Warner Baxter In the 30's
9/4/1933 HCN Elizabeth Yeaman
The Barrymore brothers are going to be teamed up again in a picture at MGM. The public should be fairly well accustomed to the idea by now, since the brothers, John and Lionel, have been together in Grand Hotel, Rasputin and the Empress, and the current Dinner At Eight. However, in Dinner At Eight they do not appear together in a single scene, and if I remember correctly nearly the same thing was true of Grand Hotel. The next picture starring the Barrymores will be The Paradine Case. Lionel has been announced for the cast for some time, but John was not assigned to another leading role until today. The screen adaptation will be made from the Robert Hichens novel.
Meanwhile, John has yet to return from his summer cruise to Alaska aboard his yacht. And when he does get back to Hollywood he probably will be glad that he took a long cruise, for he is slated to do any number of pictures. In addition to his regular assignments on his home lot, MGM, he is scheduled to share starring honors with Katharine Hepburn in Break of Hearts at Radio Pictures. And he also is lined up for one more picture at this studio. In addition he is to take the strenuous role of Lawyer Simon in Counsellor-At-Law at Universal. The latter picture is scheduled to go into production very soon and it probably will be John's first picture on his return.
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You really would expect more furore to be created by the search for a leading lady for Francis Lederer in Men of Two Worlds. Lederer, the greatest matinee idol of the stage in years, is about to make his cinema debut for Radio Pictures. And since he is so famed as a great lover it really is rather important that he be given just the right actress as the foil for his love-making. Meanwhile other roles in the cast are being filled. Henry Stephenson and J. Farrell MacDonald have been engaged for the supporting cast. And the search for a leading lady goes quietly on. J. Walter Ruben will direct.
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Cancellation of a term contract sounds like rather a dubious wedding present. But Darryl Zanuck of Twentieth Century Pictures announces himself, a bit jubilantly, as the donor of such a wedding present to Mary Duncan, who married Laddie Sanford a few days ago. However, if Miss Duncan plans professional retirement, the cancellation of her contract may be a very big wedding present after all. Miss Duncan won sensational success as Poppy in "The Shanghai Gesture" on Broadway. She was to have started an important assignment with Loretta Young in Born To Be Bad this month. Zanuck says:
"Out of regard for Laddie Sanford I am cancelling Miss Duncan's contract. Miss Duncan's beauty and talent assure her of success as a screen star with the right selection of vehicles, but as Mrs. Stephen Sanford her first interest would be her husband. The financial reward of stardom would be of no interest to her."
Now I suppose she will frame the torn-up contract and display it proudly with her other wedding gifts.
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On the other hand, Mrs. Douglas MacLean is finding marriage no bar to a career. She will be remembered as Lorraine Eddy, and as Lorraine Eddy she has been signed for a role with Irene Dunne and Clive Brook in Behold We Live.
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Little Dickie Moore, the large-eyed little boy who was featured in several Warner pictures, has been engaged by Paramount for a featured role with Dorothea Wieck in Cradle Song. Evelyn Venable, Kent Taylor, Sir Guy Standing, Louise Dresser and Gail Patrick are other important members of the cast. Miss Patrick, recently under contract to Paramount as a result of the Panther Woman contest, has been brought back to the studio for this role, which is quite a compliment. And Miss Venable, who makes her film debut in Cradle Song, now is slated for the lead opposite Fredric March in Death Takes a Holiday. Miss Venable, prior to her arrival in Hollywood, won fame as Walter Hampden's leading lady.
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And speaking of little Dickie Moore, another child thespian has been "discovered," as the producers are wont to state. The new discovery is Virginia Wielder, six-year-old youngster who was picked off the Without Glory set to enact with Constance Bennett. She gave such a good performance that now Radio Pictures is offering her a term contract.
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Since Miriam Hopkins portrayed the lurid Temple Drake I suppose she is fated to be associated with heavy sex appeal. Paramount now has virtually decided to star Miriam in Ladder of Men, a story by Roy Flanagan which Lenore Coffee is adapting for the screen. I don't know the setting of the story, but it might easily be Hollywood, since women here are popularly supposed to climb to fame on the shoulders of men. It's rather too bad that Miriam is destined to be typed as a molten heroine since Herr Lubitsch brought her to screen fame as a comedienne in The Smiling Lieutenant. At the moment she is playing another one of those crimson roles in Design For Living. But I'll wager Lubitsch, the director, manages to bring out some of her comedy ability.
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Perhaps Garbo danced in Mata Hari and Dietrich sang in The Blue Angel and subsequent pictures. But Anna Sten is not going to be outdone. Now at work on her first American picture, Nana, Miss Sten this week will dance the can-can, famous old dance of Paris music halls, and she also will sing "That's Love," a song by Rogers and Hart.
Warner Baxter In the 30's
ABBREVIATIONS
EE – Los Angeles Evening Express
EH -- Los Angeles Evening Herald
EHE -- Los Angeles Evening Herald Express
FD -- Film Daily
IDN -- Los Angeles Illustrated News
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
SFC – San Francisco Chronicle
1/31/1930 HDC Romance of the Rio Grande
By Doris Denbo
Romance, color, beauty, atmosphere and brilliant acting set to the tempo of strumming guitars and lazy, swinging Spanish melodies–that Romance of the Rio Grande which opened yesterday afternoon. It is quite the most charming talking picture I have seen since In Old Arizona, Warner Baxter again proves himself one of the most finished and romantic stars the screen has today.
Again Baxter is the vivid Mexican caballero, but this time he is the dreamy, romantic aristocrat. He is the grandson of the owner of the Santa Marguerita ranch in Mexico, but hates the very thought of the place because his mother was sent from this, her home, and disowned because she married an American. However, due to an exciting fracas with some outlaws he is wounded and healed on this ranch and finds his grandfather desolated because of his treatment of his mother, and so he forgives him. Antonio Moreno, the nephew of the old man, resents the coming of the grandson, and makes it hot for everyone concerned.
UNUSUAL NATURALNESS
Most remarkable about the picture is a complete freedom from camera consciousness. It is like peeping into the daily routine of life on a Mexican rancho. The atmosphere is perfect, the dialogue natural and without evident planting. Every performance is easy, natural and convincing. Baxter is the lovable and sincere romantic Mexican aristocrat. Moreno, with the only melodramatic characterization in the picture, does his best to make the part a natural one and rather bravely succeeded.
Mona Risa is a most charming and delightfully fresh and appealing new talking screen find. She has an unusually sweet singing and speaking voice and a dramatic suppression which promises much for future roles. Mary Duncan gives a fine performance as the girl torn between two loves.
SINGING VOICE ACCLAIMED
Certainly I must speak of Baxter's singing voice. It is quite as beautiful and compelling as that of the much heralded and often praised Ramon Novarro. Alfred Santell directed a masterpiece of talking picture craftsmanship which is, in my estimation, a splendid example of the perfect combination of stage and screen technique, in Romance of the Rio Grande.
The Egyptian stage show this week, Manila Bound, is the most vivid and colorful production of many weeks. The Spanish atmosphere is held throughout and the costumes are unusually full of color and vivid beauty. The dances are graceful and delightful in every detail. Two very clever comedy tumblers put over their nonsense to shrieks of laughter from the audience. In fact, folks, it's an unusually fine show this week at the Egyptian and well worth seeing.
2/1/1930 EE DIRECTOR LIFTS HIS STARS OUT OF TYPE RUTS
Alfred Santell has repeated his success in casting such stars as Richard Barthelmess, Corinne Griffith and Vilma Banky in types contrary to the one they had always portrayed. His most recent success was with Mona Maris.
