entertainment committee.
The opening number, entitled "Sisters Dominos," will be presented by Nancy Carroll and Mary Lawlor.
A Clara Beranger playlet, "His, Hers and Theirs," will have in its cast Thelma Todd, Mae Busch, Mary Fort and Jeanne Kent Armstrong. It is directed by Renee Denny. Anna Dolloff will be heard in a monologue.
"Scarlet," a playlet written and directed by Maude Fulton, will be enacted by ZaSu Pitts, Louise Crolius and Angie Norton.
Claudia Dell and Renee Denny are both on the program for songs.
Alden Gay and Carol Marmon are slated for a blackout called "Double Trouble," written and directed by Lucile Webster Gleason. Mrs. Gleason is president of the Dominos.
"The Wall of Silence," written and directed by Lenore Coffee will have in its cast Jo Wallace, Claire Dultray and Dorothy Van Buren.
Marguerite Churchill will be mistress of ceremonies and Bernice O'Neal will be at the piano.
Among the chorus girls to appear on the program will be Mary Eaton, Carol Marmon, Norma Lee, Nancy Welford, Ruth Nugent and Mary Lawlor.
10/3/1930 HDC Elizabeth Yeaman
With Marian Douglas signed for a featured role in Aloha, the number of featured players and stars amounts to ten. Other members of the cast include Ben Lyon, Raquel Torres, Alan Hale, Robert Edeson, Thelma Todd, Robert Ellis, T. Roy Barnes, Donald Reed, Otis Harlan and Al St. John. Production will be started today at the Metropolitan Sound Studios.
10/22/1930 HDC Society in Filmland
By Rachel Rubin
ROOSEVELT DRAWS CELEBRITIES
A large number of notables entertained guests in the Blossom Room of the Roosevelt Hotel Monday evening. Among those present were Count Andreas de Segurola, Messrs. and Mesdames Frank Joyce, Lou Anger, Denison Clift, J. Ward Cohn, Murray Fell and Sammy Cosen; Messrs. Manuel Reachi, Lou Schreiber, Sid Garry and Dan Danker; the Misses Thelma Todd, Jean Bankhead, Mildred Harris and Ruth Delroy.
10/25/1930 EH Screenographs
By Harrison Carroll
Thelma Todd, who's a Boston miss, has received a pot of Boston baked beans through the mails, compliments of a hotel in her home town.
11/24/1930 LAX Her Man
By Louella O. Parsons
Her Man, excellently atmospheric, splendidly endowed as to cast and undeniably good entertainment, opened Saturday at the Orpheum Theater. This is a surprisingly good picture that brings to our attention the skillful work of Tay Garnett, director-author. Mr. Garnett is young and so far he has made no outstanding successes. Any veteran in the business with a long string of box office masterpieces could be proud of Her Man. It puts Mr. Garnett into the front rank of capable directors and scores another outstanding success for Pathe.
The story by Mr. Garnett and Howard Higgin deals with men and women who have sunk to the very depths of degradation. The panorama of the dives along the wharf on an island, presumably Cuba, is admirably presented with a moving camera. There is no attempt to whitewash any of the denizens of these dumps. They are obviously what they are. Women who live from the bounty of men they meet in the saloon, and men who find their forgetfulness in drink and loose women.
A demanding role is given Helen Twelvetrees, the Frankie in the life of Johnny, the saloon-keeper. A youngster who steals, who leads men on and yet who gropes for something outside of the dingy saloon, Miss Twelvetrees has a characterization that would tax the ingenuity of a much more experienced actress. She does an admirable piece of work and one that is sure to attract attention, not only in film circles, but with the picture public.
Another lonely soul, a sailor boy, young and hopeful, drifts into the dive and meets the girl. Their romance is carried on, you might say, under fire. Johnny (Ricardo Cortez), proficient with the knife, plans to murder the boy (Phillips Holmes). Young Holmes is always likeable and he does a nice piece of work as Danny. Cortez, as the lawless Johnny, dead to all decency and not even true to Frankie, gives one of the outstanding performances in the picture.
Mr. Garnett is wise in having given Her Man a cast of more than passing interest. Even the small parts are played by the finest actors obtainable. Marjorie Rambeau, an artist to her finger tips, is superb at Annie, who cannot get away from the island. Miss Rambeau gives a performance so fine you wonder why she didn't leave the stage long ago for the movies.
Even the comedy is far above that usually seen in a picture of this kind. James Gleason and Harry Sweet as the two drunken sailors, pals of Johnny, are consistently funny. Franklin Pangborn is another good actor who registers; so are Slim Summerville, Thelma Todd and Mathew Betz.
I should like to have more space to tell just what Slim Summerville does to get a laugh and all about the slot machine episode, but go and see the picture; it is one that belongs on the list of all who appreciate good things.
Supplementing Her Man on the Orpheum program is an amusing Grantland Rice Sportlight. Not only is Mr. Rice represented, but the rotund, amiable Mr. Cobb as well. An RKO comedy, Ants In the Pants, and Toby, the Pup Cartoon, and a Pathe World Newsreel complete the entertainment offered.
11/24/1930 EH Her Man
By Harrison Carroll
Opened at Orpheum, Nov. 22. Directed by Tay Garnett.
CAST: Helen Twelvetrees, Marjorie Rambeau, Ricardo Cortez, Phillips Holmes, James Gleason, Franklin Pangborn, Harry Sweet, Stanley Fields, Mathew Betz, Thelma Todd and Mike Donlin.
On the heels of Holiday, Pathe comes forward with another excellent talking film in Her Man, now showing at the Orpheum Theater.
The two films differ widely, of course, her Man is a melodrama that swirls among the waterfront dives of a Spanish-American port. It tells of the regenerative love of a young sailor and a come-on girl in a grog shop.
The picture is rendered notable because of the realistic direction of Tay Garnett and because of four splendid characterizations—Phillips Holmes as the sailor, Dan; Marjorie Rambeau as the drink-sodden Annie, Helen Twelvetrees as the wistful Frankie and Ricardo Cortez as her sinister protector.
While the story cleaves to its central theme of the awakening love between the sailor and Frankie, it is embellished with plentiful rough-and-tumble action and boisterous comedy.
FIGHT IS SENSATION
The fight when Dan comes to take Frankie away from the dive is the most spectacular in the history of the screen. Beside it the famous battle in The Spoilers is a game of tiddle-de-winks. For many minutes a whole room full of men are locked in the most terrific combat. The wonder is that some of the players were not killed.
Contributing many a laugh are James Gleason and harry Sweet as a pair of drunken pals of the hero. Their rivalry at the slot machines and their many fights over a pearl-gray derby are hilariously accomplished.
There is no question but that Her Man will give a tremendous impetus to the career of Phillips Holmes, who already has achieved considerable recognition for his screen performances. This young actor has virility, a particularly winning manner and a fine voice. He is good-looking without being too handsome, and he is a clever performer.
ACTRESS SCORES
Helen Twelvetrees also shows more promise in this picture than in any of her previous vehicles. She has the makings of an excellent emotional actress.
Her Man also will prove a stepping stone to Ricardo Cortez, whose portrayal of the dapper Johnnie is characterization of high order.
As for Marjorie Rambeau, I think her performance in this picture excels even her recent success in Min and Bill.
Franklin Pangborn and Thelma Todd also do well in lesser parts.
Her Man certainly merits a visit. It's one of the year's best motion pictures.
On the same bill are a comedy, Aunts in the Pants, a Toby the Pup cartoon, another of Grantland Rice's interesting sportlights and a Pathe sound newsreel.
12/15/1930 HDC Elizabeth Yeaman
Thelma Todd will return to the Paramount studios for another siren role. She has just been signed for an important part in Jack Oakie's next production which is to be based on Ring Lardner and George F. Kaufman's Broadway stage success, "June Moon." Miss Todd recently completed a vampire part in "No Limit," with Clara Bow, and was seen a short time ago as the lure in Follow Thru, with Charles Rogers and Nancy Carroll. A. Edward Sutherland, who has just finished directing Oakie in The Gang Buster, will also direct the new picture.
