Disraeli (United Artists) (1921)

Advance Press Stories on Sets—Locations—Personalities— {All Exclusive ) UNUSUAL SCENES AND SETS IN “DISRAELI" Arliss Picture Presents Magnificent ‘'Locations” and Massive “Interiors” When the George Arliss screen ver¬ sion of “Disraeli” is shown at the . Theatre beginning .. photoplay lovers will have an opportunity of seeing some of the most charming “exteriors” ever used in the making of a motion pic¬ ture. All the interior “sets” are mas¬ sive in their proportions and highly artistic in their treatment, the work of Charles Osborn Seessel. “Disraeli” is a picture in which great acting, com¬ bined with a splendid story and un¬ usual studio treatment has caused it to be classed among the real master¬ pieces of the screen. "One sequence of scenes, the grounds surrounding Glastonbury Towers, was photographed on the beautiful estate of George D. Pratt, at Glen Cove, N. Y., one of the show places on Long Island. The Pratt residence was built in Tudor style and is shown in several “shots” from a distance. Mr. Arliss and Director Henry Kolker, with the principals and a hundred “ex¬ tras,” spent more than a week on the Pratt estate and obtained some re¬ markable exterior scenes for “Dis¬ raeli.” The particular feature of the Pratt estate that proved most appealing from the photographic point of view was the sunken garden, designed and finished in natural effects, with very little, if anything, of an artificial na¬ ture. Director Kolker found these gardens ideal for many of the scenes necessary in the picture and lhave proven to be among the most beautiful ever thrown on the screen. The spacious lawn in front of the great house was used in making the scene in which “Mrs. Travers” spreads the gossip that spoils Disraeli’s plans for the purchase of the Suez Canal as ■at first planned by the English premier and these scenes have been set with absolute fidelity to the period. This scene shows the ladies and gentlemen of the period at archery practice. The exteriors for the sequence of scenes on the lawn of Disraeli’s coun- : • place, “Hughenden,” were obtained aY the residence of Allen Lehman at Tarrytown, N. Y., a charming estate on the Hudson River. Here Mr. Dis¬ raeli is shown feeding his peacocks and much of the important action o the story transpires there. The massive “set” built in the studio for the last scene in the pic¬ ture, the reception given by Queen Victoria in honor of her Prime Mini¬ ster in the Hall of Reception in Buck¬ ingham Palace, must be included among the great art sets in motion pictures. This set was designed by Mr. Seessel and to built it it was nec¬ essary to tear down thg- three side walls of the studio. The “sets” for the interior of “No. 10 Downing Street,” long the official residence of the British Premiers, are perfect in their every detail. In keeping with the plans of United Artists, “Disraeli” has been done in a lavish way with an eye to beauty and dignity everywhere. For that reason “Disraeli” has been classed among the most remarkable productions in recent years. TEAR DOWN STUDIO WALLS TO BUILD “DISRAELI” SET One of the largest and most beauti¬ ful interior sets ever used in a motion picture was used in filming the famous stage success, “Disraeli,” in which George Arliss is starred and which will be shown at the .. Theatre beginning . It was necessary to tear down three walls of the studio to erect this stupendous structure. The set shows the reception hall of Buckingham Palace, finished in gray and gold, and employs a number of col¬ ossal columns to support the great arches. Diplomats of all nations, cel¬ ebrities, Indian rajahs, Turks in gay at¬ tire, titled persons and ladies of great beauty throng the reception room. The entry of Disraeli alone into the recep¬ tion room and the final entry of Lad} Beaconsfield, his wife, constitute th. “big moment” at the close of the pic¬ ture. Henry Kolker, who directed the picture, used every suggestion of the dramatist and those of Forrest Halsey, who did the scenario, together with those of Mr. Arliss in working out the final shots. A number of distinguished guests were present during the taking of these final scenes and all expressed amazement at the beautiful and stu¬ pendous scene. “Disraeli” will be remembered as the play in which love and politics create the suspense and Disraeli’s great love for his wife, Lady Beaconsfield, finally overshadows the English Prime Mini¬ ster's greatest diplomatic achievement. The love story of Charles, Viscount of Deeford, and Clarissa, daughter of the Duke of Glastonbury, also runs through the picture as it did in the play. Others in the distinguished cast be¬ sides Mr. Arliss are Mrs. Arliss, as Lady Beaconsfield; Louise Huff, as Clarissa; Reginald Denny, as Charles; Grace Griswold, as the Duchess of Glastonbury; Frank Losee, as Hugh Meyer, a London banker; E. L. Rat- cliffe, as Sir Michael Probert, Gov¬ ernor of the Bank of England; and Henry Carvill, as the Duke of Glas¬ tonbury. Particular care was taken to select extras who had had both stage and screen experience. UNIQUE SUB-TITLES USED IN “DISRAELI” When patrons of the. Theatre on . see George Arliss in “Disraeli” they will have the unique experience of almost heard the words of a man, long dead, as if resurrected and brought again to at¬ tention. Because most of the subtitles in “Disraeli” are actually the words and thoughts of Britain’s great Prime Minister. Several months were spent in research work, digging out all the books that might contain any epi¬ grams or famous sayings uttered by Disraeli during his years as Queen Victoria’s right hand man. Forrest Halsey, who wrote the sce¬ nario, has carefully interwoven the lines from Louis Parker’s play with the results of the research work, so