Movie Star Queries

Arrange with your newspaper to print a daily box with the following questionnaire about Barbara Stanwyck, offering guest tickets to the first 15 per- sons to send in most nearly correct answers. The contest may also be run without newspaper cooper- ation by use of throwaway. — Answers printed in eaps should not appear with questions.

HOW WELL DO YOU KNOW BARBARA STANW YCK?

1. What was her maiden name? .................... RUBY STEVENS

2. Where was she born? .......................00.00065 BROOKLYN, N.Y.

3. What was her first ambition? ................ 0.000. c ttre

i eee enmens TO BE MISSIONARY TO CHINA

4. What is her husband’s name? ..............,.....0..00+5: FRANK FAY

5. Have they children? .............0..........0..06 AN ADOPTED SON

6. What are her favorite sports? ...... TENNIS AND SWIMMING

7. What was her first stage hit? ........................ “BURLESQUE”

8. When was she born? ...................... SEPTEMBER 17th, 1907

9... Whaeeeher height? .........:.:.0..5...0.. Fees FIVE FEET FIVE

10. What color is her hair? .......0........0..00. 000 cece AUBURN B, WRGPMS, 6 csc te ee DARK BLUE 12. What is her latest starring picture? ............ “4 LOST LADY”

HOW WELL DO YOU KNOW FRANK MORGAN?

i> Whee was he. born? |.2. :..:........5 258... NEW YORK CITY 2.. Wheaties his real name? .....-.. 0. :.5...-cc0000. ees WUPPERMAN 3. Whats his: collewe? .. 3... 5 one n nte hee ees CORNELL 4. What were his early occupations? .2.0...000.00000..0.0 coven

ce. ere BUSINESS, REPORTER, and COWBOY 5. In what branch of theatricals was his first work?..................

SE ooo ins Ra oa ee V AUDEVILLE 6. In what play did he make his first appearance? ....“MR. WU” 7. What company first employed him as movie actor? ............

Sie ARS (emote VITAGRAPH 8. Name of his latest talkie? .............00.0......... “4 LOST LADY”

HOW WELL DO YOU KNOW RICARDO CORTEZ?

1. Where was he born? .............6......60ccccc cinco tees VIENNA 2. In what picture was he billed above Garbo? THE TORRENT 3. What are his three favorite sports? ...........00.0.000...000000c cece SS See eee ere eee RIDING, POLO, SWIMMING

Ae VLG Ge IN GITICU S| ico see ES. YES 5: Houw=tall-is-he?- SIX FEET ONE 6. What. color. are his eyes? |. isig. A. BSE. Be BROWN CEES EES 71) ee ee aE NA A Anase etic ER Fe thet re, 8 BLACK 8. Name three of his recent talkies? .................... “THE HOUSE ON 56th STREET,”? “MANDALAY” and “WONDER BAR”

9. What is his real name? ................................. JACOB KRANZ 10. What is the title of his latest picture? ...... “4 LOST LADY” 11. What star does he support in “Lost Lady’’? .......................... Se 5 |, Seeg Se gates eee eee ie ee BARBARA STANWYCK

12. For what producers does he work? ............. WARNER BROS.

‘Lost Lady’ Coop Stunt

Local department store should be tied-in with this variation of the still valuable ‘‘ Raffles’? stunt. It’ll mean free ads for you if they do. Idea is there is ‘‘A Lost Lady”’’ in the store.. Department store

merchandise and passes to see the picture to any-_

body finding her. A brief description of the woman is given and contestants have to find her in some department of the store, walk over and say, ‘‘ You are the lost lady.’’ Selling point to store: addi- tional people come in to look for the lady.

in the picture.

Front Page Notice

Page one reader ads suc- cessfully used by the N. Y. Strand to advertise ‘Dr. Monica,’ ‘Dames’ and ‘Brit- ish Agent’ give the tip-off to do the same for this show. Advertising rate for this choice position is a little more expensive but exclusive posi- tion on front page assures wider reader interest.

Here is suggested copy:

“I can tell you a few things about men” says Barbara Stanwyck in her new dra- matic hit, ‘A Lost Lady’ start- ing tomorrow at the Strand.”

* *

**} loved three men but did not know which was real love until it was too late” says Barbara Stanwyck in ‘A Lost Lady’ her latest dramatic hit opening today at the Strand Theatre.”

Heart Problems

Loeal ‘‘ Heart Throbs’’ edi- tor will get a lot of column material from the situations Have her down to your preview. It may lead to an extra publi- city break for your showing.

Literary Contacts

Don’t forget that Willa Cather was awarded the Pul- itzer Prize for her novel ‘‘One of Ours.’’ Drop a line to members of literary so- cities and literature classes of high schools. And we don’t have to remind you about the standard tie-ups with book dealers.

Fall Fashions

Stage a Barbara Stanwyck Fall Fashion Parade. First thing to do is line-up a de- partment store to cooperate with you. Store furnishes models and gowns to parade on your stage opening. night of the picture. Women will be interested in seeing the new fall fashions. Depart- ment store also cooperates with ads and displays in store windows and on count- ers of Stanwyck fashions and also mentioning theatre fash- ion show.

Copy This Brilliant Overhead Display

Here’s how the Strand Theatre in New York flashed the “Dames” title from their front to dazzle Broadway. They used square-cut beveled glass, fashioned into the letters of the title. If you’d like to use the idea on “Lost Lady” here’s how it’s done: Get ordinary plate glass, cut in squares the size of desired letters. Paint the glass with silver nitrate and then etch the face with hydro-

chloric acid. Fashion black painted beaver board to shape of letters on the glass, so that the glass shines through. And you’ve got the snappiest display ever!

Page Four

Unique Puzzle Plant

For newspaper or herald stunt. Use it with pre- pared copy below cut. Mat No. 16—20c.

Our artist has taken the star’s name in “A Lost Lady” and scattered it thru the above sketch. What is her name? Let- ters can only be used once. Encircle each letter and place them in the right order to make the star’s name. Twen- ty free movie tickets go for the correct solutions accom- panied by a short interpretation of the title “‘A Lost Lady” opening 2k... at the...) eee Theatre.

Sell This Dealer Ad

A worthwhile dealer tie-up ready to run in your newspaper. Illustration only available in mat form which can also be used with publicity item deseribing the hairdress. (See first publicity page) Order Mat No. 21—10e at your exchange.

TOR NAME

presents the-

Stanwyck Swirl |

A. startling new hairdress introduced by Miss Barbara Stanwyck to top off your chic appearance — at business, at the theatre, at home @ Let us show you how this smart hairdress suits your personality.

Additional

Imprint

Barbara Stanwyck wears this new hairdress in her latest dramatic triumph, “A Lost Lady’ a Warner Bros.’ hit now playing

Strand Theatre. Be sure to see it!

WhatDoes ThisSmileMean?

Within two days, Marian, portrayed by Barbara Stanwyek in First National’s great romance “A Lost Lady” will wed the man she loves. Free tickets to the ...................... Theatre to those who can describe her emotions and write the best short letter explaining their reaction.

Do Eyes Reflect Dreams?

When Barbara Stanwyck portrays the love torn heroine of First Na- tional’s dynamic romance “A Lost Lady” at the ...................... Theatre OW , every facial expression has a meaning. Free theatre tickets to those who can interpret the mood she expresses here.

Her Dreams Lay Shattered

The man she loved lay dead—slain by the husband of a woman he had betrayed. Free tickets to the .............. Theatre, where Miss Stan- wyck will be seen in the First National romance, “A Lost Lady,” will be awarded for best description of the mood expressed in this pose.

They'll see nothing but Stanwyek for six days — and then they’ll come to see her on your screen! Contest is not too difficult — but it’s got more than enough to hold interest. Show ’em the stills, one each day, and let ’em describe the emotions portrayed on the face of the star. Daily prizes should re- ward winners. We’re not listing ‘correct’ answers. Judges decide the most

meritorious based on

most logical reasons for

descriptions submitted.

All stills available in mat

form. Order Mat 24—50c.

(Publicity Story)

Barbara Stanwyck Expression Contest Offers Big Rewards

Can YOU read the expression on Barbara Stanwyck’s face?

There are valuable awards, in addition to free theatre tickets, waiting for those who can cor- rectly interpret the moods shown by the charming star of First National’s romantie drama “A Lost Lady” which will open at AIT penean eee Theatre-on a, :

When the internationally fam- ous author and Pulitzer prize winner, Willa Cather, wrote her finest novel, “A Lost Lady,” she represented her heroine as a woman lost in a maze of her own conflicting emotions. Every emotional experience came to her, and it is these moods that Miss Stanwyck is called upon to ex- press, simply by a look.

Today is published a picture of Miss Stanwyck in the role of a bride two days before her wed- ding night. What mood is shown by the half expectant, half quiz- zieal smile that lights her face?

For the best ten descriptions of the moods portrayed by Miss Stanwyck in today’s photo, two tickets £0 the 2.3.2: pscnnase! Theatre will be awarded. Each day, for the five following days, a new picture showing Miss Stanwyck in a different mood will be pub- lished. Each day the writers of the ten best descriptions of the moods will be rewarded with free tickets tothe = o..46.0.4.... Theatre.

With each picture will be printed a clue to the mood. Sim- ply clip the picture and write your deseription remembering that each contest ends at 6 P.M. of the day following the publica- tion of the picture.

Here’s a chance for all ama- teur physiognomists to prove their ability to read thoughts through the face. Many elaim they can do it. Motion pictures made the nation lip readers in the days of silent films. Today, talented players ean register their moods simply by a glance, or a gesture.

Miss Stanwyck’s moods should be easy to read, especially when the clues are considered.

Address all letters to the Mood Contest Editor of the ................ (newspaper). The winners will be announced daily.

re.

Free tickets to the .................. Theatre to see Miss Stanwyck in her greatest film “‘A Lost Lady’ will be given to those who best describe her emotions pictured above — accompanied by the best short let-

ter explaining your reaction.

What Thoughts Inspire Her?

Can affection, friendship, respect take the place of love? Here is Barbara Stanwyck as the beloved, but unloving, wife in “A Lost Lady,”’ the great First National romance which comes (date) to the Strand. For those who can tell and write the best short letter ex- plaining their reaction, free theatre tickets are waiting.

Last Chance For Prize

This is the last of a series of studies of Barbara Stanwyck each of

which show her portraying a different mood. What mood does this

one represent? Free tickets to the ...............:.. theatre where Miss

Stanwyck will open in “A Lost Lady” on .......................... , will be awarded those who best answer the question.

Page Five

Problem Contest

This may be just the idea to get newspaper breaks. Can also be used without contest angle, for attention-getting lobby and front display.

Which Suitor Would YOU Choose to Find Happiness ?

