The Irish in Us (Warner Bros.) (1935)

oe e DAILY PUBLICITY McHugh Picks 85 Years As Age He’d Like To Remain Frank HeHugh, who has a comedy role in the Warner Bros. production “The Irish In Us” which COMeS-tOtHe as tacts crohns TheaCE OED eet Soni irs ots ,» wants to be an “old, old man with an old, old clay pipe and an old, old lady beside him.” He quoted the popular song when asked his choice of ages. “T’d prefer to stay at the age, let us say, of 85,” said HeHugh. “T’ll tell you why. They’re always talking about Old Age being secured against want. Well, I figure that, at 85, I wouldn't be wantin’ much. “V’d be too old to be wantin’ big parts in pictures. I don’t figure I’'d want anything except corned beef and ribbage, and a home. I figure I ought, with any kind of luck, to have enough to supply me with these simple wants by that time.” “The Irish In Us” combines hilarious comedy with tense drama, pathos and a glowing romance. There is an all star cast including James Cagney, Pat O’Brien, McHugh, Olivia de Havilland, Allen Jenkins, Mary Gordon and J. Farrell MacDonald. Lloyd Bacon directed the picture from the screen play by Earl Baldwin, based on the story by Frank Orsatti. Longest Boxing Battle Is Fought By James Cagney The longest prize fight in history was fought on the back lot of Warner Bros.’ studios in the’ making of the film “The Irish In Us,” now showing at the .............. Mote oa Theatre. . The battle lasted five days. The contestants were Jimmy Cagney and Harvey Parry, former Coast amateur champion. The fight was part of Cagney’s work in his current picture “The Irish In--Us:” In the finished picture, the fight lasts about fifteen minutes. In the last round Cagney knocks out his opponent, supposed to be the lightweight champion of the world. For cinematic purposes, however, the fight had to be filmed from a dozen different angles. There are closeups, medium shots, long shots. Blows are shown as they strike. Falls and knockdowns are filmed individually. All this required time. The picture combines a riotous comedy with tense drama situations and a most unusual romance. The cast includes Cagney, Pat O’Brien, Frank McHugh, Olivia de Havilland, Allen Jenkins, Mary Gordon and J. Farrell MacDonald. Lloyd Bacon directed it from the screen play by Earl Baldwin based on a story by Frank Orsatti. Cagney Fights With Six Ounce Gloves Jimmy Cagney and Harvey Parry, who stage a _ ten-round prize fight in the Warner Bros. production, “The Irish In Us,” which comes to the. ........025......:065 Tes ireson 8S: , gave the production an added note of realism by battling with sixounce gloves. The average picture pugilists employ the ten and twelve-ounce gloves of the harmless “pillow” variety. A Mug And A Pug If it’s laughs you’ll be wantin’, be sure to see Frank McHugh and Allen Jenkins (above) appearing with Jimmy Cagney and Pat O’Brien in First National’s ‘‘The Irish In Us,’’ coming to the .............00... Theatre soon. Mat No. 202—20c Cagney Never Struck Miss De Havilland Olivia de Havilland is jubilant. She played opposite Jimmy Cagney in a motion picture but she emerged unscathed to take her place among the ranks of those few feminine players who did not get socked by the hard-boiled Trish actor. In the Warner Bros. comedy drama, “The Irish In Us,” which comes tOlUn6. see Theatre OWS. arte oes , Cagney doesn’t even give his leading lady, Miss de Havilland, a tongue lashing. Allen Jenkins Made His Own “Breaks” Allen Jenkins made his own “breaks” on the stage when, as a stage-hand, he became a selfappointed understudy. When the actor who had that part became ill, Allen stepped into it—and became an actor. The play, “Blessed Event,” got him a screen contract. Jenkins is now playing an important role in the Warner Bros. comedy drama, “‘The Irish In Tig et AO 2-2 aan Theatre. James Cagney and Pat O’Brien are starred. 21 Irish in Cast And Crew of Film In the cast and crew that filmed “The Irish In Us,” the Warner Bros. comedy drama which. comeés:46-the 250....035... Theatre 62> aS , there are 21 persons of real Irish blood. These include Jimmie Cagney, Pat O’Brien, Frank McHugh and Mary O’Shaughnessy Gordon, who have the leading roles. Mushy Callahan, Ring Champ, Now Referee Mushy Callahan, former world’s junior lightweight champion, retired from the prize ring permanently, he thought, several years ago. Fate, in the form of Warner Bros, casting executives, decreed otherwise, however, and Mushy went back to the prize arena, not as one of the combatants, but as the third man. Callahan refereed the bout between James Cagney and Harvey Parry, in the comedy drama “The Trish In Us,” which comes to the bos soe soe ee Theatre om oo...ci6600.5. Studio Cop Becomes Actor in Film Jack Kerns temporarily deserted his post of sergeant at the Warner’ Bros. studios’ police force to become an actor. Kerns, a referee licensed by the California State athletic commission, was assigned to be the third man in the ring for ‘the semifinal bout preceding the main event between James Cagney and Harvey Parry in the production of “The Irish In Us,” now showBR RE: rc rh Ss Theatre. Mushy Callahan, former world’s junior lightweight champion refereed the main event. O’Brien Drives Miles To Favorite Barber Pat O’Brien has found a barber he likes so well that he drives from his home in Brentwood over PAT O’BRIEN, now in ‘‘ The Irish In Us,’’ OG Aes Theatre. Mat No. 101 106 to East Hollywood every morning, just to