I Loved a Woman (Warner Bros.) (1933)

CURRENT FEATURES (continued) ‘More Than Makeup Needed | To Act Old Man,’ Says Star Robinson Ranges From Teens to Fifties During Thrilling Action of “I Loved A Woman” O most people the idea of growing old is a delicate matter to mention. One doesn’t discuss age and creeping years. But now there comes to light a fellow who added forty years to his age in less than that number of days. He not only doesn’t | refuse to talk about it, but rather is proud that he could add | that number of years so quickly and do it so convincingly. | As a matter of fact he did almost the same thing once before. He did it in ‘‘Silver Dollar,’’ and did it again in the filming of his latest First National production, ‘‘I Loved A Woman,’’ now showing at the se as Theatre, with Edward G. Robinson and Kay Francis in the stellar roles. ‘“Getting old,’’ said Robinson, ‘isn’t merely a matter of donning the right make-up. Anyone ean engage a clever make-up artist to add years to one’s appearance. The trick is deeper than that. It comes in getting across the characteristics and mannerisms effectively. The walk of the aged, the poise, the stoop. That’s what we strive for when we portray old characters on the screen. ‘“‘T’ve found that playing an older character with any degree of success requires a knowledge of the psychology of the age being played. Getting into the proper ‘feel’ of an old man helps me in these roles and whenever I get a chance to watch the actions of an old fellow, or talk with him, I try to absorb his viewpoint. It’s an ‘inside’ thing, this old character work.’’ In the filming of ‘‘I Loved A Woman’’ from the story by David Karsner, who also wrote ‘‘Silver Dollar,’’ Director Alfred E. Green, Director of both pictures, has tried to follow the time continuity of the seript as he did with his previous effort. This is highly important, the star says, in helping an actor keep in the mood of the added years. Were he to skip from the age of thirty on one day, to fifty the next, then back to thirty-five, there would naturally be a jerky pace that would detract from the player’s effectiveness in his performance. ‘¢This opens,’’ Robinson said, ‘‘in the early nineties when I’m in my twenties. The course of the story takes us up to the present so you can see, if your arithmetic is good, that I’m well along in years when the picture ends. FRANCIS, woman of fire, as the Cut No. 15 The picture carries through the years down to the present day. It is a powerful drama of a passionate and clandestine love affair of a wealthy meat packer and an opera star with a background of frenzied finance set in Chicago’s Packingtown. Woman,” current presentation at the Out 30¢ Barbary Coast Oil Nudes Decorate Robinson Set Two oil paintings hanging in the pretentious country club set that filled nearly an entire stage at the First National studios, during the filming of “I Loved A Woman,” costarring Edward G. Robinson with Kay Francis, have a lurid past. The paintings—two voluptuous / nudes—onee hung in one of the best known cafes of the “Barbary Coast” in San Francisco, before the earthquake and fire. They were sold at auction and eventually were dis covered in an antique shop in Los Angeles by First National’s property man. “I Loved A Woman” is now showing at the Theatre. EDWARD G. ROBINSON, the screen’s man of thunder, and KAY artist sees them in “I Loved Pee en Ona Theatre. Mat 10c¢ Besides the two stars, there is a notable cast which includes Genevieve Tobin, J. Farrell MacDonald, Henry Kolker, Robert Barrat, George Blackwood, Murray Kinnell and Henry O’Neill. The screen play is by Charles Kenyon and Sidney Sutherland. Life of the Auto Shown in Epochal “‘I Loved AWoman”’ Picturesque Conveyances of Last Three Decades Appear in Edward G. Robinson-Kay Francis Hit O you remember the days, not so long ago, when automobiles were rarer than horse-drawn vehicles are today,—when the latest thing in motor cars was a one-cylinder affair—and steering wheels were unknown—and fifteen miles an hour was breakneck speed ? If you can remember back thirty years, you’ll get a reminiscent thrill out of the scenes in the First National production, ‘‘I Loved A Woman,’’ now at the year 1901 back to life with startling realism. If you’re too young to remember them, you'll get plenty of laughs when you see what dad’s and granddad’s first automobile looked like. Four genuine and _ practically priceless “automotive antiques” are used in the 1901 sequences of “I Loved A Woman,” starring Edward G. Robinson with Kay Francis. ‘Horseless Carriages!’ | You’ve probably never heard of the Holtzman car. It was one of the leading “horseless carriages” from 1899 on, for a few years. It boasted a rope drive, huge buggy wheels, with small, hard rubber tires —pneumatie and balloon tires were unimagined in those early days— and was painted a_ garish red. You’ll see it operating under its own power and making more noise than a ten-ton truck does today. Another “buggy wheel’ type of 1901 auto that plays a part in this drama of Chicago and its meat-packing millionaires, is the one-cylinder Pierce brought out in that year. It was the last word in up-to-date motor cars then. The engine operated from the rear axle and the cylinder was covered with long spikes, like a poreupine to carry off the heat generated when the engine was running. Still another four-wheeled, horseless patriarch that lumbers through the streets of Chicago in the picture, is an ancient Sears-Roebuck, chain-drive vehicle. These cars were for the most part two-seaters. The one-cylinder engine was the standard type. When, two or three years later, an enterprising company brought out a two-eylinder car, every one declared they were not only crazy but headed for bankruptey. Theatre. It brings the Steering wheels had not been thought of. The