Bebe Daniels In the 30's
1/19/1934 HCN Elizabeth Yeaman
Of course, studios always reserve the Right to change their minds on cast assignments, especially when those assignments are made from their own list of contract players. But unless some unexpected monkey wrench is thrown into the works of Mae West's next picture, It Ain't No Sin, George Raft will have the role of Mae's leading man. Raft has been pretty consistently identified with gangster roles, and Mae has gotten mixed up with gangsters in real life, as seen in her current suit over the theft of some of the famous Diamond Lil diamonds.
This leading role of the pugilist is the part that Buster Crabbe has worked so diligently to claim. Crabbe has been in training with a boxer, hoping that proficiency with the gloves might land him the role. But the executives have decided that George Raft is a better type. Cary Grant, you will recall, was Mae's leading man in her two previous pictures. And Mae will have a new director in It Ain't No Sin, as Leo McCarey has won the assignment. The picture cannot start for at least three weeks as Raft is now working on The Trumpet Blows and will require that much time to finish his role.
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Radio Pictures is pushing preparations for a picture which will be a sequel to The Lost Patrol, which had a parade of male stars. Title for the intended sequel is Fugitive From Glory. And what is more, the studio is most eager to obtain Victor McLaglen to head the cast, as he did in Lost Patrol. John Ford, director of the latter film, also is wanted to direct Fugitive From Glory. You see the studio still has quite a lot of good film which Ernest B. Schoedsack obtained in Arabia on his air expedition, and the powers that he would like to utilize that film, as only a part of it was inserted in The Lost Patrol.
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Whether Radio Pictures will be able to get Victor McLaglen for Fugitive From Glory is going to depend partially on Paramount. The rugged actor is now at that studio playing the lead in The Man Who Broke His Heart, and now he is asked to remain longer for one of the leads in Murder at the Vanities. Carl Brisson, the Dane, is cast for this Earl Carroll special. And so is Kitty Carlisle, of the New York musical comedy stage. The studio is much impressed by the career of Miss Carlisle, who was born in New Orleans, obtained an expensive and extensive cultural education in the capitals of Europe, and has had a brief but outstanding Broadway career. Her first professional appearance was the lead in Ziegfeld's revival of "Rio Rita." After that she became the star of "Champagne Sec," another musical.
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Blue Boy, the famous hog which appeared in a prominent supporting role with Will Rogers in State Fair is dead. He died at a stock farm near here, the victim of what his expert handlers called over-grooming. Others called it a common hog ailment—over-eating. And who knows but that Blue Boy may have pined away with heartbreak because he did not stay before the cameras in Hollywood!
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Mary Boland may not be rated technically as a star, but in reality she is a star by virtue of her many Paramount comedies. However, for the most part she has been teamed with Charlie Ruggles. But now she is to depart from these teaming affairs and seek new laurels on her own. B.P. Schulberg has selected Miss Boland for the feminine lead in Her Master's Voice. This is the Clare Kummer play now current on Broadway in which Laura Hope Crews plays the role intended for Miss Boland. Lanny Ross, the crooner, also will be featured in the screen version.
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Hal LeRoy, the agile tap dancer who was brought to Hollywood by Warners for the title role of Harold Teen, and who also did a dance routine for Wonder Bar, is packing his bags for a return to the East. It seems he has some personal appearance engagements to fill. Warners do not have an option on LeRoy, but the studio is still pondering the advisability of producing Booth Tarkington's Seventeen, and when and if those plans crystallize, Hal LeRoy probably will be sought for the lead. I suspect the executives prefer to wait for the public reaction to LeRoy in Harold Teen before they make their next move.
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Only a little while ago Radio Pictures tried to borrow Preston Foster for the male role in Just Off Fifth Avenue. That deal did not materialize, but the studio had obtained a loan of Foster for another picture, Strictly Dynamite. Once upon a time Radio announced an elaborate cast for this picture–a cast culled from its contract list. Now quite a new cast is being lined up, mostly from borrowed players. Jimmy Durante, borrowed from MGM, has the starring assignment. And the Four Mills Brothers will be featured also.
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Monogram has bought an original story by Joseph Santley which is titled Million Dollar Baby. And Roy Turk and Harry Akst, song writers, have been engaged by the same company to write an original musical score for The Loudspeaker, in which Ray Walker will star and Joseph Santley will direct.
Bebe Daniels In the 30's
1/1/1930 LAX Louella O. Parsons
Sometimes I hear things I shouldn't hear. For instance, I heard a discussion among some RKO people that Bebe Daniels may do The Chatterbox by Bayard Veillier, before she does Dixiana. The Chatterbox hasn't a sign of a song or music. Why take songs away from Bebe when her voice is her greatest asset? She ought to sing and sing, and sing some more. I believe The Chatterbox idea hasn't been definitely settled and is still merely under discussion. Still, a play by Bayard Veillier has its advantages.
1/3/1930 LAR LONGEST KISS WAS NOT SHOT
If the kiss John Boles gives Bebe Daniels at the fade out in Rio Rita, now playing at the Fox Carthay Circle Theater, had been filmed in its entire length, it would have been the longest kiss in screen records.
It happened, not because of a secret romance, between the two leading players of the RKO musical comedy, but because director Luther Reed had to have his little joke. When the final scene had been shot to his entire satisfaction, Reed silently signaled the cameras to stop grinding and walked off the set leaving Bebe and Boles in each others arms waiting for the order "cut" which would have meant the finish of the picture.
Finally the director, after long moments gave the necessary order and the players, quite out of breath, looked around to find cast, stage hands and technical staff convulsed with laughter.
Reed also directed Hit the Deck, showing at the Orpheum Theater, and is part author of "Dear Me," playing at the Hollywood Playhouse with Grace LaRue and Hale Hamilton.
1/5/1930 LAX Movie-Go-Round
By Louella O. Parsons
Bessie Love's radiant smile when she walked to the altar at St. James Church is giving our brides a new idea. Heretofore they looked downcast and duly subdued. Bessie wore a smile on her face that wouldn't come off, and it was so refreshing because she seemed to be having such a good time. Her bridegroom, not to be outdone, turned around as she came to the altar and gave her just as beaming a smile as she gave him. Of all the Hollywood weddings, Bessie's stands out for its beauty. St. James Church, lighted with tapers was romantic enough to be used in a movie. Never was there a more interesting bevy of bridesmaids, with Bebe Daniels, Blanche Sweet, Norma Shearer, Carmel Myers and other well-known movie stars who gave the bridal party special distinction.
1/5/1930 LAX DIRECTOR PLAYS HIS LITTLE JOKE
If the kiss John Boles gives Bebe Daniels at the fadeout in Rio Rita at the Fox-Carthay Circle Theater had been filmed in its entire length it would have been the longest in screen records.
It happened, not because of a secret romance between the two leading players of the RKO musical comedy, but because director Luther Reed had to have his little joke. When the final scene had been shot to his entire satisfaction Reed silently signaled the cameras to stop grinding and walked off the set, leaving Bebe and Boles in each others' arms, waiting for the order, "Cut," which would have meant the finish of the picture.
Finally, the director, after long moments, gave the necessary order and the players looked around to find the cast, stage hands and technical staff convulsed with laughter.
1/31/1930 LAX Louella O. Parsons
Clara Bow is expected back at the Paramount Studios almost immediately to start work on a play based on the stage play, "Quarantine," which was made by Bebe Daniels as a silent movie a few years ago. Clara will have to come down to earth when she gets back at the studio, and forget the Harry Richman hooey. Every one is sick to death of hearing about Clara and Harry's broken romance. Even the most ardent movie fans are begging that a recess be taken so that Clara can be herself again and put publicity engagements out of her life. Maude Fulton is writing the adaptation.
2/2/1930 FD Love Comes Along
RKO Time, 1 Hr., 17 Mins.
(All-Talker)
Comedy drama that is entertaining despite its trite story, thanks to the acting of its well-balanced cast.
Ernest Knoblock's play "Conchita" has been turned into a film which, for all its familiarity of pattern, manages to carry enough entertainment value to assure it success. It is not for plot or treatment that it deserves consideration, for its tale is timeworn and the manner of telling by no means original. Its worth is derived from the splendid acting of a fine cast judiciously selected and the fine strain of comedy that courses through it. Bebe Daniels plays a familiar role with considerable feeling, revealing a keen dramatic sense. Her singing is a great asset to the film. She sings in quiet fashion but with much warmth of tone a number of pleasant numbers. Good acting is also done by Lloyd Hughes, Ned Sparks and Montague Love. The story is about the young ship hand who meets the stranded singer down Havana Way, falls for her and saves her at the proper moment.
CAST: Bebe Daniels, Lloyd Hughes, Montague Love, Ned Sparks, Alma Tell, Lionel Belmore, Evelyn Selbie.
Director, Rupert Julian; Author, Edward Knoblock; Adaptor, Wallace Smith; Editor, Not Listed; Dialoguer, Not Listed; Cameraman, J. Roy Hunt; Monitor Man, Not Listed.
Direction, Fair. Photography, Good.
—Pelegrine
2/5/1930 HDC Society in Filmland
By Elizabeth Yeaman
American Beauty roses were massed about the home of Mae Sunday on Bedford Drive last Sunday night when she entertained at dinner in honor of the birthday of Wallace Davis.
The dinner table, flanked at each end by lighted candles, was centered by a long mound of yellow and white roses, and other pastel flowers in Spring varieties.
Covers were laid for Bebe Daniels, Ben Lyon, Mr. and Mrs. Richard Hyland (Adela Rogers St. John), Norman Kerry, Kitty Gardner, Marie Prevost, Buster Collier, Mrs. Daniels, Mr. and Mrs. Albert Parker, Hoot Gibson, Sally Eilers, Mr. and Mrs. Charles Allison, William Haines, Roger Davis, Helen Slater, Billy Emerick, Richard Dodds, Wallace Davis, the guest of honor, and Mae Sunday, the hostess.
2/9/1930 FD The Voice of Hollywood
Tiffany 12 mins.
