The Devil Dancer (United Artists) (1927)

Editors Like Biographies GILDA GRAY’S LIFE A CINDERELLA TALE The story of Gilda Gray, star of Samuel Goldwyn’s production of “The Devil Dancer” at the. Theatre is the real Cinderella tale. Born in Krackow, Poland, of hard working peasant folks, she came to America at the age of eight. First settling in Bayonne, N. J., her family later moved to the Polish colony of Cudahy, Wis., where her father worked in the packing plant. Gilda, then plain Marianna Michalska, spent an un¬ eventful childhood trudging back ^*nd forth to the local Parochial school with the kid next door, Le- nore Ulric. One New Year’s night, when Mary was sixteen, she met a political friend of her father’s, who gave her a job in his tiny restaur¬ ant. Mary was hired to sing “bal¬ lads,” but some time later, follow¬ ing the lure of a jazz tune, she found herself shimmying. For this achievement her boss “fired” her. By this time Mary had become “May Gray” for professional rea¬ sons, and working up a sister act with a girl named Mildred Vernon, found employment in a breezy Chi¬ cago cabaret. During the year that followed May Gray became a con¬ spicuous part of Chicago’s night life, introducing a score of low-down “blues songs” and novel jazz steps. Here she was “discovered” by Rosa¬ lie Stewart and brought to New York. After many disheartening adven¬ tures, Miss Gray was introduced to Sophie Tucker. That wise and jovial show-woman promptly sug¬ gested a change of name. “Make it Gilda—Gilda Gray,” she advised, and “Gilda” she became. It was early in 1919 when Gilda made her first stage appearance in the Shu- bert “Gaities of 1919,” and became an overnight “sensation.” From then on, her rise was rapid and sure. Gil Boag, the man who is now her husband, was at that time operating a string of smart supper clubs. Realizing Gilda’s possibilities as a wk night club entertainer, he engaged her to sing and dance in the Bal Tabarin. She proved a successful “find” for him and the Rendezvous, the smartest of all New York night clubs, was built for her. When Flo Ziegfeld saw that Gilda Gray and her South Sea Dance were fast becoming a fad with New York society folk, he offered her a star¬ ring contract for his 1922 Follies. After touring the country with the Follies, Gilda repeated her triumphs in Paris, Deauville and Berlin. Re¬ turning to this country, she again went on tour with a dancing act of her own, breaking box-office records everywhere. And now comes the sequel. When “Aloma” was screened in Los An¬ geles, Samuel Goldwyn was in the first night audience. Recognizing that Miss Gray had rare qualities as a picture actress, as well as a dancer, he came from the coast to sign her to a five-year contract. ^ Her first picture for Mr. Goldwyn and United Artists release, is “The De\il Dancer,” in which she has the role of a virgin devil dancer in Tibe\, located in northern India. It is from the original by Harry Her- very, author of “Congai” and “King Cobra.* GL-2—One Col. Scene (Mat 5c) HARRY HERVEY WROTE “THE DEVIL DANCER” Harry Hervey, author of “The Devil Dancer,” Gilda Gray’s first starring picture for Samuel Gold¬ wyn which comes to the . Theatre . ..., was born in Texas in 1900. In his youth Hervey began his extensive travels abroad, sojourning in Asia, Africa, Europe and South America before he had attained voting age. While he spent con¬ siderable time in each country, Her¬ vey was chiefly attracted to the Orient country. The strange modes and customs of the peculiar race appealed to his mystery complex, and he decided to learn more about it. During the interim of his trip back home Hervey related his ob¬ servations in novels which rapidly established him as a keen observer of writers who sought adventure tales in these isolated regions. Once active he produced four books and many short stories, the majority with Oriental backgrounds. His novel, “Congai,” which en¬ joyed a lengthy period as a best seller, was based on experiences gained in an expedition he led into Indo-China. For several months he studied in a Buddhist monastery in Burma, living in the homes of na¬ tives and mingling with Asiatic rulers. “The Devil Dancer” was Mr. Her- vey’s first contribution to the screen, conceived especially for Miss Gray. His latest novel, “King Cobra,” has lust been published. Between novels, Mr. Hervey will write for pictures. NIBLO DIRECTOR OF “THE DEVIL DANCER” Motion picture stars are not the only ones to claim interesting back¬ grounds. Although Gilda Gray is the star of “The Devil Dancer” at the . Theatre, Fred Niblo deserves a generous share of the credit. Fred Niblo, “Ben Hur” director, came to the screen after a long ca¬ reer on the stage, which included appearances in every English-speak¬ ing country in the world. He was born in York, Neb. His mother was a French woman and his father, who was a captain in the Civil