9/27/1933 HCN Elizabeth Yeaman
The studios always will be mad houses of contradiction, it seems. And John Gilbert is the latest bright and shining example of that statement. For several years he languished at MGM drawing an enormous salary and occasionally making a minor picture. Scarcely had his unbreakable contract expired than he was summoned back for the lead with Garbo in Queen Christina. Garbo wanted him. But nobody ever thought of wanting him during the talkie days of his contract. And now there's a reliable rumor that he will be retained at MGM for the lead in The Prisoner of Zenda, which finally will reach the screen as straight drama instead of the musical version first contemplated. The studio this morning neither denies nor affirms the Gilbert rumor for Prisoner of Zenda. That no-comment policy can readily be interpreted to mean that the deal for Gilbert has not been closed but is in the stages of negotiation. Gilbert, of course, already has had and will have still more publicity on his comeback with Garbo. That publicity will enhance his box-office value, and he may go on with his career at MGM right where he left off with it when talkies hit the industry.
....
Studios frequently talk about searching for new and unknown talent, and then end up by signing some talent that is already established. However, Charles F. Rogers is definitely finding and signing new talent for Eight Girls In a Boat. The newest unknown to get a Rogers contract is Joan Woodbury, a Hollywood High School girl who wrote the sketch for her own screen test. Joan has had no acting experience, but she has a good dramatic coach in her mother, who as Joan Haden was formerly noted as a concert and opera singer. Joan's father formerly published Holly Leaves, a local magazine which has since been bought by the Fawcett Publications who now issue it under the title of Hollywood.
....
The story race between Twentieth Century Pictures and Warners is becoming more and more amusing. The former company starts work today on Miss Lonelyhearts, starring Lee Tracy in the role of a hard-boiled reporter who is disciplined by being relegated to the Advice to the Lovelorn column. Over at Warners, Paul Muni starts to work at once on Hi, Nellie! In a role that is of exactly the same type. The two companies are racing production to get the first release.
....
Those who wonder what good a flash of publicity can do screen players, should study the results of recent publicity. Take Jean Harlow, for instance. She is one of the players in Dinner At Eight. But much bigger names than hers head the cast. Yet when Jean eloped to Yuma with Hal Rosson and hit headlines in papers throughout the country, the theater proceeded to capitalize on the publicity by running pictures of Jean in the advertising.
Now Bill Cagney, younger brother of Jimmy, is profiting by publicity in the same manner. Bill eloped to Mexico with Boots Mallory. He landed a lot of newsprint over the elopement. So now Radio Pictures is rushing him into a featured role in Success, in which Colleen Moore and William Gargan will play the leads. Bill Cagney probably would have had to wait some months for such a big role if he had not gotten so much publicity for himself. Of course, there's always the risk that an elopement might not be worth the publicity in the long run.
....
Little Jean Rouveral, daughter of Aurania Rouveral, the writer, won much publicity when Charles R. Rogers selected her from the lead in Eight Girls In a Boat. Then Jean collapsed from overwork and nervous strain and her mother would not permit her to take the role. But she will get another chance, since Rogers has taken up her option.
....
Arvid Gillstrom has selected an interesting cast for his next comedy short as yet untitled. In the picture are Leon Errol, Ruth Clifford, Vernon Dent, Lita Chevret, Billy Engel and Bill Irving.
....
Enrico Caruso Jr., is about to let the world hear his voice. Young Caruso has been studying intensively. Those who have heard him declare that he has a tenor that promises to rival that of his famous father. Caruso made his screen debut recently in Flying Down to Rio. However, he did not sing in this Radio Picture. But the studio is about to offer him a term contract, and believes that with musical films still very much in vogue that there will be much opportunity for young Caruso.
....
H.H. Van Loan calls to say that in 1926 he wrote a play titled "Her Excellency the Governor." It was based on the life of "Ma" Ferguson. But at the time he had it ready for production, Mrs. Ferguson was defeated for office. So Van Loan rewrote the play and eventually it was produced under the title of "The Noose." Later it was bought for the screen and produced with Richard Barthelmess as the star. Van Loan says that he submitted the play to Radio Pictures in 1926, and he's wondering! But come to think of t there was no Radio Pictures in 1926. I think the studio was then called F.B.O.