If YOU were the heroine eee Ae se pene Ps f “A ost Lady.” por- whispered words “I love ia ed eae ge you” from three different a ae € th woe men. Hach man had played A 2 ean _redete an important part in her shown below would YOU life, but each time fate

choose in your quest for struck happiness from her complete happiness in life? hands.

Which Man Would YOU Pick?

MAN No. I:

This man was fatally shot two days before their wedding night by a jealous husband.

Mat No. 30—10ce

MAN No. 2:

This man, years her senior won her heart by the force of strong devo- tion—not asking for her love, but content with her friendship.

Mat No. 17—10ce

MAN No. 3:

This man stole her heart and for

the first time since her tragedy

she feels a new love dawning. Mat No. 19—10c

For the best answers of not more than 100 words giving the most logical reasons, sent to the Problem Contest Editor of this newspaper before ........................ A ‘free tickets will be awarded to see Barbara Stanwyck and an all star cast in “A Lost Lady,” starting .................... GY eee ca oe Pee nee Theatre.

Punch Lines and Stills

There are numerous uses for these dialogue lines and accompanying stills—lobby blow-ups, in ads, in programs, and as spot displays in windows. Make the most of this effective promotion item. The cost is next to nothing. Order stills by number from Editor, Merchandising Plan.

BARBARA STANWYCK: ‘Two days more and I'll be Mrs. Montgomery. I adore the sound of it!” (Still No. LL 1)

- BARBARA STANWYCK: “I know you saved my life—but don’t try to save my soul” (Still No. LL 16)

RICARDO CORTEZ: “Darling, haven’t you ever wanted to get away from yourself?’ (Still No. LL 36)

RICARDO CORTEZ: “Love is something we can’t command— we can’t twist to fit into our own designs.” (Still No. LL 40)

BARBARA STANWYCK: “I’ve never felt so near to anyone in my whole life.” (Still No. LL 65)

BARBARA STANWYCK: “So you think I’m just a brave little woman carrying on with a smile? Well, Pll show you how

brave Iam... .” (Still No. LL 76) BARBARA STANWYCK: “My life doesn’t belong to me—it isn’t mine to give!’ (Still No. LL 85)

Want Cutouts?...

That’s easy! Ask the exchange to show you samples of the posters — you'll recognize the easy possibility for your own displays!

Page Six -

Love Questions

‘‘Is there such a thing as love at first sight?’’ That’s a swell question to plant in the inquiring reporter col- umn, because it ties right in with the theme of the pic- ture. Another way to use it is to tie-up with local radio station, offering passes for the best letters sent in an- swer to that question. Let- ters, of course, are read over the air, using only the ini- tials of senders.

For Lady Killers

What’s the best way to woo and win a lady?

Warner’s New Jersey ex- ploiteers had the Newark Ledger use the question for a contest on ‘‘Lady Killer.”’ Plenty of response reported. Idea fits perfectly for ‘‘Lost Lady’’ because of the differ- ent types of lovers in the pic- ture. Plant it in your paper. Offer guest tickets to see the picture for six best letters sent in daily. Contest can run as long as interest holds out.

Try This One

Barbara Stanwyck wears eight different types of hair- dress in this film. The gals in town are always trying to do something new with their hair. Offer prizes to the gal who ean introduce the trick- iest hairdress—making it at- tractive at the same time. If department store’s beauty shop ties in on it, store should go for plenty ad space. If going it alone, run it from your stage and get women’s page editor to act as judge to insure extra publicity.

On The Radio

With the high schools and colleges open again, try to have their dramatic society perform the radio sketch on a local station. The ensuing publicity will arouse keen interest among. the student body.

Movie _ Titles

There have been loads of movie titles containing the word ‘lady.’ Perhaps your editor will go for a contest for the longest list of movie titles with the word ‘lady’ in them. Each list must be ac- companied by a short letter on ‘‘What do you think is the meaning of the title ‘‘A Lost Lady.’

Femme Frolic

This picture is truly a women’s picture. Try a ‘‘For Women Only’’ matinee. Pep up the affair by having a psychologist down to give a short lecture on some of the situations in the film. You might be able to promote a manufacturer to serve tea or coffee in the lounge. .

ALL-PURPOSE DEALER TIE-UP STILLS

Order complete set directly from Editor, Warner Bros. Merchan-

dising Plan . . . Price: $1.50

PRS LT 12

MENS SHOPS | PET SHOPS

LLI8

CORTEZ. 13

| DLE

LUGGAGE

This tie-up still service is far and away the most popular ever offered exhibitors. Have

you tried it yet?

A Good Buy at $3.75

Attractive 40” circle can be spotted any place. Reproduced in soft black photo ink on pink stock.

28” x42” blowups illustrated above, available in two styles :— full colors at $3.50 each or 3 for $10; in black and white— $2.25 each or 3 for $6. Indicate style number desired.

All Prices F.O.B. New York

Order from NATIONAL STUDIOS

226 WEST 56th STREET

NEW YORK CITY

Rent This Valance

Send marquee size for low rental price. Also available on out- right purchase price—$1.70 per yard; 36" deep, Silkolene material, fringe, sewed on letters.

BARBARA RICARDO

TEZ FRANK cor

e PHILLIP REED

TALBOT

BARBARA , BARBARA

ham ow Se

ALOST LADY

with

FRANK MORGAN RICARDO CORTEZ LYLE TALBOT

BANNER (above)—For ends of marquee or instead of swinging signs under marquee. Canvas with stencilled lettering, 6 feet long——36 inches deep. $2.40 each. On real satin—$3.35 each.

BURGEE (right)—Two colors on fine duck 20 x 30 inches—40 cents each.

Order from M. MAGEE & SONS

140 FULTON STREET NEW YORK CITY

Photographic Display

RICARDO CORTEZ SHIRTS

One of the most complete services ever offered exhibitors is yours for the asking on this tie-up! Everything you could want from a cooperating mer- chant. Here’s what you'll get: 1. Newspaper ad mats—layoui il-

lustrated below—measures 75 lines x 2 cols.

2. 16” x 20” counter card in bril- liant colors. Smaller counter

cards in black and white—5” x 9” and 3” x 6” respectively.

3. Window display card, 13” x 12”, in brilliant colors.

4. Price tags.

5. As much shirt material as de- sired for display purposes.

For further information write

Miss Thea Taylor

303 Fifth Avenue N. Y. C.

A WARNER BROS.STAl

16” x 20” Counter Card

focal The

ANAME

Newspaper Ad Layout

Typical Window Trim

MOJUD HOSIERY TIE-UP

The success of this tie-up on several previous pictures, prompts us to repeat the details for those who have not used it to date. Here’s what it gives you:

I. Newspaper ad-layout illus- trated.

2. Two color 11” x14” window

cards, with room for theatre

imprint.

Contact your local Mojud dealer, asking him to write the manufacturers for material mentioned.

For additional information:

MOCK, JUDSON, VOEHRINGER CO.

36-20 33rd STREET LONG ISLAND CITY, N. Y.

Dealer Ad.

Page Seven

THREE PRINCIPAL CHARACTERS

MARIAN ORMSBY (BARBARA STANWYCK): Separated by tragedy from the man who is to marry her—she becomes lost to life and love until a middel-aged man

marries her.

NED MONTGOMERY (Phillip Reed): Marian’s fiance who

is slain by an enemy.

DAN FORRESTER ( Frank Morgan): Middle-aged man who

marries her. ROSA: Nurse—small part.

Regular station announcements followed by—

ANNOUNCER: By special ar- rangement with Manager ............

tre we are able to offer for your entertainment, flashes of the dramatic action of “A _ Lost Lady,” the First National picture which opens its local engage- Mente oe Mest, “fA Lost Lady” which is adapted from the famous novel by Willa Cather—stars Barbara Stanwyck and features Frank Morgan, Ricardo Cortez, Lyle Talbot, Phillip Reed and Hobart Cavan- augh. Mr. (narrator) will de- scribe the opening scene of the sketch.

NARRATOR: The scene is a brilliantly-lighted ballroom. (Be- gin sound of string orchestra playing romantic waltz which continues during narrator’s speech and into the _ scene.) Among the modern young men and women who are dancing you will single out the beautiful Marian Ormsby. In filmy white, floating through the slow mea- sures, in the arms of tall, dark Ned Montgomery who is soon to marry her, she is a vision of youthful loveliness . . . Now he is leading her through the ante- room banked with palms and flowers, and through the doors to the moonlit balcony. (Sound of doors closing, music becomes fainter) They cling together in a rapturous kiss—and when she

speaks her voice is vibrant with .

happiness.

MARIAN: Darling...

NED: (gently ardent) I had to get you away from all those people.

MARIAN: (almost a whisper) People ...to me... are only

shadows now ... There is no- thing real but you.

NED: Don’t say that— MARIAN: (hapily) Oh, but I must! Isn’t it wonderful to think it’s day after tomorrow... NED: (voice deep with feel- ing) Very wonderful. MARIAN: Forty-six and a half hours more and... NED: (breaking in gaily) And the end of Marian Ormsby. MARIAN: The beginning of Marian Ormsby ... Only... T’ll be Mrs. Montgomery! (eesta- tically) Mrs. Montgomery! Don’t you adore the sound of that! NED: (with mock seriousness) The bishop’s going to make a few demands, you know.

MARIAN: (eagerly) Let him!

NED: (still mock-serious) You'll have to promise to love, honor and OBEY!

MARIAN: (as if going through the rites) I DO!

NED: Of course, you can leave out the ‘obey’ if you want to...

MARIAN: (happily I don’t want to leave out anything! I want it all.

NED: Brave girl!

MARIAN: (as if in command) Now ... show me how youw’re going to look... as I walk to- ward you... down the aisle.

NED: (brusquely) Very well, wait. (when he continues, af-

ter pause, voice is heard, off— but nearing) Chin up!... Shoulders erect! .. . Every inch

Page Right

. your husband! Now ... how is this pose? Can you beat it?

MARIAN: Qaughing) Vm afraid not. li probably trip over Uncle Jack, and fall flat on my nose! Tell me, darling—wouldn’t you be shocked to see your blush- ing bride sprawling in the aisle?

NED: Of course I would. I'd pretend I didn’t know her!

MARIAN: (in sudden rapture) Oh, I am so happy! ... Hold me close...... close ... You’re everything to me, darling... my very life.

NED: (quietly, as if it hurts) Please don’t say that ..

MARIAN: (intensely) I can’t lioip- myeelt......-. L-can’t: 51 can’t ...I love you more than...

NED: (as if rather reluctant) I suppose we’d better go back .

MARIAN: (honestly ant) I suppose so (door heard opening ... music momen- tarily louder ... then ... she speaks suddenly, fervently) No ... no... let’s not go back! (shuts door, musie fainter again)

NED: (surprised) What do you mean, darling?

MARIAN: (excitedly) LET’S RUN AWAY!

reluet-

NED: But they’re giving the party for us...

