A Lost Lady (Warner Bros.) (1934)

Barbara Stanwyck Says ‘Nertz’ to Movie Gossip Star Of “A Lost Lady” Says It’s Useless To Try To Combat Hollywood Chatter OLLYWOOD has always had its rebels, In the actress’ ranks, there have been Mabel Nor mand, Constance Bennett, Margaret Sullavan and Katharine Hepburn, to cite but a few. These ladies always had the gift of making things exciting for their fellow workers, the press and the public that eagerly absorbs the vagaries of the screen stars. Barbara Stanwyck, now appearing at the eee Theatre in her latest First National picture, ‘¢A4 Lost Lady,’’ used to be in that category — but she’s a rebel no longer. Stanwyck, the tempestuous young star who started her Hollywood career by consigning the head of a studio to infernal regions, because she didn’t think she was getting a square deal; who battled the Hollywood press, individually and as a group because she resented their ‘‘prying’’ into her private life; who, long before the Misses Hepburn and Sullavan began to air their eecentricities on a startled public, had demanded that she be allowed to keep her private life to herself. Barbara no longer has a chip on her shoulder. ‘CWhat’s the use?’’ she now grins. ‘‘ Nothing I could ever say or do could change this funny town of Hollywood. ‘‘T’ve finally learned the gift of evasion. ‘CEver so often I hear a rumor that my marriage isn’t as hap. py as it should be. Instead of getting all scorched about it, as I used to, I just think ‘nertz’ to myself and laugh it off. Because I know that nothing a chatter writer can say about my marriage will change it. ‘Denials in Hollywood are neyer believed, anyway. The only way to combat unfair gossip is to ignore it. ‘‘T appreciate the public’s interest in a performer,’’ continued Miss Stanwyck, ‘‘and I don’t mind having my life story, as far as it affects my screen career, broadeast to the world. I don’t mind having my right name and age published -——and I’m glad that people are interested enough to want to know. But I still say that my personal life is my own — and it’s going to remain that way!’? Miss Stanwyck’s latest picture, ‘*A Lost Lady,’’ is a dynamie drama with a most unusual romance, based on a novel by Willa Cather. Others in the cast include Frank Morgan, Ricardo Cortez, Lyle Talbot, Phillip Reed, Hobart Cavanaugh and Henry Kclker. Romantic That’s what you'll call Ricardo Cortez after you’ve seen him in First National’s “A Lost Lady,” now at the Strand. Mat No. 8—10c Page Twenty Masters Of Dramatic Art Rafaela Ottiano Has Real Gold Dollars Rafaela Ottiano, who plays the role of Barbara Stanwyck’s nurse in the First National picture, ‘‘A Lost Lady,’’ now showing at the SAS aes Sas Re Theatre, has two gleaming dollar gold pieces, heirlooms in her family. They are treasured relics of the Gold Rush days in California, back in 1859, and were handed down to her by her grandmother, who she remembers wearing them from her earliest childhood. Miss Ottiano uses them as pendants on a neck-chain. rare, The coins are now quite At last, Frank Morgan gets the opportunity to be ‘heart interest’ in a picture; this time with none other than lovely Barbara Stanwyck. The film is “A Lost Lady,’ the First National drama taken from the novel of the same name by Willa Cather. Lyle Talbot, Ricardo Cortez and Phillip Reed are in the cast. Mat No. 7—20e Frank Morgan Was Dragged From the Saddle to Stage Masculine Lead In “A Lost Lady,” Persuaded To Quit Ranch By Brother ECOMING an actor was an afterthought with Frank B Morgan. He turned to the theatre only after three other voeations had failed to fold his interest. and then only after sustained, earnest persuasion by his brother, Ralph, already established on the stage himself. The man who is admittedly one of the most finished and penetrating delineators of character on the sereen, and who reveals his abilities at their most brilliant height in his portrayal of the wealthy husband of Barbara Stanwyck in the First National production of ‘‘A Lost Lary,’’ which comes to the ............ Wheathesol sacs , was literally coaxed from the saddle of a western ranch horse to what proved to be his rightful place behind the footlights. When he graduated from Cornell, Frank’s first step was the natural one of entering business with his father. Born a Wupperman — Morgan is a stage name — Frank had looked forward without much inward conflict during his college career to the day when he woult become a member of the firm which controlled, and still controls, the United States, Canadian and Mexican agencies for a famous Bitters, manufactured for more than a hundred and twenty five years according to a formula which is guarded with zealous secrecy in the island of Trinidad. But once he had become a business man, Frank discovered that the unvarying pace and monotonous routine of business failed to satisfy anything in him. He broke away from it and became a newspaperman. For a time he was reporter on the Boston Traveler. It proved to be more exciting but it still wasn’t what he wanted. Following the old Horace Gree ley adage, he went West, donned a sombrero and chaps, and was set to become a confirmed westerner on the Las. Vegas, N. M., ranch which had become his home. But brother Ralph didn’t like the idea of Frank, in his early twenties, burying himself on a western ranch for the balance of his days. After eight years, Ralph’s persistence was finally rewarded. Frank climbed down out of the saddle and headed for Broadway. His first suecess was in a vaudeville skit. Then he obtained the leading