Lupe Velez in the 30's & 40's
ABBREVIATIONS
EE – Los Angeles Evening Express
EH -- Los Angeles Evening Herald
EHE -- Los Angeles Evening Herald Express
FD -- Film Daily
HCN -- Hollywood Citizen News
HDC -- Hollywood Daily Citizen
IDN -- Los Angeles Independent Daily News
LAR -- Los Angeles Record
LAPR -- Los Angeles Post-Record
LAX -- Los Angeles Examiner
MPH – Motion Picture Herald
3/1/1929 HDC Lady of the Pavements
By Doris Denbo
Lady of the Pavements, and what a fiery young lady is Lupe Velez, who plays the title role at the Egyptian Theater this week, starting with yesterday's matinee. William Boyd is the young aristocrat who finds Jetta Goudal, his fiancé is the mistress of another and makes the rash statement in denouncing her that he "would rather marry a woman of the streets than her."
Jetta is her usual exotic, exquisitely cunning and cruel screen self and as the woman scorned plans her own form of revenge, which is to force Boyd to fall in love with a "woman of the streets" unconsciously. Her right hand man finds Lupe singing in one of the lowest dives of Paris and seeing her beauty and charm trains her to fulfill the revenge. It works, of course, but not until there is a whirlwind of fun, pep, laughs and joy following the flashing movements and personality of Lupe through the dramatic and tense scenes that follow.
The picture unfolds with the Griffith love of high romance and artistic elaborate beauty, aided by the synchronized score of Hugo Reisenfeld and the beautiful, melodious theme song "Where is the Song of Songs For Me," delicately and tenderly rendered by Lupe. Here is a little personality that simply radiates appeal, dramatic verve and vivacious winsomeness and walks off with the major honors of the picture. Jetta Goudal gives an excellent performance, smooth, studied and finished in every gesture and emotion. Boyd makes a very handsome and convincing aristocrat and beloved George Fawcett plays the father with his usual sincere and warm characterization.
Frank Jenks as the master of ceremonies on the stage with his band and introduces the new dancing, talking and singing Fanchon and Marco Varieties vaudeville program
1/1/1930 HDC Society in Filmland
Lupe Velez was exotic at her table for six at which were seated Jobyna Ralston, Dick Arlen, Gary Cooper, Shayle Gardner, Dorothy Herzog and Beulah Livingstone.
1/4/1930 EH Cinema Lots and Celluloid Littles
New Year's Eve at ye Embassy Club: Charles (Buddy) Rogers and Claire Windsor seeing in the new year. Don Alvarado and his wife in the same party....Jack Gilbert and Ina Claire, Lilyan Tashman and Eddie Lowe, Jobyna Howland and others at one table....Lupe Velez and Gary Cooper, Dick Arlen and Jobyna Ralston, Beulah Livingstone and Shayle Gadner together....
1/12/1930 FD Screen Snapshots
Columbia 10 mins.
Another Hollywood Visit
With Eddie Lambert as guide, this issue of the snapshots series contains informal shots of Joan Crawford and hubby Douglas Fairbanks Jr., Paul Whiteman, Carl Laemmle Jr., Edward Everett Horton and mother, Al Jolson, Duncan Sisters, Johnny Hines, Ted Lewis, Clara Bow, Harry Richman, Jack Holt, Lupe Velez, Ralph Graves, Eddie Quillan and Jeanette Loff. Will interest a lot of fans.
1/22/1930 HDC Society In Filmland
By Elizabeth Yeaman
GUS ARNHEIM TO PLAY AT EMBASSY CLUB
Eddie Brandstatter recently received word from Gus Arnheim saying that he and his orchestra will accept an invitation to be guests of honor at the Embassy Club on January 25, before opening their engagement at the Montmartre Café. Mr. Arnheim and his orchestra recently completed a most successful European tour.
The guest orchestra will supply music for the Gala winter festival and dance now being planned for this special Saturday evening party, and among those who have made reservations for the affair are Mr. and Mrs. James Bartram (Juliette Compton), Miss Lupe Velez, Mr. and Mrs. Harry Edwards (Evelyn Brent) and Miss Elise Bartlett.
2/7/1930 EH Screenographs
By Harrison Carroll
As long as there are new worlds to conquer, Lupe Velez will never rest content.
The screen's most ingenious gamin has just surprised Hollywood by assuming the role of artist's manager.
Lupe has placed three proteges under contract, and will endeavor to promote them jobs in the talkies.
....
Lupe turning manager recalls the fact that she once engaged in the bitterest of feuds with her own business agent. Mayhap, she intends to show Hollywood how a real manager should act.
2/23/1930 FD Hell Harbor
United Artists Time, 1 hr., 30 mins.
General box office appeal picture. Rugged drama of the Carribean with Lupe Velez excellent and her support likewise.
Drama produced and directed by Henry King for Inspiration. Produced largely on the Florida shore this picture has been given a beautiful background. It possesses a well-acted story, which, although not unfamiliar, for the most part holds the attention. It's he-man stuff some of the way and a climax that has much action, plus gunplay. Lupe sings acceptably. The yarn concerns a native girl whose father plans to sell her to a villainous neighbor. A batch of valuable pearls causes trouble between the two men and eventually the neighbor is killed in a fight over them. The love interest is partly supplied by a young trader who intervenes in behalf of the girl and with whom she finally escapes from the island.
