Son of the Gods (Warner Bros.) (1930)

FOOTAGE (Vitaphone) [Sess ____ 8,344 feet Running Time_.___93 minutes 321 WEST 44th STREET DICK BAR “SON OF THE GODS: FIRST NATIONAL PICTURES FRE NATIONAL AND VI TALKING ADHONE REG. TRADE MARK First National and Cash in on the Name! This Is A VU TaAbHon Picture “SON OF THE GODS” BRINGS DICK BARTHELMESS TO LOCAL SCREEN IN A POWERFUL ROLE Drama Based on Rex Beach’s Novel Marks Another Triumph For Star — Partly in Color—Constance Bennett in Cast (PREPARED VITAPHONE REVIEW) There have been many great Barthelmess pictures since the days of the unforgettable ‘‘Broken Blossoms’’ and ‘‘Tol’able David’’; but, unless this reviewer is very much mistaken, the ereatest of them all is the latest, ‘‘Son of the Gods,’’ which has just come from the First National and Vitaphone Studios to the Theatre. It opened Very rarely does the screen, even in its most brilliant pro ductions, offer so perfect a combination of story, star, cast and setting. In ‘‘Son of the Gods’’ it is difficult to imagine how any of these elements could have been improved upon. Dick Bar thelmess, one of the most appealing actors now appearing before the American public, has never exerted more forcefully the magic of his personality. Early in the story of the boy brought up as a Chinese, believing he is Chinese, living as an alien amid the seornful and uncomprehending Americans whose blood really flows in his veins, though he knows it not—early in this dramatic and moving tale Dick wins our sympathy, and, having, won it, he retains it to the end. This role of Sam Lee will always occupy a high niche in the gallery of Barthelmess portraits—perhaps the very highest. “The picture is beautifully produced. Part of it is in Technicolor, and this sequence provides another demonstration that the process of color photography has at last been perfected. But the black and white scenes also represent the artistic touch and the almost uncanny skill and ingenuity of men who through years of practical experience have mastered the art of the camera. A splendid company of players supports Barthelmess. They are headed by Constance Bennett. One can only write of her in sentences short and simple, which in their very simplicity will come nearest to doing justice to this lovely actress. She is beautiful. She is charming. She is one of the most capable dramatic interpreters now on the screen. And the return of this daughter of Richard Bennett to the profession which she so brightly adorns is an event upon which all of us who love motion pictures may well congratulate ourselves. If First National had searched the country over, it could not have found a more delightful and appropriate heroine for “Son of the Gods.” The girl and the role were made for each other. Other names demand mention also, though space is lacking to do full justice to them all. Anders Randolf is on hand, as unique as ever in his individuality and strength of interpretation. Mildred Van Dorn, one of the “discoveries” of the year, we shall certainly see again, and it can hardly be too soon. E. Allyn Warren, Geneva Mitchell, Claude King and a host of other people whom all good movie-goers either know and like already or are going to know and like from now on, are among the dramatis personae. Nor must we omit the name of King Hou Chang, a Chinese player who scores heavily in the role allotted to him. Like so many’ other Barthelmess successes, “Son of the Gods’ was directed by Frank Lloyd, and_ it is worthy of the master hand that guided and shaped it. The plot of the picture is based upon the well known novel by Rex Beach. It was adapted to the screen by Bradley King—another Barthelmess collaborator of proven worth. You simply ean’t afford to miss “Son of the Gods.” It seems to us to be the best produced and best acted picture we have seen in many % moon. DICK TANGOS! Richard Barthelmess, First National star, will be seen for the first time on the screen doing the tango in “Son of the Gods,” his newest starring feature coming to Theatre next This fascinating rhythmic South American dance is performed by Barthelmess and his leading woman, Constanee Bennett, in the Monte Carlo sequences of the sereen version of Rex Beach’s dramatic novel. Frank Lloyd directed “Son of the Gods,” which is being hailed as the greatest Barthelmess production since “The Patent Leather Kid.” It is entirely in dialogue and has an unusually large cast including Mildred Van Dorn, E. Allyn Warren, Geneva Mitchell, Anders Randolf, King Hou Chang and many others. Richard Barthelmess in “Son of the Gods” Cut No.4 Cut 4o0c Mat roc Chinese Funeral Filmed In Color (ADVANCE READER— VITAPHONE) For