The Struggle (United Artists) (1931)

D. W. Griffith Scores With Another dous Production! “The Struggle” Features Hal Skelly and Zita Johann in an Outstanding Screen Drama! Stupen GRIFFITH’S D. W. “THE STRUGGLE” FUBLICTIY SECTION All the Necessary Matetial for a Powerful Newspaper Campaign is Con tained in This Press Sheet! Start Your Campaign Well in Advance of Playdate! POWERFUL DRAMA IN NEW D. W. GRIFFITH FILM, “THE STRUGGLE” Skelly and Zita Johann Portray Stellar Roles in Griffith’s Masterpiece Hal Picture patrons will be able to see D. W. Griffith’s latest offering AV ANE. th a eee theatre, POSTING ooo cicnc ace secede teres 5 when “The Struggle,” a United Artists picture, is presented in this city for the first time. This is the first picture which the celebrated director has made since his recent “Abraham Lincoln” which latter film was declared one of the best ten of the past season. “The Struggle” has created much comment wherever it has been shown on account of its realistic scenes and dramatic power. The central character is that of a young American working-man who is unable to break an unnecessary habit even when he sees its continuance engulfing in ruin his home and his loved ones. “The Struggle” tells a dramatic story lightened throughout by human touches and compounded of the comedy and tragedy of everyday life. Just what is the struggle from which the picture derives its title each playgoer will doubtless decide for himself. Some will see in it the struggle of a man against his own infirmities; some the struggle of a young wife to save her home and preserve her marital happiness; others the struggle of a nation against an adverse social condition. Anita Loos and John Emerson prepared the story for the screen. Hal Skelly, who rose to stellar heigths with his magnificent performance in the stage play “Burlesque,” and Zita Johann, another star of the speaking stage, who is now seen for the first time on the screen, share honors in the featured roles. Charlotte Wynters, Edna Hagan, an eight-year-old actress whose performance is said to be sensational, and Jackson Halliday and Evelyn Baldwin, who portray a pair of young lovers carry the burden of the other leading roles. One of the features in the picture is a sensational climax in which the suspense is so strong as to leave spectators overcome by emotion. “The Struggle” was nersonally directed by D. W. Griffith. a scene from D'W: Griffiths The Struggle” 1—Two Col. Scene (Mat 10c; Cut 50c) Many Local Neighbors Supp ly Dolls For D. W. Griffith’s “The Struggle” Call Goes Out for Neighborhood Kiddies and Their Dolls for Important Scene in Griffith’s Latest Film It was a Sunday morning, far up in the Bronx in New York City, during the filming of “The Struggle,” D. W. Griffith’s latest United Artists picture, which comes to the SUR cou ahaa theatre for days, beginning Griffith had decided on an “added scene.” The script provided for a scene in which the child, Mary, is put to bed by her father and mother; the director now decided that there should be a romp first, and the new business needed dolls. eee crsceressensecessasessccsess sees SHORT SYNOPSIS OF “THE STRUGGLE” Jimmie Wilson, young steel mill foreman, was beloved of everyone who knew him, particularly the boys with whom he “stepped out” Saturday nights, and he believed implicitly in his boast that he could take his liquor or leave it alone. But one night, at a social club dance, he was startled to learn that his slightly inebriated clowning was painful to Florrie, his fiancee, and that she felt he was playing the fool. He was so deeply moved by this information that he vowed never again to touch liquor, and so, with her last doubts brushed aside, Florrie agreed to their marriage. For five years happiness reigned over their little home, particularly after the arrival of little Mary, the pride of the household and her daddy’s playfellow. : Shortly before her fourth birthday, though, Mary was stricken gravely ill, and for days she laid at death’s door. Life became a nightmare to Jimmie. While Florrie and Jimmie’s sister, Nan, watched at the bedside, he went through the motions of carrying out his duties as foreman at the mill, but fear gripped his heart. Finally he came to the breaking point, his nerves on edge and his brain dulled. It was Sam, his old friend, who led him to thé’ speakeasy, feebly protesting there to “throw a shot into you, before you pass out on me.” The drink bolstered up his racked body, and when he arrived at home he found that the crisis had passed. Mary was better,—she would recover. That drink was a happy augury. Nan got the odor of whiskey upon his breath and recognized an evil omen. Florrie’s eyes widened with wonder and sorrow, but she said nothing. Nan was ready to give her answer to importunate Johnnie Marshall and go with him to the altar, but that odor of whiskey made her hesitate, a nameless fear holding her back. The next day was Saturday, and it took little urging to get Jimmie to the speakeasy to celebrate Mary’s recovery, and he arrived home in a hilarious condition. There were recriminations, but when he promised never to let it happen again all was forgiven. He meant his promise at the time, but other visits soon followed, and, after forgiveness, he counted his victory won with each new resolution. But the damage had been done. And the day came, all too soon, when he could no longer hide his