The Man Who Played God (Warner Bros.) (1932)

A daigees PUBLICITY ADVANCE STORIES — REVIEWS — FOLLOW-UP STORIES — FEATURES — SHORTS — SCENE CUTS your st story This story contains complete information about “The Man Who Played God” and is known to showmen as a “routine story.” “The Man Who Played God,’ With George Arliss, Heralded As One Of Year's Best George Arliss, whose portrayals of sutesmen and laymen were nationally “acclaimed, appears in a new guise in “The Man Who Played God,” his latest starring vehicle for Warner Bros. Pictures, which comes to the Theatre next Mr. Arliss turns his genius to the portrayal of genius in “The Man Who Played God.” In this picture he plays the role of an internationally famous musician whose wizardry a with melody places the world at iis feet. He is adored by women, Imired by men, numbering even ‘ings among the thousands’ subeet to the wonder of his music. those intimate with him, however, respect him even more for his human ilities and kindliness than for his nusi¢lanship. In “The Man Who Played God,” at adaptation of the stage play by ‘lian Josephson and Maude Howell from the story by Governeur Morris, Arliss’ “family eirele” includes his wlicitous and worshipful sister, por‘tayel by Louise Closser Hale, and his loyal secretary-valet, Battle, payed by Ivan Simpson. Two ac(uintanees, one a widow with whom ( been in love before she mar nother, the other a beautiful lcharming young girl, are in love vith him. The first does not tell n of her love beeause she believes mto be in love with the younger tl, who, on the other hand, is per4 ‘etly frank and outspoken in her ‘ vowel of love for the great Aiestro. Violet Heming appears in ‘te role of the widow and Bette ‘avis, a neweomer to the screen, is “eh ag the young debutante in love "th the elderly musician. ‘The Man Who Played God,” sents full opportunity for Mr. ‘rliss to express human emotions. is heightened by the ‘den deafness which takes his dusic from the great musician and mpletely changes his life, thoughts ‘nd outlook on life. Metropolitan ‘pinion coneurs in acknowledging hat Arliss’ portrayal of “The Man "ho Played God” is undoubtedly ‘8 supreme achievement to date, in pite of the excellence which invari‘ly places his pictures in the “ten vest” lists of each succeeding year. ‘any crities, in fact, have already — “The Man Who Played God” “t inclusion in 1982’s “ten best.” yi = ae Th ‘he drama Page Five The cast of the picture is thought to be the best and most effective ever gathered for an Arliss dramatic film. It ineludes, in addition to Simpson, the Misses Hale, Heming and Davis, Donald Cook, Oscar Apfel, Andre Luguet, Murray Kinnell, Raymond Milland, Paul Porcasi and William Janney. Two of the players, Bette Davis and Andre Luguet, have been awarded long term contracts with Warner Bros. within the past few weeks. John G. Adolfi, who directed “The Millionaire” and “Alexander Hamilton,” Arliss’ two preceding pictures, also wielded the megaphone on “The Man Who Played God.” your nd story Long Term Contract For Arliss Ingenue Lead Bette Davis, George Arliss’ ingenue lead in his latest Warner Bros. picture “The Man Who Played God,” which comes to the ...... Thesntre: Next. 35 ees , has been rewarded with a long term contract as a result of her portrayal of the ingenue role in the picture. Miss Davis has been in “pictures” but one year, coming to the screen from a brief experience on the New York stage, where she appeared with Richard Bennett, father of Constance, Joan and Barbara and one of the country’s foremost actors. Upon her arrival in Hollywood, Miss Davis became a bit player. Her small parts, however, were acted so excellently that she was singled out by George Arliss to play an important role in “The Man Who Played God.” Arliss’ faith in the dramatic abilities of the blonde and _ beautiful Bette was justified, and Warner Bros. her with the which assures important accordingly presented long term contract, future appearances in roles. “The Man Who Played God” also includes in its cast such well-known stage and screen performers as Violet Heming, Ivan Simpson, Louise Closser Hale, Donald Cook, Oscar Apfel, Andre Luguet and others. John Adolfi directed this picture, which has already been chosen by many metropolitan critics as one of the “ten best” of 1932. your rd story International Recognition For Arliss; Special “Weeks” Set Aside While George Arliss, in Hollywood, worked on his sixth talking picture for Warner Brothers, “The Man Who Played God,” coming to the ....... ‘?heatre ... 