CAST: Lupe Velez, Jean Hersholt, John Holland, Gibson Gowland, Al St. John, Harry Allen, Paul E. Burns and George Book-Asta.
Director, Henry King; Author, Rida Johnson Young; Adaptor, Fred de Gresac; Dialoguer, Clarke Silvernail; Editor, Lloyd Nosler; Cameramen, John Fulton and Mack Stengler; Monitor Man, Ernest Rovere.
Direction, Fine. Photography, Artistic.
2/24/1930 LAX Louella O. Parsons
About time we heard about Lupe Velez aside from a few little social yarns about Lupe and Gary Cooper dining here and there, and dancing together. Well, you are going to hear a very interesting piece of news right here about the vivacious little Velez. She has signed a five-year contract with Carl Laemmle Jr., and her first picture will be the lead in The Storm, vacated by Laura LaPlante when Miss LaPlante was taken seriously ill with the flue. Pictures wait for no man, nor woman, either. Lupe has finished her contract with United Artists—a piece of surprising news—and she lost no time in getting herself a good contract at Universal City. Lupe is not only lucky, but she knows what it's all about. She is now in Sonora, where The Storm company is on location.
2/25/1930 HDC Radio
By Zuma Palmer
Lupe Velez, "Whoopie Lupe" of the films, will appear on the program with Paul Whiteman and his orchestra at 6 over KHJ. Featured with Miss Velez will be the Mexican Marimba Band of Agua Caliente. Her part of the program comes from Los Angeles, Mr. Whiteman's from San Diego, so ‘tis said.
2/28/1930 HDC Doris Denbo
Last night the press was given the real treat of a private showing of the Inspiration picture, Hell Harbor. Here is a picture that thrills every second of its telling. With the background of a Caribbean Sea fishing and pearl diving port, Henry King, the director, has used every medium at his command to add power to his story. All the sinister hopelessness of life in this little harbor of derelicts is brought out in characterization and sound. Lupe Velez is starred, and shows marvelous improvement in her acting. Jean Hersholt gives a merciless interpretation of a brutal store owner–whose shoes squeak with every step. There are exquisitely photographed underwater scenes. Sometimes sound holds the stage altogether and the audience is more tense than when listening to dialogue.
3/1/1930 EH Scouting the Sinema
By Dorothy Herzog
The Storm troupe, headed by Lupe Velez, Paul Cavanagh, William (Broadway) Boyd, and director William Wyler has hit the location trail to Truckee, Cal., there to shoot the big open space action. This is Lupe's initial outloud under the terms of her new Universal contract.
3/3/1930 EH Scouting the Sinema
By Dorothy Herzog
To the Tec Art studio ‘tother eve to glimpse Lupe Velez in Henry King's outloud, Hell's Harbor. This is the flick the kumpny locationed in Florida to shoot in dreamy, au naturele (high tone for as-you-like-it) scenery.
The photography is beautiful. The story, however, is reminiscent of days gone by, particularly the extravaganza finale. Lupe gives a fine performance of a role that flashes spitfire action but little subtlety, which, of course, is not her fault. John Holland, the lead, plays a number of his scenes with his back to the camera, but he gets a full shot or two. Jean Hersholt is splendid.
The majority of those packed into the preview room figured Hell's Harbor to be swell entertainment, so mebbe, as a reviewer, I'll stick to tatting.
3/10/1930 HDC Doris Denbo
Universal has lined up East is West as Lupe Velez's second starring picture under her long term contract. She is now playing in The Storm. She is delighted with this role and believes it will be one of the best things she has ever done. "East Is West" was a sensational stage success written by Sam Shipman and John B. Hymer. It ran for almost three years on Broadway with Fay Bainter in the starring role. It has been translated into many languages and played in nearly every country in the world.
3/14/1930 EH Screenographs
By Harrison Carroll
Before Sons of Guns, his first United Artists picture, is under way, Al Jolson already has named a second vehicle.
This will be Sinbad, the stage success in which the singing star reached new pinnacles of fame about eight years ago. Sinbad originally was produced by the Shuberts at the Winter Garden. Subsequently it went on tour, playing here at the Mayan Theater.
As heretofore announced, Jolson now is in the east looking over the Broadway version of Sons of Guns. He is not expected back in Hollywood for some time yet.
Incidentally, the coming of Jolson to United Artists is expected to preclude any further Harry Richman pictures with this company. The two are not overly good friends, and, even if this were not the case, they are too similar in type to warrant exploitation by the same studio. It will be remembered that United Artists already has released Lupe Velez because of its plans for Dolores Del Rio.
