The Story of Louis Pasteur (Warner Bros.) (1935)

“ble $ Expert “Grows” Whiskers For an Entire Film Cast To most people, whiskers are just whiskers. They see no beauty in a magnificent beaver no grace in a perfect Van Dyke, no symmetry in a well (Aaiuied Spade. But there was a time when whiskers had their day. Those were the years when each man raised his own hair mattress and when a clean shave was as out of place as a home without a moustache cup. Because of the modern attitude toward the old-fashioned beaver, there are few whisker experts in Hollywood. Norbert Miles is one of them. Miles pasted whiskers on several score of men in the cast of the Cosmopolitan production “The Story of Louis Pasteur which comes to the AMC HATO EN OD ERS BO G. Serea ag First National release. bearded every one except the star, Paul Muni, who raises his own beavers. Miles is the Darwin of whiskers. He is the author of the Miles Spade theory which holds that every whisker has a meaning all its own. There isn’t one split Spade in the picture. There are several authentic Van Dykes, one genuine Spade, sixteen semi-Brigham Youngs, two full Brigham Youngs, twenty-four Sheeps-tail or peasant beards, and _ three dozen assorted moustaches. There is the finely waxed moustache ‘ Kingsford, as Em We tate The expert is pretty proud of the beards in “The Story of Louis Pasteur.” He believes that they earry out the spirit of his life work better than anything he has ever done. Wife Carries a Full Dinner Pail for Paul Muni There are no good restaurants in the Simi valley in California, where the First National company went on location to make scenes for “The Story of Louis Pasteur,” the Cosmopolitan production, now showing at the... e. blag he RATE Theatre. Furthermore, in the lunches furnished the players by the studio, there is no sour cream, green onions, broiled sword-fish, cucumbers, radishes, and other such delicacies that mean 80 much to Paul Muni, star of the film. Mrs. Muni, however, solved her husband’s location lunch: problem, by buying him the most elaborate luneh basket ever owned by an actor. The basket, of heavy wicker, is fitted with hot and cold food containers, thermos bottles, dishes, knives, forks and spoons, table cloths and napkins. Every day, Mrs. Muni took the basket and a folding table to the eompany’s location and at twelve o’clock, when Muni stops work, he sat down to the sort of lunch he loves. The picture is the startling drama of Louis Pasteur’s fight to overcome the ignorance prevailing at his time in order to save life by science. Besides Muni the cast includes Josephine Hutchinson, Anita Louise, Donald Woods, Fritz Leiber, Henry O’Neill and Porter Hall. William Dieterle directed the picture from the screen play by Sheridan Gibney and Pierre Collings. Page Eighteen tary of Louis Pasteur’ Film Discipline Very Strict, Says Miss Hutchinson Two Muni Characters Stories that have come out of Hollywood concerning the temperament of actors and actresses would indicate that there is no such thing as screen discipline. Josephine Hutchinson denies this. She claims that motion pictures teach more _ self-control than the stage ever knew. Miss Hutchinson knows both the stage and screen. For several years she was a stage actress. She came td the attention of the screen when she played “Alice” in Eva Le Gallienne’s production of “Alice in Wonderland.” So far she has made five pictures for First National, the latest of which is “The Story of Louis Pasteur,” the Cosmopolitan production now showing at the . s/hobe hs 5 ar ee rR Theatre. Miss Hutchinson has _ never been temperamental. But, in the new atmosphere of cameras, technicians, scripts that were rewritten on the set after she had carefully memorized her part, she found herself on the ae of having a tantrum now and then. “We have only so much energy,” Miss Hutchinson points out. Film acting teaches one to conserve it. We are called at seven in the morning. Eleven or more hours of work stretch ahead. We must never give way to our feelings, or valuable energy is burned up, eter that is needed in front Paul Muni as he a; | Pore , 2 le appears in two vastly differ lower right he is seen as he really is ae c ie ae ee whose dramatic life he brings) ‘3 a scene seven Or eight times. Perhaps lI have had to learn entirely new dialogue. I don’t let myself think about these things. If I did, IT would be worn out.” “The Story of Louis Pasteur” is a dramatization of the stirring events in the life of Louis Pasteur in his battle against ignorance and his efforts to save life by science. Paul Muni has the stellar role while others in the Odd Make-Up Put On At His Home An old barber ehair was for a month part of Paul Muni’s bedroom furniture. The star did not sleep in the chair. Nor was it in the bedroom because