1/8/1931 EE The Man Who Came Back
By Jimmy Starr
There is a very funny Charley Chase comedy entitled Looser Than Loose, on the bill. Thelma Todd and Del Henderson contribute much to the general laughter of the piece....
1/18/1931 FD No Limit
Paramount 1 hr., 13 mins.
Just fair comedy-drama in which an excellent cast is wasted. Trite and obvious story.
This one may be okay for dyed-in-wool Clara Bow fans but won't cause much commotion elsewhere. It starts off to be an entertaining somewhat sprightly comedy, then goes sluggish and finally ends up as drama. Clara competently does an usherette in a de luxe house in New York's Lincoln Square section, no less. A goofy boyfriend, portrayed in grand style by Stuart Erwin, lends her his Park Ave. Apartment which turns out to be a gambling house. She meets and falls in love with a tuxedoed stick-up artist. He pulls a robbery, she gets pinch and he finally gives himself up. If the story had continued along comedy lines it might have had a future. But it didn't. Norman Foster and Harry Green are both fine but the labor hopelessly against the story handicap.
CAST: Clara Bow, Dixie Lee, Stuart Erwin, Norman Foster, Harry Green, Thelma Todd, Kenneth Duncan, Maurice Black, William Davidson, C. Pat Collins, Paul Nicholson, Frank Bagney.
Director, Frank Tuttle; Author, George Marion Jr.; Adaptors, Viola Brothers Shore and Salisbury Field; Dialoguer, Not Credited; Editor, Tay Malarkey; Cameraman, Victor Milner; Recording Engineer, Not Credited.
Direction, Okay. Photography, Good.
1/18/1931 FD The Command Performance
Tiffany 1 hrs., 20 mins.
Smart romantic comedy of royalty with modern setting classily produced. Strong femme appeal in love story.
Adapted from the stage play. Walter lang did a fine directorial job and turned out a smart and breezy comedy with dramatic highlights. An exceptionally good cast and fine settings help a lot. For probably the first time, the screen presents a "Graustark" type of mythical kingdom story in a very modern version, with some fine kidding atmosphere well handled so that it does not weaken the serious side of the theme. Neil Hamilton does splendid work in the dual role of the Prince and his impersonator. The story: Fedor, an actor in the mythical principality, is commissioned by the queen to impersonate her son, the prince, and betroth himself to the princess of a neighboring kingdom. He falls in love with the princess, tells her who he really is, and prepares to step out of the picture in favor of the real prince. The way the plot works out is full of surprises and suspense.
CAST: Neil Hamilton, Una Merkel, Helen Ware, Albert Gran, Lawrence Grant, Thelma Todd, Vera Lewis, Mischa Auer, Burr McIntosh, William von Brincken, Murdock MacQuarrie.
Director, Walter Lang; Author, C. Stafford Dickens; Adaptors, Maude Fulton, Gordon Rigby; Dialoguers, The Same; Editor, Not Listed; Cameraman, Charles Schoenbaum.
Direction, Excellent. Photography, Fine.
1/31/1931 EH Dazzling premiere of City Lights at Los Angeles Theater
Marion Davies, Virginia Cherrill, Thelma Todd Lily Damita, Gloria Swanson all in attendance.
2/1/1931 FD Aloha
Tiffany 1 hr., 30 mins.
Fair drama with good comedy relief. Sophisticated inter-racial marriage story, risque in spots.
The marriage of a native South Sea girl to a white gentleman of social position forms the basis of this production, which is hampered greatly by lack of action and inferior photography. Ben Lyon, as the white gentleman trader, is vamped into marriage with Raquel Torres, a native girl. She is brought back to the states by Lyon, who attempts to place her in his father's house on an equal social basis with his relatives and friends. Husband and wife with a party of friends return to the South Seas for a visit. While there, the disillusioned native girl ends her life by leaping into the crater of an active volcano. The husband returns to the states in the arms of his former society fiancé.
CAST: Ben Lyon, Raquel Torres, Robert Edeson, Alan Hale, Thelma Todd, Marian Douglas, Otis Harlan, T. Roy Barnes, Robert Ellis, Donald Reed, Al St. John, Dickie Moore, Marcia Harris, Addie McPhail, Phyllis Crane, Rita Rey.
Director, Albert Rogell; Authors, Thomas H. Ince, J.G. Hawks; Adaptor, Adele Buffington; Dialoguers, Leslie Mason, W. Toman; Editor, Richard Cahoon; Cameraman, Charles Stumar; Recording Engineer, H.R. Hobson.
Direction, Fair. Photography, Poor.
2/8/1931 FD Swanee River
Sono Art 50 mins.
Fair old-style melodrama with plenty of action and good "spirituals" by Jubilee Singers.
This is the first "Thrill-O-Drama" in a series of ten. Two fights during which everything on the set is damaged, one man-hunt by an armed posse and several sniffing and barking bloodhounds, the blowing up of a dam and the resulting flood, comprise the thrills. A cast of gesticulating players furnishes the drama in "old school" style. It's the old story of the Southern colonel, his beautiful daughter, the villain who steals "the papers" from the colonel, the murder of the colonel by the villain who accuses the hero, and so on. Several Negro spirituals sung by a fine aggregation of Jubilee Singers help the picture considerably, making it a fair program offering. Grant withers is good type for the fighting hero and Thelma Todd does well with a comparatively small part. Others in the cast are okay.
CAST: Grant Withers, Thelma Todd, Philo McCullough, Walter Miller.
Director, Raymond Cannon; Author, Barbara Chambers Wood; Adaptor, Arthur Hoerl; Dialoguer, Same; Editor, Harry Webb-Douglas.
Direction, Ordinary. Photography, Fair.
2/27/1931 LAX Louella O. Parsons
Mrs. Ernst Lubitsch and Hans Kraly still devoted, entertaining a few of their friends at Stark's. Greta Nissen, back in town looking better than she has ever looked in her life, also at Stark's; also Leila Hyams, Louise Fazenda, Thelma Todd and Lew Ayres.
3/2/1932 HCN Society in Filmland
Heralding the spring season is the Domino Revel to be held at the Clubhouse, 1284 Crescent Heights Boulevard, Sunday starting at 8pm. Because of conflicting dates, the revel was postponed from last week to the new date. Reservations may be made by calling the club.
Miss Claire DuBrey, chairman, and her assistant, Miss Anna Q. Nilsson, announced completed plans today with the numbers to be staged in the club's own theater. Following the performance supper will be served in the club dining room and salons.
Among the evening entertainment features are a monologue by Miss May Robson, a Blackout sketch by Misses Thelma Todd and Eloise O'Brien and a skit "Star Spangled Banner" with Pauline Neff as lieutenant and Miss Alice Mills Davey, bride.
Even financiers are promised hearty laughs in Paul Franklin's "Big Business" to be enacted by Miss Jessie Carter Riley, business man, and Miss Gertrude Short, job-seeker. Miss Patsy Ruth Miller has written "Standards" with her cast including Misses Belle Mitchel, Mae Busch and Francesca Roteli. "Out Like a Flash," written by Miss Madeline Blackmore, will present Miss Genevieve Tobin and Miss Leona Powers.
Following intermission Miss Louise Fazenda will appear in a special feature. Miss Adele Rowland will appear in her own skit called "Cherchezing La Femme" with Misses Olive Cooper and Elinor O'Reilly supporting her.
"Lizzie Strutter," the ninth number, by Ramon Romero, is set to music by Wynne Hammer with dances by the Mosconi Brothers; appearing will be Misses Thelma Todd, Eloise O'Brien, Margarite Burroughs, Mia Marvin, Edith Raynor Black, Louise Fazenda, Elinor O'Reilly, Gertrude Short, Francesca Rotoli, Georgia Fifield, Joan Standing and Mrs. William Beaudine. Preceding the final number, a surprise, "A Little Grey Home in the West" will be presented by Jessie Carter Riley, Jane Gray and Aldin Gay.
3/4/1931 FD Hollywood Flashes
By Ralph Wilk
Hal Roach has placed Thelma Todd and ZaSu Pitts under contract to appear in comedies for MGM release. Their first vehicle probably will be Let's Go Places, by Tom Seymour, Charley Rogers and Dietrich Kohlsaat.
