The World Changes (Warner Bros.) (1933)

world 1 one of the REP A ae SE MEI SR RRA ME a al ASRE — S B SS SE A ET ah 8 i TE I Margaret Lindsay Got Great Kick Out of Her Aged Role Was So Proud of Her “World Changes’”” Makeup She Would Wear It Home to Show to Friends OLLYWOOD has produced many rare birds, but the great est rara avis of them all has just been found—a young and beautiful girl who can make herself up to look like an old and haggard woman, and then look at herself in the mirror without a shudder! Margaret Lindsay, who has a prominent role in Paul Muni’s latest starring picture for First National, ‘‘The World Changes,’’ which comes to the iat Sada aes , 1s that girl. During the greater part of the picture, Margaret has a _ chance to be her own young and lovely self. But in the later sequences she is shown at middle age, gray-haired, lined, and with sagging muscles about the mouth and eyes, Questioned as to how she felt about this transformation, usually so terrible to youth, Margaret replied surprisingly, -*T loved it!’? Then the dark-haired, dark-eyed young beauty went on to elaborate on her amazing statement. ‘‘T like myself much better as a middle-aged woman than the way I really am,’’ she insisted. ‘‘If I can look the same way when I really and truly reach middle age, as I do now when I make myself up to look that way, with grease paint and hair coloring, I’ll be perfectly satisfied.’’ The difference in attitude that the has for an older woman is reasons that Margaret Lindsay will never combat the rav j ages of age. * ‘command a greater respect. 1 have poise, ““Older ?? she points out, They dignity and authority. When an older woman speaks, everyone listens to her. But when I speak,’’ she laughed, ‘‘my friends are perfectly liable to say ‘Nerts. women, f You’re crazy. You aren’t old enough to know what you’re talking about.’ “‘When I had my elderly make-up on in ‘The World Changes’,’’ Margaret went on, ‘‘I could just feel the difference in the way people treated me around the set. Of course, they knew that it was just little Margaret Lindsay made up, but still, Theatre on they were looking at an older person, the make-up was so perfect, and they just couldn’t help treating me with more respect. I’m vain enough to admit I liked it fine.’’ But vanity, nevertheless, does not seem to play much of a part in Advance keatures Mothers Should Have Own Careers, Says Mary Astor Margaret Lindsay’s character. For she was so proud, upon attaining the dignity of age, that she called up all of her friends and told them not to go to bed, no matter how late it got, because she was coming over. Then, the day’s work done, sometime in the evening, she made the rounds and showed off, at dozens of houses, how ‘‘nerfectly grand’’ she looked! Vanity, thy name may be woman —pbut it isn’t Margaret Lindsay! In ‘‘The World Changes,’’ the young actress, who made her biggest screen hits in ‘‘Cavaleade,’’ ‘‘ Captured’’ and ‘‘Private Detective 62,’’ will be seen with an exceptional cast headed by Paul Muni with Mary Astor, Aline MacMahon, Jean Muir, Donald Cook, Guy Kibbee, Patricia Ellis, and many other outstanding players handling the 27 important roles, The picture is an epic of American life based on the stirring and eolorful novel, ‘‘ America Kneels,’’ by Sheridan Gibney. Mervyn LeRoy directed it from a screen play by Edward Chodorov. Margaret Lindsay and Donald Cook in a scene from “The World Changes.” Mat No. 25 Price 10c¢ Weeks Spent In Research For "The World Changes’ Details From 1856 to Date Had to Be Checked Before Paul Muni’s Picture Could Be Filmed HEN a young blade took his girl for a drive in 1893, on which side of the surrey did she enter? Were electric chandeliers used in 1882? What style of corset did a lady of fashion wear when the first World’s Fair opened in Chicago? How did a parlor maid dress the year President McKinley was assassinated ? You’d be surprised to know how fast some people—even garrulous old timers—can forget. about these f things. You’d also be surprised to ! know how many can remember. The latter are the ones who write the letters to Hollywood producers, complaininy bitterly when a juvenile in ; a costume picture wears too high a I letters collar for 1909 or a telephone stands on the table instead of being fastened to the wall. You can’t guess about these matters when you’re’ producing movies. There are too many people who can spend their time inseribing of complaints about flaws they have noticed in pictures. Ask Maude Bowman at the Warner Bros.-First National Studios. She knows how many letters can pour in when somebody has made a slip. She also knows how many hours she puts in checking and re-checking on the most minute details. She’s head of the research department at the studios. As* this is a “year~ for chronological and period pictures, the job is more strenuous than ever. When it was decided to star Paul Muni in ‘‘The World Changes,’’ a First National picture which comes to the Theatre on the researchers found a real assignment waiting for them. The story opens in 1856, with a pioneer family settling their homestead in the North Dakota hills. It ends in the fall of 1929, with the crash of the stock market. In the interval four generations of the family have played out their story on the screen and Aline MacMahon, who as a pioneer woman has borne her first child beside a covered wagon, is surrounded by her great-grandchildren in a New York mansion. The action ranges far, not only in time, but place. The North Dakota farmstead gives way to Texas eattle plains, then to an Omaha barroom of the mid-eighties, complete from mustached ‘‘professor’’ at the piano to the bottles of old Overholt on the shelves behind the bar. Each detail was checked by Miss Bowman— checked against photographs and engravings in the departmental files and against authentic books. Then come settings which faithfully represent a must stockyards office in Chicago, in 1878; a corner of the old Union depot in that city; a Chicago mansion of a few years later; the old Chicago Board of Trade. How did the library of the famous Union League Club on Fifth Avenue, New York, differ in 1900 from the one which was demolished two years ago? The action of ‘‘The World Changes’’ switches from Chicago to New York after the turn of the century and important scenes take place in that club library. The research department had to discover just how the old room compared with the more modern one. What car would a rich young man of 1906 be likely to drive and where could one be found? What sort of clothes would society wear at a ball in 1900? Would a wedding invitation of the late eighties read differently from one issued in 1903? In what year were refrigerator ears first used and how far had they been developed five years later? This is an important point in ‘‘The World Changes.’’ How did telegraph blanks looks in 1874, in 1881 and in 1904 as compared with those of today? The questions raised by a picture that classifies as ‘‘generation stuff?’ are endless. Weeks were spent by the researchers prior to production work in answering the questions in order to make the picture accurate in every detail. ‘““The World Changes’’ is a powerful drama of American lifé adapted for the screen by Edward Chodoroy and based on Sheridan Gibney’s novel ‘‘America Kneels.’’ An unusually large and capable cast includes Aline MacMahon, Mary Astor, Anna Q. Nilsson, Donald Cook, Patricia Ellis, Jean Muir, Margaret lindsay, Guy Kibbee, Arthur Hohl and Osear Apfel. Wife of Paul Muni in “The World Changes” Believes Women are Entitled to Own Careers Misic: Astor answers the question, ‘‘How many careers , should a woman have?’’ very simply. ‘‘Just as many as she wants—and is capable of un dertaking,’’ says Miss Astor. She is at present undertaking her second starring career in pictures. It began shortly after she had successfully undertaken the career of motherhood, which in turn she had wedged in between her first and second starring careers in pictures. But long before Mary Astor was a cinema star, she was beginning to work out careers for herself. She won a beauty contest at a very early age, shortly after high school days in Quiney, Illinois, in fact. Then later she won another. This brought her to Hollywood. Her But she played steadily in good pictures, and was first a leading woman, and her rise was not meteoric. a star in her own pictures. Then she married Kenneth Hawks, the director, whose tragic death in an airplane _ several later startled the film world. Her second marriage was to Dr. Franklyn Thorpe,’a prominent Los Angeles physician. Mary gave up films for this marriage—long enough, at any rate, to have her baby, Marylyn Hauoli Thorpe, who was born something over a year ago in the Hawaiian Islands. years Since her return to the screen several months ago, she had made seyeral pictures for Warner Bros. First National studios. including ‘‘A Successful Calamity,’’ with George Arliss, ‘‘The Little Giant’’ with Edward G. Robinson, ‘‘The Kennel Murder Case’? with William Powell and ‘‘The World Changes’’ starring Paul Muni. The last named picture, which comes to the Theatre on Pree oe » won her a long term contract. In it she plays the role of a society matron who eventually goes insane. Viewed by the executives of the company, the characterization given the role by Miss Astor caused something of a mild sensation. Her highly dramatic interpretation marks the zenith of her acting career to date. The contract takes her back to the same studio where she first made her screen hit and where she was starred for several years, On the subject of that career, she speaks her mind freely—as, indeed, she does in most other matters. She possesses one of the keenest intellects in the film colony. Career Necessary ‘“Tt’s just as necessary for a wife and mother to have a career as it is for a husband and father,’’ she says bluntly. ‘“‘The only thing that’s ever made it otherwise has been the slavish manner in which women have allowed themselves to be shunted off into the background until they lost the natural faculties that would have led them on to seek careers for thenselves.’? That sounds like a feminist. She isn’t at all. She worried for a year or so about that baby at home. She ran directly home the moment she was finished on the set, fearful that almost anything could have happened in her absence. Nothing ever had. She came to decide, finally, that competent people were just as able to see to the baby’s needs as she was. Which doesn’t mean that she doesn’t give the baby a mother’s care. She does. But in her view that care doesn’t necessitate her being with the baby every hour of the day. ‘A good deal better for her if I’m with her less than I am,’’ she says, ‘‘I believe in letting children grow up in their own world—not in one their mother chooses for them.’’ She is still worried about the car eer of being a good wife. She still rushes home from important film conferences to see that the right sort of dinner is being prepared. That the rest of the masculine part of the household, laundry and other minor comforts included, are all in order. For Mary Astor doesn’t believe that you succeed in one of your careers by being careless in the others. ‘¢A woman can have as many eareers as she wants—and as she is capable of undertaking,’’ she says. And she means just that. For that reason, she is always at home for dinner, unless she is going out to dinner with her husband. If she is working, that is another matter. Mary Astor is, as has been said of her, ‘‘the most ladylike actress in pictures since Florence Vidor and Irene Rich.’’ She is that but she is more. She is an actress who knows how to take care of her careers. In ‘*The World Changes’’ Miss Astor is the wife of the star, Paul Muni. A social climber, She develops such an obsession against her husband’s meat packing business that she loses her mind. The story is a powerful drama of American life covering three quarters of a century from 1856 to date. Paul Muni, famed for his ‘‘I Am a Fugitive From a Chain Gang,’’ is supported by a large and talented cast which includes Aline MacMahon, Donald Cook, Patricia Ellis, Jean Muir, Margaret Lindsay, Guy Kibbee, Theodore Newton, Gordon Westcott and Alan Dinehart. Mervyn LeRoy directed the picture from a screen play by Edward Chodorov, which is based on Sheridan Gibney’s novel, ‘‘ America Kneels.’? Paul Muni The star of “The World Changes,” coming soon to the Theatre, is seen in one of the episodes from the thrilling picture. Mat No. 52 Price de Page Twenty-three