Screenland (Nov 1935-Apr 1936)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

26 SCREENLAND The applause of the brilliant audiences at the Metropolitan Opera House has never turned Gladys Swarthout's lovely head. In fact, she is hoping and listening for the applause of you picture-goers, if you like her first film, "Rose of the Rancho," with John Boles; or her second picture, "Give Us This Night," with Jan Kiepura, with whom Miss Swarthout is shown above. Upper left, with her husband. started a revolution by having a face and figure as lovely as her mezzo-soprano voice. In Hollywood she has upset the works. Her complete lack of temperament, her disarming graciousness have made her "tops" with everyone. The Cinema Capital is unstrung. It has been accustomed to watching its super-glamorous darlings bloom with haughty radiance inside a protective covering of glass. And now? Why, here is an exquisite rose, this Swarthout, growing contentedly and agreeably outside the green house ! If you think that isn't a phenomenon, there's something wrong. If these remarks seem a bit hysterical, consider this. Recently I spent three weeks lurking on a set while trying to get an interview with a stellar personality who shall be nameless. I watched her read, yawn, fiddle with her costume, stare abstractly into space in the hours she — and I — spent while she wasn't before the camera. But it was never the right moment to disturb her. She was moody. She was explosive. She didn't like interviews. Finally through some strange working of fate the "right moment" arrived and she consented to answer a few questions. But it took three weeks. Sometimes it takes months. Now consider this. When (Continued on page 66) Influences in Her Life HOLLYWOOD is agog ! A new star has bobbed up on the horizon. A star of such brilliancy, in fact, that this land of shadows is in imminent danger of being well lighted. And the illumination already throws into bold relief certain cantankerous traditions that have been a part of the Hollywood galactic system this many a year. Yes, the Garbos, the Hepburns, the Dietrichs and the others of the lovely-to-look-at-but-impossible-to-see school of thought had better trim their lamps. They're likely to need the light. Gladys Swarthout is in town ! Gladys Swarthout, you ask ? Yes, indeed ! She's that famous "boy" of Metropolitan Opera fame. The dashing youth of "Rosenkavalier." The slender page, Stephen, of "Romeo and Juliet." Of course, she has sung her way through many a be-skirted role, too. As the violent, passionate, ill-fated Carmen. As Niejeta in Rimsky-Korsakoff's "Sadko." As the fascinating Duchess in Verdi's "Luisa Miller." And so on. In the realm of opera, concert work, and radio she