Jewel Robbery (Warner Bros.) (1932)

CURRENT FEATURES Gorgeous Kay Francis and Her 10 Beauty Experts ‘Seagees = (Current Saturday or Sunday Feature) How many beauty experts does it take to keep Milady of 1932 beautiful ? Ten—no more, no less—if you believe the intimate glimpses into the boudoir of Kay Francis as the Baroness Teri von Hohenfels, afforded you in “‘Jewel Robbery,’’ the Warner Bros. production which has William Powell and Kay Francis as co-stars under the direction of William Dieterle. The picture is now playing at the That any woman should have ten hand-maidens as her personal attendants may seem extravagant to the point of being unbelievable. But you’re forgetting that Teri is a Baro ness—the wife of Vienna’s richest banker—the most stunning brunette in the Austrian capital. When you have once been privileged to watch the mysteries of the Baroness Teri’. toilette—as you are privileged to do in ‘‘Jewel Robbery’’—you will understand that you have been present at a ceremonious ritual in a modern Temple of Beauty, and you will realize why ten priestesses are necessary for the performance of these intricate rites. Such women as the Baroness Teri never demean themselves by being seen in a public beauty parlor. Their apartments in their mansions are equipped with everything necessary to the daily rejuvenation of the mistress. In the Baroness’s residence, three rooms are given over to the preservation of her loveliness—rooms that are entirely independent of her bedchamber and her sitting room. First is the bathroom, with a magnificent sunken marble bath, where the Viennese Venus takes her daily in the perfumed waters. Two 7 SNS x wi a~ _ the bath and its aroma. The other performs any ablutionary duties the Baroness may be too languid to undertake with her own hands. When the bath is over, she is ready with warm, scented towels to caressingly remove every drop of water from her mistress’s beautiful body. Searcely is Teri dry, when an Amazon of a masseuse appears and picks the stark naked body up in her arms. In a twinkling Teri is whisked off sen thare SR eee. wrenee vate reas Mile ht y ee into the second room, and stretched out upon a massage table. From head to foot her body is rubbed with oils and unguents, an assistant standing watchfully by the while to hand the masseuse whatever she may need as she proceeds with her task. Fifteen or twenty minutes are required to complete the massage. As the Baroness lifts herself into a sitting position, stretches with the indolent luxuriousness of a cat, and swings her perfect legs over the edge of the table, two other maids appear to envelop her in a gorgeous apple-green suit of lounging pajamas, with slippers to match. She extends her arms up into the sleeves of the brief jacket that completes her boudoir suit, and cries aloud her wish for a daring knight to appear and carry her off. But her wish is cut short as the masseuse picks her up again, carries her across the third room and deposits Teri before her vanity table. Instantly six other maids swarm around her. The baroness is anxious to hurry into her clothes and away to the rendezvous of the hour. Two set to work to wave and curl her hair. Two others are expert manicures, each busy at the same mome an aristocratic hand. The are pedicures, and SSS 28. are. t he object kay “Francis is the gorgeous, daring Baroness, in love with herself and the gems her husband’s wealth ean buy for her. William Powell is the gentleman robber who steals more their her jewels and awakens her to real love. Both are agreed that these are the finest roles of their careers to date. Bie ee ee Current Spencer Charters Proved Funnier Without Moustache in “Jewel Robbery” Which is funnier—for purposes of screen comedy—a policeman with a moustache or one who is clean-shaven? Trivial as the question may seem, it assumed the proportions of a real problem during the casting of Warner Brothers’ ‘‘ Jewel Robbery,’’ now Attias arise senres ses Theatre in which William Powell and Kay Francis are co-starred, under the direction of William Dieterle. The difficulty first loomed above the horizon when Dieterle decided that Spencer Charters was the ideal type for the role of Lenz, the pompous operative of the private protective agency who is mercilessly hoodwinked by Powell, as The Robber, throughout the course of the picture. Charters and the director had their first conference. Dieterle outlined the role and its requirements with his usual vividness. The actor’s eyes glistened with anticipation as he began to sense the possibilities of the role. Page Four ‘‘And, of course,’’ concluded Dieterle, ‘‘you will assume one of those moustaches that are the pride of so many continental policemen.’’ Charters, taken aback, entered a fervent protest. He felt sure that nine tenths of Lenz’s comedy would be muffled in the lip shrubbery. Dieterle was troubled. He knew Charter’s reputation as a resourceful and adroit comedian, but with the vision of the average German and Austrian officer of the law vividly before his eyes, he held out for the more orthodox make-up. ‘<Give me time enough to put on a moustache,’’ said Charters to the director, ‘‘1’ll play a couple of scenes for you, right here—with a moustache and without. After you’ve seen the two, I’ll agree to do the part whichever way you think will be the most effective. ’’ The experiment was carried out. Spencer went through a scene with a moustache, and Dieterle became thoughtful. Then the moustache was removed and the same scene was rehearsed once more—but not to the end. Before that point was reached the director interrupted Charters. ‘¢You win,’’ he said with a broad smile. ‘‘You are absolutely right. We will have Lenz clean-shaven.’’ — OSS ae Peanut Butter Secret ‘Yen’ of Kay Francis ————! Kay Francis, who is co-starring with William Powell in Warner Brothers’ ‘‘ Jewel Robbery,’’ now at the Say -s.s.