Paramount Press Books (1919)

Advance Press Stories of “The Test of Honor” To be Sent to the Newspapers Prior and During the Display of John Barrymore’s Latest Photoplay A Paramount Picture “THE TEST OF HONOR” IS BARRYMORE’S NEW DRAMATIC PICTURE Popular Paramout Star Has A Role of Exceptional Heart Appeal THE new Paramount picture, “The Test of Honor,” affords John Barrymore many dramatic scenes and incidents which might have been written especially for him so well do they suit his individual type of acting and characterization. The picture will be displayed at the . Theatre next In one scene it was necessary to show an apparition in the jail where Barrymore is serving time for an alleged murder which he did not commit. A large, muscular actor was engaged for the part, and John Barrymore himself attended to the make-up on his future apparition. “I know the sort of a face that would give me the creeps in the dark, and I will put that face on him,” he said. A few hours later the actor was brought down before the director for inspection, and one and all agreed that the face which peered out before a dim light while the camera registered its hideous grimaces, was absolutely the most frightful apparition that could possibly be imagined, and that nothing less than lobster and mince pie could produce a face like that. “The Test of Honor” is an admirable picturization of E. Phillips Oppenheim’s celebrated novel, “The Malefactor,” and for the first time since he became a motion picture star, Mr. Barrymore has a strong dramatic role. He is splendidly supported by a cast of picked players, Constance Binney and Marcia Manon having the leading feminine roles. Others in the cast include Robert Schable, J. W. Johnson, Bigelow Cooper, Ned Hay, Alma Aiken and Fred Miller. MARCIA MANON NEW BARRYMORE LEADING WOMAN IS TALENTED She Has Strong Role in Support of Star in “The Test of Honor” MARCIA Manon, one of the most popular of the Famous Players-Lasky actresses, recently traveled all the way from Hollywood, Cal., to New York, to play the leading feminine role in John Barrymore’s new Paramount picture, “The Test of Honor,” which will be shown at the Theatre next Those who have seen Miss Manon on the screen will never forget her. Not only does she evince rare personality in her manner and facial expressions, and in the way in which she dresses her hair and wears her clothes and jewels, but in every-minute gesture Marcia Manon expresses individuality. In Cecil B. DeMille’s “Old Wives for New,” Miss Manon had a splendid opportunity to display her artistic taste in clothes and jewelry. She began her screen career as an extra girl in one of Mr. DeMille’s productions about a year and a half ago and has since made an enviable place for herself in motion pictures. She had large parts in “Stella Maris,” “The Sunset Trail,” “The Claw,” “The Girl Who Came Back,” and many other well-known pictures. Powerful Photoplay JOHN Barrymore’s new photoplay, “The Test of Honor,” a picturization of E. Phillips Oppenheim’s famous novel, “The Malefactor,” will be shown at the Theatre next It is a powerful photoplay in which Mr. Barrymore plays the part of a man who sacrifices his career for a worthless woman, but who finds happiness in the end. JOHN BARRYMORE’S MAKE-UP IN NEW FILM MAKES ONE SHUDDER His Portrayal of A Convict in “The Test of Honor” is Most Artistic THERE are few if any actors on the American stage whose faculty for making up to suit the requirements of his roles is developed more artistically than that possessed by John Barrymore. This is amply evidenced by him in his new Paramount photoplay, “The Test of Honor,” which will be shown at the Theatre next In portraying the role of a man who has served seven years in the penitentiary, Mr. Barrymore surprised his director, John Robertson, and his fellow players, in the production, by appearing in a make-up so gruesomely realistic that it caused every one to gasp and shudder. His face, ghastly yellow from prison-pallor, was deeply lined, and shaded so that it gave the appearance of being haggard and shrunken under the eyes and cheek bones. In some artful manner he gave to his throat a shrunken appearance, while the cords stood out pathetically from the muscles. His eyes conveyed that hunted expression of the convict, and his hair, naturally black, was powdered with white in streaks. His hands, too, were not overlooked in the make-up, and so thin were the fingers that they resembled claws more than human hands. When his sister, Ethel Barrymore, drove up to the studio, he appeared in this strange make-up at the door, and the onlookers saw her gasp and grow pale. Mr. Barrymore is splendidly supported, his leading women being Constance Binney and Marcia Manon. The story is based upon E. Phillips Oppenheim’s novel, “The Malefactor,” and the picturization was made by Eve Unsell. 13