Word: roses
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Dates: during 1930-1939
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...Jumbo is no cheap production. Mr. Rose got the peerless team of Rodgers & Hart to write his score, able Albert Johnson to do his sets and to refurnish (cost: $40,000) the fusty interior of North America's best-known show house (rental: $104,000 a year). He hired actors like Jimmy Durante, Arthur Sinclair, Blanche Ring for his star parts. And, catching them when they needed money, he contracted with Playwrights Ben Hecht & Charles MacArthur to write a libretto on which he could string his circus acts, stars and tunes. Messrs. Hecht & MacArthur repaired for a fortnight last...
...that Mr. Rose now needed was someone to put up another $125,000 to match his. This he got through Pioneer Pictures from its chief, John Hay Whitney, generous angel of the amusement industry. Last week Mr. Whitney and his aristocratic wife, clad mostly in black sequins and carrying a lap dog, were having the time of their lives shuttling between the three widely separated places where Jumbo was taking final form...
Meanwhile, the extravaganza's ballyhoo was reaching its shrill peak, the work of Pressagent Richard Maney, a character twice as big and almost as fantastic as Mr. Rose. Ballyhooligan Maney's stock in trade is emphasizing his employer's lunacy, inventing alliterative nicknames for him in the Press. He has had little trouble on the first score, for even Mrs. Rose is convinced that her impetuous little man has taken leave of his senses. But the best nicknames the pressagent has been able to think up for his boss so far have been "The Rasputin...
Another thoroughly vital figure who finds himself appalled by irrepressible Billy Rose is Playwright MacArthur, husband of Actress Helen Hayes. Rollicking around rehearsals last week Mr. MacArthur greeted Angel Whitney with "Hello, sucker!" every time they met, forecast: "This thing is either going to be the most fabulous success or the most fantastic failure that ever hit New York...
...years ago and now exhibited in the U. S. for the first time, this amazing little study of school teachers and school children in the slums of Paris has been generally recognized abroad as one of the authentic masterpieces of the contemporary cinema. Superficially, it is the story of Rose, the school housemaid (Madeleine Renaud) whose intuitive sympathy for the inmates brings her to the favorable attention of the government doctor, and of Marie (Paulette Elambert), woe-begone little daughter of a Montmartre prostitute, who chooses Rose as her protector when her mother runs away. Essentially...