Short Bits by Stars
With Nick Stuart officiating in a capable manner as master of ceremonies, this edition of "The Voice" presents short bits by Jack Mulhall, Mildred Harris and Sam Coslow, Bebe Daniels, Ben Lyons, James Gleason, Marguerite Churchill and Sammy Cohen. The individual specialties are very entertaining. Will appeal to fans generally on the personal angle as well.
2/12/1930 HDC Society In Filmland
By Elizabeth Yeaman
BIRTHDAY DINNER IS GIVEN BY BEBE DANIELS
Bebe Daniels and her mother, Mrs. Phyllis Daniels, entertained with a birthday party last Thursday night in their Hollywood apartment, in honor of Ben Lyon.
Covers were laid for Mr. and Mrs. Freidrich Zelnik, Mr. and Mrs. Louis Wolheim, Mr. and Mrs. Skeets Gallagher, Olive Tell, Dr. and Mrs. Harry Martin, Mrs. Alvina Lyon, Peg Talmadge, Norma Talmadge, Marie Prevost, Sally Eilers, Marie Mosquini, Gilbert Roland, Roland Drew, Mecca Graham, Hoot Gibson and Buster Collier.
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Roses and carnations banked the tables at the dinner dance given last Saturday night by Lila Lee, who entertained at the Embassy Club in honor of her sister, Mrs. Leonard Tufford of Elyria, Ohio.
Covers were laid for Mr. and Mrs. William Hawks (Bessie Love), Mr. and Mrs. William Seiter (Laura LaPlante), Mr. and Mrs. Lydell Peck (Janet Gaynor, Mr. and Mrs. Tay Garnett (Patsy Ruth Miller), Mr. and Mrs. Gus Edwards, Mr. and Mrs. Eric von Stroheim, Mr. and Mrs. Myron Selznick, Mr. and Mrs. Al Rockett, Mr. and Mrs. Bartlett Cormack, Mr and Mrs. Chester Morris, Mr. and Mrs. Bud Lighton (Hope Loring), Mr. and Mrs. Frank Lloyd, Mr. and Mrs. Benjamin P. Schulberg, Mr. and Mrs. William K. Howard, Mr. and Mrs. Ray Rockett, Dr. and Mrs Harry Martin, Mr. and Mrs. Ned Martin, Mr. and Mrs. Sam Jaffe, Mr. and Mrs. Ben Goetz, Mr. and Mrs. Roland West.
And the Misses Bebe Daniels, Virginia Valli, Edith Mayer, Irene Mayer, Natalie Gallitzen, Dolores Del Rio, Billie Dove, Leatrice Joy, Margaret Ettinger, Lillie Hayward, Seena Owen, Happy Rand, and Messrs. Ivan St. John, William Goetz, Charles Farrell, Lawrence Stallings, Larry Kent, Howard Hughes, David Selznick, Dennis McSweeney, Paul Bern, Ross Shattuck, Ben Lyon, John Farrow, Joe Willicombe and Harry Davis.
2/26/1930 IDN Harry Mines
Looking for a good story that will make a good picture is very much like looking for the proverbial needle in the haystack. At least that is what Richard Dix finds in his quest for material suitable for production.
"Just what do you want to do?" he was asked.
"What do you think I can do?" Dix answered back without hesitation. "What do you think I'd be good in? What do you want me to avoid? I want only to make good pictures, if I make ‘em at all. Bill LeBaron and I made a whole lot of them on the Paramount lot and now that we're together again I"m sure we can keep up the good work. I mean Bill can, for all the pictures I did at Paramount were big draws at the box office and entertaining in themselves were chosen by him. He had charge of the Dix and Bebe Daniels units and he certainly chose some wonderful material for us. Now that we're all together again, we're ambitious to make only the best in dialogue pictures.
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GOOD TRIO
Bebe Daniels, Richard Dix and William LeBaron formed a most successful triumvirate when they were under contract to Paramount on Long Island. When production center moved from the east coast, the scene of the Dix-Daniels-LeBaron activities, to the west, the threesome was broken up. Dix and Daniels moved westward with Paramount, while LeBaron joined forces with FBO studio, the present RKO lot. Shortly after their contracts were up, Miss Daniels and Dix joined LeBaron on the RKO roster. Under LeBaron's banner, Miss Daniels staged her famous comeback in Rio Rita, while Dix made a thrilling melodrama, Seven Keys to Baldpate, showing now at the Orpheum Theater.
3/1/1930 EH Bebe Daniels' Mother better after smashup at 3rd and McCadden place. Car she was in was chauffeur-driven
3/7/1930 HDC Doris Denbo
George Archainbaud has completed his second RKO picture, Smooth As Satin, with Bebe Daniels and Ben Lyon. Framed with Evelyn Brent and Regis Toomey was his initial production on the RKO lot. He has done so well with these two pictures that he has been signed to a new contract. He joins the distinguished directorial staff of which Luther Reed, Herbert Brenon, Paul Sloane, Wesley Ruggles, Melville Brown and Roy J. Pomeroy are already members. William LeBaron returns from New York next week and will undoubtedly bring more news of future RKO productions.
4/2/1930 EH Bill Robinson to appear in Vaudeville at RKO
When Bill Robinson, the ebony-hued tap dancer head-lining the vaudeville show at the RKO, completes his last performance today, he will fulfill a week's engagement at the Orpheum, San Diego and return to the RKO studios to appear in Radio's picturization of Dixiana, starring Bebe Daniels.
4/13/1930 FD Alias French Gertie
Radio Time, 1 hr., 15 Mins.
Corking crook drama that should make many new friends for Bebe Daniels and its sponsors. Exceptional acting all around and direction aces. Bebe Daniels marvelous.
Based on the stage play "The Chatterbox," by Bayard Veillier, this transcription stands out as one of the best crook plays seen in many a day. Bebe Daniels is prolific in her linguistic abilities, this time conquering handsomely the role of a French maid who is out to pilfer every piece of valuable jewelry that is possessed by her many employers. There is one particular scene that moved the audience to applause and it is only doing justice to the star by mentioning that her impulsive declamation at Ben Lyon's decision to break their love pact was an exceptionally artistic piece of work on her part. The hero and Robert Emmett O'Connor, as the dick, are excellent in their portrayals. George Archainbaud has directed a fine picture which centers chiefly around the star who, after vowing to go the straight and narrow finds that her swain changes his plans after they have been fleeced unsuspectingly.
CAST: Bebe Daniels, Ben Lyon, Robert Emmett O'Connor, John Ince, Daisy Belmore, Betty Pierce.
Director, George Archainbaud; Author, Bayard Veillier; Adaptor, Wallace Smith; Dialoguer, Wallace Smith; Editor, Clem Portman; Cameraman, Roy Hunt.
Direction, Splendid. Photography, Excellent.
4/15/1930 HDC Society In Filmland
By Rachel Rubin
Stars and producers of filmland will combine to make the world premiere of All Quiet on the Western Front at the Fox Carthay Circle Monday evening one of surpassing brilliance.
Few books have elicited as much comment, as Erich Maria Remarque's novel of the same name, from which the story was taken, and the picture is being eagerly awaited by moving picture folk.
The list of those expected to attend includes:
Messrs. and Mesdames Mayor and Mrs. John C. Porter, Douglas Fairbanks (Mary Pickford), Eric von Stroheim and party, Wallace Beery, Jean Hersholt, Ernst Lubitsch, Walter Morosco (Corinne Griffith), Stanley Bergerman (Rosabelle Laemmle), Lawrence Tibbett, George Ullman, Frank Lloyd, Tay Garnett (Patsy Ruth Miller), B.P. Schulberg, James Gleason, Hunt Stromberg, Irving Thalberg (Norma Shearer), Harry Zehner, Walter Stern, Johnny Mack Brown, Wallace Smith, E.M. Asher, Raymond Hatton, J. Franklin, Charles Murray, Harry Rapf, Al Jolson (Ruby Keeler), Ben Bard (Ruth Roland), Nick Stuart (Sue Carol), Sol Wurtzel, Charles Rogers, John M. Stahl, Howard Sheehan, Edmund Lowe (Lilyan Tashman), Joe E. Brown.
And Marion Davies, Beatrice Lillie, Glenn Tryon, Merna Kennedy, Barbara Kent, Lewis Ayres, Louis Wolheim, Ben Alexander, Harold Goodwin, Walter Browne Rogers, Cecil B. DeMille, Sam Wood, Russell Gleason, Lillian Roth, Pauline Starke, Sam Weisenthal, Col. Jason S. Joy, Jean Marsh, Ann Christie, Paul Dickey, Hoot Gibson, Sally Eilers, George O'Brien, Carl Laemmle Jr., Ruth Chatterton, Billie Dove, Sid Grauman, William Boyd, William C. DeMille, Gary Cooper, Cliff Edwards, Ben Lyon, Lewis Milestone, D.W. Griffith, Norma Talmadge, Lawrence Gray, Marion Nixon, Lothar Mendes, Paul Bern, William LeBaron, Wilbur Mack, June Marlowe, Slim Summerville, J.G. Bachman, Edmund Goulding, Erno Rapee, Arthur Caesar, George Sidney, Hans Graely, Scott Kolk, Theodore von Eltz, Ruth Sattley, Ed G. Robinson, William Bakewell, Constance Bennett, John M. Considine Jr., Clarence Brown, Howard Hughes, Edward Laemmle, Dorothy Sebastian, B.P. Fineman, Lupe Velez, Jeanette Loff, Bebe Daniels, David Broekman, Thornton V. Freeland, Robert Milton, Charles Furthman, Victor Fleming, Harry Hobart, John S. Robertson, Priscilla Dean, Harry Green, Nancy Carroll, Ona Brown, Samuel Shipman, Alice Day, Alfred DeMond, Fred Beetson, Yola D'Avril, Albert S. LeVine, Gertrude Astor, John Darrow, Victor McLaglen, Harry J. Brown, Harry Langdon, Carl Laemmle Sr., Joan Bennett, James Hall, Mrs. D.J. Grauman, Ernest Laemmle, Edward Mannix, Irene Delroy, Bodil Rosing, Clara Bow, Vera Gordon.
