The Bowery (United Artists) (1933)

OPENING DAY ANNOUNCEMENTS “BOM” DRAMA FULL OF LAUGHS Enemies of Wicked ’80’s and Gay ’90’s Human and Humorous (REVIEW) The wicked eighties and the gay nineties may have been just that, but Time is a jokester and in this year 1933 A. D., the days of Chuck Con¬ nors, Steve Brodie, John L. Sullivan and Carrie Nation, with their honky tonks, their spectacular bridge jumps, their bare-knuckled fights and their saloon wrecking, are richly, deli¬ ciously and frequently riotously funny. At least, audiences at the . Theatre yesterday found “The Bowery,” the feature with which the new 20th Century Pictures launches its production program for United Artists release, good for deep- hearted laughter from the moment Chuck Connors enters the scene and gets mad because his rival Steve Brodie, has thrown rotton “mush- melons” all over the front of his saloon, to the final fade-out when Chuck and Steve, friends at last, march away to put a speedy end to the Spanish-American War. Wallace Beery and George Raft play Connors and Brodie respectively, and Jackie Cooper, completing the star triumvirate, is Swipes, a newsie who lives with Chuck until Chuck brings home a girl he rescued from some white slavers. Swipes doesn’t hold with women and with being neat and tidy, and when Chuck gives him a sound warming on the spot intended for spankings, Swipes leaves home covered with chagrin. He switches his allegiance to Brodie, but in his heart he can’t forget Chuck. In the end it is Swipes who effects a reconciliation between the two who, despite the bitter rivalry that was the sensation of the Bowery, really admire each other. Howard Estabrook and James Glea¬ son, in adapting the novel, “Chuck Connors,” by Michael L. Simmons and B. R. Solomon, have kept the characters and dialogue true to the period. There isn’t a false gesture in the picture, which Raoul Walsh has directed with his usual rugged virility. “The Bowery” is a story of the famous New York thoroughfare that was, in the ’80’s and ’90’s, what Broadway is today — only more so. It was known as “the livest mile on the face of the globe,” and you can well believe it from this picture. In those days fires were fought by volunteer brigades, but the rivalry for supremacy between the different companies was so great that the fighting was done largely with fists and the building was left to burn down. Such a skirmish is a swell laugh in “The Bowery.” The plot is motivated by Steve Brodie’s jealousy over the supremacy of Chuck Connors, saloon owner. Brodie, a gambler, thinks he would be more popular if he had a saloon, and when some brewers promise to set him up in business if he can become famous, he decides to “take a chance” and jump off Brooklyn Bridge to win glory. Fay Wray introduces romance as Lucy Calhoun, who is loved by both men. Pert Kelton has a pert role and sings “Ta-ra-ra Boom De-Ay” as naughtily as should be. The act¬ ing is excellent, as the names in the cast promise. 20th Century may well be proud of “The Bowery” — it is the best of entertainment. 20 th Century Borrows Big Stars for “Bowery” (PLAY DATE READER) For the first time since “The Champ,” Wallace Beery and Jackie Cooper are together in “The Bowery,” a romantic comedy-drama of the bad old Frankie-and-Johnnie days of New York’s famous East Side thorough¬ fare. A United Artists release pro¬ duced by 20th Century, it is the attraction today to . at the . Theatre. One of the finest motion picture casts of the year is brought together, with the united aid of four studios, in “The Bowery.” M-G-M loaned Wallace Beery and Jackie Cooper, while Paramount loaned George Raft and the Fox studios loaned Raoul Walsh, its ace director. In turn 20th Century furnished the other neces¬ sary wherewithals, including a strong supporting company headed by Fay Wray and Pert Kelton. “The Bowery” is an adaptation by Howard Estabrook and James Gleason of the novel, “Chuck Connors,” by Michael