Ever in My Heart (Warner Bros.) (1933)

Current Features Different Colors Used on Movie Sets for Shading Although Photographed in Black and White, Garden in ‘‘Ever in My Heart” Is All Color HY do they bother about colors?’’ Visitors on the sound stages of Hollywood ask that one just as often as they say: 66 But don’t those actors from the stage miss the applause?’’ They are talking, of course, about the shades and tones of color used by set designers. as ‘‘plain black and white.’’ as accurate and carefully applied as those constructed for the stage? The answer, naturally, is that they won’t come out as black and white at all. Between those two extremes the range includes almost as many tones as there are colors. The visitors who ask the question may not guess it, but they couldn’t sit through a picture turned out in solid blacks and whites. At least they’d never want to see another. The headache and eyestrain would be terrible. For Barbara Stanwyck’s newest starring vehicle, “Ever In My Heart,” now showing at the Theatre, Anton Grot, art director for Warner Bros., had created an old-fashioned garden. It’s a large old-fashioned garden but also a friendly one—all neat brick paths and peach trees and trim New England lawn. Flowers border the walks and bank the high brick wall—but not real flowers. Real ones would wilt at once under the heat from the are lights on the sound stage where the garden was constructed. | Riot of Color | The garden is a riot of color. Grot had used a dozen or more varieties of flowers and each variety had the exact color of its natural counterpart. Why so much trouble when the colors don’t register? Because the camera does show the Movie Star Comes From Noted Literary Family Ralph Bellamy, who has one of the leading roles with Barbara Stanwyck in the Warner Bros. picture, ‘‘ Ever In My Heart,’’ now showing at the Sa See Se eer ge theatre, boasts of no stage folk among his ancestors. In fact he comes from a noted literary family. He is a relative of Eben HE. Rexford who wrote ‘‘Silver Threads Among the Gold’’ and of Edward Bellamy, author of ‘‘Looking Backward’’ and Paul Bellamy, editor of the Cleveland Plain Dealer. Stanwyck Won’t Permit Son to Be Child Actor Barbara Stanwyck, who has the stellar role in the Warner Bros. picture, ‘‘Ever In My Heart,’’ now at the theatre, has an adopted son, Dion. But she doesn’t want him to follow her own profession, although she herself was practically brought up on the stage and would not give it up. ‘‘T will never let him become a child actor,’’ she said. ‘‘It is too hard a life. I prefer he never becomes one, but if he really wants to when he is grown, and if he has the temperament, I should not then oppose it.’’ Ruth Donnelly Dropped Reporter Job For Stage Ruth Donnelly, who has an important role in Barbara Stanwyck’s latest starring picture, ‘‘Ever In My Heart,’’ now at the Theatre, seriously considered the idea of becoming a reporter when starting her career. Her father was a Trenton, N. J., newspaper editor and ofi fered her a reportorial job. Upon mature reflection, she decided her talents were better fitted for the stage. All of it will emerge on the screen Then why should sets show hues full range of shadings and none of them are quite the same. Only in that way can the effect of a varied and colorful garden be obtained. Dark red roses photograph almost black. Yellow roses are white—as white a white as the screen can show. Pale asters and lavenders look only a little darker on the screen and dark purple flowers come out nearly as sombre as the red. Blue ones are somewhere in between. There’s plenty of variety. There is only one respect in which Miss Stanwyck’s garden fails to hold the mirror up to nature. It has no white flowers—and that is very different from the true New England type. The camera has its own tricks, as