3/4/1931 HDC Society in Filmland
Large numbers of film celebrities attended the revel given by the Dominoes Saturday and Sunday evenings in their Sycamore Avenue club house.
Among those who attended were Messrs. and Mesdames Frank Craven, Joseph Santley, Dudley Digges, Joseph Jackson, Hugh Herbert, Edward Cline, Lumsden Hare, Edward G. Robinson, Joseph Cawthorn, Frederick Hurlbut, Edmund Breese, James Gleason, Charles Innes, Bryan Foy, Edwin H. Curtis, Hale Hamilton, Crauford Kent, Tay Garnett, Joseph Jackson, Hugh Herbert, Paul Sloane, David Butler, Paul Nicholson, Sam Hardy, Louis Arms, Harry Pollard, Charles Miller, William Davey, Robert Emmet Keane, Frank Burns, Morgan Wallace, Joseph De Stefani, Garrett Fort, Maurice Cleary, Robert Keith, Louis Payne, George Renavant, Ralph Lewis, and Harry Stubbs.
Mesdames Assabuki, Adele Delgarde Butler, Jeanette Reid, Marie Partridge Price, the Misses Jeanette MacDonald, Mary Brian, Helen Ware, Julian Dean, Claudia Dell, Jessie Henderson, Mary Forbes, Marguerite Churchill, Thelma Todd, Cecil Cunningham, Julia Dean, Joan Peers, Minna Gombel, Mia Marvin, Irene Denny, Mae Busch, Norma Drew, etc., etc.,...
3/4/1931 FD Hollywood Flashes
By Ralph Wilk
Hal Roach has placed Thelma Todd and ZaSu Pitts under contract to appear in comedies for MGM release. Their first vehicle probably will be Let's Go Places, by Tom Seymour, Charley Rogers and Dietrich Kohlsaat.
3/7/1931 EE Aloha
By Jimmy Starr
A new cinematic star flitted across the screen at the Los Angeles Theater yesterday—a star, although very young in years, who troups like a veteran of many successes. And such glory, I am sure, will belong to this young lady.
Introducing Miss Raquel Torres, who stars in Aloha, the first all-talking production to be shown at this very lovely movie palace. Aloha is a very pleasant and entertaining hour or so of cinema endeavor—a rather torrid drama of the tropics, which has been told with ease....large slabs of comedy cleverly woven into the dramatic fabric.
The production has been made with an eye on what the masses like—hokum! The saving grace of course, is the legitimate treatment given. For that we have Albert Rogell, director and producer, to thank. He has told the story in a straight-forward manner, adding an occasional subtle touch for the more sophisticated, injecting healthy slices of tropical feminine stuff that will please, amuse and cause the women to weep.
It's a good woman's picture. They can laugh and cry to their heart's content.
....RAQUEL BRILLIANT....
Aloha rediscovers a new dramatic actress of much merit—Raquel Torres, who had a similar role in White Shadows of the South Seas, but did not fare nearly so well.
Raquel handles the difficult role of the half-white native girl with extreme ease and cleverness. She runs the so-called gamut of emotions with finesse.
The story written by Thomas H. Ince and J.G. Hawks, and produced by the former some years ago, is typical South Sea Island stuff, but Rogell's new directorial treatment of this ancient formula has given the aged theme a modern luster and a most surprising climax.
Of course, the half-white girl marries the only son of the shipping magnate and is brought to San Francisco for irate father's okay.
First, tragedy descends upon the newlyweds, then there are moments of superb happiness...doubt, in the form of a villain, creeps into view...a hateful sister and a former sweetheart of the boy enter to make matters worse.
Besides Miss Torres, there is Ben Lyon, who achieves no small amount of success. Ben gives an excellent portrayal as the son. At least, you can believe him, and the part is certainly not an easy one. Robert Edeson, too, as the blustering old father, is quite good.
Thelma Todd plays the menace cleverly, genuinely. Marion Douglas, enacting Thelma's sister (and there is a startling likeness, too) offers some creditable work. Little Dickie Moore plays the baby with cunning naturalness. He's the type that causes audible "ohs" and "ahs" when he appears on the screen.
A very amusing comedy, The Royal Bluff, starring Slim Summerville, is also on the program and brings some high moments of laughter. The Los Angeles Orchestra and newsreel completes the bill.
They still talk about Dietrich and Hepburn being formidable rivals of Garbo. But who is the rival who tops them all? For your answer just talk to most anyone in any city or town in the country and you'll probably hear Mae West. In the vast and incredible annals of Hollywood, the spectacular success of Mae West is unrivaled. Mae's triumph amounts to a psychological phenomenon.
When I was living in New York I never went to see Mae West on the stage, although some of her plays ran two years. Discriminating theater-goers simply did not put Mae West on their list. Occasionally some of the so-called highbrows would venture to her theater in something of the spirit that they would go on a slumming tour. But I never saw her until I attended her trail for producing "Sex." The judge finally had to clear to courtroom when Mae started to make monkeys of the state's witnesses.
New York, a scant few years ago, regarded Mae West as declasse. Today the highbrows of Park Avenue are her fans and she made them fans in one picture, She Done Him Wrong.
However, those same highbrows assiduously patronized the Theater Guild [obscured]inted producing organization which produced Eugene O'Neill erotica such as "Mourning Becomes Electra" or "Strange Interlude." But then the Theater Guild was not criticized because it operated under the aegis of ART. Mae West was frowned upon because she sponsored plain, wholesome sin without the trimmings of art. Personally, I regard Mae West's popularity today as a healthy and wholesome trend of the public mind. There is nothing insidious about her. She scorns the unhealthy implications of O'Neill.
The power of Mae West is not confined to these United States. In Paris she is a sensation. All summer long the social elite of Paris have entertained with "Lady Lou" parties, at which the feminine guests came attired in the costumes made popular by Mae in She Done Him Wrong. Those guest went to the finest designers for their costumes and the parties were the ultra social affairs of the season. This country's most exclusive women's magazine has devoted much space to pictures and comments on those "Lady Lou" parties of Paris which were inspired by Mae West. And when such a magazine toots the horn of Mae West, not even Emily Post would dare to scorn her.
Meanwhile, Mae goes quietly about her business in Hollywood. She does not even endeavor to live up to the reputation of Lady Lou. In fact she goes so far as to make it known that she neither drinks nor smokes.
In public Mae is one of the quietest persons in the film colony. Her public appearances are confined mostly to prize fights, which she genuinely enjoys. After all, her father was a professional fighter. But at the prize fights she sits quietly in a ringside seat. She neither yells or parades to attract attention. Lupe Velez, a few seats away, may scream herself hoarse. But Mae West is always quiet and self-contained.
When you talk to Mae, you will find her both quiet and literate if you yourself are quiet and literate. However, she will lapse into Bowery verbiage if she discerns that you expect it of her.
Only in her dress does she exemplify the type she portrays on the stage or screen. Mae will hang herself with diamonds and don an evening dress for a matinee at the circus. She will have the long white gloves, evening bag, white fur coat and a colored maid in attendance. But Mae knows better. She is too shrewd and clever to be unintentionally gauche in the matter of dress. She merely dons those trappings to give the public what it expects. That is astute showmanship.
Furthermore, Mae strenuously avoids personal scandal. She maintains a certain privacy without making a public issue of it. Out of all the yards of stories that have been written about her, you will find very few facts of her private life. And what is more, the stories of her kindness and generosity to old friends are true. They are not just high-sounding publicity stories. She does not bleat in print about her right to privacy. But she is cunning enough to give anybody a story at anytime, without trespassing on her privacy.
A great part of her success, I am sure, is due to her first-hand study of all types of people. She understands human psychology. Never, in her checkered career, has she held herself aloof from people. Not even her unparalleled success has turned her head. And that she has an unusually level head is proved in a remark she made to me not long ago.
"I have to make two pictures a year for Paramount. I don't want to make more than that because I realize that my pictures HAVE to be good. I know that if they aren't good I can lose my popularity just as fast as I have gained it."
