The Devil to Pay (United Artists) (1930)

Let the news sections of your paper work for you by using this copy PUBLICITY SECTION The more the fans read about the picture the greater is their interest ANOTHER "DIFFERENT TYPE” SCREEN PLAY New Colman Seen in COLMAN SAYS POPULARITY ACCIDENTAL; CHALLENGES RONALD COLMAN’S GENIUS "The Devil to Pay” GRATEFUL TO PUBLIC FOR HIS SUCCESS Famous Star’s "The Devil to Pay” Presents Him in a Playboy Characterization that Calls for Deft Portrayal Lovers of talking pictures are wont to make special note of each Ronald Colman picture. He has the happy faculty of pre¬ senting with every new release the personality that they love, but in a markedly different guise. Nor will they be disappointed when they see his latest vehicle “The Devil to Pay,” a comedy drama by Frederick Lonsdale, that comes to the. Theatre. A list of the temperamental geniuses of the cinema whose plaint is that they never get a good story, could never include the name of Ronald Colman; and if ever he did find himself cast in an unworthy screen play, there is little doubt that he would make his own role in it an outstanding example of what a really fine actor could make of even poor material. Dramatist Frederick Lonsdale re¬ veals a hidden side of Ronald Col- man’s character in the star’s latest picture, “The Devil To Pay,” which comes to the .1. Theatre on . Ronald Colman is thought by casual acqaintances to be cold and forbidding—the very opposite of the playboy role in which he is cast by the author of “The Devil To Pay.” But even those who know him only as a shadow on the screen can detect in his emotional make-up the kindli¬ ness, the cheerful, happy-go-lucky, why-worry temperament that he portrays so well in his latest pro¬ duction. Famous Picture Star of "The Devil to Pay” Is Modest—Thinks Cinema Patrons Have Been Good to Him “No actor in Hollywood has ever done anything important enough to be conceited about it.” Ronald Colman leaned back in the swivel chair at his desk in his studio dressing room and made the statement dispassion¬ ately. He meant it. It was, in a sense, his philosophy, and the reason—and a very good one, too—for his success in motion pictures. The dressing room suites of the stars are supposed to reflect their personalities. Perhaps they do. The studio home of Ronald Colman consists of a living room, kitchenette, dressing room and shower. In the dressing room are the big mirrors, huge wardrobes and dressing table lamps that are necessary to the profession. The walls are stained a light tan and the room has an atmosphere of practicability and simplicity. Happily, the idol of millions of talkie lovers may cross that bridge when he comes to it. _ Never a V, glimpse has he had of it as yet. ' Beginning with 'his first American screen appearance in “The White Sister,” on through a long list of romantic plays with Vilma Banky], starting with “The Dark Angel”; to his incomparable “Beau Geste,” “The Rescue,” and “Bulldog Drum¬ mond,” down to his more recent “Raffles,” and the current comedy- drama, his stories have been good. Ronald Colman’s genius, giving him perfect mastery, of his. every role, have enabled him to rise tri¬ umphantly above every story, cast, direction, or any other of the mul¬ titudinous elements that enter into motion picture production. ^ In again ringing the bell, so to speak, in “The Devil To Pay,” he is most fortunate in all these particu¬ lars. A lavish Samuel Goldwyn pro¬ duction, set in Colman’s loved Lon¬ don atmosphere, supported by a fine cast of players, together with a screen story and witty dialogue by a famous playwright who is a per¬ sonal friend of the star as well; all these important factors combine in making Ronald Colman’s latest pic- 1 , ture rank with his best. In short, under the direction of the inimitable George Fitzmaurice, Samuel Gold¬ wyn is about to launch another Col¬ man triumph. As a happy-go-lucky, scapegrace prodigal son, the talking screen’s “best loved lover” proves his mastery of sophisticated modern comedy drama. Playing opposite the star is Lor¬ etta Young, who though young in years as in name, is already an es¬ tablished screen player. Starting her career in pictures as a child, she withdrew for a number of years to complete her education. She will be remembered as the lead with Lon Chaney in “Laugh, Clown, Laugh,” and for her work in, among others, “The Squall,” “Loose An¬ kles,” “The Forward Pass,” and “Fast Life.” In “The Devil To Pay,” Miss Young plays a breezy young heiress, in love with, and loved by, Colman. . The third of the play’s amusing triangle in the picture is Myrna Loy, who brings to the role the re¬ quired pulchritude, an unquestioned acting ability, and the experience of good parts in “The Blalck