MARIAN: Oh, Margaret’! understand ... Come on... do come!

NED: (agreeing) All right... what do you say we go up to my apartment.

MARIAN: Lovely, darling... and build a fire ... and sit in front of it... and make plans and plans... Just us!

NED: Hurry then’... before they notice us ... (Door opens . music clear again . . . door closes . . . music fainter) ...

MARIAN: Now we’re free! . I’m Cinderella . .. and you’re the Prince! ... This grand stair-

way is the way out of the Royal .

Palace! ... Isn’t it delightful... going down in state? ...

NED: A yellow taxi for the pumpkin coach... ?

MARIAN: (in sudden fright) Oh, look, Ned, look— at the foot of the: steps—peeping around the column...

NED: Who? What? There’s no one there! ..

MARIAN: Oh, but there is

. let’s go back ...a-man with his collar up and his eap pulled low... Let’s go back... He might...

NED: Come on down, dear... your nerves are .

MARIAN: (in terror) No! Look! There he is .. . there!

MAN: (gruffly, off, from be- low) Just a minute, Montgom- ery!

MARIAN: (faintly) Come... let’s go back up...

NED: What do you want?

MAN: (below, with deadly hatred) You’ve’ been pretty clever, Montgomery— but today you’ve slipped up!

MARIAN: (weakly) What’s he talking about?

NED: (unsteadily) He’s drunk. MAN: (menacingly, off) I

don’t drink. Didn’t MY WIFE ever tell you that?

NED: (uneasily) I never saw your wife ..

MAN: (off) No? NED: No. MAN: (off, wildly) How about

this cigarette case then? It’s yours, isn’t it? You left it in her room!

NED: (in fear) It’s not mine fe Boe

MARIAN: It’s the one I gave MOM aca

MAN: (in sudden frenzy of rage) You dirty ... (other words lost in roar of a gun... there are four more shots ... Marian’s blood-curdling seream .. . mur- mur of excited voices ... cries of ‘Police’... fading as narrator continues )

NARRATOR: ‘The tragedy erushes Marian Ormsby’s spirit

. she is lost to the world... lost to herself. Her father sends her with her nurse Rosa into the Canadian wilderness but the scenes she had loved in ehild- hood mean nothing to her. About the same time, Dan Forrester, a brilliant lawyer in the forties, seek the same retreat to ward off a nervous breakdown. With his dog and pipe he wanders in the woods and it is the frantic barking of the dog that leads him to the eliff, below which lies the half-unconscious Marian. He earries her to her cabin and next day goes to see her as she lies apathetically gazing over the treetops.

FORRESTER: (vibrant ring in his voice, off) Hello!

MARIAN: (without interest) Good morning .. .

FORRESTER: (in the picture now) Well... I must say you look well for a lady who so re- cently fell off the top of the world.

MARIAN: (slowly, apologetic) Things were in rather a_ blur

yesterday. I’m not sure whether I thanked you... FORRESTER: (mirth in his

voice) Now that you mention it, I don’t believe you did.

MARIAN: Then you.

FORRESTER: Then ... wel- come, lady!

“MARIAN: I must have been

thank

dreadfully heavy.

FORRESTER: You were... Not much fun, having your holi- day spoiled like that ... was it?

MARIAN: (quietly) It wasn’t a holiday ... not really...

FORRESTER: Well, anyway, whatever it was ... you'll get a chance now to read all the books you didn’t have time for last year ... Mind my pipe?

MARIAN: (impersonally) NO Ss

FORRESTER: Thanks, Vl fill up then ... a great comfort, tobacco ... Yes, as I was say- ing you’re going to have a grand time of it up here ... When I was twenty, I had a bad fall at polo, and I was in bed three months with a broken hip . I’ve always been grateful for it —because otherwise I’d never have discovered the greatest es- eape in the world.

MARIAN: Escape?

FORRESTER: Yes... What did I do with my matches. . oh, here they are (striking of match, in pause) Haven’t you

ever wanted to get away from yourself?

MARIAN: (with bitter irony) Onee or twice...

FORRESTER: You don’t al-—

ways have to go to a mountain- top. ‘

MARIAN: (mockingly) Please, Mr. Forrester! Are you advising me to lose myself in a good book?

FORRESTER: (smile in his

voice) It has been done, you know.

MARIAN: (with mockery) Really!

FORRESTER: (abruptly) May I be quite frank?

MARIAN: About what? FORRESTER: You.

MARIAN: (with a weary sigh) If it amuses you.

FORRESTER: (earnestly) You don’t much care what happens to you, do you?

MARIAN: You’ve been talk- ing to Rosa .

FORRESTER: out for myself.

MARIAN: (with mocking bit- terness) And I suppose you’ve come with a message! You’re going to tell me that life is beautiful ... and good!

FORRESTER: necessarily.

MARIAN: (rushing on with a smoldering resentment) And that I must help myself ... I must WANT to be well! Because there’s a wonderful world wait- ing for me... full of joy and sunshine! (contemptously) Well, you can HAVE it, Mr. Forrester! (bitterly) If you just came here to cheer me up... please don’t bother me, | know I should be grateful to you for saving my life ... . but PLEASE don’t

3ut I figured it

(casually) Not

try to save my SOUL! That would be TOO much... I think Pll sleep now, if you don’t

MONTLG. ee

FORRESTER: Good... (with quiet firmness) I’m coming back . tomorrow.

NARRATOR: Forrester did come back day after day and wrote in his journal, “ ... the girl interests me. She is so bit- ter... so hopelessly defeated

. . SO unbelievably beautiful.” A week later he wrote “She in- terests me more and more. To- day she sat up for the first time ... but it meant nothing to her

. She hardly seemed to know that I was there ... but I'll not give up... not until...” Final- ly the time comes when he is compelled to go back to the city. He hopes to shock her back into reality as she sits listlessly in her steamer chair on the baleony of her forest retreat.

FORRESTER: Do you know, young lady—I’m going to say something unpleasant.

MARIAN: Yes?

FORRESTER: (pretended harshness) YOU’RE A COWARD.

MARIAN: (startled and hurt) What?

FORRESTER: Yowre not fighting . . . your letting your banners drag in the dust.

MARIAN: (in a low voice, huskily) There’s no more fight left in me... nothing to fight TOs. sh

FORRESTER: (his voice vi- brant) But you can’t run away! You can’t hide from life . it’l] come smashing in on you!

(without interest)

You've got to face it. You’ve GOT to go on... banners fly- ing!

MARIAN: (wistful note in

voice) Banners flying... I know what you mean... but... but one must have faith ... (her voice sinking to whisper) And I ...I1 haven't faith in any- thing. 2,

FORRESTER: (abruptly) Listen to me. Tomorrow I have to go back to . . . what people eall civilization. I WANT TO TAKE YOU WITH ME!

MARIAN: (incredulously) To take me... you want to take...

FORRESTER: I want to take you with me...

MARIAN: (low, tragic voice) Why? ...I have nothing to give

you... There is nothing here . my heart is...

FORRESTER: I want you just as you are. I want to marry you... (pause)

MARIAN: (brokenly) No! .. I couldn’t . . . I shouldn’t (sob- bing) It is gone... all that... gone forever...

FORRESTER: No, darling... all your life is before you... Say you will marry me... I only ask to have you near me os ok eed: YOU. 3.

MARIAN: Don’t ... please don’t...

FORRESTER: If I only could.

MARIAN: Why should my wrecked life make a wreck of yours You have been so kind ...I1... I appreciate it. Now we had better say good PYG ie

FORRESTER: Must we? MARIAN: (softly) Yes.

FORRESTER: Good bye, my dear . .. If I can ever be of any help to you... send for me! ... Time does wonders... Keep fighting! Keep the banners floating!

MARIAN: (very softly) Good bye.

FORRESTER: (off, trying to speak lightly) Good bye Little Lady of the Mountain... (door closes)

MARIAN: (after a _ pause, calls as if in terror) WAIT!

FORRESTER: (off) Did you eall?

MARIAN: (weakly) Yes. (falteringly) I’m... Tm goiing to be afraid... without you... Do you... (desperately) do you still want to marry me?

FORRESTER: (world of eag- erness in his voice) Terribly!

MARIAN: I’m __ pretending nothing . . . You know I don’t ... love you... I could never love anyone... again.

FORRESTER: I know... I know that... it doesn’t matter ... Our wedding will be unique!

MARIAN: Why?

FORRESTER: (with elation) It will probably be the only one of its kind in all the world... We won’t use that shopworn word—‘Love’ . . . Instead we’ll put in a better one ... HON- ESTY!

MARIAN: What you told me is true ...I ama coward... the thought of meeting strange people ... feeling that their eyes are upon me... boring me through ...I1 just can't....

FORRESTER: But it isn’t go- ing to be that way at all... They will all be friends of mine, darling . . . and they will love you.

MARIAN: I hope so,... I’ve lost all touch with people .

FORRESTER: But not with me... We’ll be happy, darling

. . happy ... Where’s Rosa? (calling gaily) ROSA!

ROSA: (off) Yes, Mr. For- rester ...

FORRESTER: (excitedly) We want a marriage license, Rosa!

ROSA: (dumbfounded) A what, Mr. Forrester!

FORRESTER: A_ marriage license, girl! A justice of the peace! And two witnesses! Right away! Quick! Look at Rosa with her mouth open! (laughs, voice fades) V’ll be back in no time, darling! (laughter fades into the distance)

NARRATOR: But this is only the beginning of the strange life of Marian Ormsby—of the men who crossed her path—-and the adventures which made _ her known as the “Lost Lady.” You will know the rest when you Come=t0- the oN gfe dios Theatre reaper cr ee next. Till then good bye and good luck.

—THE END—

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Barbara Stanwyck Thinks kame Largely Due to Luck

Success Will Not Come Without Hard Work, However, Says Star Of ‘Lost Lady’

By BARBARA STANWYCK (Star of the First National picture, ‘‘A Lost Lady,”’ based on Willa Cather’s novel now showing at the ............... Theatre)

"VE often been asked, by various people, whether I had any rules for success in motion pictures. I don’t believe there are any rules for suecess, on the sereen or any-

where else.

There is so much luck in success of any kind that, after you have laid down all the rules that are supposed to be reliable, the ultimate result still remains a gamble.

Julius Rosenwald, the great Chicago industrialist and philan- thropist remarked, shortly before his death, that suecess in business was 95% luck. That is one of the few rules that I would apply to success in almost any line.

More important than so-called ‘‘rules for success,’’? it seems to me, are the things worth remem- bering and practicing so _ that, when you get up in the morning, whether you’re a suecess or not, you ean- look yourself and other people in the eye and be satisfied that you’ve done your best.

Perhaps the most important thing is to be honest with your- self and toward your work. It’s of the utmost importance on the screen, beeause if you don’t be- lieve completely in what you are doing you can’t make your audi- ence believe it, either.