you’ve probably heard— and white flowers are the only ones that would look unnatural. But yellow flowers approximate the white. The garden is the scene of Miss Stanwyck’s honeymoon home where she is happy with her husband, Otto Kruger, until the war tears the American girl and her German husband apart. The picture, based on the story by Beaulah Marie Dix and Bertram Milhauser, is one of rare beauty and powerful drama in which Barbara Stanwyck plays her most emotional role. In the cast with the star are Kruger, Ralph Bellamy, Ruth Don nelly, Laura Hope Crews and Frank |. Albertson. Archie Mayo directed. 'Mayo Had His Toubles Filming Child and Dog Archie Mayo had his troubles, and plenty, in directing Barbara Stanwyck’s latest production for Warner Bros., ‘‘ Ever In My Heart,’’ now at the theatre. A four year old boy, Ronnie Cosby, and Asta, a dachshund, figure importantly in several sequences with Miss Stanwyck. Hither a small boy, or a dog, offer enough trouble alone, but the two together—. In a long dialogue between Barbara and Ronnie, Asta’s cues had to be timed with the same precision as the child’s. Before the scene was finished to Mayo’s satisfaction fifteen retakes had been made. Barbara Stanwyck Learns Lines By Writing Them | Barbara Stanwyck, Warner Bros. star of ‘‘Ever In My Heart’’ now playing at the Theatre, is what is known as a ‘‘hard study’’ in studio slang. This means that she does not memorize lines rapidly. But she never fails to know them perfectly. In the recording of ‘‘Ever In My Heart,’’ the sound mixer’s reeord shows that only one retake was necessary on account of her lines. That was when she stumbled over the combination of the words ‘‘determined to demand.’’ It’s not so easy. Try it yourself. To memorize her lines so perfectly, Barbara works until midnight each night during the production of a picture. Her system is to write her lines over and over again with pencil until she knows them. It is a tedious and tiresome method but she is never ‘‘unprepared’’ the next morning. FREAK -FACTS! . A AZEO~ a” BARBARA STAN WYCK —ONE OF THE SCREENS || \ GREATEST EMOTIONAL & STARS, EARLIEST AMBITION WAS TO BE A FOREIGN MISSIONARY. WH ROUNDED OUT A FULL HALF CENTURY ON STAGE AND SCREEN DURING PRODUCTION OF “EVER IN MY HEART ”. ARTIFICIAL FLOWERS ARE USED IN GARDEN SCENES IN PICTURES BECAUSE THEY PHOTOGRAPH BETTER THAN REAL FLOWERS. ARCHIE MAYO WHO DIRECTED ‘EVER IN MY HEART “ ONCE TOURED EUROPE , AND AUSTRALIA IN GRAND STYLE, MAKING HiS OWN SONGS PAY HIS WAY —HAD TO DO His 306% STAGE PLAY BEFORE MOVIE PRODUCERS DISCOVERED HIM AND SIGNED HIM FOR "EVER IN MY HEART? PLANT FREAK FACTS IN LOCAL PAPER Cut No. 15 Cut 30¢ Mat 10c Takes Days to Make Short Scene Flashed on Screen Miss Stanwyck Otto Kruger Standin for Miss Stanwyck Standin for Mr. Kruger Ralph Bellamy 2 French Detectives 4 Soldiers—M.P.’s 1 Sgt. M.P. UT them all together, they 9:00 A. M. 33 93 33 10:00 A. M. 99 93 yo spell a scene of love, suspicion, terror, hate. Also they spell a full day’s work for everybody on a motion picture studio Call Sheet and more for those who prepare the sets. It may be only one scene has been finished at the end of the day. Only one scene, which will flash across the screen in the space of a minute or so. But the time, offort and the talent of many people have gone into An art department had been long its making. at work—several days before the} firgt rehearsal, so he spent three time of shooting—to create a hallway and a bedroom in a French lodging house. Property men had labored to find precisely the right furnishings and personal effects to dress this room, for Barbara Stanwyck in the Warner Bros. picture, “Ever In My Heart,” which comes COxth6= 1.54 nusk eee eres Theatre Stars and bit players have been rehearsed. Electricians, sound men and cameramen had been instructed carefully. They