Hell's Angels (United Artists) (1930)

Biographical and Feature Stories V HOWARD HUGHES MAKES SCOFFERS TAKE NOTICE WHEN "FOOL IDEAS” PROVE TO BE BIG MONEY-MAKERS "Hell’s Angels” Producer Elicits Praise When His Films Click He might have been a college sophomore, the hatless youth with the tousled hair who hopped off the Twentieth Century just before it ground to a full stop in Grand Cen¬ tral Station. He had come for the New York premiere of “Hell’s An¬ gels,” which is coming to the. .theatre on. His suit of light brown plaid could have stood a pressing and his un¬ seamed featured needed a barber's attention. But he was in a hurry. With a topcoat, upside down, slung over one arm, and a travelling bag tightly gripped in the other hand, he hastened on out of the station. For in that bag were two sets of motion picture film, the realization of four years of stupendous work, the result of an expenditure greater than that required for a college it¬ self. & « The lanky young man was How¬ ard Hughes, Jr., the multi-million¬ aire, the producer and director of the $4,000,000 motion picture, "Hell’s Angels,” which enters the first <Jay of its showing at the .theatre on. None but a few of his employees knew when he was arriving. There was no one to meet him. He did not want to be bothered. He had work to do. There were a thousand and one things to attend to before the premiere-the last minute cut¬ ting, the previews, the censors, the signs, some projection apparatus. Other directors and producers may arrive in the big city for their premieres with an entourage, midst a bombardment of photographers’ flashlights and go to their hotels to entertain and issue a few orders to subordinates. But with young Hughes those thousand and one things had to be attended to personally. He had spent more money on this picture than had ever been lavished on any production in the prodigal history of the American cinema. They had called it “Hughes’ folly,” and it was up to him to personally supervise every tiny detail in order to prove that he could make a profit on a $4,000,000 investment in a moving picture. He hadn’t missed yet. He had been laughed at before, and called “a crazy kid,” and yet his every venture had passed the acid test— profit. When his father died in 1924, Howard was only 20 years old. He took over the Hughes Oil Co. and the Hughes Tool Co., two of Texas’ biggest firms, and made a go of them. Then his friend, Marshall Neilan, interested him in making moving pictures. The young business man produced “Everybody’s Acting” and got a 150 per cent return on his investment. That looked like good business. So he produced “Two Arabian Knights.” His first big trouble came with his adaptation of the stage play, "The Racket.” A scath¬ ing expose of corrupt politics hand in hand with graft-paying crime in Skxward Hughes,Producer- director of fUeiis Angels" 43—One Col. Producer Scene Head (Mat 05c; Cut 30c) the prohibition era, it came at a time when the wet and dry issue was paramount, just before the Pres¬ idential election. In one city after another, the censors tried to mutilate it. Hughes broke movie traditions. He didn’t salaam to the censors. He fought them. And his picture, unmarred, was finally shown in every city where it had been opposed, in most instances after he had threatened court action. The youthful Hughes is more than the angel of “Hell’s Angels.” He was with the picture during ev¬ ery minute of its making. He paid the bills and he did practically everything else as well. Early in the making of the picture he dis¬ agreed with Luther Reed, whom he had hired as director, and took over the direction himself. Aviation is his hobby, that and golf. He has been flying since he was fourteen years old, which may be the reason for his slight deafness. Built like Colonel Lindberg, tall and lanky, there is something west¬ ern about his appearance. He rushed about, though, like a true New Yorker, even though this was his first visit to New York since he was a child. Of his picture, of his four years of work, of his $4,000,000 risk- or is it folly—he had only this to say: “I think it’s good.” Really, in his slow drawl he as¬ sured that’s all he could think to say. And as he gangled off at a great rate down Broadway, not a passing chorine stopped to give a second look to this dishevelled boy whose name was in three-foot electric lights above them. War Authorities Laud "Hell’s Angels” For Accuracy of Battle Scenes in Air Authorities on war-time aviation who have seen “Hell’s Angels” which comes to the . theatre on .agree that it is not only the most authentic