cravings for drink from the bosom of his family. The climax came upon the occasion of Florrie’s party to anmounce the engagement of Nan and Johnnie. Even the great Mr. Craig, owner of the steel mills, was a guest. Jimmie arrived riotously intoxicated, and in an ugly mood. The party broke up, and Nan put off her marriage. ‘‘He’s my brother,” she explained, ‘‘and he needs me.” It was only a matter of time, of course, when Jimmie lost his job at the mills, and soon Florrie was forced to leave her little home for humbler quarters. Nan, unable longer to face Johnnie, went to a nearby city for a job with which to bolster the uncertain income. Jimmie disintegrated rapidly. Remorse at the plight of Florrie and little Mary only made matters worse for him, for it sent him back each time to sodden forgetfulness. He found occasional jobs, but each was lost because of his drinking. One night, flushed with liquor, he boasted that he had a good-sized insurance policy, and Nina, a blonde who lived by her wits, set about getting it. With the aid of accomplices, she let Jimmie in on a deal in which a large consignment of liquor was to be “run down from Canada,” and Jimmie, converting his $4,000 policy into cash, contributed his share to the investment. Two days later he learned that he had been tricked. Blindly now he reeled downward. He could not go home, for there was no home. Florrie and Mary had been dispossessed, and he was unable to find them. Now he was a vagrant, a furtive, slinking tramp that haunted alleys and doorways. It was thus that Mary found him, slinking into a deserted hallway tor shelter. She called to him, but reason had deserted him. His mind was beset by fearful shapes, and he turned upon the girl, not recognizing her. Mary rushed to the tenement house where she now lived with her mother, but Florrie was out. So she left a note and rushed back to Jimmie. Delirium tremens had taken possession of him, and he believed Mary to be one of the demons torturing him. He picked up a handy weapon and struck at her. Florrie arrived just as Jimmie collapsed. Ages long, she watched by his bedside while the wreck that was once Jimmie fought for life. Love was thrown into the balance, and won. When Jimmie’s eyes opened to reason and to Florrie, it was for Mary that he pleaded. “I killed her,” he wailed. : Mary came into the room. God was good. Jimmie’s craving for drink had burned itself out, and again he became a man. He fought his way back, even to winning back the confidence of the owner of the steel mill. Jimmie’s eyes were shiny as he recounted to his little family group the good fortune which had befallen him, and Florrie’s were wide with love. SS sssssssessesesssstnnsussneuinnsnssusnenssssssssnas Dolls! A hue and cry went through the studio for dolls. Dolls? Griffith saw them and laughed. These were of far too ancient a vintage for his little Mary to play with. But it was Sunday, explained the prop-man. The chief camera-man had a suggestion: “Ask the little girls of the neighborhood,” he said. The call went forth; and presently around the studio door, around every entrance and even the fire-exits, in fact, there gathered little girls with doll babies in their arms, some with one and some with many, dolls of all qualities and degrees, of all sizes and materials, of all shapes and of all colors. “Please, Mister, take my dollie!” was the cry that went up, “Oh, won’t you please put my doll baby in the movies!” There was an embarrassment of riches; but finally a selection was made. Six rosy-cheeked doll babies were chosen, and six happy little mothers were let into the studio and given seats upon a bench at one side and told to be very, very quiet while they watched the scene in which another wondrous lucky little girl fondled their offspring for a few moments before being put to bed like a good little girl by her parents. And so six Bronx dollies made their film debut in “The Struggle,” D. W. Griffith’s latest. “THE STRUGGLE,” D. W. GRIFFITH'S LATEST SCREEN SENSATION COMPLETED IN NEW YORK Hal Skelly and Zita Johann Portray Leading Roles in Master Director’s Outstanding Production Returning after twenty years to the site of old glories, D. W. Griffith has stirred memories of bygone days at the old Edison Studios in the Bronx, New York City, where he has just completed “The Stuggle,” which comes to: the 4-5 =. STAFF WORKED NIGHTS TO ENABLE SKELLY TO MAKE FOREIGN TOUR Griffith and Crew Completed “The Struggle” in Time to Allow Star to Make Boat One of the major problems confronting D. W. Griffith in the filming of his picture, “The Struggle,” a United Artists picture, which will besshown ate se ee theatre PITS AN sooo cai nce , was to get through with Hal Skelly in time to let him sail for London where he was under contract to star in “Fifty Million Frenchmen” on the stage. The deed was done and Skelly departed in time to present himself in London for rehearsal. The part that Skelly portrays in this picture is one of the longest he has ever played. How to get this role rehearsed, performed and photographed in sound and action in the limited time available was a matter of grave concern to Griffith and his production staff. In its accomplishment players and studio and company officials worked incessantly days, nights, and Sundays. Hal Skelly, apparently, never reached the quitting point. But as soon as any other player showed signs of fatigue, the work for