L. Simmons and B. R. Solo¬ mon. Enemies and Pals of the Bowery Wallace Beery,George Raft, Jackie Cooper in The Bowery" 1—Two Col. Scene (Mat .10; Cut .40) A story of enemies who become friends, and a newsboy waif who is the pal of both, is told in “The Bowery,” comedy drama of the Naughty Nineties starring Wallace Beery, George Raft and Jackie Cooper. It’s a 20th Century Picture for United Artists release. Beery, Raft and Jackie Cooper Real Life Characters In “The Bowery” (REVIEW) What Carrie Nation, that ardent prohibitionist of the gay nineties, called a “den of iniquity” is the scene of much of the excitement that takes place in “The Bowery,” which is one of the most refreshingly amusing comedy dramas to be screened in a long time. In fact, its fun gets hilarious and its melo¬ drama riotous. Wallace Beery, George Raft and Jackie Cooper are starred in this 20th Century Picture—their first, by the way, and an achievement to be proud of—playing at the . Theatre. Each star is provided with an equal opportunity by a story that deals with real characters who made the Bowery the “livest mile on the face of the globe” in its heydey. That day was the period of the swinging door saloon, the honky tonk, white slavers, volunteer fire brigades and such “hot” song num¬ bers as “Ta-ra-ra Boom De-Ay.” And it was the day of bustles, bangs and ruffled bathing suits for women. It was also the day of John L. Sulli¬ van and bare-knuckled ring battles, and Carrie Nation and hatchet raids on saloons. It’s all there in “The Bowery,” a story of the rivalry between Chuck Connors, saloon owner and leader of the famous street on New York’s East Side, and Steve Brodie, who never took a dare. . He even dared, so he claimed, to jump off Brooklyn Bridge knowing that, should he suc¬ ceed, his fame would eclipse Con¬ nors’. In the picture, Connors bets his saloon that Brodie can’t do it. Steve’s love for the girl Connors rescued from white slavers and other¬ wise befriended, makes doubly dra¬ matic their enmity—an enmity that winds up in friendship through the efforts of Swipes, a typical newsboy of the period, played by Jackie Cooper. Wallace Beery as Chuck Connors and George Raft as Brodie give char¬ acter portrayals that will be remem¬ bered with chuckles. Neither has ever done anything better. Raoul Walsh’s direction of “The Bowery” is vigorous and virile and extracts every bit of comedy that Howard Estabrook and James Gleason have written into their adaptation of Michael L. Simmons and B. R. Solo¬ mon’s novel, “Chuck Connors.” Fay Wray plays the banged and bustled heroine of the nineties and is sweet and meek. Pert Kelton, as a honky tonk dancer, is delightful. George Walsh, once a famous movie star, plays John L. Sullivan and looks like him. Lillian Harmer is the saloon-wrecking Carrie Nation and other roles are played by Oscar Apfel, Ferdinand Munier, Esther Muir, Tammany Young, Harold Huber and Fletcher Norton. BOWERY LOVE George Raft and Fay Wray jVThe Bowery" 7 —One Col. Scene (Mat .05; Cut .20) Steve Brodie had a habit of wanting whatever Chuck Connors had — but when he fell in love with Lucy Cal¬ houn, Chuck’s girl, the Brooklyn Bridge jumper had the grace to have qualms about taking what belonged to the other fellow. It’s all part of the drama depicted in “The Bowery,” 20th Century Picture showing at the Theatre. George Raft plays Steve, Fay Wray is Lucy and Wallace Beery is Chuck. BEER, BUSTLES “ Boivery ” Promises Robust Drama and Humor (PLAY DATE READER) Beer, bustles, bicycles, balloon sleeves—“The Bowery.” Uproarious fun, robust drama, gay nights and happy days in the wicked eighties and naughty nineties are features of “The Bowery,” 20th Cen¬ tury’s first picture, starring Wallace Beery, George Raft and Jackie Cooper, with Fay Wray and Pert Kelton, and showing today to . at the . Theatre. All the atmosphere of “the livest mile on the face of the globe,” it is said, has been preserved for “The Bowery” by