air film to date, but is one of the greatest achievements in the history of aeronautics as well. Colonel P. J. Brady and Major William Ord; Ryan, of the United States Army Air Corps, who flew out to the Pacific Coast recently to observe the Army Air Maneuvers at Sacramento, San Francisco and Los Angeles, were astounded at the real¬ ism of the air sequences. Both de¬ clared it was beyond belief that such shots could be made. “The scene in which 50 planes go into combat simultaneously is little less than miraculous,” declared Colonel Brady. The army officers explained that all of their maneuvering was done in formation, as they considered it far too dangerous to even break formation with half that number of ships flying as closely together. The air-sequences were also praised by the Overseas Aviators Club, a national organization of World War pilots and observers. Af¬ ter witnessing the picture this or¬ ganization passed resolutions com¬ mending Howard Hughes and his flyers for the “superb realism” of "Hell’s Angels” and stating, without reservation, that this was the most remarkable and authentic reproduc¬ tion to date of the World War in the Air. FACTS ABOUT "HELL’S ANGELS” Total number of air-miles flown: 227,000. More than three million feet of film exposed in aerial and ground sequences. Largest Fleet and Personnel ever assembled except by govern¬ ments: 87 “ships," 137 Aviators. Cost of restored World War equipment: $560,000. Expenditure on Air Flights alone: $2,000,000. Technical Staff included 35 cameramen and 12 editors and cutters. Zeppelin raid on London for the first time depicted realistically. Baron von Richthofen’s "Flying Circus” accurately reproduced. German and French cafe scenes with hundreds of extras. A British Training Camp-Charity Ball in London with 1,000 extras. A thrilling infantry battle with 3,000 extras. The bombing of a German Air Base-Thrilling Battles of British Flying Corps and Richthofen Squadrons. Produced and personally directed by Howard Hughes, President of the Caddo Company, Inc., at a gross cost approximating $4,000,000. Took three years to make and employed the services of thousands of people. "Hell’s Angels” Made With Record Air Fleet The magnitude of “Hell’s An¬ gels,” the super-spectacle of air-war which comes to the . theatre.is re¬ vealed in official figures just re¬ leased. The largest air fleet ever brought together except by governments was assembled by Howard Hughes, the producer and director, and flown in “HeU’s Angels.” Exactly 87 planes, including more than a score of true war-time ships, a German Gotha bombing plane and a German dirigible, took part in this stupendous air drama. Fifty planes are shown in action simultaneously on the screen. More than I 00 pilots participated in the making of “Hell’s Angels,” and more than $2,000,000 was ex¬ pended on the air-scenes alone. More than 3.000,000 feet of film were ground through “Hell’s An¬ gels” cameras during the three years reauired to film the picture. The cost of celluloid alone was upwards of $300,000 or more than the cost of the average film production. More than 20,000 persons, in¬ cluding cameramen, technicians and players, contributed to the making of “Hell’s Angels.” A Zeppelin raid on London and the exploits of Baron von Rich- tofen’s “Flying Circus” are two tre¬ mendous highlights of the picture. Ben Lyon, James Hall and Jean Harlow are the principal players in ’’Hell’s Angels.” Scene mOioward Hughes Air 0rama “Cell's Angels 46—One Col. Scene (Mat 05c; Cut 30c) Three Million Feet Used to Film Air Picture The $4,000,000 which Howard Hughes expended in producing “Hell’s Angels,” the sensational air spectacle now showing at the. . . . .theatre, is the most money ever invested in a single entertain¬ ment, stage or screen. Itemized figures revealing how this money was apportioned during the various phases of production make one of the most interesting stories in the history of movie¬ making. The cost of negative alone during the three years’ filming of “Hell’s Angels,” plus developing, was ex¬ actly $3 11,458, or more than the cost of the average motion picture. More than 3,000,000 feet of film were ground through “Hell’s An¬ gels” cameras. Cost of the flying scenes alone was $2,113,000, including the fleet of true war-type planes which were brought together from all parts of the world and re-conditioned, loca¬ tion costs, players and flyers’ sal¬ aries, and other items. The Zeppelin sequences cost $512,000, and interior sequences, all told, cost $1,068,000. Tire total cost of this massive screen spectacle was $4,001,458, and