the first time in the history of the screen, as far is known, an authentic Chinese funeral is staged in “Son of the Gods,” the First National and Vitaphone production starring Richard Barthelmess which comes to the Theatre This sequence, done entirely in Technicolor, was enacted on an outdoor set covering ten city blocks. Hundreds of Chinese men, women and children were employed to people this fragment of San Francisco’s Chinatown. The procession, an impressive ceremonial, consisted of a series of legendbearing. banners carried on the shoulders of friends of the deceased; a score of paid female mourners, their faces. covered with sacks and sobbing constantly; the leader of the procession clapping a pair of cymbals; black carriages, ete. The sequence was supposed to occur twenty years ago and therefore the American spectators on the sidelines were dressed in the styles of the period—long skirts, high collars, derbies, etc. This scene is a flashback in the story and relates how Barthelmess as a child came to be adopted by a Chinese father. “Son of the Gods” was directed by Frank Lloyd. Constance Bennett has the feminine lead. It is entirely in dialogue and retains the dramatic flavor and punch of Rex Beach’s powerful novel of the same name. “JO SHUN” SAYS BARTHELMESS IN CHINESE LINGO Also “Nee Ho Leu Mah,” For Vitaphone Movie Of “Son of Gods’ (ADVANCE READER— VITAPHONE) “Jo Shun” may mean nothing to you, but to Richard Barthelmess, First National screen star, it means “sood morning”’—in Chinese. Also, to you, there is probably not the slightest familiar sound to “No ho leu mah,” but Richard Barthelmess will not only tell you that it is “How are you today ” in the language of Confucius, but he will also pronounce it correctly in the singsong Chinese way. All this came about because Barthelmess had to learn several Chinese lines to speak in the course of “Son of the Gods,” his newest starring vehicle, which comes to the ‘Phegire Nexto as es “Son of the Gods” tells a dramatic story. There are several Chinese actors in the production, and Barthelmess studied his celestial lines required under the tutelage of Louis Vineenot, a well known Chinese scholar. Frank Lloyd directed “Son of the Gods’” from Bradley King’s screen version of the novel by Rex Beach. Tt is entirely in dialogue and is a lavishly mounted production with a large cast. Constance Bennett plays opposite Barthelmess. VISITED STUDIO, DEPARTED WITH A FINE MOVIE ROLE How Mildred ee Dorn, Film Newcomer, Got Her Big Chance ADVANCE READER) Mildred Van Dorn came on a visit to the First National Studios at Burbank, Calif., one day and walked out with an important part in support of Richard Barthelmess in “Son of the Gods,” which comes to the left Barthelmess after a eonference concerning the part of Eileen in the sereen version of Rex Beach’s novel. They were perplexed as to who to cast in the role. Lloyd was walking back to his office when he chanced to pass Miss Van Dorn. He stopped, thought a moment, called to her and asked her .if she was an actress. “Yes,” she said. A test was made and now she will be seen in the picture that is heralded as Barthelmess’ greatest. Mildred Van Dorn was born in New York City in 1909. She was educated in the public schools, graduated from high school and received dramatic training at the American Academy of Dramatic Arts and dancing instruction with Tarasoff and Ned Wayburn. Her first public appearance was in the Ziegfeld Follies of 1927; then she played a dramatic role in the stage production of “Elmer Gantry,” followed by roles in “Paris Bound,” “The Guinea Pig,” and with the Rochester Stock Company. Last summer she went to Hollywood and made her sereen debut in “Lummox” as Paula. She is 5 feet, 3 inches tall, weighs 109 pounds, has light brown hair and clear blue eyes. She is regarded as one of the banner “discoveries” of this season. Barthelmess-Lloyd Spells Box-Office “A Barthelmess-Lloyd” is fast becoming a synonym for box-office £ We ay success in motion pictures. When talking pictures made their advent Richard Barthelmess, First National and Vitaphone star of “Son of the Gods,” which comes to the eee cee Theatre next was in the midst of work on “Weary River,” which was being made in silent form. Frank Lloyd was directing it. It was suddenly decided to insert several talking sequences, and both Lloyd and Barthelmess took hold of the new medium and ereated one of the biggest box-office hits in the history of motion pictures. Since then this combination has made “Drag,” “Young Nowheres” and now “Son of the Gods’”—heralded as the most important Barthelmess starring vehicle in years. Page One