Miss Maris had always characterized proud, disdainful beauty, but in Romance of the Rio Grande, which replaces King Vidor's Hallelujah at the Fox Palace next Thursday, Santell cast her as a hoydenish senorita.
The cast is headed by Warner Baxter, Mary Duncan and Antonio Moreno. Two songs in Romance of the Rio Grande, "You'll Find Your Answer in My Eyes," and "Ride On, Vaquero," were composed by DeSylva, Brown and Henderson.
2/8/1930 EH MCLAGLEN DOES VARIETY ACT IN 'PALACE' COMEDY
Victor McLaglen not only sings but dances in Hot For Paris, the Fox all-talking, singing laugh hit, which will succeed Romance of the Rio Grande, starring Warner Baxter at the Fox Palace next Thursday.
2/11/1930 LAX Happy Days
Preparations for the showing of the new Grandeur film Happy Days, are underway at Carthay Circle–without, however, interfering in any way with the presentation of Ramon Novarro's Devil May Care.
Mechanics are working in double shifts, beginning at the close of the evening film showing, and working until just before the opening of the first afternoon performance. Steel foundations for the giant machines have already been completed, and the actual moving in of the Grandeur film apparatus will be completed in a few days. Geometrical and optical experts will lay out the projection angles from the new projection laboratory to the screen and at the same time sound experts will be completing the new sound equipment.
Grandeur films installation will bring a wider and more deeply etched sound track, which promises more mellowness and clarity for reproduction of the human voice tones. Triple vision and stereoptican effects are, of course, the main subject of interest in this new production, although the picture itself, bringing as it does all the Fox West Coast studio stars to the big screen, will be an event of importance to all the fans.
Happy Days is the first full-length production to be made in the new Grandeur style, and despite the many changes involved in equipping the theater for this new projection, the current film, with Ramon Novarro starring, will continue until the premiere of the new opus, which is set for February 28.
Among the stars featured players to be seen in the new offering will be Will Rogers, Charles Farrell, Ann Pennington, Janet Gaynor, Victor McLaglen, Edmund Lowe, James J. Corbett, Marjorie White, William Collier Sr., Nick Stuart, George Jessel, Warner Baxter, Walter Catlett, El Brendel, Dixie Lee, "Whispering Jack" Smith and Sharon Lynn.
2/12/1930 LAX Louella O. Parsons
Theodore von Eltz gets the second lead in The Cisco Kid, Warner Baxter's next picture for Fox. It is a good part for Teddy von Eltz, who has been playing in bad luck until 1930 suddenly decided to do right by him.
2/16/1930 FD Happy Days
Fox 1 hr., 30 minutes
Thoroughly entertaining musical show on Grandeur screen with a cast of names that are box-office.
More natural perspective, some illusion of depth, modulation of voices, spectacular effects, unusual camera angles and less shifting of scenes—these are some of the main advantages of the wide screen, used here for the first time in a full-length feature film. The 42-ft. width may be found to be a little too much for the eye to grasp without discomfiting effort, but the advantage of a reasonably wider screen is established beyond question. From a purely entertainment standpoint, Happy Days is satisfying. It consists of numerous revue numbers and a mammoth minstrel performance, with a light but agreeable romantic plot running through the whole affair.
Cast: Frank Albertson, Warner Baxter, El Brendel, Walter Catlett, William Collier, James J. Corbett, Charles Farrell, Janet Gaynor, George Jessel, Richard Keene, Dixie Lee, Edmund Lowe, Sharon Lynn, George MacFarlane, Victor McLaglen, J. Harold Murray, George Olsen, Paul Page, Tom Patricola, Ann Pennington, Frank Richardson, Will Rogers, David Rollins, Whispering Jack Smith, Marjorie White.
Director, Benjamin Stoloff; Authors, Sidney Lanfield, Edwin Burke; Adaptor, not listed; Dialoguers, Sidney Lanfield, Edwin Burke; Editor, Clyde Carruth; Cameramen, Lucien Andriot, John Schmitz; Monitor Man, Samuel Waite; Grandeur Cameraman, J.O. Taylor.
Direction, Snappy. Photography, A-1.
3/1/1930 LAR Happy Days
Fox Carthay Circle–the first feature length Grandeur film, Happy Days, directed by Benjamin Stoloff. Story and dialogue by Sidney Lanfield and Edwin Burke. All star cast, with chorus ensemble of 100.
By Llewellyn Miller
Somewhere, far down this column, several feet of type will be devoted to song writers, players, the director, the dance director, and the author's of Happy Days, which opened at the Fox Carthay Circle last night. The credits are myriad. Fox has thrown enough talent for a dozen films into this one. And they are certainly important, but the first big hoopla of interest goes to the novelty of Fox Grandeur film.
I have been through two revolutions in the picture industry. The coming of the first all-talking picture and the first all-color picture were both exciting, and tinged with the aura of the miraculous Grandeur film. I can assure you, is equally exciting, with that same quality of incredible achievement about it.
The same allowances, made for the first experiment with the earlier innovations must be made for the new wide film. An entirely new process is not mastered in one production, but before dealing with the minor incompleteness, imagine a screen 42 feet wide, filling the entire Carthay stage with moving, speaking shadows. Imagine massed phalanxes of dancers, cavorting in swift routines across the background, while in perfect focus, a minstrel show occupies the foreground.
Imagine the wide panorama of a city street stretching into clear perspective, while magnified street-cars and towering newsboys bid for attention in the foreground. Imagine the busy life of a waterfront blaze, offering its many points of interest, stretched out like a five ring circus.
The selective vision that eyes are built for, takes care of one high light of interest, excluding extraneous action. But at the same time the effect of reality is heightened by that action which is only half way apparent at the sides of the film when the attention is concentrated at the center.
Grandeur film is particularly effective for big revues, featuring the intricate convolutions of massive choruses. It is immense for outdoor shots where the wide sweep of land and sky in the distance is needed for background. It means the coming of screen pageantry, the opening up of a whole new continent for exploration and the beginning of an entirely new attitude toward the baby art of film production.
In this forerunner of the new era of the screen a number of mechanical improvements are still to be mastered. Action in the big close ups tends to blur when a swift motion is made. Occasionally there is an oppressive consciousness of the top of the screen when figures tower near it. A more positive feeling of depth is necessary if many panoramic scenes are not to become confused.
But the necessity for these improvements should not be emphasized. The very fact that a feature length grandeur film good enough to bring cheers from a first night audience, has been produced, is promise in itself that the process is on its way to being perfected.
As introduction to a revue, the trials of a show boat captain are told. When his ship is attached, Marjorie White, a pessimistic, high tempered member of his troupe, goes to New York to seek help from Will Rogers, Willie Collier Sr., Walter Catlett, Victor McLaglen, Edmund Lowe and a score of others, all of whom had played on the river theater.
She gains admittance into the Stage and Screen club, sacred, until her coming, to the male stars of the theater. There, clad in the revealing uniform of a page she gets by as a boy until a hearty kick from Tom Patricola's trigger-toe boot sends her in one direction and her cap in the other. By their hair shall you know women in these days is the moral.
To a man the Stage and Screen club rallies to her appeal for the old production. A theater owner in Memphis contributes his house, which explains after a fashion the presence of 100 chorus girls to support the New York talents, though they are such chorus girls as only Hollywood can grow. Then in we go to a revue with George MacFarlane and James J. Corbett as interlocutors.