knew what would be needed on the technical side. All this had been done. The players on the call sheet had reported on the dot. Production was moving with the greatest smoothness. And yet this one scene took a day of shooting. That is because, first of all, the scene in question is one of the most important in the script. Also it is because Archie Mayo, despite an air of casualness and jocularity that can’t be rivaled in Hollywood, is one of the most meticulous directors in the business. That air of casualness has deceived many people about Mayo—at first. But only at first. Any who have watched him at work on the production of “Even In My Heart,” recognize the competence and seriousness beneath the quips. The Mayo quips are famous. So is his seriousness. Often this director’s jesting, which continued as a steady fire throughout the day, seemed to obscure his seriousness. Hhe scene didn’t suit him on the hours in talking it out with his principals. Then it was tried again. Mayo has a gift for “breaking up” scenes that strike him as static, dull or talky. All this he did swiftly— he knew exactly what he wanted without experiment—but it took others longer to catch up with him. When he had reversed the order of a scene, switched the dialogue and “built up” a situation from a new angle on the set, there was still plenty to be done. Lights had to be shifted, to follow his new scheme— cameras and microphone too. Ac tors had to re-arrange the order of the dialogue in their minds. The BARBARA STANWYCK — “Baby Face,” “Ladies They Talk About,” “The Purchase Price,” “So Big,” “Night Nurse,” “Illicit.” OTTO KRUGER—“Turn Back the Clock,” “Beauty for Sale.” Noted on stage for “Counsellor at Law,” “Private Lives,” “The Great Barrington.” RALPH BELLAMY—“The Narrow Corner,” “Picture Snatcher,” “Almost Married,” “Young America,” “Airmail,” “Wild Girl.” RUTH DONNELLY — “Female,” “Footlight Parade,” “Bureau of Missing Persons,” “Goodbye Again,” “Lilly Turner,” “Blessed Event.” LAURA HOPE CREWS—<Female,” “Charming Sinners,” “New Morals for Old,” “The Silver Cord,” “Out All Night.” FRANK ALBERTSON—“Airmail,” “Huddle,” “Racing Youth,” “Way Back Home,” “The Brat,” “Traveling Husbands,” “A Connecticut Yankee.” DONALD MEEK — “Girl Habit,” “The Hole in the Wall.” ELIZABETH PATTERSON — “No Man of Her Own,” “They Call It Sin,” “Life Begins,” “Miss Pinkerton,” “Stranger in Town.” WILLIS CLARK—“Madame Butterfly,” “They Just Had To Get Married,” “My Pal the King,” “Okay America,” “Alias the Doctor.” NELLA WALKER “Twenty Thousand Years in Sing Sing,” "Frisco Jenny,” “They Call It Sin,” “Is My Face Red?” “As You Desire Me.” HARRY BERESFORD “The Match King,” “Doctor X,” “Two Seconds,” “Prosperity,” “Ambition,” “So Big,” “High Pressure.” CLARA BLANDICK — “Life Begins,” “Three on a Match,” “Two Against the World,” “Huckleberry Finn,” “It’s a Wise Child.” FLORENCE ROBERTS—“The All American,” “Make Me a Star,” “Westward Passage,” “Fanny Foley Herself,” “Too Many Cooks.” VIRGINIA HOWELL—“They Just Had To Get Married.” ARCHIE MAYO (Director)—“The Mayor of Hell,” “The Life of Jimmy Dolan,” “Two Against the World,” “Street of Women.” arrangement of the furniture was changed. Only the one scene had been finished by the end of the day, the climactic scene of love and pathos for “Ever In My Heart” in which Barbara Stanwyck, Otto Kruger, Ralph Bellamy and a few bit players take part. But Archie Mayo had what he wanted. “Ever In My Heart,” written by Beulah Marie Dix and Bertram Milhauser, is a romance of rare beauty in which Barbara Stanwyck plays her most emotional role. Others in the cast include Ruth Donnelly, Laura Hope Crews and Frank Albertson. MISS STANWYCK’S LEADING MEN program also with story on star. OTTO KRUGER Out No.2 Outi15e Mat dec Use these cuts as fillers feature either RALPH BELLAMY Cut No.8 Outi15e Mat de Page Nine