Lady of the Pavements (United Artists) (1929)

Reviews and Features GRIFFITH’S LATEST SUPERB FILM FARE Magnificent sets - replicas in many cases of the historic halls in which the Third Napoleon trod- the full ecstasy of the decadent court of France with its gaily cos¬ tumed dames in their hooped finery, marbled halls of splendor and the Parisian dives—all these are part of D. W. Griffith’s “Lady of the Pave¬ ments,” a romantic screen poem out of fancy’s pages, which is scheduled open at the.theatre next. For sheer beauty and spectacular display, lavishness of production and that elusive, indefinable quality best known as color, Griffith has set himself a standard of pictorial charm that even the massive aestheticism of “Intolerance,” or the inspiration of “The Birth of a Nation” does not surpass. Within this environment of beau¬ ty, Griffith weaves one of the most daring stories of his twerty years of effort in pictures. The picture un¬ folds the intrigues of a mistress of Napoleon who, thwarted in her self¬ ish love for an officer of the Prus¬ sian legation, succeeds in marrying him off to a girl of the streets for the express purpose of debasing him. Difficult though this subject is, the director has achieved a highly en¬ tertaining continuity of dramatic events which the excellent acting of William Boyd, Jetta Goudal, Lupe Velez, George Fawcett, Albert Conti, William Bakewell and Henrv Ar- metta augment to a considerable ex¬ tent. The care and forethought which is the birthright of a Griffith pic¬ ture is made easily apparent in “Lady of the Pavements.” The cast was chosen with a sincere view to obtaining players whose natural characteristics featured in the story. For the good-natured, boyish Prus¬ sian legation attache, William Boyd was the best obtainable type in Hol¬ lywood; Jetta Goudal was born in France and acted on the French stage. There is no other actress who could portrav the aristocratic bearing, the proud disdain, the aloof¬ ness and the enigmatic qualities of Napoleon’s mistress as she can. The Hollywood extras’ delight-a crowded ballroom sequence-is one of the spectacular scenes in D. W. Griffith’s “Lady of the Pavements” at the.theatre. Three hundred “atmosphere play¬ ers” appear in this colorful se¬ quence. Griffith, who revels in spectacu¬ lar displays, has made this scene a memorable one because in it he uses for the first time a "mob” for its psychological effect on the actions of his leading players. “Lady of the Pavements” is a vivid story of the struggle of two women for the love of a man. Wil¬ liam Boyd carries off the leading role as a dashing young diplomatic attache in Paris, with Jetta Goudal and Lupe Velez struggling for pos¬ session of him. NEW GRIFFITH FILM ACHIEVES DISTINCTION AS ARTISTIC AND ENTERTAINING PHOTOPLAY FRIENDS PERSUADED BOYD TO BE ACTOR By WILLIAM BOYD Proving at last to even the most skeptical that it can be done, D. W. Griffith has turned out a production that combines the swift-moving charm and entertainment value of a musical comedy with the suspense of a tense drama-furthermore, he has dressed his production with a background of color and pageantry which will characterize “Lady of the Pavements” as one of the out¬ standing pictorial achievements of the season. “Lady of the Pavements” opened at the .theatre.. with William Boyd, Jetta Goudal, and Lupe Velez, in the leading roles, and each of these stars is deserving of considerable credit in making the picture as good as it is. Lupe Velez, a comparative new¬ comer, conjures up a dreamer’s vi¬ sion of what romantic Spain must have been like with the mood she creates as the cabaret dancer who figures prominently in the story. The dash and color of the contin¬ ental, and the fiery, vibrant ardor of Latin love is, as interpreted by Miss Velez, alone worth the price of admission to the . theatre. The story of the “Lady of the Pavements” is typical of Griffith, the romanticist in his most spec¬ tacular moods. It opens up at the Court of Napoleon the Third, with all its pomp and decadent splen¬ dor where a Countess, (Jetta Gou¬ dal) conceives the idea of marrying a cabaret girl (Lupe Velez) to the man (William Boyd) who had scorned her. She succeeds and the struggle of the cabaret girl to rectify matters once she has learned of the plot forms the main bulwark of an in¬ teresting and gripping story. “Lady of the Pavements” will go down on record as one of the finest nww» m u