We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
Dolores Del Rio Comes in “Ramona” Her Record Breaking Success! DOLORES DEL RIO in RAMONA" “Ramona,” Dolores Del Rio’s first United Artists starring pro¬ duction, has been booked into the .theatre for showing next Director Edwin Carewe, who pre¬ sents the picture in association with Inspiration Pictures, Inc., feels that no finer vehicle could have been chosen for Miss Del Rio’s debut than Helen Hunt Jackson’s immortal American love classic. As the half-breed girl, the sensation of “What Price Glory” and “Resurrection” is said to have the finest opportunity her cyclonic career has yet given her. In the supporting cast of fea¬ tured players are found such ar¬ tists as Warner Baxter, Roland Drew, Vera Lewis and Michael Vi- saroff. The first, because of char¬ acterizations in “Aloma of the South Seas” and “The Great Gats- by,” needs no introduction. Drew is a young protege of Carewe. “Ra¬ mona” gives him his first real part. Miss Lewis carved herself a neat little niche of fame in “Resurrec¬ tion,” Carewe’s picturization of the Tolstoy novel, in which Miss Del Rio appeared as the heroine. As for Visaroff, he is a continental actor who will soon be heard from on this side. Finis Fox, Mr. Carewe’s brother, prepared the scenario, just as he did the “Resurrection” screen play. Robert B. Kurrle supervised the camera work on “Ramona,” hav¬ ing Al. M. Greene as his assistant. Leander De Cordova and Richard Easton aided the director. Jeanne Spencer acted as film editor. The Tec Art Studios designed the beau¬ tiful settings. For those few who are not fa¬ miliar with “Ramona”—it is now in its 92nd edition—it should be noted that “Ramona” is a tale of love in nineteenth century Cali¬ fornia. It is a story of white men’s greed. It is the romance of a halfbreed girl and her Indian lover. In bringing the Jackson novel to the screen, Carewe has done something decidedly worth¬ while. DOLORES DEL RIO DR-1 (Mat Sc; Cut 25c) One-column Star Scene Head The much heralded “Ramona,” from Helen Hunt Jackson’s novel of the same name, has at last ar¬ rived in our midst. Last night at the.it was the writer’s privilege to wit¬ ness this film story which brings Dolores Del Rio, that beautiful Mexican star of stars, to us in what may be classified as her greatest screen triumph. And Edwin Carewe, the director of “Ramona,” has given the story to the screen in such a manner as might be well termed “screen- classic.” This producer has abided by the story—so vital a matter in a case of this sort. It was Carewe, too, who directed “Resurrection.” “Ramona” is a tale of early California—the days of the Mis¬ sion Indians—their trials and their tribulations. And “Ramona” came into being during that period. The story is filled with love interest. Mrs. Jackson, while probably not fully realizing it at the time, drew one of the most beautiful love stories in American literature when she penned this tale of the half-Indian maiden who is in love with two men, one of them the Indian, “Alessandro,” played on the screen by Warner Baxter; the other, “Felipe,” the Spanish Don, Roland Drew. To Miss Del: Rio should go the unstinted praise that is due only a great artiste. Her portrayal of the Indian maiden was divine and in some instances even surpassed her remarkable characterization in “Resurrection” which proved once and for all that this Mexican beau¬ ty was in the film world to stay as long as she might choose. ^ A SCENE from: RAMONA" Order RA -11 (Mat 10c; Cut 50c)