Lady Killer (Warner Bros.) (1933)

oe Ad VANCE Features Cagney Goes Hollywood James Cagney, erstwhile tough guy, dons a period costume and becomes the great lover of the Movie Capital in “Lady Killer,” his latest success, which will be seen at the Strand Theatre beginning Wednesday. He is ably supported by Mae Clarke and Margaret Lindsay. Mat No. 6—Price 10c JAMES CAGNEY — “Footlight Parade,” “The Mayor of Hell,” “Picture Snatcher,’ “Hard to Handle,” “Winner Take All,” “The Crowd Roars.” MAE CLARKE—‘Public Enemy,” “Made on Broadway,” “Rivets,” “Turn Back the Clock,” ‘Parole Girl,” “Breach of Promise,” “Night World,” “As the Devil Commands,” “Reckless Living.” MARGARET LINDSAY — “The House on 56th Street,” “The World Changes,” “Baby Face,” “Voltaire,” “Captured,” “Private Detective 62,” “Cavalcade.” HENRY O’NEILL—‘From Headquarters,” “I Loved a Woman,” “The World Changes,” “The Kennel Murder Case.” LESLIE FENTON — “Airmail,” “The Hatchet Man,” “The Famous Ferguson Case,” “The Strange Love of Molly Louvain,” “Thunder Below.” — RUSSELL HOPTON—“The Little Giant,” “I’m No Angel,” “Elmer the Great,” “Airmail,” “Once in a Lifetime,’ “Street Scene,” “Arrowsmith.” RAYMOND HATTON — “Penthouse,” “State Trooper,” “Big Cage,” “Under the Tonto Rim,” “Polly of the Circus,” “Law and Order.” DOUGLAS DUMBRILLE — “The Way to Love,” “The Affairs of Voltaire,” “I Loved a Woman,” “Female,” “Elmer the Great,” “Baby Face.” ¥ MARJORIE GATESON — “Bureau of Missing Persons,” “Lilly Turner,” “The King’s Vacation,” “Silver Dollar,” “Employees’ En| trance.” GEORGE BLACK WOOD—“‘T Loved a Woman,” “Son of a Sailor.” WILLARD ROBERTSON — “Dark Hazard,” “The World Changes,” “Wild Boys of the Road,” “Tugboat Annie,” “East of Fifth Avenue,” “Another Language.” ROBERT ELLIOT—“Behind Stone Walls,’’ “Midnigit Patrol,” “White Eagle,” “The Phantom of Crestwood,” “Captain Thunder,” “The Star Witness.” WILLIAM DAVIDSON—“ Guilty or Not Guilty,” “Her Mad Night,” “The Thirteenth Guest,” “Guilty as Hell,” “The Menace, “Sky Devils,” “Graft.” DOUGLAS COSGROVE — “Too Busy to Work,” “A Scarlet Week End,” “She Wanted a Millionaire,” “Hush Money.” JOHN MARSTON—“Heroes for Sale,” “Silver Dollar,” “I Am a Fugitive from a Chain Gang,” “Three on a Match,” “The Cabin in the Cotton.” GEORGE CHANDLER—‘Son of a Sailor,” “Blessed Event,” ‘The Strange Love of Molly Louvain,” “Union Depot,” “The Famous Ferguson Case.” ROY DEL RUTH (director)— “Bureau of Missing Persons,” “Captured,” “The Little Giant,” “Mind Reader,” “Employees’ Entrance,” “Blessed Event.” “WHAT’S HAPPENING ON THE LOTS” If you are not getting your copy of ““What’s Happening on the Warner-First National Lot,” you’re missing out on a crack news service. This bulletin relates the happenings of interest, the news, gossip, and the plans of the Warner-First National production staff and stars. The service is available to you free of charge. » \| her head ‘|-ation. || how with it. Too Much Monkey Business Up to the time she was cast as the heroine of the Warner Bros. picture, “Lady Killer,’ which comes to the vise... Lbeabtre ons. 2. 3, Margaret had never bothered much about her monkeyphobia. It was an. abstract sort of thing—she didn’t like them, but it’s a large, spacious world, with plenty of room for herself and all the monkeys in existence, and she saw no reason why she should ever have to meet them socially. Then she read the script of “Lady Killer’ and came to the birthday | party, at which Jimmy Cagney shows up with a cage of three dozen chattering monks. Before the sequence is over, the bottom of the cage falls out, the | monks make a break. for freedom and |a full-fledged panic is on among the guests. Margaret got hot and cold all over as she read the scene. She insists that she felt her hair stand up on as she visualized the situHer theatrical sense told her it would be uproariously funny. And at the same time she wondered she could ever go through She knew that she would, of course.’ The idea of backing down never occurred to her. Not only a thorough sport but a trouper from the ground up, she made up her mind to face the music—or rather, the monkeys—if she collapsed as the director called “Cut !” Somehow, Roy Del Ruth, the director of “Lady Killer,’ and Jimmy Cagney heard about Margaret’s dislike of monkeys. Both came to her and offered to rewrite the scene to spare her feelings. “We'll make it some other animal besides monkeys,” urged Jimmy. “Anything you like. Guinea pigs— rabbits — armadillos — kangaroos— whatever you say, won’t we, Roy?” Margaret shook her head decisively. “You’re both terribly sweet, and I appreciate what you're trying to do,” she said, “but I’m going to play the scene the way it’s written.” A few days later the escape of the monkeys was shot, according to the script. Merely write to the Director of Publicity, Warner Bros. Pictures, 321 West 44th Street, New York City, and your name will be added to the mailing