When Mae makes a picture she contributes much more than an acting performance. She writes her own stories and every line of her own dialogue. She plans her own costumes and even gives much thought to her coiffures. I suspect that she also lends a hand in the direction.
Time was in New York when first class leading men never sought a job with Mae West. Although her plays always had long runs which guaranteed steady salary for her casts, particular actors did not seek jobs with her, even though they might need the money badly. But today the finest talent in Hollywood seeks a role in the Mae West pictures.
Mae jumped from the class of the declasse to the elite over night! And now the elite are imitating her.
Thelma Todd In the 30's
ABBREVIATIONS
DN – Daily News (Los Angeles)
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
IDN – Illustrated Daily News
LAR – Los Angeles Record
LAPR – Los Angeles Post Record
LAX – Los Angeles Examiner
MPH – Motion Picture Herald
1/29/1930 HDC Society In Filmland
MANY PARTIES GIVEN AT ROOSEVELT HOTEL
"Song Writers' Night" in the Blossom Room of the Roosevelt Hotel Monday night proved to be the incentive for many charming parties.
Among the celebrities who entertained in honor of the guests of the evening were Misses Lois Moran, Thelma Todd and Molly O'Day; Messrs. and Mesdames Charles King, Lou Anger, William Beaudine, Irving Berlin, George Irving and Joe Rock.
Messrs. Buster West, Conrad Nagel, Billy Kent, Leon Errol, Gus Edwards, Al Christie, Jack Kearns, Eddie Nugent, Clarence Brown, Jack Oakie, Harold B. Franklin, Roscoe Arbuckle, Arthur Ungar, Con Conrad, Harry Tierney, Louis Alter, Jerome Kern and others.
2/5/1930 HDC Society in Filmland
By Elizabeth Yeaman
One of the brilliant parties given recently was presided over by Mr. and Mrs. William Davey, who entertained at tea Sunday afternoon in their home at 805 Linden Drive, Beverly Hills. The guests of honor were Mr. and Mrs. Edward Hillman of Chicago (Marion Nixon) who recently returned from their honeymoon abroad. Mrs. Howard Hodge of Louisville, Kentucky, Miss Cordelia Strong and Miss Wilena Ruzicka of New York City.
The house was a power of spring flowers, and many persons prominent in film circles called during the afternoon and evening.
Among those present were Betty Francisco, Dorothy Dwan, Sally Eilers, Cordelia Tilden, Vera Reynolds, Pauline Garon, Jeanette Loff, Dorothy Lee, Katherine Bennett, Josephine Houston, Virginia McKinney, Thelma Todd, La Dessa Gibson, Jo Wallace, Gladys McConnell and Margaret Francisco.
And the Messrs. Fred Spradling, Hoot Gibson, Jack King, Bob Ellis, Dr. William Branch, James Fidler, Bobby Agnew, Harry Greenbaum, Harvey Priester, Eddie Albertson, James Gleason, and Robert McQue.
Also Mr. and Mrs. Paul Speyer, Mr. and Mrs. Norman McLeod, Mr. and Mrs. William Cronin, Mr. and Mrs. Robert Armstrong, Mr. and Mrs. George Lewis, Mr. and Mrs. John Scantlin, Mr. and Mrs. Reginald Denny, Richard Arlen, Clarence Hudson and others...
2/12/1930 HDC Society In Filmland
By Elizabeth Yeaman
JOHNNY HAMP PROVES POPULAR AT COCOANUT GROVE
Nancy Welford, Al St. John Marie Wells, Laurel Nemeth, Ernest Wood, Wilbur Evans and other members of the "Bambina" company were guests of honor last night at the Cocoanut Grove of the Ambassador Hotel. Johnny Hamp and his Kentucky Serenaders featured a program of dance numbers from this colorful operetta, and the Grove was especially decorated with Venetian lanterns for the affair.
Among those who entertained at the Cocoanut Grove during the week are Sue Carol, Thelma Todd, Lilyan Tashman, Patricia Norton, Polly Ann Young, Raquel Torres, Janet Chandler, Blanche Sweet, Nick Stuart, Clarence Brown, Edmund Lowe, Wilson Mizner, Grant Clarke, Cosmo Bellew, John P. Medbury and Jerry Hoffman.
2/17/1930 EH Scouting the Sinema by Dorothy Herzog
At ye Cocoanut Grove: Thelma Todd, in black velvet frock, dancing with Harvey Priester...Wilson Mizner and Grant Clark at a ringside table talking about this and that and looking at ditto....Marion Nixon and her husband, Eddie Hillman, twirling the jazz fantastic....Morton Downey and Barbara (the missus) Bennett requesting the orchestra leader, Johnny Hamp, to play "Chant of the Jungle." An appropriate theme song for the village.
3/5/1930 HDC Doris Denbo
Harry Langdon has made good with a vengeance out at the Hal Roach Studio. He has just signed a new contract with them under which he will make four pictures a year and will have a definite say in the choice of stories which he films and will assist in gagging and stunting them. The King was Langdon's last under the old contract. Thelma Todd, that stunning and most charming blonde, played the queen. There is a lot of fun in this one, according to reports, if Langdon does not run away with himself in managing his own pictures.
3/14/1930 EH Scouting the Sinema
By Dorothy Herzog
Thelma Todd has been borrowed from the Hal Roach kumpny to portray a featured fem role in Famous' musik-komik, Follow Through, along with Nancy Carroll, Zelma O'Neill, Buddy Rogers, etc. This is Miss Todd's first picture for Famous Players in several years. Her return is auspicious. Incidentally, as she must play a golf champ in this vocaloid the Todd is taking her golf lessons daily.
3/15/1930 LAX Louella O. Parsons
Thelma Todd and Louise Fazenda lunching together at the Roosevelt Blossom Room.
5/6/1930 LAX Louella O. Parsons
Thelma Todd dancing with Harvey Priester five times in succession at the new Montmarte.
6/18/1930 HDC Society In Filmland
By Rachel Rubin
PARTIES HELD AT ROOSEVELT
Honoring Irving Aaronson's Commanders, who made their farewell appearance in the Blossom Room at the Roosevelt Hotel on Monday evening last, many of Hollywood's celebrities entertained parties.
Among those present were Messrs. and Mesdames Douglas Fairbanks (Mary Pickford) and Misses Lina Basquette, Merna Kennedy, Betty Boyd, Alice McCormick, Thelma Todd, Grace Kingsley and Betty Pierce.
Also Messrs. James Hall, Josef von Sternberg, Billy Joy, Nino Martini, Hal Horne, Ben Goetz, W.S. Van Dyke, John K. Arthur, William Wellman, Sid Grauman, Efe Asher, Rex Lease, Carle Laemmle Jr., Joe Frisco and others.
6/25/1930 HDC Society in Filmland
Miss Ona Wilson of Milwaukee, who is visiting her aunt, Mrs. Ona Wilson Brown, was the guest of honor at two charmingly appointed events today.
Miss Lina Basquette entertained for her with a luncheon at the Embassy, having as her guests the honoree and Mesdames Ernest Reicher, Ona Brown, Pearl Dannenberg and Charles Irwin; the Misses Grace Simpson, Renee Torres, Carla and Elinor Guterlein (the Sisters G).
Mrs. Pearl Dannenburg was hostess at tea this afternoon at her home in North Havenhurst Drive, honoring Miss Wilson. Those present included Mr. and Mrs. Finis Fox, Mr. and Mrs. Charles Irwin, Mr. and Mrs. Finis Fox, Mr. and Mrs. Charles Irwin, Mr. and Mrs. Ben Bard (Ruth Roland); Mesdames Ona Brown, Peggy McIntyre, Harvey Priester and Efe Asher; the Misses Natalie Kingston, Lina Basquette, Pauline Garon, Thelma Todd, Renee Torres, Grace Simpson, Helen Ferguson and Rose Perfect.
Messrs. Frances J. O'Brien, Robert Ransom, Vernon Rickard, Art Goebel, Arnold Berry and Edward Halliday.
....
SALLY EILERS WILL BECOME HOOT GIBSON'S BRIDE FRIDAY EVENING
Scarcely has the film colony recovered from the round of festivities which had its climax in the wedding of Bebe Daniels and Ben Lyon, when another popular pair made know their nuptial plans.
