Marked Woman (Warner Bros.) (1937)

The Story Johnny Vanning (Eduardo Ciannelli) who has been “organizing and taking over nearly everything in the city, arrives at last to look over the night club “Intime” and its hostesses. These are Mary (Bette Davis), Florrie (Rosalind Marquis), Gabby (Lola Lane), Emmy Lou (Isabel Jewell) and Estelle (Mayo Methot). In-a speech full of quiet menace, Vanning explains that he is taking over the place, changing it into a “clip joint” where suckers will come for a heavy trimming, and where the hostesses will make fifty times more than ever before. But they must “kick back” trouble, use for bail bonds and so on. some of their earnings to him, to square police hen the “clip joint’ starts operating, Mary is innocently involved in a murder, investigation of which causes all the girls to be arrested. With them also is Mary’s young sister Betty, (Jane Bryan), from whom Mary has been trying to keep the knowledge that she is hostess in a night club. David Graham, an assistant district attorney (Humphrey Bogart), zeal ously undertakes to prosecute Vanning but is double-crossed by the defense lawyer (John Litel), with the assistance of ary. But Mary turns against Vanning at the risk of her own life when Betty, lured into one of the boss’ parties, flees from an amorous guest and is killed. Mary is brutally beaten and marked on the face with a knife slash because she went to Graham to testify and seek his Vanning, worried by help. Graham's determined attempts to connect him with the murder, arranges to have Emmy Lou, who was a witness, killed. She escapes, and with Mary, tells her story to Graham. Vanning is brought to trial with his henchmen, and convicted on four counts. A murderous little gangster has been ordered to get even with the girls whether or won, an not’ Vanning’s case is he prepares to go into action when the case is over. But there's a surprise denouement which changes all that, and which, for the spectator's sake, shall not be revealed here, save to hint that it packs a terrific dramatic wallop! Bette Davis Has > New Gowns But Pals Miss Revue Bette Davis was so thrilled over a group of costumes that Orry-Kelly designed for her latest First National picture, “Marked Woman,” that she invited some tourist friends out on a certain day to see her wear them. On that day, according to Director Lloyd Bacon’s schedule, Bette would wear five changes of the Orry-Kelly creations,.two of Which the designer claimed were the most beautiful he had ever produced. Came the day. But before that came a sudden revision of schedule. Bette didn’t know about this in time, and couldn’t notify her friends. ‘ Out came the ladies, all eyes for a treat only the feminine heart can understand— And they found Bette; in a city jail costume of denim, cotton stockings of the ugliest variety, and little pumps, doing some of the most dramat& scenes of the picture, so there was no time even to slip off and model a few of the gowns for the visitors: “Marked Woman,” which comes to the Theatre next Hie Sah gene ee , is tense melodrama, dealing with the plight of a group of night-club hostesses who are the unwilling tools of a gang of racketeers. Miss Davis is starred in the title role, and.is supported by Screen Sisters Bette Davis and Jane Bryan in a moving scene from the melodrama ‘‘ Marked Womwhich comes to the Theatre! OW: nk eee Mat No. 102—10c an,’’ such outstanding players as Humphrey Bogart, Eduardo Ciannelli, Isabel Jewell, Rosalind Marquis, Lola Lane, Jane Bryan and Mayo Methot. The picture was directed by Lloyd Bacon from an original screen play by Robert Rosson and Abem Finkel. 6 Noted Beauties In‘Marked Woman’ Require Service! Twenty maids and hairdressers and four chauffeurs — all “personal”— recently established a new high in players’ retainers on movie sets. The record was hung up during the making of “Marked Woman,” Bette Davis’ latest starring vehicle which comes to the Theatre next The star herself has only one maid, one hairdresser (who also serves several other feminine members of vhe cast) and her personal chauffeur. The other chauffeurs, maids and hairdressers, with two wardrobe women who perched together on Dressing Room row and exchanged gossip, are employed by the other ladies of the cast. These include Rosalind Marquis, Isabel Jewell, Lola Lane, Mayo Methot and Jane Bryan, to mention only principals who rate individual dressing rooms and maids. Besides these there are fifty-odd feminine bit plavers and extras. Hollywood Led By Bette Davis Goes Natural Blonde Bleached blondes are getting scarcer in Hollywood than the proverbial hen’s teeth. Nearly every actress or wouldbe aetress in Hollywood was a shimmering blonde whose locks were either platinum or gold — with an occasional strawberry roan for good measure. Led by Bette Davis, Joan Blondell, Jean Muir and other notables, Hollywood blondes have become young ladies with straw-colored hair, putty-colored curls and mouse colored ringlets. “I’m particularly glad I let my hair go natural before I went to England last summer,” says Bette Davis, who has progressed from dyed dark brunette to platinum blonde and back to natural taffy color during her years in Hollywood. She is “natural” in her new picture “Marked Woman,” the melodrama now showing at the Theatre. “English people don’t like the