Along with that goes the wil- lingness to work as hard as may be necessary to accomplish what you set out to do. Hard work of . itself won’t lead infallibly to sue-

BARBARA STANWYCK

Mat No. 18 10c¢

cess, but success was never at- tained without hard work.

Working and loafing are both habits and one is as easy to cul- tivate as the other.

Be able to recognize a mistake when you have made one, but don’t let it worry you too much. Correct it and go on.

If you want constructive eriti- cism, listen to the people who are working with you and around you. That’s especially true in a studio. You’ll get reactions from electri- cians, grips, property men, hair- dressers and wardrobe mistresses that are priceless because they are spontaneous and genuine.

No matter how you may feel, make a point of always looking your best. It will have a surpris- ing effect on your feelings in the long run.

Most of what I: have said will apply, I believe, to almost any form of human activity. One may follow them all and miss success. But at least, one can have a eer- tain amount of happiness and self- satisfaction.

As for myself, I give every pie- ture the best I have and then trust to luck for the outcome. I do all I can to coax Lady Luck around. And I am gure all sue- cessful players do that.

I watched Frank Morgan, Ri- ceardo Cortez, Lyle Talbot, Phil- lip Reed, Hobart Cavanaugh and others while making my latest picture, ‘‘A Lost Lady.’’ Every- one worked indefatigably for the success of the picture. The same goes for Director Alfred E. Green, the cameramen, props and every- one connected with the picture. That’s one thing everyone does in making a film production. They work, and work hard.

—— oS

Barbara Stanwyck Is Busiest Actress

Acting or ‘‘ between pictures,’’ Barbara Stanwyck, star of the First National production, ‘‘A Lost Lady,’’ which comes to the ene eat Rae Theatreon- es, is the busiest actress in Holly- wood. She is up every morning at six — her adopted son Dion sees to that — and personally superintends the daily routine of her home, devoting hours every week to her unheralded philan- thropies.

A certain amount of time every day is given over to the considera- tion of stories, novels and plays which have been referred to her as possible screen vehicles.

An expert swimmer and an ar- dent cyclist, Miss Stanwyck relies on these two forms of exercise to keep her physically fit. Her own swimming pool and a bicycle track which she and her husband, Frank Fay, have recently added to their Brentwood estate gives her ample opportunity to indulge in her fa- vorite sports.

Mat No.

America's Favorite

4—-20¢

Barbara Stanwyck

Her real name is Ruby Stevens.

She was born in Brooklyn, New

York, in July 1907, of Scotch-Irish parentage.

Her earliest ambition was to become a missionary, and she studied industriously for such a career, deserting it to seek fame as a dancer. Her first position was in the chorus of a New York revue. From

an important role in the play, ““Burlesque,’

stage roles.

she graduated to leading

She married Frank Fay, the actor, and they settled in California, where Barbara was launched upon her screen caree?, speedingly rising to stardom as an exceptional emotional actress.

Her current picture is “A Lost Lady,’ which comes to the Ra ae Theatré*ons #722... 6 ec

Barbara Stanwyck Never Went In For Hollywood’s Social Whirl

Star Of “A Lost Lady’? Eschews Film Colony’s ‘Big Shots’—Picks ‘Wrong People’

ARBARA Stanwyek is nice to the wrong people. Her best friends in Hollywood are not the ‘‘big shots’’ of the film industry. She has fought stubbornly, sometimes bitterly, with those who could, presumably, do her career the

most good.

Her friends, and she has more than most, have been chosen almost exclusively from among the ‘‘unimportant”’

people of Hollywood. They say she is ‘‘swell.’’ The other think her ‘‘diffieult.’’

Miss Stanwyck, whose latest First National production, ‘‘A Lost Lady,’’ comes to the ............ ‘Theagtre:.On ==. ages , was soured on Hollywood when she went there as the wife of Frank Fay, who had been signed to a contract to make talking pictures. She had been ill. She was pale, quiet and particularly sensitive and Holly- wood did not give her a very warm welcome. Her fame as an actress, won through hard work on the New York stage in ‘‘Burlesque’’ and other successful plays, had not preceeded her to the West Coast.

Barbara was introduced to a famous producer at a party. The introductions over, the hostess vol- unteered the information to the producer that Miss Stanwyck ought to be of interest to him as a possible sereen find.

He looked at her indifferently. “No,’’ he said shortly, ‘she wouldn’t do.’’

A woman as sensitive as Bar- bara Stanwyck can never forget nor entirely forgive these thought- less cruelties. She tried being a good sport about it a few more times and then gradually retired

from Hollywood society entirely. At the last few big parties she attended in the film colony she had a book along to read. This added to her reputation for being ‘difficult’? and eventually Miss Stanwyck and Hollywood screen society definitely parted company.

Occasionally, after her first sue- cess on the screen, she and her husband tried, half heartedly, to take up the social end of film colony life again. A few other experiences not unlike her first ones, sent her quickly back into retirement. There was an evening when a famous film couple, seated with them at a table, talked a kind of pig-latin to each other, ignoring the fact that their guests, Barbara and Frank Fay, could not understand what they were Saying.

During her first two years in pictures, after ‘‘Ladies of Lei- sure’’ and ‘‘Tllicit’’ had made her name important to the indus- try, she was under part-time con- tract to two different companies. It was a difficult situation and led to much quarreling and bickering between herself and her employ- ers. The result of all this is that Miss Stanwyck regards all pro-

ducers, executives and influential people in pictures a little skep- tically and considers none of them her friends.

But among the ‘‘lesser lights’’ of moviedom, Barbara Stanwyck and Frank Fay have a host of friends. The big, walled estate in Brentwood Heights is wide open to dozens, perhaps hundreds of them although other stars and big executives are almost never ad- mitted—nor invited.

It is almost, if not quite, the most self sufficient estate and household in Hollywood. The house is fairly large and entirely comfortable. The grounds are spacious — and extremely private. There is a swimming pool, one of the largest in the colony, a gym- nasium which also serves as a party house, tennis courts and a bieyele track.

Figuratively speaking, Barbara Stanwyck has snapped her fingers under the nose of every ‘‘big shot’’ in Hollywood who has tried to impress her with his impor- tance. But.she has never failed to lend a symphathetic ear and to open a generous purse to any ‘‘lit- tle shot’’ who needed either com- fort or cash.

In ‘‘A Lost Lady’’ Miss Stan- wyck has the title role, that of a beautiful girl entangled in the meshes of a strange love net. Others in the cast include Frank Morgan, Ricardo Cortez, Lyle Tal- bot, Phillip Reed, Hobart Cava- naugh and Henry Kolker.

Barbara Stanwyck Sets New Record For Gown Changes

Barbara Stanwyck set a new record during the production of her latest First National star- ring vehicle, “A Lost Lady,” which-comes: tO“thei esgic tes TNCAtre- ON on eee eee

During the eight hours of that particular shooting day, Miss Stanwyck wore four different evening gowns. Besides which, she performed the somewhat amazing feat of being the central figure at four different social functions, all important dramatic events in the picture, and separated, so far as the drama is concerned, by weeks and, in one instance, months of actual time.

Impossible as such a proceed- ing sounds, it is explained by the methods commonly used in lay- ing out the production schedule of a picture. For the sake of economy of both time and money, all scenes that take place in the same setting are made consecu- tively, regardless of the order in which they appear in the final edition of the picture.

Frank Morgan, Ricardo Cortez, Lyle Talbot, Phillip Reed, Hobart Cavanaugh, Rafaela Ottiano, Walter Walker and Samuel Hinds are the principal members of the cast surrounding Miss Stanwyck in this version of Willa Cather’s famous novel of American life. Alfred E. Green directed the picture from the screen play by Gene Markey and Kathryn Scola.

Stanwyck Introduces Startling Hairdress

Barbara Stanwyck, who delights in tonsorial experiments, intro- duces a startling new hairdress designed for her by Perey West- more in her latest First National starring vehicle, ‘‘A Lost Lady,’’ which comes to the ...............c0000 eNOAU OOM ...c. ker eee

Formal in design, it is the per- fect complement to a striking Orry-Kelly evening gown with which it is worn.

Her flaming locks are severely drawn back from the hair line, and the ribbon bandeau, set with two rows of flat curls is attached in a halo effect, and is placed across the top of the head and from the ears it is drawn low across the neck.

Miss Stanwyck enthusiastically recommends it to career women whose time prohibits frequent vis- its to beauty shops.

“A Lost Lady”

That’s the title of Barbara Stan-

wyck’s latest starring vehicle for

First National, which comes to the Strand soon.

Mat No. 1—10e

Page Seventeen

Barbara Stanwyck Coming in Dynamic Drama, ‘Lost Lady’

A glorified Barbara Stanwyck, resplendent in the latest costume designs of studio modistes, is scheduled to appear at the............ aksis, eer Theatre next... ..2:\cia- in the First National production of “A Lost Lady,’ said to be the most dynamic drama in which the popular star has yet appeared.

The picture, based on _ the story by Willa Cather, famous novelist and winner of the Pulitzer Prize, is a most unusual romance in which a_ beautiful young girl is lost in the maze of her own complex love emo- tions.

The picture opens with a dire tragedy in which the young girl’s lover is shot down at her feet on the very eve of their wedding by the husband of a woman with whom he had been trifling.

Miss Stanwyck has four lead- ing men in the picture. The first, slain by a bullet, is the handsome Phillip Reed, recently from the Broadway stage. The second is Frank Morgan, in the role of a great corporation lawyer, who marries her without asking for love, content with her trust and friendship.

The young wife is immune to the ardent advances by the lawyer’s youthful partner, a part played by Lyle Talbot, but be- comes madly infatuated with Ri- eardo Cortez in the role of a dashing lover who lHterally drops at her feet from the sky in a. damaged airplane.

“When her husband is suddenly stricken with a heart ailment, the wife is torn between her love for one and her loyalty to the other. The story has a most un- usual climax in which Miss Stan- wyck’s eyes are finally opened to a real love.

The picture is set in the lavish background of wealthy society folk.

In addition to the four leads there is a talented cast support- ing Miss Stanwyck which in- cludes Hobart Cavanaugh, Henry Kolker, Rafaela Ottiano, Edward McWade, Walter Walker, Samuel Hinds, Willie Fung and Jameson Thomas.

The picture was directed by Alfred E. Green from the screen play by Gene Markey and Kathryn Scola.

Frank Morgan

We tip our hats to Frank Mor- gan—because he’s such a grand guy—and especially because of his work in “A Lost Lady,” in which he plays opposite Bar-

bara Stanwyck. This First Na- tional film opens at the Strand Theatre on Wednesday.

