Description: 1927 PARAMOUNT PICTURE MOVIE THEATRE BEAU GESTE WALLACE BERRY HATTON AD 28685 DATE OF THIS ** ORIGINAL ** ILLUSTRATED COVER: 1927SPECIAL CHARACTERISTICS/DESCRIPTIVE WORDS: Paramount Pictures Corporation is an American film and television production and distribution company and the main namesake division of Paramount Global (formerly ViacomCBS). It is the fifth-oldest film studio in the world, the second-oldest film studio in the United States (behind Universal Pictures), and the sole member of the "Big Five" film studios located within the city limits of Los Angeles. In 1916, film producer Adolph Zukor put 24 actors and actresses under contract and honored each with a star on the logo. In 1967, the number of stars was reduced to 22 and their hidden meaning was dropped. In 2014, Paramount Pictures became the first major Hollywood studio to distribute all of its films in digital form only. The company's headquarters and studios are located at 5555 Melrose Avenue, Hollywood, California. Paramount Pictures is a member of the Motion Picture Association (MPA). History Famous Players Film Company Paramount is the fifth oldest surviving film studio in the world; after the French studios Gaumont Film Company (1895) and Pathé (1896), Titanus (1904), followed by the Nordisk Film company (1906), and Universal Studios (1912). It is the last major film studio still headquartered in the Hollywood district of Los Angeles. Paramount Pictures dates its existence from the 1912 founding date of the Famous Players Film Company. Hungarian-born founder Adolph Zukor, who had been an early investor in nickelodeons, saw that movies appealed mainly to working-class immigrants. With partners Daniel Frohman and Charles Frohman he planned to offer feature-length films that would appeal to the middle class by featuring the leading theatrical players of the time (leading to the slogan "Famous Players in Famous Plays"). By mid-1913, Famous Players had completed five films, and Zukor was on his way to success. Its first film was Les Amours de la reine Élisabeth, which starred Sarah Bernhardt. That same year, another aspiring producer, Jesse L. Lasky, opened his Lasky Feature Play Company with money borrowed from his brother-in-law, Samuel Goldfish, later known as Samuel Goldwyn. The Lasky company hired as their first employee a stage director with virtually no film experience, Cecil B. DeMille, who would find a suitable site in Hollywood. This place was a rented old horse barn converted into a production facility with an enlarged open-air stage located between Vine Street, Selma Avenue, Argyle Avenue and Sunset Boulevard. It was later known as the Lasky-DeMille Barn. In 1914, their first feature film, The Squaw Man was released. On May 8, 1914, Paramount Pictures Corporation (previously known as Progressive Pictures) was founded by a Utah theatre owner, W. W. Hodkinson, who had bought and merged five smaller firms. On May 15, 1914, Hodkinson signed a five-year contract with the Famous Players Film Company, the Lasky Company and Bosworth, Inc. to distribute their films. Actor, director and producer Hobart Bosworth had started production of a series of Jack London movies. Paramount was the first successful nationwide distributor; until this time, films were sold on a statewide or regional basis which had proved costly to film producers. Also, Famous Players and Lasky were privately owned while Paramount was a corporation. Famous Players-Lasky In 1916, Zukor engineered a three-way merger of his Famous Players, the Lasky Company, and Paramount. Zukor and Lasky bought Hodkinson out of Paramount, and merged the three companies into one. The new company Lasky and Zukor founded on June 28, Famous Players-Lasky Corporation, although it continued to use the name "Paramount" as well. As a result, it became he largest film company at the time with a value of $12.5 million. The corporation was able to grow quickly, with Lasky and his partners Goldwyn and DeMille running the production side, Hiram Abrams in charge of distribution, and Zukor making great plans. With only the exhibitor-owned First National as a rival, Famous Players-Lasky and its "Paramount Pictures" soon dominated the business. The fusion was finalized on November 7, 1916. Because Zukor believed in stars, he signed and developed many of the leading early stars, including Mary Pickford, Marguerite Clark, Pauline Frederick, Douglas Fairbanks, Gloria Swanson, Rudolph Valentino, and Wallace Reid. With so many important players, Paramount was able to introduce "block booking", which meant that an exhibitor who wanted a particular star's films had to buy a year's worth of other Paramount productions. It was this system that gave Paramount a leading position in the 1920s and 1930s, but which led the government to pursue it on antitrust grounds for more than twenty years. By the mid-1920s, the old Lasky-DeMille barn property was not big enough to handle all of the studios' West Coast productions. On January 5, 1926, Lasky reached an agreement to buy the Robert Brunton Studios, a 26-acre facility owned by United Pictures and located at 5451 Marathon Street, for US$1 million. On March 29, the company began an eight-month building program to renovate the existing facilities and erect new ones. On May 8, Lasky finally moved operations from the Sunset and Vine lot to the new building. At present, those facilities are still part of the Paramount Pictures headquarters. Zukor hired independent producer B. P. Schulberg, an unerring eye for new talent, to run the new West Coast operations. On April 1, 1927, the company name was changed to Paramount Famous