steering apparatus was of the bar type, or the “tiller” variety, like the tiller of a sailing vessel. The four cars used in “I Loved A Woman” are merely a few of the large and valuable collection of “period” automobile owned by First National studios, a collection extenSive enough to stock a permanent automotive museum. And—believe it or not—every ear in the collection, even the oldest of them, can and does still operate under its own power. | Enter Mam’selle “IT Loved A Woman” is not antirely confined to the earlier period, however. It begins in the nineties and comes down to the present day, a period of about forty years being covered. While it is an epic of the packing industry, it carries an amazing romance in which love for a woman ruins an indifferent meat packer and a man more inclined to the arts than to industry into a ruthless tyrant whose greed and ambition are insatiable. Strangely enough this ambition becomes even stronger when he _ discovers his inamorata is unfaithful, and _ his love turns to hate. Besides Robinson and Miss Francis—Genevieve Tobin, Robert MeWade, Robert Barrat, George Blackwood, Henry Kolker, J. Farrell MacDonald, Murray Kinnell and Henry O’Neill are important members of the east. Alfred E. Green directed the picture, which is an adaptation by Charles Kenyon and Sidney Sutherland of David Karsner’s original story, “Red Meat.” Sembrich’s Carriage Driven By Genevieve Tobin in Film Edward G. Robinson Star of “I Loved a Woman” Has Imagination Fired By Carriages of 1893 ARBED according to the last word of the fashion monarchs of 1900, Edward G. Robinson and Genevieve Tobin alighted from the smart open victoria, drawn by two splendidly matched horses, in which they had just been driving down a Chicago thoroughfare for a scene in the First National production, ‘‘I Loved A Woman,’’ which opens at the................ Theatre on next, with Robinson as the star—and a supporting cast headed by Kay Francis. Gallantly, as befitted a gentleman at the turn of the century, Robinson helped his charming companion to the sidewalk. Miss Tobin shifted her elaborate lace parasol to the other shoulder as they strolled down the street. collection of horse at the drawn vehicles moving up and down the street, or standing at the curbs. He stopped in front of a smart four-wheeler, luxuriously upholstered As he stood looking it over, his eye caught the motley in leather and plush. -_ Eddie Robinson’s imagination is|maker’s name easily legible on the always fired hubeap of one of the wheels. by a story— “There’s a story in itself,” he such as ‘‘I cried, as he pointed his cane toward Loved A it. “Look at that — ‘A. T. DemarWoman’? — est & Co., Fifth Avenue and 33rd that is — a Street.” story which deals with bygone days. He Al Green, the director, had strolled up behind them. Eddie turned to him, as excited as a prospector who is constantly has just struck a lead. looking for the hidden Where Empire State Now Is Era es See RENeVIESE everything TOBIN “You know your New York, don’t around him. you, Al,” he said. “Imagine what “What a aA New York was like when a carriage Cut 15ce Mat 5c manufacturer had his shop and salesrooms at Fifth Avenue and 33rd Street! On the site of the Empire State Building! The old WaldorfAstoria hadn’t been built yet. This story there must be in every one of these old carriages, cabs, hansoms and broughams!’’ he exclaimed to Genevieve, as he looked around with eager eyes, carriage probably goes back to the early ’90’s,—forty years or more ago.” “ll give you a better one than that, Eddie,’ remarked Al Green. “T was talking the other day to the man in charge of these carriages, for the firm from whom we rented them. The firm made a business of picking up carriages with a history. “He told me that the one you’ve just been riding in for the last scene, with Miss Tobin, belonged to a famous opera star of the 1890’s in New York City, Marcella Sembrich. It was well known along the fashionable thoroughfares of New York! “Look at those hansoms in front of the theatre across the street,” observed Eddie. “Can you imagine the stories those old cabs could tell, if they could only talk! The romances that have gone on inside of them—the bankers, men about town and social arbiters that have ridden in them,—the crimes that, quite possibly, have taken place inside them!” | Murder in a Hansom Cab | “Props,” the company property man, came by at that moment and stopped to listen. “That landau over there,” he pointed to a carriage across the street, “was one that used to be owned by the Armours of Chicago. Another one of the carriages here today is one of the old Vanderbilt fleet of vehicles from New York City. The carriages were used to add picturesqueness and color to the picture which is a powerful drama of love and frenzied finance set in Chieago’s Packingtown. It is based on David Karsner’s story “Red Meat,” which covers the period from the nineties to the present time. In the east, besides the three “FREAK FACTS! principals mentioned, are J. Farrell MacDonald, Henry Kolker, Robert Barrat, George Blackwood, Murray Kinneiz and Henry O’Neill. by Win EDWARD G. ROBINSON star of “1 Loved A Woman” once cut up forty piano rolls and pasted them together so that he could pump out grand opera music for hours at a time. McDONALD famous character actor is a former broncho buster! He is a Yale GEORGE BLACKWOOD’S first movie work was a passionate love scene with Kay Francis in “! Loved A Here is a KAY FRANCIS who co-starred in “I Loved A Woman” owns 2 cats, 2 dogs, a parrot, a canary, a flock of goldfish, a rabbit, and abrace of frogs! GENEVIEVE TOBIN met the Prince of Wales while she was playing in musical comedy at the Queen's Theatre in dear old London! strong new feature which you will find valuable as a newspaper plant. Cut No. 23 Cut 30¢ Mat 10c Page Nineteen