Miss Sally Eilers, daughter of Mr. and Mrs. H.P. Eilers of North Manhattan Place, and Edward B. (Hoot) Gibson, son of Mrs. Wayne Anderson, will plight their troth Friday evening. One hundred guests have been bidden to the ceremony, which is to take place at Mr. Gibson's ranch near Saugus, with Rev. James Hamilton Lash of the Hollywood Congregational Church officiating. The occasion will mark the birthday of Mrs. Eilers, mother of the bride.
The bride, who will be given in marriage by her father, will wear a gown of satin ivory trimmed with real lace and headed with pearls. Her veil of lace will be fastened to the cap of lace and pearls, and she will carry orchids and lilies of the valley.
Miss Carmen Pantages has been chosen to serve as maid of honor. The bridesmaids will be Mrs. Reginald Denny, Mrs. Edward Hellman (Marion Nixon), Miss Marie Prevost and Mrs. Mae Sunday. They will wear georgette frocks in pastel shades, with picture hats in harmonizing tones.
William (Buster) Collier Jr., will be the best man and ushers will be Dr. Harry Martin and Messrs. Arthur Rosson, Reginald Denny and Wallace Davis.
After the honeymoon trip to Lake Louise and Banff in the Canadian Rockies, the couple will make their home at Mr. Gibson's ranch.
Those who have been bidden to the wedding include Messrs. and Mesdames Edward Cline, Lonnie Darsay, Alexander Pantages, Ray Schrock, Allan Dwan, Robert Leonard, George Lewis, Al Rogell, B. Reaves Eason, Ben Lyon, Arthur Rosson, Richard Hyland (Adela Rogers St. Johns), Charles Mack, Reginald Denny, Irving Thalberg (Norma Shearer), James E. Granger, Buster Keaton, James Gleason, Monte Blue, Morton Downey, Townsend Netcher, Felix Hughes, Millard Webb, Alfred Martin, Al Christie, Richard Gallagher and Rex Barber, Dr. and Mrs. Harry Martin.
Mesdames Sadye Murray, Phyllis Daniels, the Misses Mary Fleury, Mary Astor, Jeanette Loff, Marie Prevost, Eileen Percy, Carol Lombard, Billie Dove, Dorothy Mackaill, Helen Ferguson, Linda Cronin, Anita Murray, Mary Catherine Reticher, Helen McEvilly, Lila Lee, Almerita Hawpe, Hedda Hopper, Marion Smith, Thelma Todd, Mina Wallis, Ruth Collier, Marion Davies and Beatrice Lillie (Lady Peel).
Messrs. Cliff Edwards, Bud Eilers, Lew Lipton, David Ganzer, Victor Fleming, Harry Cohn, Norman Kerry, Lew Cody, Roscoe Arbuckle, Harvey Priester, Mel Coakley, Walter O'Keefe, James Shields, Roger Davis, Jerry Miley, William K. Howard, Lt. Col. Roscoe Turner, Edward Brandstatter, Richard Hargreaves, Sam Wolf, Hal Howe, Joseph Schenck, Lloyd Pantages, Harlan Fengler, Jack Pickford, Howard Hughes, William Haines, Edward Hatrick, William Randolph Hearst, Hal Rosson, Lt. William Sweeley and Col. Art Goebel.
6/29/1930 HDC Elizabeth Yeaman
From the same studios [Pathe] comes the glad word that casting for Her Man is completed, with the addition of Matthew Betz and Thelma Todd. Tay Garnett is directing the picture along that will delight everyone who ever sang the tragic-comic old song, "Frankie and Johnnie." For that's the story.
7/30/1930 HDC Society In Filmland
By Rachel Rubin
LUNCHEON GROUP AT EMBASSY
Miss Lina Basquette entertained a small group of friends at luncheon recently in the Embassy Club, included were Miss Thelma Todd, Mrs. Ernest Belcher and Dorothy Woolridge.
8/6/1930 HDC Society In Filmland
By Rachel Rubin
Hollywood extended a welcome to Miss Gilda Gray upon her return after a long absence in the east, Monday night, when she was guest of honor in the Blossom Room of the Roosevelt Hotel.
Many of her friends entertained for the occasion. Among those present were Messrs. and Mesdames Ivan Kahn, Lou Anger and Maurice Chevalier; Messrs. Charles "Buddy" Rogers, Maurice DeMond, Don Alvarado, Tom Waring, Joe Frisco, Charles Farrell, Mack Sennett, Basil Woon and Tom Douglas; the Misses Thelma Todd, Colleen Moore and Lillian Roth.
8/27/1930 HDC Society In Filmland
By Rachel Rubin
SPANISH SUPPER IS RECENT EVENT
Mr. and Mrs. George Crone of the Casa Granada apartments will entertain a group of friends in a novel manner Saturday evening, when they will be hosts at a Spanish supper. Mrs. Crone lived in Spain for a number of years and she plans to carry out details in an authentic manner.
Those who have been bidden include Dr. and Mrs. Rudolph Marx, Mr. and Mrs. William deFrees Mann, the Misses Mollie and Helene Merrick, Miss Thelma Todd, Capt. James F.J. Archibald and Burton Holmes.
9/4/1930 EH Follow Thru
By DeSylva, Brown, Henderson and Laurence Schwab. Directed by Laurence Schwab. Opened at U.A. Sept. 3, 1930.
CAST: Charles Rogers, Nancy Carroll, Zelma O'Neal, Jack Haley, Eugene Pallette, Thelma Todd, Claude King, Kathryn King, Margaret Lee, Don Tomkins and Albert Gran.
By Dick Hunt
If musical comedy is on the wane, it was not apparent at the United Artists last night, judging from the filled theater that enjoyed Paramount's version of Follow Thru, featuring Buddy Rogers and Nancy Carroll.
Like the stage production of this musical, the picture version goes a long way toward breaking "par" as far as entertainment is concerned. Follow Thru leans heavily upon comedians and they are not found wanting. Its one big drawback is having its romantic leads sing too many songs which slacken the tempo in spots. Otherwise it is a fast moving, rollicking film capable directed and played.
PAR FOR LAUGHS
Outstanding is the work of Jack Haley and Zelma O'Neil, who scored so heavily in the stage production. Appearing before the camera for the first time this pair duplicate their former comical stage efforts and are the source for many laughs. Eugene Pallette is another who helps this film breeze along with his wise-cracks.
The love interest shows Buddy Rogers and Nancy Carroll struggling with meager material, but nevertheless giving pleasing performances. Some day someone is going to write a musical comedy in which the romantic leads become really important both in dialogue and song.
SCORES IN ROLE
A straight role which offers a bit of characterization is ably played by Thelma Todd. Margaret Lee and Don Tompkins are responsible for a few laughs in supporting parts.
The direction of Follow Thru has been effectively handled by Lawrence Schwab and Lloyd Corrigan.
Accompanying the picture are shorts which include a Tom Terriss vagabond travelogue, the vaudeville star, Luly McConnell, in The Introduction of Mrs. Gibbs and a newsreel. Gaylord Carter completes the program with an organ recital.
9/4/1930 LAX Follow Thru
By Jerry Hoffman
Oh, dear! Now we're in for it. Just because Follow Thru, which came to the United Artists Theater yesterday, happens to be unusually good as a screen musical comedy, the recess given fans from the constant feeding of words and music may be suddenly terminated. It really isn't worth worrying about. If the rest of them contain as much charm and enjoyable moments as Follow Thru they will be sincerely welcome.
It shouldn't be necessary to relate the plot of Follow Thru. George M. Cohan once startled his intimates with the sudden statement:
"Boys! I've got a great idea for a show." Breathlessly they all shouted, "What is it?"
George replied slowly: "A boy loves a girl."
There you have it. In Follow Thru, two boys love two girls, and several girls love one boy. That's to add complications, you see. There must be complications to make plot. There must be such things in order that a boy and a girl may sing a love song and then repeat a chorus with a seeming ache in their hearts. Don't let it worry you. They're only acting.