Lasky Corporation. In September 1927, the Paramount Famous Lasky Corporation studio in Astoria (New York City) was temporarily closed with the objective of equipping it with the technology for the production of sound films. In the same year, Paramount began releasing Inkwell Imps, animated cartoons produced by Max and Dave Fleischer's Fleischer Studios in New York City. The Fleischers, veterans in the animation industry, were among the few animation producers capable of challenging the prominence of Walt Disney. The Paramount newsreel series Paramount News ran from 1927 to 1957. Paramount was also one of the first Hollywood studios to release what were known at that time as "talkies", and in 1929, released their first musical, Innocents of Paris. Richard A. Whiting and Leo Robin composed the score for the film; Maurice Chevalier starred and sang the most famous song from the film, "Louise". Publix, Balaban and Katz, Loew's competition and wonder theaters The driving force behind Paramount's rise was Zukor. He built a chain of nearly 2,000 screens, ran two production studios (in Astoria, New York, now the Kaufman Astoria Studios, and Hollywood, California), and became an early investor in radio, acquiring for the corporation a 50% interest in the new Columbia Broadcasting System in 1928 (selling it within a few years; this would not be the last time Paramount and CBS crossed paths). By acquiring the successful Balaban & Katz chain in 1926, Zukor gained the services of Barney Balaban (who would eventually become Paramount's president in 1936), his brother A. J. Balaban (who would eventually supervise all stage production nationwide and produce talkie shorts), and their partner Sam Katz (who would run the Paramount-Publix theatre chain in New York City from the thirty-five-story Paramount Theatre Building on Times Square). Balaban and Katz had developed the Wonder Theater concept, first publicized around 1918 in Chicago. The Chicago Theater was created as a very ornate theater and advertised as a "wonder theater". When Publix acquired Balaban, they embarked on a project to expand the wonder theaters, and starting building in New York City in 1927. While Balaban and Public were dominant in Chicago, Loew's was the big player in New York City, and did not want the Publix theaters to overshadow theirs. The two companies brokered a non-competition deal for New York City and Chicago, and Loew's took over the New York City area projects, developing five wonder theaters. Publix continued Balaban's wonder theater development in its home area. On April 24, 1930, Paramount-Famous Lasky Corporation became the Paramount Publix Corporation. 1920s and 1931–40: Receivership and reorganization Eventually, Zukor shed most of his early partners; the Frohman brothers, Hodkinson and Goldwyn were out by 1917 while Lasky hung on until 1932, when, blamed for the near-collapse of Paramount in the Great Depression years, he too was tossed out. In 1931, to solve the financial problems of the company Zukor hired John D. Hertz as chairman of the finance committee in order to assist vice-president and treasurer Ralph A. Kohn. However, on January 6, 1933, Hertz resigned from his position when it become evident that his measures to lift the company had failed. The over-expansion and use of overvalued Paramount stock for purchases created a $21 million debt which led the company into receivership on January 26, 1933[ and later filing bankruptcy on March 14, 1933. On April 17, 1933, bankruptcy trustees were appointed and Zukor lost control of the company. The company remained under the control of trustees for more than a year in order to restructure the debt and pursue a reorganization plan. On December 3, 1934, the reorganization plan was formally proposed. After prolonged hearings in court, final confirmation was obtained on April 25, 1935, when Federal Judge Alfred C. Coxe Jr. approved the reorganization of the Paramount-Publix Corporation under Section 77-B of the Bankruptcy Act. On June 4, 1935 John E. Otterson became president of the re-emerged and newly renamed Paramount Pictures Inc. Zukor returned to the company and was named production chief but after Barney Balaban was appointed president on July 2, 1936, he was soon replaced by Y. Frank Freeman and symbolically named chairman of the board On August 28, 1935, Paramount Pictures was re-listed on the New York Stock Exchange and after the company was under Balaban's leadership, the studio was successfully relauched. As always, Paramount films continued to emphasize stars; in the 1920s there were Gloria Swanson, Wallace Reid, Rudolph Valentino, Florence Vidor, Thomas Meighan, Pola Negri, Bebe Daniels, Antonio Moreno, Richard Dix, Esther Ralston, Emil Jannings, George Bancroft, Betty Compson, Clara Bow, Adolphe Menjou, and Charles Buddy Rogers. By the late 1920s and the early 1930s, talkies brought in a range of powerful draws: Richard Arlen, Nancy Carroll, Maurice Chevalier, Gary Cooper, Marlene Dietrich, Charles Ruggles, Ruth Chatterton, William Powell, Mae West, Sylvia Sidney, Bing Crosby, Claudette Colbert, the Marx Brothers, W.C. Fields, Fredric March, Jack Oakie, Jeanette MacDonald (whose first two films were shot at Paramount's Astoria, New York, studio), Carole Lombard, George Raft, Miriam Hopkins, Cary Grant and Stuart Erwin, among them. In this period Paramount can truly be described as a movie factory, turning out sixty to seventy pictures a year. Such were the benefits of having a huge theater chain to fill, and of block booking to persuade other chains to go along. In 1933, Mae West would also add greatly to Paramount's success with her