War, was wounded at the Battle of Gettys¬ burg. His grandfather was killed on the battlefield of France and his forefathers were in Napoleon’s Army of Occupation in Moscow. A soldier of fortune in his youth, Mr. Niblo has invaded sacred pre¬ cincts in India and China. He has appeared by command before royal¬ ty. He has talked with cannibals in the Solomon Islands, lived in Zulu villages, slept in the tent of an Arab chief in the Nubian desert, explored in the swamps of Uganda, photographed the African jungle (the first man to take a camera into Central Africa), and risked a term in Siberia for taking the only moving pictures ever made within the sacred Kremlin in Moscow. Mr. Niblo was financially inter¬ ested with George M. Cohan in his first independent theatrical ven¬ tures, for three years. After this, he went on the stage, playing in musical comedies and dramas. He has written and produced a number of successful plays and has starred in “Hit-the-Trail-Holliday” and “The Fortune Hunter.” He first entered pictures as a director in 1918 for Thomas Ince. His first picture was “The Marriage Ring” with Enid Bennett and Jack Holt. Twenty- five films in two years and only thirteen in the ensuing seven years is the unusual distinction held by Fred Niblo. Among his most famous pictures are “The Mark of Zorro,” “The Three Musketeers,” “Blood and Sand”—Valentino’s greatest per¬ sonal triumph, “The Famous Mrs. Fair,” “Mother o’Mine,” “The Red Lily,” “The Temptress,” “Ben Hur,” “Camille,” “The Enemy” with Lil¬ lian Gish, and the present Goldwyn feature, “Flower of Spain,” starring Ronald Colman and Vilma Banky. Among the stars he has directed are Norma Talmadge, Douglas Fair¬ banks, Enid Bennett, Lillian Gish, Greta Garbo, Valentino, Ramon Navarro, Adolphe Menjou, Barbara LaMarr, Miss Banky, Mr. Colman, and many others. He is married to Enid Bennett and they have two children, Lois, aged six, and Peter, two and a half. His home is in Beverly Hills and he had the dis¬ tinction of starting the influx of motion picture people to this local¬ ity, Douglas Fairbanks following next. Mr. Niblo is the only director whose unique contract calls for al¬ ternation of pictures between two studios, United Artists and Metro- Goldwyn-Mayer. He is president and one of the founders of the exclusive Mayfair Club, social organization limited to motion picture people; vice-president of the Academy of CLEVER CHINESE IS AN AMERICAN GIRL The most widely-known Chinese girl in the world, Anna May Wong, who supports Gilda Gray in “The Devil Dancer” at the .. Theatre, is an American citizen by birth. She was born in Los Angeles, January 6, 1906, and received her education in the public school there until the stage claimed her at the age of fifteen. Although Miss Wong is an emi¬ nently successful player, her am¬ bitions are to extend the oppor¬ tunities of moving pictures beyond the immediate realm of Hollywood. A shrewd student of the motion pic¬ ture art which won her fame, Miss Wong is sincere in her aspiration to be a factor in bringing the screen art to the country of her forbears, China. A studden stage popularity brought Miss Wong’s unusual tal¬ ents to the attention of Marshall Neilan, and her debut in pictures was made under his direction. A distinctive type, and the beauty of her race, Miss Wong was flooded with offers, and work subsequently came regularly and from many sources. Important pictures in which she has appeared include “The Thief of Bagdad,” “Old San Francisco,” and “The Chinese Par¬ rot.” Miss Wong’s latest picture, “The Devil Dancer,” Gilda Gray’s star¬ ring vehicle for Samuel Goldwyn, finds her in the role of a devil dan¬ cer for the worshipping monks, who doom her to die. SAYS SOMETHING IS NEW UNDER SUN That there’s “nothing new under the sun” is being challenged by Samuel Goldwyn. When Gilda Gray sticks her tongue out at you frequently and oft during “The Devil Dancer” don’t consider her odd. It’s merely Goldwyn offering you a novelty. For this will be the first time the screen has shown the Tibetan substitute for the American handshake, the Latin kiss on the hand, the Fascis- ti salute, the Japanese rubbing of noses and all the other salutations which have come down through the ages. According to Harry Hervey, author of “The Devil Dancer,” at the . Theatre, sticking out the tongue is quite de riguer in the best Tibetan circles. In fact, to fail in this courtesy is a definite insult amongst the people of the famous but little known Asiatic table land. Motion Picture Arts and Science as well as one of the three founders; past president of the Director Asso¬ ciation of Los Angeles. He is Hollywood’s official Master of Ceremonies, having officiated at more affairs than any other motion picture figure. He is actively inter¬ ested in the affairs of Beverly Hills and serves on many committees. Fred Niblo takes great pride in his home life.