director Raoul Walsh. The action of the picture also includes the Park Row approach to Brooklyn Bridge, the old Bridge itself as it was when Steve Brodie [ jumped from its center span, Brighton Beach and a score of other shots and scenes from “The Bowery” itself as it was in the days of yore. John L. Sullivan, “Chuck” Connors, Steve Brodie and Carrie Nation, four real-life characters, appear in “The Bowery,” all of them doing their stuff in approved Bowery style. Mingling with the “big shots” of the nineties are the other denizens of The Bowery—sporting men and Peacock Alley beauties, Orientals from the Pell-Mott-Doyer China¬ town; tin-horn gamblers, wire-tap¬ pers, con-game workers, sailors, Bowery bhoys and girls, bar-flies, honky tonk entertainers; and the picturesque human flotsam and jet¬ sam of the Bowery the song writers ! romanticized in by-gone decades. “The Bowery” is a United Artists release, adapted by Howard Estabrook and James Gleason from the novel, “Chuck Connors,” by Michael Sim¬ mons and B. R. Solomon. Giddy Days ‘ Bowery 9 Romantic Comedy Of ISaughty East Side (PLAY DATE READER) “The Bowery,” first picture from the new 20th Century Pictures com¬ pany, will be the attraction today to . at the . Theatre. It stars Wallace Beery, Jackie Cooper and George Raft, with Fay Wray and Pert Kelton appearing in the principal feminine roles. Adapted by Howard Estabrook and James Gleason from the novel, “Chuck Connors,” by Michael L. Simmons and B. R. Solomon, “The Bowery” is a romantic comedy-drama of New York’s naughty East Side thorough¬ fare in the giddy days of the wicked old eighties and tlie gay nineties. The characters in the story are taken from real life, including such famous figures as Chuck Connors, known as the “Mayor of Chinatown”, Steve Brodie, who jumped Brooklyn Bridge; Swipes, a newsboy; Carrie Nation, reformer; and John L. Sullivan, pugil¬ ist. Raoul Walsh directed. BRODIE JUMPS Famous Jumper of Brook¬ lyn Bridge in “Boivery ” (PLAY DATE READER) “The Bowery,” roaring romance of bad old New York in the ’80’s and ’90’s, again revives the dispute of bygone days— Did Steve Brodie jump from Brooklyn Bridge or was his jump a phoney? “The Bowery” brings back to life many of the real characters of the Bowery days. Wallace Beery, George Raft and Jackie Cooper, its three stars, play, respectively, Chuck Con¬ nors, Steve Brodie and Swipes, the newsie. George Walsh plays John L. Sullivan, Lillian Harmer is Carrie Nation, Fay Wray is Lucy Calhoun, rescued from white slavers, and Pert Kelton is Trixie, the Bowery Queen. In “The Bowery” Steve Brodie again does his jump from the Brook¬ lyn Bridge, Chuck Connors’ famous honky tonk is seen going full blast, John L. Sullivan fights his fights and the girls of the Bowery Beef Trust have their fling. The . Theatre is pre¬ senting “The Bowery” today to . It is the first pro¬ duction of the new 20th Century Pictures Company, releasing through United Artists. Raoul Walsh directed from the scenario by Howard Esta¬ brook and James Gleason. It is an adaptation of the novel, “Chuck Connors,” by Michael L. Simmons and B. R. Solomon. Real Characters and Incidents in “Bowery” (PLAY DATE READER) “The Bowery,” new attraction today to . at the . Theatre, welds together scores of actual incidents from life on the New York Bowery during the ’80’s and ’90’s. George Raft as Steve Brodie jumps again from Brooklyn Bridge; the saloon of Chuck Connors, played by Wallace Beery, is raided by Carrie Nation; John L. Sullivan fights one of his bare-fisted battles again; fire breaks out in Chinatown—and war with Spain is declared. Even Swipes, the newsie, is there, played by Jackie Cooper. “The Bowery” is the first picture from the new 20th Century Pictures studio in Hollywood. Raoul Walsh directed and United Artists released. Fay Wray and Pert Kelton supply the heart interest. Wrecks Den of Iniquity Carrie Nation, famous prohibi¬ tionist who, in the gay nineties, used to