4/22/1930 HDC Betty Kirby
Several local people entertained with smart parties last evening preceding the premiere of All Quiet On the Western Front at the Carthay Circle Theater.
Guests of Mr. and Mrs. Efe Asher were Mr. and Mrs. Milton Cohen, Mr. and Mrs. Oscar Strauss, Mr. and Mrs. Fred Zelnick, Albert Kuppenheimer and William Thorner.
Carl Laemmle Jr. was host at supper at the Embassy Club, including among his guests Messrs. And Mesdames Stanley Bergerman, Ralph Blunt (Carmel Myers), Douglas Fairbanks (Mary Pickford), Jean Hersholt, Ernst Lubitsch, William LeBaron, Lewis Milestone, Erno Rapee, Harry Rapf, B.P. Schulberg, Hunt Stromberg, Louis Wolheim, Cecil B. DeMille, Misses Clara Bow, Joan Bennett, Bebe Daniels, Patsy Ruth Miller, Louella O. Parsons, Sue Carol, Lupe Velez, Lois Weber, Messrs. Paul Bern, Ernst Laemmle, Paul Kohner, Ben Lyon, Al Jolson, D.W. Griffith, Charles Chaplin, Lothar Mendes, Howard Hughes, Eric von Stroheim and Joseph Selznick.
4/28/1930 HDC Elizabeth Yeaman
At the preview of Swing High, at Pathe Friday night, several of the featured players entertained the small audience at an informal reception which followed. Helen Twelvetrees, the dainty star of the picture, was out of town, but Dorothy Burgess, the other feminine lead, was a charming sight in white polo coat and beret, set off by a corsage of orchids. Fred Scott, the romantic lead, and a newcomer to the screen who was first discovered by Bebe Daniels, sang several of the song hits, and Joseph Santley, the director, followed with a charming old song. Eddie Quillan, who happened to be about, was dragged in for an appearance, and offered some of his inimitable gags.
5/1/1930 HDC Elizabeth Yeaman
When Bebe Daniels finishes Lawful Larceny, she will have completed her schedule of five RKO pictures since last July. Henceforth, the vivacious Bebe will make no more program pictures, for studio executives have decided not to let her fritter her talents on anything but big super specials and extravaganzas.
5/8/1930 HDC BEBE DANIELS NAMES WEDDING ATTENDANTS
Bebe Daniels, popular film star whose marriage to Ben Lyon will take place next Wednesday at the Beverly Wilshire Hotel, has named the following as her attendants; matron of honor, Mrs. Harry Martin (Louella Parsons); bridesmaids, Marion Davies, Mrs. Mae Sunday, Marie Mosquini and Diana Kane.
Hal Howe will serve as best man and the ushers will be Skeets Gallagher, Dr. Harry Martin, Howard Hughes, George Fitzmaurice and Wally Davis. A lifelong friend of the family, Eugene E. Morris will give the bride in marriage.
5/9/1930 HDC Elizabeth Yeaman
Purnell Pratt has been signed to play the judge in Bebe Daniels' new picture, Lawful Larceny. Lowell Sherman and Kenneth Thomson also have been cast. Since deserting the New York stage a year ago, Pratt has played in twenty-one talking pictures, having made his debut in Alibi.
5/13/1930 EH Scouting the Sinema
by Dorothy Herzog
When Bebe Daniels marries Ben Lyon on June 14....Bridesmaids will be Marion Davies, Lila Lee, Betty Compson, Adela Rogers Hyland, Constance Talmadge, Diana Fitzmaurice, Miss Mosquini, May Sunday with Louella Parsons, matron of honor.
5/14/1930 LAX Louella O. Parsons
Marie Prevost, with a new figure that will compare favorably with the shape that she had when she was a Sennett bathing beauty, is getting herself in readiness for a test for Maurice Chevalier's next picture, Little Café. Getting in readiness these days not only means dieting but it means taking singing lessons, and Marie has been working hard with Bebe Daniels' teacher, Mirando, to get her voice just right to play a singing role in Chevalier's next picture.
5/14/1930 HDC Society In Filmland
by Rachel Rubin
A gala event in filmland will be the wedding of Miss Bebe Daniels and Ben Lyon, which has been set for June 14 at the Beverly-Wilshire Hotel. The time of the ceremony has not yet been decided.
Mrs. Harry Martin (Louella Parsons) has been named as matron of honor and the bridesmaids will be the Misses Marion Davies, Lila Lee, Betty Compson, Marie Mosquini, and the Mesdames George Fitzmaurice, Townsend Netcher (Constance Talmadge), Richard Hyland (Adela Rogers St. John) and Mae Sunday.
Mr. Lyon has named Hal Howe as his best man and the ushers will be Messrs. Henry Hobart, George Fitzmaurice, Sam Hardy, Frank Joyce, Howard Hughes, Skeets Gallagher, Wallace Davis and Dr. Harry Martin.
Many pre-nuptial parties are being scheduled in honor of Miss Daniels.
5/15/1930 HDC Elizabeth Yeaman
Hollywood always has been rich with stories of persons who rise to fame and fortune overnight, but it has few romances of stars who run a moderately successful course, then get their second wind, so to speak, and rise to heights undreamed of. Bebe Daniels got her second wind when she found her voice, and the achievements of this charming actress continue to be even more startling than her success in Rio Rita. Joseph M. Schenck confirmed the report that Miss Daniels is to play the stellar role in Irving Berlin's first film production for United Artists, which has been definitely titled, Reaching For the Moon. Berlin wrote the story and all the music for his production which originally was called, Love in a Cottage. William Anthony McGuire, noted New York playwright who is under contract to United Artists, is completing the adaptation and dialogue and it should be unusually fine, for he is the author of such stage hits as Whoopee, Kid Boots, Three Musketeers, Rosalie, Twelve Miles Out and Six Cylinder Love. Although some of Berlin's music has been used in talking pictures and he has written several numbers especially for films, Reaching For the Moon, will be the first production of America's popular composer. Rehearsals are scheduled to begin the middle of June.
6/7/1930 EH Screenographs
By Harrison Carroll
Clara Bow's contract with Paramount has only five more pictures to go.
When these are made it is rumored that the girl with the flaming hair may seek another affiliation. Some even go so far as to say she will retire.
In the meantime, however, Paramount has selected her next two pictures. They will be a talkie version of Hula, which Clara made as a silent film several years ago, and Miss Bluebeard, which Bebe Daniels once starred in.
Hula was written by Armine Vententski while Miss Bluebeard was the work of the late Avery Hopwood. What a goldmine Hopwood would have been in coining titles for the movies. Every one of his stage plays was provocatively named.
6/8/1930 FD Screen Snapshots
Columbia 9 mins.
Better Than Average
Because of the long list of film celebrities shown, and the good work of Billy Bevan as "master of ceremonies," this edition of Screen Shapshots is better than most of its predecessors. Among the prominent folk who appear in it are Ralph Graves, Dorothy Sebastian, Ted Sloman, Jack Holt, Charles Bickford, Karl Dane, Anita Page, Carmel Myers, Florenz Ziegfeld with Billie Burke and their daughter Gloria, Samuel Goldwyn, Leon Errol, Duncan Sisters, Bebe Daniels, Ben Lyon, Charles Murray, George Sidney, Edmund Lowe, Lilyan Tashman, Al Jolson, Ruby Keeler and others.
6/11/1930 HDC Society In Filmland
By Rachel Rubin
Celebrating her birthday, Miss Beatrice Lillie was hostess at a dinner party given recently in her Hollywood home. Dancing and music were the diversions of the evening. The guests included Mrs. Josephine Janis and Messrs. and Mesdames Richard Barthelmess, Edwin Knopf, Hamilton McFadden, Rube Goldberg, Robert Ames, Louis Wolheim, Edmund Lowe and Ned Marin; the Misses Gloria Swanson, Grace Moore, Bebe Daniels, Elsie Janis, Lila Lee and Leonora Wodehouse; Messrs. P.G. Wodehouse, George Grosmith, John Garrick, Roger Davis, Charles MacArthur, Ben Lyon, Edmund Goulding and Leo Morrison.
6/14/1930 EH Bebe Daniels and Ben Lyon wed tonight. She gave address as 1301 North Hopper Ave and Lyon his as 1334 North Hopper
6/17/1930 HDC Elizabeth Yeaman
There have been many rumors going around concerning Douglas Fairbanks' plans for his next picture but it is impossible to get any authentic information. For one thing "Doug" is completely wrapped up in his golf, and no one can pin him down long enough to get him to discuss his picture career. Perhaps he feels that he has carved out a big enough career and should like to have the leisure to devote himself to his favorite hobby, golf. At any rate, whispers are growing louder that he may take a role in Irving Berlin's first production for United Artists, which has been titled, Reaching For the Moon. Bebe Daniels, you know, is to have the leading feminine role, and the only thing that seems certain is the fact that if "Doug" does appear opposite her, he won't sing. For that matter, he doesn't care a whole lot about talking on the screen. John Considine Jr., is speculatively named as the director, but nothing is certain. Meanwhile, Mary Pickford is busy in conference with her writing staff which is engaged in rewriting Forever Yours. It seems that Mary had a mental vision of what that picture was to be, and when she viewed the rushes, she was greatly disappointed. She did not blame the actors or directors, but decided to have the whole thing done over to coincide with her preconceived mental picture. She hopes to start production again in three weeks, and Kenneth MacKenna will again play opposite her.
6/29/1930 LAX Cecil B. DeMille Tells System to Pick Star
By Louella O. Parsons
The eager, outside world has always been fascinated with the selections of the Gloria Swansons, the Dorothy Mackails, the Marion Davieses, the Kay Johnsons, the Bebe Daniels, the Norma Talmadges, the Greta Garbos and the Ruth Chattertons of the screen. Why are they chosen? What is the method and the secret that gives one girl the big chance and passes by a dozen others, equally beautiful and equally charming.
