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George Brent Leads Life Of Adventure And Thrills
George Brent, who is currently appearing opposite Barbara Stanwyck in Warners’ “My Reputation” at the Strand, was born in County Galway, Ireland, the son of a Dublin newspaperman and the descendant of a long line of Irishmen who served with the British army.
In 1915, at the age of eleven, George made his first trip to America, but returned to Dublin to attend the University. There, during the inception and singular success of the Abbey Theatre, he was inspired by the plays of Yeats, Synge, Lady Gregory, Padraic Colum and others, to go on the stage.
Without great difficulty, he matriculated at the Abbey, his dashing Irish good looks, stalwart figure and earlier dabbling in school theatricals all combining to win him a favorable hearing. But if there were times when, unaccountably, the young actor was missing from evening performances, it was because he had found a newer and, for the time being, more important interest to occupy
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(Not For Publication)
Jessica Drummond (Barbara Stanwyck), a charming, cultivated woman widowed by the sudden death of her husband, is the mother of two children, Kim (Scotty Beckett), aged 12, and Keith (Bobby Cooper), aged 14.
Her natural grief is more difficult to bear because of her mother, Mrs. Kimball (Lucile Watson), an austere woman who has been a widow in black for twenty-five years. Contrary to her mother’s wish that she refrain from social activities, Jessica accepts an invitation from her friends, Ginna and Cary Abbott (Eve Arden and John Ridgely), to vacation for a few weeks in a cabin at Lake Tahoe.
There Jessica meets and is attracted to Major Scott Landis (George Brent), an army engineer, who loses no time in pressing his attentions on Jessica. Bewildered and frightened, she stands him off; they quarrel and Jessica returns home.
A chance meeting at a Chicago hotel reunites Jessica and Scott. Jessica, dropping her mother’s domination and the rigid formalities of a lifetime of conventional rearing, permits herself to be wooed by the dashing major. Jessica's society of suburban friends, however, who resent her freedom at a time when they had planned to patronize and pity her, profess to be shocked by her unorthodox morals.
Only one cloud appears on Jessica’s horizon. It's Scott’s uneasiness whenever she speaks of their future together; his constant reminder that he’s not the marrying type; that tomorrow he may be gone.
A wave of vicious gossip engulfs Jessica and reaches tidal wave proportions when overheard by Keith and Kim at a gay New Year's Eve party. The youngsters, bewildered by talk they cannot understand, ask their mother to deny that she has been seeing Scott Landis and when Jessica refuses to make denials, they withdraw from her, hurt and sullen.
That same evening, Jessica receives word from Scott that he is leaving for an overseas assignment. With only one thought in mind—to be with him for the remaining hours—she rushes home to pack a bag. There she discovers that Keith and Kim have left home. Frantic with worry, Jessica finds the boys at her mother’s home. She explains to them as best she can. She pours her heart out to them, tells them of her love for Scott. Her sons understand and return home with her.
To Scott, Jessica pledges her love. Receiving his in return, she promises to wait for happiness until he comes home.
(Running Time: 94 Minutes )
Produced by Henry Blanke. Directed by Curtis Bernhardt. Screen Play by Catherine Turney: From the Novel “Instruct My Sorrows” by Clare Jaynes. Photographed by James Wong Howe, A.S.C. Art Director, Anton Grot. Film Editor, David Weisbart. Sound by Everett A. Brown. Special Effects by Roy Davidson. Dialogue Director, Jack Gage. Miss Stanwyck’s Gowns Designed by Edith Head. Gowns by Leah Rhodes. Set Decorations by George James Hopkins. Makeup Artist, Perc Westmore. Music by Max Steiner. Assistant Director, Jesse Hibbs. Musical Director, Leo F. Forbstein.
Still Brent 428
‘Mat No. 202—30c
George Brent, dashing screen star of past Warner hits, supports lovely: Barbara Stanwyck in that studio's latest film drama, "My Reputation,"
currently at the Strand Theatre.
That was at the time of the Irish Revolution, 1924. With a patriotic newspaper editor for a father, and with the zeal of generations of Irish patriots burning in his veins, George was in the thick of it from the first, as a trusted dispatch carrier for the leader, Michael Collins.
