Journal of a Crime (Warner Bros.) (1934)

OO RETO T ose at ee DDO CbOTe Sa Se eg a ees ales De Lt Ba Se. dare ae eae Rie ree a TE (CTU Tages Var Si Tot le BLA hes PAGE Ral a ae ae: SER ae Bee a eet Behe Se State Jamar cas sae oars PREDOCIA CPA G Ayers tes tee Frau. Winterstein...4. 2 oe Paul Molet, madly infatuated with Odette, the a playwright, is star of one of his plays. She is using him only to further her own ambition and finally tells him that she will break up their clandestine affair unless he divorces his wife, Francoise, and marries her. Not knowing that his wife knows all about the affair, Paul tries to tell her, reluctantly, because he does not wish to hurt her more than possible. Francoise, although insanely jealous, is so much in love with her husband she will not listen, determined to hold him at any cost. Seeing that a climax has come, she slips into the theatre during a rehearsal of Paul’s play and shoots Odette, escaping without _ being seen. In searching the theatre the police discover a man in the flies. He proves to be the slayer of a bank clerk for whom they have been searching. Thinking he had also killed Odette because she had seen him and was about to reveal his presence, they charge the man with both crimes. Paul, however, discovers his own revolver in a water bucket backstage, and knows Francoise is the killer. He accuses her and she calmly admits it, asking him if he is going to give her up. He tells her she must confess or she will never again have any peace of mind. She refuses. At first he decides to leave Francoise, but after calming down he remains in the house, though he will have nothing to do with his Legon ela esckc pela Douglas Dumbrille Pt rt Rau Mamta <P Reg GRR Ode D Olen ti rs PUAAAC fray) Oat dle eines Ons aS Noel Madison * <7 Sienna Henry O’Neill © Phillip Reed V fa EN eae eT: Henry Kolker eae Er raat aa ae Frank Reicher gir et neeeee REE oe Edward McWade Walter Pidgeon’ Ps gee ee ODL te Frank Darien Ae ERE taster 2 Ra en Clay Clement Se owt of sae atta Else Janssen wife. Francoise is terribly unhappy and also conscience-stricken over the fact that Costelli, the murderer of the bank clerk, is blamed for Odette’s death. She finally arranges with the prosecutor, an intimate friend, to let her visit Costelli. She tells Costelli that it was she who had killed Odette. Although a cold-blooded murderer, he has something of gallantry about him and tells her to keep her secret as he has to die anyhow. Costelli is guillotined and Francoise learns that he has confessed the murder of Odette just before his death. This is the last straw that breaks down her weakening resistance and she tells her husband she is going to give herself up. Paul has been watching her breaking spirit and is filled with pity, being really in love with his wife, despite his infatuation for Odette. He says he will go with her, but she refuses to let him, saying she must face the matter alone. On the way to the prosecutor’s office she attempts to rescue a child that has stepped in front of a car and is struck and terribly injured. Francoise recovers but her mind is a blank. The doctor tells Paul that his wife’s brain is sound, but the injury has wiped out her memory completely and she will have to learn everything anew just like a child. Paul takes her to a villa by the sea where he teaches her to talk and to love him again. PINE CRON oO ees ad eels eee Cea See, William Keighley ba BU Teen RN al Ua RRR Sat RL VALTER Jacques Deval Sovreen Fiay Oy. 5 8 F. Hugh Herbert and Charles Kenyon Phatograniy Oy. Pe SCOR ee RENE PASE AORPECIOR 5. es ARS can CA ae ene Me bee ead Vitaphone Orchestra Conductor RUTH CHATTERTON *2MEMBER WE DO OUR PART {JOURNAL OF A CRIME” | : with Adolphe Menjou — Claire Dodd Directed