DIRECT QUESTION
I put that question direct to Cecil B. DeMille, who has the reputation of having picked more winners for the screen than any other director.
We were in the lovely DeMille garden in Laughlin Park, overlooking Hollywood. If there is a lovelier spot in the heart of this thriving little city, I have never seen it. Great trees in their natural primitive glory hide the house from view and flowers beautifully laid out, but without the artificial look of professional gardening, make the place seem like one of the scenes in a DeMille drama.
LIKE PICKING WIFE
"Choosing a screen star," said Mr. DeMille, "is like choosing a wife. If you bring home a round-eyed, vapid little creature, when the first ecstacy of marital happiness is passed you wonder why she doesn't say something. You look for a sign of intelligence and, nonforthcoming, you are dissatisfied.
"The talking pictures demand so much more than a pretty face. During the days of the silent picture, a girl could have words put in her mouth through the medium of a subtitle and she didn't have to say them. Today, if we are to expect our heroines to create sympathy, they must be able to deliver lines intelligently as well as to look attractive."
"Do you instinctively know whether a girl has that something that will make her a star?" I asked him.
"I knew," he answered, "the moment, I saw Gloria Swanson that she had everything necessary to screen success. To return to the simile of marriage, Gloria was the bride of the world. She had to be the wife of thousands of men who went into the theater and looked at her. I knew when I first saw Bebe Daniels that she had the intelligence, the beauty and the personality to be a permanent favorite on the screen.
"Both Bebe and Gloria," said Mr. DeMille, "have weathered the storm of the talkies and have come out on top. Hundreds of other beautiful actresses who were perfect in the silent drama, are useless in big dramatic scenes in the talking pictures. Simply because, as I said, they must have a voice that has dramatic flavor and a sympathetic, convincing tone."
"Then you must think the invasion of the stage is necessary?"
"Not in the least," was the prompt reply. "Look at Norma Shearer. I have never seen a finer performance than she gave in The Divorcee. No stage actress could compare with her technique, her charm and the manner in which she speaks her lines....
7/7/1930 EH Screenographs
By Harrison Carroll
A director friend of mine was lamenting that a promising young actor was being released by his studio. "Somebody else will nab him," he said, "and then there'll be an awful cry raised over here."
This is exactly what happened in dozens of cases in Hollywood. George Bancroft, for instance, was the heavy in Tom Mix's old westerns. Fox didn't see his possibilities as a new, virile type of hero, and now Paramount is reaping the rewards of its superior sagacity.
On the other hand, when the talkies came in Paramount didn't even take the trouble to give Bebe Daniels a voice test. They were paying her a big salary, and figured she was through, so they let her go. Now she is RKO's biggest star.
7/18/1930 LAX Romance
By Louella O. Parsons
I hate to admit being a Garbo fan. A reviewer shouldn't really be carried away even by so fascinating a person as the gorgeous Greta. But after an hour and a half at Loew's State watching Miss Garbo as Rita Cavellini in Romance, I came away wondering when her next picture was due to be shown.
It's one comfort to know I wasn't alone in that unethical mood. Bebe Daniels accompanied me to the theater and she was just as entranced with Miss Garbo as I was, and as the hundreds of other movie fans appeared to be yesterday.
....
7/21/1930 IDN Dixiana
By Jack Stratton
It is easier to create a whole film story in music than to write one movie theme song.
Such was the finding of Harry Tierney, who made his discovery, while working out the melodies for the lovely operetta, Diziana, which opens this Tuesday evening with a flare of lights at the Orpheum Theater. Bebe Daniels stars.
For his inspiration, Tierney lets it be known he took the old south of tradition for his inspiration, Tierney lets it be known he took the old south of tradition for his inspiration. Dixiana is a story of New Orleans' mardi gras of years ago. He learned the ways and customs of the south, the idiosyncrasies and native peculiarities of the people, and last of all the songs and the folklore.
Then he created a musical picture, which radiated all this soul and atmosphere.
"Just a Knack" was the way he lightly passed it off. "Any composer could do it.
"Trouble with composers, who fold up after a few weeks out here and shoot back to New York's tin-pan alley is they try to write the theme song on hurry-up order in the rattling, bustling confines of the studio.
"If they'd take the order home with them, say to a canyon bungalow, where they may work uninterruptedly, they'd find the work a lot easier."
Much of the music was written for Bebe's voice, as well as that of Everett Marshall, the celebrated baritone. Bert Wheeler and Robert Woolsey supply the laughs and Ralf Harolde the villainy in this Radio picture.
Invitations have been sent governors of Dixie states to attend the world premiere of Dixiana. Governor Young will be present to act for those unable to attend.
Another item of great interest will be the presence on the stage of Amos ‘n' Andy, famous blackface radio entertainers.
7/23/1930 EE Dixiana
By Monroe Lathrop
Broadway had its turn last night with the street festooned, between Eighth and Ninth, in celebration of a multiple event.
Governor Long of Louisiana, who had been invited, wasn't able to be present, but Mayor T.S. Walmsely of New Orleans was and so were those greater national characters, Amos ‘n' Andy, for their first bow to filmland and its local fans.
All the furor took place at the Orpheum Theater and the Louisianian's interest was in the premiere of Dixiana, a musical film production having its locale in the metropolis of the South in the glamorous days befo' the war.
The event also signalized the film debut of Everett Marshall of the Metropolitan Grand Opera Company and the presence of Lowell Sherman as master of ceremonies and such luminaries as Bebe Daniels, Mr. Marshall and others of the Dixiana cast.
A prologue of negro spirituals rendered by a large colored chorus preceded the feature film and carried the large audience into the spirit of the story, which concerns the troubles incident to the romance of a lovely girl of the circus (Bebe Daniels) and the gallant action (Everett Marshall) of a Southern plantation owner.
Dixiana is most notable for the advent of this opera singer and his promise as the nearest rival on the screen of the robust Tibbett. The production, made technically along the lines of Rio Rita by the same director, Luther Reed, adds little to the prestige of the new cinema, being fashioned along the lines long familiar in operetta, with little realistic relation of music to plot.
It has its moments of charm and beauty, some in color, and its individual player successes, but the story is melodramatic and its conviction is frequently arrested by comedy interpolations of the gag order which halt the story action.
Marshall's personality and artistry, however, are items of real significance in the production. His newness at the task in hand are evident, but he has a fine presence, which when relaxed and fitted with the right role will make him an acting favorite; and his voice is a brilliant, finely schooled baritone that distinctly raises the vocal average of the new films.
Bebe Daniels is a charming figure in the quaint antebellum dresses, and she is in splendid voice in the numbers composed by Harry Tierney, which are not notable for originality. Rolfe Harolde is one of the praiseworthy figures in the cast.
The comedy features of the picture are far from facile in their setting. Wheeler and Woolsey "vaudeville" their way through the story with little restraint on their old burlesque style of this and that, and Jobyna Howland, first rate technically in all that they do, are given comedy stunts that offset their serious importance in the romantic tale and keep it in the key of travesty.
Raymond Maurel, George Herman, Bruce Covingtong, and Bill Robinson, a colored dancer, have other leading parts in Dixiana.
A part of the Orpheum bill of interest introduces a fresh screen novelty, "Humanettes," originated by Bert Levy and featuring Benny Rubin, which attests the cleverness of its author and is sure to have wide popularity.
7/23/1930 LAX Dixiana
By Louella O. Parsons
Bebe Daniels with her personality, her singing and her beauty entirely dominates Dixiana, which opened last night at the Orpheum Theater. While the most optimistic soul can scarcely compare Dixiana with Rio Rita, the two, are obviously made from the same pattern. Where Rio Rita scores, Dixiana only moderately approaches the heights that RKO intended.
One reason Dixiana fails to get the response given Rio Rita is because Everett Marshall lacks John Boles' charm and his pleasing screen personality. While Mr. Marshall's voice is delightful and one enjoys hearing him sing, he is so self-conscious. So much so that the sympathy instinctively goes to Ralf Harolde, the villain.
Dixiana is melodrama aided by song. Anne Caldwell is responsible for the books and lyrics. Some of the numbers are tuneful, but while Mr. Marshall's voice is pleasant, he fails noticeably as an actor. Miss Daniels is in excellent voice and the costumes of the Southern belle are very becoming to her.
She plays "Dixiana," a girl who sings and dances in Cayetano's New Orleans circus. There she meets Carl Van Horn, son of a rich farmer, and he falls in love with her. But you might know that no screen story ever ended as simply as that. The circus girl is disowned by Van Horn's stepmother, played with amusing exaggeration by Jobyna Howland. The father accepts Dixiana. Joseph Cawthorn, with his familiar German accent, offers a comedy note in this role.
Back to the circus goes Dixiana, accompanied by her devoted friends, Peewee and Ginger. When I tell you that Peewee and Ginger are none other than Bert Wheeler and Robert Woolsey, you will realize there is some good fun. I liked both these comedians better in Rio Rita, although they furnish some real laughs in Dixiana.
While the direction of Luther Reed does not measure up to some f his other pictures, we must say a word about the production. The Mardi Gras scenes and the scenes in the gambling house are magnificent in their splendor. There is an interesting atmosphere which could have been better maintained had the continuity and direction been more satisfactory.
I do like very much the work of Ralf Harolde, who plays Royal Montague, a polished villain and the keeper of the gambling house. He means no good by our Dixiana. Dorothy Lee sings songs that might have been sung by Helen Kane, so much baby talk does she put into her singing. Yet Dorothy is so cuddly and so cute one does not mind the infant mannerisms.
Bill Robinson from the RKO circuit does a specialty dance and there are other equally good numbers, all a part of the Cayetano's show. Harry Tierney, who wrote the music of Rio Rita, has furnished some good numbers. Lowell Sherman, as master of ceremonies, introduced Miss Daniels and Amos ‘n' Andy. This was the first public appearance of this pair of famous radio talkers.