3/15/1930 LAR Previews of New Talkies
By Jimmy Starr
Hell Harbor
Starring Lupe Velez with Jean Hersholt. Directed by Henry King. Adapted by Fred De Gresac from "Out of the Night," by Rida Johnson Young. Dialogue by Clarke Silvernail. Continuity by N. Brewster Morse. Photography by John Fulton and Mack Stengler. Edited by Lloyd Nosler. Music by Gene Berton, the Sextette Habenere and Harry Allen. Produced by Inspiration Pictures. Released by United Artists.
Hell Harbor is one of the most thrilling–in a melodramatic style–talking pictures I have seen. There is considerable hokum, but it is used with a certain rare finesse and I doubt that even the most jaded of critics will mind. I hope not, for the film is beautifully done and abounds with thrills and romance.
Director Henry King is a master at presentation and he is also a firm believer in unusual, but thorough, characterizations. His work with Hell Harbor is superb. He tells the story, which is not terribly original, except in locale, with ease and apparent enjoyment in revealing twists.
The story is laid on the Island of Madre–long and green–sprawled carelessly in the Caribbean Sea. Strange characters are the denizens of this mysterious village–a village of derelicts of the world.....pearl divers, dishonest traders, murderers, half-castes, a few whites and weird natives.
One of the most fascinating things of the picture is the strange music, supplied, I believe, by a native band. it is the most intriguing music I have ever heard, and it certainly adds much charm to the production.
The story is rather ancient in plot. it is alone saved by King's original direction and by the clever work of Jean Hersholt, Gibson Gowland and Lupe Velez.
Hersholt gives a magnificent performance as Joseph Horngold, the dishonest trader, while Gibson Gowland wins new fame in a like role. These two, who won many plaudits for their work in Greed, are splendid actors. I could watch their work night after night.
Lupe Velez does her usual amount of over-acting, but it is rather charming in this film. John Holland performs nicely as the leading man. Al St. John and Paul Burns offer rare bits of comedy and little George Book-Asta is excellent in a small role. Harry Allen is outstanding as Peg-Leg.
The dialogue by Clarke Silvernail is commendable, while the photography by John Fulson and Mack Hengler is unusually beautiful.
I'm quite sure Hell Harbor will more than meet with the approval of movie audiences. It contains all the elements which go to make an entertaining production, and they are exceptionally well presented.
My congratulations to Henry King and Inspiration Pictures.
3/17/1930 LAX Louella O. Parsons
When the Universal City studios reopen after their temporary shutdown, ‘tis reported many faces will be missing.
The new policy calling for eighteen or twenty specials and no program pictures is responsible for this housecleaning. John Boles, Mary Nolan, Jeanette Loff and Lupe Velez will be among these who cheerily answer "Here" when the roll is called. Those who will be conspicuous by their absence are Merna Kennedy, Barbara Kent, Robert Ellis and Joseph H. Schildkraut.
At least a telegram sent to me here in Kansas carries that news.
3/22/1930 EH Hollywood Madcap Makes Quick Stride
Lupe Velez, star of Hell Harbor, the latest United Artists-Inspiration picture which opens its first local engagement at the United Artists, Wednesday, has been in motion pictures less than two years.
In that short space of time she has earned the sobriquets of "Mexican Madcap," "Whoopee Lupe," "Hollywood Firebrand," and countless other torrid appellations.
Lupe made her first appearance as a dancer at the age of 19 for a church festival. Doing the traditional Mexican dance with such a verve and vim, she was promptly engaged by a wise theatrical entrepreneur.
As ballerina of a Mexico City company she soon became a favorite of the capital, and scored perhaps her greatest hit in the musical comedy, "Ra-Ta-Plan." While appearing in the show she was discovered by an American couple, who insisted that she accompany them to Hollywood. After arrangements had been made with her parents to continue her education in America before she made an attempt to enter motion pictures, she entered an American convent, and a year later was in Hollywood.
Hal Roach, the comedy maker, was the first producer to recognize Lupe's ability, and she appeared in a number of comedies. Then Douglas Fairbanks saw her and gave her the featured feminine role in The Gaucho. After the release of this picture, Lupe became a Hollywood personage, with offers from many important producers of motion pictures.
She played an important role in Cecil B. DeMille's Stand and Deliver, and shortly thereafter, Joseph M. Schenck decided that Lupe ought to become one of the bright array of stars for United Artists. With this company she made her debut in Lady of the Pavements, under the direction of David Wark Griffith.