Later, Collins was slain, and Brent fled Ireland in fear for his life. For a time he went into hiding in Glasgow. But even there the English authorities found him out, and in the dead of night he left Scotland and entered England itself—the least likely place they might be looking for him. A freight boat in Plymouth then offered him safe passage to America, and he took it.
His career as a warrior finished, George Brent found that his love for the stage persisted, and he resumed his interrupted theatrical career in this country.
Tours In Stoek
He has played more than three hundred leads in stock companies, owning six of them himself, in Florida, Massachusetts, Colorado and New York. “Love, Honor and Betray” brought him to Broadway, where he played opposite Alice Brady, and in the same company. with another young actor who has also risen to screen fame since then— Clark Gable.
When the movies suddenly found their voice, Brent went through the usual ordeal of tests, without arousing much interest among the producers. He did, however, play in several pic
tures of minor importance before his first big call finally came. That arrived when Warner Bros. announced it was looking for a leading man for Ruth Chatterton.
Once again came the ordeal by test. How successful it was is now a matter of history. Ruth Chatterton uttered her famous “Where has he been all my life?” and Brent was set. His long term contract was signed while he was making his first Warner picture, “The Rich Are Always With Us.”
Stars On Warner Lot
“So Big” and “The Purchase Price,” both with Barbara Stanwyck, followed, and then Brent did a leading role opposite Joan Blondell in “Miss Pinkerton,” By this time he was in demand by all of the actresses on the Warner Bros. lot, and Loretta Young won him for roles in “Week-End Marriage” and “They Call It Sin.”
Black-haired, with hazel eyes, Brent is six feet one inch in height, and weighs one hundred seventy pounds. His favorite sport is polo. His favorite pets are horses and dogs.
Brent plays a steady game of tennis, and professes that it is the only sport that he likes to watch. Yachting and flying have also enlisted his enthusiasm within recent years.
His pictures include “Dark Victory,” “The Old Maid,” “The Fighting 69th,” “’Til We Meet Again,” “The Man Who Talked Too Much,” “South of Suez,” “The Great Lie,” “In This Our Life,” “The Gay Sisters,’ and “My Reputation.”
‘My Reputation’ Onens At Strand Theatre Friday
Starring Barbara Stanwyck, Warners’ “My Reputation,” the dramatic study of a gallant woman’s second chance at love, arrives Friday at the Strand Theatre. Set against a background of modern life in a Chicago suburb, the film teils the dramatic story of a young widow’s choice between the man she loves, who can secure for her the happiness that is rightly hers, and a life of austere domesticity.
Featuring George Brent, Lucile Watson, Warner Anderson, John Ridgely, and Eve Arden in important supporting roles, “My Reputation” was adapted for the screen by Catherine Turney from Clare Jaynes’ best-selling novel, “Instruct My Sorrows.” Photographed by James Wong Howe, A.S.C., and scored by Max Steiner, the film was directed by Curtis Bernhardt and produced by Henry Blanke.
Film Kiss Sealed At Warner Studio As Mercury Falls
George Brent was about to kiss Barbara Stanwyck in a deserted cabin on the shores of Lake Tahoe during a blizzard.
That was the scene on stage seven, during the filming of Warners’ “My Reputation,” now playing at the Strand Theatre. Both stars were appropreately clad in woolens, boots, mufflers, and caps.
The scene too was appropriately chilly. The door was kicked partly open and snow spilled in. Through the windows, the swirling blizzard could be seen.
It was all authentic except to the critical eye of Curtis Bernhardt, director of the film.
“T can’t see your breath,” he complained, and told the assistant director to have the temperature pulled down.
The company waited, and the
thermometer fell. Presently, one’s breath became slightly visible.
“That's enough, that’s enough,” Brent shouted.
“But I want to see your breath in a long plume like this,” protested Bernhardt, gesturing.
“Long plume, no kiss,” replied Brent.
“Why?” said Bernhardt.
“Whenever it gets cold” grinned Brent, “little icicles form in my moustache.”
Bernhardt was convinced.
“Let’s go!” he shouted to the