Of course, studios always reserve the Right to change their minds on cast assignments, especially when those assignments are made from their own list of contract players. But unless some unexpected monkey wrench is thrown into the works of Mae West's next picture, It Ain't No Sin, George Raft will have the role of Mae's leading man. Raft has been pretty consistently identified with gangster roles, and Mae has gotten mixed up with gangsters in real life, as seen in her current suit over the theft of some of the famous Diamond Lil diamonds.
This leading role of the pugilist is the part that Buster Crabbe has worked so diligently to claim. Crabbe has been in training with a boxer, hoping that proficiency with the gloves might land him the role. But the executives have decided that George Raft is a better type. Cary Grant, you will recall, was Mae's leading man in her two previous pictures. And Mae will have a new director in It Ain't No Sin, as Leo McCarey has won the assignment. The picture cannot start for at least three weeks as Raft is now working on The Trumpet Blows and will require that much time to finish his role.
....
Radio Pictures is pushing preparations for a picture which will be a sequel to The Lost Patrol, which had a parade of male stars. Title for the intended sequel is Fugitive From Glory. And what is more, the studio is most eager to obtain Victor McLaglen to head the cast, as he did in Lost Patrol. John Ford, director of the latter film, also is wanted to direct Fugitive From Glory. You see the studio still has quite a lot of good film which Ernest B. Schoedsack obtained in Arabia on his air expedition, and the powers that he would like to utilize that film, as only a part of it was inserted in The Lost Patrol.
....
Whether Radio Pictures will be able to get Victor McLaglen for Fugitive From Glory is going to depend partially on Paramount. The rugged actor is now at that studio playing the lead in The Man Who Broke His Heart, and now he is asked to remain longer for one of the leads in Murder at the Vanities. Carl Brisson, the Dane, is cast for this Earl Carroll special. And so is Kitty Carlisle, of the New York musical comedy stage. The studio is much impressed by the career of Miss Carlisle, who was born in New Orleans, obtained an expensive and extensive cultural education in the capitals of Europe, and has had a brief but outstanding Broadway career. Her first professional appearance was the lead in Ziegfeld's revival of "Rio Rita." After that she became the star of "Champagne Sec," another musical.
....
Blue Boy, the famous hog which appeared in a prominent supporting role with Will Rogers in State Fair is dead. He died at a stock farm near here, the victim of what his expert handlers called over-grooming. Others called it a common hog ailment—over-eating. And who knows but that Blue Boy may have pined away with heartbreak because he did not stay before the cameras in Hollywood!
....
Mary Boland may not be rated technically as a star, but in reality she is a star by virtue of her many Paramount comedies. However, for the most part she has been teamed with Charlie Ruggles. But now she is to depart from these teaming affairs and seek new laurels on her own. B.P. Schulberg has selected Miss Boland for the feminine lead in Her Master's Voice. This is the Clare Kummer play now current on Broadway in which Laura Hope Crews plays the role intended for Miss Boland. Lanny Ross, the crooner, also will be featured in the screen version.
....
Hal LeRoy, the agile tap dancer who was brought to Hollywood by Warners for the title role of Harold Teen, and who also did a dance routine for Wonder Bar, is packing his bags for a return to the East. It seems he has some personal appearance engagements to fill. Warners do not have an option on LeRoy, but the studio is still pondering the advisability of producing Booth Tarkington's Seventeen, and when and if those plans crystallize, Hal LeRoy probably will be sought for the lead. I suspect the executives prefer to wait for the public reaction to LeRoy in Harold Teen before they make their next move.
....
Only a little while ago Radio Pictures tried to borrow Preston Foster for the male role in Just Off Fifth Avenue. That deal did not materialize, but the studio had obtained a loan of Foster for another picture, Strictly Dynamite. Once upon a time Radio announced an elaborate cast for this picture–a cast culled from its contract list. Now quite a new cast is being lined up, mostly from borrowed players. Jimmy Durante, borrowed from MGM, has the starring assignment. And the Four Mills Brothers will be featured also.
....
Monogram has bought an original story by Joseph Santley which is titled Million Dollar Baby. And Roy Turk and Harry Akst, song writers, have been engaged by the same company to write an original musical score for The Loudspeaker, in which Ray Walker will star and Joseph Santley will direct.
Bebe Daniels In the 30's
1/1/1930 LAX Louella O. Parsons
Sometimes I hear things I shouldn't hear. For instance, I heard a discussion among some RKO people that Bebe Daniels may do The Chatterbox by Bayard Veillier, before she does Dixiana. The Chatterbox hasn't a sign of a song or music. Why take songs away from Bebe when her voice is her greatest asset? She ought to sing and sing, and sing some more. I believe The Chatterbox idea hasn't been definitely settled and is still merely under discussion. Still, a play by Bayard Veillier has its advantages.
1/3/1930 LAR LONGEST KISS WAS NOT SHOT
If the kiss John Boles gives Bebe Daniels at the fade out in Rio Rita, now playing at the Fox Carthay Circle Theater, had been filmed in its entire length, it would have been the longest kiss in screen records.
It happened, not because of a secret romance, between the two leading players of the RKO musical comedy, but because director Luther Reed had to have his little joke. When the final scene had been shot to his entire satisfaction, Reed silently signaled the cameras to stop grinding and walked off the set leaving Bebe and Boles in each others arms waiting for the order "cut" which would have meant the finish of the picture.
Finally the director, after long moments gave the necessary order and the players, quite out of breath, looked around to find cast, stage hands and technical staff convulsed with laughter.
Reed also directed Hit the Deck, showing at the Orpheum Theater, and is part author of "Dear Me," playing at the Hollywood Playhouse with Grace LaRue and Hale Hamilton.
1/5/1930 LAX Movie-Go-Round
By Louella O. Parsons
Bessie Love's radiant smile when she walked to the altar at St. James Church is giving our brides a new idea. Heretofore they looked downcast and duly subdued. Bessie wore a smile on her face that wouldn't come off, and it was so refreshing because she seemed to be having such a good time. Her bridegroom, not to be outdone, turned around as she came to the altar and gave her just as beaming a smile as she gave him. Of all the Hollywood weddings, Bessie's stands out for its beauty. St. James Church, lighted with tapers was romantic enough to be used in a movie. Never was there a more interesting bevy of bridesmaids, with Bebe Daniels, Blanche Sweet, Norma Shearer, Carmel Myers and other well-known movie stars who gave the bridal party special distinction.
1/5/1930 LAX DIRECTOR PLAYS HIS LITTLE JOKE
If the kiss John Boles gives Bebe Daniels at the fadeout in Rio Rita at the Fox-Carthay Circle Theater had been filmed in its entire length it would have been the longest in screen records.
It happened, not because of a secret romance between the two leading players of the RKO musical comedy, but because director Luther Reed had to have his little joke. When the final scene had been shot to his entire satisfaction Reed silently signaled the cameras to stop grinding and walked off the set, leaving Bebe and Boles in each others' arms, waiting for the order, "Cut," which would have meant the finish of the picture.
Finally, the director, after long moments, gave the necessary order and the players looked around to find the cast, stage hands and technical staff convulsed with laughter.
1/31/1930 LAX Louella O. Parsons
Clara Bow is expected back at the Paramount Studios almost immediately to start work on a play based on the stage play, "Quarantine," which was made by Bebe Daniels as a silent movie a few years ago. Clara will have to come down to earth when she gets back at the studio, and forget the Harry Richman hooey. Every one is sick to death of hearing about Clara and Harry's broken romance. Even the most ardent movie fans are begging that a recess be taken so that Clara can be herself again and put publicity engagements out of her life. Maude Fulton is writing the adaptation.
2/2/1930 FD Love Comes Along
RKO Time, 1 Hr., 17 Mins.
(All-Talker)
Comedy drama that is entertaining despite its trite story, thanks to the acting of its well-balanced cast.
Ernest Knoblock's play "Conchita" has been turned into a film which, for all its familiarity of pattern, manages to carry enough entertainment value to assure it success. It is not for plot or treatment that it deserves consideration, for its tale is timeworn and the manner of telling by no means original. Its worth is derived from the splendid acting of a fine cast judiciously selected and the fine strain of comedy that courses through it. Bebe Daniels plays a familiar role with considerable feeling, revealing a keen dramatic sense. Her singing is a great asset to the film. She sings in quiet fashion but with much warmth of tone a number of pleasant numbers. Good acting is also done by Lloyd Hughes, Ned Sparks and Montague Love. The story is about the young ship hand who meets the stranded singer down Havana Way, falls for her and saves her at the proper moment.
CAST: Bebe Daniels, Lloyd Hughes, Montague Love, Ned Sparks, Alma Tell, Lionel Belmore, Evelyn Selbie.
Director, Rupert Julian; Author, Edward Knoblock; Adaptor, Wallace Smith; Editor, Not Listed; Dialoguer, Not Listed; Cameraman, J. Roy Hunt; Monitor Man, Not Listed.
Direction, Fair. Photography, Good.
—Pelegrine
2/5/1930 HDC Society in Filmland
By Elizabeth Yeaman
American Beauty roses were massed about the home of Mae Sunday on Bedford Drive last Sunday night when she entertained at dinner in honor of the birthday of Wallace Davis.
The dinner table, flanked at each end by lighted candles, was centered by a long mound of yellow and white roses, and other pastel flowers in Spring varieties.
Covers were laid for Bebe Daniels, Ben Lyon, Mr. and Mrs. Richard Hyland (Adela Rogers St. John), Norman Kerry, Kitty Gardner, Marie Prevost, Buster Collier, Mrs. Daniels, Mr. and Mrs. Albert Parker, Hoot Gibson, Sally Eilers, Mr. and Mrs. Charles Allison, William Haines, Roger Davis, Helen Slater, Billy Emerick, Richard Dodds, Wallace Davis, the guest of honor, and Mae Sunday, the hostess.
2/9/1930 FD The Voice of Hollywood
Tiffany 12 mins.