he liked its lines. Necessity put the chair in his sleeping quarters. Muni plays the part of Louis Pasteur in “The Story of Louis Pasteur,” the Cosmopolitan production now showing at the We Oe Theatre. Ordinarily Muni doesn’t look like Pasteur. His hair line is two inches lower. ner. He wears no him two hours and ten minutes every morning to become Pasteur. For a part of the film he appeared at the studio at seven o’clock each morning and occupied the barber chair in the make-up department while Pere Westmore and Clay Campbell raised his hair line, made his face broader, added some whiskers to those he had grown, and then put an entire new skin over the upper part of his face. Then the company went on loeation to Simi valley. Rather than drive to the studio and then back past his San Fernando valley home to location, Muni had the chair moved out to his house, and Westmore and Campbell went to his residence each morning to make him up. “The Story of Louis Pasteur” is the startling drama of Louis Pasteur’s fight to overcome the ignorance prevailing at his time in order to save life by science. Others in the cast inelude Josephine Hutchinson. Anita Louise, Donald Woods, Fritz Leiber, Henry O’Neill and Porter Hall. William Dieterle directed the picture from the screen play by Sheridan Gibney and Pierre Collings. AU U we “fo ne Role of Pasteur Most Colorful Paul Muni never really takes a vacation. When he completed the picture, “Dr. Socrates,” he immediately went into seclusion on his Encino walnut ranch to study the character of the Cosmopolitan production, “The Story of Louis Pasteur,” which comes Theatre on as a First National release. Muni was enthusiastic about the film and spent several weeks actually living the character which is that of Louis Pasteur, the great chemist and bacteriologist. “T was more enthralled by this role than any other character I have done on the sereen,” said Muni. “This scientist was not only one of the few great humanitarians who gave unselfishly without regard to personal gain or glory, but he was the rare combination of theorist and practitioner who actually lived to see his efforts and contributions put into effect and lived to witness the saving of thousands of humans, mostly children. “Ag a character, he has more facets than any other I can think of. He was 4 giant, with the naivete of a ehild. “T am grateful for the opportunity to attempt a characterization of Pasteur. Tf I have suceeeded in imparting to the onlooker only a small part of him, it makes of it my most colorful role.” The picture is a dynamic drama of the battle fought for science by Pasteur. Others in the cast include Josephine Hutchinson, Anita Louise, Donald Woods, Fritz Leiber, Henry Porter Hall. William Dieterle directed the picture from the screen play by Sheridan Gibney and Pierre Collings. poten Anita Louise, 19 year of Louis photographers Toemipsrhich is. decorated in pure old Warner Bros. star who O'Neill and = Pyyl Muni’s daughter m the Cosmopo Pasteur” now at the. grows lovelier with each picture. at No. Peo BL eee ree Y a Lucky Sandals Bring Success To Anita Louise In a gilt and glass cabinet in the Hollywood home of Anita Louise is a pair of bronzed sandals. They are the lucky shoes of the blonde young lady who plays Annette Pasteur in the Cosmopolitan picture, “The Story of Louis Pasteur,” which comes to the Theatre on as a First National release with Paul Muni in the stellar role. Miss Louise wore the sandals the first day she posed as an artist’s model when she was only a child. The toes are worn through and the soles are thin, but Anita Louise values them as symbols of a baby’s first steps toward professional success. She started posing for artists when she was three years old. ee a time she was known as the Post Toastie” girl. On another occasion her likeness was used ue illustrate a much advertised Poem of Peace” which was dedicated to the then President of the United States, Warren G. Harding. “T’ll always keep those sandals,” Miss Louise says. “They are symbolic of the hard time I had getting up the film ladder. I was always certain that some day I would get leading parts in pictures, even though there were times when that day seemed a long, long way off.” The gold and gilt cabinet and the bronzed sandals add a touch of color to Miss Louise’s living $e of the famous scientist. S Muni and Miss Louise, the cast ineludes Josephine Hutchinson, Donald Woods, Fritz Leiber and Porter Hall. William Dieterle directed the picture. Miss Hutchinson inelude Anita Louise, Donald Woods, Fritz Leiber, Henry O'Neill and Porter Hall. William Dieterle directed the production. east besides More Beautiful Than Ever has the role of litan production “The Story . Theatre evidently | is what movie her “perfect camera profile.” 208—20c