suggestive movies She Done Him Wrong and I'm No Angel. However, the sex appeal West gave in these movies would also lead to the enforcement of the Production Code, as the newly formed organization the Catholic Legion of Decency threatened a boycott if it was not enforced. Paramount cartoons produced by Fleischer Studios continued to be successful, with characters such as Betty Boop and Popeye the Sailor becoming widely successful. One Fleischer series, Screen Songs, featured live-action music stars under contract to Paramount hosting sing-alongs of popular songs. The animation studio would rebound with Popeye, and in 1935, polls showed that Popeye was even more popular than Mickey Mouse. After an unsuccessful expansion into feature films, as well as the fact that Max and Dave Fleischer were no longer speaking to one another, Fleischer Studios was acquired by Paramount, which renamed the operation Famous Studios. That incarnation of the animation studio continued cartoon production until 1967, but has been historically dismissed as having largely failed to maintain the artistic acclaim the Fleischer brothers achieved under their management. Beau Geste is an adventure novel by British writer P. C. Wren, which details the adventures of three English brothers who enlist separately in the French Foreign Legion following the theft of a valuable jewel from the country house of a relative. Published in 1924, the novel is set in the period before World War I. It has been adapted for the screen several times. Plot summary Michael "Beau" Geste is the protagonist. The main narrator is his younger brother John. The three Geste brothers are portrayed as behaving according to the English upper-class values of a time gone by. The Geste siblings are orphans and have been brought up by their aunt Lady Patricia at Brandon Abbas. The rest of Beau's band are mainly Isobel and Claudia (possibly the illegitimate daughter of Lady Patricia) and Lady Patricia's relative Augustus (the caddish nephew of the absent Sir Hector Brandon). While not mentioned in Beau Geste, the American Otis Vanbrugh appears as a friend of the Geste brothers in a sequel novel. John and Isobel are devoted to each other, and it is in part to spare her any suspicion of being a thief that he takes the extreme step of joining the French Foreign Legion (following in the steps of his elder brothers). The inciting incident is the disappearance of a precious jewel known as the "Blue Water". Suspicion falls on the band of young people, and Beau leaves England to join the French Foreign Legion in Algeria, followed by his brothers, Digby (his twin) and John. After recruit training in Sidi Bel Abbes and some active service skirmishing with tribesmen in the south, Beau and John are posted to the small garrison of the fictional desert outpost of Fort Zinderneuf, while Digby and his American friends Hank and Buddy are sent to Tanout-Azzal to train with a mule mounted company. The commander at Fort Zinderneuf (after the death of two more senior officers) is the sadistic Sergeant Major Lejaune, who drives his abused subordinates to the verge of mutiny. An attack by Tuaregs prevents mutiny and mass desertion (only the Geste brothers and a few loyalists are against the plot). Throughout the book, Beau's behaviour is true to France and the Legion, and he dies at his post. Digby, Hank and Buddy arrive with a relief column from Tokotu that reaches Fort Zinderneuf too late. Together with John (the last man left standing at Zinderneuf) they desert and experience a long trek during which Digby is killed in a skirmish with Arabs. After becoming separated from his friends Hank and Buddy in the desert, John returns to Brandon Abbas. The last survivor of the three brothers, he is welcomed by their aunt and his fiancée Isobel. In a letter from Beau delivered by John to Aunt Patricia, the reason for the jewel theft is revealed to have been to prevent Aunt Patricia's exposure for having secretly sold the jewel to enable her to extend relief to Sir Hector's exploited tenants. In Beau Ideal and other sequels P. C. Wren ties loose strings together, including recording that Michael Geste's original reasons for joining the Foreign Legion were not only honour but also his doomed and impossible love for Claudia. The French officer of Spahis Major de Beaujolais, who commands the relief column at Fort Zinderneuf, is the narrator of Wren's subsequent novel Beau Sabreur. Title The phrase "beau geste" (pronounced [bo ??st]) is from the French, meaning "a gracious (or fine) gesture". However, several references in the novel allude to the fact that the name can be taken to mean 'joke', or 'humorous remark' suggest that it is pronounced like English 'jest'. In French, the phrase includes the suggestion of a fine gesture with unwelcome or futile consequences,[and an allusion to the chanson de geste, a literary poem celebrating the legendary deeds of a hero. Sequels P. C. Wren wrote the sequels Beau Sabreur (1926) (in which the narrator is a French officer of Spahis who plays a secondary role in Beau Geste) and Beau Ideal (1927). In this third volume Wren details what happened the night of the theft of the Blue Water. He also wrote Good Gestes, a collection of short tales (about half of them about the Geste brothers and their American friends Hank and Buddy, who also feature prominently in Beau Sabreur and Beau Ideal) and Spanish Maine (UK) (The Desert Heritage (US)), where loose ends are tied up and the successive tales of John Geste's adventures come to an end. Life in the Foreign Legion is also represented in some, but not all, of Wren's subsequent novels: Port O'Missing