Short Bits by Stars
With Nick Stuart officiating in a capable manner as master of ceremonies, this edition of "The Voice" presents short bits by Jack Mulhall, Mildred Harris and Sam Coslow, Bebe Daniels, Ben Lyons, James Gleason, Marguerite Churchill and Sammy Cohen. The individual specialties are very entertaining. Will appeal to fans generally on the personal angle as well.
2/12/1930 HDC Society In Filmland
By Elizabeth Yeaman
BIRTHDAY DINNER IS GIVEN BY BEBE DANIELS
Bebe Daniels and her mother, Mrs. Phyllis Daniels, entertained with a birthday party last Thursday night in their Hollywood apartment, in honor of Ben Lyon.
Covers were laid for Mr. and Mrs. Freidrich Zelnik, Mr. and Mrs. Louis Wolheim, Mr. and Mrs. Skeets Gallagher, Olive Tell, Dr. and Mrs. Harry Martin, Mrs. Alvina Lyon, Peg Talmadge, Norma Talmadge, Marie Prevost, Sally Eilers, Marie Mosquini, Gilbert Roland, Roland Drew, Mecca Graham, Hoot Gibson and Buster Collier.
....
Roses and carnations banked the tables at the dinner dance given last Saturday night by Lila Lee, who entertained at the Embassy Club in honor of her sister, Mrs. Leonard Tufford of Elyria, Ohio.
Covers were laid for Mr. and Mrs. William Hawks (Bessie Love), Mr. and Mrs. William Seiter (Laura LaPlante), Mr. and Mrs. Lydell Peck (Janet Gaynor, Mr. and Mrs. Tay Garnett (Patsy Ruth Miller), Mr. and Mrs. Gus Edwards, Mr. and Mrs. Eric von Stroheim, Mr. and Mrs. Myron Selznick, Mr. and Mrs. Al Rockett, Mr. and Mrs. Bartlett Cormack, Mr and Mrs. Chester Morris, Mr. and Mrs. Bud Lighton (Hope Loring), Mr. and Mrs. Frank Lloyd, Mr. and Mrs. Benjamin P. Schulberg, Mr. and Mrs. William K. Howard, Mr. and Mrs. Ray Rockett, Dr. and Mrs Harry Martin, Mr. and Mrs. Ned Martin, Mr. and Mrs. Sam Jaffe, Mr. and Mrs. Ben Goetz, Mr. and Mrs. Roland West.
And the Misses Bebe Daniels, Virginia Valli, Edith Mayer, Irene Mayer, Natalie Gallitzen, Dolores Del Rio, Billie Dove, Leatrice Joy, Margaret Ettinger, Lillie Hayward, Seena Owen, Happy Rand, and Messrs. Ivan St. John, William Goetz, Charles Farrell, Lawrence Stallings, Larry Kent, Howard Hughes, David Selznick, Dennis McSweeney, Paul Bern, Ross Shattuck, Ben Lyon, John Farrow, Joe Willicombe and Harry Davis.
2/26/1930 IDN Harry Mines
Looking for a good story that will make a good picture is very much like looking for the proverbial needle in the haystack. At least that is what Richard Dix finds in his quest for material suitable for production.
"Just what do you want to do?" he was asked.
"What do you think I can do?" Dix answered back without hesitation. "What do you think I'd be good in? What do you want me to avoid? I want only to make good pictures, if I make ‘em at all. Bill LeBaron and I made a whole lot of them on the Paramount lot and now that we're together again I"m sure we can keep up the good work. I mean Bill can, for all the pictures I did at Paramount were big draws at the box office and entertaining in themselves were chosen by him. He had charge of the Dix and Bebe Daniels units and he certainly chose some wonderful material for us. Now that we're all together again, we're ambitious to make only the best in dialogue pictures.
....
GOOD TRIO
Bebe Daniels, Richard Dix and William LeBaron formed a most successful triumvirate when they were under contract to Paramount on Long Island. When production center moved from the east coast, the scene of the Dix-Daniels-LeBaron activities, to the west, the threesome was broken up. Dix and Daniels moved westward with Paramount, while LeBaron joined forces with FBO studio, the present RKO lot. Shortly after their contracts were up, Miss Daniels and Dix joined LeBaron on the RKO roster. Under LeBaron's banner, Miss Daniels staged her famous comeback in Rio Rita, while Dix made a thrilling melodrama, Seven Keys to Baldpate, showing now at the Orpheum Theater.
3/1/1930 EH Bebe Daniels' Mother better after smashup at 3rd and McCadden place. Car she was in was chauffeur-driven
3/7/1930 HDC Doris Denbo
George Archainbaud has completed his second RKO picture, Smooth As Satin, with Bebe Daniels and Ben Lyon. Framed with Evelyn Brent and Regis Toomey was his initial production on the RKO lot. He has done so well with these two pictures that he has been signed to a new contract. He joins the distinguished directorial staff of which Luther Reed, Herbert Brenon, Paul Sloane, Wesley Ruggles, Melville Brown and Roy J. Pomeroy are already members. William LeBaron returns from New York next week and will undoubtedly bring more news of future RKO productions.
4/2/1930 EH Bill Robinson to appear in Vaudeville at RKO
When Bill Robinson, the ebony-hued tap dancer head-lining the vaudeville show at the RKO, completes his last performance today, he will fulfill a week's engagement at the Orpheum, San Diego and return to the RKO studios to appear in Radio's picturization of Dixiana, starring Bebe Daniels.
4/13/1930 FD Alias French Gertie
Radio Time, 1 hr., 15 Mins.
Corking crook drama that should make many new friends for Bebe Daniels and its sponsors. Exceptional acting all around and direction aces. Bebe Daniels marvelous.
Based on the stage play "The Chatterbox," by Bayard Veillier, this transcription stands out as one of the best crook plays seen in many a day. Bebe Daniels is prolific in her linguistic abilities, this time conquering handsomely the role of a French maid who is out to pilfer every piece of valuable jewelry that is possessed by her many employers. There is one particular scene that moved the audience to applause and it is only doing justice to the star by mentioning that her impulsive declamation at Ben Lyon's decision to break their love pact was an exceptionally artistic piece of work on her part. The hero and Robert Emmett O'Connor, as the dick, are excellent in their portrayals. George Archainbaud has directed a fine picture which centers chiefly around the star who, after vowing to go the straight and narrow finds that her swain changes his plans after they have been fleeced unsuspectingly.
CAST: Bebe Daniels, Ben Lyon, Robert Emmett O'Connor, John Ince, Daisy Belmore, Betty Pierce.
Director, George Archainbaud; Author, Bayard Veillier; Adaptor, Wallace Smith; Dialoguer, Wallace Smith; Editor, Clem Portman; Cameraman, Roy Hunt.
Direction, Splendid. Photography, Excellent.
4/15/1930 HDC Society In Filmland
By Rachel Rubin
Stars and producers of filmland will combine to make the world premiere of All Quiet on the Western Front at the Fox Carthay Circle Monday evening one of surpassing brilliance.
Few books have elicited as much comment, as Erich Maria Remarque's novel of the same name, from which the story was taken, and the picture is being eagerly awaited by moving picture folk.
The list of those expected to attend includes:
Messrs. and Mesdames Mayor and Mrs. John C. Porter, Douglas Fairbanks (Mary Pickford), Eric von Stroheim and party, Wallace Beery, Jean Hersholt, Ernst Lubitsch, Walter Morosco (Corinne Griffith), Stanley Bergerman (Rosabelle Laemmle), Lawrence Tibbett, George Ullman, Frank Lloyd, Tay Garnett (Patsy Ruth Miller), B.P. Schulberg, James Gleason, Hunt Stromberg, Irving Thalberg (Norma Shearer), Harry Zehner, Walter Stern, Johnny Mack Brown, Wallace Smith, E.M. Asher, Raymond Hatton, J. Franklin, Charles Murray, Harry Rapf, Al Jolson (Ruby Keeler), Ben Bard (Ruth Roland), Nick Stuart (Sue Carol), Sol Wurtzel, Charles Rogers, John M. Stahl, Howard Sheehan, Edmund Lowe (Lilyan Tashman), Joe E. Brown.
And Marion Davies, Beatrice Lillie, Glenn Tryon, Merna Kennedy, Barbara Kent, Lewis Ayres, Louis Wolheim, Ben Alexander, Harold Goodwin, Walter Browne Rogers, Cecil B. DeMille, Sam Wood, Russell Gleason, Lillian Roth, Pauline Starke, Sam Weisenthal, Col. Jason S. Joy, Jean Marsh, Ann Christie, Paul Dickey, Hoot Gibson, Sally Eilers, George O'Brien, Carl Laemmle Jr., Ruth Chatterton, Billie Dove, Sid Grauman, William Boyd, William C. DeMille, Gary Cooper, Cliff Edwards, Ben Lyon, Lewis Milestone, D.W. Griffith, Norma Talmadge, Lawrence Gray, Marion Nixon, Lothar Mendes, Paul Bern, William LeBaron, Wilbur Mack, June Marlowe, Slim Summerville, J.G. Bachman, Edmund Goulding, Erno Rapee, Arthur Caesar, George Sidney, Hans Graely, Scott Kolk, Theodore von Eltz, Ruth Sattley, Ed G. Robinson, William Bakewell, Constance Bennett, John M. Considine Jr., Clarence Brown, Howard Hughes, Edward Laemmle, Dorothy Sebastian, B.P. Fineman, Lupe Velez, Jeanette Loff, Bebe Daniels, David Broekman, Thornton V. Freeland, Robert Milton, Charles Furthman, Victor Fleming, Harry Hobart, John S. Robertson, Priscilla Dean, Harry Green, Nancy Carroll, Ona Brown, Samuel Shipman, Alice Day, Alfred DeMond, Fred Beetson, Yola D'Avril, Albert S. LeVine, Gertrude Astor, John Darrow, Victor McLaglen, Harry J. Brown, Harry Langdon, Carl Laemmle Sr., Joan Bennett, James Hall, Mrs. D.J. Grauman, Ernest Laemmle, Edward Mannix, Irene Delroy, Bodil Rosing, Clara Bow, Vera Gordon.