Watch,” “Don Juan,” “The Squall,” and “Cameo Kirby.” Every prodigal son must have a father, and since in this instance the parent was a typical Britisher, mas- T ter in his own house, no happier selection for the part could have been made than that of Frederick Kerr. This fine English actor who’ has appeared in more than 200 orig¬ inal productions on the English and American stages, was brought to Hollywood from New York espe¬ cially. for this important role. Miss Young’s screen father is no other than David Torrence who, before his successful picture accom¬ plishments ornamented the speaking stage in support of Richard Mans¬ field, Julia Marlowe, George Arliss, and Jane Cowl. He has appeared on the screen in “Inside the Cup,” “The Light That Failed,” and many others, including “Tess of the Storm Country,” with Mary Pickford. In the minor roles are those ca¬ pable players, Paul Cavanagh, Flor¬ ence Britton, Mary Forbes, and Crawford Kent. “The Devil To Pay,” described as sophisticated comedy drama, is an original screen play, both story and dialogue having been written by Frederick Lonsdale, whose popular¬ ity in his native England bids fair to be seriously rivalled by his grow¬ ing American acclaim. Widely known to stage devotees as the au¬ thor of “Aren’t We All?”, “Spring Cleaning,” “The Last of Mrs.. Ghe- ney,” and other smart comedies.in r the modern manner, he was partic¬ ularly well fitted to produce a screen drama for Ronald Colman, a friend of many years. The customers will walk out talking about it—and howl. M. P. NEWS QjynnkL Qatnan, Star of "Qhe DeuiL to Vac£^ SAMUEL GOLDWYN A talker that is fast — and smooth throughout — with plenty of name draw. 10—One Col. Star Head (Mat 05c; Cut 30c) presents Ronald Colman “The Devil To Pay” with Loretta Young Screen Play and Dialogue by FREDERICK LONSDALE UNITED ARTISTS PICTURE DIRECTOR -George Fitzmaurice Film Editor_Grant Whyttock Assistant Director-H. B. Humberstone Sound Engineer _ Fred Marr Dialogue Coach-Ivan Simpson _ . Photography.. _ George Barnes and Gregg Toland Story by-Frederick Lonsdale Art Director-Captain Richard Day Adapted to screen by-Benjamin Glazer THE Ronald Colman_Willie Leeland Loretta Young_Dorothy Hope Florence Britton-Susan Leeland Frederick Kerr_Lord Leeland CAST David Torrence_Mr. Hope Mary Forbes_Mrs. Hope Paul Cavanagh_Grand Duke Paul Crawford Kent_Arthur Leeland THE STORY Lord Leeland is amazed when, one morning, he picks up his paper and reads that his adventurous son, Willie, has auctioned off all the furniture and belongings he had given him two years previously, to make a living in South America; and that he is on his way home to London as carefree and irresponsible as ever. The young scapegrace has long tried, the patience of his father, who at this latest escapade is furious, and swears that he will cut Willie off without a penny. Arriving in London, Willie spends fifteen of his last twenty pounds on a handsome terrier dog, to which he gives the name of "George.” With the remaining five he takes Mary Crayle, an actress with whom he once had a romantic affair, gayly off to dinner. Sending his luggage on to his home so that his father can vent at least some of his anger on that instead of himself, he settles down to a happy evening with Mary. At nine the next morning he turns up at the parental man¬ sion, interrupting his father’s angry lecture by eating his break¬ fast and chatting with Dorothy Hope, a friend of his sister Susan, and a guest for the day. He falls suddenly in love for the first time in his life. No one can be really angry at Willie for long, and after a stormy interview in which Willie has all the best of it, his father, instead of disinheriting him, gives him a hundred pounds which Willie promptly bets on a winner at the Derby. Motor¬ ing to the race meet in a smart car, with Susan and Dorothy at his side, he spends a glorious day. That night, Mr. Hope, Dorothy’s father, an aspiring wealthy manufacturer, intends to announce Dorothy’s engagement to the Grand Duke Paul, but this the girl, who has fallen for Willie as he for her, prevents, by running off to her room, pretending that she has a headache. Her father is both angry and sus¬ picious, having noted her attitude when Willie arrived at the ball. He believes that Willie is to blame for her suddenly ac¬ quired indisposition. He warns her that if she dares to marry such a frivolous person, that he will disinherit her. When he hears this Willie is overjoyed, as the only thing that has kept him from proposing to Dorothy is her money. But Dorothy becomes as deeply in love with Willie as he is with her, and tells him that she will give up all her prospects of wealth and marry him, poor as he is, if he will promise never to see Mary Crayle again, even