The Other Tomorrow (Warner Bros.) (1930)

SECTION You can use any illustration and almost every story in this entire press sheet for your silent showing with slight changes. BILLIE DOVE, FASHIONABLE STAR OF “THE OTHER TOMORROW,” TELLS ABOUT HER VERY LATEST CLOTHES By BILLIE DOVE If I might use an old bromide, and old bromides are often true, I would say, in regard to clothes, that every woman must dress to suit her personality. When the style is unbecoming to her, she should circumvent it so that the fashion becomes suitOften a slight modification will do the trick, and she will look in the mode while wearing something becoming. To me, the even hem line four or six inches below the knee is an ugly and unsuitable thing. But the uneven line and the long skirt are entirely becoming and chic. just had made for my new picture, ‘‘The Other Tomorrow,”’ able. are all of the latter pattern. One is of powder-blue canton crepe which is ten inches from the floor, but with an uneven hem line. It has two flounces which fall in soft cascades. One, substituting for a collar, starts at the shoulder and spirals to the waist. The other starts at the waist and spirals to the hem, making the uneven line. A natural waist line belt is decorated with two erystal cireles joined together to form a buckle. This is one of the latest decorations inaugurated by Paris for afternoon dress ornaments. Large prints in chiffon, georgette and other soft clinging materials are now in the mode. I have one chiffon frock, just completed, that has a large white orchid on a dark blue background. It has a fitted navy blue collar with a tie falling in the back, narow at the shoulders and widening out toward the ends. This tie is bound in navy blue. Diamond shaped godets are appliqued onto a straight, short slip skirt. The front one is short, while the ones at the sides and in the back trail on the floor. The godets are bound in navy blue, as are the huge bell sleeves. A third dress of French imported printed chiffon in soft blue, orchid and chartreuse also has a trailing hem line. This dress has a fitted bodice over which is a circular flounce which comes down in the back in two trailing points. The neck is new and unusual, a narrow, bordered neck line which is low in the back and ends in a tie effect. In this particular dress, the V neck was used and a circular bertha collar comes down wide at the point and narrows as it goes up to the shoulders. The border band drops low in the back in a sun-back design and the ties are knotted on the right shoulder, falling to the side in long streamers that widen at the bottom. My evening frocks are all very long, either dropping to the floor in an uneven line, falling in points or brushing the floor in a straight line. This latter fashion is essentially feminine. It gives a touch of modesty, which is attractive in this day. I have discovered that, for my type, long lines and simple decorations are most effective. So this much of the new Paris fashion will be followed in my clothes, but I will deviate from the style enough to wear only those things which look best on me. My personal clothes are more simple than the ones I wear on the screen. I do not like frilly dresses. But often the character I am portraying is the type that does wear ruffles and gewgaws; in that ease I go into the fussiest of dresses, for clothes are. a good medium for characterization. All my skirts have been made an inch or two below the knees, so the Paris change in sport clothes for the coming season will not be noticeable in this part of my wardrobe. But if they, too, should drop four or five inches, I would do something two alleviate the awkward line brought in by this demand. In my sport dresses as in my other frocks, I have always advocated simplicity and plainness. The Paris decree of small toque hats turned off the face is most becoming to women. This is a style I have followed for several years. Being flattering to most faces, the hats can be molded to suit almost every personality. They give a woman a chance to emphasise her hair, her eyes, and the contour of her face better than the pulled-down hats with the high crowns and brims of the last few seasons. The nose veil is another graceful and feminine touch of the new season. This style is tres chic. It is a BILLIE The dresses I have new touch that brings novelty into the hat mode. The tendency to wear a lot of costume jewelry seems to be dying out. One or two pieces, carefully chosen, are replacing the loaded-down appearance of previous season. It has long been my custom to pick out and wear only one or two pieces that suit the frock I am wearing. I feel that a superabundance of jewelry detracts from the dress and from the person wearing it. That is one thing we guard against in pictures. It is necessary to hold the audience’s attention on the actress, and if she is wearing bangles and jewelry there is a tendency for the spectator’s attention to stray. In closing, I would like to advise all women to give care to the choosing of a dress. The wrong line or color will often mark what might otherwise be a pleasing effect. What looks well on one does not necessarily look well on someone else. Just as in the fairy stories of our childhood poor little Cinderellas were transformed into beautiful princesses by the right kind of clothes, so can any girl today transform herself into a charming and well-dressed woman by a little time spent in analyzing her type, coloring and personality. GREAT FIRST NATIONAL SILENT TRAILERS Cut No.9 Cut 35¢ Mat roc Screen’s Bird of Paradise in the most action-ful picture of her entire’ career. With a cast of stars to make it unforgettable. Me Other Tomorrow with GRANT WITHERS Adapted from the story by Octavus Roy Cohen Directed by LLOYD BACON A FIRST NATIONAL & VITAPHONE PICTURE “Vitaphone is the registered trade mark of the Vitaphone Corp. designating its products. Leading Men From Stage and Screen on all productions available exclusively through National Screen Service, Inc. Of Billie Dove’s two leading men in “The Other Tomorrow,” one is from the stage and the other is solely Kenneth Thomson, who portrays her husband, was a matinee idol behind the footlights, while Grant Withers, her lover in the film, never stepped on a real stage in his life. This First National picture, a story of the modern South, to the a product of the screen. 