Janet Gaynor and Charles Farrell sing, "We'll Build a Little Home of Our Own" in a sort of Maxfield Parrish setting of misty hills and meticulously clear foreground. A baby carriage sequence follows which is immediately after parodied with Walter Catlett disguised as a copy wife.
Frank Richardson sings "Mona," sure to be a popular number. Sharon Lynn and Ann Pennington do "Snake Hips," an effective number in which Ann Pennington's celebrated knees take second billing to her wildly whirling hula skirt of glittering crystal beads. A tossing of sea of arms covered with silver makes a clever background for the start.
Dixie Lee does "Crazy Feet." Marjorie White and Richard Keene do a rough and tumble fight all over the stage to illustrate how "I'm on a Diet of Love" may disagree.. Victor McLaglen and Edmund Lowe sing about their undying friendship in a number called "Vic and Eddie." J. Harold Murray sings "A Toast to the Girl I Love." Martha Lee Sparks, the only child in the cast, contributes some tap dancing. "Whispering" Jack Smith gives "Happy Days," and George MacFarlane sings "Minstrel Days."
Lyrics and music are by Joseph McCarthy, James F. Hanley, L. Wolfe Gilbert, Abel Baer; Conrad, Mitchell and Gottler; James Brockman, Harry Stoddard and Marcy Klauber. Benjamin Stoloff directed. And George Olsen and his band supplies the music. Story and dialogue are by Sidney Lanfield and Edwin Burke.
In the cast, some seen for the brief moments, and some for slightly longer, are Tom Patricola whose dancing certainly has a certain something; George Jessel with assorted wise cracks; Lew Brice, Gilbert Emery, the Slate brothers, Rex Bell, Charles E. Evans, Warner Baxter, David Rollins, Frank Albertson, Paul Page, Farrell MacDonald, Stewart Erwin, Clifford Dempsey, Nick Stuart and Lumsden Hare, El Brendel, who is always one of the most welcome sights in Hollywood to me, does an act with a trick suit of clothes.
The story, itself, and the revue numbers are not the chief attraction of Happy Days. But Grandeur film is sufficient attraction to keep the Carthay crowded for many weeks. Seeing the first wide film will be something to tell the grandchildren about in years to come, or, if that does not appeal as an excuse, something to tell the neighbors about now. It is a movie experience that no one can very well pass up and be comfortable in Hollywood.
An Historical Essay, Still in its Infancy? Stars with a far from passionate embrace from the first moving picture, chooses highlights for the past 35 years to demonstrate the development of the industry. It is an absorbing, sometimes funny, always interesting novelty.
3/1/1930 IDN Happy Days
By Eleanor Barnes
Fox Grandeur Film, a definite and decisive step forward in the steady progression of motion pictures, was introduced at the Fox Carthay Circle Theater last night, while the picturedom looked on critically, anxiously and enthusiastically.
This new film is the very latest and most discussed innovation since the advent of the audibles, for not only is it a surprise to observe, but its success means that thousands of theaters throughout the country will be equipped with special machinery to meet the necessities of its installation.
WHAT ONE SEES
The audience beholds the entire proscenium arch of the theater enveloped in a screen 42 feet wide, wider than the natural vision of the human eye. It makes one gasp at first, because the effect is startling. It is three times wider than the average film, so imagine the breadth of its scope.
Carthay Circle's guests were not interested in Who's Who attending. This was one occasion when the event achieved greater importance than who watched it. The purchasers of tickets were not idly curious. They were, for the most part, the directors, cameramen, the executives and the stars of Hollywood who wanted to see Grandeur Film.
Heavy volleys of applause affected their reaction. While there were the usual ceremonies, and the throngs of gaping spectators at the Circle's long promenade, still Happy Days, was the important thing of the evening.
The event of Grandeur indicates a very healthy condition in the movie industry, a gesture in the right direction, another step toward the ultimate of perfect screen presentation.
IN LINE
Just as Vitaphone paved the way for audibles, this innovation marks a departure that is indeed not an economy measure. In addition to millions of dollars spent in experimenting with it, twice the amount of film is used and more elaborate sets are necessary to present it. Along with the talkies and technicolor, both of which cut down the profits to their companies, the producers of films are demonstrating their desire to give the audience the maximum of entertainment.
Happy Days is a revue, and one that will warm the cockles of many hearts who hated to see the passing of the old minstrel show.
ALL ON JOB
For all the old favorites are there, gathered in the famous half circle on the stage, the striped cakewalk suits and high silk hats, very much in evidence and the same old time-worn jokes that have been stock-in-trade of minstrelry since the days of Primrose and Leonard, on parade.
THE PLOT ITSELF
A thin thread of story by Sidney Lanfield and Edwin Burke weaves through two hours of gay entertainment without a tearful moment, giving a bright, cheery aspect to the piece, largely due to the brilliant music of George Olsen and his orchestra. Lyrics and music have a flock of credits far too long for tabloid style, but include in the list Joseph McCarthy, James F. Hanley, L. Wolfe Gilbert and Abel Bauer, Conrad Mitchell Gottler, James Brockman, Harry Stoddard and Mercy Kleuber.
HERE IT IS
Col. Billy Batcher had remained producer of the old-fashioned minstrel show from which Will Rogers, Eddie Lowe, Willie Collier Sr., George Macfarlane, Tom Patricola, Whispering Jack Smith and other celebrities had been recruited for ‘big-time' and the movies.
Little Margie, in love with Colonel Batcher's grandson, decided to appeal to his friends for aid when the sheriff attaches the old man's bankroll, putting in at Memphis from off their showboat, on the Mississippi.
She becomes page in a stage and screen club in order to meet the stars, they fly to Memphis and "throw" a big performance, helping the troupe financially, eventually marrying the grandson.
Happy Days has a cast of big names. Will Rogers merely stays long enough to advertise Beechnut chewing gum; Walter Catlett, one of the funniest old-timers; William Collier of "The Hottentot" fame and "Gentleman Jim Corbett, who by the way, in interlocutor, offer an amusing skit, on the boxing ability of the ex-world champion prize fighter.
AND HOW!
Tom Patricola, the greatest clog dancer of them all, gives a smooth, exquisitely-timed demonstration of pedal agility as a contribution. A clever touch is by using a toy rubber pig to emulate bagpipes for the dancer to step to.
Eddie Lowe and Victor McLaglen still live over "Cock-Eyed World" days in a song called "Vic and Eddie." They are showmen.
Janet Gaynor and Charles Farrell offer a novelty song, "We'll Build a Little Home of Our Own." This is a charming number.
Frank Richardson, whose amazing voice range and clear silvery tones have made him a favorite in films, sings "Mona," with a lovely chorus of Fox beauties to augment his work.
DISTINCTIVE
"Crazy Feet" is unique as an ensemble song, led by the sprightly and vivacious Dixie Lee. Jack Schulze, art director, can chalk up a gold star for this act alone.
Whispering Jack Smith is an outstanding performer . His rendition of "Happy Days" has a sympathetic appeal and is skillfully done.
Marjorie White and Richard Keene are the young folks in love and their voices blend well. There is a piquancy about Marjorie White that is slightly similar to that of the other White girl, Alice. She has a boop-a-doop and is cute and plump. Charles E. Evans is the old showboat leader, while others in the cast include Clifford Dempsey Jr., Harold Murray, Stuart Erwin, Georgie Jessel, Sharon Lynn, El Brendel, and he is a riot, Rex Bell and Ann Pennington, who leads 100 chorines in a 100 per cent revue.
