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

(Starting at the right and reading counter-clockwise). I. With Richard Cromwell in "The Strange Love of Molly Louvain." 2. With James Cagney in "The Roar of the Crowd." 3. Opposite Paul Muni in "Scarface." 4. With Douglas Fairbanks, Jr., and Lee Tracy in "Love is a Racket." 5. With David Manners in "The Crooner." 6. With Warren William in "Three On a Match." 7. As she looked in the chorus of "The Hollywood Revue." Quaint? Marion Davies, Joan Crawford and George K. Arthur in the front row. You know, it's a funny feeling I have about you, Ann. I just have a hunch that you are going to click . . .^and click big. And I'm usually right about my hunches." It is with absolute truthfulness that I say, if it hadn't been for the constant, almost dogged, encouragement of Karen Morley during the following several months, Ann would have left the movies. She was delighted at the opportunities that were flowing to her friend Karen, and shared them vicariously, but she never seemed to expect that such a break might come her way. When Karen was signed for "Scarface," according to Ann's glowing reports . . . "the best role of her career" . . . my daughter told me: "It's a wonderful break for Karen. She's going to be awfully busy from now on. I suppose I won't see her so much and I'll have the opportunity to get out and look for something else for myself. When I'm around her she "just won't let me think of trying anything but the screen." I think Ann must have become something of a "perseverance complex" with Karen. Karen had a hunch, and she was determined to see it through. One afternoon when Ann was curled up in a chair in the apartment reading, we had a wild telephone call from Karen, urging Ann to come to the Metropolitan studios immediately : "There's a part in this picture that was just made to order for you, Ann," she spoke excitedly. "I just know this is the break we have been waiting for." This was how Ann happened to be interviewed by Howard Hughes about the role of the gangster's sister, Cesca, in the much censored picture, "Scarface." 64 Two hours later I had a telephone call to the ettect that Karen's psychic hunch had finally achieved manifestation. I wonder just how many events are dependent on somebody's steeled determination to make them happen? KAREN and Ann returned to our apartment that night breathless with excitement, ambitions, plans . . . dreams. Until the small hours of the morning they talked over the details of the character Cesca which Ann was to play, her costuming and her general behavior. It was mutually agreed that it was a very flashy part and if the picture was any part of a success, Ann would be practically set. Howard Hughes, the youthful producer, had made an instant hit with Ann by overruling a skeptical press agent who wanted to change her name from Dvorak to something less "goofy." But Mr. Hughes, who apparently knows his movies, vetoed the suggestion. "It is a funny name," he agreed. "But it does stick in your memory. I think we'll keep your name, Ann." The picture which was almost a year in the making went into production a week after Ann was signed for the part. From the first moment she stepped into the studio we actually lived vicariously the exploits of Paul Muni, Karen, George Raft and, of course, Ann's Cesca. I think all the people connected with the picture became characters to Ann, and I am sure it was something of a shock when Howard Hughes, extended an invitation to Ann, the girl, to be his dinner guest at the Coconut Grove one evening. (Continued on page 103)