Father's Son (Warner Bros., 1931) (1931)

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“ Here’s A Part Made To Order For Lewis ie a] Ga _— Stone. The Fans Will Love Him In It! COME ON! LET’S BE KIDS AGAIN! Relive those precious years from six to sixteen with Bill, a reg’ler feller! He’s a trial to his parents but a hero to his Booth Tarkington’s Immortal Story of young humanity Cut No. 6 Cut 20c, Mat Sc gang! FATHER’S SON with LEWIS STONE IRENE RICH LEON JANNEY And a dozen of Hollywood’s Brightest Kids. A FIRST NATIONAL & VITAPHONE PICTURE “FATHER’S SON” DELIGHTS BIG FIRST NIGHT AUDIENCE, VIVID KIDDIE PICTURE FOR ALL AGES (Prepared Review Featuring the Story) The large audience at the....... Theatre last night, at the first showing of First National’s screen version of the Booth Tarkington story, “Father’s Son,” was greeted with applause as spontaneous as if the audience had by some strange magic reverted to the age of the boy-hero of the play. “Father’s Son” is presented by a capable cast headed by the clever child-actor, Leon Janney, who did such remarkable work in “Courage,” x © .Wistfully lovely mother who tries to protect the boy from the stern father who is portrayed by Lewis Stone as he only could play it. Others in the cast are Mickey Bennett, as the kid bully of the small town, Robert Dandridge, remembered as the pickaninny in “Hallelujah,” John Halliday, George Reed, Gertrude Howard, Bertha “Mann and Grover Liggon. William Beaudine who has created so many of those “human” stories that appeal to everyone, has been eminently successful in his direction of “Father’s Son.” The picture is based on Booth Tarkington’s story “Old Fathers and Young Sons.” It is a marvelously true story of a boy who is misunderstood by his middleaged father, who takes all his pranks for evidences of natural depravity. The lad has the brooding sympathy of ‘his mother, the faithfulness of his dog, and the worship of Vestibule ~ Pullman Johnson, a colored lad— Leon Janney as Bill Emory in “Father’s Son” = “Old English” and “The Doorway | ~~ Cut No. 5 Cut 15c¢ Mat 5c then there is the old gang—Red and Fat and Skinny and the rest—but dad’s harshness seemis to cancel all the comfort the others bring. The boy finally decides to run away and then it is that the father begins to see the havoc wrought by his attitude towards the lad. Ne more of the story need be told except that the picture from first to last is suffused with humanity. The characters are all living, amusing, and often moving in their tenderness. Whether it is the old swimmin’ hole, that draws the helter-skelter gang, or the circus, or the fight in which the village kid-bully mixes up with the hero—all is real. Seeing “Father’s Son” is like boarding an express for a trip back to boyland. It is the one of those rare pieces which have universal appeal. Whatever else you must miss, don’t miss “Father’s Son.” Screen Kids Fight In The Tarkington Hit “Father’s Son (Advance Story) Leon Janney, the thirteen-yearold lad, may be a movie star, and as one subject to the adulation of movie fans and careful handling by motion picture producers, but to Mickey Bennett, who is also a young eteran of the screen, Leon is just a kid like himself. There is very little of the hero-worshipper about Mickey. -He has been in the film game too long for that, as he has been appearing before the camera for over eight years. The fact that Janney is the featured player of “Father’s Son,” the talkie version of Booth Tarkington’s story, “Old Fathers and Young Sons,” and that Mickey was supposed to be only a supporting member of the cast, made little difference to young Bennett in so far as his acting was concerned. The script called for a fight between Leon and Mickey. That was just grand for both, no lines to study, and no rehearsals necessary. “I’m ready any time you are,” said Mickey to Leon, his eyes gleaming at the prospect of a fight for which he was to be paid. Director William Beaudine cautioned both not to hurt each other, although he wanted a fight that would look realistic, and then gave the/ signal for the scrap to start. Mickey forgot he was only supposed to be fighting mad when Leon cuffed him on the ear. He sailed into Janney and the two just stood toe to toe, slugging away at each other with vengeance in their hearts. They continued to mix it up, even after Beaudine had ordered the cameras to “cut” and didn’t stop fighting until the director stepped in between them. The two contestants shook hands jand then grinned sheepishly at each || other. Janney had received a cu lip and Mickey’s nose showed that he had forgotten to duck one of Leon’s swings. Incidentally, as a result of the cut lip, Janney had received, production on “Father’s Son” had to be stopped for several days. The cut itself was slight, but the daily application of make-up on the wound caused an infection to set in which so puffed up the lip that further filming became impossible until medication had reduced the swelling. Lewis Stone, who plays the role of the harsh father, and Irene Rich, who is seen as Leon’s mother, bet a lunch on the