nnnnnnm m nn r : :: '--nimnmr—trmin-~"TxmTnnffli« WILLIAM BOYD**D.WG-RJFFiTMiS IaDY OF THE PAVEMENTS* 2 —One Col. Scene (M at 5c; Cut 30 c) pictures that have emanated from the direction of D. W. Griffith. The art that produced "The Birth of a Nation,” “Intolerance,” “Broken Blossoms” and ‘ Way Down East again comes into its own in a story of vivid people animating a brilliant reproduction of one of Europe s most spectacular periods. In the supporting cast are George Fawcett, Albert Conti, William Bake¬ well, Franklin Pangborn, Henry Ar- metta and several hundred courtiers and apaches. The plot of “Lady of the Pave¬ ments” originated from the colorful pen of Karl Volmoeller, author of “The Miracle,” the spectacular Max Reinhardt stage play which created such a sensation some time back. Sam Taylor, noted film director, adapted the story to the screen. Mr. Boyd, who plays the hero in D. W. Griffith’s “Lady of the Pave¬ ments,” which comes to the . theatre on .. recounts the events in his life which brought film fame and fortune. Possibly 1 would never have faced a motion picture camera'if I hadn’ arrived in Orange, California, with but thirty-five cents to my name. My destination was San Diego, one hundred miles away, but one can’t travel even a hundred miles on thirty-five cents. My parents had died when I was in my early teens, and I was obliged to shift for myself. For some un- definable reason I had always wanted to go to San Diego, and I left high school in Tulsa, Oklahoma, with the idea of doing so. My first job in Orange was ouite a natural one for a hungry kid. It was as a grocery clerk. I met some fellows working with a motion picture company on loca¬ tion near Orange. Claiming I was sure to screen well they persuaded me to make Hollywood my goal. However, it was more than a ye*r before I had money enough to risk it. I tried selling automobiles but oil drilling offered bigger returns. Then I tried the movies. But I was able to find only occasional extra work. When the war broke out I de¬ cided I’d far rather be a soldier than an actor. 1 enlisted, but an athletic heart, a souvenir of my football days in high school, enforced a change of plans. After my discharge I ran the Post Exchange at March Field, Riverside, California, for some time. Finally I returned to Hollywood and again began to haunt the studios, this time in dead earnest. Cecil B. DeMille, gave me a bit in “Why Change Your Wife.” Other minor roles in various pictures followed, and Mr. DeMille gave me small parts in several of his productions. This foretaste of success whetted my ambitions and I was now afire with determination to land real parts in motion pictures. These Advance Briefs Are Ideal Fillers; Get Them Planted in Your Local Newspaper Two large wine vats-relics of the Spanish-rule days in Southern California—were transported from San Diego for use in “Lady of the Pavements,” D. Griffith s latest production now showing at the .theatre. The huge casks-each capable of holding 2500 gallons-were being used in the cabaret scenes of the picture. William Boyd, playing in D. W. Griffith’s “Lady of the Pavements, coming to the. theatre, has discovered that the average film star gives away 1 100 personal autographs in a year. This figure, Boyd says, does not include the fan mail which bears his fac¬ simile signature. Sam Taylor, director, is also Sam Taylor, scenarist. Few know that the youthful di¬ rector of John Barrymore’s “Tem¬ pest” and Mary Pickford’s “My Best Girl” is also a screen writer of more than passing note. Taylor wrote the script for D. Griffith s Lady of the Pavements,” which features William Boyd, Jetta Goudal and Lup e Velez at the . theatre. “Lady of the Pavements” is “mu¬ sically inspired” by Irving Berlin, who has written several songs which are incorporated in the musical score for the film. I was finally placed under con¬ tract bv Mr. DeMille and given a featured role in “The Road to Yesterday.” Then came my big chance in "The Volea Boatman.” This picture was a milestone in my life in another fashion for it was during its making that I met and married Elinor Fair. I like working in motion pictures, particularly when I play such roles as I had in "The Volga Boatman” and now have in Mr. D. W. Griffith’s “Lady of the Pavements.” Inci¬ dentally, I think this picture is my best. It’s a great lif® this motion picture business if you don't weak¬ en. I’m certainly glad I had a try at it.