The Night of Love (United Artists) (1927)

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Good Ones Before Opening COLMAN-BANKY FILM STORY OF FIRST NIGHT VILMA BANk'Y and MONTAGU LOVE in —"THE NIGHT Of LOVE "•— NL6—Two Col. Cut 50c. Mat 10c. “The Night of Love,” George Fitz¬ maurice’s production for Samuel Goldwyn, which comes to. on., tells the story of a gypsy prince who turns outlaw to wreak his vengeance on a heartless duke of a feudal domain who robs him of his bride on his wedding night. Framed in a seductive and excit¬ ing background of old Spain, Vilma Banky and Ronald Colman, the pop¬ ular pair, are again co-featured in a thrilling romance of intrigue and adventure. Montero, in revenge for the theft of his bride, terrorizes the duke’s do¬ minion for years and finally swoops down with his band on the wed¬ ding celebration of the duke, where he captures the duke and his bride, Marie, convent-bred niece of the King, who is a pawn in the marriage game. Montero, his revenge about to be completed, takes his prisoners to the outlaws’ haunt, an abandoned castle overhanging high cliffs. He prepares a feast and forces his prisoners to partake of it. The duke, a coward showing his true colors, pleads for his life and willingly of¬ fers his bride to Montero. The out¬ law brands him with a dagger, in¬ signia of his rule, and returns him to the palace on a donkey. Marie, rather than surrender to Montero’s revenge, jumps from a window, but her shawl catches in a jutting rock and she is saved by Rodrigo, who climbs down to her rescue. He realizes he cannot harm the girl, and after she is fully re¬ covered starts with her for the pal¬ ace. At a gypsy camp, where they stop to rest, they exchange love vows, but Marie knows she is bound to the duke, her husband, with no hope of release. The lovers part at the gate to the palace. The duke is holding a Bac¬ chanalian orgy, but he sees Marie and follows her to the bridal cham¬ ber. She locks herself in the room and prays for help from the Virgin. At the confessional, where she goes for consolation, the duke, disguised as a priest, hears her confession and sets a trap for Montero, after throwing Marie in the dungeon. Montero doesn’t fall into the trap but in trying to rescue Marie is captured and condemned to be burned at the stake. The populace gathers as the news of Montero’s capture spreads like wildfire. The people love him for his charitable and generous deeds to the poor— and they hate the duke. Marie, with the aid of one of Montero’s men, escapes and goes for prayer at the foot of a draped statue of the Virgin, standing in a cleft in the palace wall opposite the court¬ yard where Montero is already be¬ ginning to feel the heat of the soar¬ ing flames. The golden brocade falls from the Virgin around. Marie’s shoulders as she kneels in prayer, and the light from the fire illumines her face—giving her the Madonna appearance of the Virgin. Montero sees this effect and in a last effort to save himself and Marie bursts forth in inspiring speech, calling attention to “the miracle” and firing the religious populace to revolt. The peasants at¬ tack the duke’s soldiers and a wild rioting takes place during which I SALLY A GYPSY Piquant Sally Rand, stage and screen actress, plays the role of a gypsy dancer in the George Fitz- maurice production, “The Night of Love,” which comes to the. . Theatre . Miss Rand, who recently won fame for her appearance in “The Last Frontier,” “Gigolo” and “Man- bait,” was loaned to Mr. Goldwyn to play the part of a gypsy dancer in “The Night of Love.” Ronald Colman .and Vilma Banky, who play the leads, welcomed Miss Rand to the notable cast, which in¬ cludes Montague Love, Laska Win¬ ter and Natalie Kingston. Sally Rand was born at Winches¬ ter, Kentucky, April 3, 1905, and has been on the stage since 1921. For the past two years she has been a member of the DeMille stock com¬ pany Montero is released from his bonds, and goes in search of Marie, who is still in prayer before the Virgin. The two are pursued by the duke’s soldiers into the palace and in their efforts to escape run into the bridal chamber. The duke follows. Montero and the duke fight for the possession of the girl, while she cringes in a corner praying that Montero may win. The duke throws Montero to the ‘floor and is almost strangling him when the seething, frenzied mob rushes in and