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greatest portrayal of the great actor.
Muni devoted many months to the study of his role. Above, in the museum in Mexico City, beside the bust of the Mexican patriot.
Ail Honor to the Great
Paul Muni assumed native garb and mingled with the people in Mexican city and country, soaking up atmosphere for his role in "Juarez."
Many visits to museums were made by the visitors from Hollywood. Above, producer Wallis and Muni study a portrait of Juarez and wife.
SCREENLAND Honor Page salutes the finest motion picture since "The Birth of a Nation," the mighty "Juarez" — its theme the theme of the world today: "Shall democracy live, or shall it be allowed to vanish from the face of this weary earth?" Now, read the story, here, of the making of this super cinema
F ONE day in the fall of last year. 1938. four illustrious film makers of Mexico City had departed their homes to visit the United States, there to visit those places where Abraham Lincoln left the indelible record of his life as woodsman, storekeeper, ferry-boat operator, tavern-keeper, lawyer, and legislator, they would have been on a mission identical, but in reverse, to that of four Hollywood men traveling at the same time. These men were Hal Wallis, executive assistant to Jack L. Warner ; Henry Blanke, producer ; William Dieterle. director ; and Paul Muni, actor. They were after intimate knowledge of little-known facts in the life of a darkskinned Zapotec Indian, born in a squalid adobe hut near Ixtlan, State of Oaxaca, on March 21, 1806, and who died July 18, 1872. An Indian named Benito Pablo Juarez. It was Juarez, "an ugly little man," who was to be the subject of Paul Muni's next film portrait. Warner Bros. Studios had set aside two million dollars with w hich to make this picture based on the life of a man little known north of the Rio Grande, hero and idol in his own country. Juarez, one of the greatest liberal statesmen of his time, the man who fought for the democratic liberty of his people.
When Muni and the three executives left Hollywood