list. —do it now! Don’t wait A cares for her. to Suit Margaret Lindsay Although Scared to Death of Monkeys, She Bravely Faced 36 of Them in Cagney Film HERE’S no doubt in Margaret Lindsay’s mind about which is the most hair-raising moment of her artistic career. Without a second’s hesitation she will tell you that it happened when 36 real, live monkeys escaped from their cage during her birthday party as the heroine of “Lady Killer,” Margaret, frankly, is scared to death of monkeys and admits it cheerfully. Psychologists would probably call it ‘“‘simiaphobia”— which is a two-dollar word meaning the same thing. with Jimmy Cagney. “I hope I didn’t look too scared,” laughed Margaret Lindsay _ nervously, after the last take was over. “I’ve been in a runaway, I’ve just missed being drowned, and I’ve been petrified with fear on several other occasions in my life. But I don’t think I was ever as goose-pimply as when I saw that cage come off the floor and looked down to see 36 mon Margaret Lindsay, beautiful young star, plays the role of the Hollywood movie queen in “Lady Killer,” James Cagney’s latest Warner through the gangster stage to movie stardom. Mae Clarke and a large group of talented players support the stars in the picture coming Wednesday to the Strand. Mat No. 5—Price 10c Jimmy Cagney Invents New Method of Jilting Girl Dropped Pineapple into Mae Clarke’s Lap in “Lady Killer”? Meant Their Love Was Cold NEW and rather novel method of telling his girl that she’s all washed up is used by James Cagney in his latest picture, when he wants to impress upon Mae Clarke, that he no longer When Jimmy wanted to give Mae Clarke, his leading lady in “Public Enemy,” the air, two years ago he pushed a grapefruit into her face and walked out. “In “Lady Killer,’ his latest Warner Bros. picture, which comes to the .... Theatre on... .. James Cagney and Mae Clarke are together again, in practically the same relation. And again Jimmy finds himself anxious to get rid of Mae. Mae is no readier to make her exit from Jimmy’s life than she was in “Public Enemy.” Two years ago Jimmy would have buried her face in half a grapefruit and let it go at that. His technique is different now. Different, and more subtle. His gesture of dismissal in “Lady Killer” is to take a pineapple out of a basket of fruit on the piano in his apartment and toss it into Mae’s lap with an ironical smile. No rough stuff. No manhandling. But Mae gets the message of the pineapple, and she doesn’t like it any better than she did the language of grapefruit. If you know your underworld stories and pictures, you will recollect that, in the argot of gangland, a “pineapple” is a bomb. keys scamper in all directions, including mine. “Two of them came right at me, and I turned and bolted shrieking for the upstage exit. Mr. Del Ruth told me afterward that I finished half a length ahead of the nearest | monkey.” “Lady Killer” is the story of a crook who reforms, goes to Hollywood and becomes a motion picture star through the most astounding publicity stunt imaginable. There are plenty of thrills in it when the gang to which he had belonged, hearing of his fame, follows him to Hollywood in order to blackmail him. Mae Clarke, whom Cagney bashed with a grapefruit in “Public Enemy” two years ago, again plays opposite Jimmy in this picture. Although he uses no grapefruit this time, Mae Clarke as his “moll” has to take plenty from Cagney when she interferes with some of his _ schemes. Others in the cast include Henry O’Neill, Leslie Fenton, Russell Hopton, Raymond Hatton, Douglas Dumbrille, Marjorie Gateson and George Blackwood. Roy Del Ruth directed the picture from the screen play by Ben Markson and Lillie Hayward, based on the story by Rosalind Keating Shaffer. By a delicate derivation, when you hand a lady who has worn out her welcome a pineapple, you are saying to her, in underworld slang: “Blow yourself out of here!” And it’s a nice, gentlemanly way of conveying your meaning—one that Emily Price Post would approve, doubtless. Don’t infer from this well-behaved scene in “Lady Killer’ that James Cagney has gone soft, or forgotten how to be firm with the ladies when the occasion demands. A little later on, in the picture, there is a scene where Jimmy strong arms Mae in his best “Public Enemy” manner. But that’s another story. “lady Killer” is the story of an excrook who rises to stardom in pictures by a unique method of supplying his own fan mail. There are plenty of thrills when members of the gang he formerly belonged to hear of his fame and try to force him into a blackmail plot. Margaret Lindsay, Leslie Fenton, Henry O’Neill, Douglas Dumbrille, Russell Hopton, Raymond Hatton, Willard Robertson, Robert Elliott and Marjorie Gateson are other members of the cast. Roy Del Ruth directed the production from the screen play by Ben Markson and Lillie Hayward, based on the story by Rosalind Keating Shaffer. Page Three