bleached blonde hair we went for so enthusiastically a while ago in Hollywood. PUBLICITY Makeup For Stars Often Takes Years Of Experimenting Did you know that it takes the average movie star from two to four years tosdiscover her most effective makeup and hair-dress for the screen? That came out in a discussion with Bette Davis, who has only now reached what she thinks is something like the final stage of her makeup evolution. It is seen on the screen for the first time in her new starring film, “Marked Woman,” the melodrama now at the Theatre. By that Bette means only basic makeup, the general facial appearance by which a star is recognized for herself — not the more subtle changes which shift from role to role and assist in characterizations. An example of this is the subtle application of lines and facial shadows which cause her to look the part of a hard and cynical night-club hostess in “Marked Woman.” These constitute a mere addition to the basic makeup which, Bette gratefully avers, is finally just about “set.” Experts such as the cinematographer on Bette’s picture, George Barnes, agree with the star’s analysis. It seems that the evolution is shorter and easier for some types of beauty than for others. Olivia de Havilland, for instance, has reached her approximate best:in makeup effect in an amazingly short time. Blonde Anita Louise is another star whose makeup presents practically no problem. Gorgeous Gowns For Players In “Marked Woman” When a racketeer takes over a night-club for the purpose of “taking over” its customers, he naturally wants the hostesses to be “dressed up real nifty.” And that’s. how come Bette Davis has eleven beautiful gowns designed to display in night club sequences of her newest First National film, “Marked Woman,” MCN 1s aw et “the oo ne Theatre. Rosalind Marquis also has eleven. Lola Lane and Isabel Jewell have ten each, Mayo Methot and Jane Bryan nine. Racket Busters Bette Davis, as a hard-boiled hostess, and Humphrey Bogart, as a young district attorney, are the courageous pair whose daring wrecked a vicious racket in First National’s tense melodrama ‘‘Marked Woman’’ now playing COVES TC TNGDS DS real a Theatre. Mat No. 105—10c Why Rackets Finally Fail Thrilling in its daring expose of ‘‘clip joint’’ rackets, the melodrama opens at the a crusader. Theatre on giving Bette Davis (above) her greatest dramatic opportunity. Shown above, at the left, is Humphrey Bogart, formerly the screen’s toughest bad man, now The judge is Gordon Hart. Mat No. 213—20e Bato Yeractirs Emimyplcouei eon rege cee Johnny Vanning... ...ccccccccecee. BE orniterc py Se gee hier arte oe oS EAR SOS oD are Lawyer at Jail Head Waiter Crandall George Beler Bell Captain Mr. Truble Ferguson oa'e-s sins 6 oianralele's We eielmoleicele wale Seni bie ds Henchman Henchman Detective Bette’s Mother Fooled By Hard Makeup On Star This isn’t the story of the star whose makeup -fooled the studio gatemen. You’ve heard that one. This is the story of the star whose makeup fooled her own mother! Bette Davis was the star. The other day Mrs. Davis went out to the set of “Marked Woman,” her daughter’s current picture for which is now showing at the Theatre. Since she had been announced, the cast knew she was coming, sO a wheeze was prepared for her. Mrs. Davis looked around. She greeted Humphrey Bogart, the hero, Eduardo Ciannelli, the villain, Lloyd Bacon, the director. Her eves swept around the circle of girls who appear with Bette as night club hostesses in the picture: Lola Lane, Rosalind Marquis, Jane Bryan, Mayo Methot, Isabel Jewell. “Where’s Bette?” she asked them. “Over here,” said a voice from the lighted set. Mrs. Davis swept her eyes over the several people there, paused a moment in consternation at the sight of one girl whose face was swollen, cut, bruised and partly swathed in bandages. But she couldn’t see Bette. “Where are you hiding, Mis Bette Davis I lumphrey Bogart LRelee Sos aaa Pee Ree Isabel Jewell eeu e aaee Ser! Eduardo Ciannelli Meet eae Rosalind Marquis 350s Lola Lane Ben Welden Damian O'Flynn Henry ONeill Allen Jenkins Raymond Hatton Carlos San Martin William B. Davidson Kenneth Harlan Robert Strange James Robbins Arthur Aylesworth John Sheehan pee inesin clans a Sam Wren ridden lisse steeitin Edwin Stanley Alan Davis Allen Matthews Guy Usher chief?” she called. The bandaged girl burst out laughing, and hastily exclaimed: “Don’t be frightened, dear — this is only makeup.’’ Raymond Hatton Really Crashed Into Stage Job Accidents have been bringing people into shéw business for years — but probably no one ever made such an accidental debut as Raymond Hatton. Stranded in San Francisco Some years ago, Hatton, who was handy with hammer and nails, got a job as assistant to a stage carpenter. One of his jobs was to push down a picture from a wall of a stage setting, so that it fell on the head of some actor in a comedy. On opening night he got excited and pushed down not only the picture but a section of the setting, which revealed the excited little carpenter crouching like a monkey on his perch, looking very frightened. The audience roared with mirth. The alert comedian ad libbed a storm of abuse at Hatton, who fell backwards off his’ perch. and then the curtain, supposed to come down a few moments after the picture fell, came down on Hatton’s “exit.”