Mae West: B for Bromfield

Right after MAE WEST stole the show — — with her sassy cameo in "Night After Night" — — the reviews came in, banging the drum loudly from coast to coast for the Brooklyn blonde. This motion picture comes to mind because production kicked off in Hollywood during August 1932 [specifically on August 22nd] and was in progress through September.
• • Featuring Mae West and Wynne Gibson and starring George Raft, the film would be released on 31 October 1932 at the Paramount Theatre. "Bige" attended a screening for critics, perhaps right inside 1501 Broadway, Paramount's new building in Times Square. Here is what Variety had to say in their generously glazed assessment, printed on 1 November 1932.
• • • • • • • • • • • • • • • • • • • • • • • • • •

Story was adapted from Louis Bromfield's "Single Night," but the dialog that was added by Mae West made the story and the picture.

• • Judicious casting, pacing that inspires excitement and dialog that sparkles are three forms of flattery for this cut-and-dry scenario. The cast is interesting, the pace commands attention, and the dialog is exceptionally entertaining, so here is one instance where a story's shortcomings can be overlooked. The points in its favor make "Night After Night" an entertaining — — and probably profitable — — talker.
• • Further than that, it's another advancement for George Raft and an auspicious start for Mae West in her first talker.
• • Raft as a mugg proprietor of a class speakeasy with a Park Avenue yen is the central figure from start to finish, but it's the quartet of varied femininity surrounding him that gives the picture its real character nourishment.
• • Miss West is last but not least of the femme foursome which includes Constance Cummings, Wynne Gibson, and Alison Skipworth. That each fits perfectly in her role, in appearance and performance, and that each is a distinct type without a conflict attests to an expert casting job. Bootlegger stuff and some gangster atmosphere climaxed by and off screen shooting finish are played down to run secondary to the feminine interest. Raft is mixed up in both.
• • The women are: a past flame (West), recently discarded sweetheart (Gibson), present head woman and "nice" girl (Cummings), and a middle-aged school teacher employed to give the mugg English lessons. When the Misses Skipworth and West are on view, together or separately, the laughs come often, and in the brief period assigned them as a team the comedy pace is even speedier. They do a virtual cross-fire two-act when doubling.
• • Miss West's dialog is always unmistakably her own. It is doubtful if anyone else could write it just that way. The way the West — Skipworth moments stand out suggests the picture could have stood more of them, but the obvious intent is to nurse Miss West along. She's tossed into this one rather abruptly and without bearing on the plot, much in the manner that Jimmy Durante has been handled by Metro. That's okay if they don't do it too often. As long as this film proves the former legit name has something for pictures, it wouldn't be taking a chance to shoot the works on her from now on.
• • Miss Skipworth's intelligent painting of a cultured lady having her first taste of hootch is a gem.
• • Misses Cummings and Gibson are more restricted than their elders, holding down ingenue-like roles that call for looks mostly. But they deliver in every way. No leading man has been more ably supported.
• • Story is merely that of a mugg who yearns to toss off the mugg staff after falling in love at a distance with a Lady. That he winds up with his goal attained doesn't matter much, although the happy ending changes the tone that runs through the story up to then. He's told midway by one of the girls he is more likable when he's himself.
• • Roscoe Karns is the only other male player of story importance, being active in most of Raft's scenes as the speakeasy owner's combination pal and handy man. He grabs laughs, too.
• • Louis Calhern is in for one scene. Except for minor footage in the Park Avenue lady's apartment, the action doesn't leave the speakeasy.
• • The place is one of those brownstones in the 50's and the twist is that, before becoming a ginmill, it was the "nice" girl's birthplace and home.
• • Story was adapted from Louis Bromfield's "Single Night," but the dialog that was added by Mae West made the story and the picture.
• • By: Bige — — Variety
• • Originally published: 1 November 1932
• • • • • • • • • • • • • • • • • • • • • • • • • •
• • Paramount production and release.
• • Directed by Archie Mayo.
• • Adapted by Vincent Lawrence from Louis Bromfield's "Single Night."
• • Continuity by Kathryn Scola.
• • Ernest Haller, photog.
• • At the Paramount, New York, week of October 28.
• • Running time, 76 minutes.
• • Joe Anton . . . . . George Raft
• • Jerry Healy . . . . . Constance Cummings
• • Iris Dawn . . . . . Wynne Gibson
• • Maudie Triplett . . . . . Mae West
• • Mrs. Mabel Jellyman . . . . . Alison Skipworth
• • Leo . . . . . Roscoe Karns
• • Blainey . . . . . Al Hill
• • Dick Bolton . . . . . Louis Calhern
• • Jerky . . . . . Harry Wallace
• • Patsy . . . . . Dink Templeton
• • Frankie Guard . . . . . Bradley Page
• • Malloy . . . . . Marty Martyn
• • • • • • • • • • • • • • • • • • • • • • • • • •
• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
________
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Mae West
• • Photo: • • Mae West • • none • •
• • Feed — — http://feeds2.feedburner.com/MaeWest
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Mae West.