Mat No. 3—10ce Page Eighteen

Scene From Strand’s Dramatic Hit

Frank Morgan, Lyle Talbot and Barbara Stanwyck are the three principals seen liste. Ricardo Cortez and Phillip Reed fill out the cast of “A Lost Lady,” dramatic romance adapted by First National from

the novel by Willa Cather.

actress—when you see her sensational work in “A Lost Lady,’’

Barbara Stanwyck Has 4 Leading Men As Screen Lovers

Few stars, in recent years,

have been able to boast as

brilliant an array of leading men in one picture as can Barbara Stanwyck, in the title role of the First National picture, “A Lost Lady,” which comes to the Sa ork OE Wheatre Onis ccm. sts

Four famous leading men of the stage and screen contribute brilliant dramatic support to Miss Stanwyck as her lovers in this production.

Frank Morgan plays the part of an American corporation at- torney, who marries Miss Stan- wyck to save her from the wreck of her life after her fiance has been slain, on a basis of honesty rather than love.

Ricardo Cortez is the arrogant, self-assured lover, who sweeps the lost lady off her feet and brings her to the verge of leav- ing everything behind her for his sake. Lyle Talbot, junior partner in her husband’s law firm, is madly and hopelessly in love with her, although she does not reciprocate his affections.

Phillip Reed, one of the most promising of the younger First National artists, has the role of a young cavalier whose tragic death, coupled with the revela- tion of his faithlessness to her during their engagement, shat- ters the girl’s faith in men and love. Other able players in the east of “A Lost Lady” are Hobart Cavanaugh, Rafaela Ottiano, Henry Kolker, Walter Walker, Samuel Hinds, Edward MeWade and Jameson Thomas. Alfred E. Green directed the pic- ture from the screen play by Gene Markey and Kathryn Scola, based on the famous novel by Willa Cather.

Wednesday to the Strand. Mat No. 6—30¢

Cortez Likes Role Of Villain Better Than Heroic Part

Looking back over one of the longest careers, in both talking and silent pictures, that any actor of his age can point to, Rieardo Cortez, who plays the menace role in the First Nation- al production, “A Lost Lady,” which comes tothe. cia ts WHOAtEG: 2ON. Visa keene. ce , is glad that most of the time he’s been cast as a menace rather than as a hero.

“T might have been finished years ago,’ he said on the set one day during the production, ‘““f I had played nothing but gallant heroes and the like.

high-minded The public,

lovers,

it seems to me, grows tired of them before long, while the in- teresting, plausible, convincing ‘heavy’, as he is called in theatri- cal slang, is always interesting because he’s capable of such infinite variety.

“Vd rather be a colorful, in-

telligent persuasive villain in a

screen play than a Horatio Alger type of hero. That’s why I shall probably never be a star, and I’m glad of it. I’ve refused the honor more than once and I should refuse it as often as it was offered to me.”

“A Lost Lady” is a dynamic love drama based on the popu- lar novel by Willa Cather who won the Pulitzer Prize in 1922 with “One of Ours,” and adapted to the screen by Gene Markey and Kathryn Scola. Barbara Stanwyck has the stellar role while others in the cast include Frank Morgan, Lyle Talbot, Phillip Reed and Hobart Cava- naugh. Alfred E. Green directed.

You'll agree with critics that Miss Stanwyck is America’s foremost dramatic her greatest screen vehicle coming

Frank Morgan Is Yanked Off Sea To Make ‘‘Lost Lady’’

Frank Morgan planned a four- day vacation on the high seas in his yacht, the Alma M., when he found that he had an un- expected interlude in the middle of his work in the First National production of “A Lost Lady,” now showing: at the ................:,- Theatre.

But he reckoned without tak- ing the quiet speed with which

FRANK

MORGAN

Mat No. 17 10e

Director Alfred E. Green makes pictures, into consideration.

At Catalina a telegram over- took him, notifying him to be made up and ready to work by noon next day. So Skipper Morgan did a quick revision of plans, changed his sailing des- tination from Santa Cruz, 350 miles north of Los Angeles, to San Clemente, less then a hundred miles south, and post- poned the longer cruise until a more convenient season.

In “A Lost Lady,’ Morgan is Barbara Stanwyck’s leading man. The picture is a most unusual romance in which a_ beautiful young girl is lost in the maze of her own inscrutable love emo- tions. It is based on Willa Cather’s popular novel and adapted to the screen by Gene Markey and Kathryn Scola. In the supporting cast besides Morgan are Ricardo Cortez, Lyle Talbot, Phillip’ Reed, Hobart Cavanaugh and. others.

Cortez, Bold Film Villain, Timid and Shy in Real Life

Shyness and a wall-flower dis- position are the last traits in the world that anyone who had seen him on the screen would attrib- ute to Ricardo Cortez.

Yet Cortez, who plays a bold dashing suitor in the Warner Bros. production, “A Lost Lady,” now showing at the ....................... Theatre, admits that he’s posi- tively timid in real life.

Cortez has been accused by many who judged him solely by his external attitude, of being haughty and snobbish. He is nothing of the kind, his self- composed reserve being really what the psychologists call “a defense mechanism” to hide a sensitive temperament.

“Tm always self-conscious and awkward,” laughed Ricardo in discussing the matter one day, “in an ardent love scene. It may sound funny, but I used to trv to tone down such scenes, if they were especially intense in the seript, for fear the actress op- posite me might think I was try- ing to get fresb with her. That was in the early days.

“Since -then I’ve learned to look at my work impersonally, and realize that everyone else does. But it took me a long time to get over that feeling.”

“A Lost Lady” is the romance of a beautiful young girl lost in the maze of her own inscrutable love emotions. It is based on Willa Cather’s popular novel and adapted to:‘the sereen by Gene Markey and Kathryn Scola. Bar- bara Stanwyck has the stellar role while others in the cast in- clude Lyle Talbot, Phillip Reed, Hobart Cavanaugh and others. Alfred E. Green directed.

Barbara Stanwyck Wins Affection of Animals Instantly

Barbara Stanwyck is an en- thusiast about dogs and they, in turn, instantly recognize her as their friend.

A striking example of this oce- curred: during one of the early scenes in her current First Na- tional production of “A Lost Lady,” now showing. at the EI Aah He es Theatre. On that particular morning the big collie who plays the role of Prince, a dog belonging to her leading man, Frank, Morgan, ar- rived on the set with his train- er.

Barbara’s eyes lighted up the moment she caught sight of the magnificent animal. She asked his trainer to bring him over.

The dog walked up to her as Barbara smiled and put out her hand. He sniffed it gravely, then turned his liquid brown eyes to her face and studied her a full minute without moving a muscle. Then he moved forward and laid his head on her knees.

For the two days that he work- ed in the picture, the dog, when not actually in front of the cameras, could be found sitting beside Barbara, quite happy if she stroked his head from time to time.

In “A Lost Lady” Miss Stan- wyck has the title role, that of a beautiful girl entangled in the meshes of a strange love net. Others in the cast inelude Ricardo Cortez, Lyle Talbot, Phillip Reed, Hobart Cavanaugh and Henry -Kolker.

(Review) Barbara Stanwyck Scores Triumph as “‘A Lost Lady”’

First National’s Dramatic Romance Has Local Premicve At. i Theatre

NEW Barbara Stanwyck, displaying an artistry that as- tonished even those whose favorite actress she has always been, portrayed ‘‘A Lost Lady,’’ at the premier

of the First National dramatic romance of the same name MO ere th Sen Gee théatre yesterday.

There was no trace of the drab heroine of ‘‘So Big’’ and ‘The Purchase Price.’’ The ‘‘bad’’ girl of ‘“Baby Face’’ had vanished as had the sporty girl of ‘‘Gambling Lady.’’ In

their place appeared a society girl of cultural background, resplendent in the latest and most fashionable gowns.

The new Miss Stanwyck was entirely satisfactory, particularly as her role gave her an unusual opportunity to display her great dramatic ability. She portrayed a girl with a highly sensitive and emotional nature, whose several misplaced loves tore her heart to

shreds. Miss Stanwyck can show

suppressed emotion as can -few film stars. A look, a gesture, a quietly spoken word, and the audi- ence feels the tenseness of the sit- uation. It was a remarkable trib- ute to a mighty fine actress.

The picture, based on a story by Willa Cather, winner of the Pulitizer prize, combines sequences of gayety and laughter with scenes

of dire tragedy. There are

episodes when a woman’s heart is laid bare, torn by conflict between duty to. a husband who Joves her and her mad infatuation for an impetuous lover.

There are four leading men in support of Miss Stanwyck, all her lovers, with Frank Morgan head- ing the list as the one who mar- ries her on a basis of trust and friendship rather than love. Mor- gan, who made such a hit in ‘‘ The World Moves on,’’ ‘‘The Affairs of Cellini’’ and ‘‘Sisters Under the Skin,’’ gives a fine interpre- tation as the great corporation lawyer whose unselfish love for his girl wife finally triumphs over that of her more volatile lovers.

Ricardo Cortez has the role of the bold and debonaire lover whose dashing, imperious love- making sets the feminine heart aflutter as he sweeps the object of his desire from her feet into his arms. Cortez gives a splendid portrayal as also do the other two lovers, Lyle Talbot as the un- successful suitor, and Phillip Reed, as the first lover in Miss Stan- wyck’s life, who is slain at her feet on her wedding eve by the husband of one of the many wom- en with whom he has been tri- fling.

The entire cast is a talented one, all contributing their share in making this one of the most powerful and fascinating dramas of the screen. They include Hobart Cavanaugh, Henry Kolker, Ra- faela Ottiano, Edward McWade, Walter Walker, Samuel Hinds and Jameson Thomas.

Gene Markey and Kathryn Scola, whd~ dramatized Miss Cather’s story for the screen, suc- ceeded in catching the spirit of the novel and presenting it in dy- namie form. Alfred E. Green, First National ace director, has handled the picture with his usual fine sense of dramatic values.

Those discriminating patrons of motion picture theatres who de- mand entertainment that appeals equally to the intelligence as to the emotions and expect to have a finely written story portrayed by capable ‘players, will delight in CcA-LostsWady ee ee

Phillip Reed Gets Terrific Fall In Making ‘Lost Lady’

Phillip Reed, young leading man in Barbara Stanwyck’s eur- rent First National production, “A Lost Lady,” which comes to CHO river Geeay ate Theatre on cuca, , discovered how pain- ful realism in motion pictures can be, when he took a header and rolled the full length of the grand staircase in a big hotel set built for the production.

It was no accidental fall that bruised and shook up the young actor. Reed’s sensational plunge down the stairs, before a hundred horrified guests of the hotel, is the climax of the open- ing sequence of “A Lost Lady,” in which Reed is shot, as he is leaving the hotel with his fiancee, played by Miss Stanwyck, by the husband of the woman who has secretly been his sweetheart.

In spite of Director Alfred E. Green’s suggestion that a double be used for the fall, Reed in- sisted upon doing it himself. He did it so well that only one take of the scene was necessary, but the actor was black and blue in a dozen places for a week after- ward.

