Grand Slam (Warner Bros.) (1933)

Loretta Always Wanted Role Opposite Lukas P Theatre next LAYING opposite Paul Lukas in the First National picture, ‘‘Grand Slam,’’ which comes to the , marks a mile stone in Loretta Young’s life and fulfills one of her long stand ing wishes. Loretta Young has a very interesting tie that binds her to motion picture work. She gets rabid enthusiasms for certain male stars and leading men and conceives a burning ambition to play in a picture with each of them. Ever since she had seen Paul Lukas on the screen several years ago in silent pictures, she hag been saying to herself: “One of these days I am going to play in a picture with him.” Like the old Dr. Coue formula, she has been repeating it to herself every time she saw a Paul Lukas picture, or saw his name in a newspaper or magazine. She recognized in him not only a superb actor, but the kind that would just match her personality and inspire her to do her very best work. In other words, .an artistic affinity. It was one of the happiest days of her life when Warner Bros. executives announced that Paul Lukas had been secured to co-feature with Loretta in “Grand Slam.” It was that way about Lon Chaney, and John Barrymore, and Ronald Golman, and Edward G. Robinson. Out of the four highlights of her past, the fulfillment of this sort of desire takes up fifty percent. As concerns her past, incidents or milestones in her personal life do not count. It is all tied up with her motion picture work. “When I try to review the past nineteen years for anything noteworthy,” Loretta said, “all I can think of is four pictures I have _made. x ~ Qe” first of... thoso._ ig ST 9 wek, “Clown, Laugh,’ because it not only gave me a chance to play opposite Lon Chaney whom I had admired so much, but also because it was the picture that gave me my first chance. “The second highlight was ‘The Devil To Pay’ because I put all the enthusiasm I had into it and I still regard it as an ideal picture. My greatest ambition before that was to play in a picture with Ronald Colman, and this picture did it — hence the enthusiasm. “The third was ‘The Hatchet Man,’ not only because I could work ff with Edward G. Robinson, but also because it gave me a chance to step out of myself and play a character role as a Chinese girl. It was an experience that I know I shall never forget. “One of the biggest thrills of my life was playing in ‘Life Begins.’ It was so grippingly human that I took the whole thing much more seriously than most other pictures I have done. The theme was s0 noble — as if there could be anything more noble than motherhood.” Which latter remark brought her to thoughts of the future. “There are so many things I want to accomplish while I am in motion pictures,” she said. “There are still three actors with whom I hope to appear one of these days in a picture. They are Leslie Howard, Fredric March and Charles Laughton. After I have played with them, I will consider that I have fulfilled my life as far as my motion picture career is concerned. “But on second thought, it was just lately that I came to admire Charles Laughton’s. work, which makes me think that within the next few months I am liable to discover another actor or two with whom I would like to work. And so it would go on, ad infinitum.” There is nothing much to fear about Loretta Young deserting the. silver screen for some time to come. But if and when she falls in love, Loretta Young threatens to switch to a life career of housekeeping and child raising. In her latest picture “Grand Slam,” Loretta plays opposite Paul Lukas as a “honeymoon bridge bride.” The picture is based on the novel by B. Russell Herts and was adapted for the screen by Erwin Gelsey and David Boehm. Others in the cast include Frank McHugh, Glenda Farrell, Helen Vinson and Walter Byron. The picture was directed by William Dieterle. Bridge Conduct Rules Needed—Frank McHugh I T all seems so easy, this business of making bridge rules. As _ a way to fame and fortune it can’t be beat. has been doing it at the First National Studio ever since Everybody Paul Lukas and Loretta Young started production on ‘‘Grand Slam,’’ the bridge tournament comedy, which comes to the Theatre on a Bis er Sia Ta es aa Pee OS er cat EN a re ee But what has been overlooked, according to Frank Me Hugh, who figures prominently rules for bridge players, no matter what “system” they use. In the spirit of public service, Frank offers the following set of rules, more with a thought for the FRANK McHUGH Cut No. 9 Cut 15¢ Mat s¢ in the cast, is a set of etiquette is placed face up on the table. Under no circumstances should it be used with a personal connotation when the partner sees what a swell bidding hand was muffed. 3. Epithets and adjectives hurled at one’s partner should be, unless said with a smile, strictly confined to endearments. Such terms as (. .. this portion deleted by editor -..) are not part of bridge, but belong in the realm of such socially lower games as poker and pinochle. 