Rain (United Artists) (1932)

★P UBLICITY SECTION ♦..“RAIN”* 'Rain'' Starring Joan Crawford Pictured in Natural Settings New Version of Maugham Story First of Lewis Milestone Series for United Artists “Rain,” the Joan Crawford star¬ ring vehicle which comes to the . theatre on ., is the first of a series of feature films to be made by Lewis Mile¬ stone, ace director-producer, under his newly-formed affiliation with Jo¬ seph M. Schenck and the Art Cin¬ ema Corporation, and advance re¬ ports place it unmistakably in the category of “All Quiet on the West¬ ern Front,” “The Front Page” and other masterpieces of this director¬ ial genius. The story is a new adaptation by SADIE THOMPSON BUYS WARDROBE FOR $17.50 Joan Crawford's Outfit in "Rain" Bought in Department Store After wardrobe experts and cos¬ tume designers had debated weeks over the most appropriate clothes for Joan Crawford to wear in her latest starring picture, “Rain,” which _ __ comes to the . theatre on Maxwell Anderson of the famed .> the United Artists stage play, which in turn was adapted by John Colton and C. Ran¬ dolph from the short story by W. Somerset Maugham. It is known to millions; in fact, it is one of the best-known stories in the English language. Loaned for First Time Joan Crawford was loaned to United Artists by Metro-Goldwyn- Mayer for the leading role, this be¬ ing the first time a star of her mag¬ nitude has been let out by that company. And around her has been assembled one of the greatest casts in years, its members including Walter Huston, William Gargan, last season’s Broadway sensation; Matt Moore, Guy Kibbee, Walter Catlett, Beulah Bondi, Kendall Lee, Ben Hendricks and Frederick How¬ ard. And ace-artisans were chosen for the photography, art direction, sound technique and film editing. The entire company was trans¬ ported to the isthmus on Catalina Island, where it remained upon lo¬ cation for two months. Which means that “Rain” in its entirety was photographed on a location which is a natural replica of its Pago Pago locale. And, like the South Seas, the company was per¬ mitted to “go native,” with the re¬ sult that a realism was attained which would not have been possible in Hollywood, no matter what the artistry. Story Well Known The story, as you probably know, concerns itself with a girl of nonde¬ script reputation who, with several other passengers on a South Sea schooner, is marooned on the small island of Pago Pago when cholera breaks out among the crew. And the entire action of the story occurs while the quarantine is in effect. The central characters are a brim¬ stone-smelling reformer and the lady of limber morals whom he tries to force into a path of rectitude, with a sergeant of marines siding with the girl and finally winning happiness for her. As the title implies, rain pro¬ vides the real background of the yarn. Rain, relentless rain—falling for days on end until the marooned company is driven near to insanity. And it is here that the picture makes one of its principal appeals. Hereto¬ fore, sound reproduction of rain¬ storms upon the screen have left something to be desired. But the newest development of the Western Electric laboratories, called the Wide Range system, has been em¬ ployed for the first time in this pic¬ ture, with the result that “Rain” introduces the most perfect sound reproduction to date. studio bought her a $17.50 outfit in a Los Angeles department store. It was not a question of finances, but of realism, that prompted the film corporation to pass up the facil¬ ities of its own large wardrobe de¬ partment and shop for an inexpen¬ sive, flashy bunch of finery for the usually fastidiously-dressed star. Miss Crawford plays Sadie Thompson, social outcast with her own set of ideals, who engages in an emotional conflict with a fanat¬ ical reformer and a love affair with a Marine, on the tropical island of Pago Pago. She wears but one costume practically all through the picture, consisting of a gaudy skirt and jacket, small, feathered hat, near-silk stockings, high-heeled, flash shoes and an imitation fur. Milestone Filmed “Rain” Like a General Forces Co-ordinated Like Those of a Field Marshal in Combat ill## ***** WZ*«** M ~***%<**/^ -"Joan Crau/ford. star o/^Rai.n*- 1—2 Col. Star Head Drawing (Mats 10c; Cuts 50c) Every time that Lewis Milestone got ready to direct a long-shot beach scene in “Rain,” United Art¬ ists picture starring Joan Craw¬ ford, at Catalina Island Isthmus, his field-operations staff set in mo¬ tion the most elaborate non-inter¬ ference signaling system ever devised for