3/25/1930 EH Scouting the Sinema
By Dorothy Herzog
Lupe Velez and Gary Cooper having a late snack at ye Brown Derby.
3/27/1930 EH Hell Harbor
Opened March 26, 1930. Directed by Henry King. CAST: Lupe Velez, Jean Hersholt, John Holland, Gibson Gowland, Al St. John, Harry Allen, Paul E. Burns and George Book-Asta.
By Harrison Carroll
Steeped in the atmosphere of the tropics is Hell Harbor, the new Henry King picture that opened yesterday at the United Artists Theater.
To secure a background for his story of an American trader and an Island girl, King has traveled with camera and sound equipment to the domain of glassy still waters, of skies fleeced with clouds, of islands of white sand and the palm trees rigidly beautiful against a boundless horizon.
PLOT VIOLENT
Amidst the languid grace of these sections the violence of their human occupants takes on an added emphasis. Hell Harbor is a melodrama that makes free use of the people of murder, lust for pearls, grog shops, pate-cracking and the like. It does not hesitate to introduce the heroine's father as bartering her to an Island shylock.
Occasionally falling into the leisurely mood of his surroundings, King pauses to embroider the characterizations. The result is two extraordinary, vivid portraits—Jean Hersholt's grassy Island trader with the eternally squeaking shoes, Gilbson Gowland's Island father of the heroine.
Lupe Velez is more conventional as the hoyden Anita, but she plays the role with a rare zest.
John Holland is convincingly masculine as the American trader who overturns the plans Anita's father to sell her......and finally succumbs to the love broadsides that are fired point blank at him by the entranced Island girl.
CAST GOOD
There are excellent performances by Al St. John, as the mate, Paul E. Burns and George Book-Asta as the native boy and Harry Allen as the Irish sailor with a pegleg.
Sound has been put to distinguished use by director King to suggesting the atmosphere of Hell Harbor.
....
Accompanying the feature, the United Artists has a funny Christie short, The Red-Headed Hussy, a Max Fleischer song cartoon, and a Paramount sound news. Gaylord Carter plays at the organ.
3/27/1930 IDN Hell Harbor
By Eleanor Barnes
Wanderlust that overtakes us these spring days certainly is stimulated by a trip to the United Artists' theater where great tropical trees spread their inviting shade and large boats drift on a nearby sea as smooth as glass.
Yesterday was the psychological time to present Henry King's Hell Harbor picture–a scenically beautiful thing that would inspire poets to write.
Hell Harbor, adapted to the screen from Rida Johnson Young's novel, "Out of the Night," is a thrilling tale of ruffianism, piracy and romance, with the trading in rare pearls as incentive for all the brigandry, against a beautiful setting.
Into the uncouth existence of the fiery Anita came thoughts of marriage to a gruff and ugly pearl merchant, Joseph Horngold. An arrangement had been made by villainous father, Harry Morgan, whose lust for money spurred him to sacrifice his daughter. Anita had three friends, Blinkey, Peg-Leg and Spotty, an oddly assorted group of derelicts on the strange island.
THE STORY
Anita wants to escape from her slavery and believes that Bob Wade, an American trader, can help her get to Havana, where pretty lace dresses were believed to abound.
After a series of adventures, guerilla warfare and dangerous tricker, Anita finds love and leaves with her American trader.
Henry King has made Hell Harbor a very human document, with colorful little phases of life cleverly embroidered in the pattern.
Miss Velez does the nicest work of her career as the little unhappy girl who seeks escape from drudgery. Lupe's usual harem-scarem vivacity has been subdued and a finer artistry is shown in her repression.
Jean Hersholt, as the cruel merchant who seeks to buy the girl, puts venom and licentiousness into the characterization. His English is improving.
WELL DONE
John Holland is a virile hero, with a deep musical voice and convincing ways. Splendid indeed is the supporting cast, Al St. John, Harry Allen, as the modern counterpart of Long John Silver, while the rich Irish brogue of Paul E. Burns puts a mellow comedy note to the piece that is most gratifying.
Charles Grapewin and his wife are featured in an amusing skit, That Red Headed Hussy. This pair of old-time vaudeville headliners have a clever novelty film. Gaylord Carter at the organ and The Prisoner's Song a la cartoon, wind up the bill.
3/27/1930 LAX Hell Harbor
By Louella O. Parsons
The tempestuous Lupe Velez, a bundle of concentrated energy and unrestrained fireworks, is the only feminine motive in Hell Harbor, playing at the United Artists Theater. Lupe has things very much her own way from the time she threatened to kill her father until she runs away to see the magic Havana with the man she loves.
I wouldn't say she has an easy time, for being bounced over the head by a brutal father and swimming the entire length of a Florida inlet cannot be done sitting in a rocking chair.