THANK, Mr. Taylor
And because he is a pioneer in Grandeur, will J.O. Taylor, the cameraman, please bow to Illustrated Daily News readers and take a hand?
Now, because it is getting late, we must be on our way.
Distance shots respond to Grandeur more effectively than the popular "close-ups." Short-range views of players in emotional stress or poetical clinches fare as well in the old-fashioned way, for one doesn't feel the necessity of exaggerating these points. It is to be hoped that Grandeur will make the "close-up" unnecessary, for it is a feature that sometimes mars the smoothness of a story's unfoldment.
Happy Days was not the perfect vehicle for the first presentation of Grandeur film, but the experiment is a worthy one.
It furnishes numerous episodes that show the glorious possibilities of the new use of the double-wide film. In the large, panoramic views one gets an illusion of tremendous depth and distance with finely etched detail.
EXAMPLES
For instance, there is a scene showing a limited passenger train coming full speed ahead. Grandeur permits the entire train to be shown at one time almost as large as the genuine thing. But beyond the train, the surf could be seen with utmost clarity—probably caught by the camera more clearly than the human eye could see it under the same conditions.
Then, another "shot" illustrated the point in question: A minstrel band marching down the main street of Memphis, Tenn., presented the players in the back ranks as clearly as those in the front rows.
Benjamin Stoloff's direction of Happy Days indicated one thing, that a new technique will be exercised for the wide film. Heretofore sets have had a "square frame" effect, while an oblong view must now be secured in order to balance the picture. Or else the close-ups will be masked in to give central figures their proper importance.
Had William Fox's initial Grandeur film been a mighty sea story, or a tale of war, desert life, or an air epic—in fact, any type of story that demanded majestic sweep of action, the effect of the innovation would have been many times greater than with Happy Days.
BIG HELP
Side-seat occupants were not at a big disadvantage last night. Grandeur film viewed from the extreme walls (purposely tried out by the writer) is a great improvement over the old-fashioned film. One does not feel a roundness or shall one say, a third-dimension? There is not the distortion of figures that has been unavoidable in the past. There is a slight blur, perhaps, but it is a distinct improvement in projection.
3/1/1930 HDC Happy Days
All hail to a new screen era, the day of Grandeur film! It is here to say, judging by the reception given the first sample, Happy Days, a Fox picture which opened at the Carthay Circle Theater last night.
All professional Hollywood turned out to see and judge the importance of this new enlarged medium of screen entertainment. They came, they saw and they were conquered. They may not have thought so much of the picture itself, but they did appreciate what it means to the industry as a whole.
Grandeur film is to picture projection what Vitaphone was to the silent screen. It will not be easy to enjoy the small screen after seeing many pictures on the large. The exhibitor had best put away his pennies for this new great move in projection which is sure to take the public by storm when a few more are released.
MARJORIE WHITE SCORES
As for Happy Days as a picture, it is Marjorie White's show. With her peppy, winsome way, her clever dancing and vivacious charm she wraps herself right around the hearts of her audience and had them all literally eating out of her hand last night. It is just another zestful novelty musical comedy with huge chorus numbers and clever songs and acts.
There are several hit numbers like "We'll Build a Little Home of Our Home," sung by Janet Gaynor and Charles Farrell. "Mona," as sung by Frank Richardson as only Frank Richardson can sing; "Snake Hips" with Sharon Lynn and Ann Pennington; "Crazy Feet" as danced and sung by Dixie Lee; "I'm on a Diet of Love," almost the hit of the show purely because Marjorie White puts it over with Richard Keene; "Viv and Eddie" sung by Victor McLaglen and Edmund Lowe; J. Harold Murray's song, "A Toast to the Girl I Love" and "Happy Days," by Whispering Jack Smith.
All these were feature songs and acts accompanying the minstrel show the Hollywood "gang" put on for their unfortunate friend in need of added funds. The show boat of Billy Batcher is going on the financial rocks unless he can raise money somewhere to save it. Marjorie goes to New York to see some of his old friends and they put on a benefit for him...and what a benefit.
But last night it was significant that many of the seats were vacant after intermission. Most of the audience had come to see the wide film and, having seen that, were ready to leave. When long shots of a train rounding a curve at the foot of a mountain, beside a stream of water were shown, the audience suddenly burst into thunderous applause. It was magnificent in vivid detail.
The wide film is twice the size of the normal film of today and it takes a huge stage to display it. The exhibitors are going to be up against a complete projection readjustment. Technicolor, which today is working at full capacity, triple shift to fill the orders for color in pictures, will have to start preparation to meet this new demand, for Technicolor on the Grandeur film will be the next sensation.
LONG SHOTS APPLAUDED
Long shots of a busy intersection of Broadway, New York, brought cheers from an enthused audience. Grandeur film gives the screen a new vividness and brings out in the backgrounds every detail of face and form. It is revolutionary in results and points to a year of hectic experimenting.
Benjamin Stoloff was the lucky pioneer director and deserves great credit for interesting camera shots, and spectacular revue effects.
Charles Evans, Marjorie White, Richard Keene, Stuart Erwin, Martha Lee Sparks, Clifford Dempsey and George Olsen and his music were pioneers in the straight story of Happy Days, while every star and major player on the Fox lot appears sooner or later in the revue numbers.
EARLY FILM SHOWN
A clever ensemble of scenes from the earliest days of pictures right up to the present day called In Its Infancy made the introduction of the Grandeur film more impressive by contrast.
But Carthay Circle's greatest attraction was conspicuously missing last night. The Carli Elinor orchestra and its great leader were not there to put the film to follow in a haze of glorious music, so that whatever was to come would be enjoyed. The absence makes the Carthay Circle just another good picture show. We will pray it is not permanent.
3/5/1930 EH Screenographs
By Harrison Carroll
MORE HORSE PLAY
Some time ago when producers decided that the talkies had doomed westerns, Fox sold Rex Bell's film mount for $500.
After the disconcerting fashion of the movies, westerns refused to take the county, so now the studio has had to rent the same horse for Warner Baxter to use in a new outdoor story.
Reports say that they are paying more rent than the horse brought in the sale. And if they want to buy the animal back they will have to pay a fancy price to the buyer.
3/9/1930 FD Such Men Are Dangerous
Fox Time, 1 hr., 15 mins.
(All-Talker)
Good grade of entertainment, principally because of fine performance by Baxter, nicely supported by Miss Owen.
Warner Baxter does himself proud in a dual role in this picture. He appears first for a stretch as a big financier (the counterpart of Loewenstein, who disappeared from an airplane) who manages to marry a lovely girl. His ugliness causes her to leave him right after the wedding. He then does the disappearing act and emerges a year later under another name and with a handsomely remodeled physiognomy performed on him by a famous plastic surgeon. Thus armed, he proceeds to win his wife all over again, and succeeds. It's a swell plot and Kenneth Hawks has done very well by the direction. Besides the good acting of Baxter and the attractive support given him by Catherine Dale Owen as the girl in the case, there are some enjoyable bits of incidental acting.
CAST: Warner Baxter, Catherine Dale Owen, Albert Conti, Hedda Hopper, Claude Allister, Bela Lugosi.
Director, Kenneth Hawks; Author, Elinor Glyn; Adaptor, Ernest Vajda; Dialoguer, Ernest Vajda; Editor, Harold Schuster; Cameraman, L.W. O'Connell, George Eastman; Monitor Man, Arthur Von Kirbach.
Direction, Fine. Photography, First-rate.