Men, Soldiers of Misfortune, Valiant Dust, Dead Men's Boots, Flawed Blades (which includes also two short tales of the Geste brothers in the Legion pre-Zinderneuf), The Wages of Virtue, Stepsons of France, and The Uniform of Glory. Analysis The original novel, on which the various films are more or less loosely based, provides a detailed and fairly authentic description of life in the pre-1914 Foreign Legion, which has led to (unproven) suggestions that P. C. Wren himself served with the Legion. Before he became a successful writer Wren's recorded career was that of a school teacher in India. Wallace Fitzgerald Beery (April 1, 1885 – April 15, 1949) was an American film and stage actor. He is best known for his portrayal of Bill in Min and Bill (1930) opposite Marie Dressler, as General Director Preysing in Grand Hotel (1932), as Long John Silver in Treasure Island (1934), as Pancho Villa in Viva Villa! (1934), and his titular role in The Champ (1931), for which he won the Academy Award for Best Actor. Beery appeared in some 250 films during a 36-year career. His contract with Metro-Goldwyn-Mayer stipulated in 1932 that he would be paid $1 more than any other contract player at the studio. This made Beery the highest-paid film actor in the world during the early 1930s. He was the brother of actor Noah Beery and uncle of actor Noah Beery Jr. For his contributions to the film industry, Beery was posthumously inducted into the Hollywood Walk of Fame with a motion-picture star in 1960. His star is located at 7001 Hollywood Boulevard. Early life Beery was born the youngest of three boys in 1885 in Clay County, Missouri, near Smithville. The Beery family left the farm in the 1890s and moved to nearby Kansas City, Missouri, where the father was a police officer. Beery attended the Chase School in Kansas City and took piano lessons, as well, but showed little love for academic matters. He ran away from home twice, the first time returning after a short time, quitting school and working in the Kansas City train yards as an engine wiper. Beery ran away from home a second time at age 16, and joined the Ringling Brothers Circus as an assistant elephant trainer. He left two years later, after being clawed by a leopard. Career Early career Wallace Beery joined his older brother Noah in New York City in 1904, finding work in comic opera as a baritone, and began to appear on Broadway and in summer stock theatre. He appeared in The Belle of the West in 1905. His most notable early role came in 1907 when he starred in The Yankee Tourist to good reviews.[4] Comedy film star – Essanay Studios In 1913, he moved to Chicago to work for Essanay Studios. His first movie was likely a comedy short, His Athletic Wife (1913). Beery was then cast as Sweedie, a Swedish maid character he played in drag in a series of short comedy films from 1914 to 1916. Sweedie Learns to Swim (1914) co-starred Ben Turpin. Sweedie Goes to College (1915) starred Gloria Swanson, whom Beery married the following year. Other Beery films (mostly shorts) from this period included In and Out (1914), The Ups and Downs (1914), Cheering a Husband (1914), Madame Double X (1914), Ain't It the Truth (1915), Two Hearts That Beat as Ten (1915), and The Fable of the Roistering Blades (1915). The Slim Princess (1915), with Francis X. Bushman, was one of his earliest feature-length films. Beery also did The Broken Pledge (1915) and A Dash of Courage (1916), both with Swanson. Beery was a German soldier in The Little American (1917) with Mary Pickford, directed by Cecil B. De Mille. He did some comedies for Mack Sennett, Maggie's First False Step (1917) and Teddy at the Throttle (1917), but he gradually left that genre and specialized in portrayals of villains prior to becoming a major leading man during the sound era. Villainous roles In 1917, Beery portrayed Pancho Villa in Patria at a time when Villa was still active in Mexico. (Beery reprised the role 17 years later in Viva Villa!.) Beery was a villainous German in The Unpardonable Sin (1919) with Blanche Sweet. For Paramount, he did The Love Burglar (1919) with Wallace Reid; Victory (1919), with Jack Holt; Behind the Door (1919), as another villainous German; and The Life Line (1919) with Holt. Beery was the villain in five major releases in 1920: 813; The Virgin of Stamboul for director Tod Browning; The Mollycoddle with Douglas Fairbanks, in which Fairbanks and Beery fistfought as they tumbled down a steep mountain (see the photograph in the gallery below); and in the noncomedic Western The Round-Up starring Roscoe Arbuckle as an obese cowboy in a well-received serious film with the tagline "Nobody loves a fat man." Beery continued his villainy cycle that year with The Last of the Mohicans, playing Magua. Beery had a supporting part in The Four Horsemen of the Apocalypse (1920) with Rudolph Valentino. He was a villainous Tong leader in A Tale of Two Worlds (1921), and was the bad guy again in Sleeping Acres (1922), Wild Honey (1922), and I Am the Law (1922), which also featured his brother Noah Beery Sr. Historical films Beery had a large then-rare heroic part as King Richard I (Richard the Lion-Hearted) in Robin Hood (1922), starring Douglas Fairbanks as Robin Hood. The lavish movie was a huge success and spawned a sequel the following year starring Beery in the title role of Richard the Lion-Hearted. Beery had an important unbilled cameo as "the Ape-Man" in A Blind Bargain (1922) starring Lon Chaney (Beery is seen crouching, in full ape-man make-up, in the background of some of the movie's posters), and a supporting role in The Flame of Life (1923). He played another historical