to say goodby. Willie trys to tell Mary over the telephone that he is in love with another girl, but he cannot bring himself to break the news so abruptly and cruelly. He consults George, the terrier, and "they” decide to meet Mary by "accident” in front of the theatre, so as to tell her in person, while in intent, he will be keeping his promise to Dorothy. Meanwhile Dorothy’s father has learned the true situation, and has made her promise that if Willie ever sees Mary again she will refuse to marry him. He very much doubts Willie’s sincerity, and considers him a fortune hunter. When Willie does accidentally meet Mary he is seen by a detective in the employ of Mr. Hope, to whom the meeting is promptly re¬ ported. Elated a t this seeming confirmation of his suspicions he informs Dorothy. Dorothy can only believe that her father is right, and that Willie not only broke his word regarding Mary, but that he saw her for the purpose of getting money from her. As a result she breaks their engagement, and intentionally insults him by handing him the next day, a check for five thousand pounds "in payment for the experience he has af¬ forded her.” Willie cashes the check, and sends the money to the Grand Duke Paul in Dorothy’s name. When the latter gratefully ac¬ cepts it, and thanks her for it, all her suspicions as to Willie’s motives vanish. He is restored to her favor, and eventually be¬ comes a favorite even with Dorothy’s father. The living room has somewhat the same atmosphere. On the walls are framed photographs of scenes from earlier Colman pictures. A couch, two or three chairs, comfortable ones, and a cloth cov¬ ered table complete the ensemble except for Colman’s desk, the usual flat topped mahogany desk of the executive. It is almost as if this star were a business man. Indeed, he is. Sole owner of the stock in “Ronald Colman, Incorporated,” with a commodity for sale; one film star, male, 38 years old, and paying a dividend of some quarter million dollars per year. Occasionally he tried to delude himself with the idea of quitting pictures, of far journeyings into r alm southern seas with just a friend or two for company. “When my contract is up,” he mu¬ ses, “I’m going to buy a yacht and go places. Maybe spend a year or two just roaming around.” Many stars have said they in¬ tended to quit pictures, but few of them ever retired willingly. It gets in the blood, this Hollywood, and one is never permanently happy away from it. But to return to his theory about conceit and actors. “We are just shadows on a screen,” he said. “Talking shadows that can act a very little. Because we have faces of a certain size and shape, a voice that God gave us, and the requisite number of arms and legs, we, by some accident, find ourselves acclaimed. What of it? “I’m grateful to the public that has made me a success, but I don’t think I’m conceited about that suc¬ cess.” As though setting his actions to his words, Colman lives quietly, un¬ ostentatiously, an invitation to the home of Ronald Colman is a rarity, and no photographs have ever been made of its interior. He lives on the top of a hill near the heart of Hollywood in a little, backwater that seems to have been overlooked by the apartment house builders. From the road, all that can be seen is a long white wall with two doorways cut in it. Going through the doorway one descends a flight of steps into a patio. To the left is the little house occupied by Charley Lane, one of Colman’s oldest friends, who has now retired from pictures. To the right is the entrance to the hallway and living room. The latter has several choice paintings, big com¬ fortable chairs, a fireplace and books everywhere. His dining room, which opens off the living room, can seat but eight comfortably. Colman’s parties are always small. A rough refectory table, English hunting prints and Wedgewood china, suggest some¬ how the Colman personality. Straight out through the living room window one steps onto a porch, brick paved and furnished with wicker furniture. Cool awn¬ ings, a marvelous view across the Hollywood hills, and a closeup of the Colman tennis courts just be¬ low. makes it the most sought after spot in Hollywood during the sum¬ mer months. There one will usually find Bill Powell, stretched flat on his back watching Colman and Clive Brook or Dick Barthelmess get their daily workout on the courts. But to come back to pictures. He has just finished Frederick Lonsdale’s first original screen story—and likes it. It is “The Devil To Pay,” which comes to the .Theatre, on. “Lonsdale writes the best dia¬ logue of any playwright, alive to¬ day,” he says. “If the picture is a success, and everyone says it is the best thing we have ever done, it will be Lonsdale who deserves the credit.”