critics everywhere agree that the picture itself justifies this enor¬ mous expenditure. JEAN HARLOW IS FILM CINDERELLA The sudden rise of Jean Harlow to stardom is one of the amazing Cinderella stories of Hollywood. Miss Harlow was chosen for the leading feminine role in “Hell’s Angels” in competition with 50 na¬ tionally famous actresses who were bidding for the role. The platinum blonde can be seen now at the...theatre, where “Hell’s Angels” is playing to enthusiastic crowds. This is her first screen role, and as a result of her amazing per¬ formance in this picture she liter¬ ally zoomed to stardom overnight. Miss Harlow is under contract to Howard Hughes, the producer and director of “Hell’s Angels.” Mr. Hughes selected Miss Harlow for his leading lady in “Hell’s Angels” because he regarded her as not only most fitting for the role, but also because he recognized her as a po¬ tential star. The blonde beauty will appear in future Hughes pictures. Lyons Wins Praise of Critics in Air Drama Ben Lyon, who plays the part of a debonnair war ace in T’Hell’s Angels,” Howard Hughes’ $4,000,- 000 air spectacle, gives one of the outstanding screen characterizations of the year, according to many critics. Not since Lyon was taken off the New York stage, six years ago and given a five-year contract to play leads in pictures, has he had a role so adapted to his sense of both com¬ edy and drama. For more than two years Lyon dedicated virtually all of his time and talent to the requirements of his role in “Hell’s Angels.” It was while making air-sequences for “Hell’s Angels” that he learned to pilot a plane, and today is lec- ognized as one of the best aviators on the Pacific Coast. Among its many record-breaking features, “Hell’s Angels” marks the culmination of the longest single en¬ gagement in the history of pictures —that of Ben Lyon, who spent more than two years portraying the col¬ orful role of “Monte” in the most pretentious spectacle of all time. “Hell’s Angels” is now playing at the .theatre. 227,116 Miles Flown For "Hell’s Angels” A total of 227,116 miles was traversed by “Hell’s Angels” air¬ planes in filming the sky action of Howard Hughes’ $4,000,000 avia¬ tion picture, the current attraction at the .theatre. Exactly 87 ships, plus a bombing plane and a Zeppelin, were em¬ ployed for the aerial sequences, and these were manned during the 18 months of production by a total of 137 aviators. This was the largest air-fleet and personnel ever assembled except by governments, and establishes a rec¬ ord for all time in movie-making. EX-TRAP DRUMMER NOW PICTURE STAR James Hall is seen in his greatest screen role in “Hell’s Angels,” the Howard Hughes air spectacle which is enjoying a popular run at the .theatre. Hall is an old-time stage star, having been featured in musical comedies on Broadway before his entrance into motion pictures. The popular star began his pub¬ lic career shortly after the war when he took his own jazz band on tour. While performing in New York the Shuberts were impressed with his ability and signed him to sing and dance in their musical pro¬ ductions. For the next six years he was in musical comedy in New York, play¬ ing in several of the Shubert “Pass¬ ing Shows”, the Ziegfeld Follies and other big productions. In 1926 Jesse Lasky, sensing his screen possibilities, gave him a long¬ term contract to appear in pictures. Hall’s rise was rapid and sensation¬ al, and he soon became one of the foremost stars of the screen. In “Hell’s Angels” he shares leading honors with Ben Lyon, ap¬ pearing as a flying fighter of the British Air Corps. "Hell’s Angels” Sound Declared Best to Date Hell s Angels,” now showing at the.theatre, has marked a new step in the development and presentation of sound technique on the screen. Electrical experts are generally agreed that the Howard Hughes super-spectacle is not only the fin¬ est example of sound reproduction to date, but a step forward as well in the presentation of magnified sound on the screen. “Hell’s Angels” is believed to be the first film spectacle in which there are no faked sounds. Its audi¬ ble effects, in fact, are so authentic throughout that special electrical equipment and special projection machinery is required to present the picture with proper emphasis on the screen. Actual planes were used in re¬ cording the sound for the air scenes of “Hell’s Angels,” a technical feat in itself, as it was necessary to send microphones in the air by planes and balloons to obtain authentic sound. Sen Lyon, featured in "Sled's ALngelsLr.* 41—One Col. Player Scene Head (Mat 05c; Cut 30c)