“A Lost Lady” is a most un- usual romance in which a beauti- ful young girl is lost in the maze of her own inscrutable love emo- tions. It is based on Willa Cather’s novel and adapted to the screen by Gene Markey and Kathryn Scola. In the support- ing cast are Frank Morgan,

Ricardo Cortez, Lyle Talbot.

The ShadowWaltz

As interpreted by lovely Barbara Stanwyck and handsome Phillip Reed in First National’s pro- duction “A Lost Lady,” the new drama at the Strand. Ricardo Cortez, Frank Morgan and Lyle Talbot are. included in Miss Stanwyck’s powerful supporting ~ tntale.cast. * ~*~ ee Wat Nol 2-ide toe

Barbara Stanwyck in “‘Lost Lady’’ At ..... Theatre Today

“A Lost Lady,” the First National production with Bar- bara Stanwyck in the stellar role, opersnat then... Theatre LOGAY Tf Oe 8 hese ae day run.

Based on the popular novel by the internationally famous, Willa Cather, the plot of which combines dynamic drama with a most unusual romance, the pic- ture is said to give Miss Stan-

wyck the strongest and most colorful role of her _ picture career.

The picture is filled with thrills and excitement in addi- tion to its tense dramatic mo- ments in which Miss Stanwyck portrays the emotions of a beautiful young girl torn be- tween her love for a man with whom she is madly infatuated and her loyalty to her husband.

Miss Stanwyck, as a wealthy society girl, is gorgeously array- ed in the very latest of fash- ionable costumes. The settings are unusually lavish, with the backgrounds of the costly estates of Chicago’s Gold Coast and the picturesque Canadian Rockies.

There is an unusually talented supporting cast which includes four leading men, Frank Morgan, Ricardo Cortez, Lyle Talbot and Phillip Reed. Others in the east include Hobart Cavanaugh, Henry Kolker, Rafaela Ottiano, Edward McWade, Walter Walker, Samuel Hinds, Willie Fung and Jameson Thomas.

Alfred E. Green directed the picture from the sereen play by Gene Markey and Kathryn Scola.

Lyle Talbot Has Had Wide Variety Of Theatre Work

If variety of experience broadens and matures an actor, Lyle. Talbot, who has the role of one of the four lovers of Barbara Stanwyck in the First

National production, “A Lost Lady,” which comes to the Nay ee UBCAtRe ON ain...

has a rich store upon which to draw in his screen portrayals.

Before: coming to Hollywood, Lyle had dipped into every branch of the show business ex- cept the circus. He had been a magician, a hypnotist’s assistant, a vaudeville performer, a side- show barker in a earnival, a stock company actor and man- ager.

He had ‘smashed’ baggage in a railroad station, had worked in a civil engineer’s office and had taken a fling at farming, besides distinguishing himself as a candy butcher in a theatre.

As one of the juniors in the law firm of which Barbara Stan- wyck’s screen husband, is the head, Talbot has one of the most sympathetic roles he has been called upon to portray. Frank Morgan, Ricardo Cortez, Phillip Reed and Hobart Cavanaugh are other important members of the cast.

The picture is based upon Willa Cather’s celebrated novel, which is a dynamie drama in which a beautiful society girl is lost in the maze of her own con- flicting love emotions. Alfred E. Green directed the production from’ the ‘screen play by Gene Markey and Kathryn Scola.

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MADE $50,000 BY A LUCKY

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These stars are appearing in “‘A Lost Lady,” First National’; dramatic picture now playing at the Strand Theatre.

Mat No. 31—20c.

Barbara Stanwyck Relaxes By Going Swimming In Pool

A daily dip in her swimming pool is a fixed part of Barbara Stanwyck’s scheme of life. She never misses it except for the best of reasons.

While working in the First National picture, “A Lost Lady,” now showin? at 2...::.. 2.2... Thea- tre, it was her invariable daily antidote for the strain and fatigue of a day’s work in front of the cameras.

Half a dozen brisk turns up and down the pool which is a dazzling feature of her Brent- wood Heights estate and all the irritation and exhaustion inevit- able as a result of hours’ of con- centrated dramatic effort in an exacting part are washed away from both her body and spirit.

In “A Lost Lady” Miss Stan- wyck has the title role, that of a beautiful girl entangled in the meshes of a strange love net. Others in the cast include Frank Morgan, Ricardo Cortez, Lyle Talbot, Phillip Reed, Hobart Cavanaugh and Henry Kolker.

The picture is based on the novel by Willa Cather and adapted. to the screen by Gene Markey and Kathryn Scola. Alfred EK. Green directed.

“Lost Lady” Written By Famous Author

“A Lost Lady,’’ Barbara Stan- wyck’s latest First National pro- duction which comes to the .......... UheatresOn =n scr ee , is regarded by many critics as the finest work from the gifted pen of Willa Cather. A Pulitzer Prize winner with an earlier story, ‘‘One of Ours,’’ Miss Cather ranks among the four or five foremost women novelists in America. ‘‘My An- tonia,’’ ‘‘Death Comes For. The Arehbishop’’ and ‘‘Shadows on the Rock’’ are other works of hers. Boe

Green Now Raises Racing Colts

Alfred E. Green, who directed Barbara Stanwyck in her latest First National production, ‘‘A Lost Lady,’’ now showing at the rats a eee Theatre, has recently succumbed to a new hobby.

On his new ranch in the San Fernando Valley not far from the First National studio, Al is oe- cupying his spare moments rais- ing thoroughbred horses. A keen- ly discriminating lover of horse- flesh for years, Al hopes eventual ly to be the proud owner of colts who will ultimately make their mark on the racetracks of the country.

Cortez Connoisseur On Pipe Tobaccos

Ricardo Cortez, who plays the debonaire villain in Barbara Stan- wyck’s latest starring vehicle for Warner Bros., ‘‘A Lost Lady,’’ now showimg: at =the -...<...0.%... Theatre, is a connoisseur on pipe tobaccos. He has blended success- ful mixtures for several of his friends.

Bees Hold Up Work On “A Lost Lady”

Production was held up for an hour during the making of ‘‘A Lost Lady’’ at the First National studios, while the property men coaxed a small aggregation of bees that had gathered among the flowers in the garden of the set representing Barbara Stanwyck’s home in the picture, to return to their open-air haunts.

The bees made so much noise, buzzing among the flower beds in front of the movie mansion, that the din was picked up by the microphone and ruined the scenes that were being made that morn- ing.

“A Lost Lady,’’ based on Willa Cather’s famous novel will be Shows atthe gree Theatre Oise ss eye

Page Nineteen

Barbara Stanwyck Says ‘Nertz’ to Movie Gossip

Star Of “A Lost Lady” Says It’s Useless To Try To Combat Hollywood Chatter

OLLYWOOD has always had its rebels, In the actress’ ranks, there have been Mabel Nor-

mand, Constance

Bennett,

Margaret Sullavan and

Katharine Hepburn, to cite but a few. These ladies always had the gift of making things exciting for their fellow work- ers, the press and the public that eagerly absorbs the vagaries

of the screen stars.

Barbara Stanwyck, now appear- ing at the eee Theatre in her latest First National picture, ‘¢A4 Lost Lady,’’ used to be in that category — but she’s a rebel no longer. Stanwyck, the tempes- tuous young star who started her Hollywood career by consigning the head of a studio to infernal regions, because she didn’t think she was getting a square deal; who battled the Hollywood press, individually and as a group be- cause she resented their ‘‘prying’’ into her private life; who, long before the Misses Hepburn and Sullavan began to air their ee- centricities on a startled public, had demanded that she be allowed to keep her private life to her- self.

Barbara no longer has a chip on her shoulder.

‘CWhat’s the use?’’ she now grins. ‘‘ Nothing I could ever say or do could change this funny town of Hollywood.

‘‘T’ve finally learned the gift of evasion.

‘CEver so often I hear a rumor that my marriage isn’t as hap. py as it should be. Instead of getting all scorched about it, as I used to, I just think ‘nertz’ to myself and laugh it off. Because I know that nothing a chatter writer can say about my marriage will change it.

‘Denials in Hollywood are ney- er believed, anyway. The only way to combat unfair gossip is to ignore it.

‘‘T appreciate the public’s in- terest in a performer,’’ continued Miss Stanwyck, ‘‘and I don’t mind having my life story, as far as it affects my screen career, broadeast to the world. I don’t mind having my right name and age published -——- and I’m glad that people are interested enough to want to know. But I still say that my personal life is my own — and it’s going to remain that way!’?

Miss Stanwyck’s latest picture, ‘*A Lost Lady,’’ is a dynamie drama with a most unusual ro- mance, based on a novel by Willa Cather. Others in the cast include Frank Morgan, Ricardo Cortez, Lyle Talbot, Phillip Reed, Hobart Cavanaugh and Henry Kclker.

Romantic

That’s what you'll call Ricardo

Cortez after you’ve seen him in

First National’s “A Lost Lady,” now at the Strand.

Mat No. 8—10c Page Twenty

Masters Of Dramatic Art

Rafaela Ottiano Has Real Gold Dollars

Rafaela Ottiano, who plays the role of Barbara Stanwyck’s nurse in the First National picture, ‘‘A Lost Lady,’’ now showing at the SAS aes Sas Re Theatre, has two gleaming dollar gold pieces, heirlooms in her family. They are treasured relics of the Gold Rush days in California, back in 1859, and were handed down to her by her grandmother, who she remem- bers wearing them from her earli- est childhood. Miss Ottiano uses

them as pendants on a neck-chain. rare,

The coins are now quite

At last, Frank Morgan gets the opportunity to be ‘heart interest’ in a picture; this time with none other than lovely Barbara Stanwyck. The film is “A Lost Lady,’ the First National drama taken from the

novel of the same name by Willa Cather.

Lyle Talbot, Ricardo

Cortez and Phillip Reed are in the cast. Mat No. 7—20e

Frank Morgan Was Dragged

From the Saddle to Stage

Masculine Lead In “A Lost Lady,” Persuaded To Quit Ranch By Brother

ECOMING an actor was an afterthought with Frank B Morgan. He turned to the theatre only after three other

voeations had failed to fold his interest. and then only after sustained, earnest persuasion by his brother, Ralph, al- ready established on the stage himself.

The man who is admittedly one of the most finished and penetrating delineators of character on the sereen, and who

reveals his abilities at their most brilliant height in his portrayal of the wealthy husband of Bar- bara Stanwyck in the First Na- tional production of ‘‘A Lost Lary,’’ which comes to the ............ Wheathesol sacs , was literally coaxed from the saddle of a west- ern ranch horse to what proved to be his rightful place behind the footlights.

When he graduated from Cor- nell, Frank’s first step was the natural one of entering business with his father.

