Stella Dallas (United Artists, 1937) (1937)

BIOGRAPHICAL AND PERSONALITY STORIES •PUBLICITY Barbara Stanwyck Steps From Dancing to Drama Barbara Stanwyck Recreates Famous Role in G o I d w y n Film Has Biggest Role in Samuel Goldwyn’s “Stella Dallas” Here is Barbara Stanwyck as she appears in the title role of Samuel Goldwyn’s ^‘Stella Dallas,” now at the .... Theatre. Miss Stanwyck’s portrayal of the vulgar, tawdry woman who was capable of a mag¬ nificent, unselfish love and sacri¬ fice, is considered the finest indi¬ vidual performance of the year. “Stella Dallas” is a United Artists release. 12—One Col. Star (Mat .10; Cut .25) Goldwyn Trade Wins Alan Hale Big Role An unusual arrangement for the interchange of two important play¬ ers which was negotiated between Samuel Goldwyn and Sam Briskin, head of RKO, won fat role for Alan Hale. Telephoning from Tucson, Ari¬ zona, where he was vacationing. Goldwyn obtained from RKO a re¬ lease from a commitment for Alan Hale, who thus was enabled to take the second leading male role in “Stella Dallas,” which is booked for showing next week at the .... Theatre. Hale was to have gone in RKO’s “New Faces” but Briskin agreed with Goldwyn that the role of “Ed Munn” in “Stella Dallas,” which elevated Jean Hersholt to screen fame when he played that part in the silent version in 1925, was a “great break” for Hale and that nothing should interfere with his doing it. In return, however, Goldwyn gave Briskin his newest "find,” Jerome Cowan, who made a suc¬ cessful debut in “Beloved Enemy” and who just finished an im¬ portant role with Fred Astaire in “Shall We Dance,” also under loan-out .from Goldwyn to RKO. Cowan played the Hale part in “New Faces.” Alan Hale appears with Barbara Stanwyck, who portrays the title role of “Stella'Dallas,” John Boles and Anne Shirley in Goldwyn’s emotional classic of the screen, which is released through United Artists. Although Barbara Stanwyck first expressed her theatrical yearnings at the age of eight by dancing at benefits and concerts, and at six¬ teen had made her professional debut as a dancer at the Strand Cabaret on Broadway, it was her acting ability that first commanded attention. Her ability as an actress was soon recognized by such stage pro¬ ducers as Ziegfeld, Willard Mack and Arthur Hopkins and the lead in “The Noose” and “Burlesque” supplanted the dancing. A succession of starring roles in pictures followed and her out¬ standing performances in numer¬ ous screen hits inevitably lead to her selection by Samuel Goldwyn for the title role in his emotional classic, “Stella Dallas,” in which she is now appearing at the . . . . Theatre. “Stella Dallas” was directed by King Vidor and includes in the cast John Boles, Anne Shirley and Alan Hale. It is released through United Artists. Alan Hale in “Stella Dallas” 14—Thumbnail (With Anne Shirley) (Mat .10; Cut 25) PERSPIRATION... But Not Honest Honest perspiration has no standing in Hollywood; it doesn’t photograph well. What’s more, it hasn’t the staying qualities that the make-up man’s brand has. It would be silly to suggest that the actor work up a new set of sweat beads for each take. That would require time, a commodity that has a much higher value in Hollywood than elsewhere. Be¬ sides, the make- up man can produce a con¬ vincing sweat with ease. There is no exertion re- quired. Alan Hale in his part in “Stella Dal¬ las” which opens at the .... Theatre on . . . ., is re¬ quired to dis¬ play a con¬ stantly beaded row. When it is necessary for Hale to go on the set, he merely calls for make¬ up artist Norman Pringle. While Hale reclines, completely at ease, Pringle sprays the result of honest toil over his face. Hale then leaves for the set and for hours he has that same beaded appear¬ ance. The concoction is composed of two parts witch hazel, one part mineral oil and one part glycerine. “It’s the perfect perspiration.” Pringle declares. “Applied with the ordinary fine-spray atomizer, it settles into beautiful little beads and stays put indefinitely. “The plain mineral oil we for¬ merly used smeared and looked greasy. The new formula hasn’t a single drawback. “The witch hazel in the spray causes the oil and glycerine to form in bubbles as soon as it is applied. It will remain over make- ) for hours at a time, always presenting the same appearance.” So it is that Mr. Hale sweats with the greatest of ease. He is pleased with the effect since it en¬ ables him to look like a hard working man without having to raise a finger. The effect is so realistic that he often catches him¬ self in the act of mopping his face. When he does, it merely means another call for Mr. Pringle and his atomizer. Mr, Hale had another make-up problem, but he took care of that himself. “When Mr. Goldwyn called me to enter the cast of ‘Stella Dallas,’ I was offered a part in another picture. In ‘Stella Dallas* I was supposed to present a stout appearance with short cropped hair. In the other role, it was necessary that I be lean, with rather longish hair. It was im¬ possible for me to jump from one extreme to another, so I solved the problem in the simplest way. I dropped the other part and took the one in ‘Stella Dallas.’ ” Page Sixteen JOHN BOLES John Boles wins new honors for his splendid work opposite Barbara Stanwyck in the Goldwyn classic, “Stella Dallas,” the United Artists release now at the .... Theatre. 10—One-Col. Star Head (Mat .10; Cut .25) The War Decided John Boles’s Career (BIOGRAPHICAL FEATURE) A trick of fate changed the en¬ tire course of John Bales’ career. From the time he was a little fel¬ low, his parents were intent on making a doctor out of him. The war, curiously enough, was respon¬ sible for turning him into a singer and subsequently a movie star. The actor, who makes his latest appearance opposite Barbara Stan¬ wyck in Samuel Goldwyn’s pro¬ duction of “Stella Dallas” at the . . . . Theatre on ... . was born of a wealthy family in Greenville, Texas. John graduated from the Uni¬ versity of Texas and was preparing to enter Johns Hopkins University for his medical course when America entered the world conflict. He decided that there were plenty of doctors as it was, and joined the army instead. On April 6, 1918, he landed in France with the A.E.F., and for 20 months worked with the criminal intelligence bu¬ reau of his unit in Germany, Bul¬ garia and Turkey. In a Y.M.C.A. hut in Havre one night John gave the boys a stirring rendition of “Roses of Picardy.” To say that they liked it is putting it mildly; they were wild about it. They de¬ manded more—and more. It was the young man’s first experience before a large audience and the thrill of it kindled a new ambition. Demobilization failed to swerve him from his resolve, and he in¬ formed his_ parents that he was through with medicine and was going to New York to train his voice. First under Oscar Seagle in Manhattan and later (on money borrowed from his indulgent father) with Jean de Reszke in Paris, John’s voice developed into a full, rich tenor. He returned to America. In his mind’s eye he al¬ ready saw his name in lights on Broadway. But such was not to be his lot for a while. After waiting in countless cast¬ ing offices and interviewing numer¬ ous producers, all of whom liked his voice but were dubious about sponsoring an unknown. Boles ob¬ tained an interview with an as¬ sistant of Lawrence Weber. The audition was a success. In “Little Jesse James,” a musical comedy hit of its days, he was an over¬ night sensation. His father and mother were no less pleased than he. “You were right, John,” thev wired him, “and we were wrong. We’re very happy for you.” With Geraldine Farrar in “Romany Lovp Spell” and in “Mercenary Mary” and “Kitty’s Kisses.” John con¬ tinued to score heavily. When, in the first chaotic days following the discovery of sound, Hollywood was grabbing as many stage players as it could get, Boles received an offer to appear in the screen version of “The Desert Song.” Subsequently he appeared in scores of pictures, and gradually the complete transition from singer to dramatic actor took place, until he was in demand more in the latter capacity than the former. His singing now is done Barbara OWeil Takes Step Towards Stardom St. Louis Debutante, New Goldwyn Discovery, Makes Screen Debut in “Stella Dallas” (BIOGRAPHICAL FEATURE) Barbara O’Neil is a star in the making-. Like millions of other girls throughout the world, Barbara has always wondered by what process a girl—a normal, attractive, everyday girl—be¬ comes a star. And now she’s finding out. number of Broadway stage roles in which she acquitted herself handsomely, pointed the way un¬ mistakably to Hollywood. For the quickest way to attain screen rec¬ ognition is still the theatre. Barbara, who is 26, black haired, brown-eyed and statuesque, and has a natural flair for wearing her clothes with distinction, was a St. Louis debutante—granddaughter of the late Mrs. Henry O’Neil of that city. Social activities never held any special charms for Barbara, and nothing her family could do or say would dissuade her from the footlights. Barbara joined the famous sum¬ mer stock company at Falmouth, Mass., which cradled such film luminaries as Margaret Sullavan, Henry Fonda, James Steward, and others. From Falmouth, where she showed very definite promise and gained experience in a variety of roles, Barbara went to Broadway. Small parts led to bigger ones. In the stage play “Parnell” she was enthusiastically acclaimed by critics and public. Her big chance came when the Theatre Guild of¬ fered her a part in “Jane Eyre” with Katharine Hepburn. While the play was on tour in one of the large Eastern cities, a Samuel Goldwyn talent scout spotted her and asked her to fly