juvenile role with Walker Whiteside in ‘‘Mr. Wu’’ and New York theatregoers knew him regularly thereafter. During the years that followed, Frank Morgan made one or two side excursions into motion pietures, first with the old Vitagraph Company, later with First National. Not until sound had revolutionized the picture business, however, did Morgan seriously consider the possibility of becoming permanently identified with the screen. With Barbara Stanwyck and Frank Morgan in ‘‘A Lost Lady’’ which is based on Willa Cather’s celebrated novel, are Ricardo Cortez, Lyle Talbot, Phillip Reed and Hobart Cavanaugh. Alfred E. Green directed the production from the screen play by Gene Markey and Kathryn Scola. Gossips Can’t Pin Love Match on Lyle Talbot Lover In “A Lost Lady” Popular But Impartial In His Attentions YLE Talbot is Hollywood’s socialite par excellence! In a town where one eareer is considered big enough to oceupy all of a man’s time, Lyle successfully pursues two — a sereen career and a social one — and is doing a first-rate job of both. He has, between his pictures at the First National studios, where he is under eontract, but few nights of leisure between social engagements. His social calendar is nearly always full. Like a successful Broadway show, he is usually booked weeks in advanee. Plenty of personable actors in Hollywood, single or unattached, are ‘‘persona grata’’ in one or more of the numerous motion pieture ‘sets.’ But all doors seem to be open to Lyle Talbot. Whether it’s a foursome of bridge, a modest theatre party, a dinner dance at one of the swank night clubs of the city, or an elaborate soiree at an executive’s mansion, Lyle is not only among those present, but a hostess’ favorite. Like the impeceable diplomat that he is, he plays no favorites. He has a tireless enthusiasm for appearing wherever he may be socially needed that is only paralleled by the social ubiquity of the Prinee of Wales. ‘“No wonder, when I find myself with one of those rare evenings alone,’’ Lyle said during a between-scenes interval during the production of ‘‘A Lost Lady,’’ now showing at the ............0.00. Theatre, ‘‘I relish the idea of curling up in an easy chair with an interesting volume and a pipe, and relaxing completely.’’ Hollywood’s matchmakers have been trying, ever since Lyle Talbot came to filmland, to link his name romantically with this or that star, some social belle or another, a debutante with whom he has dined or gone to the theatre, a visiting noblewoman from EHurope — and all in vain. Lyle is gallant to all and devoted to none. He has no radical views on the subjeet, one way or the other. In practice, Lyle confines his lovemaking to pictures, and lets it go at that. In ‘‘A Lost Lady,’’ Lyle plays the role of an unsuccessful suitor of Barbara Stanwyck, the star. The picture is a most unusual romance in which a beautiful young girl is lost in the maze of her own inscrutable love emotions. It is based on Willa Cather’s popular novel and adapted to the screen by Gene Markey and Kathryn Seola. In the supporting east are Frank Morgan, Ricardo Cortez, Phililp Reed, Hobart Cavanaugh and others. Alfred E. Green directed. Barbara Stanwyck Again Remodeling Her Estate Star Of “A Lost Lady” Rebuilding Home For Third Time In Two And A Half Years OR the third time in two and a half years, Barbara StanF wyck, star of the First National production, ‘*A Lost Lady, 2 which comes 10. the. oo cs a oe Theatre Oi ote a . is remodeling her Hollywood home. The house and the grounds of her Brentwood estate have been torn up and ‘‘under construction’’ more than half the time she and her husband, Frank Fay, have lived there. Planning, remodeling and rebuilding that house has been one of Miss Stanwyek’s principal hobbies ever since she has had it. She changed it some immediately after the place was presented to her one Christmas morning and before she actually moved in. Then she lived there a few months and decided on a complete remodeling. This was halted, temporarily, when the Fays decided suddenly to take the little redheaded boy they have named ‘¢Pion’’ into their home. All rebuilding plans were shunted aside while a nursery was added hastily to the second floor. Letting the house rest for the time, Miss Stanwyck turned her attention to the gardens and grounds. A huge swimming pool was constructed on an adjoining lot, the whole estate was enclosed behind a white wall, and a gymnasium and party house was added. Now the house is being enlarged and a tennis court is being added. In ‘6A Lost Lady’’ Miss Stanwyck has the title role, that of a beautiful girl entangled in the meshes of a strange love net. Others in the cast include Frank Morgan, Rieardo Cortez, Lyle Talbot, Phillip Reed, Hobart Cavanaugh and Henry Kolker. The picture is based on the popular novel by Willa Cather and RICARDO Mat No. 19 adapted to the screen by Gene Markey and Kathryn Scola. Ricardo Cortez Never Kept Scrap Book Ricardo Cortez, who plays a dashing lover role in Barbara Stanwyck’s latest First National production, ‘A Lost Lady,’’ which comes: tothe. a Theatre ONS a aincsce ets , differs from the layman’s conception of the average actor. He has never kept a CORTEZ 10¢ serap-book of press clippings, has no idea of the number of pictures he has appeared in, and has no patience with members of his eraft who enjoy dwelling on their past performances. ‘©Ag goon as a picture is completed, I cease to be interested in it,’? he said ‘‘Good or bad, there’s nothing that can be done about it. I’m interested only in what is coming uest.’’