20,000 Years in Sing Sing (Warner Bros.) (1932)

a — ‘*20,000 Years in Sing Sing”’ Had Long Distance Adviser Throughout Filming Warden Lewis E. Lawes Worked With Studio to Insure Realistic Prison Picture ROBABLY no motion picture studio ever had more dis tinguished or authoritative technical advice in connection with a production than First National in making ‘‘20,000 Years in Sing Sing,’’ a picture featuring Spencer Tracy, which ig COMINS 10-THO s s.0....0 sec PHephtS 6h. ee oe Throughout the course of th almost daily communication with e production, the studio was in Warden Lewis E. Lawes, upon whose celebrated work the picture is based. From the time the picture rights to his book were purchased, Warden Lawes signified his readiness to cooperate with the producers in any way that would make the contemplated motion picture an accurate and authoritative panorama of conditions at the famous prison over which he has presided for thirteen years. Though never officially hailed as “technical adviser,’ Warden Lawes has been such, in fact, from the time the initial research on “Twenty Thousand Years in Sing Sing” was commenced, weeks before the picture went before the cameras. Although he was 3,500 miles away from the stages on which Director Michael Curtiz and his players were recording the dramatic sequences of the picture, Warden Lawes, in his prison offices on the banks of the Hudson River, was virtually in direct touch with distant Hollywood at all times. The nature of his duties at Sing Sing made it impossible for him to absent himself, even for a flying trip to the Pacific Coast, to confer with the Warner _. production executives on the in‘numerable matters that arose in connection with the production. record of Sing Sing prison that has ever been made of any penal institution. Thousands of feet of motion picture film were shot around every, phase of the prison life.--in addition, at least two hundred “still” pictures were taken throughout the prison, giving a complete transcript of every detail of Sing Sing, from the entrance gate to the execution chamber, through which the condemned make their final exit into the unknown. @e most comple e€ P. 0 ographic {| Using these pictures as a basis, the studio was enabled to erect on the stages at the Burbank plant, replicas of the different interiors in the Hudson River penitentiary that are faithful reproductions of their grim originals down to the last bolt and bar. Double-tier cell blocks from the old and new cell units, visiting rooms, the shower-room, the prison barber shop, the warden’s office, the psychological and psychiatric departments, the interiors of the machine and shoe-making shops, the mess halls, the recreation yard, the pre-execution cells, the ‘dance hall,’ where the condemned are taken twelve hours before execution, and the electrocution chamber itself, were reproduced with such accuracy that a former inmate of Sing Sing would have had no difficulty in finding his way around any of the sets. During the making of “Twenty Thousand Years in Sing Sing,” Warden Lawes was frequently consulted by telegraph and telephone as to some detail or question that had arisen during the making of a sequence. The smooth and cordial fun es: cy tte Dat nd Arth have the principal roles in the picture, which is adapted from Warden Lawes’ famous book by Courtenay Terrett and Robert Lord. Other well-known players in the supporting cast are Warren Hymer, Louis Calhern, Edward J. MeNamara, Sheila Terry, Lyle Talbot, Grant Mitchell, Spencer Charters, Roseoe Karns, Nella Walker and Arthur Hoyt. It was directed by Michael Curtiz. Glossary of Prison Slang ONVICTS at Sing Sing Prison have their own peculiar vernacular for things and persons whom they contact. The terms are as distinctive as gon, although they dovetail to a thieves’ slang or racketeers’ jardegree, inasmuch as the prison ers have been recruited from such ranks. Many colorful and expressive words and phrases are used in the First National picture, ‘““Twenty Thousand Years in Sing Sing,’’ featuring Spencer Tracy, which comes to the ...........:e ee etesseqeeenesenniate Theatre Bee coy as The following terms are In more common use: Stir—Penitentiary. Also referred to as “joint” or “hotel.” : Up the River—A sentence to Sing Sing, which is at Ossining, N. Y. on the Hudson River. . Dance Hall—The cell in which the condemned prisoner spends the last twelve hours before electrocution. This is in the death house, removed from other cells. Hot Squat or Hot Seat—The electrie chair. Frying a chicken, Cook, or Burn— The electrocution of a prisoner. Stretch—Term in prison, some times referred to as “doing time.” Rap—The sentence. A prisoner “takes the rap” when he is sent “ap the river.” Con—Convict. Screw—A guard. He is also referred to as a “muzzler.” Get the Works—Given the extreme punishment. Squawk—To give information. Getting the Gas—The use of tear bombs by guards to quell riots. Rod—Revolver. Frisk—Search. Can—Any jail. Croak—To kill. Rat—A prisoner who tells on his own kind. Any one particularly obnoxious from the convict’s standpoint. Mug or Guy—A person—general reference that may be applied to anyone. Screwy or nutty—Any one who is erazy or very peculiar. Hot—Police close on trail of escaped prisoner, or of some weapon hidden in cell. Pipe down—Be quiet. Soft—Term applied to warden or guard who is gullible. Mouthpiece—Convict’s lawyer. Heist Guy—A hold up man. Stooge—Stool pigeon. A prisoner] Pete Man—A safe blower. who gets special privileges for informing on other eonvicts. Soup—Nitro glycerin used to blow safes. etion SING SING MORE VALUABLE PUBLICITY | SIDELIGHTS Sing Sing’s Movie Fan de Luxe Warden: ‘‘] have good news for you, No. 67,547; the governor has pardoned you. You are free...’ Prisoner (almost tearful) : ‘CAw, Warden... HL orcant leave on such short notice. I...I1 don’t wanna go until Tuesday .. .’’ Warden (surprised): ‘‘What’s the idea??? Prisoner: ‘*‘Aw, Warden, they’re showin’ ‘Twenty Thousand Years in ' Sing Sing’ here... and...I’m th’ guy swingin’ dat battle-axe at the rock-pile . ..?? Sing Sing’s Munchausen First Prisoner: “Did’ja. hear yout Dinny? One of th’ camera guys for the picture, ‘Twenty Thousand Years in Sing Sing’ sent some still pictures of the warden’s new home up ter th’ office, and he swiped one...?’’ Second Prisoner: ‘‘Yeah? And what did he do with it; hang it in his cell with a nice gold frame??’?’ First Prisoner: ‘‘Naw, he tried to send it outside to some dame, telling her of th’ wonderful view from the windows of his beauteous home on the Hudson .. .’’ ‘*T’ve gotta pome they ’re gonna put in th’ picture, ‘Twenty Thousand Years in Sing Guy, ‘Stone walls do not a prison make,’ the judge said, under inspiration .. .?? How He Reached Sing Sing Commitment Clerk (to colored prisoner): ‘‘ How did you happen to get into prison??? Prisoner: ‘‘ Two deputy sheriffs just dun brought me in.’? Clerk « (grinning): ‘‘I know, but didn’t alcohol have something to do with it?’’ Prisoner: ‘‘T suspect so, Sar; dey bofe was consid’bly teaed up.’’ ‘Walls Do Not a Prison Make—”’ Prison Poet: Sing.’ Listen, His Pal: ‘*You lis’sen, Stupid; let me finish it: ‘But th’ walls they use in Sing Sing is a damned good imitation.’ ’’ Long Term Sing Sing Stretch First Prisoner: ‘“‘They’re gonna call the warden’s new picture ‘Twenty Thousand Years in Sing Sing.’ ’’ ~ Second Prisoner: ‘Oh, yeah? I wish’t they’d change th’ title to Nineteen Thousand, Several Hundred and Sumphin’, and let me go home.’? The cuts in the above stories are available from your local exchange in one-piece. Spencer Tracy, who plays the leading role in ‘‘ Twenty Thousand Years in Sing Sing,’’ was born in Milwaukee, Wisconsin, in 1900. He attended schools there and later entered Marquette University, following which he enrolled in the American Academy of Dramatic Art. After appearing with the Theatre Guild, he was cast for the role of ‘‘heavy’’ in ‘‘The Royal Fandago’’ with Ethel Barrymore. Following a season with Stuart Walker, he was signed by George M. Cohan for three years, returning to the Theatre Guild for the play, ‘‘Ned McCobb’s Daughter. ’’ He won attention for his characterizations in ‘‘Conflict,’’ ‘‘Nigger Rich,’’ and ‘‘Bread,’’ but wide acclaim truly became his through his admirable performance as ‘‘Killer Mears,’’ the convict leader in ‘‘The Last Mile.’’ Then came the call to Hollywood. Placed under contract for picture work, he quickly established himself for his roles in ‘‘Up the River,’’ ‘‘Quick Millions’? ‘‘ Disorderly Conduct,’?? and ‘‘Sky Devils.’’ ARTHUR BYRON Arthur Byron, playing the important role of Warden in ‘¢Twenty Thousand Years in Sing Sing,’’ is one of the best known actors on the American stage and has been associated, with it all his life. Born in Brooklyn, N. Y., in 1872 of theatrical parents, he launched upon his stage career in 1889 working with his father. Since then he has played in innumerable stage successes and won fame, in the past, as leading man to such notables as Ethel Barrymore, Maxine Elliott and Maude Adams. He originated the role of Editor in the New York production of ‘‘The Front Page,’’? and the role of Warden in ‘‘The Criminal Code’’ on Broadway. This marks his initial screen work in a feature production. Out No.12 Out 80c Mat 10c Bette Davis, who plays as leading lady to Spencer Tracy in ‘¢Twenty Thousand Years in Sing Sing,’’ was born Ruth Elizabeth Davis in Lowell, Massachusetts, in 1908. She is descended from. a French theatrical family named La Favre, and during her days at private school entered dramatics. Awarded a scholarship to the John Murray Anderson school in New York, she received her first opportunity on the stage when given a role in the Provincetown Players, ‘¢The Earth Between.’’ During her career in Hollywood she earned recognition when George Arliss selected her for an important role in ‘<The Man Who Played God.’’ Following this, she did admirable work in ‘*The Rich Are Always With Us,’’ ‘‘The Dark Horse,’’ ‘¢Three On a Match,’’ ‘‘Cabin in the Cotton.’’ LYLE TALBOT Lyle Talbot, which name he adopted because no one would believe his family name, Hollywood, was born in Pittsburgh in 1904 of parents in the theatrical profession. Following a boyhood ambition, he started stage work at sixteen, leaving it to return to school and coming back to the stage three years later—as a magician. After several successful seasons in stock companies he went into pictures and earned a long term contract with Warner Brothers-First National studios. Usually he is cast as a heavy—the villain. He presented admirable performances in many important pictures, the most recent being ‘‘ Love Is a Racket,’’ ‘‘Big City Blues,’’? ‘‘The Purchase Price,’’ ‘‘Stranger In Town’? and ‘¢Three On a Match.’’ Lyle is tall and handsome, about six feet in height and weighing about one hundred and seventy. Page Seven