A golf club is the locale for Follow Thur. Golf lovers, miniature or normal (which is normal nowadays, by the way?) May learn how to putt, since "Buddy" Rogers gives Nancy Carroll some very effective instructions. Incidentally, rarely has the beauty of Nancy Carroll been so well exploited as it is in the technicolor of Follow Thru.
There are some new names to screen fans in this production. They are Jack Haley and Zelma O'Neal, who can return to screens as often as they wish in the future if they remain as pleasing as they are in this musical comedy. Thelma Todd is the main factor in lending complications—and the man who wouldn't want to be complicated by or with her—well! Claude King and Eugene Pallette are very good and a little girl named Margaret Lee makes a decidedly good impression as a comedienne. Don Tompkins and Albert Gran are the other principals who do well.
Laurence Schwab, who produced the stage show, directed the screen version with Lloyd Corrigan. DeSylva, Brown and Henderson's music from the original show is still present and entertains highly. Particularly clever is the staging of "I Want to Be Bad."
The Introduction of Mrs. Gibbs is a hilarious farce, with the delightful Lulu McConnell. Another excellent Tom Terris Travelogue enhances the program.
9/14/1930 FD Follow Thru
Paramount 1 hr., 9 minutes
Adapted from the musical comedy by De Sylva, Brown and Henderson. The entire production is in Technicolor and is handsomely mounted throughout. The story concerns the love of a young golf pro for a girl who is the champ golfer of a swell country club. Then, of course, there is the vamp who tries to win the hero away from her. The rest of the plot you can put in a thimble, a la musical comedy. Also in the same style, they introduce songs and dances throughout the action, which doesn't help the interest any. Charles "Buddy" Rogers, Zelma O'Neal, Jack Haley, Eugene Pallette, Thelma Todd, Claude King, Kathryn Givney, Margaret Lee, Don Tomkins, Albert Gran.
Directors, Laurence Schwab, Lloyd Corrigan; Authors, De Sylva, Brown and Henderson; Adaptors, Laurence Schwab, Lloyd Corrigan; Editor, Alyson Shasser; Cameramen, Charles B. Boyle, Henry Gerrard.
Direction, All Right. Photography, Very Good.
9/16/1930 LAX Louella O. Parsons
Thelma Todd among those glimpsed at the Montmarte.
9/21/1930 FD Her Man
Pathe 1 hr., 23 mins.
A knockout underworld melodrama splendidly acted by fine cast under keen direction.
This is the best drama of its kind to come along in quite a while. A compelling human interest story in a Havana dive setting, where the beautiful Frankie, enslaved by the racketeering Johnnie for whom she robs the café patrons, meets the good and brave sailor hero, Dan, who rescues her from the evil environment. Story has deep appeal, principally because of the loveliness of the heroine, Helen Twelvetrees, and the boyish charm of the hero, Phillips Holmes. And the action has real guts. A fight scene in the dive, marking the climax where Dan comes to carry off Frankie, is a robust performance that should just about lift the folks off their seats. The entire cast is aces, and the same goes for the direction and the acting all-around.
Cast: Helen Twelvetrees, Marjorie Rambeau, Ricardo Cortez, Phillips Holmes, James Gleason, Harry Sweet, Stanley Fields, Mathew Betz, Thelma Todd, Franklin Pangborn, Mike Donlin.
Director, Tay Garnett; Authors, Howard Higgin and Tay Garnett; Adaptor, Tom Buckingham; Dialoguer, Tom Buckingham; Editor, Joe Kane; Cameraman, Ed Snyder; Sound Recordists, Earl Wolcott and Harold Stine.
Direction, Excellent. Photography, Fine.
9/24/1930 HDC SOCIETY IN FILMLAND
By Rachel Rubin
DOMINOES COMPLETE REVEL PLANS
Final program arrangements for the revel to be staged by the Dominos Saturday evening at their clubhouse in North Sycamore Avenue have been announced by Mary Forbes, chairman of the entertainment committee.
The opening number, entitled "Sisters Dominos," will be presented by Nancy Carroll and Mary Lawlor.
A Clara Beranger playlet, "His, Hers and Theirs," will have in its cast Thelma Todd, Mae Busch, Mary Fort and Jeanne Kent Armstrong. It is directed by Renee Denny. Anna Dolloff will be heard in a monologue.
"Scarlet," a playlet written and directed by Maude Fulton, will be enacted by ZaSu Pitts, Louise Crolius and Angie Norton.
Claudia Dell and Renee Denny are both on the program for songs.
Alden Gay and Carol Marmon are slated for a blackout called "Double Trouble," written and directed by Lucile Webster Gleason. Mrs. Gleason is president of the Dominos.
"The Wall of Silence," written and directed by Lenore Coffee will have in its cast Jo Wallace, Claire Dultray and Dorothy Van Buren.
Marguerite Churchill will be mistress of ceremonies and Bernice O'Neal will be at the piano.
Among the chorus girls to appear on the program will be Mary Eaton, Carol Marmon, Norma Lee, Nancy Welford, Ruth Nugent and Mary Lawlor.
10/3/1930 HDC Elizabeth Yeaman
With Marian Douglas signed for a featured role in Aloha, the number of featured players and stars amounts to ten. Other members of the cast include Ben Lyon, Raquel Torres, Alan Hale, Robert Edeson, Thelma Todd, Robert Ellis, T. Roy Barnes, Donald Reed, Otis Harlan and Al St. John. Production will be started today at the Metropolitan Sound Studios.
10/22/1930 HDC Society in Filmland
By Rachel Rubin
ROOSEVELT DRAWS CELEBRITIES
A large number of notables entertained guests in the Blossom Room of the Roosevelt Hotel Monday evening. Among those present were Count Andreas de Segurola, Messrs. and Mesdames Frank Joyce, Lou Anger, Denison Clift, J. Ward Cohn, Murray Fell and Sammy Cosen; Messrs. Manuel Reachi, Lou Schreiber, Sid Garry and Dan Danker; the Misses Thelma Todd, Jean Bankhead, Mildred Harris and Ruth Delroy.
10/25/1930 EH Screenographs
By Harrison Carroll
Thelma Todd, who's a Boston miss, has received a pot of Boston baked beans through the mails, compliments of a hotel in her home town.
11/24/1930 LAX Her Man
By Louella O. Parsons
Her Man, excellently atmospheric, splendidly endowed as to cast and undeniably good entertainment, opened Saturday at the Orpheum Theater. This is a surprisingly good picture that brings to our attention the skillful work of Tay Garnett, director-author. Mr. Garnett is young and so far he has made no outstanding successes. Any veteran in the business with a long string of box office masterpieces could be proud of Her Man. It puts Mr. Garnett into the front rank of capable directors and scores another outstanding success for Pathe.
The story by Mr. Garnett and Howard Higgin deals with men and women who have sunk to the very depths of degradation. The panorama of the dives along the wharf on an island, presumably Cuba, is admirably presented with a moving camera. There is no attempt to whitewash any of the denizens of these dumps. They are obviously what they are. Women who live from the bounty of men they meet in the saloon, and men who find their forgetfulness in drink and loose women.
A demanding role is given Helen Twelvetrees, the Frankie in the life of Johnny, the saloon-keeper. A youngster who steals, who leads men on and yet who gropes for something outside of the dingy saloon, Miss Twelvetrees has a characterization that would tax the ingenuity of a much more experienced actress. She does an admirable piece of work and one that is sure to attract attention, not only in film circles, but with the picture public.
Another lonely soul, a sailor boy, young and hopeful, drifts into the dive and meets the girl. Their romance is carried on, you might say, under fire. Johnny (Ricardo Cortez), proficient with the knife, plans to murder the boy (Phillips Holmes). Young Holmes is always likeable and he does a nice piece of work as Danny. Cortez, as the lawless Johnny, dead to all decency and not even true to Frankie, gives one of the outstanding performances in the picture.
Mr. Garnett is wise in having given Her Man a cast of more than passing interest. Even the small parts are played by the finest actors obtainable. Marjorie Rambeau, an artist to her finger tips, is superb at Annie, who cannot get away from the island. Miss Rambeau gives a performance so fine you wonder why she didn't leave the stage long ago for the movies.