a film production. Like a field-marshal co-ordinating his forces for battle over a wide front, Milestone occupied a vantage point with his staff and made sure that no incongruous note entered into the scheme of things during the actual filming and sound-record¬ ing of big scenes. In shooting out over the beach onto the blue bay at the island location, every possible precaution was taken to keep craft other than those in the picture out of camera range. Through the cooperation of island authorities and courtesy of owners of private boats, the bay was first cleared of all craft except those needed in the scenes. Then, by means of sirens, a loud-speaking system, and captive balloons for airplanes, semaphores, and signalers aboard speed boats, the Pago Pago atmosphere was assured while cam¬ eras and sound-recording equipment were in operation. Joan Crawford Most Regular Girl in Pictures, Say Studio Workers Star Always Considerate of Production Men, Most of Whom She Calls By First Names Perhaps no reputation is worth more to a Hollywood star than that accord¬ ed him by the studio workers—the assistant directors, the photographers, the electricians and all the other back- stage aides without whose co-operation no picture possibly can be made. And that reputation may often make or break a star, no matter how eminent. If you want the “low-down” on your favorite movie star, ask those self-same studio workers. Ascertain which of' the players are snobbish, which are temperamental and which are considerate of their fellows. And you’d be surprised at the answers. Joan Crawford Regular First 25 Years the Hardest , Says Moore “Rain” About the 500th Film Matt Has Appeared In The first quarter of a century as a featured player in films is the hard¬ est, according to Matt Moore, the perennially young actor who has an important supporting part in “Rain,” United Artists picture starring Joan Crawford, which is due at the .... Making his debut back in the dim past when two-reelers were super¬ productions and one-reelers the rule, Moore, member of the famous act¬ ing family that includes Tom and Owen Moore, has appeared in so many pictures that he has long since lost track of the number. Five hundred would not be far from the total. But wherever you ask about Joan Crawford, you’ll get the same answer. . theatre on The most “regular guy” in the busi¬ ness. And this despite one of the most meteoric climbs to fame in history, a cTTrrib which would have turned the heads of nine out of every ten girls. An unknown bit player a few years ago, Joan Crawford today is univer¬ sally recognized as one of the greatest box-office attractions, entitling her to prerogatives of stardom. Yet she asks no special favors, on or off the set. When Miss Crawford was loaned by Metro-Goldwyn-Mayer to United Artists to star in the Lewis Milestone production of “Rain,” few of “Mil¬ lie’s” production gang had ever worked on a picture with her. Few had ever seen her in person. But within a few days after the arrival of the company on Catalina Island she was calling most of the gang by their first names. And by the end of the first week they had agreed among themselves that she was “the most regular” star with whom they had ever been thrown in contact. Joan Crawford ^William Gargan in a scene from Rain" 5—1 Col. Scene (Mats 05c; Cuts 30c) Never Forgot Much Producer Milestone might forget amout lunch or dinner, but Miss Craw¬ ford never did. “The boys must be getting hungry,” she’d say to “Millie,” and that was enough. Work would stop. Once she apologized to the men for prolonging a scene until it was right. One night, while all hands were working on the picture, word arrived about the serious injury of a man, not a member of the company, at an¬ other part of the islapd. Joan tele¬ phoned to Hollywood, and before long her personal physician was on his way to treat the patient. And it didn’t cost the patient a cent, either. Joan Crawford has been a trouper all her life, and that’s the real answer to the foregoing. When she was a tot in San Antonio, Tex., her father con¬ ducted a small spring of theatres, and Joan spent many of her days in them. At five she learned to dance, and at the age of sixteen she was on the stage. She has been entertaining since. For several years, before the ad¬ vent of multiple, reel productions, Moore played in an average of one picture a week. He has been a personality in fea¬ ture-length pictures for more than fifteen years, and has appeared with most of the stars and worked for practically all the leading directors and companies