Born a Wupperman — Morgan is a stage name — Frank had looked forward without much in- ward conflict during his college career to the day when he woult become a member of the firm which controlled, and still con- trols, the United States, Canadian and Mexican agencies for a fam- ous Bitters, manufactured for more than a hundred and twenty-

five years according to a formula

which is guarded with zealous secrecy in the island of Trinidad.

But once he had become a busi- ness man, Frank discovered that the unvarying pace and monoto- nous routine of business failed to satisfy anything in him.

He broke away from it and be- came a newspaperman. For a time he was reporter on the Boston Traveler. It proved to be more exciting but it still wasn’t what he wanted.

Following the old Horace Gree-

ley adage, he went West, donned a sombrero and chaps, and was set to become a confirmed west- erner on the Las. Vegas, N. M., ranch which had become his home.

But brother Ralph didn’t like the idea of Frank, in his early twenties, burying himself on a western ranch for the balance of his days. After eight years, Ralph’s persistence was finally re- warded. Frank climbed down out of the saddle and headed for Broadway. His first suecess was in a vaudeville skit. Then he ob- tained the leading juvenile role with Walker Whiteside in ‘‘Mr. Wu’’ and New York theatregoers knew him regularly thereafter.

During the years that followed, Frank Morgan made one or two side excursions into motion pie- tures, first with the old Vitagraph Company, later with First Na- tional.

Not until sound had revolution- ized the picture business, however, did Morgan seriously consider the possibility of becoming permanent- ly identified with the screen.

With Barbara Stanwyck and Frank Morgan in ‘‘A Lost Lady’’ which is based on Willa Cather’s celebrated novel, are Ricardo Cor- tez, Lyle Talbot, Phillip Reed and Hobart Cavanaugh. Alfred E. Green directed the production from the screen play by Gene Markey and Kathryn Scola.

Gossips Can’t Pin Love Match on Lyle Talbot

Lover In “A Lost Lady” Popular But Impartial In His Attentions

YLE Talbot is Hollywood’s socialite par excellence! In a town where one eareer is considered big enough to oceupy all of a man’s time, Lyle successfully pursues two — a sereen career and a social one — and is doing a

first-rate job of both.

He has, between his pictures at the First National studios, where he is under eontract, but few nights of leisure between

social engagements. His social calendar is nearly always full. Like a successful Broadway show, he is usually booked weeks in ad- vanee.

Plenty of personable actors in Hollywood, single or unattached, are ‘‘persona grata’’ in one or more of the numerous motion pie- ture ‘sets.’ But all doors seem to be open to Lyle Talbot. Wheth- er it’s a foursome of bridge, a modest theatre party, a dinner dance at one of the swank night clubs of the city, or an elaborate soiree at an executive’s mansion, Lyle is not only among those pres- ent, but a hostess’ favorite.

Like the impeceable diplomat that he is, he plays no favorites. He has a tireless enthusiasm for appearing wherever he may be so- cially needed that is only parall- eled by the social ubiquity of the Prinee of Wales.

‘“No wonder, when I find my- self with one of those rare eve- nings alone,’’ Lyle said during a between-scenes interval during the production of ‘‘A Lost Lady,’’ now showing at the ............0.00. Theatre, ‘‘I relish the idea of curl- ing up in an easy chair with an

interesting volume and a pipe, and relaxing completely.’’

Hollywood’s matchmakers have been trying, ever since Lyle Tal- bot came to filmland, to link his name romantically with this or that star, some social belle or an- other, a debutante with whom he has dined or gone to the theatre, a visiting noblewoman from EHu- rope — and all in vain. Lyle is gallant to all and devoted to none.

He has no radical views on the subjeet, one way or the other. In practice, Lyle confines his love- making to pictures, and lets it go at that.

In ‘‘A Lost Lady,’’ Lyle plays the role of an unsuccessful suitor of Barbara Stanwyck, the star. The picture is a most unusual ro- mance in which a beautiful young girl is lost in the maze of her own inscrutable love emotions. It is based on Willa Cather’s popular novel and adapted to the screen by Gene Markey and Kathryn Seola. In the supporting east are Frank Morgan, Ricardo Cortez, Phililp Reed, Hobart Cavanaugh and others. Alfred E. Green di- rected.

Barbara Stanwyck Again Remodeling Her Estate

Star Of “A Lost Lady” Rebuilding Home For Third Time In Two And A Half Years

OR the third time in two and a half years, Barbara Stan- F wyck, star of the First National production, ‘*A Lost

Lady, 2 which comes 10. the. oo cs a oe Theatre Oi ote a . is remodeling her Hollywood home.

The house and the grounds of her Brentwood estate have been torn up and ‘‘under construction’’ more than half the time she and her husband, Frank Fay, have lived there.

Planning, remodeling and re- building that house has been one of Miss Stanwyek’s principal hob- bies ever since she has had it. She changed it some immediately after the place was presented to her one Christmas morning and before she actually moved in.

Then she lived there a few months and decided on a complete remodeling. This was halted, tem- porarily, when the Fays decided suddenly to take the little red- headed boy they have named ‘¢Pion’’ into their home. All re- building plans were shunted aside while a nursery was added hastily to the second floor.

Letting the house rest for the time, Miss Stanwyck turned her attention to the gardens and grounds. A huge swimming pool was constructed on an adjoining lot, the whole estate was enclosed behind a white wall, and a gym- nasium and party house was add- ed.

Now the house is being enlarged and a tennis court is being added.

In ‘6A Lost Lady’’ Miss Stan- wyck has the title role, that of a beautiful girl entangled in the meshes of a strange love net. Others in the cast include Frank Morgan, Rieardo Cortez, Lyle Tal- bot, Phillip Reed, Hobart Cavan- augh and Henry Kolker.

The picture is based on the pop- ular novel by Willa Cather and

RICARDO

Mat No. 19

adapted to the screen by Gene Markey and Kathryn Scola.

Ricardo Cortez Never Kept Scrap Book

Ricardo Cortez, who plays a dashing lover role in Barbara Stan- wyck’s latest First National pro- duction, ‘A Lost Lady,’’ which comes: tothe. a Theatre ONS a aincsce ets , differs from the layman’s conception of the aver- age actor. He has never kept a

CORTEZ

10¢

serap-book of press clippings, has no idea of the number of pic- tures he has appeared in, and has no patience with members of his eraft who enjoy dwelling on their past performances.

‘©Ag goon as a picture is com- pleted, I cease to be interested in it,’? he said ‘‘Good or bad, there’s nothing that can be done about it. I’m interested only in what is coming uest.’’

Interesting Items To Plant With Your Women’s Page Editor

Barbara Stanwyck Shows Startling Dress Creations

Star of “A Lost Lady” Introduces New Styles In Dramatic Romance

High, wide and handsome are the necklines on the gowns worn by Barbara Stanwyck in her new picture ‘‘A Lost Deus. ening. oe tO tiites See oe Theatre.

Orry-Kelly, designer of costumes worn in First National films, achieved his intended effect in a score of novel ways, all as flattering as they were practical.

Even the most elaborate even- ing gowns showed the new treat- ment of decolletage. Two crea- tions of brilliantly colored lame had simple clerical lines relieved in one case by a low V back, and in the other with a slash reach- ing from the neckband to the waist.

One of Miss Stanwyck’s love- liest dresses was ivory tulle, with yards and yards of lace edged frills set in a cascade at the back of the trailing skirt. This dress has a high circular neckline edged with a narrow ruffle, which was repeated about six inches below to suggest a yoked bodice.

Many scenes in the picture take place in the landscaped gar- dens, and on these occasions she wore ankle length gowns of em- broidered transparent materials in pastel colors.

Lemon yellow flat chiffon em- broidered in white wool yarn made a particularly attractive style. The belt and hat band were especially striking. They were made of cotton rope, also set in a cireular band around the fitted neck of the gown.

Another gown of much the same type is fashioned in semi fitted lines, its erisp organdy contrasted with the scrolled met- al threads which form an all- over design.

Of course Miss Stanwyck’s sereen wardrobe for the picture included a large number of more or less tailored outfits, each of

which show new and_ varied treatments at the neckline.

Outstanding is a navy and white sports suit, dark skirt and white twill jacket that showed a square neck cut two inches be- low the collar bone. A brightly colored scarf, however, is at- tached to the jacket and looped under the front fastening of the Mat No. 23—10e coat.

Miss Stanwyck wears a formal after-

noon suit showing a rustic influence.

It is of desert tan wool and the coat

is fastened by large wool buttons at the side.

Above, at the left, Miss Stan- wyck is seen wearing a lovely gown of wine red crepe. ar- tistically draped into a hostess gown—the sole trim being a bow of velvet to match at the neckline. .

One-column illustration ‘of Miss Stanwyck, seen above. is available. Order Mat No. 25—10c.

A walking suit in brown and tan wool

is the unusual model worn by Barbara

Stanwyck above. The _ three-quarter

sleeves of the coat and the gold buckle

fastenings at the front give a swagger effect.

Mat No. 20—10c

Gowns MustExpressDrama, Declares Style Creator

Orry-Kelly Designs Costumes To Reflect Screen Moods Of Picture Star

It is the contention of Orry-Kelly, famous designer of gowns for all the Warner Bros.-First National stars, that an actress must sense a dramatic effect in her costumes. Con- sequently, for ‘‘A Lost Lady,’’ taken from best seller of Willa Cather, famous Pulitzer Prize winner, Barbara Stanwyck, has a wardrobe that reflects her every mood.

In “A Lost Lady,” Miss Stan- wyeck portrays the role of a charming society girl of cultural background, lost in a maze of her own conflicting emotions. The drama, which gives the charming star her greatest his- trionic opportunity, will open at henea see ae Theatre ON csiarcade ;

Consequently, the style creator drew more than forty sketches, each of which was shown to the actress who was asked to de- seribe her own reactions to them. In this way they achieved the artorial perfection which is dis- played in the picture.

It is the job of every good designer to know at what point to emphasize and overemphasize. For instance, for one important seene Orry-Kelly thought it necessary to frame Miss Stan- wyck’s face so that even the slightest expression might be de- tected. This was no simple task as the seript called for a fall evening gown. But here is how the striking effect was achieved. The gown was created in lustre- less black velvet which was brought into large petal ruffles to form a short sleeve, the neck- line was cut very low in front

. and then wonder of wonders —a double circular ruffle of the velvet was lined in soft silver satin and caught with a four strand pearl choker, forming a ruff that framed the face. The result is one of the most unusual fashion items to come out of Hollywood this fall.

In the picture Miss Stanwyck plays the part of a woman who falls in love with four men but only one of whom loves her. It is a powerful tale of blasted hopes, ideals and self sacrifice. The actress is ably supported by Frank Morgan, Ricardo Cortez, Lyle Talbot and Phillip Reed.

Loveliest of fall evening gowns is this

black velvet model worn by Barbara

Stanwyck. The ruffle at the meck and

sleeves lends a suggestion of the tropi- cal to a winter creation.