Even the comedy is far above that usually seen in a picture of this kind. James Gleason and Harry Sweet as the two drunken sailors, pals of Johnny, are consistently funny. Franklin Pangborn is another good actor who registers; so are Slim Summerville, Thelma Todd and Mathew Betz.
I should like to have more space to tell just what Slim Summerville does to get a laugh and all about the slot machine episode, but go and see the picture; it is one that belongs on the list of all who appreciate good things.
Supplementing Her Man on the Orpheum program is an amusing Grantland Rice Sportlight. Not only is Mr. Rice represented, but the rotund, amiable Mr. Cobb as well. An RKO comedy, Ants In the Pants, and Toby, the Pup Cartoon, and a Pathe World Newsreel complete the entertainment offered.
11/24/1930 EH Her Man
By Harrison Carroll
Opened at Orpheum, Nov. 22. Directed by Tay Garnett.
CAST: Helen Twelvetrees, Marjorie Rambeau, Ricardo Cortez, Phillips Holmes, James Gleason, Franklin Pangborn, Harry Sweet, Stanley Fields, Mathew Betz, Thelma Todd and Mike Donlin.
On the heels of Holiday, Pathe comes forward with another excellent talking film in Her Man, now showing at the Orpheum Theater.
The two films differ widely, of course, her Man is a melodrama that swirls among the waterfront dives of a Spanish-American port. It tells of the regenerative love of a young sailor and a come-on girl in a grog shop.
The picture is rendered notable because of the realistic direction of Tay Garnett and because of four splendid characterizations—Phillips Holmes as the sailor, Dan; Marjorie Rambeau as the drink-sodden Annie, Helen Twelvetrees as the wistful Frankie and Ricardo Cortez as her sinister protector.
While the story cleaves to its central theme of the awakening love between the sailor and Frankie, it is embellished with plentiful rough-and-tumble action and boisterous comedy.
FIGHT IS SENSATION
The fight when Dan comes to take Frankie away from the dive is the most spectacular in the history of the screen. Beside it the famous battle in The Spoilers is a game of tiddle-de-winks. For many minutes a whole room full of men are locked in the most terrific combat. The wonder is that some of the players were not killed.
Contributing many a laugh are James Gleason and harry Sweet as a pair of drunken pals of the hero. Their rivalry at the slot machines and their many fights over a pearl-gray derby are hilariously accomplished.
There is no question but that Her Man will give a tremendous impetus to the career of Phillips Holmes, who already has achieved considerable recognition for his screen performances. This young actor has virility, a particularly winning manner and a fine voice. He is good-looking without being too handsome, and he is a clever performer.
ACTRESS SCORES
Helen Twelvetrees also shows more promise in this picture than in any of her previous vehicles. She has the makings of an excellent emotional actress.
Her Man also will prove a stepping stone to Ricardo Cortez, whose portrayal of the dapper Johnnie is characterization of high order.
As for Marjorie Rambeau, I think her performance in this picture excels even her recent success in Min and Bill.
Franklin Pangborn and Thelma Todd also do well in lesser parts.
Her Man certainly merits a visit. It's one of the year's best motion pictures.
On the same bill are a comedy, Aunts in the Pants, a Toby the Pup cartoon, another of Grantland Rice's interesting sportlights and a Pathe sound newsreel.
12/15/1930 HDC Elizabeth Yeaman
Thelma Todd will return to the Paramount studios for another siren role. She has just been signed for an important part in Jack Oakie's next production which is to be based on Ring Lardner and George F. Kaufman's Broadway stage success, "June Moon." Miss Todd recently completed a vampire part in "No Limit," with Clara Bow, and was seen a short time ago as the lure in Follow Thru, with Charles Rogers and Nancy Carroll. A. Edward Sutherland, who has just finished directing Oakie in The Gang Buster, will also direct the new picture.
1/8/1931 EE The Man Who Came Back
By Jimmy Starr
There is a very funny Charley Chase comedy entitled Looser Than Loose, on the bill. Thelma Todd and Del Henderson contribute much to the general laughter of the piece....
1/18/1931 FD No Limit
Paramount 1 hr., 13 mins.
Just fair comedy-drama in which an excellent cast is wasted. Trite and obvious story.
This one may be okay for dyed-in-wool Clara Bow fans but won't cause much commotion elsewhere. It starts off to be an entertaining somewhat sprightly comedy, then goes sluggish and finally ends up as drama. Clara competently does an usherette in a de luxe house in New York's Lincoln Square section, no less. A goofy boyfriend, portrayed in grand style by Stuart Erwin, lends her his Park Ave. Apartment which turns out to be a gambling house. She meets and falls in love with a tuxedoed stick-up artist. He pulls a robbery, she gets pinch and he finally gives himself up. If the story had continued along comedy lines it might have had a future. But it didn't. Norman Foster and Harry Green are both fine but the labor hopelessly against the story handicap.
CAST: Clara Bow, Dixie Lee, Stuart Erwin, Norman Foster, Harry Green, Thelma Todd, Kenneth Duncan, Maurice Black, William Davidson, C. Pat Collins, Paul Nicholson, Frank Bagney.
Director, Frank Tuttle; Author, George Marion Jr.; Adaptors, Viola Brothers Shore and Salisbury Field; Dialoguer, Not Credited; Editor, Tay Malarkey; Cameraman, Victor Milner; Recording Engineer, Not Credited.
Direction, Okay. Photography, Good.
1/18/1931 FD The Command Performance
Tiffany 1 hrs., 20 mins.
Smart romantic comedy of royalty with modern setting classily produced. Strong femme appeal in love story.
Adapted from the stage play. Walter lang did a fine directorial job and turned out a smart and breezy comedy with dramatic highlights. An exceptionally good cast and fine settings help a lot. For probably the first time, the screen presents a "Graustark" type of mythical kingdom story in a very modern version, with some fine kidding atmosphere well handled so that it does not weaken the serious side of the theme. Neil Hamilton does splendid work in the dual role of the Prince and his impersonator. The story: Fedor, an actor in the mythical principality, is commissioned by the queen to impersonate her son, the prince, and betroth himself to the princess of a neighboring kingdom. He falls in love with the princess, tells her who he really is, and prepares to step out of the picture in favor of the real prince. The way the plot works out is full of surprises and suspense.
CAST: Neil Hamilton, Una Merkel, Helen Ware, Albert Gran, Lawrence Grant, Thelma Todd, Vera Lewis, Mischa Auer, Burr McIntosh, William von Brincken, Murdock MacQuarrie.
Director, Walter Lang; Author, C. Stafford Dickens; Adaptors, Maude Fulton, Gordon Rigby; Dialoguers, The Same; Editor, Not Listed; Cameraman, Charles Schoenbaum.
Direction, Excellent. Photography, Fine.
1/31/1931 EH Dazzling premiere of City Lights at Los Angeles Theater
Marion Davies, Virginia Cherrill, Thelma Todd Lily Damita, Gloria Swanson all in attendance.
2/1/1931 FD Aloha
Tiffany 1 hr., 30 mins.
Fair drama with good comedy relief. Sophisticated inter-racial marriage story, risque in spots.
The marriage of a native South Sea girl to a white gentleman of social position forms the basis of this production, which is hampered greatly by lack of action and inferior photography. Ben Lyon, as the white gentleman trader, is vamped into marriage with Raquel Torres, a native girl. She is brought back to the states by Lyon, who attempts to place her in his father's house on an equal social basis with his relatives and friends. Husband and wife with a party of friends return to the South Seas for a visit. While there, the disillusioned native girl ends her life by leaping into the crater of an active volcano. The husband returns to the states in the arms of his former society fiancé.
CAST: Ben Lyon, Raquel Torres, Robert Edeson, Alan Hale, Thelma Todd, Marian Douglas, Otis Harlan, T. Roy Barnes, Robert Ellis, Donald Reed, Al St. John, Dickie Moore, Marcia Harris, Addie McPhail, Phyllis Crane, Rita Rey.
Director, Albert Rogell; Authors, Thomas H. Ince, J.G. Hawks; Adaptor, Adele Buffington; Dialoguers, Leslie Mason, W. Toman; Editor, Richard Cahoon; Cameraman, Charles Stumar; Recording Engineer, H.R. Hobson.
