The Devil to Pay (United Artists) (1930)

Write for special contract arrangements YOUR SLIDE Cuts and Mats Apply at your nearest United Artists ex¬ change for cuts and mats on “The Devil To Pay.” See price list attached to this Cam¬ paign Book. NATIONAL SCREEN SERVICE 126 West 46 th Street, N. Y. C. 810 So. Wabash Avenue, Chicago, Ill. 1922 So. Vermont Avenue, Los Angeles, Calif. HERALDS TURN THE TRICK These Attention-Getters will keep your S. R. O. sign working overtime. TALKING TRAILERS — SOUND TRAILERS Leading Ladies in Colman’s Pictures Cause Complications; 3 Beauties in Star’s Newest Unlike many other types of selling, motion picture promotion must be dramatized. The test of good showmanship lies in getting an emo¬ tional appeal into the exploitation of talking pictures. Guesswork has no place in the well-regulated box-office stimulation. Day in and day out, the exhibitor must “keep everlastingly at it.” Per¬ sonal contact in any sales promotion is an en¬ couraging help. The nearest to selling your pic¬ tures by personal contact is the intimate touch trailers give your coming attractions. And while they are on your screen, they are your most effective box-office help. They hammer home all the selling points of your posters, lobby cards, billboards, newspapers copy, stunts, and other tie-ups. Flash the National Screen Trailer on “The Devil To Pay.” For sound-equipped theatres two distinct styles are available: TALKING TRAILERS SOUND TRAILERS lenged, and had forthwith driven a steam- hammer right sock that had been nothing less than effective. Anyway it had been a great story for the company dining hall that evening—a friendly one, too. Other stories, too, concerned the pale and fair Joan Bennett in “Bulldog Drummond,” and of the misty, romantic haze in which she moved through its thrills and chills and things. And of how her successor, Ann Hard¬ ing, determined that there would be no ru¬ mor of sentimental dilly-dallying to connect the fair names of Harding and Colman. So, on the first day’s work on the picture, Miss Harding brought her husband to work with her, and not only did that, but indulged her¬ self, obviously for Colman to see, in a varied assortment of public affection for her hus¬ band that she had never displayed before or since. In his new picture, “The Devi'i to Pav,” Ronald Colman had something of a security in numbers—security from gossip. His three young ladies were all concededly young and beautiful. Their parts in the Frederick Lons¬ dale screen play were of fairly equal size and importance. All of which more or less kept them in line, or rather, built for them a protecting wall against the idle studio talk that had heretofore been inevitable in Col¬ man pictures. Each one of the three young ladies is a western girl. Loretta Young was born in Salt Lake City. Myrna Loy grew up in Helena, Montana, and later went to Los Angeles to study dancing under Ruth St. Denis. The last of the trio is Florence Brit¬ ton, from San Francisco, granddaughter of the millionaire president of the Pacific Gas and Electric Company, making her first ap¬ pearance in pictures as the newest of Samuel Goldwyn’s many screen discoveries. Miss Britton is the young lady whom it is rumored Goldwyn has in mind for “Street Scene,” the Pulitzer Prize play that, with “The Greeks Had a Word For It” and other plays and stories that he is now in the process of acquiring, will comprise his 1 93.1 produc¬ tion schedule for United Artists. Leading ladies in Ronald Colman pictures are always related to production problems related in a personal way, that is. In “The Devil To Pay,” the Frederick Lonsdale screen play in which Colman ap¬ pears at the . thea J re on .. he has not one, but three lovely young ladies in the principal feminine parts. Remembering past compli¬ cations, the studio prophets licked their chops in anticipation of a flood of new stories. . They remembered the story of Lily Damita, to whom a practical joke was a practical joke, and as such, pretty darn important, and of how, one bright and shiny day dur¬ ing a location scene on Catalina Island dur¬ ing the shooting of “The Rescue, she had carried one of her practical jokes a little too far, and as a result, had found herself booted a considerable distance off the ground. And hnw I.ilv turned, not angry, but chal¬ OIUGINAL AD LAYOUTS MADE UP THROUCjH KEAIfflANqEMENT OF THE DESIGNS IN THIS BOOK ALD COLMAN 'ik'Vei ; kdftur r A YODtfC, ' )U ' •" colmh] I J ' ... A Ofvi, •; /. .; [O p.\y #|pi ! 1 ---- .u?..SA.r*[-/.; Use lots of them. ♦ The Herald Colors are blue and red. HERALDS COST $ 3.50 per thousand This Herald measures 6x9 inches inside and 6 x 4 on the cover. This leaves an unusual¬ ly large surface at the back for theatre and dealers’ imprints. Deal¬ ers’ advertising should naturally share the cost with you. Country of Origin, iAMUOL GOLD UJYN KwUNALU UULMAIH n LOKETTA YOUNG SCIC-EtN PLAY AND DIALOGUE bY f LED EMCK LON 1 DALE M " The talking screen’s most fascinating ro¬ mancer in a captivating heart escapade ■written by a past master of smart, sophis¬ ticated comedy. An audacious gallant laughs his v?ay out of trouble, turns high society topsy-turvp v?ith his pranks and ■woos and vJins the heart of a lovely beauty. Piquant entertainment more delightful than anything you’Oe seen this season. UN ITTD AKTISTJ PICTUIkT Page Six INSIDE SPREAD OF THE HERALD