to Hollywood to make a test for a role in “Stella Dallas,” the Samuel Goldwyn pro¬ duction which brings Barbara Stanwyck, John Boles and Anne Shirley to the .... Theatre . . . . Over the weekend Barbara flew to the Coast, made the tests, and re¬ turned to join the company for the Monday night performance. She is still dizzy from that weekend! “Helen Morrison,” the character which Barbara portrays in “Stella Dallas,” was originally played by Alice Joyce in the silent version of the Samuel Goldwyn production made twelve years ago. Too Much Tennis For Anne Shirley In Film Match Hollywood probably harbors more tennis enthusiasts than any other city of equal size in the world but henceforth Anne Shirley will not be among them. The red- haired screen actress concentrated enough tennis in one strenuous three-hour session before the cameras for Samuel Goldwyn’s “Stella Dallas” currently showing at the^.... Theatre,' to last her a lifetime. With athletic Tim Holt as her opponent. Miss Shirley had to win a hot match and make the victory look realistic. Not one of the film colony’s outstanding players, she had prepped faithfully for the en¬ counter. Young Holt, however, is a better than average racket wielder and Director King Vidor, himself an ace of the courts, re¬ fused to let him ease up appre¬ ciably in the “Stella Dallas” match. The first time he outscored Anne in a smashing placement he apolo¬ gized but Vidor spoke up quickly. “Nice stuff,” he said, “even if it is the wrong story. Keep it up, those shots will look good in the picture.” The fact that the match was played on the court of a private estate in Pasadena, one of Holly¬ wood’s warmer neighboring cities during the hottest hours of a broil¬ ing day, didn’t add to Miss Shir¬ ley’s enjoyment. After one par¬ ticularly torrid rally, Vidor was moved to compassion. “You look tired, Anne. Want a rest?” “No,” countered Anne, “what I want is a double.” The match finally ended wijh the script ■ chronicled Shirley vic¬ tory. Anne solemnly handed her racket to an extra girl. “You can keep it,” she said. “I’ll never want it again!” “Stella Dallas’’ is released through United Artists. Al Shean of ‘^Gallagher and Shean” Fame Featured in Goldwyn Film ^^Stella Dallas’’ “Absolutely Mr. Gallagher, Posi¬ tively Mr. Shean” go the words of the song that brought fame and fortune to Al Shean. Always a good comedian, and popular on vaudeville and musical comedy stages, it wasn’t until the introduction, in 1922 of “Mr. Gal¬ lagher and Mr. Shean” that his name became a household word the world over. Al Shean is THE Mr. Shean, the man who, in music and lyric, saved rowboats instead of drowning women. Now that fifteen years have passed he’s still THE Mr. Shean, but no longer of the vaudeville and musical comedy stage. He’s turned to the movies and has one of his fattest roles in Samuel Goldwyn’s “Stella Dallas” with Barbara Stanwyck and John Boles, which is scheduled for early show¬ ing at the .... Theatre. The story of the famous song is one which Shean never tires of telling. It marked the healing of a silly breach between himself and the late Ed Gallagher and sent them both on the way to a for¬ tune that music seldom makes. Gallagher and Shean had done a partner act on the stage from 1910 to 1914, then like a lot of tempera¬ mental performers, let a disagree¬ ment split them. Shean doesn’t know yet what the argument was about, exactly, but it sent each out on his own. It wasn’t until six years later that Shean’s sister got the two to¬ gether at a dinner party. They shook hands and all—whatever it was—was forgiven. They brushed up their act and Shean and Bryan Foy, a vaudeville-actor friend who is now a movie producer, wrote an introductory number for the turn. Shean wrote the music, Foy the verse, and it was called “Two Horsemen of the Eucaluptus.” “It was a catchy little thing,” Shean recalls, “and our audiences seemed to like it better than any other part of our act. Gallagher and I gradually enlarged on the lyrics and music, pretty soon it had developed into “Mr. Gallagher and Mr. Shean.” “Then the song completely over¬ shadowed the act and in 1923 Zieg¬ feld put us in his Follies simply to sing it. We stayed 67 weeks with that show—an unprecedented rec¬ ord.” In the meantime the sheet music and record sale of the number had reached astounding proportions and for a couple of years the partners each averaged close to $2000 a month from the proceeds. Very gradually the proceeds fell off, but now, a decade and a half later, Al Shean is still receiving royalties. Shean came to the movies in 1924 when Twentieth Century-Fox cast him in “Music in the Air” to play the role he had created in the show’s stage production in New York. He’s been in pictures ever since. His most important role to date is in Samuel Goldwyn’s “Stella Dallas,” with is released through United Artists.