4/22/1930 HDC Betty Kirby
Several local people entertained with smart parties last evening preceding the premiere of All Quiet On the Western Front at the Carthay Circle Theater.
Guests of Mr. and Mrs. Efe Asher were Mr. and Mrs. Milton Cohen, Mr. and Mrs. Oscar Strauss, Mr. and Mrs. Fred Zelnick, Albert Kuppenheimer and William Thorner.
Carl Laemmle Jr. was host at supper at the Embassy Club, including among his guests Messrs. And Mesdames Stanley Bergerman, Ralph Blunt (Carmel Myers), Douglas Fairbanks (Mary Pickford), Jean Hersholt, Ernst Lubitsch, William LeBaron, Lewis Milestone, Erno Rapee, Harry Rapf, B.P. Schulberg, Hunt Stromberg, Louis Wolheim, Cecil B. DeMille, Misses Clara Bow, Joan Bennett, Bebe Daniels, Patsy Ruth Miller, Louella O. Parsons, Sue Carol, Lupe Velez, Lois Weber, Messrs. Paul Bern, Ernst Laemmle, Paul Kohner, Ben Lyon, Al Jolson, D.W. Griffith, Charles Chaplin, Lothar Mendes, Howard Hughes, Eric von Stroheim and Joseph Selznick.
4/28/1930 HDC Elizabeth Yeaman
At the preview of Swing High, at Pathe Friday night, several of the featured players entertained the small audience at an informal reception which followed. Helen Twelvetrees, the dainty star of the picture, was out of town, but Dorothy Burgess, the other feminine lead, was a charming sight in white polo coat and beret, set off by a corsage of orchids. Fred Scott, the romantic lead, and a newcomer to the screen who was first discovered by Bebe Daniels, sang several of the song hits, and Joseph Santley, the director, followed with a charming old song. Eddie Quillan, who happened to be about, was dragged in for an appearance, and offered some of his inimitable gags.
5/1/1930 HDC Elizabeth Yeaman
When Bebe Daniels finishes Lawful Larceny, she will have completed her schedule of five RKO pictures since last July. Henceforth, the vivacious Bebe will make no more program pictures, for studio executives have decided not to let her fritter her talents on anything but big super specials and extravaganzas.
5/8/1930 HDC BEBE DANIELS NAMES WEDDING ATTENDANTS
Bebe Daniels, popular film star whose marriage to Ben Lyon will take place next Wednesday at the Beverly Wilshire Hotel, has named the following as her attendants; matron of honor, Mrs. Harry Martin (Louella Parsons); bridesmaids, Marion Davies, Mrs. Mae Sunday, Marie Mosquini and Diana Kane.
Hal Howe will serve as best man and the ushers will be Skeets Gallagher, Dr. Harry Martin, Howard Hughes, George Fitzmaurice and Wally Davis. A lifelong friend of the family, Eugene E. Morris will give the bride in marriage.
5/9/1930 HDC Elizabeth Yeaman
Purnell Pratt has been signed to play the judge in Bebe Daniels' new picture, Lawful Larceny. Lowell Sherman and Kenneth Thomson also have been cast. Since deserting the New York stage a year ago, Pratt has played in twenty-one talking pictures, having made his debut in Alibi.
5/13/1930 EH Scouting the Sinema
by Dorothy Herzog
When Bebe Daniels marries Ben Lyon on June 14....Bridesmaids will be Marion Davies, Lila Lee, Betty Compson, Adela Rogers Hyland, Constance Talmadge, Diana Fitzmaurice, Miss Mosquini, May Sunday with Louella Parsons, matron of honor.
5/14/1930 LAX Louella O. Parsons
Marie Prevost, with a new figure that will compare favorably with the shape that she had when she was a Sennett bathing beauty, is getting herself in readiness for a test for Maurice Chevalier's next picture, Little Café. Getting in readiness these days not only means dieting but it means taking singing lessons, and Marie has been working hard with Bebe Daniels' teacher, Mirando, to get her voice just right to play a singing role in Chevalier's next picture.
5/14/1930 HDC Society In Filmland
by Rachel Rubin
A gala event in filmland will be the wedding of Miss Bebe Daniels and Ben Lyon, which has been set for June 14 at the Beverly-Wilshire Hotel. The time of the ceremony has not yet been decided.
Mrs. Harry Martin (Louella Parsons) has been named as matron of honor and the bridesmaids will be the Misses Marion Davies, Lila Lee, Betty Compson, Marie Mosquini, and the Mesdames George Fitzmaurice, Townsend Netcher (Constance Talmadge), Richard Hyland (Adela Rogers St. John) and Mae Sunday.
Mr. Lyon has named Hal Howe as his best man and the ushers will be Messrs. Henry Hobart, George Fitzmaurice, Sam Hardy, Frank Joyce, Howard Hughes, Skeets Gallagher, Wallace Davis and Dr. Harry Martin.
Many pre-nuptial parties are being scheduled in honor of Miss Daniels.
5/15/1930 HDC Elizabeth Yeaman
Hollywood always has been rich with stories of persons who rise to fame and fortune overnight, but it has few romances of stars who run a moderately successful course, then get their second wind, so to speak, and rise to heights undreamed of. Bebe Daniels got her second wind when she found her voice, and the achievements of this charming actress continue to be even more startling than her success in Rio Rita. Joseph M. Schenck confirmed the report that Miss Daniels is to play the stellar role in Irving Berlin's first film production for United Artists, which has been definitely titled, Reaching For the Moon. Berlin wrote the story and all the music for his production which originally was called, Love in a Cottage. William Anthony McGuire, noted New York playwright who is under contract to United Artists, is completing the adaptation and dialogue and it should be unusually fine, for he is the author of such stage hits as Whoopee, Kid Boots, Three Musketeers, Rosalie, Twelve Miles Out and Six Cylinder Love. Although some of Berlin's music has been used in talking pictures and he has written several numbers especially for films, Reaching For the Moon, will be the first production of America's popular composer. Rehearsals are scheduled to begin the middle of June.
6/7/1930 EH Screenographs
By Harrison Carroll
Clara Bow's contract with Paramount has only five more pictures to go.
When these are made it is rumored that the girl with the flaming hair may seek another affiliation. Some even go so far as to say she will retire.
In the meantime, however, Paramount has selected her next two pictures. They will be a talkie version of Hula, which Clara made as a silent film several years ago, and Miss Bluebeard, which Bebe Daniels once starred in.
Hula was written by Armine Vententski while Miss Bluebeard was the work of the late Avery Hopwood. What a goldmine Hopwood would have been in coining titles for the movies. Every one of his stage plays was provocatively named.
6/8/1930 FD Screen Snapshots
Columbia 9 mins.
Better Than Average
Because of the long list of film celebrities shown, and the good work of Billy Bevan as "master of ceremonies," this edition of Screen Shapshots is better than most of its predecessors. Among the prominent folk who appear in it are Ralph Graves, Dorothy Sebastian, Ted Sloman, Jack Holt, Charles Bickford, Karl Dane, Anita Page, Carmel Myers, Florenz Ziegfeld with Billie Burke and their daughter Gloria, Samuel Goldwyn, Leon Errol, Duncan Sisters, Bebe Daniels, Ben Lyon, Charles Murray, George Sidney, Edmund Lowe, Lilyan Tashman, Al Jolson, Ruby Keeler and others.
6/11/1930 HDC Society In Filmland
By Rachel Rubin
Celebrating her birthday, Miss Beatrice Lillie was hostess at a dinner party given recently in her Hollywood home. Dancing and music were the diversions of the evening. The guests included Mrs. Josephine Janis and Messrs. and Mesdames Richard Barthelmess, Edwin Knopf, Hamilton McFadden, Rube Goldberg, Robert Ames, Louis Wolheim, Edmund Lowe and Ned Marin; the Misses Gloria Swanson, Grace Moore, Bebe Daniels, Elsie Janis, Lila Lee and Leonora Wodehouse; Messrs. P.G. Wodehouse, George Grosmith, John Garrick, Roger Davis, Charles MacArthur, Ben Lyon, Edmund Goulding and Leo Morrison.
6/14/1930 EH Bebe Daniels and Ben Lyon wed tonight. She gave address as 1301 North Hopper Ave and Lyon his as 1334 North Hopper
6/17/1930 HDC Elizabeth Yeaman
There have been many rumors going around concerning Douglas Fairbanks' plans for his next picture but it is impossible to get any authentic information. For one thing "Doug" is completely wrapped up in his golf, and no one can pin him down long enough to get him to discuss his picture career. Perhaps he feels that he has carved out a big enough career and should like to have the leisure to devote himself to his favorite hobby, golf. At any rate, whispers are growing louder that he may take a role in Irving Berlin's first production for United Artists, which has been titled, Reaching For the Moon. Bebe Daniels, you know, is to have the leading feminine role, and the only thing that seems certain is the fact that if "Doug" does appear opposite her, he won't sing. For that matter, he doesn't care a whole lot about talking on the screen. John Considine Jr., is speculatively named as the director, but nothing is certain. Meanwhile, Mary Pickford is busy in conference with her writing staff which is engaged in rewriting Forever Yours. It seems that Mary had a mental vision of what that picture was to be, and when she viewed the rushes, she was greatly disappointed. She did not blame the actors or directors, but decided to have the whole thing done over to coincide with her preconceived mental picture. She hopes to start production again in three weeks, and Kenneth MacKenna will again play opposite her.
6/29/1930 LAX Cecil B. DeMille Tells System to Pick Star
By Louella O. Parsons
The eager, outside world has always been fascinated with the selections of the Gloria Swansons, the Dorothy Mackails, the Marion Davieses, the Kay Johnsons, the Bebe Daniels, the Norma Talmadges, the Greta Garbos and the Ruth Chattertons of the screen. Why are they chosen? What is the method and the secret that gives one girl the big chance and passes by a dozen others, equally beautiful and equally charming.