Mat No. 22—10c

Page Twenty-one

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Here is a story of love, of disillusion, of hopes buried and ideals crushed; a story, too, of sacrifice, of devotion, of unself- ishness. It is a story of three men, and a woman who loved them all, each in a different way, each in his turn; but only one of whom loved her.

Taken from the best seller by the world famous novelist, Willa Cather, “A Lost Lady’ presents Barbara Stanwyck in her finest dramatic opportunity and, with a magnificent cast of noted film players, provides wonderful en- tertainment.

Less than 48 hours before her marriage, Marian Ormsby (play- ed by Miss Stanwyck) is in- formed that her fiance, Ned Montgomery (Phillip Reed) has been killed by the husband of a woman with whom he has been having an affair.

Shattered in body, mind and spirit by the tragedy, Marian is sent to the mountains by her uncle (Henry Kolker) but re- mains apathetic. Falling down a canyon she is rescued by Daniel Forrester (Frank Morgan), a leading corporation lawyer, who falls in love with her.

Marian offers to marry him on conditions that honesty, rather than love, shall guide their home, as she believes she can never love again.

The couple are happy enough until Ellinger (played by Ricardo Cortez) an aviator, lands his air- plane in the garden of Marian’s home, and even while she is scolding him for trespassing, kisses her. Marian recognizes

Seo Barbara Stanwyck cee Pe ee Frank Morgan SARS Soin 5 acco ees Rieardo Cortez Ry eS a a Sate Lyle Talbot Ss Phillip Reed iewho Dina as Hobart Cavanaugh We ewe Sey aan eres oo Henry Kolker a ee Rafaela Ottiano poe oe ee ee Edward MceWade Ri ee es Walter Walker PE, Ree ea eee Samuel Hinds Pe SA Pee ans yee Willie Fung One Sees eee Jameson Thomas

the fact that she is in love again, and finally tells the story to

Forrester. He is stunned by the blow, but hides his chagrin until one day he is brought home, stricken down with a heart at- tack.

Despite [Ellinger’s insistent pleadings, Marian sends him away and nurses her husband through long months of illness. cne day she learns, through a newspaper story, that Ellinger ig about to marry a wealthy San Franciso girl, She calls him by long distance telephone and pleads with him not to marry the girl, offering to come to him

at once. The man hangs up his receiver in the midst of her pleading.

On the night of her husband’s death, as Marian realizes the end is near, she begins to understand the measure of his devotion to her and suddenly knows she leves him. He dies with her kiss on his lips and the assurance of her love in his heart. Marian suddenly finds herself at peace.

Ellinger turns up a few months later, nonchalantly announces that he is divorcing his wife and endeavors to take up his affair with Marian, where he broke it off. Marian, at peace with her- self, and inspired by the love for her husband she discovered too late, sends Ellinger away.

Alfred E. Green, who directed “A Lost Lady” has made the most of the remarkable material of the novel and is considered to have made, in this drama, his finest picture play in recent

years.

Rieardo Cortez

Ricardo Cortez was born in Vienna but moved to New York with his parents when three years of age. He received his early education there and then entered a brokerage office as a messenger boy. He was always interested in the theatre and spent all his spare pennies for seats in the peanut gallery.

His first chance to play before the footlights came when he got a job as a super in a theatrical spectacle. Then he was given work as fly boy in a Forty-First Street Theatre. An advertise- ment for extras at a Fort Lee studio caught his eye. He ap- plied and got a job.

Cortez quickly advanced from extra to bit parts and finally to leading roles. He was Garbo’s leading man in her first feature, “The Torrent.” When the talkies came in he was even in more de- mand than in the silent pictures, having an exeellent speaking voice. His more recent pictures include “The Man With Two Faces,” “Mandalay,” “Wonder Bar,” “The Big Shakedown,” “The House on 56th Street” and “Big Executive.”

His current production, “A Lost Lady” comes to the ......... 5 Se Theatre -on-=...::Gaaeqns

Frank Morgan

Frank Morgan was born in New York City and after at- tending boarding school went to Cornell University where he was graduated in 1912.

Morgan started in business with his father, but was bitten by wanderlust, first going to Bos- ton as a reporter on the Boston Traveler and later wandering down to Las Vegas, New Mexico, where he learned to rope and brand cattle on a ranch.

His brother, Ralph, persuaded him to try the stage. He first broke into vaudeville and later appeared on Broadway in dra- matie productions, his most no- table plays being “Mr. Wu” and “Topaze.” His picture career started with the Vitagraph Com- pany in the silent days. Later he returned to the stage and did not appear again in pictures un- til the “talkies” developed.

Morgan’s more recent pictures inelude “The World Moves On,” “Sisters Under the Skin,” “There’s Always Tomorrow,” “The Affairs of Cellini,’ “Half Naked Truth” and “When Ladies Meet.” His latest porduction is “A Lost Lady,” the First Na- tional picture starring Barbara Stanwyck, which comes to the epee PROGEIG SON. sn,

This looks as if it were going to be a very dramatic scene. The characters seen above are Barbara Stanwyck and Ricardo Cortez and the film is “A Lost Lady,” First National drama coming to the

Strand.

Lyle Talbot, Frank Morgan and Phillip Reed are included

in Miss Stanwyck’s great supporting cast. Mat No. 5—20¢

Author Screen play by Photography by Film Editor Art Director Gowns by

EF ih gent Alfred E. Green SE LTRS ATE SR Willa Cather ees. oe ee Gene Markey and Kathryn Scola

Ss Deion SH Sid Hickox hi, ae ae. Owen Marks EOP ne Re ee Jack Okey Se chip Hit ee ee a Orry-Kelly

OFFICIAL BILLING

AS Leo F. Forbstein

BARBARA STANWYCK 100%

“A LOST LADY’”’ 100%

a By Willa Cather 10% sara with

Frank Morgan — Ricardo Cortez 715%

Lyle Talbot — Phillip Reed — Hobart Cavanaugh 40%

Directed by Alfred E. Green 20%

First National Productions Corp’n. Picture 40%

Page Twenty-two

Phillip Reed

Phillip Reed, the handsome six footer plus, who was recently imported to Hollywood from the New York stage, was born in New York City and educated at the Erasmus Hall High School in Brooklyn, from which were grad- uated Barbara Stanwyck, Jane Cowl, Katherine Cornell, Verree Teasdale, Ricardo Cortez and other screen and stage notables.

He went to Cornell to study engineering but quit at the end of his Freshman year to join a Hoboken, N. J. stock company. After a year in stock and vaude- ville, James Cagney, then a hoof- er, got him a job with the com- pany in which he was playing, “The Grand Street Follies.”

Later he made a hit on Broad- way in “Grand Hotel,” “Ziegfeld Follies of 1931,” “Serena Blan- dish” and last season in “Mel- ody,” the George White musical show.

His pictures include “British Agent,” “Dr. Monica,” “Jimmy The Gent,” “Registered Nurse,” “Gambling Lady” and his cur- rent production, “A Lost Lady,” now showing at the 0.0.00... Theatre.

BARBARA STANWYCK — “Gambling Lady,” “Ever In My Heart,” “Baby Face,” “Ladies They Talk About,” “The Purchase Price,” “So Big.”

FRANK MORGAN—“The World Moves On,’ “Sisters Under the

Skin,’ “There’s Always To- morrow,” “The Affairs of Cellini.”

RICARDO CORTEZ—“The Man with Two Faces,” “Mandalay,” “Wonder Bar,” “The House on 56th Street,” “The Big Shake- down.”

LYLE TALBOT—‘The Dragon Murder Case,” “Return of the Terror,” “Fog Over Frisco,” “Registered Nurse,’ “Heat Lightning.”

PHILLIP REED~— British Agent,” “Dr. Monica,” “Jimmy, the Gent,” “Registered Nurse,” “Gambling Lady,” “Journal of a Crime.”

HOBART CAVANAUGH—“Kan- sas City Princess,” “Madame Du Barry,’’ “Housewife,”

Lyle Talbot

Lyle Talbot was born in Pitts- burgh of a theatrical family and began his stage career at the age of sixteen in his father’s stock company.

After appearing in stock and in the Little Theatre field for several years, he was signed by Warner Bros. for a role with Douglas Fairbanks, Jr., in “Love Is A Racket.”

Since then he has enacted prominent parts in such pictures as “The Dragon Murder Case,” “Return of the Terror,” “Fog Over Frisco,” “Registered Nurse,” “Heat Lightning,” “Mandalay,” “College Coach,” “Havana Wid- ows,” “Mary Stevens, M. D.” and “adies They Talk About.”

His present picture is “A Lost Lady,” which comes to the ..... es re ae Theatres ON =. swag...

Hobart Cavanaugh

Hobart Cavanaugh was born in Virginia City, Nevada, but went to California with his parents at an early age. He attended school in San Francisco and the Univer- sity of California, after which he went on the stage.

He road-showed all up and down the West Coast in “Check- ers” which Jimmy Gleason had bequeathed him from the season before. Then he went to New York and was soon on Broadway in such plays as “Irene,” “Tan- gerine,’ “The Nervous Wreck,” “Danger,” “Kibitzer,” “Remote Control” and “Tomorrow and To- morrow.”

Then he returned to California where he played in “Broadway” and “The Show Off.” At this time he was given a contract by Warner Bros.

His pictures incluude “Kansas City Princess,’ “Housewife,” “Wonder Bar,’ “The Key,” “A Modern Hero,’ “Harold Teen,” “A Very Honorable Guy,” “Jim- my, The Gent,’ “I’ve Got Your Number,” “Mandalay,” “Merry Wives of Reno,’ “Convention City,” “Hi, Nellie!” “Easy To Love” and “The Kennel Murder Case.” He is now appearing in “A Lost Lady” at the=:..........:5;: Theatre.

SCREEN ALCORDS

“Wonder Bar,” “The Key,” “A Modern Hero.”

HENRY KOLKER — “Wonder Bar,” “I’ve Got Your Number,” “Journal of a Crime,” “Bureau of Missing Persons,’ “The Narrow Corner.”

RAFAELA OTTIANO — “Man- dalay,” “As You Desire Me,” “Female,” “She Done Him Wrong,” “Of Human Bondage,” “Ann Vickers.”

EDWARD McWADE—‘Journal of a Crime,” “Employees’ En- trance,” “Big City Blues,” “High Spot,” “Two Seconds,” “The Crowd Roars.”

WALTER WALKER — “The House on 56th Street,” “Bed- side,’ “Female,” “Mary Stev- ens, M. D.,” “I Loved a Wom- an,” “Hard To Handle.”

SAMUEL HINDS—“He Was Her Man,” “Son of a Sailor.”

ALFRED E. GREEN (director) —‘Housewife,” “The Merry Frinks,” “Side Street,” “As the Earth Turns,” “I Loved a Woman.”