The Barrymore brothers are going to be teamed up again in a picture at MGM. The public should be fairly well accustomed to the idea by now, since the brothers, John and Lionel, have been together in Grand Hotel, Rasputin and the Empress, and the current Dinner At Eight. However, in Dinner At Eight they do not appear together in a single scene, and if I remember correctly nearly the same thing was true of Grand Hotel. The next picture starring the Barrymores will be The Paradine Case. Lionel has been announced for the cast for some time, but John was not assigned to another leading role until today. The screen adaptation will be made from the Robert Hichens novel.
Meanwhile, John has yet to return from his summer cruise to Alaska aboard his yacht. And when he does get back to Hollywood he probably will be glad that he took a long cruise, for he is slated to do any number of pictures. In addition to his regular assignments on his home lot, MGM, he is scheduled to share starring honors with Katharine Hepburn in Break of Hearts at Radio Pictures. And he also is lined up for one more picture at this studio. In addition he is to take the strenuous role of Lawyer Simon in Counsellor-At-Law at Universal. The latter picture is scheduled to go into production very soon and it probably will be John's first picture on his return.
....
You really would expect more furore to be created by the search for a leading lady for Francis Lederer in Men of Two Worlds. Lederer, the greatest matinee idol of the stage in years, is about to make his cinema debut for Radio Pictures. And since he is so famed as a great lover it really is rather important that he be given just the right actress as the foil for his love-making. Meanwhile other roles in the cast are being filled. Henry Stephenson and J. Farrell MacDonald have been engaged for the supporting cast. And the search for a leading lady goes quietly on. J. Walter Ruben will direct.
....
Cancellation of a term contract sounds like rather a dubious wedding present. But Darryl Zanuck of Twentieth Century Pictures announces himself, a bit jubilantly, as the donor of such a wedding present to Mary Duncan, who married Laddie Sanford a few days ago. However, if Miss Duncan plans professional retirement, the cancellation of her contract may be a very big wedding present after all. Miss Duncan won sensational success as Poppy in "The Shanghai Gesture" on Broadway. She was to have started an important assignment with Loretta Young in Born To Be Bad this month. Zanuck says:
"Out of regard for Laddie Sanford I am cancelling Miss Duncan's contract. Miss Duncan's beauty and talent assure her of success as a screen star with the right selection of vehicles, but as Mrs. Stephen Sanford her first interest would be her husband. The financial reward of stardom would be of no interest to her."
Now I suppose she will frame the torn-up contract and display it proudly with her other wedding gifts.
....
On the other hand, Mrs. Douglas MacLean is finding marriage no bar to a career. She will be remembered as Lorraine Eddy, and as Lorraine Eddy she has been signed for a role with Irene Dunne and Clive Brook in Behold We Live.
....
Little Dickie Moore, the large-eyed little boy who was featured in several Warner pictures, has been engaged by Paramount for a featured role with Dorothea Wieck in Cradle Song. Evelyn Venable, Kent Taylor, Sir Guy Standing, Louise Dresser and Gail Patrick are other important members of the cast. Miss Patrick, recently under contract to Paramount as a result of the Panther Woman contest, has been brought back to the studio for this role, which is quite a compliment. And Miss Venable, who makes her film debut in Cradle Song, now is slated for the lead opposite Fredric March in Death Takes a Holiday. Miss Venable, prior to her arrival in Hollywood, won fame as Walter Hampden's leading lady.
....
And speaking of little Dickie Moore, another child thespian has been "discovered," as the producers are wont to state. The new discovery is Virginia Wielder, six-year-old youngster who was picked off the Without Glory set to enact with Constance Bennett. She gave such a good performance that now Radio Pictures is offering her a term contract.
....
Since Miriam Hopkins portrayed the lurid Temple Drake I suppose she is fated to be associated with heavy sex appeal. Paramount now has virtually decided to star Miriam in Ladder of Men, a story by Roy Flanagan which Lenore Coffee is adapting for the screen. I don't know the setting of the story, but it might easily be Hollywood, since women here are popularly supposed to climb to fame on the shoulders of men. It's rather too bad that Miriam is destined to be typed as a molten heroine since Herr Lubitsch brought her to screen fame as a comedienne in The Smiling Lieutenant. At the moment she is playing another one of those crimson roles in Design For Living. But I'll wager Lubitsch, the director, manages to bring out some of her comedy ability.
....
Perhaps Garbo danced in Mata Hari and Dietrich sang in The Blue Angel and subsequent pictures. But Anna Sten is not going to be outdone. Now at work on her first American picture, Nana, Miss Sten this week will dance the can-can, famous old dance of Paris music halls, and she also will sing "That's Love," a song by Rogers and Hart.
Warner Baxter In the 30's
ABBREVIATIONS
EE – Los Angeles Evening Express
EH -- Los Angeles Evening Herald
EHE -- Los Angeles Evening Herald Express
FD -- Film Daily
IDN -- Los Angeles Illustrated News
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
SFC – San Francisco Chronicle
1/31/1930 HDC Romance of the Rio Grande
By Doris Denbo
Romance, color, beauty, atmosphere and brilliant acting set to the tempo of strumming guitars and lazy, swinging Spanish melodies–that Romance of the Rio Grande which opened yesterday afternoon. It is quite the most charming talking picture I have seen since In Old Arizona, Warner Baxter again proves himself one of the most finished and romantic stars the screen has today.
Again Baxter is the vivid Mexican caballero, but this time he is the dreamy, romantic aristocrat. He is the grandson of the owner of the Santa Marguerita ranch in Mexico, but hates the very thought of the place because his mother was sent from this, her home, and disowned because she married an American. However, due to an exciting fracas with some outlaws he is wounded and healed on this ranch and finds his grandfather desolated because of his treatment of his mother, and so he forgives him. Antonio Moreno, the nephew of the old man, resents the coming of the grandson, and makes it hot for everyone concerned.
UNUSUAL NATURALNESS
Most remarkable about the picture is a complete freedom from camera consciousness. It is like peeping into the daily routine of life on a Mexican rancho. The atmosphere is perfect, the dialogue natural and without evident planting. Every performance is easy, natural and convincing. Baxter is the lovable and sincere romantic Mexican aristocrat. Moreno, with the only melodramatic characterization in the picture, does his best to make the part a natural one and rather bravely succeeded.
Mona Risa is a most charming and delightfully fresh and appealing new talking screen find. She has an unusually sweet singing and speaking voice and a dramatic suppression which promises much for future roles. Mary Duncan gives a fine performance as the girl torn between two loves.
SINGING VOICE ACCLAIMED
Certainly I must speak of Baxter's singing voice. It is quite as beautiful and compelling as that of the much heralded and often praised Ramon Novarro. Alfred Santell directed a masterpiece of talking picture craftsmanship which is, in my estimation, a splendid example of the perfect combination of stage and screen technique, in Romance of the Rio Grande.
The Egyptian stage show this week, Manila Bound, is the most vivid and colorful production of many weeks. The Spanish atmosphere is held throughout and the costumes are unusually full of color and vivid beauty. The dances are graceful and delightful in every detail. Two very clever comedy tumblers put over their nonsense to shrieks of laughter from the audience. In fact, folks, it's an unusually fine show this week at the Egyptian and well worth seeing.
2/1/1930 EE DIRECTOR LIFTS HIS STARS OUT OF TYPE RUTS
Alfred Santell has repeated his success in casting such stars as Richard Barthelmess, Corinne Griffith and Vilma Banky in types contrary to the one they had always portrayed. His most recent success was with Mona Maris.
