Modern Screen (Dec 1931 - Nov 1932 (assorted issues))

Modern Screen identity in the identity of the sensitive and frustrated, yet hopeful and youthful Rose. The final scenes were shot and Sylvia was invited to New York for the grand premiere. '"TpHEN came the night. Great lights A blinked on Broadway. "Street Scene . . . Street Scene . . . Street Scene." In the Rivoli lobby stood great easels with portraits of Sylvia. Police reserves were called to hold back the curious crowds, to keep a lane clear so the distinguished invited guests might get from their motors to the theatre without being crushed. There was the impressive strip of red carpet. There were flashlights. In an exclusive little restaurant on Madison Avenue Sylvia dined with her father. Outside, the beautiful car that was to take them to the theatre waited. The chauffeur stood at the open door. Just ahead . was Sylvia's motorcycle escort. No traffic lights were to delay her. A shrieking siren was to herald her coming; demand for her the right of way. Traffic policemen were to salute smartly as she whizzed past. Before she stepped into the car, Sylvia paused a minute. "I'd like to go by way of Fortysecond Street," she told the escort with a wink. "I never have been so impressive before in all my life. I may never be again. I'd like very much to make the most of this; to have it last as long as possible." TpHEY sped down Fifth Avenue and *■ turned into Forty-second Street, the siren screeching, pedestrians turning to see what celebrated person rode in that great car. It seemed to Sylvia nothing ever could equal those few minutes. She didn't know, you see, the reception that would await her under the Rivoli marquee when she stepped from her car. . . . She didn't guess the hysterical ovation that would echo and reecho inside when "Street Scene" faded from the screen and the audience demanded that she speak to them from the stage. . . . She didn't count on the future in which, unless all signs and predictions fail, greater glory awaits — greater, even, than she knows now. Are You Manners-Conscious? (Continued from page signed. Love was doomed. Not only did mother-in-law dictate the policy at home, but she would come to the studio while David was working. She sat on the set during love scenes, regarding his leading ladies suspiciously. Eventually young David, in desperation, rebelled . . . and from that time on, life in the Manners household was a species of nightmare. His hours at home were one continual quarrel. His hours at the studio were spent mentally reviewing the last battle and bracing himself for the next one. No wonder people found David unsociable and remote. Such a state of affairs, of course, could not last. David is a very independent young man. He has been on his own since he was sixteen. He is not the type to allow his life to be taken out of his own hands for long. Furthermore, he has a well-bred aversion for scenes — an innate good taste which makes petty bickering unbearable for him. David Manners is first and last a gentleman — but beneath his quiet dignity and gentle graciousness is an adventurous spirit. He comes by both traits naturally. Both his father and mother are members of the English nobility. His mother is a Manners and through her he is related to the Duke of Rutland and Lady Diana Cooper. Lady Diana Manners, of stage fame, is his cousin. Through his father he traces his ancestry back to William the Conqueror. His real name is Rauff Aklom. Young Rauff left his home at an early age. He was not happy, for he and his father have never been able to get along. Probably, says David wisely, for the reason that they are too much alike. Although his family was well-to-do, David was practically penniless when he descended upon NewYork to seek a career. He had been educated at the University of Toronto and had spent two seasons with a Toronto stock company when he decided to take his fate in his hands and go adventuring. For the next few years his career was vari-colored as a crazy quilt. He began his stage career with the Theatre Guild but did not remain behind the footlights. For a time he was social contact man for an art gallery, spending months abroad. His job was to wine and dine wealthy potential customers, to charm them into making purchases. It was a position for which his intelligence, his breeding and his social grace eminently suited him — but David rebelled before long. He didn't like that sort of job. There were months spent as a cowpuncher on a dude ranch in Arizona, regaining his health after a serious illness. He tells you laughingly, "I did some of the best acting of my career during that period — playing at being a cowboy. I hope I convinced other people as well as I convinced myself !" 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