The Devil Dancer (United Artists) (1927)

A Page of Shorts GILDA GRAY’S RECIPES Gilda Gray, star of “The Devil Dancer,” at the . Theatre, is in private life Mrs. Gaillard T. Boag. She has a home in New York and Hollywood, and does most of her own cooking. Here are some of her recipes: V Egg Foo Yung 6 eggs 2 onions y 2 lb. fresh beef or pork. ^ 1 lb. water chestnuts Slice onions; water chestnuts and pork in fine lengthwise pieces. Mix in beaten eggs and season to taste. Fry like pancakes. This is the simplest Chinese recipe of them all. It’s a delicious luncheon dish. Tropical Cocoanut Pudding 4 tablespoonsful pearl tapioca 1 cup grated cocoanut 2 tablespoonfuls sugar 1 quart milk 4 eggs Wash tapioca, cover with cold water and let stand over night. Next morning add the milk, and cook in double boiler at least ten minutes. Beat the egg yolks and sugar to¬ gether; add this mixture to milk and half of the cocoanut. Cook for five minutes longer. Take from fire and when cold, turn into a shallow glass dish. Beat egg whites until light. Add four tablespoonfuls of powdered sugar and beat again. Spread this over the top and sprinkle over the remaining portion of the cocoanut. Put a piece of thick paper around the dish and run into a quick oven until slightly browned. Curried Chicken Bombay 1 chicken 1 Spanish onion 1 tablespoonful butter 1 teaspoon cumin seed 1 tablespoon curry powder 1 teaspoon salt 1 cocoanut 2 pinches green ginger root Remove the shell and grate the cocoanut. Place in bowl and pour over one pint boiling water. Let it cool, stir well and wring dry through a cheese-cloth. Place the milk thus obtained aside. Add an¬ other pint boiling water to the cocoanut fibre, wash and strain it again, then throw the fiber away. Butter is heated in a saucepan, and ^ the chicken added; shake and turn until the chicken is nicely browned, * then add the onion. Cook five min¬ utes, add salt, then ginger. Cook five minutes longer, then add the cumin and last the curry powder. Put all these ingredients in dry. Fred Niblo, director of Gilda Gray in “The Devil Dancer,” at the. .theatre, is the same man who made “Ben Hur,” Douglas Fair¬ banks’ “The Three Musketeers,’ Rudolph Valentino’s “Blood and Sand,” Lillian Gish’s “The Enemy,’ and Norma Talmadge’s “Camille.’ Niblo followed his work on “The Devil Dancer,” a Samuel Goldwyn Production, with “Flower of Spain,” the final Ronald Colman-Vilma Banky co-starring Samuel Goldwyn film. Goldwyn is starring them in¬ dividually thereafter. Gilda Gray, star of “The Devil Dancer,” at the . theatre, .. was bap¬ tized Marianna Michalska. Her classmate in a parochial school in Milwaukee was a little girl named Lenore Ulric. Their friendship en¬ dures to the present day, each be¬ ing a public favorite in her field. Michael Vavitch, who plays the villainous Hassim in Gilda Gray’s “The Devil Dancer,” at the. theatre, was also seen in “Resur¬ rection,” “Douglas Fairbanks as the Gaucho,” and “Two Arabian Knights,” and Norma Talmadge’s **The Dove.” There are two screen debuts made in Gilda Gray’s “The Devil Dancer,” at the . theatre, this week. Serge Temoff, a Russian refugee who came to Samuel Gold- wyn’s studio and offered his services as a dancing instructor; and Ur a Mita, wife of Sojin, the Japanese character actor, are the beginners. Mrs. Sojin acted on the Japanese stage for some years. Cover the saucepan and cook gently for one hour or until chicken is tender. Put one tablespoon of rice powder in bowl and gradually, mix¬ ing all the while, add the first wash¬ ing of the cocoanut. Add to the chicken, cover sausepan, simmer 30 minutes longer and it is ready to serve. Serve with boiled rice and baked bananas. Gilda Gray Chutney 1 pound almonds 4 pounds green mangoes y 2 pound green ginger y 2 pound salt 2 pounds raisins 2 ounces garlic (if desired) 3 pounds brown sugar 1 pint vinegar 2 ounces chillies Mix salt and sugar with mangoes, stand aside over night; then add all other ingredients; put them at once into wide-mouthed bottles and stand aside in the sunlight for two weeks. The mangoes should be peeled, skinned and grated; the almonds blanched and pounded to a paste; the ginger scraped and sliced. It was Sophie Tucker who told