Miss Maris had always characterized proud, disdainful beauty, but in Romance of the Rio Grande, which replaces King Vidor's Hallelujah at the Fox Palace next Thursday, Santell cast her as a hoydenish senorita.
The cast is headed by Warner Baxter, Mary Duncan and Antonio Moreno. Two songs in Romance of the Rio Grande, "You'll Find Your Answer in My Eyes," and "Ride On, Vaquero," were composed by DeSylva, Brown and Henderson.
2/8/1930 EH MCLAGLEN DOES VARIETY ACT IN 'PALACE' COMEDY
Victor McLaglen not only sings but dances in Hot For Paris, the Fox all-talking, singing laugh hit, which will succeed Romance of the Rio Grande, starring Warner Baxter at the Fox Palace next Thursday.
2/11/1930 LAX Happy Days
Preparations for the showing of the new Grandeur film Happy Days, are underway at Carthay Circle–without, however, interfering in any way with the presentation of Ramon Novarro's Devil May Care.
Mechanics are working in double shifts, beginning at the close of the evening film showing, and working until just before the opening of the first afternoon performance. Steel foundations for the giant machines have already been completed, and the actual moving in of the Grandeur film apparatus will be completed in a few days. Geometrical and optical experts will lay out the projection angles from the new projection laboratory to the screen and at the same time sound experts will be completing the new sound equipment.
Grandeur films installation will bring a wider and more deeply etched sound track, which promises more mellowness and clarity for reproduction of the human voice tones. Triple vision and stereoptican effects are, of course, the main subject of interest in this new production, although the picture itself, bringing as it does all the Fox West Coast studio stars to the big screen, will be an event of importance to all the fans.
Happy Days is the first full-length production to be made in the new Grandeur style, and despite the many changes involved in equipping the theater for this new projection, the current film, with Ramon Novarro starring, will continue until the premiere of the new opus, which is set for February 28.
Among the stars featured players to be seen in the new offering will be Will Rogers, Charles Farrell, Ann Pennington, Janet Gaynor, Victor McLaglen, Edmund Lowe, James J. Corbett, Marjorie White, William Collier Sr., Nick Stuart, George Jessel, Warner Baxter, Walter Catlett, El Brendel, Dixie Lee, "Whispering Jack" Smith and Sharon Lynn.
2/12/1930 LAX Louella O. Parsons
Theodore von Eltz gets the second lead in The Cisco Kid, Warner Baxter's next picture for Fox. It is a good part for Teddy von Eltz, who has been playing in bad luck until 1930 suddenly decided to do right by him.
2/16/1930 FD Happy Days
Fox 1 hr., 30 minutes
Thoroughly entertaining musical show on Grandeur screen with a cast of names that are box-office.
More natural perspective, some illusion of depth, modulation of voices, spectacular effects, unusual camera angles and less shifting of scenes—these are some of the main advantages of the wide screen, used here for the first time in a full-length feature film. The 42-ft. width may be found to be a little too much for the eye to grasp without discomfiting effort, but the advantage of a reasonably wider screen is established beyond question. From a purely entertainment standpoint, Happy Days is satisfying. It consists of numerous revue numbers and a mammoth minstrel performance, with a light but agreeable romantic plot running through the whole affair.
Cast: Frank Albertson, Warner Baxter, El Brendel, Walter Catlett, William Collier, James J. Corbett, Charles Farrell, Janet Gaynor, George Jessel, Richard Keene, Dixie Lee, Edmund Lowe, Sharon Lynn, George MacFarlane, Victor McLaglen, J. Harold Murray, George Olsen, Paul Page, Tom Patricola, Ann Pennington, Frank Richardson, Will Rogers, David Rollins, Whispering Jack Smith, Marjorie White.
Director, Benjamin Stoloff; Authors, Sidney Lanfield, Edwin Burke; Adaptor, not listed; Dialoguers, Sidney Lanfield, Edwin Burke; Editor, Clyde Carruth; Cameramen, Lucien Andriot, John Schmitz; Monitor Man, Samuel Waite; Grandeur Cameraman, J.O. Taylor.
Direction, Snappy. Photography, A-1.
3/1/1930 LAR Happy Days
Fox Carthay Circle–the first feature length Grandeur film, Happy Days, directed by Benjamin Stoloff. Story and dialogue by Sidney Lanfield and Edwin Burke. All star cast, with chorus ensemble of 100.
By Llewellyn Miller
Somewhere, far down this column, several feet of type will be devoted to song writers, players, the director, the dance director, and the author's of Happy Days, which opened at the Fox Carthay Circle last night. The credits are myriad. Fox has thrown enough talent for a dozen films into this one. And they are certainly important, but the first big hoopla of interest goes to the novelty of Fox Grandeur film.
I have been through two revolutions in the picture industry. The coming of the first all-talking picture and the first all-color picture were both exciting, and tinged with the aura of the miraculous Grandeur film. I can assure you, is equally exciting, with that same quality of incredible achievement about it.
The same allowances, made for the first experiment with the earlier innovations must be made for the new wide film. An entirely new process is not mastered in one production, but before dealing with the minor incompleteness, imagine a screen 42 feet wide, filling the entire Carthay stage with moving, speaking shadows. Imagine massed phalanxes of dancers, cavorting in swift routines across the background, while in perfect focus, a minstrel show occupies the foreground.
Imagine the wide panorama of a city street stretching into clear perspective, while magnified street-cars and towering newsboys bid for attention in the foreground. Imagine the busy life of a waterfront blaze, offering its many points of interest, stretched out like a five ring circus.
The selective vision that eyes are built for, takes care of one high light of interest, excluding extraneous action. But at the same time the effect of reality is heightened by that action which is only half way apparent at the sides of the film when the attention is concentrated at the center.
Grandeur film is particularly effective for big revues, featuring the intricate convolutions of massive choruses. It is immense for outdoor shots where the wide sweep of land and sky in the distance is needed for background. It means the coming of screen pageantry, the opening up of a whole new continent for exploration and the beginning of an entirely new attitude toward the baby art of film production.
In this forerunner of the new era of the screen a number of mechanical improvements are still to be mastered. Action in the big close ups tends to blur when a swift motion is made. Occasionally there is an oppressive consciousness of the top of the screen when figures tower near it. A more positive feeling of depth is necessary if many panoramic scenes are not to become confused.
But the necessity for these improvements should not be emphasized. The very fact that a feature length grandeur film good enough to bring cheers from a first night audience, has been produced, is promise in itself that the process is on its way to being perfected.
As introduction to a revue, the trials of a show boat captain are told. When his ship is attached, Marjorie White, a pessimistic, high tempered member of his troupe, goes to New York to seek help from Will Rogers, Willie Collier Sr., Walter Catlett, Victor McLaglen, Edmund Lowe and a score of others, all of whom had played on the river theater.
She gains admittance into the Stage and Screen club, sacred, until her coming, to the male stars of the theater. There, clad in the revealing uniform of a page she gets by as a boy until a hearty kick from Tom Patricola's trigger-toe boot sends her in one direction and her cap in the other. By their hair shall you know women in these days is the moral.
To a man the Stage and Screen club rallies to her appeal for the old production. A theater owner in Memphis contributes his house, which explains after a fashion the presence of 100 chorus girls to support the New York talents, though they are such chorus girls as only Hollywood can grow. Then in we go to a revue with George MacFarlane and James J. Corbett as interlocutors.
