Word: margalo
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Dates: during 1930-1939
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...most shockingly informative hours of their lives and is so clever that few women would willingly miss it. Its cast of 35 is entirely feminine and its subject is exactly what its title suggests. Halfway through scene i, Playwright Boothe makes a distinction between Women and Females. Mary Haines (Margalo Gillmore), a gracious and home-loving blonde with one husband, two children and a heart filled with anxiety about reaching the shady side of 30, is a woman. Most of the rest of The Women are females, belonging to Manhattan's restaurant and rotogravure set. Disclosed in bathrooms, ladies...
...Married- Margalo Gillmore, 35, actress (Flowers of the Forest, The Barretts of Wimpole Street), daughter of President Frank Gillmore of the Actors' Equity Association; and Robert F. Ross, 35, director (On Stage, The Distant Shore) ; in Manhattan. Acquitted. Warner Brothers, Paramount and RKO, seven of their subsidiaries and five major executives: of a charge of having violated the Sherman Anti-Trust Law by withholding their films from three St. Louis cinemansions (TIME, Oct. 14); by a Federal court jury; in St. Louis. The case was regarded as a prime test of the legality of the U. S. cinema distributing...
...table full of diners at Sardi's theatrical restaurant. And they had to get actors who could speak Playwright Anderson's semi-versified lines with conviction. Stanley Ridges is a particularly happy choice for the character of hard bitten Lucifer Tench. No less happy is the casting of Margalo Gillmore as the full-blown, romantic Mary Philipse. As Washington, Philip Merivale is close to perfect. Mr. Merivale is the greatest cloak-swinger on the U. S. stage. He swung one in The Road to Rome (1927-28). He swung another in Death Takes a Holiday (1930-31). He swung...
...single man has been preserved that the objection would not be fair. Leslie Howard is just as convincing as he was on the stage, and his witty pantomime responds admirably to the great opportunities, and the greater responsibilities, of the screen. Miss Heather Angel is, if different from Miss Margalo Gilmore, quite as delightful; she has caught the tragedy of time in another way, but she has caught it just as surely. The settings for Berkeley Square, venturing out of doors where the stage could not go, are excellent. Stage coaches, rural England, eighteenth century London chimes and cobblestones...
...play concerns an actress (Margalo Gillmore) who is revisited by her deplorable husband, Stanley Vance (Ernest Milton), a homosexual masochist and the most despicable villain who has set foot on the stage since Simon Legree. Returning from a long disappearance, Vance begins to exert his baleful influence over Miss Gillmore, a spell from which she had just recovered. He makes her tie his shoes, hustle for his breakfast, breaks her spirit. Both her brother (kinetic Basil Sydney) and her manager who loves her (William Harrigan) have good reason to kill Vance. But the job is finally done very adroitly...