by Wm. Keighley A First National and Vitaphone Picture Length, 5,816 Feet—Running Time, 65 Minutes ide 3" gaya ard eee Ernest Haller Pei SE lp eta a John Hughes STAs. ek Disnstnneneee Orry-Kelly Leo F. Forbstein , 75% 100% 60% 20% 40% Ruth Chatterton Adolphe Menjou» ENT ae ASR A Ce Me Claire Dodd te den gt ec George Barbier’ AVIVUITEEIUTILUTREEDLUA OOM TRRIUHYFOGULLAAUOT CLAM LERT ORI LOAI EE RUTH CHATTERTON Ruth Chatterton was born in New York City. She began her stage career at fourteen and was a star at seventeen and director of her own company at twenty. One of her greatest stage triumphs was in “Mary Rose,” by Sir James Barrie, she, along with Ethel Barrymore and Maude Adams, being the only American actresses ever to be starred in one of Sir James’ plays. At the time of her advent in pictures, she was one of the leading stars of the American stage. Her first film appearance was with Emil Jannings, the German actor, who picked her as his leading lady from a screen test without knowing who she was. Always a consummate actress and richly endowed with stage experience, she easily adapted herself to the changed conditions of a screen role and was outstanding in her first effort in pictures. Since then she has gained even a greater popularity than she enjoyed as a stage star. Some of her biggest screen successes are “Female,” “Madame X,” “Sarah and ‘Son,’ “Lilly Turner,” “Frisco Jenny,” “The Rich Are Always With Us” and “The Crash.” Se 8 RUTH CHATTERTON — “Female,” “Lilly Turner,” “Frisco Jenny,” “The Crash,” “The Rich Are Always With Us,” “Madame X.” ADOLPHE MENJOU. — “Convention City,” ‘“‘Easy to Love,” “Morning Glory,” “The Worst Woman in Paris.” “The Murder of the Circus Queen.” CLAIRE DODD — “Massacre,” “Footlight Parade,” “The Kennel Murder Case,” “Ex-Lady,” “Elmer the Great,” “Rules for Wives.” GEORGE BARBIER—“No Man of Her Own,” “Evenings for Sale,” “The Phantom President,” “Skyscraper Souls,” “The Big Broadcast.” DOUGLAS DUMBRILLE — “Hi, Nellie!” “The World Changes,” “Lady Killer,” “Female,” “I Loved a Woman,” “Heroes for Sale,” “The Silk Express.” NOEL MADISON — “Laughter in Hell,” ‘Me and My Gal,” “Hat Check Girl,” “The Last Mile,” “The Trial of Vivienne Ware.” HENRY O’NEILL — “Fashions of 1934,” “Massacre,” ‘“Bedside,” “The Big Shakedown,” “Lady Killer,’ “From Head quarters,’’ ‘‘I Loved a Woman.” PHILLIP REED — “Fashions of 1934,” “Bedside,” “The House on 56th Street,” “Female,” “College Coach.” HENRY KOLKER—“Bureau of Missing Persons,” “The Narrow Corner,” “I Loved a Woman,” “The Keyhole,” “Baby Face,” “Jewel Robbery.” FRANK REICHER—“‘Ever in My Heart,” “Captured,” “Employees’ Entrance,” “Scarlet Dawn,” “The White Sister,” “King Kong.” EDWARD McWADE — “Employees’ Entrance,” “Big City Blues,” “High Spot,” “Two Seconds,” “The Crowd Roars.” WALTER PIDGEON—“Rockabye,” “The Gorilla,” “Going Wild,’ “The Hot Heiress,” “Kiss Me Again.” FRANK DARIEN — “Fashions of 1934,” “From Headquarters,” “Okey America,” “Lady and Gent,” “The Big Shot.” WILLIAM KEIGHLEY § (director)—“Easy to Love,” codirector, “Ladies They Talk About.” Dialogue _ director, “Footlight Parade,’ “Picture Snatcher.” ADOLPHE MENJOU Adolphe Menjou was born in Pittsburgh, Pa. of French and Irish parentage. He was educated at Culver Military Academy and Cornell University, where he studied mechanical engineering and got a smattering of college theatricals. After graduation he turned to the stage and joined a stock company in Cleveland, Ohio. Later he decided on a screen career and played with several important players, including Marguerite Clark, before the war broke out. He went to the front with the Cornell unit as a private and came out a Captain. Re-entering picture work after the war, his first big success was with Charles Chaplin in “A Woman of Paris.” From that. time on he has been playing, leading and stellar roles. Some of his more recent pictures include “Easy to Love,’ “Convention . City,” “Morning Glory,” “The Worst Woman in Paris,” “The Murder of the Circus Queen,” “A Farewell to Arms” and “Front Page.” HENRY KOLKER Henry Kolker was born in Berlin, Germany, but early came to America, where he has been one of the foremost stage and screen players for thirty-five years. His first opportunity on the stage came when James O’Neill engaged him for an important role in “Monte Cristo.” Before starring in his own name, he was leading man for nearly all the famous actresses of the day, including Viola Allen, Mary Mannering, Bertha Kalich, Margaret Anglin and Amelia Bingham. He has written and produced plays as well as appearing in them. His most recent pictures include “The Keyhole,” “Baby Face,” “The Crash,” “Jewel Robbery.?"The: “Way'-:of = All Men,” “Faithless” and “Quick Millions.” Program-Builders Every One! Exhibitors all over the country are enthusiastically hailing Vitaphone’s product! load of some of these raves: “Vitaphone has the best shorts on the market this season and every season.”—J. J. Medford, Orpheum Theatre, Oxford, N. C. “Another good musical from the firm that knows how to make them.’”—Alvin Hables, Reel Joy Theatre, King City, Cal. “Vitaphone sure puts out the short product.”’— Edw. Ornstein, Vernon Theatre, Mt. Kernon, Ky. “Vitaphone hits the mark every time.”—Harold Smith, Dreamland Theatre, Carson, Iowa. And now may we suggest for your “Journal of a Crime”? program— 8314—1 Reel—Easy Aces in “Isn’t That Awful’— Pepper Pot—10 minutes. Jane and Goodman Ace, favorites of radio the land over in a fast and funny reel of comedy. 7518—3 Reels—“‘Look For The Silver Lining’”— Broadway Brevities—29 minutes. With Dorothy Stone, Gus Shy, Stanley Smith and Gertrude Niesen. A three-reel musical special based on that popular stage and screen success, “Sally.” 8008—1 Reel—Isham Jones and His Orchestra— with Gypsy Nina and the Boylans—Melody Masters —10 minutes. A band number with vocals, that’s got everything! STTTTMAH AU LEGOIIUALI TER UULI TULL HURLILURR CORR CeRLD EEL CL CLAIRE DODD Claire Dodd was born in Iowa and had no stage or screen aspirations whatever until on a visit to California a friend persuaded her to make a screen test, with the result that she was cast for a part in “Whoopee.” The late Flo Ziegfeld, impressed with her performance, offered her a role in his New York production of “Smiles,” thus starting her on a wave of popularity which still continues. She returned to Hollywood and pictures, her latest productions being “Massacre,” “Footlight Parade,” “The Kennel Murder Case,” “Ex-Lady,” “Hard to Handle,” “Kilmer the Great,” “Blondie Johnson” and “Lawyer Man.” HENRY O'NEILL Henry O’Neill was born in Orange, N. J., and educated there. After graduating from Seton Hall College, he decided to try his luck on the stage, having appeared in various amateur and college productions since 12 years of age. After many discouragements, he landed a minor role with a Newark, N. J., stock company and one engagement led to another until he felt he was ready to try Broadway. His first role there was with the John Ferguson Theatre Guild. He clicked with Broadway's theatre-goers and for many years has been one of the most popular actors in the East. Numbered among his many stage hits are “TI Loved You Wednesday,” “The Last Mile,” “Trick for Trick” and “Conquest.” O’Neill was brought to Hollywood by Warner Bros. and has appeared in “Fashions of 1934,” “Massacre,” “From Headquarters,” “Bedside,” “The Big Shakedown,” ‘Lady Killer,” “The Kennel Murder Case,” “I Loved a Woman,” “The House on 56th Street” and “The World Changes.” Get a