Yet Lupe seems to enjoy all the difficulties in playing the heroine in a hectic melodrama. Talk about the thrillers that intrigued you in your adventurous youth, Hell Harbor has everything to hold the attention. There is plenty of suspense and action galore. As for impossibilities and improbabilities, who cares in a tale of this kind with backgrounds of tropical settings?
Henry King and Inspiration Pictures should really receive the vote of thanks from the Tampa Chamber of Commerce for they have unconsciously exploited some really beautiful bits of Florida scenery. The sunsets, the silhouettes of the natives in the bays and the stretches of water photographed at dusk are all tremendously effective. Fortunately, too, for the rather unpleasant character of Anita's father and the man he would have her marry, require an antidote.
4/5/1930 LAX Louella O. Parsons
Lupe Velez, in dashing black and white, leading Gary Cooper to the theater.
4/15/1930 HDC Society In Filmland
By Rachel Rubin
Stars and producers of filmland will combine to make the world premiere of All Quiet on the Western Front at the Fox Carthay Circle Monday evening one of surpassing brilliance.
Few books have elicited as much comment, as Erich Maria Remarque's novel of the same name, from which the story was taken, and the picture is being eagerly awaited by moving picture folk.
The list of those expected to attend includes:
Messrs. and Mesdames Mayor and Mrs. John C. Porter, Douglas Fairbanks (Mary Pickford), Eric von Stroheim and party, Wallace Beery, Jean Hersholt, Ernst Lubitsch, Walter Morosco (Corinne Griffith), Stanley Bergerman (Rosabelle Laemmle), Lawrence Tibbett, George Ullman, Frank Lloyd, Tay Garnett (Patsy Ruth Miller), B.P. Schulberg, James Gleason, Hunt Stromberg, Irving Thalberg (Norma Shearer), Harry Zehner, Walter Stern, Johnny Mack Brown, Wallace Smith, E.M. Asher, Raymond Hatton, J. Franklin, Charles Murray, Harry Rapf, Al Jolson (Ruby Keeler), Ben Bard (Ruth Roland), Nick Stuart (Sue Carol), Sol Wurtzel, Charles Rogers, John M. Stahl, Howard Sheehan, Edmund Lowe (Lilyan Tashman), Joe E. Brown.
And Marion Davies, Beatrice Lillie, Glenn Tryon, Merna Kennedy, Barbara Kent, Lewis Ayres, Louis Wolheim, Ben Alexander, Harold Goodwin, Walter Browne Rogers, Cecil B. DeMille, Sam Wood, Russell Gleason, Lillian Roth, Pauline Starke, Sam Weisenthal, Col. Jason S. Joy, Jean Marsh, Ann Christie, Paul Dickey, Hoot Gibson, Sally Eilers, George O'Brien, Carl Laemmle Jr., Ruth Chatterton, Billie Dove, Sid Grauman, William Boyd, William C. DeMille, Gary Cooper, Cliff Edwards, Ben Lyon, Lewis Milestone, D.W. Griffith, Norma Talmadge, Lawrence Gray, Marion Nixon, Lothar Mendes, Paul Bern, William LeBaron, Wilbur Mack, June Marlowe, Slim Summerville, J.G. Bachman, Edmund Goulding, Erno Rapee, Arthur Caesar, George Sidney, Hans Graely, Scott Kolk, Theodore von Eltz, Ruth Sattley, Ed G. Robinson, William Bakewell, Constance Bennett, John M. Considine Jr., Clarence Brown, Howard Hughes, Edward Laemmle, Dorothy Sebastian, B.P. Fineman, Lupe Velez, Jeanette Loff, Bebe Daniels, David Broekman, Thornton V. Freeland, Robert Milton, Charles Furthman, Victor Fleming, Harry Hobart, John S. Robertson, Priscilla Dean, Harry Green, Nancy Carroll, Ona Brown, Samuel Shipman, Alice Day, Alfred DeMond, Fred Beetson, Yola D'Avril, Albert S. LeVine, Gertrude Astor, John Darrow, Victor McLaglen, Harry J. Brown, Harry Langdon, Carl Laemmle Sr., Joan Bennett, James Hall, Mrs. D.J. Grauman, Ernest Laemmle, Edward Mannix, Irene Delroy, Bodil Rosing, Clara Bow, Vera Gordon.
4/18/1930 EH Scouting the Sinema
By Dorothy Herzog
His name is Konrad Bercovici. He writes. He has sold a yarn to Universal: Gypsy Love Song. Which will co-star John Boles and Lupe Velez.
Mr. Bercovici is in Hollywood. Stopping at a hotel. He is a rather stocky set man of average height, black haired, black mustached. Quite heavily mustached. Flowing mustache. The kind that makes soup an event. And a crackerjack writer. Which has nothing to do with the mustache.