king, King Philip IV of Spain in The Spanish Dancer (1923) with Pola Negri. Beery starred in an action melodrama, Stormswept (1923) for FBO Films alongside his elder brother, Noah Beery Sr. The tagline on the movie's posters was "Wallace and Noah Beery – The Two Greatest Character Actors on the American Screen". Beery played his third royal, the Duc de Tours, in Ashes of Vengeance (1923) with Norma Talmadge, then did Drifting (1923) with Priscilla Dean for director Browning. Beery had the titular role in Bavu (1923), about Bolsheviks and the Russian Revolution. He co-starred with Buster Keaton in the comedy Three Ages (1923), the first feature Keaton wrote, produced, directed, and starred in. Beery was a villain in The Eternal Struggle (1923), a Mountie drama, produced by Louis B. Mayer, who eventually became crucial to Beery's career. He was reunited with Dean and Browning in White Tiger (1923), then played the title role in the aforementioned Richard the Lion-Hearted (1923), a sequel to Robin Hood based on Sir Walter Scott's The Talisman; a print of Richard the Lion-Hearted is held at the Archives du Film du CNC in Bois d'Arcy. Beery was in The Drums of Jeopardy (1923) and had a supporting role in The Sea Hawk (1924) for director Frank Lloyd. He also appeared in a supporting role for Clarence Brown's The Signal Tower (1925) starring Virginia Valli and Rockliffe Fellowes. Paramount Beery signed a contract with Paramount Pictures. He had a support role in Adventure (1925) directed by Victor Fleming. At First National, he was given the star role of Professor Challenger in Arthur Conan Doyle's dinosaur epic The Lost World (1925), arguably his silent performance most frequently screened in the modern era. Beery was top billed in Paramount's The Devil's Cargo (1925) for Victor Fleming, and supported in The Night Club (1925), The Pony Express (1925) for James Cruze, and The Wanderer (1925) for Raoul Walsh. Beery starred in a comedy with Raymond Hatton, Behind the Front (1926), and he was a villain in Volcano! (1926). He was a bos'n in Old Ironsides (1926) for director James Cruze, with Charles Farrell in the romantic lead. Beery had the title role in the baseball movie Casey at the Bat (1927). He was reunited with Hatton in Fireman, Save My Child (1927) and Now We're in the Air (1927). The latter also featured Louise Brooks, who was Beery's costar in Beggars of Life (1928), directed by William Wellman, which was Paramount's first part-talkie movie. He made a fourth comedy with Hatton, Wife Savers (1929), then Beery starred in Chinatown Nights (1929) for Wellman, produced by a young David O. Selznick. This film was shot silent with the voices dubbed in by the actors afterward, which worked spectacularly well with Beery's resonant voice, although the technique was not used again during the silent era for another full-length feature. Beery then played in Stairs of Sand (1929), a Western also starring Jean Arthur (who played the leading lady in the Western film Shane 24 years later) before being fired by Paramount. Raymond William Hatton (July 7, 1887 – October 21, 1971) was an American film actor who appeared in almost 500 motion pictures. Biography Hatton was born in Red Oak, Iowa. His physician father steered him toward a career in medicine. However, Hatton had become enamored of being on stage after he acted in a school play, and he left home to go into acting as a career. Hatton was part of a vaudeville act that went to Hollywood in 1911. There, he established a successful silent film career, including a stint being paired in 1920s comedies with Wallace Beery. During the sound era, though, his career soon skidded and he usually played smaller supporting roles, including the tobacco-chewing, rowdy character Rusty Joslin in The Three Mesquiteers Western B picture series. By the 1950s, Hatton's acting roles expanded into television, where he appeared in various series, including the Adventures of Superman. He has a star in the Motion Picture section of the Hollywood Walk of Fame at 1708 Vine Street. Hatton died on October 21, 1971, in Palmdale, California, aged 84. He is interred at Joshua Memorial Park. Fireman, Save My Child is a 1927 film featuring the part-time screen comedy team of Wallace Beery and Raymond Hatton. The film was written by Monte Brice and Thomas J. Geraghty, and directed by A. Edward Sutherland. A print of this film is known to exist. Cast Wallace Beery as Elmer Raymond Hatton as Sam Josephine Dunn as Dora Dumston Tom Kennedy as Captain Kennedy Roland Drew as Walter Goss Joseph W. Girard as Chief Dumston Thelma Todd (uncredited role) Hula is a 1927 American silent romantic comedy film directed by Victor Fleming, and based on the novel Hula, a Romance of Hawaii (1927) by Armine von Tempski. The film stars Clara Bow and was released by Paramount Pictures. The film will fall into the public domain on January 1, 2023, because regardless of the film itself's renewal status, the copyright of the book it was based on was renewed in 1954.Plot Hula Calhoun (Clara Bow) is the daughter of a Hawaiian planter, Bill Calhoun (Albert Gran). She follows the advice of her uncle Edwin (Agostino Borgato), and follows a simple and natural life, far from social conventions of her family and is considered a "wild child" who wears pants and rides horses. Courted with adoration by Harry Dehan (Arnold Kent), Hula prefers a young British engineer, Anthony Haldane (Clive Brook), who came to the island to oversee the construction of a dam on her father's property. However, Haldane is already married. At a party, Haldane tries to keep his distance but Hula gets drunk and performs a