the day was called off. The exceptionally hot weather that New York experienced during July — and a sound stage in the glare of studio lights is normally no cool retreat— added another hazard to the drive. But by unremitting application and thorough co-operation of all concerned the thing was done. . After the last scene had been photographed, Skelly, who should have been fit to be carried out on a stretcher, leaped upon a table and executed a tap-dance in the manner for which he is famous. An impromptu celebration followed, and with the well-wishes of his coworkers ringing in his ears he caught the Bremen at her dock in South Brooklyn just before midnight; and in the early hours of the dawn she sailed. Prepared for Role One circumstance, unknown to the majority of his co-workers, had made possible the filming of Skelly’s unusually long and arduous role in such a short time. It was the fact that the actor had been living with this role for several months before the picture’s production was started. Even before Anita Loos and John Emerson had finished their script, Skelly was studying the role of Jimmie Wilson under the guidance of Griffith, with whom he met in almost daily conference. Skelly had absorbed the character of Jimmie to the saturation point. When his conflicting contracts dictated the necessity for a forced march on time in the filming, Skelly and Griffith were both prepared. D. W. GRIFFITH Presents eTHE STRUGGLE with HAL SKELLY and ZITA JOHANN Personally Directed by DW GRIPEIIE Story By ANITA LOOS and JOHN EMERSON A UNITED ARTISTS PICTURE Jimpie: Wilsons oo iis Sees owes Florrie, ‘hiswife 2.50060. vines are Nina;vcabaret: girk es oe A Sie Nan Wilson, Jimmie’s sister... . Johnnie Marshall, her beau..... Mary, Jimmie’s daughter....... Sami; shis:friend 34:5ti ase Cohen, insurance collector...... A Catty Cirle seins ce Pda Mr. Craig, Johnnie’s employer... PE AeA SONOS oie 5 aie eo sO Tony, a mill worker........... Bok ae cme hb ASeEh a eS Zita Johann are aback ainigsee eae Charlotte Wynters Marie etbete ade pict ok Evelyn Baldwin aicakasg dae ciate ie eae Jackson Halliday Rh ere Ore ee Edna Hagan Shiv ae cole ia iae ty eam Claude Cooper PB ware pre Arthur Lipson aS a neh Se gaan ace Be ety Helen Mack Sear .......Charles Richman Saeed niece ce eteee Scott Moore BU ten ee oe Soe ae aa toss aN Dave Manley Paris tere eer Hal Skelly RAS A EE EEDA EEE PEEL IE IITA TNEY DEE ARID DEEL RN ELI EES AE CE EE AE AEOLIAN Ee rene Fevers thesire en. oe ieee For it was near this studio, among other old time structures, that Griffith laid the groundwork for his remarkable career. He started his work at the Biograph Studios, only a few blocks away. ' Not that talkie equipment is incongruous in this replica of another day, for it was at this very studio that Thomas A. Edison made his first talking picture experiments years ago, at a time when speech from the screen was looked upon as a crazy dream. Those experiments only ran for a few feet, of course, having been phonograph records synchronized with film. The studio, at 198th Street and Decatur Avenue, in the northern reaches of New York City, is now known as the Audio Cinema. It is equipped with the most modern of talking picture apparatus, High Spot in Picture Making But, almost hidden by the modern apartment houses that have sprung up around it, the wall of the building still carries the blockletter sign, “Edison Studios.” Those apartment houses dominate it now, but it was not always so. For, back in 1910 and 1911 it was one of the highspots in picture making. Mary Pickford worked there. So did her first husband, Owen Moore. And Bessie Love, Maurice Costello, Olive Thomas, Marc MacDermott, Charles Brabin and Harry Beaumont, the last two now famous directors. The Flugrath girls — Viola Dana and Shirley Mason — rose to fame at the Edison Studios. Shirley, by the way, married one of the studio prop boys, Bernard Durning, who later became a director. And Mary Fuller was one of the Edison stars of the time, starring in the serial thriller, “What Happened to Mary?” The title is significant now, for one really does wonder what happened to Mary. And now D. W. Griffith, who brought out a number of those persons listed above, returns to this old stamping ground to film his first independent production in five years. Story an Original “The Struggle” is an_ original story written by Anita Loos and John Emerson, the playwrights and novelists. The locale is New York City, and the theme deals with the problems that beset a family in the middle walks of American life today. Zita Johann and Hal Skelly, both stage stars, portray the leading roles, the former making her screen debut in this picture. Two years ago, it will be recalled, Miss Johann was signed by Metro-GoldwynMayer and went to Hollywood for several months without ever stepping before a camera. At the time she started work with Griffith she had just closed for the summer in the leading role in the stage production “Tomorrow and Tomortow,” one of the season’s outstanding successes. She returned to this play when it reopened this season. Skelly has been the star of several musical productions, his greatest success having been registered in the stage production, “Burlesque.” This play was brought to the screen as “The Dance of Life,” and he repeated his great role in it. @ scene froin the D WGuffith Production The Struggle 4—One Col. Scene (Mat O05c; Cut 30c)