The Ruling Voice (Warner Bros.) (1931)

(Interesting Interview Sunday Stories fi Doris Kenyon, appearing with Walter Huston in Ruling Voice’’ the First Nationa Theatre, has marked her return t portrayals—-in ‘‘The Bargain,’’ Road to Singapore’’ and the eu Having won signal suecess e DORIS KENYON SEES DISTINCT ART IN TALKING PICTURE EXPRESSION WALTER HUSTON NEVER HAD Two Charming Love Teams Doris Kenyon Praised For Act In “The Ruling Voice” Work in “Ruling Voice” ‘Advance Reader (Advance Reader) rig Kenvon. whose return to the : ; Pa : aoe Doris Kenyon, whose return t the Two of the screen’s most ideally reen has been signalized by four ; Intele cast ¢ eg are seen together in By Jack Cooper great interpretations of absolutely °° couples es ate = — livergent roles, w be seen as the “The Ruling Voice,” First National’s | with Serce arorite Suitable f vorldly Mrs. Stanton, caught in the expose of the country’s major et oc n a ‘ Bole } 3 3 if J , ¢ 7. re ee >] : yr No. 1 Paper ils of ¢ milk trust in “Th Rul rackets, which comes to the : ng Voice,” the First National pic= The | iss Volem ese ee Fl Thentee next. Walter Huston ture, featuring Walter Huston and l picture now at the and Doris Kenyon present the more e : : eoming t : Theatre| © the screen by four triumphan next. Other parts played tensely dramatie portions of the ‘*Alexander Hamilton,’’ ** The recentiv by Miss Kenvon are in “The story aided by Loretta Young and rrent attraction. Bargain.” “The Road to Singapore’ David Manners, who also provide ‘Alexander Hamilton.” |the romantic element. in the silent screen before her retirement two years ago, Miss Kenyon is well fitted to note progress “Talking picture expression is a new art,” she says, “quite distinet from that of the stage r of th silent picture. I have seen three phases in the industry s} ‘ on, (“each one revolutionary “When talking pietures came the whole system used in silent work was thrown overboard. We found ourselves plunged into a medium that closely resembled the stage, yet with stricter limitations. Then the change to the system used today which is as different from our early Vitaphone efforts as the stillie from that.” came “THE PAWN OF FATE” Miss Kenyon recalled her first pearance in pictures Beban in “The Pawn of Fate.” Gestures were gestures th “Pantomime the thing, hands and eyes were employed freely to convey ideas which are now d patched with but a word or two. one asked a person to sit had to be accompanied with a sweeping gesture which hoth indicated the direction the person's body was take and the chair on which it wa to land. with Geor en, she was down, i “To act out the command ‘Go!’ wa always a dramatic importance. There of the audience failing stand its impo An arm and imperious forefinger, raised and pointed in sweep fitting the situat to the villain or errant daughter, as| the case may }int that the| command was quite in earnest. “A get was frightfully noisy affair in those days. Cameras whirred, are lights spluttered, diree tors yelled and stamped, carpenters hammered and new sets, and a thousand and one other noises opportunity of was chanee no oc to underrt eloquent ust the right tempo and on, indicated e heen, movie Ww a gf wed on accompanied the action which was | being filmed. One got used to it. It was part of the atmosphere of the profession. SAY IT WITH WORDS “Imagine, then,” suddenly thrust she said, “heing into a picture in| which one had to substitute words | for the pantomime so long” used. | Everything was hushed and the gen. eral noises which we had long consid| ered part of our working atmosphere | were so completely eliminated we felt that we were acting almost in a vacuum! “There were other difficulties, too, in those early talkies. that | The business | IT VOLLEYS—IT THUNDERS— IT CRASHES TO THE SCREEN! WALTER HUSTON LORETTA YOUNG DUDLEY DIGGES | of stilling the whirring na@ise of the | camera by housing it in a glass-| encased booth allowed the instrument no movement or latitude. The actors had to be wary of taking the slightest step that would put them | out of range of the camera’s eye. | Everything was cramped. Added to| this was the lack of sensitivity on| the part of the microphone. “If, for instance, a medium shot | of two people sitting near a table! was desired, it was necessary to plant | the microphone right under the table where they could talk into it—or| directly over their heads. The ac-| tors always had to be consciots of this and enunciate their words deliberately. NEW FREEDOM HARD “We felt our restrictions keenly,” Miss Kenyon said. “We still used a certain amount of pantomime we could not altogether drop it after being used to it for so many years. | It was terribly hard work getting into our new medium and trying to jto her milestones in her career, just/ind shades will be made available | DAVID MANNERS DORIS KENYON JOHN HALLIDAY A FIRST NATIONAL & VITAPHONE PICTURE WINTER GARDEN Cut No.1 Cut 60c Mat rsc Warner Bros. poduction. These were | will be needed