2... , his unusual contributions to the screen were gaining recognition the world over. In London, England, his “home town,” an “Arliss week” was established in a leading theatre, during which a revival of his films attracted tremendous crowds. So_ successful was this idea that the theatre announced that “Arliss week” would be an annual custom. Other theatres in England have planned to duplicate the arrangement. Meanwhile, in Cleveland, the Arliss picture “Disraeli” played its eighth “public demand” engagement in one theatre. “The Millionaire,’ a later Arliss release, was likewise picked for revival by the voting publie. Similar plans for “Arliss revival weeks” were begun all over the country. Although the total Arliss production was not sufficient for a week of daily changes until completion of “The Man Who Played God,” exhibitors found that “Disraeli,” “The Millionaire” and “Alexander Hamilton” were all so popular that they could be doubled up on repeat performances. “The Man Who Played God” is expected to outstrip even the immortal “Disraeli.” Arliss himself has taken infinite pains to make it the most worthy of all his productions. your th story Arliss Still Has Stage (And Camera) Fright Hollywood, Calif. — After more than forty years on stage and screen, George Arliss has given up all hope of avoiding stage fright on the open ing night of a play or in the opening scene of a picture. He still quakes before a first night in front of a new camera crew. Once the first eurtain falls or the first scene is “in the bag,” Mr. Arliss regains his composure. Beginning a new Arliss picture on the Warner Bros. lot is always an event of great interest and importance. Executives huddle on the sidelines; department heads see that the work of their subordinates starts smoothly; Mr. Arliss’s valet completes his arrangements to keep his employer comfortable during production; Director John Adolfi chews on an unlighted pipe. The first scene to be made in audience and the newest Arliss picture, “The Man Who Played God,” which comes to the ..... . Theatre 16xt ....c2 see was one in which the star, in top hat and swallowtails, enters an imposing hotel room with Bette Davis, ingenue lead, on his arm. It is a long scene and important in setting the whole tone of the picture, establishing story, tempo, character and setting. Mr. Arliss had hoped to break ice in the new picture with an outdoor sequence, but rain upset those plans. Mr. Arliss, as always on nervous. When the lunch hour was ealled that first entrance scene had been filmed for the fourth time. such occasions, was troublesome “Print that one,” said Director Adolfi. “Lunch,” said Ben Silvy, his assistant. “Jenner,” said Mr. Arliss, who eats no lunch when at a picture, “I think I[’ll in my dressing room.” With the fourth “shooting” the stage fright was over. Another Arliss picture was practically “in the bag.” work on have tea your th story Arliss “Rehearsal System” Influences Hollywood Picture Production For Best A George Arliss picture invariably finishes on schedule or «ahead of time. This happens regularly in spite of the fact that Mr. daily hours of any star in Hollywood and Arliss keeps the shortest working never works Sundays or nights. This unique record held true with the latest Arliss picture, Warner 3rothers’ “The Man Who Played God,” coming to the “S; ee Theatre , as it has with every other talking picture he has made for that company. Ilis system is being studied more and generally in hopes that the seeret can be spread to other pictures and more other studios. The eredit for breaking schedule records is given by Arliss to his ingenerous rehearsal periods prior to production. The hours which Mr. Arliss devotes to pieture making are short but intense. There is no waste time, no false starts, few retakes, with the result that the daily footage runs higher than on the average picture. Ile believes this is due to the fact that the company is letter perfect through rehearsals. The rehearsal period was an inwhen Arliss sistence upon novation introduced came to pictures from his long career on the stage. The uniformly high quality of his productions, in which “The Man Who Played God” is expected to take the leading place, speaks volumes for his judgment in these matters. Violet Heming, Donald Cook, Ivan Simpson, Bette Davis and T.ouise Closser Hale are members of the cast of “The Man Who Played God ~ which was directed by John Adolfi S jusfice and’ women out of honor! mne him because he catiea piece alk juries out of could ¢ i Mouth