May Gray (nee Marianna Michal¬ ska) to change her name to Gilda Gray. That’s why the star of “The Devil Dancer” at the. theatre, has the euphonic name of Gilda Gray. Prayer wheels are spun in Gilda Gray’s “The Devil Dancer,” bells are clanged, incense is swirled heaven¬ wards, and Willy Pogany’s towering sets of Tibetan temples serve to com¬ plete the atmospheric setting of the Samuel Goldwyn Production at the . Theatre. Clive Brook is Gilda Gray’s leading man in her first Samuel Goldwyn Production, “The Devil Dancer,” at the.Theatre. Harry Hervey, author of the orig¬ inal screen story, “The Devil Dan¬ cer,” which is Gilda Gray’s new film, at the.Theatre, spent sev¬ eral years in Tibet. Sets, customs and characters in the film are, there¬ fore, authentic. Willy Pogany de¬ signed the sets. Fred Niblo directed the picture. Fred Niblo, director of Gilda Gray’s “The Devil Dancer,” has di¬ rected Douglas Fairbanks, Norma Talmadge, Rudolph Valentino, Lil¬ lian Gish and many other big stars. He made “Ben Hur,” “Camille,” “Blood and Sand,” “Three Muske¬ teers” and “Mark of Zorro.” His latest film, “The Devil Dancer,” is the feature at the.Theatre. Gilda Gray likes happy endings, she says. That’s why “The Devil Dancer,” at the . theatre, lives happily ever after.' Is the Nautch a naughty dance? Is the Devil Dance devilish? What’s black about the Black Hat? The answers will be on view in Gilda Gray’s new film, “The Devil Dan¬ cer,” at the . theatre. Clarissa Selwynne, who was Rod La Rocque’s mother in “Resurrec¬ tion,” is Clive Brook’s sister in “The Devil Dancer,” the new Gilda Gray film which comes to the. theatre. According to Gilda Gray, it’s not good form to shake hands in greet¬ ing a friend in Tibet. As her new film, “The Devil Dancer,” at the . theatre, makes clear, it’s fashionable in those parts to stick your tongue out in saying “Hello.” Michael Vavitch plays the villain¬ ous Hassim, leader of the nautch dan¬ cers troupe, in Gilda Gray’s “The Devil Dancer,” at the . Theatre. Clarissa Selwynne, who plays Isabel Guthrie, Clive Brook’s screen sister in the.Theatre, was cast as Gilda Gray’s “The Devil Dancer,” at Rod La Rocque’s mother in “Resur¬ rection” after Queen Marie of Ru¬ mania had declined an offer of $25,- 000 for a single day’s work in that role. Gilda Gray, who gave the world the “shimmy” and a score of other dances, introduces the “devil dance” in her new film at the . Theatre, “The Devil Dancer.” It is in a temple in Tibet that Gilda does the devil dance, a mask being m- ployed at the very beginning of the wild caprice. Samuel Goldwyn added another star to his roster, which already in¬ cluded Vilma Banky and Ronald Col- man, when he signed Gilda Gray to make “The Devil Dancer,” current film at the.Theatre. Mr. Goldwyn brought out the talents of Lois Moran and Belle Bennett in “Stella Dallas.” Samuel Goldwyn, Gilda Gray, Fred Niblo, Harry Hervey, Willy Pogany, Alice D. G. Miller, George Barnes,— these big names were concerned in the making of “The Devil Dancer,” Gilda’s new film, now at the. Theatre. Each dominates in a sepa¬ rate field, either as producer, star, director, author, artist, scenarist or photographer. Mary Pickford, Norma Talmadge, Gloria Swanson, Corinne Griffith, Vilma Banky, Dolores del Rio and now Gilda Gray in Samuel Goldwyn’s “The Devil DaAcer,” at the. Theatre, are the women stars whose pictures are released by United Artists. Gilda Gray says it isn’t easy to become a great dancer, that years of wearying practice are necessary, that it took her two months to per¬ fect the Devil Dance which she in¬ troduces in “The Devil Dancer,” her new film, at the . theatre. She says that grace and rhythm in execution of new dances are attained only by mastery of the mechanics of steps and the half¬ beats of time. Which seems to be the equivalent of Joseph Conrad’s statement that style in literature is the result of incessant and laborious writing and re-writing. Willy Pogany, famous Hungarian artist, mural painter, and set de¬ signer, was commissioned by Sam¬ uel Goldwyn to create the sets for Gilda Gray’s first Samuel Goldwyn Production, “The Devil Dancer,” at the . theatre. Pogany’s sets are said to be an in¬ novation in film scenery.