during the entire his¬ tory of the film industry. Moore’s latest role is Dr. Mac- Phail in the romantic tropical drama based on W. Somerset Maugham’s story being brought to the talking screen under the direction of Lewis Milestone, with Miss Crawford in the stellar part of Sadie Thompson, and Walter Huston, William Gar¬ gan, new leading man from the Broadway stage; Guy Kibbee, Wal¬ ter Catlett, Beulah Bondi, the gossip of “Street Scene,” Kendall Lee Glaenzer, New York and Paris so¬ ciety beauty who is starting a film career, and other personalities in the supporting cast. Page the Weather Man Tropical storms were supplied at a moment’s notice by the most elab¬ orate rain-making system ever de¬ vised for a motion picture in “Rain,” starring Joan Crawford for United Artists under the direction of Lewis Milestone, and filmed entirely in natural settings at Catalina Island Isthmus. JOSEPH M. SCHENCK presents JOAN CRAWFORD (By Courtesy of Metro-Goldwyn-Mayer Corporation) “RAIN” with WALTER HUSTON A LEWIS MILESTONE PRODUCTION UNITED ARTISTS PICTURE Directed by LEWIS MILESTONE From the Stage Play "Rain.” Adapted by John Colton and C. Randolph from story by W. Somerset Maugham. Screen Adaptation by MAXWELL ANDERSON Phntoeranhv Art Director OLIVER MARSH RICHARD DAY Assistant Director NATE WATT Sound Film Editor FRANK GRENZBACH W. DUNCAN MANSFIELD THE CAST Sadie Thompson .Joan Crawford Alfred Davidson .Walter Huston (Sergeant O’Hara .William Gargan Joe Horn . Gny Kibbee Quartermaster Bates .Walter Catlett Mrs. Davidson .Beulah Bondi Dr. MacPliail ...Matt Moore Mrs. MacPhail .Kendall Lee Griggs .Ben Hendricks Hodgson .Frederic Howard Short Synopsis "RAIN” A South Sea schooner bound for Asia is forced to anchor at the island of Pago Pago when a member of the crew comes down with cholera, and the passengers disembark, to remain until the quarantine is lifted. Among those who find lodging at Joe Horn’s (Guy Kibbee) trading post and hotel are Sadie Thompson (Joan Crawford), a flashily- dressed American girl; Alfred Davidson (Walter Huston), a fanatical reformer, and his wife (Beulah Bondi), and Dr. and Mrs. MacPhail (Matt Moore and Kendall Lee). The ship’s quartermaster, Bates (Walter Catlett), introduces Sadie to a group of Marines, including Sergeant O’Hara (William Gargan) who throws Davidson out of Sadie’s room when the reformer brands her a “loose woman” and tries to keep her and her friends from enjoy¬ ing themselves by playing the phonograph and dancing. The tyrannical Davidson, who wields great unofficial power in the islands, complains to the Governor about Sadie, and lodges charges against the Marine sergeant. Davidson tells Sadie she must accept his guidance in the salvation of her soul, or face destructioh. She further incurs the reformer’s enmity by denouncing his hypocrisy and his per¬ secution of her. Romance springs up between Sadie and O’Hara, and he urges her to go to Sydney, where he will join her as soon as his enlistment ex¬ pires. Their happiness is shattered by an order from the Governor, instigated by Davidson, ordering Sadie deported to San Francisco on the next boat. Sadie pleads with Davidson, telling him she has reasons for not wishing to return to the States. He tricks her into admitting she has a prison sentence hanging over her head, but explains she was “framed.” He insists she must return and “atone” for her sins. While O’Hara is confined in the guard house as a result of David¬ son’s charges, Sadie hysterically yields to the reformer’s exhortations and begins praying. Dominated by Davidson, she becomes reconciled to the idea of returning to ’Frisco and when O’Hara effects his release from the guard house and comes to Sadie, she refuses to heed his pleas to let him take her to another island and board the Sydney steamer from there. On the eve of boarding the ship for San Francisco, Sadie is informed by Davidson that he too now “sees the light,” and she doesn’t have to return to the States. Sadie fails to understand and goes to her room. Davidson, struggling with his emotions as he paces up and down in the rain, suddenly strides to Sadie’s room and closes the door behind him. The next morning S’adie is her old self, and as she comes out of her room she bitterly cries: “You men—you’re all alike! Pigs! Pigs! I wouldn’t trust one of you.” Sadie is then told that Davidson has committed suicide ; he has been found on the beach with his throat cut. “Then I can forgive him,” says Sadie. “I thought the joke was on me. I see it wasn't." O’Hara leads her away as they plan life anew in Sydney.