have his favorite “mugand-brush” man scrape his chin. Pat is now appearing as one of the stars in the Warner Bros. comedy drama, “The Irish In Us,” which comes: to the ......0..:3 > Th@atres0n sie. estat ces Cagney’s Marriage One That Sticks James Cagney’s is one Hollywood film colony marriage that has stuck through thick and thin. Jimmy, who has the stellar role in the Warner Bros. production, “The Irish In Us,” which comes toathe= ise ee Theatre on SEE ee ,» was married long before he had made a hit on the stage. He and his wife went through a long period of living in single rooms, cooking over the gas jets, dodging landlords and at times going hungry. Jimmy’s spectacular success in pictures has not loosened the bonds made during such times. James Cagney’s Success On Screen Due To Hands Star Not Only Talks But Fights With Them in ‘**The Irish In Us” By FRANCIS HEACOCK Most film stars’ faces are their fortunes. In the ugliness or beatuy of their features, lies the explanation of their screen success. Kay Francis’ beauty won her a niche in the hall of film fame, while Joe E. Brown captured wealth and popularity be cause he’s so utterly homely. There are, of course, some few notable exceptions. Al Jolson sang his way to the top while Frank McHugh’s crazy laugh put him across. Leon Erroll struggled to fame on a pair of rubber legs. Jimmy Cagney’s fortune, however, lies in a pair of capable hands—capable in more ways than one. He talks with them. And he fights with them. By no stretch of the imagination could Cagney be described as handsome. Neither is he homely. He’s just like any one of twenty or thirty million other Americans, neither tall nor short. He is red-headed and freckle faced. His voice is nothing to write home about. But his hands have earned him a fortune in the last few years that would permit him to live comfortably the rest of his life even if he suddenly decided not to use them any more. Taught in Sidewalk School Cagney learned to talk with his hands and to fight with them during his childhood, when he lived on New York’s notorious Fast Side. “As I look back now,” he remarked on the set of his current Warner Bros. picture, “The Irish In Us,” now showing at the eee See ee Theatre, “it seems strange that I should have acquired rather from necessity than from choice the two qualities in the use of my hands that have proven so valuable to me in film work.” The district in which Cagney was born and reared was populated principally by foreigners. “T encountered them every way I turned,” he reealled. “They used their hands almost as much as their tongues in conversations. For that matter, many of them spoke not more than a dozen or so words of the language of their neighbor. But they managed to make themselves plainly understood by vivid use of their hands. “Naturally, a.though unconsciously, I, too, acquired the ability of talking with my hands.” “ve never forgotten how, and when I reached Hollywood I soon discovered the talent was one of the most valuable I could possess in films.” You may never have been conscious of it, but next time you see Cagney on the screen, watch those pliable hands of his twist and turn in harmony with his words. He, himself, admits that seventy-five percent of his histrionie ability lies in his hands. Authorities on the subject will tell you there are only two others in Hollywood as proficient in the use of their hands as the redheaded Irish actor—ZaSu Pitts and Hugh Herbert. Fighting Through Boyhood While he was teaching his hands the “sign language,” Cagney simultaneously was educating them in a far more violent form of speech. Almost from the time he was permited to stroll alone on the sidewalks made so famous by Alfred E. Smith he was forced to instruct his fists in the manly art of self-defense. “About the first words I can remember hearing were “Hey, d’y’wanna fight?” he reminisced. “That was a more or less standardized greeting among the kids in the neighborhood of the East Side. “No credit to myself, perhaps,” he continued, “but I don’t remember ever having replied, ‘no’.” To the best of his recollection, he averaged one or two fights a week on his account and a similar number on account of his brother, Harry, most of whose fighting he also took upon his youthful but capable shoulders. When Cagney came to Hollywood, it didn’t take the movie producers long to discover this long dormant ability in the solidlooking fists of the newcomer from New York. He’s been bouncing those hard knuckles of his off the chins of fellow players ever since. In “The Irish In Us” he does it again, staging a ten-round battle in the prize ring with a professional boxer. The professional had his hands full, for Cagney knows how to use his fists and there was no “faking” or pulling of punches. Cagney made it harder by insisting they battle with sixounce gloves, although the average movie pugilists employ the ten and twelve-ounce gloves of the harmless “pillow” variety. The picture combines riotous comedy with tense dramatic situations and a most unusual romance. The cast includes these besides Cagney: Pat O’Brien, Frank McHugh, Olivia de Havilland, Allen Jenkins, Mary Gordon, and J. Farrell MacDonald. Lloyd Bacon directed it from the screen play by Earl Baldwin, based on a story by Frank Orsatti. Son Of Erin Bx ~ Jimmy Cagney, who appears with Pat O’Brien and an all-star comedy-cast in First National’s ‘‘ The Trish-InU8," now-at the. 225 Mat No. 103—10c Page Three