seductive hula dance for him. She manages to provoke him so much that he promises that he will get a divorce. When his wife, Margaret (Patricia Dupont), appears, Hula makes a deal with one of the foreman to use dynamite to blow up a point on the dam. Thinking that her husband is now ruined, Mrs. Haldane agrees to the divorce, and the two lovers can finally get married. Cast Clara Bow as Hula Calhoun Clive Brook as Anthony Haldane Arlette Marchal as Mrs. Bane Albert Gran as Bill Calhoun Arnold Kent as Harry Dehan Patricia Dupont as Margaret Haldane Agostino Borgato as Uncle Edwin Duke Kahanamoku as Hawaiian boy Production In the opening scene of the film Hula is shown swimming nude in a stream, and later is wearing pants and articulates her sexual desires. Similar to Sadie Thompson (1928), the film depicts a modern woman who is located outside the bounds of American civilization and thus able to act in an "uncivilized" manner like natives who live on the islands. Clara Gordon Bow (/bo?/; July 29, 1905 – September 27, 1965) was an American actress who rose to stardom during the silent film era of the 1920s and successfully made the transition to "talkies" in 1929. Her appearance as a plucky shopgirl in the film It brought her global fame and the nickname "The It Girl". Bow came to personify the Roaring Twenties and is described as its leading sex symbol. Bow appeared in 46 silent films and 11 talkies, including hits such as Mantrap (1926), It (1927), and Wings (1927). She was named first box-office draw in 1928 and 1929 and second box-office draw in 1927 and 1930. Her presence in a motion picture was said to have ensured investors, by odds of almost two-to-one, a "safe return". At the apex of her stardom, she received more than 45,000 fan letters in a single month (January 1929). Two years after marrying actor Rex Bell in 1931, Bow retired from acting and became a rancher in Nevada Her final film, Hoop-La, was released in 1933. In September 1965, Bow died of a heart attack at the age of 60. Adolphe Jean Menjou (February 18, 1890 – October 29, 1963) was an American actor. His career spanned both silent films and talkies. He appeared in such films as Charlie Chaplin's A Woman of Paris, where he played the lead role; Stanley Kubrick's Paths of Glory with Kirk Douglas; Ernst Lubitsch's The Marriage Circle; The Sheik with Rudolph Valentino; Morocco with Marlene Dietrich and Gary Cooper; and A Star Is Born with Janet Gaynor and Fredric March, and was nominated for an Academy Award for The Front Page in 1931. Early life Adolphe Jean Menjou was born on February 18, 1890, in Pittsburgh, Pennsylvania, to a French father, Albert Menjou (1858–1917), and a mother from Ireland, Nora (née Joyce, 1869–1953). His brother, Henry Arthur Menjou (1891–1956), was a year younger. He was raised Catholic, attended the Culver Military Academy, and graduated from Cornell University with a degree in engineering. Attracted to the vaudeville stage, he made his movie debut in 1916 in The Blue Envelope Mystery. During World War I, he served as a captain in the United States Army Ambulance Service, for which he trained in Pennsylvania before going overseas. Career and stardom After returning from the war, Menjou gradually rose through the ranks with small but fruitful roles in films such as The Faith Healer (1921) alongside supporting roles in prominent films such as The Sheik (1921) and The Three Musketeers (1921). By 1922, he was receiving top or near-top billing, with a selection of those films being with Famous Players-Lasky and Paramount Pictures, starting with Pink Gods (1922), although he did films for various studios and directors. His supporting role in 1923's A Woman of Paris solidified the image of a well-dressed man-about-town, and he was voted Best Dressed Man in America nine times. He was noted as an example of a suave type of actor, one who could play lover or villain. In 1929, he attended the preview of Maurice Chevalier's first Hollywood film Innocents of Paris, and personally reassured Chevalier that he would enjoy a great future, despite the mediocre screenplay. He closed the end of the 1920s with star roles such as His Private Life (1928) and Fashions in Love (1929). The crash of the stock market in 1929 meant that his contract with Paramount was cancelled, but he went on to Metro-Goldwyn-Mayer (MGM) and continued on with films (now talkies) in a variety of ways, with his knowledge of French and Spanish helping at key times, although his starring roles declined by this point. In 1930, he starred in Morocco, with Marlene Dietrich. He was nominated for an Academy Award for The Front Page (1931), after having received the role upon the death of Louis Wolheim during rehearsals A variety of supporting roles in this decade were films such as A Farewell to Arms (1932), Morning Glory (1933), and A Star Is Born (1937). His roles decreased slightly in the 1940s, but he did overseas work for World War II alongside supporting roles in films like Roxie Hart (1942) and State of the Union (1948). Over the course of his career, he bridged the gap of working with several noted directors that ranged from Frank Borzage to Frank Capra to Stanley Kubrick. Later career Menjou had just eleven roles in the 1950s, but he managed to snag one last leading role with the film noir The Sniper (1952). Incidentally, the director of that film was Edward Dmytryk, who had been a member of the Hollywood Ten, in which he was blacklisted from the film industry for not testifying to the House Un-American Activities Committee (HUAC) during the 'Red scare' before deciding to testify and name names as a brief member of the Communist