in the wild stampede the duke is killed. Marie is now free to join her lover, and they stand clasped in each other’s arms, gazing down from a window on the rioting peasants in the courtyard i below. MOVIE ACTOR PAID FOR FALLING ASLEEP Charles Holt, character actor, is perhaps the only man in the world with the distinction of having been ordered to sleep for days and be paid for it. Though it happened by accident, during the filming of a scene in George Fitzmaurice’s production for Samuel Goldwyn, “The Night of Love,” opening at.on.. Holt is nevertheless cognizant of the fact that his distinction does not fall to the lot of every film actor. The character actor, portraying a Spanish grandee in “The Night of Love,” was called upon to sit beside Vilma Banky in the spectacular wed¬ ding banquet scenes. The first day he fell asleep—from natural causes—and the camera pro¬ ceeded to grind away for several minutes before Director Fitzmaur- ice discovered the grandee loafing in the arms of Morpheus. But instead of rudely disturbing the snores of the sleeping one, “Fitz” whispered commands to his assist¬ ants to continue “shooting,” and the sleep was only interrupted at the conclusion of the scene. The follow¬ ing day the actor was “ordered” to sleep. And for a week, or during the entire “shooting” of the banquet scenes, Holt had to go to sleep, whether he wished or not, in order consistently to follow out the acci¬ dent of the first day. Ronald Colman is co-featured with Vilma Banky in “The Night of Love.” “NIGHT OF LOVE” HAS COLMAN AS BANDIT George Fitzmaurice’s production, “The Night of Love” for Samuel Goldwyn, which comes to. on.. is the story of a gypsy prince of old Spain who turns outlaw when the duke of a feudal domain, claims the sovereign rights of a ruler and takes his gypsy bride on the wedding night. Montero swears revenge and becomes a ter¬ rorizing bandit and outlaw, but gen¬ erous to the poor. Ronald Colman and Vilma Banky are co-featured in the production. The duke later takes a bride, Marie, convent-bred niece of the king. At the feast in celebration of the wedding, Montero and his band capture the palace and take the duke and Marie to the haunt of the outlaws. Marie, rather than sur¬ render, jumps from a high cliff but is rescued by Montero, who finds he loves the girl and cannot harm her. After branding the duke with a dagger and sending him home on a donkey, he takes Marie back to the palace. They stop to rest at a gypsy camp, where they exchange love vows. At the palace the duke is in the midst of an orgy, but sees Isa¬ belle who atrracts him more than ever. She wards him off, but the next day at the confessional, the duke, disguised as a priest, listens to Marie’s confession and sets a trap for Montero. Montero escapes the trap but is later captured in his attempts to rescue Marie, who has been thrown into the dungeon, and he is placed in the courtyard to be burned at the stake. The peasants love him for his generous deeds but are powerless to help him against the duke’s soldiers. Marie escapes and prays _ before a draped statue of the Virgin, stand¬ ing in a cleft in the palace wall. The drapes fall about her shoulders and the fire from the stake illumines her face, making her take on the appearance of the Virgin. She raises her arm and the religious populace in a fierce riot, drives back the sol¬ diers and rescues Montero. The duke is killed and the lovers at last united. VILMA BANKY TOOK UP FENCING In “The Night of Love,” George Fitzmaurice’s production for Mr. Goldwyn, which comes to the. theatre., in which Ronald Colman is co-featured with Miss Banky, Miss Banky was called upon to take a series of fencing lessons, in order that she might experience the proper mood during the fencing epi¬ sodes of the picture in which she takes no actual part. Every day for a week or two a fencing teacher taught her how to spar with swords, until she became adept in the art. Ronald Colman, the hero, and Montagu Love, who plays the villain’s role, also took fencing lessons. Several important scenes in “The Night of Love,” call for duel¬ ling between the hero and villain, and both became expert adversaries through their off-stage training. Miss Banky feels that though she used her fencing lessons in this par¬ ticular pictute only indirectly her next role may be different. Which goes to show tht novies are looking ahead.