++ Theatre, confesses to a periodical and overpowering ‘yen’ for peanut butter and erackers. During the production of a picture, the star . usually keeps a supply of both in her dressing-room so that she can satisfy her longing, when it seizes her. Helen Vinson, a Fencer Girls, if you want to cultivate a graceful carriage, physical and mental poise, alertness of mind and body and an unerring co-ordination of all your faculties, take up fencing. That’s Helen Vinson’s_ recipe. Fencing has been her favorite indoor sport ever since she left the University of Texas. Since she came to California to play the second lead in Warner Brothers’ ‘‘ Jewel Robbery,’’ now playip atthe See Theatre in which William Powell and Kay Francis are co-starred under the direction of William Dieterle, Miss Vinson has been too busy to make arrangements to continue her studies in fencing. SHORTS Henry Kolker Has Had Thorough Stage Training During his long career, Henry Kolker, who is Baron Franz in Warner Bros.’ ‘‘Jewel Robbery,’’ co-starring William Powell and Kay Francis, has been an actor, producer and playwright in the theatre, and has acted in and directed pictures for the screen. His hobbies are painting and writing plays. ‘‘Jewel Robbery’’ has an early booking among the attractions coming to the...... Theatre. Hardie Albright Started Stage Career at 7 Hardie Albright made his first excursion into the theatrical world at the early age of seven. : Inasmuch as his parents were both actors, this is not as surprising as it sounds. They were vaudeville actors and Hardie came honestly by his predilection for the footlights and grease paint. There was nothing in his first essay on the stage to indicate what the infant actor’s future might be. Young Hardie, his father and brother, went out with the Billy Vandergould Troupe, which specialized in miraculous escapes from handcuffs and other excerpts from the Houdini bag of tricks. eg en Kay Francis Found Real Pleasure Working Again With William Powell (Short Feature Adaptable for Newspaper or Program) Kay Francis was the busiest star around the Warner Bros.-First Ne exw EO IO aD —and the happiest. — = — Without any longer interval than a good night’s rest, Miss Francis stepped from the starring role in ‘‘Street of Women,’’ her second pro duction for Warners, which Archie © Mayo has just completed, into the stellar role of Baroness Teri in ‘<Jewel Robbery,’’ in which she shares top honors with William Powell. The picture is now playing OEP TNG Soles soe os ee Theatre. On a Tuesday night Miss Francis completed the role of Natalie Upton in ‘‘Street of Women.’’ At eleven o’clock the next morning, she had left the character of the New York designer of women’s gowns far behind her, and walked on to the set representing Vienna’s most exclusive jewelery store as the diamondmad Baroness Teri. This is not quite as headlong as it sounds. The explanation of the lightning change is that Kay Francis had been studying the script cf ‘Jewel Robbery’’ at home for the preceding ten days, in preparation for the early starting date of the picture. Furthermore, we have it on the authority of Miss Franc’*>self that she is never so F = earteuly self to work at the studio. Stuay. e . . ing one role while playing another she declares, actually acts as a stimulatant upon her. Besides, Kay Francis had been looking forward to her role in ‘‘Jewel Robbery’’ with the keenest anticipation for two reasons. One is that the picture brought her and William Powell together again in the same cast for the first time since their days at another studio. The second reason is that William Dieterle, who directed her first starring vehicle for Warners, ‘Man Wanted,’’? was in directorial command of ‘‘ Jewel Robbery.’’ “(Tt always gives additional zest to a part to know that I am going — to be in the same cast with Bill Powell,’’ said Miss Francis. ‘‘And ever since Mr. Dieterle directed me in my first picture for Warner Brothers, I have looked forward to another opportunity to be associated with him.’’ New Robber Technique Leaves Victims Contented in “Jewel Robbery” Hit (Short Feature Adaptable for Newspaper or Program) Ladislaus Fodor, author of ‘‘ Jewel Robbery,’’? by Warner Bros., starring William Powell and Kay Francis, is nothing if not original and consistent. In creating the robber character played by Powell, Fodor made sure that everything the robber did would be in thorough keeping with his suave, gentlemenly method of operation. Take the matter of quieting his victims after he has robbed them and_ insuring against their raising an outcry before he, the master robber, could make his get-away. Most thieves reveal the fundamental brutality of their natures and the coarseness of their technique by ‘the manner in which they dispose of their victims, before or after robbing them. They truss them up or gag them in an unnecessarily painful manner. If they show any resistence, they knock them out with a blackjack or a lead pipe. Now and then a high-strung, over-nervous robber has been known to wound and even kill, in a moment of pardonable excitement. At what he deems the proper moment—usually after his victims have been relieved of their valuables— he offers them a cigarette. They may be in no mood for smoking, but a second, and warmer invitation from their ‘host,’ backed by an eloquent revolver, and they light up. As they cautiously take their first puff, the Robber’s charming tones are heard reassuring them: “(My specialty. A pleasant harmless smoke. They look at one another, incredulously, suspiciously. The Robber continues: ‘“‘Two puffs and you’ll be hearing soft music ... the world will begin to revolve pleasantly ... ”’ And presently it happens. The world suddenly takes on the aspect of a huge joke. The smokers begin to laugh, the more they laugh, the funnier everything becomes, especially the situation at which they were horrified a moment before. And in a few more seconds they are gone into some far-off land of dreams. And The Robber makes his exit.