Havana Widows (Warner Bros.) (1933)

Advance Eeatures Blondell and Farrell Form Hilarious Comedy Couple Together for First Time in “Havana Widows” Although for Years With Same Movie Company T may seem hard to believe, but Joan Blondell and Glenda Farrell, long engaged by the same motion picture company and working simultaneously in the same studios, have never appeared in the same production until teamed for ‘‘Havana Widows,’’ the First National picture which comes to the............ theatre on Now it is a rare thing for stars to play together even though they work for years at the same studios, although occasionally this does happen in the ease of an all-star picture. It is even rarer for a star and a featured player working on the same company lot not to be cast in the same production at some time or other. But Joan a star and Glenda a featured lead, had never played together although the former has been with the Warner Bros.-First National company for more than three years while the latter is now rounding out her second year with the same concern. There was a reason for this. Usually contrast in characters is most desirable and the two are temperamentally too much alike. Both Joan and Glenda are smart, wise-cracking, sophistieated individuals who know all the answers, so to speak. Then along came “Havana Widows” in which two such characters were needed. These are the two most important roles in the production, the picture deviating from the usual fare in which a male and female player have the outstanding roles. The romantic male lead, a part played by Lyle Talbot, is important, naturally, but this is a straight role in a comedy production in which the love interest is incidental and subordinate to the comedy characterizations. Two sophisticated girls, showgirls who had been around, were needed for the feminine leads and so it came about that Joan and Glenda were cast to play opposite each other. And they play practically all scenes together. Rarely are they seen separately. They have the roles of two Broadway burlesque queens with no scruples about taking over the unsuspecting male for all they can get. The two are having a rough time in a cheap New York show when along comes an old chorine pal dressed in the latest glad rags to tell them that she has just returned from Havana where she has taken a millionaire to the tune of sixty thousand dollars by the breach of promise method. Informed that the Cuban resort is ridden with millionaire suckers just itching to be plucked, they are on their way, after shaking down a boy friend for $1500. as a grub stake. Disearding the breach of promise method as too long and too tedious a process, they embark on a get-rich-quick scheme of shaking down the suckers by the badger game. Their adventures in this line of sport lead to situations that are hilariously funny. Never has there been a more potent team of wise crackers cast together in a picture than Joan and Glenda. Their repartee and snappy dialogue, together with unusual and surprising situations, are said to be comical enough to make a pompous church deacon roll in the aisle with laughter. The two girls are supported by some of the cleverest comedy players of the screen, with Frank MeHugh as the girl’s counsellor, whose steady job is hoisting drinks at Sloppy Moe’s bar with law as his avocation. Allen Jenkins, gunman bodyguard to a gambler, is the New York boy friend whom the girls make for their grub stake. Guy Kibbee is the sucker, supposed to have a million kicking around in his jeans, while Ruth Donnelly has the role of his shrewish wife. Other important parts are played by Hobart Cavanaugh, Ralph Ince, Maude Eburne, George Cooper, Charles Wilson and Gary Owen. The picture was directed by Ray Enright, from the screen play by Earl Baldwin. Havana's Best Widows Joan Blondell and Glenda Farrell, two of the screen’s most attractive blondes, team up in “Havana Widows,” First National’s riotous story of two gold digging queens on the make for millionaires. The picture will be shown at the Theatre beginning Mat No.1 Price 10c Lyle Talbot Finally Gets Cast For Romantic Lead After Two Years of “‘Heavy” Screen Roles, Wins Chance as Romantic Lead in “Havana Widows’’ j Be good nature got him out of heavy roles! Lyle Talbot had been old Hartman Theatre in a comedian on the stage of the Columbus, Ohio, and in other places, before he came to Hollywood. But his first role in pictures was as a heavy. It was rather interesting—because the screen test Lyle took for the picture was one containing lines from a play written about the First National executives Lyle was to play for. He didn’t know this until afterwards. When he did learn of it—when he learned that the play he had used to test himself with was one written by First National publicity man about the very studio he had gone to work for—Lyle laughed. And didn’t mind so much that they had cast him, right off the bat, in a heavy role. His first heavy role wasn’t to be his last, either. He did it rather well—rather better, in fact, than the general run of heavies in that studio had been accustomed to doing—and it got him catalogued as a heavy. He ‘played heavies in ten pictures before they found that he was an excellent leading man. Then came his chance to play leads. He played a lead opposite Loretta Young in ‘‘She Had To Say Yes.’’ He played a lead opposite Kay Francis in ‘‘Mary Stevens, M. D.’’ The studio fully believed it had gauged him right at last. In Talbot, they had—rather unexpectedly—a new leading man. His classic profile, ready smile, good build and general freshness of appearance made him a sure bet. Leading men aren’t the _ easiest thing in the world to find. The studio was pleased. It was still more Lyle Talbot, one of the stars of “Havana Wid OWS, COMING: to: the 2 ea: Mat No.5 Price 5c pleased when it learned, quite by accident, that Lyle could sing, although Talbot isn’t required to show his vocal ability in ‘‘ Havana Widows.’’ A leading man who could sing was a find, indeed, especially now that musical pictures are all the rage. But, more recently, the studio has had a chance to again weigh this Lyle Talbot in the balance, and wonder speculatively whether he isn’t, after all, something more than a leading man. Henry Duffy,, Los Angeles impresario, cast Lyle in the leading role in ‘‘One Sunday Afternoon’’ on the stage—in a role that was at once heavy and sympathetic. One of the most difficult roles of the modern stage, in fact. And Lyle knocked it for a row of brass-lined mustache cups! He kept the old El Capitan Theatre open for four weeks with a play that no one thought would last more than one in the movie capital. On Lyle’s home lot now they’ve come to the conclusion that Talbot is a real all around actor whose talents are not limited merely to .‘*heavy’’ or leading man roles. You may expect parts a-plenty for Talbot, all of added importance. Just now he’s playing with Joan Blondell, Glenda Farrell, Guy Kibbee, Frank McHugh and others in ‘‘Havana Widows,’’ a picture comedy drama by First National which comes UOrsthGre ce ee Theatre on The part gives him a chance for a little comedy and a little leading man variety. Villain — screen lover — comedian. How far will Lyle Talbot go now? His good nature in accepting any part given him has carried him from heavies to leads. Partly it depends on Lyle. Partly it depends on the parts he gets. His part in ‘‘Havana Widows’? would seem to point to romantic leads, for while he takes part in the comedy situations of the uproarious picture, his is the sympathetic role. His seriousness acts rather as a foil to the comedy. But Ray Enright, who directed the picture from Earl Baldwin’s screen play, says Lyle can play anything. Joan Blondell An Impertinent Portrait By Carlisle Jones as the girl who looked most Ji Blondell once won a contest in Texas. She was chosen like Madge Bellamy, whose pic ture, ‘‘Miss Sandy’’ was about to be released there. That was before the heroine of ‘‘Havana Widows,’’ the hilarious First National comedy which comes to the............00.......... Theatre on a career. She was managing a store at the time. She won a bathing beauty contest, too, but that was another time—and in another state. Not long ago Joan found what she considered the “perfect house.” She was living in it at the time. So she and George Barnes, her cameraman husband, bought it. And remodeled it—slightly. She has never written a letter to an editor. She can’t get comfortable in a hammock. She can tell a mushroom from a toadstool. On the cook’s night out Joan and George do not go out to dinner— unless, by chance, they have been invited out. Instead Joan cooks the dinner—and George eats it and likes it. : She has never earried a political poster on her automobile. Her cigaret lighters do not generally work. She doesn’t like high polish finishes, nor cottage cheese, nor trees trimmed into “shapes.” She has never missed a train. She can sleep with a light on. She has crossed the equator and she has been in a shipwreck. She has ridden an elephant and she has had her nose frost bitten. When Joan argues she is very sure of her ground. Not even the ROSS rane , had thought of trying the movies as Encyclopedia Britannica will convince her she is mistaken. Orchids are not her favorite flower. The wild rose is—but wild roses don’t grow in profusion in California. Joan likes rainy weather and she is not afraid of thunder storms. She once threw stones into the Grand Canyon. She can milk a cow. She doesn’t read shopping news. She plays Ping Pong. She is afraid of mice but not of spiders. Once Joan turned in a fire alarm. It was a success—the fire department came but the barn burned down anyway. She likes to watch towns out of Pullman windows at night. She likes the smell of popcorn, and Peter Arno’s cartoons and new foods and strange foreign dishes. She has been lost, and is frequently seasick when traveling. Doesn’t believe much in luck .. . saves rubber hands ... likes to trim Christmas trees ...knows who “Moon Mullins” is ... likes to ride a roller coaster. She is not interested in child prodigies. ... doesn’t follow murder stories in the papers and she doesn’t understand how the radio works. Joan refuses to go up into high buildings unless it is absolutely necessary. Like many other people she has an almost uncontrollable desire to jump when she looks down from a great height. But she did manage to climb the Statue of Liberty. She itches to straighten crooked pictures on other people’s walls. She likes rocking chairs and bananas and flea circuses. She is not superstitious opals. She once caught a twenty-seven pound fish—and landed it herself. about JOAN BLONDELL Star of Mat No. 13 Price 5c She can drive a model T Ford, she likes to color Easter eggs, she joins in the singing when she goes to church and she is apt to worry over dreams. She sends out for a paper when she hears “extra” called... likes to drive fast. ... likes old book stores and watermelon and parades but she doesn’t care for checkers. Joan has been known to argue with policemen—about tickets for speeding. She was arrested on such a charge three times in one week. She sometimes answers her own front door bell. She reads biographies but dodges books recommended by critics. She has seen an oil well “come in,” She doesn’t save old letters and she is not afraid of the dentist. She has been thrown from a don ‘key—but never from a horse. . has ridden on a dog-drawn sleigh. She’s been around—she has! As you will believe when you see her as a wise-cracking chiseler who romps through “Havana Widows” with the spirit and life of a frisky puppy. Others in the cast include Glenda Farrell, Guy Kibbee, Lyle Talbot, Allen Jenkins, Frank MeHugh and Ruth Donnelly. Ray Enright directed the picture from a sereen play by Earl Baldwin. Page Five