outcome of the fight, but it was declared a draw. Featured members of the cast having ringside seats at the fight were John Halliday, Robert Dandridge, a little dark who has appeared in over one hundred productions, George Reed and Gertrude Howard. “Father’s Son” comes to the . Theatre .... next for a run of .... days. Hey Fo io Cll He knew every Use These Convincing Lobby Frames man tn town, but he didné know his Own Son “4 ETHERS SON Enlarge the ad from which this frame was adapted. All should be < i in this one of in deep figures in light natural tones. Color the circle deep blue and all lettering vermillion. Entire background should be in light blue. ender. pastels. Page Four Utilize the corresponding ad ‘Father’s Son, Pub. C.? and and rest yellow and light blue; man’s shadow dark blue; copy red on white border; all other panels green, yellow and lav by i An —~ “SA ALL-AMERICAN» “4 Boy Story ForAll America LEWIS STONE IRENE RICH LEON JANNEY press sheet or still, Lewis Stone. Circle red with title white ation in vermillion low alternately. Color figures in light ee blue on white. Use either the ad or stills as indicated. .Boy’s head on blue panel with other heads on white with surrounding decor Title light Use still *Father’s Son, No. 11” in color on a light blue ground. Copy in dark blue, title vermillion on cream tinted panel. Bands on left in purple, yellow and dark green; bands on right in vermillion, white, light blue and dark blue. and yel j OHIO. Watsrch 4 be) You'll Dig Mighty, Mighty Deep To Find The Spot This Drama Hits! Should she give up the man of her heart for the boy of her heart? A drama for everybody who is old enough to understand the most human side of life. oe N 3 y/ Boy Story dela alll betes “SON. s LEW IS STONE Story by _.. Boo rh A “First : National & Vitaphone Hit Cut No. 16 Cut 40c, Mat 10c, IRENE RICH LEON JANNEY. a KID TONIGHT! LEWIS STONE SAYS Irene Rich Charms TALKIES ELEVATE ACTING STANDARD (Advance Story) Talking pictures have brought to the screen more sincere portrayals of characters than were possible in silent pictures, in the opinion of Lewis Stone, who plays the important role of the father in “Father’s Son,” which features Leon Janney at the Theatre beginning eerecee An actor can more faithfully play a role when he has a complete understanding of the type or character to be represented, Mr. Stone declares. This was not possible under the system used for silent production, he points out. “Before the picture business went talkie,” he says, “its players seldom gave a great deal of study to their roles. They arrived at the studio in the morning, made up and went on the set. There, a director told them to walk through a door and appear startled. They seldom had occasion to know why they were startled, who was startling them or what they were supposed to do next. Naturally there was not a great deal of sincerity to their acting. In most of their pictures they played themselves, not the character of the story they were making. “Talkies have changed all this. Weeks of rehearsal before the picture goes into production, attentive study of lines and a full knowledge of the story tend to get the players more into their part than the silent films ever did. The result is better acting, better characterization, and a more convincing entertaining picture.” The cast of “Father’s Son” also includes Leon Janney in the title role, Irene Rich, John Halliday, Mickey Bennett and others. William Beaudine directed. The picture is based on a Booth Tarkington story. ee ee veces As Fond Mother In “Father’s Son” (Biography as of Jan. 15, 1931) Irene Rich, who plays the mother of Leon Janney in “Father’s Son,” which comes to the ...... Theatre next, was born in Buffalo, New York, and educated in that city at St. Margaret’s School for girls. When Miss Rich was fifteen her father lost his fortune and moved to Idaho to take a chance of a gold mine, his only remaining holding. It was there she met and married Charles Henry Rich. In 1917 they parted, Miss Rich taking her two daughters, Frances and Jane, to Hollywood, where she entered pictures. She played as an extra for several months, receiving her first small part in “The Girl in His House,” starring Earle Williams for Vitagraph. Several months later she did her first lead with Dustin Farnum in “The Man in the Open.” Her excellent work in this picture caused Will Rogers to select her as his leading lady in seven comedies. Her splendid performances in “Rosita,” with Mary Pickford, “Lucretia Lombard,” “Beau Brummel,” and others, lead to a starring contract with Warner Bros. Some of her pictures under that contract were ‘“‘Eve’s Loer,” “A Lost Lady,” “The Man Without a Conscience,” “Lady Windermere’s Fan,” “Silken Shackles” and “The Honeymoon Express.” Other pictures in which she appeared are “Craig’s Wife,” “Powder My Back,” “Women They Talk About,” “The Exalted Flapper” and “They Had to See Paris.” Miss Rich has lived in Spokane, Honolulu, San Francisco and Hollywood.* She spends much of her spare time riding and swimming and instructing her girls in domestic and social arts.