We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
ries and art on these pages carefully. ected to point up the same highlights
the novel so powerful and popular!
AAU LT TTT Te
Film From Great Novel Ready Friday For Local Movie-Goers
‘The Fountainhead,’ Warner Bros. Film,
Once every year or two there comes along from the pen of a gifted author a novel so absorbing that the millions of readers who “couldn’t put it down” invariably cannot wait until it is put on film so that the romantic characters whom they pictured in their mind’s eye can come to life before them on the screen.
Such a story is “The Fountainhead,” and Friday at the Strand, Warner Bros.’ muchheralded and long-awaited picturization of the Ayn Rand bestseller will unfold in all its glory on the screen.
In the two most important characterizations, Gary Cooper plays Roark and Patricia Neal is Dominique — two castings made in the heaven of great motion pictures.
The one famous love scene destined to have the whole moviegoing public talking as never before when “The Fountainhead” is released is enacted by Gary Cooper and Patricia Neal and took one whole day to film. And the set was strictly closed to visitors that day—understandably so—for the torrid nature of the scene required utmost privacy.
That’s the scene that millions of readers of the best-selling Ayn Rand novel—and at least half of them have written to the studio inquiring about it—in which Roark comes to Dominique in the dead of night and makes love to her—against her wishes though she utters not a sound.
It was on Stage 1 at Warner Bros.’ Burbank, Calif. studios
New Star Patricia
Gary Cooper and
Several times in the past few years have great novels, speaking primarily of those telling of tempestuous and thrilling loves, come to the screen. Never to be forgotten perhaps are “Gone With the Wind,” with its Rhett Butler and Scarlett O’Hara; “Forever Amber,” “Kings Row,” “Of Human Bondage,” or “Wuthering Heights”’—all powerful stories which told of the clash of two great lovers.
Such a film is “The Fountainhead.” The story of an _ independent-minded architect who will not submerge his creative ability and artistic ideals in order to be successful, “The Fountainhead” describes the efforts of rich and powerful people, not leaving out the talented, though cold and beautiful, heiress Dom
inique to bend him to their way of thinking.
Against this background of great and beautiful buildings ultra-modern interiors of apartments and homes, there lies the smoldering love story of Dominique and Roark which explodes at the film’s climax in a series of unforgettable scenes transferred in toto from the book to the screen.
Supporting Cooper and Miss Neal in the title roles, are Raymond Massey as the publishing tycoon, Robert Douglas as the rabble-rousing columnist and Kent Smith as the society architect. King Vidor directed the production, one of the most ambitious at the Warner Bros. lot in recent years.
Scene Now On Film
that Director King Vidor called together his principals and a crew of 50 for the vital scene.
Patricia Neal, as Dominique, is clad in a black negligee and Cooper is in the rough clothes of a stone quarry worker. The beautiful heiress had been riding her horse near the quarry which she owns and she had invented thin excuses for the worker to whom she was unaccountably attracted to come to work at her house.
The scene starts at her dressing table late at night Dominique is startled though thrilled to see Cooper in her mirror as he comes through the door. She makes to flee, but he pursues and seizes her so roughly that she falls against the bed. As she rises he takes her in his arms
Sage Advice To Screen Hopefuls
Hollywood’s most sensational newcomer, Patricia Neal, is learning one lesson in her first year in the land of make-believe —there is no bed of roses along the path leading to a crown of film glory.
“Tf you are going to succeed, you must be prepared for work and long hours,” Patricia says.
Patricia is the gifted young lady who was selected by Warner Bros. for the role of the tempestuous Dominique in “The Fountainhead,” with Gary Cooper, Raymond Massey, Kent Smith and Robert Douglas.
People who come to the screen industry from the stage, as Patricia did. are not accustomed to getting up with the chickens.
“The first month when you are rehearsing for a play can be fairly rough, but after that, except for the two days on which there are matinees, your working hours are confined to the nightly performances.”
Now Patricia gets up at 6 a.m., every day except Sundays, and likes it.
“Tt takes that much time to have breakfast, and then have your make-up put on and your hair dressed, in time to be on the set at 9,” she added.
“Except for lunch, we’re shooting steadily until 6 p.m. Then you look at the rushes for the day, go home, have dinner and study your script.
“By 9 p.m. you’ve put in a mighty busy 15 hours.”
and she fights, striking him several times before he kisses her. At scene’s end she has embraced him in full realization that this is the man to whom she will always give her love.
Originally the script did not call for Roark to be struck by Dominique as they struggled, but Director Vidor and _ star Cooper agreed that a more realistic portrayal of the scene would call for it.
“T believe,” said Cooper, “that while she might not want to cry out and attract someone, she still would want to strike the man to show her exact feeling's at the moment.”
Local moviegoers will be given their chance to agree or not when the long-heralded film opens at the Strand.
Early Art Training Aids Star in Scene
Gary Cooper’s early schooling in art and mechanical drawing —his first carrer was as a cartoonist—was used to good advantage by King Vidor in Warner Bros.’ sensational drama, “The Fountainhead,” which comes soon to the Strand Theatre.
A sequence called for architect Howard Roark, portrayed by Cooper, to draw the facade of a building for Raymond Massey.
“Do you think you could do it if he shot directly on you so there’d be no doubt you were doing the sketch?” Vidor asked.
“T’ll try,” Cooper replied.
He did the shot so well he even won the plaudits of art director Ed Carrere.
LOVELY Patricia Neal of the Broadway stage captured the choice role of Dominique in “The Fountainhead,”’ Warner Bros.’ version of the famed novel. At the Strand Friday.
Mat No. 707-2E Still Neal 176
GARY COOPER and Patricia Neal face each other in a tense moment from “The Fountainhead,”’ Warner Bros.’ version of the famed Ayn Rand novel, now at the Strand. Ray Collins is in the background.
Mat No. 707-24 Still 707-87
STALWART and independent-minded Roark is played in “‘The Fountainhead”? by Gary Cooper. The Warner Bros. picturization of the Ayn Rand best-seller arrives at the Strand tomorrow.
Mat No. 707-2B Still 707-690