I'm quite sure, though, that the mustache has something to do with the way bellhops at the hotel page Mr. Bercovici. Wells Root, w.k. screen scribster, went into conference with Mr. B. regarding Gypsy Love Song. Wells is going to shape it to a picture. Whilst they conversed in the lobby, a bellhop emerged from the shadows droning:
"Call for Mr. Bolsheviki. Mr. Bolsheviki."
Mr. Bercovici smiled. Excused himself. Answered the summons. Returned. Resumed the conference with an air that indicated if bellhops insist upon making his name a political organization, it's ok by him.
4/22/1930 HDC Betty Kirby
Carl Laemmle Jr. was host at supper at the Embassy Club, including among his guests Messers. And Mesdames Stanley Bergerman, Ralph Blunt (Carmel Myers), Douglas Fairbanks (Mary Pickford), Jean Hersholt, Ernst Lubitsch, William LeBaron, Lewis Milestone, Erno Rapee, Harry Rapf, B.P. Schulberg, Hunt Stromberg, Louis Wolheim, Cecil B. DeMille, Misses Clara Bow, Joan Bennett, Bebe Daniels, Patsy Ruth Miller, Louella O. Parsons, Sue Carol, Lupe Velez, Lois Weber, Messrs. Paul Bern, Ernst Laemmle, Paul Kohner, Ben Lyon, Al Jolson, D.W. Griffith, Charles Chaplin, Lothar Mendes, Howard Hughes, Eric von Stroheim and Joseph Selznick.
4/23/1930 HDC Society In Filmland
By Rachel Rubin
Carl Laemmle Jr. entertained a large party at the Embassy Club after the premiere of All Quiet on the Western Front, Monday night. His guests included: the Misses Lucy Arnold, Ona Brown, Clara Bow, Merna Kennedy, Nancy Carroll, Joan Bennett, Bebe Daniels, Jeannette Loff, Lilyan Tashman, ZaSu Pitts, Louella Parsons, Mary Pickford, Sue Carol, Pauline Starke, Barbara Kent, Grace Kingsley, Patsy Ruth Miller, Ruby Keeler, Lupe Velez, Lois Weber, Marion Davies, Alice Day and Helen Cohan.
The Messrs. Ed M. Asher, Ben Alexander, George Abbott, Maxwell Anderson, W. Branschweger, Paul Bern, Fred Beetson, Stanley Bergerman, Lothar Mendes, William Boyd, Clarence Brown, Edmund Breese, Milton Bren, William Bakewell, David Broekman, Sam Behrendt, Ben Bogeous, W.R. Burnett, Julius Bernheim, Tod Browning, Ralph Blum, Welford Beaton, George Behrendt, Arthur Caesar, John M. Consideine, Charles Chaplin, Pat Collins, William J. Craft, George Cohan, Al Cohn, John Colton, Harry Cohn, Milton Cohen, Al DeMond, Cecil DeMille, Owen Davis, Owen Davis Jr., Dave Epstein, Edward Laemmle, Ernst Laemmle, Ernst Lubitsch, Edmund Lowe, Charles Logue, Edwin J. Loeb, Mervyn LeRoy, William LeBaron, Manny Lowenstein, Lewis Milestone, Max Marcin, Charles Murray, Eddie Mannix, Sigmund Moos and Baron Mandelstam.
Also, L.B. Mayer, Louis Mann, Tom Gallery, Charles Rogers, Erno Rapee, John Robertson, Walter B. Rogers, Harry Rapf, Ed G. Robinson, Jack Ross, S. Sommerville, Nick Stuart, Sam Shipman, B.P. Schulberg, George Sidney, John M. Stahl, Hunt Stromberg, Edgar Selwyn, Walter Stern, Gardner C. Sullivan, William Seiter, David Selznick, Myron Selznick, L.J. Selznick, Ben Strauss, James Starr, Charles Furthman, Victor Fleming, Douglas Fairbanks, B.F. Fineman, Paul Fejos, Maurice Fleckles, H.B. Franklin, J.J. Franklin, Edmund Goulding, Harold Goodwin, Harry Green, Tay Garnett, D.W. Griffith, James Gleason, Russell Gleason, Sid Grauman, Raymond Griffith, Hoot Gibson, Jack Gain, Harry Carson, Alfred Green, William Goetz, Edwin Geach, Walter Greene, Howard Hughes, Jean Hersholt, Jerry Horwin, William Randolph Hearst, Arthur Holiday, Dr. Stanley Immerman, Col. Jason J. Joy, Al Jolson, Rupert Julian, Scott Kolk, Hans Kraely, Al Kuppenheimer, Count Karolyi, Paul Kohner, Ben Lyons and James Hall.