Janet Gaynor and Charles Farrell sing, "We'll Build a Little Home of Our Own" in a sort of Maxfield Parrish setting of misty hills and meticulously clear foreground. A baby carriage sequence follows which is immediately after parodied with Walter Catlett disguised as a copy wife.
Frank Richardson sings "Mona," sure to be a popular number. Sharon Lynn and Ann Pennington do "Snake Hips," an effective number in which Ann Pennington's celebrated knees take second billing to her wildly whirling hula skirt of glittering crystal beads. A tossing of sea of arms covered with silver makes a clever background for the start.
Dixie Lee does "Crazy Feet." Marjorie White and Richard Keene do a rough and tumble fight all over the stage to illustrate how "I'm on a Diet of Love" may disagree.. Victor McLaglen and Edmund Lowe sing about their undying friendship in a number called "Vic and Eddie." J. Harold Murray sings "A Toast to the Girl I Love." Martha Lee Sparks, the only child in the cast, contributes some tap dancing. "Whispering" Jack Smith gives "Happy Days," and George MacFarlane sings "Minstrel Days."
Lyrics and music are by Joseph McCarthy, James F. Hanley, L. Wolfe Gilbert, Abel Baer; Conrad, Mitchell and Gottler; James Brockman, Harry Stoddard and Marcy Klauber. Benjamin Stoloff directed. And George Olsen and his band supplies the music. Story and dialogue are by Sidney Lanfield and Edwin Burke.
In the cast, some seen for the brief moments, and some for slightly longer, are Tom Patricola whose dancing certainly has a certain something; George Jessel with assorted wise cracks; Lew Brice, Gilbert Emery, the Slate brothers, Rex Bell, Charles E. Evans, Warner Baxter, David Rollins, Frank Albertson, Paul Page, Farrell MacDonald, Stewart Erwin, Clifford Dempsey, Nick Stuart and Lumsden Hare, El Brendel, who is always one of the most welcome sights in Hollywood to me, does an act with a trick suit of clothes.
The story, itself, and the revue numbers are not the chief attraction of Happy Days. But Grandeur film is sufficient attraction to keep the Carthay crowded for many weeks. Seeing the first wide film will be something to tell the grandchildren about in years to come, or, if that does not appeal as an excuse, something to tell the neighbors about now. It is a movie experience that no one can very well pass up and be comfortable in Hollywood.
An Historical Essay, Still in its Infancy? Stars with a far from passionate embrace from the first moving picture, chooses highlights for the past 35 years to demonstrate the development of the industry. It is an absorbing, sometimes funny, always interesting novelty.
3/1/1930 IDN Happy Days
By Eleanor Barnes
Fox Grandeur Film, a definite and decisive step forward in the steady progression of motion pictures, was introduced at the Fox Carthay Circle Theater last night, while the picturedom looked on critically, anxiously and enthusiastically.
This new film is the very latest and most discussed innovation since the advent of the audibles, for not only is it a surprise to observe, but its success means that thousands of theaters throughout the country will be equipped with special machinery to meet the necessities of its installation.
WHAT ONE SEES
The audience beholds the entire proscenium arch of the theater enveloped in a screen 42 feet wide, wider than the natural vision of the human eye. It makes one gasp at first, because the effect is startling. It is three times wider than the average film, so imagine the breadth of its scope.
Carthay Circle's guests were not interested in Who's Who attending. This was one occasion when the event achieved greater importance than who watched it. The purchasers of tickets were not idly curious. They were, for the most part, the directors, cameramen, the executives and the stars of Hollywood who wanted to see Grandeur Film.
Heavy volleys of applause affected their reaction. While there were the usual ceremonies, and the throngs of gaping spectators at the Circle's long promenade, still Happy Days, was the important thing of the evening.
The event of Grandeur indicates a very healthy condition in the movie industry, a gesture in the right direction, another step toward the ultimate of perfect screen presentation.
IN LINE
Just as Vitaphone paved the way for audibles, this innovation marks a departure that is indeed not an economy measure. In addition to millions of dollars spent in experimenting with it, twice the amount of film is used and more elaborate sets are necessary to present it. Along with the talkies and technicolor, both of which cut down the profits to their companies, the producers of films are demonstrating their desire to give the audience the maximum of entertainment.
Happy Days is a revue, and one that will warm the cockles of many hearts who hated to see the passing of the old minstrel show.
ALL ON JOB
For all the old favorites are there, gathered in the famous half circle on the stage, the striped cakewalk suits and high silk hats, very much in evidence and the same old time-worn jokes that have been stock-in-trade of minstrelry since the days of Primrose and Leonard, on parade.
THE PLOT ITSELF
A thin thread of story by Sidney Lanfield and Edwin Burke weaves through two hours of gay entertainment without a tearful moment, giving a bright, cheery aspect to the piece, largely due to the brilliant music of George Olsen and his orchestra. Lyrics and music have a flock of credits far too long for tabloid style, but include in the list Joseph McCarthy, James F. Hanley, L. Wolfe Gilbert and Abel Bauer, Conrad Mitchell Gottler, James Brockman, Harry Stoddard and Mercy Kleuber.
HERE IT IS
Col. Billy Batcher had remained producer of the old-fashioned minstrel show from which Will Rogers, Eddie Lowe, Willie Collier Sr., George Macfarlane, Tom Patricola, Whispering Jack Smith and other celebrities had been recruited for ‘big-time' and the movies.
Little Margie, in love with Colonel Batcher's grandson, decided to appeal to his friends for aid when the sheriff attaches the old man's bankroll, putting in at Memphis from off their showboat, on the Mississippi.
She becomes page in a stage and screen club in order to meet the stars, they fly to Memphis and "throw" a big performance, helping the troupe financially, eventually marrying the grandson.
Happy Days has a cast of big names. Will Rogers merely stays long enough to advertise Beechnut chewing gum; Walter Catlett, one of the funniest old-timers; William Collier of "The Hottentot" fame and "Gentleman Jim Corbett, who by the way, in interlocutor, offer an amusing skit, on the boxing ability of the ex-world champion prize fighter.
AND HOW!
Tom Patricola, the greatest clog dancer of them all, gives a smooth, exquisitely-timed demonstration of pedal agility as a contribution. A clever touch is by using a toy rubber pig to emulate bagpipes for the dancer to step to.
Eddie Lowe and Victor McLaglen still live over "Cock-Eyed World" days in a song called "Vic and Eddie." They are showmen.
Janet Gaynor and Charles Farrell offer a novelty song, "We'll Build a Little Home of Our Own." This is a charming number.
Frank Richardson, whose amazing voice range and clear silvery tones have made him a favorite in films, sings "Mona," with a lovely chorus of Fox beauties to augment his work.
DISTINCTIVE
"Crazy Feet" is unique as an ensemble song, led by the sprightly and vivacious Dixie Lee. Jack Schulze, art director, can chalk up a gold star for this act alone.
Whispering Jack Smith is an outstanding performer . His rendition of "Happy Days" has a sympathetic appeal and is skillfully done.
Marjorie White and Richard Keene are the young folks in love and their voices blend well. There is a piquancy about Marjorie White that is slightly similar to that of the other White girl, Alice. She has a boop-a-doop and is cute and plump. Charles E. Evans is the old showboat leader, while others in the cast include Clifford Dempsey Jr., Harold Murray, Stuart Erwin, Georgie Jessel, Sharon Lynn, El Brendel, and he is a riot, Rex Bell and Ann Pennington, who leads 100 chorines in a 100 per cent revue.
THANK, Mr. Taylor
And because he is a pioneer in Grandeur, will J.O. Taylor, the cameraman, please bow to Illustrated Daily News readers and take a hand?