Party. In 1955, Menjou played Dr. Elliott Harcourt in "Barrier of Silence", episode 19 of the first season of the television series Science Fiction Theatre. He guest-starred as Fitch, with Orson Bean and Sue Randall as John and Ellen Monroe, in a 1961 episode, "The Secret Life of James Thurber", based on the works of American humorist James Thurber (especially "The Secret Life of Walter Mitty"), in the CBS anthology series The DuPont Show with June Allyson. He also appeared in the Thanksgiving episode of NBC's The Ford Show, Starring Tennessee Ernie Ford, which aired on November 22, 1956. Menjou ended his film career with such roles as French General George Broulard in Stanley Kubrick's film Paths of Glory (1957) and his final film role was that of the town curmudgeon in Disney's Pollyanna (1960). Service for Ladies is a lost[1927 American comedy silent film directed by Harry d'Abbadie d'Arrast and written by Benjamin Glazer, George Marion Jr., Chandler Sprague and Ernest Vajda. Starring Adolphe Menjou, Kathryn Carver, Charles Lane, Lawrence Grant, André Cheron, James A. Marcus and Nicholas Soussanin, it was released on April 6, 1927, by Paramount Pictures. It was remade in 1932, directed by Alexander Korda and starring Leslie Howard and Elizabeth Allan. Cast[edit] Adolphe Menjou as Albert Leroux Kathryn Carver as Elizabeth Foster Charles Lane as Robert Foster (*Charles Willis Lane) Lawrence Grant as King Boris André Cheron as Rajah James A. Marcus as The head Nicholas Soussanin as Waiter with heart ache Metropolis is a 1927 German expressionist science-fiction drama film directed by Fritz Lang and written by Thea von Harbou in collaboration with La from von Harbou's 1925 novel of the same name. Intentionally written as a treatment, it stars Gustav Fröhlich, Alfred Abel, Rudolf Klein-Rogge, and Brigitte Helm. Erich Pommer produced it in the Babelsberg Studios for Universum Film A.G. (UFA). The silent film is regarded as a pioneering science-fiction movie, being among the first feature-length movies of that genre. Filming took place over 17 months in 1925–26 at a cost of more than five million Reichsmarks, or the equivalent of about €21 million. Made in Germany during the Weimar period, Metropolis is set in a futuristic urban dystopia and follows the attempts of Freder, the wealthy son of the city master, and Maria, a saintly figure to the workers, to overcome the vast gulf separating the classes in their city and bring the workers together with Joh Fredersen, the city master. The film's message is encompassed in the final inter-title: "The Mediator Between the Head and the Hands Must Be the Heart". Metropolis met a mixed reception upon release. Critics found it visually beautiful and powerful – the film's art direction by Otto Hunte, Erich Kettelhut, and Karl Vollbrecht draws influence from opera, Bauhaus, Cubist, and Futurist design, along with touches of the Gothic in the scenes in the catacombs, the cathedral and Rotwang's house – and lauded its complex special effects, but accused its story of being naive. H. G. Wells described the film as "silly", and The Encyclopedia of Science Fiction calls the story "trite" and its politics "ludicrously simplistic". Its alleged Communist message was also criticized. The film's long running time also came in for criticism. It was cut substantially after its German premiere. Many attempts have been made since the 1970s to restore the film. In 1984, Italian music producer Giorgio Moroder released a truncated version with a soundtrack by rock artists including Freddie Mercury, Loverboy, and Adam Ant. In 2001, a new reconstruction of Metropolis was shown at the Berlin Film Festival. In 2008, a damaged print of Lang's original cut of the film was found in a museum in Argentina. Per the opening explanation: "...The material was heavily damaged and, because it had been printed on 16mm film stock, does not have the full-aperture silent picture ratio. ...In order to maintain the scale of the restored footage, the missing portion of the frame appears black. Black frames indicate points at which footage is still lost." After a long restoration process that required additional materials provided by a print from New Zealand, the film was 95% restored and shown on large screens in Berlin and Frankfurt simultaneously on 12 February 2010. Metropolis is now widely regarded as one of the greatest and most influential films ever made, ranking 35th in Sight & Sound's 2012 critics' poll. In 2001, the film was inscribed on UNESCO's Memory of the World Register, the first film thus distinguished. Plot In the future, wealthy industrialists and business magnates and their top employees reign over the city of Metropolis from colossal skyscrapers, while underground-dwelling workers toil to operate the great machines that power it. Joh Fredersen is the city's master. His son, Freder, idles away his time at sports and in a pleasure garden, but is interrupted by the arrival of a young woman named Maria, who has brought a group of workers' children to witness the lifestyle of their rich "brothers". Maria and the children are ushered away, but Freder becomes fascinated by her and goes to the lower levels to find her. In the machine halls, he witnesses the explosion of a huge machine that kills and injures numerous workers. Freder has a hallucination that the machine is a temple of Moloch and the workers are being fed to it. When the hallucination ends and he sees the dead workers being carried away on stretchers, he hurries to tell his father about the accident. Grot, foreman of the Heart Machine, brings Fredersen secret maps found on the dead workers. Fredersen