Gertrude Michael (1910-1965) was an Alabama-born child prodigy and concert pianist prior to abandoning her college career to join Stuart Walker's stock company in Cincinnati Ohio in 1928.  By 1930 she had moved on to New York but had to struggle during lean times to find stage work.  She first appeared on the screen in  WAYWARD as Richard Arlen's fiancée filmed at Paramount's Astoria studio in late 1931 following her first Broadway lead in CAUGHT WET.  Shortly, after appearing opposite Tex Ritter in THE ROUNDUP, she accepted MGM'S contract offer in the Spring of 1932 and came to Hollywood.  Dropped by MGM after six months following two films, including the lead in MASK OF FU MANCHU from which she and the original director were fired early in the production, she defined her early "don't tread on me" screen persona in half a dozen parts prior to accepting a long-term contract with Paramount in December 1933.  A dozen leads, many costarring roles and featured supporting parts continued through the early 1940s. 

Due to alcohol-related illnesses and accidents from 1934 on, she gained a notoriety that soon prevented her career advancement.  Her affair with Paul Cain, pulp and screen writer, came back to haunt her in 1936 after his novel "Fast One" used her persona as the basis for the fictional dipsomaniac lover.

More on Gertude Michael at Films of the Golden Age

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Gertrude Michael in a Art Deco portrait still.         

The finalists all appear in the film and a few were offered contracts which gave them minor careers.  One contestant, Ann Sheridan, was eventually able to obtain stardom although it took her 4 years and a leap to Warner Brothers where she was promoted as the "Oomph Girl" !

       Buster Crabb in 'Search for Beauty'

Series Host & Programmer Paul Meienberg will introduce the film

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Paramount bought the films rights to Earl Carroll's 1933 Vanities, entitled MURDER AT THE VANITIES.  The Broadway stage version was radically changed including its cast which had featured Bela Lugosi and Olga Baclanova.  Kitty Carlisle and Frederick Brisson are the revue stars and among other songs introduce "Tea for Two".

Kitty Carlisle & Carl Brisson in the spot light          

In another scene Duke Ellington and his big band is featured in "Ebony Rhapsody". 

'Murder at the Vanities' was barely released prior to the implementation of the "production code" in mid 1934.

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THE RETURN OF SOPHIE LANG produced after the implementation of the stricter production code turns Sophie into a rehabilitated criminal trying to prove her innocence to an unbelieving world.

Steven Scheuer comments on Sir Guy Standing:  "..this courtroom drama is a must see for students of acting just to see the great English actor turn in a magnificent performance as the defense attorney."

William K. Everson: "A glossy, handsome, carefully made film"... "with its slight supernatural angle and overall romanticism, Witching Hour can be considered something of a dry run for one of Hathaway's best films, PETER IBBETSON.

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FOUR HOURS TO KILL is based on Norman Krasna's 1934 Broadway play SMALL MIRACLES which featured Ilka Chase and Joseph Calleia in roles which were rendered on film by Gertrude Michael and Richard Barthelmess.

All the action centers in the theatre while a musical revue takes place.  The various musical numbers are heard but not seen while tense dramatic scenes rage in the theatre entrance, the lobby and in the lounge.  An ensemble of characters interact in a "grand hotel" style.  Richard Barthelmess gives an excellent performance as a captured gangster.  His tough yet sensitive portrayal should have revived his career but unfortunately his box office appeal ended in 1934 with his last Warner Brothers film.  Gertrude Michael emotes effectively as the adulterous wife furtively meeting her gigolo boyfriend Ray Milland. Joe Morrison, Helen Mack and Dorothy Tree provide their own angst with blackmail and abortion on the menu.  The production code is in evidence here but not as much as would be expected.  The renowned film historian William Everson considered FOUR HOURS TO KILL  Leisen's best film to date. My own impression is that DEATH TAKES A HOLIDAY is the foremost early Leisen film.

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 Doors open at 7:00 pm  -  Films at 8:00 pm   -  Main Door Locks at 8:05 p.m. restricting entrance

 Come early and enjoy our 'No Host Bar'.       

See Bela and more  Saturday July 24th - Thursday August 26th

Don't forget to make a reservation.  screenings@hotmail.com

invitation only through a request and is solely at the discretion of Danger & Despair.

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