march into saloons with an army of ardent “dries” and wreck the “dens of iniquity” with hatchets, is seen in the act of destroying in “The Bowery,” United Artists release star¬ ring Wallace Beery, George Raft and Jackie Cooper at the . Theatre. Lillian Harmer impersonates the famous anti-saloon crusader. Three Studios Loaned Stars For “ Bowery 99 (PLAY DATE READER) Much as neighbors, friends and relatives sometimes assist at a house¬ warming by bringing gifts, so M-G-M, Paramount and Fox gra¬ ciously came to the aid of the new 20th Century Pictures Company, which started out in life without stars and other accessories of picture making. For “The Bowery,” their initial production for release by United Artists, M-G-M offered the services of Wallace Beery and Jackie Cooper, the two stars of “The Champ.” Paramount accommodatingly loaned George Raft, and Fox contributed its ace director, Raoul Walsh, maker of “What Price Glory,” “Sadie Thomp¬ son” and “The Cock-Eyed World.” Wallace Beery is cast as the famous Chuck Connors, saloon and honky tonk proprietor and the most popu¬ lar man on the Bowery. George FLaft plays Steve Brodie, who was so jealous of Connors’ popularity that he jumped off Brooklyn Bridge in a bid to out-rival Connors in fame. Jackie Cooper is the newsie, Swipes, pal and protege of Connors until a girl, played by Fay Wray, brings about a misunderstanding. Pert Kelton, who stole the show in “Bed of Roses,” her first picture, plays a dance hall queen. Two other famous characters por¬ trayed in “The Bowery” are John L. Sullivan and Carrie Nation. George Walsh, brother of Raoul Walsh, is said by old-timers to greatly resemble the Boston “Strong Boy.” Lillian Harmer is seen as Carrie Nation, who smashed saloons all over America with her little hatchet. “The Bowery” was adapted by Howard Estabrook and James Gleason from the novel, “Chuck Connors,” by Michael L. Simmons and B. R. Solomon and is the attraction today to . at the . Theatre. Steve Brodie’s Barber Cut George Raft’s Hair (CURRENT STORY) The same hand that cut the hair of Steve Brodie after he jumped the Brooklyn Bridge, cut the hair of Hol¬ lywood’s Steve Brodie—George Raft. Raoul Walsh, who directed “The Bowery” and who was a fighter in days when the Bowery was the center of New York’s night life, was dissatis¬ fied with the style of haircut when Raft, portraying Brodie, showed up. The Raft side-burns had been elimi¬ nated, but Walsh felt there was some¬ thing more to be done and sent for a research expert. “I used to cut Steve Brodie’s hair,” volunteered a man among the 200 ex¬ tras on the set. “I think I could do it again.” So Raft’s hair was trimmed to the style of the Gay 90’s by Fred Grady, now a film extra but, in his early youth, a barber on the old Bowery. “I was a barber once myself,” Raft admitted. “The first job I had as a kid was in my uncle’s barber shop not far from the Bowery.” That was after the time of Steve Brodie, who died in 1901. Grady opined that Raft was not unlike the man of his role before he became famous and fat. “The Bowery” is the United Ar¬ tists release that is providing laughs and excitement for audiences at the .Theatre. Wallace Beery and Jackie Cooper are starred with George Raft. BOWERY SLANCUACE In preparing the script of “The Bowery,” 20th Century Picture starring Wallace Beery, Ceorge Raft and Jackie Cooper, Howard Estabrook and James Cleason wrote the dialogue in the ver¬ nacular of the Bowery at the time Steve Brodie jumped the Brooklyn Bridge. Cleason, noted for the breezy colloquialisms of his stage plays, took the expressions popular in that day and compared them with slang current today, with the fol¬ lowing results: Spondulix—Ceetus, or Potatoes. 23 Skidoo—Take the air. Co roll your hoop—Scram. On the blink—Haywire. Oh, you kid—Hi, baby. Let’s sashay—Let’s struggle. Beat it—On the lam. Breadbasket—Elly-bay. Pugs—Palookas. Co roll your hoop—Am-scray. Fly the coop—Take a powder. Hoodoo—Jinx.