136 W. 46th St., New York 1922 So. Vermont Ave., Los Angeles 810 So. Wabash Ave. Chicago GET IN TOUCH WITH THEM NOW is coming Biography of BILLIE DOVE Cut No. 11 Cut 25¢ Mat 5¢ Billie Dove spent just four and a half years in climbing from a “bit” player of the screen to the position of a First National star, the proud possessor of a long term contract. However, her rise has been a steady succession of better and better roles, rather than a leap from obscurity to fame. Miss Dove was born in New York City and received her education there. Physical culture in school led to amateur dancing and so to amateur dramatics, but it was the recognition of her beauty in particular that first induced many of her friends to join in an attempt to persuade her screenward. Her first role was with Constance Talmadge—a modest bit in “Polly of the Follies.” Lois Weber then decided that Miss Dove was not only a beautiful photographic subject but an exceedingly clever actress-in-the making, and as a result she was given excellent roles in two of Miss Weber’s productions, “The Sensation Seekers’” and “The Marriage Clause.” After that her recognition was widespread and rapid. In “The Black Pirate” she played the feminine lead opposite Douglas Fairbanks. Her first picture under the First National banner was “Three in Love,” and her subsequent vehicles include “The Tender Hour,” “The Yellow Lily,” “The Heart of a Follies Girl,” “The Love Mart,” “Night Watch,” “Adoration,” “The Man and the Moment,” “Careers” and “The Painted Angel.” Her very latest is “The Other Tomorrow.” VILLAGE FAIR A country fair in a rural Georgia community is one of the interesting sequences in Billie Dove’s “The Other Tomorrow,” the First National picCUTO COMING =. eet to the Theatre. A whole village was built for the picture on the studio lot. —_ MARK Always a Great Show FUCION 37. af ind a — — Speeding from tragedy into the dawning of another tomorrow. Waiting for forgiveness — for happiness—for Love! Fighting the scandal of a big, big mistake. “The Other Tomorrow” is one of the big =“ reasons why Billie : Dove is the most popular star on the screen. “Vitaphone” is the registered trade mark of the Caper ee ee C7 The Home of Vitaphone (x) eens JIRAN il) = Cut No. ro Cut $1.00 Mat 20¢ Adapted from the story of Octavus Roy Cohen. eal Directed by LLOYD BACON A FIRST NATIONAL & VITAPHONE PICTURE Vitaphone Corp. designating its products. Biography of GRANT WITHERS Cut No. 12 Cuti2sc Mat 5c It was fitting that Grant Withers, leading man with Billie Dove in “The Other Tomorrow,” should achieve his first big screen success in a newspaper story, “In the Headlines,” as he is the son of a newspaper publisher Withers was born in Pueblo, Colo., where his father published the Colorado Chieftain. The boy studied engineering and dramatics among other things. In between times he helped get out the Chieftain. With the love of adventure in his blood, his family having been pioneers of the West, he drifted from job to job, finally landing in Hollywood. In 1925 he played his first role, a “bit,” in the movies. He alternated between this and police reporting, working on a Los Angeles daily. Withers has played in “Madonna of Avenue A” and Corinne Griffith’s “Saturday’s. Children” and “Back Pay.” The last named picture followed “The Other Tomorrow” at First National’s Vitaphone Studio. His hobbies are automobiling through little-traveled country, and swimming. He is unmarried. and was himself a reporter. Biography of KENNETH THOMSON Kenneth Thomson left off his first name of Charles in signing his first theatrical contract. As a result he has been known professionally ever since by his middle and last names. Thomson, who has an important role with Billie Dove in “The Other Tomorrow,” was born in Pittsburgh. He was educated at the Carnegie Institute of Technology, specializing in literature and drama. He was in New York stage productions for six years, later playing in cities throughout the country. In New York and elsewhere he became a “matinee idol” because of his romantic roles, In 1926 he -entered pictures in “White Gold.” He has played in “The Bellamy Trial” and “The Careless Age.” He is married to Alden Gay. OLD WHEEZER An echo of the sereen’s “silent” days became audible during the filming of Billie Dove’s new starring picture, “The Other Tomorrow,” which is coming to the .... Theatre Old Wheezer, the small-sized organ that ground out music for many a First National film in pretalkie days, was dug up out of the dust and cobwebs of the “prop” department basement to do its stuff once more. Director Lloyd Bacon ordered Old Wheezer into the light of the sun ares for an emotional “silent” scene in “The Other Tomorrow.” He wanted the music to aid Miss Dove in playing the scene, for which the Vitaphone “mikes” were not connected as there was no talking or sound of any kind. In the old silent days the organ aided many noted players on the First National lot to “emote,” appropiate strains being played to strike the keynote of a scene. Grant Withers appears opposite the star, and Kenneth Thomson, Frank Sheridan, Otto Hoffman and William Grainger are also in the cast. The story is by Octavus Roy Cohen. Page Five