The Little Giant (Warner Bros.) (1933)

FEATURE STORIES (Advance Feature) Mary Astor Flourishes As Mother and Movie Star N the indefinite space known as the cinema heavens, there appear many stars. Some flash in—flare brightly—and then disappear like meteors and comets, but others remain in fixed positions. There is nothing of the meteor or comet to Mary Astor. She is of the ‘‘remaining’’ type. Her charm apparently is of the kind that withstands the passage of time. She’s back now, returned to the whirl of movie activity, and back as the engaging feminine lead in Edward G. Robinson’s latest First National picture, “The Little Giant,” which comes to the Beets anes Theatre on Mary is delighted at being back again, but proud to have been away for the important role she filled during her absence from the cameras, the role of motherhood. After having scored a decided success in the George Arliss picture, “A Successful Calamity,” Mary had many screen offers. To all of these she gave polite refusals and departed across the blue waters of the Pacific Ocean to Hawaii with her husband, Doctor Franklyn Thorpe, abontal their 67-foot schooner. “Henrietta.” The sailing party was small. Only six were included, the host and hostess, and two additional couples. The Thorpes had planned to return to California before the blessed event, but the stork overtook them in Honolulu and there was born a daughter. The natives, who adored Mary, insisted that the “kanaka” (native-born) be given a middle name of Hawaiian origin. The naming of the child born in Hawaii is a rite with the natives. It brings, they insist, good fortune and the name must be selected by friends instead of the parents. Mary’s daughter, accordingly, was ehristened Marylyn Hauoli Thorpe, the first name being a combination of the names Mary and Franklyn, the middle name being the “charm” name selected by the natives. Trenali comes from the Hawaiian rt 34h —_— cus DITth, consequently asked that the name of “Hauoli” be selected. Returning to California, Mary established herself as a mother, arranging the household activities to fit in with the new scheme of things. Speedily everything adjusted itself and not until then did Mary listen to the pleas of the producers to return to sereen work. She made “Those We Love” and then hurried back to her motherhood and household duties, fearful that she had been neglectful. She hadn’t, thing. Surprised to discover the ealm, undisturbed manner in which Marylyn’s young existence carried on, Mary listened to another movie offer and did a role in “Red Dust.” Once again she rushed back to family activity, again being surprised to find everything had been continuing in orderly fashion. Her mind finally at ease, Mary returns to the whirl of movies, confident that she can carry on both careers, that of a mother as well as that of a screen star, without nebut ets ees to either. naturally, she ( Current Fee Feature) Robinson’s Smoking Habits Furnish Cue to His Parts “The Little Giant”’ Uses Cigars on Set When Mak ing Dramatic Scenes and Pipe for Comedy DWARD G. ROBINSON’S smoking habits on the set, while he is working in a picture, are as reliable as a barometer is about the weather. As soon as a scene is finished, the First National star invariably walks over to where he left what he was smoking when the scene began. Sometimes it is a pipe. At other times, it is a cigar. Robinson’seldom if ever smokes a cigarette. But which it is, on any given day—a pipe or a cigar—depends very definitely on the nature of that day’s work. If the scenes are of an intense dramatic nature, you can give odds of ten to one—and collect every time —that Robinson will smoke nothing but cigars that day. If, on the other hand, the action and dialogue is of a bright, breezy, cheerful or frivolous nature, you will invariably find him _ contentedly smoking a pipe. During “Two Seconds,” for in: stance, in which the clouds of tragedy gathered around the star’s head as the drama in which he was involved moved inexorably toward the electric chair, Robinson’s pipe appeared on the set for only two days of the entire production schedule. Those were the days when he was radiantly happy over his courtship of the girl who proved to be his ruin. In “Silver Dollar,’ on the contrary, Eddie puffed happily on his pipe practically throughout the pic-ture, as he potrayed the buoyant self-confidence and unshakable optimism of “Silver Dollar” Tabor. Except for the necessity of smoking an occasional cigar in front of the camera, Robinson adhered to his pipe day after day, until the concluding sequences of the picture, when Tabor, in tragic bewilderment, sees his millions disappear in the wreck of the stock market and he drifts to his death, a disillusioned pauper. During those few days, the pipe disappeared, and a cigar took its place as the stormy petrel of the star’s off-stage moments. A “‘Pipe”’ Picture His latest starring picture, “The Little Giant,” which carries with it a broad, lusty spirit of satirical mel feared she had overlooked some-| In “The Little Giant” she plays the part of a society girl who has been robbed of her wealth by a group of stock and bond swindlers. This is returned to her through strong arm methods of an ex-beer baron from Chicago, played by Ed ward G. Robinson. The story by Robert Lord treats of the hilariously funny attempts of the beer baron to break into high society after he has retired from the racket. Others in the cast include Helen Vinson, Kenneth Thomson, Shirley Grey, Russel Hopton and Berton Churchill. The screen play by Wilson Mizner and Lord was directed by Roy Del Ruth. BEER BARONS AND SOCIETY MINGLE Cut No.381 Cut45e Mat i15c (Current Feature) (Current Feature) Two Actresses Wear 27 New Styles in “‘Little Giant’’ WENTY-SEVEN costumes, in ‘‘The Little Giant,’’ now showing at the worn by two beautiful actresses Theatre, marks this First National picture as a smart one sartorialy. And there’s not a mannish outfit in the bunch! Helen Vinson and Mary Astor have the two important feminine leads in this picture, both playing opposite Edward G. Robinson, who portrays the amusing and unusual role of a gangster who retires from the beer racket to take up culture and “high society,”’ IN NEW HIT EDWARD G. ROBINSON is the star of “The Little Giant,” current at ‘the Strand and RUSSELL HOPTON and MARY ASTOR, shown in the scene above, figure prominently in the cast. Edward G. Robinson Also Musician of Real Ability While Making ‘“‘The Little Giant’ He Surprised All by Playing Guitar and Bass Violin