The Dove (United Artists) (1927)

Editors Like Biographies BELASCO’S "THE DOVE” STARS NORMA TALMADGE Norma Talmadge has, as Dolores Romero, in “The Dove,” at the . Theatre, her third Belasco role. Of all the screen stars, Miss Talmadge has been se¬ lected by the “Great Master” in the Theatre—David Belasco—to play the emotional roles that he has cre¬ ated for the stage. Her first part ■ was in “THE HEART OF WE- TONA;” her second, “KIKI,” and now, Dolores Romero in “THE DOVE.” iKVhen Miss Talmadge first played *IKI.” she received a letter from Belasco which read: “Dear Miss Talmadge, “Last evening I had the privilege and pleasure of seeing the pictur- ization of ‘Kiki’ at the Capitol Theatre. I cannot wait to write and tell you how much I admired the way you played the part. Every moment is filled with interest and your acting is delightful. “I have been eager to see the picture ever since it was announced; last night gave me my first oppor¬ tunity. I knew I was going to see something worth while; everything you do is; but in ‘Kiki’ you give a performance that is superb. “Please accept congratulations on a delightful characterization. “With regards and admiration, “Faithfully, “DAVID BELASCO.” Many touches not present in the original Willard Mack play, “THE DOVE,” have been incorporated in the picture. Critics are pointing out this picture as an example of how much more can be done on the screen than on the stage with the same material. “THE DOVE” is rich in splendid parts, rich in romance and rich in power. It has been said to strike the perfect balance between a color¬ ful romance and a thrilling melo¬ drama. ™ Norma Talmadge, star of “The Dove,” which will be shown at the . next .. has taken up tennis and is receiving daily lessons from Alexander of the famous tennis team of Hackett & Alexander. Aside from her inter¬ est in the game, Miss Talmadge feels that the exercise keeps her in splendid condition for her work. Hollywood is now tennis-mad; for¬ merly it was Mah Jong mad, be¬ fore that bridge and so it goes. Stars after all are just like other people anxious for a hobby and grateful for the relaxation it gives them. Norma Talmadge makes her bow as a United Artists star and owner- member with “The Dove,” her first picture for that releasing organiza¬ tion, and the current film at the . theatre. No sooner had Norma finished “The Dove” than Joseph M. Schenck announced that sister Constance would also join x United Artists and make George Barr McCutcheon’s “East of the Setting Sun.” Mary Pickford and Lillian Gish, friends of Norma and Constance in the Biograph-D. W. Griffith days, are also with United Artists. NORMA TALMADGE NT-1—(Mat 5c; Cut 25c) NORMA TALMADGE LIVES HER ROLES “There is no formula for truth, on the stage or off. It may be caught at one of its angles if a gifted person woos it with his life,” says Norman Hapgood in an article on acting. “If a gifted person woos it with his life.” Above most actresses on the screen, surely this can be said of Norma Talmadge. From the old Vitagraph days this American girl has, with a fine artistic courage, kept faith with her public. What is she like? Those who have seen her have mentioned her youth and beauty. But who can say what she is exactly like? She is tall, she is small, she is young, she is old. She is delicate and nervous. As a matter of fact, being a sensitive artist, she is whatever her part demands. Most actors lack this adapt¬ ability. Their interpretations re¬ veal their individuality. We see through their impersonations and mannerisms. The great character¬ istic of Norma Talmadge, and one which raises her above her contemporaries, is the manner in which she eliminates all artifice. Who will ever forget the powerful simplicity of her scene with the baby in “Secrets?” Or the scene in “The Lady” as the old innkeeper when she sees her son again after an absence of many years? And from that to “THE DOVE,” the little Spanish dancer in the Yellow Pig Cafe? You’ll see this last at the .Theatre next . Roland West directed “THE DOVE.” Noah Beery, who was Sergeant Lejaune in Herbert Brenon’s “Beau Geste,” supports Norma Talmadge in “The Dove,” at the . theatre. He plays the part of Don Jose Maria y Sandoval, “de bes’ damn caballero in all Costa Roja.” It is the part of a villain who is rather likeable, for his egotistical desire to make “the grand gesture” and be thought “de bes’ damn caballero” causes him to do some gracious deeds. GILBERT ROLAND WAS BULLFIGHTER The moving, picture world and the world which is interested in moving pictures is discussing Gilbert Ro¬ land, who plays opposite Norma Talmadge in “The Dove,” her first United Artists Picture, at the. Theatre. One year ago Roland played a small part in a program picture. Then his name was featured on Broadway in Miss Talmadge’s “Ca¬ mille.” Now he plays Johnny Pow¬ ell in “The Dove.” Where did he come from? How was he discovered for the screen? Who are his antecedents and