Now, because it is getting late, we must be on our way.
Distance shots respond to Grandeur more effectively than the popular "close-ups." Short-range views of players in emotional stress or poetical clinches fare as well in the old-fashioned way, for one doesn't feel the necessity of exaggerating these points. It is to be hoped that Grandeur will make the "close-up" unnecessary, for it is a feature that sometimes mars the smoothness of a story's unfoldment.
Happy Days was not the perfect vehicle for the first presentation of Grandeur film, but the experiment is a worthy one.
It furnishes numerous episodes that show the glorious possibilities of the new use of the double-wide film. In the large, panoramic views one gets an illusion of tremendous depth and distance with finely etched detail.
EXAMPLES
For instance, there is a scene showing a limited passenger train coming full speed ahead. Grandeur permits the entire train to be shown at one time almost as large as the genuine thing. But beyond the train, the surf could be seen with utmost clarity—probably caught by the camera more clearly than the human eye could see it under the same conditions.
Then, another "shot" illustrated the point in question: A minstrel band marching down the main street of Memphis, Tenn., presented the players in the back ranks as clearly as those in the front rows.
Benjamin Stoloff's direction of Happy Days indicated one thing, that a new technique will be exercised for the wide film. Heretofore sets have had a "square frame" effect, while an oblong view must now be secured in order to balance the picture. Or else the close-ups will be masked in to give central figures their proper importance.
Had William Fox's initial Grandeur film been a mighty sea story, or a tale of war, desert life, or an air epic—in fact, any type of story that demanded majestic sweep of action, the effect of the innovation would have been many times greater than with Happy Days.
BIG HELP
Side-seat occupants were not at a big disadvantage last night. Grandeur film viewed from the extreme walls (purposely tried out by the writer) is a great improvement over the old-fashioned film. One does not feel a roundness or shall one say, a third-dimension? There is not the distortion of figures that has been unavoidable in the past. There is a slight blur, perhaps, but it is a distinct improvement in projection.
3/1/1930 HDC Happy Days
All hail to a new screen era, the day of Grandeur film! It is here to say, judging by the reception given the first sample, Happy Days, a Fox picture which opened at the Carthay Circle Theater last night.
All professional Hollywood turned out to see and judge the importance of this new enlarged medium of screen entertainment. They came, they saw and they were conquered. They may not have thought so much of the picture itself, but they did appreciate what it means to the industry as a whole.
Grandeur film is to picture projection what Vitaphone was to the silent screen. It will not be easy to enjoy the small screen after seeing many pictures on the large. The exhibitor had best put away his pennies for this new great move in projection which is sure to take the public by storm when a few more are released.
MARJORIE WHITE SCORES
As for Happy Days as a picture, it is Marjorie White's show. With her peppy, winsome way, her clever dancing and vivacious charm she wraps herself right around the hearts of her audience and had them all literally eating out of her hand last night. It is just another zestful novelty musical comedy with huge chorus numbers and clever songs and acts.
There are several hit numbers like "We'll Build a Little Home of Our Home," sung by Janet Gaynor and Charles Farrell. "Mona," as sung by Frank Richardson as only Frank Richardson can sing; "Snake Hips" with Sharon Lynn and Ann Pennington; "Crazy Feet" as danced and sung by Dixie Lee; "I'm on a Diet of Love," almost the hit of the show purely because Marjorie White puts it over with Richard Keene; "Viv and Eddie" sung by Victor McLaglen and Edmund Lowe; J. Harold Murray's song, "A Toast to the Girl I Love" and "Happy Days," by Whispering Jack Smith.
All these were feature songs and acts accompanying the minstrel show the Hollywood "gang" put on for their unfortunate friend in need of added funds. The show boat of Billy Batcher is going on the financial rocks unless he can raise money somewhere to save it. Marjorie goes to New York to see some of his old friends and they put on a benefit for him...and what a benefit.
But last night it was significant that many of the seats were vacant after intermission. Most of the audience had come to see the wide film and, having seen that, were ready to leave. When long shots of a train rounding a curve at the foot of a mountain, beside a stream of water were shown, the audience suddenly burst into thunderous applause. It was magnificent in vivid detail.
The wide film is twice the size of the normal film of today and it takes a huge stage to display it. The exhibitors are going to be up against a complete projection readjustment. Technicolor, which today is working at full capacity, triple shift to fill the orders for color in pictures, will have to start preparation to meet this new demand, for Technicolor on the Grandeur film will be the next sensation.
LONG SHOTS APPLAUDED
Long shots of a busy intersection of Broadway, New York, brought cheers from an enthused audience. Grandeur film gives the screen a new vividness and brings out in the backgrounds every detail of face and form. It is revolutionary in results and points to a year of hectic experimenting.
Benjamin Stoloff was the lucky pioneer director and deserves great credit for interesting camera shots, and spectacular revue effects.
Charles Evans, Marjorie White, Richard Keene, Stuart Erwin, Martha Lee Sparks, Clifford Dempsey and George Olsen and his music were pioneers in the straight story of Happy Days, while every star and major player on the Fox lot appears sooner or later in the revue numbers.
EARLY FILM SHOWN
A clever ensemble of scenes from the earliest days of pictures right up to the present day called In Its Infancy made the introduction of the Grandeur film more impressive by contrast.
But Carthay Circle's greatest attraction was conspicuously missing last night. The Carli Elinor orchestra and its great leader were not there to put the film to follow in a haze of glorious music, so that whatever was to come would be enjoyed. The absence makes the Carthay Circle just another good picture show. We will pray it is not permanent.
3/5/1930 EH Screenographs
By Harrison Carroll
MORE HORSE PLAY
Some time ago when producers decided that the talkies had doomed westerns, Fox sold Rex Bell's film mount for $500.
After the disconcerting fashion of the movies, westerns refused to take the county, so now the studio has had to rent the same horse for Warner Baxter to use in a new outdoor story.
Reports say that they are paying more rent than the horse brought in the sale. And if they want to buy the animal back they will have to pay a fancy price to the buyer.
3/9/1930 FD Such Men Are Dangerous
Fox Time, 1 hr., 15 mins.
(All-Talker)
Good grade of entertainment, principally because of fine performance by Baxter, nicely supported by Miss Owen.
Warner Baxter does himself proud in a dual role in this picture. He appears first for a stretch as a big financier (the counterpart of Loewenstein, who disappeared from an airplane) who manages to marry a lovely girl. His ugliness causes her to leave him right after the wedding. He then does the disappearing act and emerges a year later under another name and with a handsomely remodeled physiognomy performed on him by a famous plastic surgeon. Thus armed, he proceeds to win his wife all over again, and succeeds. It's a swell plot and Kenneth Hawks has done very well by the direction. Besides the good acting of Baxter and the attractive support given him by Catherine Dale Owen as the girl in the case, there are some enjoyable bits of incidental acting.
CAST: Warner Baxter, Catherine Dale Owen, Albert Conti, Hedda Hopper, Claude Allister, Bela Lugosi.
Director, Kenneth Hawks; Author, Elinor Glyn; Adaptor, Ernest Vajda; Dialoguer, Ernest Vajda; Editor, Harold Schuster; Cameraman, L.W. O'Connell, George Eastman; Monitor Man, Arthur Von Kirbach.
Direction, Fine. Photography, First-rate.
Labels: Gail Patrick, Irene Dunne, Lionel Barrymore, Warner Baxter
posted by GDH at 8:58 AM
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