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

The Fourth Successive Hit From Richard Barthelmess, Frank Lloyd And Bradley King! “SON OF THE GODS,” SCREEN DRAMA, RENEWS THE CLASH OF HEREDITY AND ENVIRONMENT Ancient and Unsettled Controversy Likely To Be Revived By Picture In Which Richard Barthelmess is Starred (FEATURE—VITA PHONE) Psychologists have long argued the relative influence of environment and heredity on the development of individuals. Exhaustive research has unearthed confusing data and still the argument continues wherever specialists in such subjects foregather. A general study of the world’s literature concerning this moot question seems to give environment as the preponderant conclusion of scientists, psychologists and others interested in the evolution of man. First National Pictures have just produced a remarkable sereen drama |——H——"___* that bears heavily on this theory, weighing the scales in favor of environmental deduction. And because of this picture, the controversy is likely to be renewed. The production is “Son of the Gods,” a sereen version of Rex Beach’s novel, with Richard Barthelmess starring in the title role. It will ‘beeen ‘at: ie ures. chin, Ute | Theatre The structure of the story is founded upon the idea of an Américan boy raised by a Chinese family in the belief that he himself is of Chinese origin. The idea teems with dramatic potentialities, and great care was taken to preserve the mood and outline of the Beach novel. As Sam Lee, Richard Barthelmess, believing himself a Chinaman, is confronted with racial differences and he finds himself reacting in aceordance with his environmental Dick Goes Abroad background. Adopted as an infant by a devout| Richard Barthelmess, First NationChinese patriarch who had prayed | #1 and Vitaphone star of “Son of the to his gods for an heir, Sam Lee is| Gods,” now playing at the brought up in a high-caste Chinese| Theatre, is now sojourning in Europe, atmosphere and nursed on the ancient| @4¢companied by his wife, the former wisdom of Confucius. Mrs. Jessica Sargeant of New York. Sam Lee is black of hair and dark| The star sailed immediately after “Son of the Gods,” the First National and Vitaphone feature starring Richard Barthelmess which comes to the! eee Theatre commencing oa, a eae , is entirely in dialogue and has many sequences in which orchestral musie is brought in legitimately. There are two night clubs and also the garden-restaurant back of the famous Casino at Monte Carlo where dance orchestras furnish music. Frank Lloyd directed “Son of the Gods,” and Constance Bennett plays the feminine lead opposite the star. \ \ Cr — a way) He was white! But he was white only in pigment and in blood. In his heart he was Chinese, and although he clasped the girl to his breast, he turned with finality to the memory of the Chinese gentleman who had reared him and to the spiritual guidance of Confucius. EnE vironment had won! ; Frank Lloyd is director of this unusual screen drama, and, as Sam Lee, Richard Barthelmess enacts one of the most extraordinary roles of his career. Constance Bennett plays the girl and the balance of the cast contains twenty prominent screen names. “Son of the Gods” is entirely in dialogue and great care was taken to preserve the philosophic beauty and dramatic mood of the Rex Beach story. an 7s us — * = BS a Production. Dialogue and Music | LARGE CAST An exceptionally large cast supports Richard Barthelmess in _ his newest First National and Vitaphone production, “Son of the Gods,” which COMES hO: They een aa Theatre next The cast is headed by Constance Bennett, who plays the feminine lead, and contains such names as E. Allyn Warren, Anders Randolf, Mildred Van Dorn, Geneva Mitchell, Claude King and King Hou Chang, as well as many hundreds of Chinese and American extras. APOLLO : » Wonder-Drama of the Vitaphone Age! Think of all th _ great Barthelmess hits’ of the past. Then try to vision a drama better than his best. It’s his. greatest achievement ao OUT screen ‘thrill! greatest RICHARD ~ BARTHELMESS in Rex Beach’s Great Novel “SON OF THE GODS” with CONSTANCE BENNETT Screen version and dialogue by Bradley King. A Frank Lloyd of eyes. He is Oriental enough in coloring so that his outward aspects do not create doubt and suspicion. The love of his “father” and the! resultant exchange of affectionate regard bind him more strongly than he ever imagines to “his people.” From the moment intellectual con| sciousness made its appearance Sam Lee considered himself a Chinaman. There was never any doubt about it. He lived, acted and thought like one. Imbued with his “father’s” teachings he developed a pride in his ancestry and glowed within at the contemplation that he was a “gon of the gods.” Then came a family removal to New York and in due time, Sam Lee went to an American college. His personal charm attracted attention. He found white men and white women liking him and admiring him until—until they. found out he was a Chinaman. Sam Lee’s reactions to the attitude of the white people were the reactions of a pure-blooded Chinaman. He resented it and became prouder than ever of his noble lineage. When finally he fell in love himself—in love with a white girl under the impression that she was returning his love with full knowledge of his race—he nearly took back all he had thought of the econtemptuous caucasian race. But life grinned sardonically and slapped Sam Lee a stinging blow. He was wrong. The girl did not know, and when she found out she humiliated him in a public place and very nearly destroyed that magnificent pride of his. It was the last straw. Back to “his people’ went Sam Lee, only to find that his “father” had died. He was now alone—very, very much alone. He bowed reverently before the family altar and with repressed passion took refuge in the ancient Confucian philosophy. Then came the final argument of environment. The girl came back to him. Her love was greater than her scorn. She returned to give herself completely. And then, unexpectedly, like a