fires his assistant Josaphat for not being the first to bring him details about the explosion or the maps. After seeing his father's cold indifference towards the harsh conditions faced by the workers, Freder secretly rebels against him by deciding to help the workers. He enlists Josaphat's assistance and returns to the machine halls, where he trades places with a worker who has collapsed from exhaustion. Fredersen takes the maps to the inventor Rotwang to learn their meaning. Rotwang had been in love with a woman named Hel, who left him to marry Fredersen and later died giving birth to Freder. Rotwang shows Fredersen a robot he has built to "resurrect" Hel. The maps show a network of catacombs beneath Metropolis, and the two men go to investigate. They eavesdrop on a gathering of workers, including Freder. Maria addresses them, prophesying the arrival of a mediator who can bring the working and ruling classes together. Freder believes he can fill the role and declares his love for Maria. Fredersen orders Rotwang to give Maria's likeness to the robot so that it can discredit her among the workers, but is unaware that Rotwang plans to use the robot to destroy Metropolis and ruin both Fredersen and Freder. Rotwang kidnaps Maria, transfers her likeness to the robot and sends her to Fredersen. Freder finds the two embracing and, believing it is the real Maria, falls into a prolonged delirium. Intercut with his hallucinations, the false Maria unleashes chaos throughout Metropolis, driving men to murder and stirring dissent among the workers. Freder recovers and returns to the catacombs, accompanied by Josaphat. Finding the false Maria urging the workers to rise up and destroy the machines, he accuses her of not being the real Maria. The workers follow the false Maria from their city to the machine halls, leaving their children behind. They destroy the machines, triggering a flood in their city deeper underground. The real Maria, having escaped from Rotwang's house, rescues the children with help from Freder and Josaphat. Grot berates the celebrating workers for abandoning their children in the flooded city. Believing their children to be dead, the hysterical workers capture the false Maria and burn her at the stake. A horrified Freder watches, not understanding the deception until the fire reveals her to be a robot. Rotwang becomes delusional, seeing the real Maria as his lost Hel, and chases her to the roof of the cathedral, pursued by Freder. The two men fight as Fredersen and the workers watch from the street, and Rotwang falls to his death. Freder fulfills his role as mediator by linking the hands of Fredersen and Grot to bring them together. Cast Alfred Abel as Joh Fredersen, the master of Metropolis Gustav Fröhlich as Freder, Joh Fredersen's son Rudolf Klein-Rogge as Rotwang, the inventor Fritz Rasp as The Thin Man, Fredersen's spy Theodor Loos as Josaphat, Fredersen's assistant and Freder's friend Erwin Biswanger as 11811, a worker, also known as Georgy Heinrich George as Grot, guardian of the Heart Machine Brigitte Helm as Maria / The Machine Man Heinrich Gotho as Master of Ceremonies in Pleasure Gardens (uncredited) ILLUSTRATOR/ARTIST: ADVERT SIZE: SEE RULER SIDES IN PHOTO FOR DIMENSIONS ( ALL DIMENSIONS IN INCHES) **For multiple purchases please wait for our combined invoice. Shipping discount are ONLY available with this method. Thank You. At BRANCHWATER BOOKS we look for rare & unusual ADVERTISING, COVERS + PRINTS of commercial graphics from throughout the world. Our AD's and COVER'S are ORIGINAL and 100% guaranteed --- (we code all our items to insure authenticity) ---- we stand behind this.IF YOU WISH TO PURCHASE A RE-MASTERED COPY PLEASE SEE "MODERN POSTERS" IN OUR STORE. As graphic collectors ourselves, we take great pride in doing the best job we can to preserve and extend the wonderful historic graphics of the past. PLEASE LOOK AT OUR PHOTO CLOSELY AS IT IS (ALBEIT LOWER RESOLUTION) THE PRODUCT BEING SOLD.....NOT STOCK IMAGES **NOTE** : PAGES MAY SHOW AGE WEAR AND IMPERFECTIONS TO MARGINS, WITH CLOSED NICKS AND CUTS, WHICH DO NOT AFFECT AD IMAGE OR TEXT WHEN MATTED AND FRAMED. SOMETIMES THE PAGES HAVE BEEN TRIMMED.. PLEASE NOTE THE ACTUAL SIZE OF SELLING AD IN THE ATTACHED PHOTO IMAGE... WHAT YOU SEE IS WHAT YOU GET... We ship via United States Postal Service. We have a 4 day handling time not including weekends or holidays but normally we have all orders processed, packed and shipped within 48 hrs. A Note to our international buyers (Including Canada). Please read before placing a bid or buying an item: **Import taxes, duties and charges are not included in the item price or shipping charges. These charges are the buyer's responsibility. Please check with your country's customs office to determine what these additional costs will be prior to bidding/buying on items. These charges are normally collected by the shipping company or when you pick the item up, this is not an additional shipping charge. We are not responsible for shipping times to international buyer's. Your country's customs may hold the package for a month or more. **We pride ourselves on quality products, great service, accurate gradations and fast shipping.** BRANCHWATER BOOKS YOUR AD WILL BE SHIPPED ROLLED IN A PROTECTIVE PLASTIC BAG IN AN 80mm (TWICE USPS RECOMMENDED) THICK, 2 INCHES IN DIAMETER (SO AS NOT TO STRESS THE PAPER) SHIPPING TUBE WITH PRESS TIGHT PLASTIC END CAPS.28685 Powered by SixBit's eCommerce Solution
Price: 21.95 USD
Location: Branch, Michigan
End Time: 2024-12-09T16:01:10.000Z
Shipping Cost: 8.95 USD
Product Images
Item Specifics
All returns accepted: ReturnsNotAccepted