DWARD G. ROBINSON is a connoisseur of fine music — probably the outstanding of the Hollywood motion picture colony. He never misses a symphony concert if he can help after the government had legalized good beer. it. His collection of player piano records of the works of the ereat musicians—especially Beethoven, Brahms and Richard Wagner—is one of his chief delights and evening after evening finds him entertaining himself with a piano concert of his own devising. “Hddie” has always disclaimed the ability to play any instrument, despite his passionate devotion to music. However during the production of “The Little Giant,” his latest First National picture now showing at the Theatre, Eddie gave himself away. He is a musician of real ability. -The scene on the stage is an elaborate house party which Robinson, as “Bugs” Ahearn, ex-beer baron of Chicago, who has moved to Santa Barbara in an effort to break into society, is giving to what “The Little Giant” thinks are the elite of the city. A Hawaiian string orchestra engaged by the studio to dispense dance music for the merrymakers, entertained the movie players with various popular airs, between scenes. Robinson listened appreciatively for a moment, then whispered something to one of the musicians. The latter grinned and handed his guitar to the star, who slipped into the seat the musician had just vacated, took up the tune where the player had left off and concluded the number without a break. For two more numbers Eddie con tinued strumming the guitar with expert fingers, hugely enjoying the look of amazement on the faces of those on the set. Presently he handed the guitar back to his owner, walked over to where the bass violin player was standing, took the bow from his hand and proceeded to demonstrate his ability to fill that spot in the. orchestra, much to the delight of the musicians and their leader. Eddie still insists that he can’t play—which probably means that he would never be able to satisfy his own critical and musically sensitive mind with his playing. Very likely he can’t sit down at the piano and negotiate a Brahms concerto or a Liszt rhapsody. His friends insist that it is only because he has never found time to study and practice. Roy del Ruth directed “The Little Giant,” in which Robinson is starred. Mary Astor has the leading role opposite him and others in the cast include such outstanding players as Helen Vinson, Rissell Hopton, Kenneth Thomson, Shirley Grey, Donald Dillaway and Berton Churchill. Robert Lord wrote the original story on which the picture is based, while Wilson Mizner colaborated with him on the screen play. odrama, is what might be called a “pipe” picture, in the light of the foregoing rather than a “cigar” picture, for Edward G. Robinson. Few moments in the rollicking, fast-moving story will impel the star to lay aside his pipe for a perfecto. In “The Little Giant,” now at the Theatre, Robinson has the title role—a beer baron of the Chicago underworld, who “retires” from business when it appears certain the country will swing to a legitimate “beer basis.” The blonde Helen provides a perfect foil for the dark-haired Mary, and in designing their gowns Orry-Kelly, studio stylist, made the most of his opportunities to introduce novel fashions for blondes and brunettes alike. To Miss Vinson, the flashier of the two girls in her picture role, went the cream of the startling new ideas for sports and formal wear. Miss Astor nevertheless, has an attractive wardrobe calculated to appeal to every girl who wishes to look smart and yet must watch her budget. For the latter, two printed silk frocks, one in gray and white, the other in red and gray, are notable because prints will play such a large part in the showings for spring. For sports wear, she also has a brown and gray vertical striped wool skirt, biege wool basket weave jacket, and striped tie that is both interesting and practical. A black and white bolero dress, with white top and sleeves and black skirt and bolero, as worn by Miss Astor, is adaptable for bridge, while her navy blue wool erepe suit, with white starched blouse, will be found just the thing for office wear or shopping. Santa Barbara, in the summertime, is the locale of “The Little Giant,” and for this reason the gowns worn by Miss Vinson, at a time when all women are thinking of putting their winter things away in moth balls, will be particularly timely. _To a party given by “The Little— Giant” after he breaks snvo society, ; she wears a clever summer evening frock of white crinkly cotton, backless and ruffled, with white crepe sandals. Cotton, she says, can go anywhere—when it’s done as cleverly as this. But to a more formal affair, she wears a long, beige Roma gown, beautifully moulded to her figure, with beige satin sandals and red costume jewelry. For sports wear, the blonde actress has a_ sleeveless two-piece frock, the skirt of white pique, and the tightly belted blouse of red and gray plaid pique, with white epaulets extending out over the shoulin the afternoon, she dons a “double duty” frock of light blue crepe, with a matching bolero and gray accessories. Two outstanding features of other numbers in her film wardrobe show the use of the swagger coat, and of fringe. For still another formal party, Orry-Kelly gave her a dress of pale yellow crepe, trimmed with matching silk fringe and a smattering of gold beading. And her tailored suit, of lightweight gray wool, has a free-swinging swagger coat, matching hat, and vest of pink pique trimmed with fancy buttons. Frequenters of the bridle paths also will find style notes of interest in “The Little Giant.” At the opening of the picture, at the polo, the actress is seen in a smart habit consisting of black wool coat, black and white checked breeches, white pique blouse and stock, black derby, white pigskin gloves and black kid boods,—a stunning and practical ensemble. For less dressy occasions, she displays another riding costume, made up of brown coat, white shirt, open at the throat, tan jhodpurs, and brown boots. ders. Later, Pink satin pajamas, with a pleated black chiffon front studded with pink buttons, worn with a black ribbon in the hair, complete a wardrobe that is outstanding among picture wardrobes for its lavishness and originality. Shirley Grey, Russell Hopton, Kenneth Thomson, Donald Dillaway and Berton Churchill are others who have important roles in “The Little Giant,” which Roy Del Ruth directed. The story is by Robert Lord and the screen play by Wilson Mizner and Lord. Page Thirteen