4. Kicking with the feet under the table and hitting in the clinches are strictly barred. Marquis of Queensbury rules prevail throughout. 5. The — stock phrase: ‘Who progress of humanity than with any |dealt this mess?” is considered passe. idea of personal gain: 1. Husbands and wives. are barred from bringing to light domestic differences as aids to argument. : 2. The term “dummy” should apply only to the hand of cards which A polite sneer will suffice. 6. When the table consists of ladies and gentlemen evenly divided, and one of the ladies follows her six spade bid with a description of her next dress, it is considered impolite for either of ADVANCE FEATURES NOTE: For illustrations in the features im this section, refer to the cartoons in the “Stunt of the Week” in the Exploita tion Section. Bridge Players Shown As Others See Them B trooping down to the . RIDGE players of chronic variety as well as non-bridge players will be folding their tables temporarily and Theatre to see themselves as others see them when the First National picture, ‘‘Grand Slam,’’ opens next Fae iat Gere ah Tbe Woot tena ee Wal er Wet Pon gays et em eC ee Having held the mirror up to almost every other large phase of American life, the movies are now making the pic ture complete by building a story on the very prevalent habit, or epidemic, of bridge playing. The allabsorbing seriousness with which the game is taken provides a source of excellent satire which this picture utilizes to good, entertaining advantage. The story deals with a Russian waiter, portrayed by Paul Lukas, who marries a bridge-playing wife, enacted by Loretta Young. His serious efforts to write a book on Democracy are broken into every time he is called on to make up a fourth at bridge. His contempt for the game and his irritation at Cut No.1 seeing how it Cut 156 causes married : a (es 2 Te ee a See SSS Vere pes vO quarrel, prompts him to make his own rules for the game as he goes along. Naturally, it causes eyebrows to raise in censure, but the fact that he always wins results in his name being put up as that of an expert. With the aid of a ghost writer, his system — which consists of having no system at all — is put out in book form, and he is on his way to fame and fortune. He tours the country with his wife, playing in tournaments and exhibitions wherever they go — and the wonderful part of it is that, according to his system, married couples never quarrel, Going from the life of a waiter to that of a wealthy bridge expert — and a handsome one at that — has its handicaps for the wife, and it brings a diverting twist to the story. The climax, which consists of a much publicized tournament with a rival “expert” brings to the films one of the most entertaining pieces of clever comedy of this year. In building up this story, Warner Bros. has given the picture added brilliance through casting many important players in it. Paul Lukas, as the bridge playing waiter, and Loretta Young, as his wife, are reported to give excellent performances. A goodly amount of fine comedy is also provided by Frank McHugh and Glenda Farrell in nrominent sunpertine SS rt reser PED Others seen to good advantage in y the balance of the cast are Helen Vinson, Walter Byron, Ferdinand > Gottschalk, Joe Cawthorne, Paul Poreasi, Mary Doran, Lucian Prival, Tom Dugan, Maurice Black, Lee Moran, Ruthelma Stevens, Emma Dunn, Reginald Barlow, Harry C. Bradley and Charles Levison. The direction was in the hands of William Dieterle who is noted for the work he did in such successes as “Lawyer Man”, Sverre BRIDGE TAKEN FOR A RIDE IN “GRAND SLAM” Loretta Young and Paul Lukas beaming happily at each other, with Helen Vinson and the fourth hand looking on, in a scene from “Grand Slam,” the much-heralded satire opening at the Strand next Friday. Glenda Farrell and Frank McHugh are also in the cast. Cut No.5 Cut asc Mat rsc the gentlemen to bark: “Are we playing cards, or are we playing cards?” or “Keep your mind on the game.” The gentlemen, under these circumstances, may either turn to a discussion of sports, politics or business, or else walk arm in arm to the corner drug store for a soda and a cigar. 7. Post-mortem analyses of hands played should contain no reference derogatory to one’s partner’s method of playing. Such expressions as “You numbskull! Why didn’t you play the king?” are barred. It is, however, permissible to say under such circumstances: “You played it splendidly. But it might have been a little better if you had played the king. However, that’s neither here nor there.” 8. Silent, mental condemnation of one’s partner is permissible at all times. After all, this is a free country and you can’t stop a man from thinking. But for the sake of making a rule: — when you think that, smile. Frank contends that strict ad-herence to these rules would make it so that you wouldnt know there was a bridge game going on, even if you were within a block of the place. Others in the cast of “Grand Slam” include Glenda Farrell, Helen Vinson, Walter Byron, Ferdinand Gottschalk, Mary Doran, Lee Moran and Tom Dugan, The picture was directed by William Dieterle. Page Nine