that the finished product has greatly heightened the effects of this splendid photoplay. After seeing some of th subtitles choked down the throat o the long-suffering public, we believe that this innovation will be appreciated and liked. “DISRAELI” FILMED AT CELEBRATED PRATT ESTATE The magnificent estate of George D. Pratt, at Glen Cove, Long Island, one of the most famous residences in America, was used in the making of “Disraeli,” in which George Arliss plays the title role. The production will come to the . Thea¬ tre beginning . This was the first time this famous estate was used in the making of a motion picture, despite the fact that many producers had repeatedly endeavored to secure it. Nestling among the foothills of Glen Cove, the Pratt estate occupies more than one thousand acres. The George D. Pratt residence .takes up slightly more than forty-six acres, a develop¬ ment seldom reached in “home build¬ ing” in the United States, or else¬ where, for that matter. Other sections of the great estate are occupied by other members of the Pratt family, and there are great wooded tracts ly¬ ing between the various sections that have been made into beautiful garden spots. All in all, the site is one of the rarest for the purposes of cinemato¬ graphy. “Disraeli,” written by Louis N. Parker, and which Mr. Arliss played on the legitimate stage for a period of years, requires a sumptuous residence for the Duke of Glastonbury, on the grounds of whose residence much of the action takes place. It is here that many of the choicest scenes between “Disraeli” and Lady Clarissa occur, and the sunken gardens at Glen Cove proved ideal for this purpose. The palatial residence of Mr. Pratt was done after the old English style of architecture, and afforded every op¬ portunity and need conceivable, from the director, Henry Kolker’s view¬ point. A number of unusually beautiful “long shots” were obtained in the sunken gardens, and a series of “close- ups” that are striking because of their background. On the immense lawn, in front of the great house, Director Kolker obtained the garden scenes with the ladies at archery practice— ■the pivotal incident in the plot against Disraeli. But the story of Disraeli’s great love for his wife, Lady Beaconsfield, is one of the outstanding features of the photoplay, as of the stage also, and rose gardens at the Pratt estate fur¬ nished abundant settings for some very excellent pictures that will be used in this sequence. Mrs. Arliss has the role of Lady Beaconsfield in the photoplay. The “Lady Clarissa,”, daughter of the Duke of Glastonbury, is played by dainty Louise Huff, and in her cos¬ tumes of about fifty years ago Miss Huff is altogether beautiful. 1 he scenes between Mr. Arliss and Miss Huff, as caught by the cameras at Glen Cove, are standards for fresh beauty in still, as well as motion pictures. Besides Mr. Arliss and Miss Huff the other principals in the picture are Reginald Denny, Margaret Dale, Mrs. George Arliss, Henry Carvill, Grace Griswold, E. J. Ratcliffe, Frank Losee, Noel Tearle, Fred J. Nichols, St. Claire Bayfield, and others—really an “all-star” cast. LOUISE HUFF RETURNS TO SCREEN IN “DISRAELI” When ‘Disraeli” with George Arliss is shown at the.Theatre on.many of the specta¬ tors no doubt will be surprised to see Louise Huff again on the screen. About a year ago Miss Huff decided that she needed a rest from her ardu¬ ous screen duties and temporarily left the film world. When George Arliss started to transform “Disraeli” to the screen he at once suggested Miss Huff, and persuaded her to return again to play the role of “Clarissa.” Miss Huff, although a star in her own right, was only too glad to take this part in order to be associated with Mr. Arliss who is a master of histrionic art. Miss Huff’s acting in this picture does much to enhance its fine points, because of her daintiness and delicacy of portrayal, which acts as a fine con¬ trast to Mr. Arliss’ firm and vigorous performance. She has outdone her former splendid and delightful work in this picture, and seems to be more beautiful and charming than ever be¬ fore. Please don’t leave us again, Louise! EVER HEAR THIS? With the advent of Mr. George Ar¬ liss in “Disraeli” on the screen only a few days off, Manager . of the ...Theatre having booked it for . days, calls attention to the fact that Disraeli was one of the greatest philosophers of th nineteenth century. Many of his say¬ ings are still commonly heard, and many so called wits since his day have stolen his thunder, and claimed it as their own. Here are several of his most famous remarks: “There are two powers at which men should never grumble—the weather and their wives.” “Everybody knows the stages of a lawyer’s career—he tries in turn to get on, to get honors, to get honest.” “There are many dismal things in life, and a dinner of only men is among them.” “I think the author who speaks about his own books is almost as bad as a mother who talks about her own child.” “Beauty can inspire miracles.” “It is a great thing to make a for¬ tune. There is only one thing greater, and that is to keep it when it is made.” DISRAELI’S AMBITION Lord Melbourne, Prime Minister— “Well, Mr. Disraeli, what is your idea in entering Parliament? What is your ambition”? Disraeli—“To become Prime Mini¬ ster of England, my' lord.” ***** * * And he did. It was a thirty-year fight. Disraeli entered Parliament in 1837. In 1867 Queen Victoria made him Prime Minister. In the interval Disraeli, a young Jew, without fortune or influence, battled his way to the top. And again in 1876, nine years after his first appointment as Prime Mini¬ ster, the Queen again appointed Dis¬ raeli to be Premier. “Disraeli,” with George Arliss in the title role will be at the. Theatre, beginning .