Word: ferberization
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Come and Get It (Samuel Goldwyn) gives Actor Edward Arnold, recently seen as Diamond Jim Brady and General John Sutter, another subject for his full-length screen portraiture of hearty, colorful U. S. types. Lifted this time from Edna Ferber fiction instead of history, the subject is Bernard Glasgow, Wisconsin lumber millionaire. The result, against a background first of lumber camps and small-town saloons, later of early 20th-century urban plutocracy, is an extraordinarily warm and lively picture of one of the few romantic aspects of the U. S. which the cinema has so far neglected...
Stage Door (by George S. Kaufman & Edna Ferber; Sam H. Harris, producer). Having thoroughly extolled the pride and excitement of theatrical life when he and Edna Ferber wrote The Royal Family (1927), having thoroughly deflated the parvenu pretense of Hollywood when he and Moss Hart wrote Once in a Lifetime (1930), George Kaufman, collaborating with Miss Ferber again, is compelled to cover some fairly old ground in a fairly old way when he again fights the battle of the drama v. the cinema in Stage Door...
...takes nearly two hours to unroll, is well worth the care which Producer Carl Laemmle Jr. bestowed upon it as his final picture before leaving Universal. Handsomely directed by James Whale, magnificently photographed by Leon Shamroy, it brings to the screen what has become a U. S. institution: Edna Ferber's story of 1926 which was the basis of the Oscar Hammerstein II-Jerome Kern musicomedy of 1927 and an indifferent part-sound film in 1929. The latest cinema version, instead of following the Ferber book, magnifies the stage show, adds three new Kern songs to a score which...
...Edna Ferber or Clifford Odets...
Newest of the group of highly-paid U. S. women romancers who are perennial best sellers (Temple Bailey, Edna Ferber, Kathleen Norris, Mary Roberts Rinehart, Willa Gather) is Brooklyn's vivacious Faith Baldwin...