DIRECT QUESTION
I put that question direct to Cecil B. DeMille, who has the reputation of having picked more winners for the screen than any other director.
We were in the lovely DeMille garden in Laughlin Park, overlooking Hollywood. If there is a lovelier spot in the heart of this thriving little city, I have never seen it. Great trees in their natural primitive glory hide the house from view and flowers beautifully laid out, but without the artificial look of professional gardening, make the place seem like one of the scenes in a DeMille drama.
LIKE PICKING WIFE
"Choosing a screen star," said Mr. DeMille, "is like choosing a wife. If you bring home a round-eyed, vapid little creature, when the first ecstacy of marital happiness is passed you wonder why she doesn't say something. You look for a sign of intelligence and, nonforthcoming, you are dissatisfied.
"The talking pictures demand so much more than a pretty face. During the days of the silent picture, a girl could have words put in her mouth through the medium of a subtitle and she didn't have to say them. Today, if we are to expect our heroines to create sympathy, they must be able to deliver lines intelligently as well as to look attractive."
"Do you instinctively know whether a girl has that something that will make her a star?" I asked him.
"I knew," he answered, "the moment, I saw Gloria Swanson that she had everything necessary to screen success. To return to the simile of marriage, Gloria was the bride of the world. She had to be the wife of thousands of men who went into the theater and looked at her. I knew when I first saw Bebe Daniels that she had the intelligence, the beauty and the personality to be a permanent favorite on the screen.
"Both Bebe and Gloria," said Mr. DeMille, "have weathered the storm of the talkies and have come out on top. Hundreds of other beautiful actresses who were perfect in the silent drama, are useless in big dramatic scenes in the talking pictures. Simply because, as I said, they must have a voice that has dramatic flavor and a sympathetic, convincing tone."
"Then you must think the invasion of the stage is necessary?"
"Not in the least," was the prompt reply. "Look at Norma Shearer. I have never seen a finer performance than she gave in The Divorcee. No stage actress could compare with her technique, her charm and the manner in which she speaks her lines....
7/7/1930 EH Screenographs
By Harrison Carroll
A director friend of mine was lamenting that a promising young actor was being released by his studio. "Somebody else will nab him," he said, "and then there'll be an awful cry raised over here."
This is exactly what happened in dozens of cases in Hollywood. George Bancroft, for instance, was the heavy in Tom Mix's old westerns. Fox didn't see his possibilities as a new, virile type of hero, and now Paramount is reaping the rewards of its superior sagacity.
On the other hand, when the talkies came in Paramount didn't even take the trouble to give Bebe Daniels a voice test. They were paying her a big salary, and figured she was through, so they let her go. Now she is RKO's biggest star.
7/18/1930 LAX Romance
By Louella O. Parsons
I hate to admit being a Garbo fan. A reviewer shouldn't really be carried away even by so fascinating a person as the gorgeous Greta. But after an hour and a half at Loew's State watching Miss Garbo as Rita Cavellini in Romance, I came away wondering when her next picture was due to be shown.
It's one comfort to know I wasn't alone in that unethical mood. Bebe Daniels accompanied me to the theater and she was just as entranced with Miss Garbo as I was, and as the hundreds of other movie fans appeared to be yesterday.
....
7/21/1930 IDN Dixiana
By Jack Stratton
It is easier to create a whole film story in music than to write one movie theme song.
Such was the finding of Harry Tierney, who made his discovery, while working out the melodies for the lovely operetta, Diziana, which opens this Tuesday evening with a flare of lights at the Orpheum Theater. Bebe Daniels stars.
For his inspiration, Tierney lets it be known he took the old south of tradition for his inspiration, Tierney lets it be known he took the old south of tradition for his inspiration. Dixiana is a story of New Orleans' mardi gras of years ago. He learned the ways and customs of the south, the idiosyncrasies and native peculiarities of the people, and last of all the songs and the folklore.
Then he created a musical picture, which radiated all this soul and atmosphere.
"Just a Knack" was the way he lightly passed it off. "Any composer could do it.
"Trouble with composers, who fold up after a few weeks out here and shoot back to New York's tin-pan alley is they try to write the theme song on hurry-up order in the rattling, bustling confines of the studio.
"If they'd take the order home with them, say to a canyon bungalow, where they may work uninterruptedly, they'd find the work a lot easier."
Much of the music was written for Bebe's voice, as well as that of Everett Marshall, the celebrated baritone. Bert Wheeler and Robert Woolsey supply the laughs and Ralf Harolde the villainy in this Radio picture.
Invitations have been sent governors of Dixie states to attend the world premiere of Dixiana. Governor Young will be present to act for those unable to attend.
Another item of great interest will be the presence on the stage of Amos ‘n' Andy, famous blackface radio entertainers.
7/23/1930 EE Dixiana
By Monroe Lathrop
Broadway had its turn last night with the street festooned, between Eighth and Ninth, in celebration of a multiple event.
Governor Long of Louisiana, who had been invited, wasn't able to be present, but Mayor T.S. Walmsely of New Orleans was and so were those greater national characters, Amos ‘n' Andy, for their first bow to filmland and its local fans.
All the furor took place at the Orpheum Theater and the Louisianian's interest was in the premiere of Dixiana, a musical film production having its locale in the metropolis of the South in the glamorous days befo' the war.
The event also signalized the film debut of Everett Marshall of the Metropolitan Grand Opera Company and the presence of Lowell Sherman as master of ceremonies and such luminaries as Bebe Daniels, Mr. Marshall and others of the Dixiana cast.
A prologue of negro spirituals rendered by a large colored chorus preceded the feature film and carried the large audience into the spirit of the story, which concerns the troubles incident to the romance of a lovely girl of the circus (Bebe Daniels) and the gallant action (Everett Marshall) of a Southern plantation owner.
Dixiana is most notable for the advent of this opera singer and his promise as the nearest rival on the screen of the robust Tibbett. The production, made technically along the lines of Rio Rita by the same director, Luther Reed, adds little to the prestige of the new cinema, being fashioned along the lines long familiar in operetta, with little realistic relation of music to plot.
It has its moments of charm and beauty, some in color, and its individual player successes, but the story is melodramatic and its conviction is frequently arrested by comedy interpolations of the gag order which halt the story action.
Marshall's personality and artistry, however, are items of real significance in the production. His newness at the task in hand are evident, but he has a fine presence, which when relaxed and fitted with the right role will make him an acting favorite; and his voice is a brilliant, finely schooled baritone that distinctly raises the vocal average of the new films.
Bebe Daniels is a charming figure in the quaint antebellum dresses, and she is in splendid voice in the numbers composed by Harry Tierney, which are not notable for originality. Rolfe Harolde is one of the praiseworthy figures in the cast.
The comedy features of the picture are far from facile in their setting. Wheeler and Woolsey "vaudeville" their way through the story with little restraint on their old burlesque style of this and that, and Jobyna Howland, first rate technically in all that they do, are given comedy stunts that offset their serious importance in the romantic tale and keep it in the key of travesty.
Raymond Maurel, George Herman, Bruce Covingtong, and Bill Robinson, a colored dancer, have other leading parts in Dixiana.
A part of the Orpheum bill of interest introduces a fresh screen novelty, "Humanettes," originated by Bert Levy and featuring Benny Rubin, which attests the cleverness of its author and is sure to have wide popularity.
7/23/1930 LAX Dixiana
By Louella O. Parsons
Bebe Daniels with her personality, her singing and her beauty entirely dominates Dixiana, which opened last night at the Orpheum Theater. While the most optimistic soul can scarcely compare Dixiana with Rio Rita, the two, are obviously made from the same pattern. Where Rio Rita scores, Dixiana only moderately approaches the heights that RKO intended.
One reason Dixiana fails to get the response given Rio Rita is because Everett Marshall lacks John Boles' charm and his pleasing screen personality. While Mr. Marshall's voice is delightful and one enjoys hearing him sing, he is so self-conscious. So much so that the sympathy instinctively goes to Ralf Harolde, the villain.
Dixiana is melodrama aided by song. Anne Caldwell is responsible for the books and lyrics. Some of the numbers are tuneful, but while Mr. Marshall's voice is pleasant, he fails noticeably as an actor. Miss Daniels is in excellent voice and the costumes of the Southern belle are very becoming to her.
She plays "Dixiana," a girl who sings and dances in Cayetano's New Orleans circus. There she meets Carl Van Horn, son of a rich farmer, and he falls in love with her. But you might know that no screen story ever ended as simply as that. The circus girl is disowned by Van Horn's stepmother, played with amusing exaggeration by Jobyna Howland. The father accepts Dixiana. Joseph Cawthorn, with his familiar German accent, offers a comedy note in this role.
Back to the circus goes Dixiana, accompanied by her devoted friends, Peewee and Ginger. When I tell you that Peewee and Ginger are none other than Bert Wheeler and Robert Woolsey, you will realize there is some good fun. I liked both these comedians better in Rio Rita, although they furnish some real laughs in Dixiana.
While the direction of Luther Reed does not measure up to some f his other pictures, we must say a word about the production. The Mardi Gras scenes and the scenes in the gambling house are magnificent in their splendor. There is an interesting atmosphere which could have been better maintained had the continuity and direction been more satisfactory.
I do like very much the work of Ralf Harolde, who plays Royal Montague, a polished villain and the keeper of the gambling house. He means no good by our Dixiana. Dorothy Lee sings songs that might have been sung by Helen Kane, so much baby talk does she put into her singing. Yet Dorothy is so cuddly and so cute one does not mind the infant mannerisms.
Bill Robinson from the RKO circuit does a specialty dance and there are other equally good numbers, all a part of the Cayetano's show. Harry Tierney, who wrote the music of Rio Rita, has furnished some good numbers. Lowell Sherman, as master of ceremonies, introduced Miss Daniels and Amos ‘n' Andy. This was the first public appearance of this pair of famous radio talkers.
Labels: Bebe Daniels, Mary Boland, Preston Foster, Victor McLaglen
posted by GDH at 9:29 AM
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