and interesting lights | Milk Famine Brought On By Big Moguls (Advance Reader) would to as was “The Pawn of Fate,” her | for the cameraman to distinguish first silent, and “The Bargain,” |himself with. “Alexander Hamilton” “The Road to “Tt will become an art so utterly | Singapore” and “The Ruling Voice” | distinct and apart from anything are examples of the newly perfected | else that we will have to look around art. for a new Muse by which to symbol“But as perfect as the talking pie-| ize it” ture is today,” she went on, “I ean Beside Walter Huston and Doris What happen a large matic sequences pictured in “The use it freely while having movement confined to minute spaee.” Two of the early talkies to whicb Miss Kenyon referred were “Interference” and “Home Towners,” a Page Four » will be turned to the film. Less light | Scott. ; < fe SS | Ruli Toice.” , By : jsee a still brighter future. This!Kenyon are featured in “The Ruling | picture pe wags ve se will come from the angle of lighting | Voice”—Loretta Young, David Manwhich ties ree a and photography. With the sensi-|ners, John Halliday, Dudley Digges, | Re P. . «sc Theatre next. Though the actual situa tizing of the microphone accomrilbe rt sme J, il é i € L . ( > F mery W lard Robertson tion 18 f i i . ancif ul he circums neces c t I ta sur plished, the technicians’ attention|and the famous child actor, Douglas Rowland V. Lee directed. | activities of industrial grafting. |metropolis if entirely bereft of itg|Broadway theatregoers know. /milk supply is one of the highly dra-|“The Ruling Voice” he plays rounding it are drawn from real life |ites of sereen and stage 4 Dad Will Know The Sir Former Leading Mey — InScene Of “Ruling _ Voice” (Current—Plant 7th Day) One important scene in sos ing Voice” the First National raat now at the ---... Theatrg has more than six former leadin men of the screen. Director Rowla 7 Lee ordered a group of player for a board of directors’ scene fori | Walter Huston’s First National Pro. | duction. Quite inadvertently, th |casting office supplied a set of men, each of whom had been nothing Joga’ | than a leading man in the days not ' far gone by. i | Seated at the directors’ table, rani ning the affairs of the industrial racket chief which Huston portra were such men as Jack Carlyle, Charles Middleton, Ralph Kellard, Jean Lewis, Carl Stockdale and Wil. liam Walling. At one time they were leads on both the legitimate stage and in motion pictures, some of them being the pioneers in stardom in the early days of the films, Walling, besides having been a well known #1 |character actor, was once a motion | picture producer. The rest of these’ i names will be easily recalled by those | yi who remember their stage and screen hu of several years back. y Featured with Walter Huston in| “The Ruling Voice” are Loretta ge Young, Doris Kenyon, David Man# ners, John Halliday, Dudley Digges, D } Gilbert Emery, Willard Robertson and the famous child actor, Douglas Scott. Rowland V. Lee directed. —_—_—___._. | First Teacher Visits} Huston On The Set j. Of “Ruling Voice” }' 5 (Current Reader—Plant 8th Day) Walter Huston got a true perspec: i x tive of the heights he had climbed jf when a queer incident brought him sz face to face with the past. It was while Huston was filming “The Ruling Voice” now at the Theatre for First National. He was strolling back to the set from lunch when an elderly gentleman stepped up to him. “Pardon me,” the stranger said. “Aren’t you Walter Huston? I reeognized you by your walk.” “Yes, I’m Walter Huston,” the star answered, “I guess you ought to reeognize my face too. I look just the same on the screen.” “ve never seen you on the sereen,” the elderly gentleman said. IIuston took another look and reeognized the man as the first dramatic teacher the had. Huston was seventeen years old when he studied under this teacher, Harold Nelson, who was then professor at the of Musie in Toronto, Many years have passed since then, but Huston still remembers Nelson as the man who gave him his first knowledge of the stage and drama. When Nelson came over to the set to see his pupil at work, Huston introduced him to Director Rowland V, Lee, with the request that he be given a part. Others featured with Walter Huston in “The Ruling Voice” are Loretta Young, Doris Kenyon, David Manners, John Halliday, Dudley Digges, Gilbert Emery, Willard Robertson and the child actor, Douglas Scott. Rowland V. Lee directed. “Ruling Voice” Player Won And Lost Fortune In Gold — | 4 : ’ {t ti Ii } ye 1 { {| | star ever Conservatory Canada. ee John Halliday who appears wit Walter Huston in “The Rulin Voice,” the First National pictu now at the _... Theatre, W at one time lucky in the goldfiel but later lost his fortune and turn to the stage with good results the pa of a citizen who joins other oe : spirited men in trying to crus ‘ power of the milk moguls. t misdeeds in t ezar brings up pas gs up mS life of the reformer which Pe him to commit suicide. Many *4 re in t east.