what is his future? A new star in the Hollywood constellation is always news. Roland is a Spaniard, twenty- three years old. His father was one of Spain’s leading matadors, his grandfather and his great¬ grandfather were well-known bull¬ fighters, too. It is no wonder, then, that his family expected young Gil¬ bert to carry on in this pursuit (which that vocation certainly is!) Born in May, under the sign of Taurus, the Bull, he seemed espe¬ cially predestined for bull-fighting. His childhood was spent in a coun¬ try place near Seville. Matadors came and went, discussing different methods of bull-fighting, famous arenas, great bull-fighting heroes. This was Roland’s environment from boyhood to young manhood— with Spain his background. At nineteen, his parents permitted him to travel and Roland journeyed to the United States. That was four years ago. While in California his imagination was fired by the ro¬ mance of the motion picture world. He had unusual luck in being cast for a small part in “The Blond Saint.” Immediately he proved to his director that he had “screen personality.” After that he had roles in “The Campus Flirt” and “The Plastic Age.” By this time Roland decided to make America his home and the screen his profession. Having a camera follow him around a lot seemed so much more civilized and interesting to him than follow¬ ing a bull around an arena. While the leaders of the Joseph M. Schenck organization were cast¬ ing “Camille,” they were searching desperately for the perfect Armand Duval. Norma Talmadge went to a moving picture theatre and hap¬ pened by chance to see Roland in “The Blond Saint.” Immediately she decided he was the young man for whom they had been looking; and the next day John W. Consi- dine, Jr., General Manager of Pro¬ duction for the Art Cinema Cor¬ poration, placed Roland under a long-term contract. In “The Dove” Roland plays a radically different part from any¬ thing he has attempted before— that of a young gambler who is hard as nails but square as the dice he operates for Charlie’s Gambling House in the mythical country of Costa Roja. Gilbert Roland is of average height, has coal black hair, soft brown eyes. He is an expert boxer, horse-back rider and fencer. NOAH BEERY IN "THE DOVE” CAST Noah Beery’s latest role is that of Senor Don Jose Maria Y Sandoval, who, in his own language, consid¬ ers himself “the bes’ damn caballero in all Costa Roja.” He has “it,” which is pot what you might think in the colorful country of Costa Roja. However, Beery in his latest role, in support of Norma Talmadge in “The Dove,” at the . Theatre ., has the ladies seeking his favor. Even “Charlie’s Gambling House” and “The Yellow Pig Cafe” take on a festive appearance when he comes around. This is the role that Hol¬ brook Blinn played when David Be¬ lasco produced “The Dovp.” Beery was born in the land of Jesse James—Missouri. He got his schooling as well as his first stags experience in Kansas City. For some years he was a member of the O. D. Woodward Stock Company, playing in Omaha, Kansas City and Minne¬ apolis. Later he joined the Charles E. Cook Stock Company, playing in New England, and after that headed his own stock company with his brother, Wallace, in the middle west. While on the stage he created the role of “Devil Judd” in “The Trail of the Lonesome Pine.” Before he left the stage for pic¬ tures Beery married Marguerite Ab¬ bott, cousin of Bessie Abbott, well- known grand opera star. Miss Abbott was then the leading woman for the William de Mille production of “Strongheart,” in which Beery played the role of the old Indian, “Black Eagle.” For ten years Beery has been a stellar heavy and character actor in motion pictures. His most outstand¬ ing roles, for which he is remem¬ bered, were in “Beau Geste,” “The Vanishing American,” “The Span¬ iard,” “North of 36,” “Lord Jim,” “Contraband,” “The Fighting Cow¬ ard” and “The Crown of Lies.” “THE DOVE” COMING “THE DOVE,” Willard Mack’s successful stage play, had the honor of being Norma Talmadge’s choice for her first production for United Artists. It comes to the. next . The play was produced by David Belasco on Feb¬ ruary 11th, 1925, at the Empire Theatre, New York City. It proved to be another Belasco sensation and made a star of Judith Anderson, who played the role Norma Tal¬ madge has on the screen. Holbrook Blinn was Don Jose Maria, the part now played by Noah Beery. Johnny Powell, the fine young American, acted by William Harrigan, is por¬ trayed in the picture by Gilbert Roland. Roland made his first great success as Armand Duval when Norma Talmadge brought “CA¬ MILLE” to the screen. This is the third Belasco part to be played by Norma Talmadge, “Kiki” and “The Heart of Wetona,” being the other plays. Belasco de¬ scribed the character, Dolores Ro¬ mero, as a very beautiful and fiery Spanish girl—an entirely different part from Miss Talmadge’s last picture, in which she played the “Tragic Lady of the Camellias.”