thunderbolt, came the information to him of his true heredity. He was white! finishing “Son of the Gods” and plan. ned to spend four months abroad France and possibly Egypt. A FINE ROLE Constance Bennett, one of the three famous Bennett sisters and daughter of Richard Bennett, stage star, has one of the most coveted screen roles of recent years as Alanna, the heroine of “Son of the Gods,” the First National and Vitaphone production starring Richard Barthelmess, now at the Theatre. Alanna is one of the most dramatic feminine parts ever written by Rex Beach, and some of the most prominent stage and sereen stars made efforts to secure the role. Novel Into Film One of the greatest Rex Beach novels, “Son of the Gods,” is the First National and Vitaphone feature starring Richard Barthelmess which comes to the Theatre starting Bradley King adapted the Beach novel to screen form. It is done entirely in dialogue. Frank Lloyd directed. MONTE CARLO Gay revelry, fashion parades, the elite of the world, music, spring, flowers and playtime for the rich— these are in the Monte Carlo sequences of “Son of the Gods,” the First National and Vitaphone production starring Richard Barthelmess which comes to the: 3.7% Theatre on Scenes within the great gambling halls of the Casino are also pictured in this screen version of the sensational Rex Beach novel. Richa Cut No. 18 Cut 35c Mat 10c visiting Italy, Switzerland, Germany, A FIRST NATIONAL & VITAPHONE PICTURE “Vitaphone” is the registered trade mark of the Vitaphone Corp. designating its products. Cut No. 14 Cut 35c Mat roc Richard Barthelmess’ Blossoms!”’ pended on the answer. meet! _He was a “Son kind to him in love. Richard Barthelmess and “Our Dick” a destiny! CATCHLINES greatest role since —o— Richard Barthelmess in his greatest role. Raia IS White man or Chinaman? Love and happiness de —o— She loved him—but her love faltered! ——~O—— “East is East and West is West’’—and now the twain —_—-O— of the Gods’’—but the gods were un —_—-O—— —the screen’s perfect lovers! —o—. A romance of East and West. —O— A girl loved him, until—! —o— “Son of the Gods”—and a plaything of “Broken beautiful Constance Bennett e6V3GV03Go6o30Q0e0aa0Rh}———s@sSeom>0—=—“=$=—$mamwmNEyuaO0nma999O9DBa eo ——:°\6¥6KRUN06RRR\RK LAVISH SCENE An apartment built on the roof of a New York skyscraper—a veritable Chinese temple built by a celestial merchant prince. Such is one of the lavish sets used in the filming of ‘Son of the Gods,” the First National and Vitaphone production starring Richard Barthelmess which comes to the Theatre next This apartment, designed in the purest Chinese motif, covered an entire studio stage and contained a shrine room in which Barthelmess it is said does some of the best acting of his career, Director’s Tribute “Richard Barthelmess is the easiest actor in the world to direct.” This statement is from Frank Lloyd, who direeted the star in “Son of the Gods,” the First National and Vitaphone production which comes to the Theatre on “His natural talents and ability, of course, make it much easier, but I believe” continues Lloyd, “that he gives more time to studying his role before he commences work than any other actor I have ever directed.” A LADY’S WRAP CAUSES TROUBLE IN FILM SCENE ’Twas Constance Bennett’s And It Just Wouldn’t Fall Properly (ADVANCE READER— VITAPHONE) The average person probably labors under the illusion that a lady’s wrap is an easy thing to make fall from the said lady’s shoulders. In the ordinary course of human events. things like that may happen without trying, but in the movies, when it that it happens on purpose, it is sometimes not so easy. Director Frank Lloyd found that out while shooting a scene for “Son of the Gods,” the current First Na tional and Vitaphone production starring Richard Barthelmess, coming to the is desirable Theatre on The seene was to take place on a balcony overlooking the gardens at Monte Carlo’s celebrated Casino. Constance Bennett was the leading lady who while calling Barthelmess’ attention to the beautiful moonlight was expected to allow her wrap to fall seductively from her shoulders. But Miss Bennett’s wrap was topped with an expensive silver fox which persisted in clinging to the lovely shoulders. An entire morning was spent before the desiréd effect was achieved. “Son of the Gods” is based on the novel by Rex Beach and is entirely It is described as the biggest Barthelmess starring vehicle in dialogue. |since “The Patent Leather Kid,” and artistic triumph sinee “Tolable his greatest “Broken David.” Blossoms” and STATISTICIANS, | ATTENTION! That rara avis among homo sapiens—phew! Let’s start again. The kind of guy that dotes on statistics may derive some orgiastic pleasure from the following: Twelve hundred and twenty Chinese words were spoken in the dialogue during the making of “Son of the Gods,” the First National and Vitaphone special starring Richard Barthelmess, now playing at the Theatre. Of these Barthelmess himself speaks 56 words. Altogether seven languages are heard during the unfoldment of the drama—English, Chinese, German, French, Russian, Spanish, Italian and Egyptian—most of them spoken in the Monte Carlo easino scenes, But the dialogue that tells the story is in English. Five cameras used a total of 250,000 feet of film. Forty horses were used in the polo sequences; 2,443 extras were employed, of whom 843 were native Chinese who appear in the San Francisco and New York Chinatown sequences. Rex Beach’s novel, from which’ the screen version of “Son of the Gods” is taken, contained 117,000 words while the screen version by Bradley King contained 25,000 words. 4,400 lights were used, making a total of 440,000 candlepower. Frank Lloyd directed “Son of the Gods.” Barthelmess is supported by a remarkable cast headed by Constance Bennett in the feminine lead. The production which is the most pretentious Barthelmess starring vehicle since “The Patent Leather Kid,” is entirely in dialogue with numerous sequences offering musical backgrounds. It is made partly in Technicolor.