Direction, Fair. Photography, Poor.
2/8/1931 FD Swanee River
Sono Art 50 mins.
Fair old-style melodrama with plenty of action and good "spirituals" by Jubilee Singers.
This is the first "Thrill-O-Drama" in a series of ten. Two fights during which everything on the set is damaged, one man-hunt by an armed posse and several sniffing and barking bloodhounds, the blowing up of a dam and the resulting flood, comprise the thrills. A cast of gesticulating players furnishes the drama in "old school" style. It's the old story of the Southern colonel, his beautiful daughter, the villain who steals "the papers" from the colonel, the murder of the colonel by the villain who accuses the hero, and so on. Several Negro spirituals sung by a fine aggregation of Jubilee Singers help the picture considerably, making it a fair program offering. Grant withers is good type for the fighting hero and Thelma Todd does well with a comparatively small part. Others in the cast are okay.
CAST: Grant Withers, Thelma Todd, Philo McCullough, Walter Miller.
Director, Raymond Cannon; Author, Barbara Chambers Wood; Adaptor, Arthur Hoerl; Dialoguer, Same; Editor, Harry Webb-Douglas.
Direction, Ordinary. Photography, Fair.
2/27/1931 LAX Louella O. Parsons
Mrs. Ernst Lubitsch and Hans Kraly still devoted, entertaining a few of their friends at Stark's. Greta Nissen, back in town looking better than she has ever looked in her life, also at Stark's; also Leila Hyams, Louise Fazenda, Thelma Todd and Lew Ayres.
3/2/1932 HCN Society in Filmland
Heralding the spring season is the Domino Revel to be held at the Clubhouse, 1284 Crescent Heights Boulevard, Sunday starting at 8pm. Because of conflicting dates, the revel was postponed from last week to the new date. Reservations may be made by calling the club.
Miss Claire DuBrey, chairman, and her assistant, Miss Anna Q. Nilsson, announced completed plans today with the numbers to be staged in the club's own theater. Following the performance supper will be served in the club dining room and salons.
Among the evening entertainment features are a monologue by Miss May Robson, a Blackout sketch by Misses Thelma Todd and Eloise O'Brien and a skit "Star Spangled Banner" with Pauline Neff as lieutenant and Miss Alice Mills Davey, bride.
Even financiers are promised hearty laughs in Paul Franklin's "Big Business" to be enacted by Miss Jessie Carter Riley, business man, and Miss Gertrude Short, job-seeker. Miss Patsy Ruth Miller has written "Standards" with her cast including Misses Belle Mitchel, Mae Busch and Francesca Roteli. "Out Like a Flash," written by Miss Madeline Blackmore, will present Miss Genevieve Tobin and Miss Leona Powers.
Following intermission Miss Louise Fazenda will appear in a special feature. Miss Adele Rowland will appear in her own skit called "Cherchezing La Femme" with Misses Olive Cooper and Elinor O'Reilly supporting her.
"Lizzie Strutter," the ninth number, by Ramon Romero, is set to music by Wynne Hammer with dances by the Mosconi Brothers; appearing will be Misses Thelma Todd, Eloise O'Brien, Margarite Burroughs, Mia Marvin, Edith Raynor Black, Louise Fazenda, Elinor O'Reilly, Gertrude Short, Francesca Rotoli, Georgia Fifield, Joan Standing and Mrs. William Beaudine. Preceding the final number, a surprise, "A Little Grey Home in the West" will be presented by Jessie Carter Riley, Jane Gray and Aldin Gay.
3/4/1931 FD Hollywood Flashes
By Ralph Wilk
Hal Roach has placed Thelma Todd and ZaSu Pitts under contract to appear in comedies for MGM release. Their first vehicle probably will be Let's Go Places, by Tom Seymour, Charley Rogers and Dietrich Kohlsaat.
3/4/1931 HDC Society in Filmland
Large numbers of film celebrities attended the revel given by the Dominoes Saturday and Sunday evenings in their Sycamore Avenue club house.
Among those who attended were Messrs. and Mesdames Frank Craven, Joseph Santley, Dudley Digges, Joseph Jackson, Hugh Herbert, Edward Cline, Lumsden Hare, Edward G. Robinson, Joseph Cawthorn, Frederick Hurlbut, Edmund Breese, James Gleason, Charles Innes, Bryan Foy, Edwin H. Curtis, Hale Hamilton, Crauford Kent, Tay Garnett, Joseph Jackson, Hugh Herbert, Paul Sloane, David Butler, Paul Nicholson, Sam Hardy, Louis Arms, Harry Pollard, Charles Miller, William Davey, Robert Emmet Keane, Frank Burns, Morgan Wallace, Joseph De Stefani, Garrett Fort, Maurice Cleary, Robert Keith, Louis Payne, George Renavant, Ralph Lewis, and Harry Stubbs.
Mesdames Assabuki, Adele Delgarde Butler, Jeanette Reid, Marie Partridge Price, the Misses Jeanette MacDonald, Mary Brian, Helen Ware, Julian Dean, Claudia Dell, Jessie Henderson, Mary Forbes, Marguerite Churchill, Thelma Todd, Cecil Cunningham, Julia Dean, Joan Peers, Minna Gombel, Mia Marvin, Irene Denny, Mae Busch, Norma Drew, etc., etc.,...
3/4/1931 FD Hollywood Flashes
By Ralph Wilk
Hal Roach has placed Thelma Todd and ZaSu Pitts under contract to appear in comedies for MGM release. Their first vehicle probably will be Let's Go Places, by Tom Seymour, Charley Rogers and Dietrich Kohlsaat.
3/7/1931 EE Aloha
By Jimmy Starr
A new cinematic star flitted across the screen at the Los Angeles Theater yesterday—a star, although very young in years, who troups like a veteran of many successes. And such glory, I am sure, will belong to this young lady.
Introducing Miss Raquel Torres, who stars in Aloha, the first all-talking production to be shown at this very lovely movie palace. Aloha is a very pleasant and entertaining hour or so of cinema endeavor—a rather torrid drama of the tropics, which has been told with ease....large slabs of comedy cleverly woven into the dramatic fabric.
The production has been made with an eye on what the masses like—hokum! The saving grace of course, is the legitimate treatment given. For that we have Albert Rogell, director and producer, to thank. He has told the story in a straight-forward manner, adding an occasional subtle touch for the more sophisticated, injecting healthy slices of tropical feminine stuff that will please, amuse and cause the women to weep.
It's a good woman's picture. They can laugh and cry to their heart's content.
....RAQUEL BRILLIANT....
Aloha rediscovers a new dramatic actress of much merit—Raquel Torres, who had a similar role in White Shadows of the South Seas, but did not fare nearly so well.
Raquel handles the difficult role of the half-white native girl with extreme ease and cleverness. She runs the so-called gamut of emotions with finesse.
The story written by Thomas H. Ince and J.G. Hawks, and produced by the former some years ago, is typical South Sea Island stuff, but Rogell's new directorial treatment of this ancient formula has given the aged theme a modern luster and a most surprising climax.
Of course, the half-white girl marries the only son of the shipping magnate and is brought to San Francisco for irate father's okay.
First, tragedy descends upon the newlyweds, then there are moments of superb happiness...doubt, in the form of a villain, creeps into view...a hateful sister and a former sweetheart of the boy enter to make matters worse.
Besides Miss Torres, there is Ben Lyon, who achieves no small amount of success. Ben gives an excellent portrayal as the son. At least, you can believe him, and the part is certainly not an easy one. Robert Edeson, too, as the blustering old father, is quite good.
Thelma Todd plays the menace cleverly, genuinely. Marion Douglas, enacting Thelma's sister (and there is a startling likeness, too) offers some creditable work. Little Dickie Moore plays the baby with cunning naturalness. He's the type that causes audible "ohs" and "ahs" when he appears on the screen.
A very amusing comedy, The Royal Bluff, starring Slim Summerville, is also on the program and brings some high moments of laughter. The Los Angeles Orchestra and newsreel completes the bill.
Labels: Mae West, Thelma Todd
posted by GDH at 7:51 AM
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