4/24/1930 HDC FILM SOCIETY SCINTILLATES AT RECENT ‘CIRCLE' PREMIER
The world of women looks forward to every picture opening seeking the very newest in style, from what the stars, prognosticators of fashion wear. The brilliant premier of All Quiet On the Western Front was more than a presentation of a new talking picture, for Beverly Hills and Hollywood society presented a spectacle of color and beauty, quite as alluring as the picture itself. Here is what they wore:
Ruth Chatterton—A black satin gown made very long and extremely form fitting. With it a black panne velvet wrap.
Pauline Starke—A gown of white chiffon trimmed with crystals, and a short white ermine wrap. She wore a gorgeous corsage of orchids.
Joan Marsh—A gown of white satin made princess, and trimmed with souffle yoke embroidered with crystal trimmings in simple design. With this, a wrap of white chiffon velvet.
Norma Shearer—A white satin ensemble. The gown was severe in line and made very long. She wore pearls and a fur trimmed wrap of the same white satin as the gown.
Mrs. Lawrence Tibbett—A gown of scarlet lace with scarlet velvet wrap and scarlet slippers to match.
Barbara Kent—A gown of aquamarine satin extremely form-fitted; her wrap was of white ermine with fox fur collars and cuffs.
Jeanette Loff—A Grecian gown made of yellow crepe romaine with white ermine wrap.
Grace Moore—A Lelong model of green chiffon and emerald and diamond jewels, and jaquette of white ermine, and she wore a corsage of orchids.
Corinne Griffith—White crepe romaine with wrap of silver cloth.
Billie Dove—Pale orchids taffeta and velvet wrap to match.
Mrs. Stanley Bergerman (Rosabelle Laemmle)—A charming evening gown of printed crepe with black velvet wrap and fox fur collar.
Lupe Velez—A gown of charmeuse velvet trimmed with crystals and wrap of the same material. The gown was very long and cut extremely low in the back.
Marian Nixon—A green chiffon gown with red velvet wrap trimmed in red fox for and silver brocade shoes.
5/5/1930 EH Screenographs
By Harrison Carroll
Reports say that Conrad Bercovici, the short story writer, not only has contributed the story but also the music and lyrics for The Gypsy Love Song, his first assignment at Universal.
This represents, at least to the writer, hitherto unrevealed facets in Mr. Bercovici's talents.
It is said that the U is very much pleased with the story, and plans to use it as a starring vehicle for John Boles. Co-featured with the singer-actor will be Jeanette Loff and Lupe Velez. Both of these actresses have sung for the microphone.
The Gypsy Love Song will be a Universal special on the new program. John S. Robertson is to direct it.
5/16/1930 HDC STAR IS SUED
Lupe Velez, exotic Mexican motion picture star, today was named defendant in a $13,000 civil suit filed by Harry D. Wilson, Hollywood publicity agent.
The actress, Wilson charged in asking judgment, violated the terms of a verbal agreement through which he was to receive five percent of her earnings.
Wilson complained that Miss Velez gave him power of attorney and agreed to pay him the percentage providing he could gain a contract for her at one of the studios.
The publicity man said he was successful in his attempt and she signed an agreement with a studio through which she was to receive a total of $280,000 over a period of three years.
She paid him only $1,000 of the $13,000 due, Wilson said.
With his complaint against the Mexican actress, Wilson filed a copy of his power of attorney.
Wilson has been announcing his departure for Bucharest, Roumania, where he was to become a United Artists distributor, he has said, but the suit filed today is expected to result in a change of plans.
5/17/1930 IDN Lupe Velez Sued by Contract Getter
Lupe Velez, temperamental Mexican screen actress, was sued for $13,000, assertedly due in managerial commissions by Harry D. Wilson, publicity agent, in an action filed in Superior Court yesterday.
Wilson stated he and Miss Velez entered into a verbal agreement February 21, last, by which he was to receive 5 percent of all moneys she earned in film roles he secured for her. Under this agreement, Wilson said, he secured a contract with the Universal Film Company under which Miss Velez was to receive $2,000 a week for 10 weeks with optional contracts for her additional services in 1930, 1931 and 1932 at a total of $280,000 in salary.
Miss Velez has paid him only $1,000 of the $14,000 which Wilson says is due him as commission and refuses to pay the remaining $13,000, according to the complaint.
5/23/1930 IDN Hollywood True Stories
By Virginia Maxwell
Lupe Velez sings little Spanish shows and dances while she is being fitted for her frocks. Her modiste just sits by and waits until Lupe is through before pinning her up again.