Mae West: Archie Mayo

Archie Mayo directed MAE WEST in 1932 — — and we are thinking of him in January because his birthday just passed.
• • Born in New York City, Archie Mayo [29 January 1891 — 4 December 1968] was a stage actor who relocated to the West Coast in 1915 and soon began working as a film director.
• • Mayo directed the speakeasy motion picture "Night After Night" [1932] — — a George Raft vehicle that did more for Mae's career than for the tough guy actor known best for "Scarface."
• • Critiquing the film's debut, Variety (for once) was full of praise for Mae West.
• • Reviewer Bige wrote: Bootlegger stuff and some gangster atmosphere climaxed by and off screen shooting finish are played down to run secondary to the feminine interest. Raft is mixed up in both. The women are: a past flame (West), recently discarded sweetheart (Gibson), present head woman and "nice" girl (Cummings) and a middle-aged school teacher employed to give the mugg English lessons. When the Misses Skipworth and West are on view, together or separately, the laughs come often, and in the brief period assigned them as a team the comedy pace is even speedier. They do a virtual cross-fire two-act when doubling. Miss West's dialog is always unmistakably her own. It is doubtful if anyone else could write it just that way.
• • The way the West—Skipworth moments stand out suggests the picture could have stood more of them, but the obvious intent is to nurse Miss West along. She's tossed into this one rather abruptly and without bearing on the plot, much in the manner that Jimmy Durante has been handled by Metro. That's okay if they don't do it too often. As long as this film proves the former legit name has something for pictures it wouldn't be taking a chance to shoot the works on her from now on.
• • Miss Skipworth's intelligent painting of a cultured lady having her first taste of hotcha is a gem. Misses Cummings and Gibson are more restricted than their elders, holding down ingenue-like roles that call for looks mostly. But they deliver in every way. No leading man has been more ably supported.
• • Story is merely that of a mugg who yearns to toss off the mugg staff after falling in love at a distance with a Lady. That he winds up with his goal attained doesn't matter much, although the happy ending changes the tone that runs through the story up to them. He's told midway by one of the girls he is more likable when he's himself. . . . [Source: Variety Magazine; columnist Bige; an excerpt from a lengthy review originally published on 1 November 1932.]
• • In addition to "Night After Night," Archie Mayo's directorial credits include Is Everybody Happy? (1929) with Ted Lewis, The Petrified Forest (1936) with Bette Davis and Humphrey Bogart, and The Adventures of Marco Polo (1938) with Gary Cooper.
• • Mayo retired in 1946 — — shortly after completing A Night in Casablanca with the Marx Brothers and Angel on My Shoulder with Paul Muni, Anne Baxter, and Claude Rains.
• • Mayo has a star on the Hollywood Walk of Fame.
• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
________
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Mae West
• • Photo: • • Mae West • • none • •
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Mae West.

Mae West: Wynne Gibson

Right after MAE WEST stole the show – – with her cameo in "Night After Night" – – the reviews came in, applauding the Brooklyn bombshell from coast to coast. This motion picture is on our minds because it is July 3rd.
• • Wynne Gibson, who portrayed Joe's low-class gal pal Iris Dawn, came by her working-class accent easily — — since she was born in NYC on 3 July 1903.
• • An only child, Winifred Gibson started life on a Monday in the Bronx. After a career as a dancer and a singer in glossy musicals, the sultry blonde went west to Tinseltown. She was remarkable as the down-on-her-luck prostitute who suddenly becomes rich in the Pre-Code classic If I Had a Million [1932]. It seemed as though Wynne Gibson had everything it took to achieve stardom – – except the right breaks.
• • Featuring Mae West and Wynne Gibson and starring George Raft, the film opened at the Paramount Theatre on 31 October 1932. Here is what Variety had to say on 1 November 1932.
• • • • • • • • • • • • • • • • • • • • • • • • • •
• • Judicious casting, pacing that inspires excitement and dialog that sparkles are three forms of flattery for this cut-and-dry scenario. The cast is interesting, the pace commands attention, and the dialog is exceptionally entertaining, so here is one instance where a story's shortcomings can be overlooked. The points in its favor make "Night After Night" an entertaining – – and probably profitable – – talker.
• • Further than that, it's another advancement for George Raft and an auspicious start for Mae West in her first talker.
• • Raft as a mugg proprietor of a class speakeasy with a Park Avenue yen is the central figure from start to finish, but it's the quartet of varied femininity surrounding him that gives the picture its real character nourishment.
• • Miss West is last but not least of the femme foursome which includes Constance Cummings, Wynne Gibson, and Alison Skipworth. That each fits perfectly in her role, in appearance and performance, and that each is a distinct type without a conflict attests to an expert casting job. Bootlegger stuff and some gangster atmosphere climaxed by and off screen shooting finish are played down to run secondary to the feminine interest. Raft is mixed up in both.
• • The women are: a past flame (West), recently discarded sweetheart (Gibson), present head woman and "nice" girl (Cummings), and a middle-aged school teacher employed to give the mugg English lessons. When the Misses Skipworth and West are on view, together or separately, the laughs come often, and in the brief period assigned them as a team the comedy pace is even speedier. They do a virtual cross-fire two-act when doubling.
• • Miss West's dialog is always unmistakably her own. It is doubtful if anyone else could write it just that way. The way the West-Skipworth moments stand out suggests the picture could have stood more of them, but the obvious intent is to nurse Miss West along. She's tossed into this one rather abruptly and without bearing on the plot, much in the manner that Jimmy Durante has been handled by Metro. That's okay if they don't do it too often. As long as this film proves the former legit name has something for pictures, it wouldn't be taking a chance to shoot the works on her from now on.
• • Miss Skipworth's intelligent painting of a cultured lady having her first taste of hootch is a gem.
• • Misses Cummings and Gibson are more restricted than their elders, holding down ingenue-like roles that call for looks mostly. But they deliver in every way. No leading man has been more ably supported.
• • Story is merely that of a mugg who yearns to toss off the mugg staff after falling in love at a distance with a Lady. That he winds up with his goal attained doesn't matter much, although the happy ending changes the tone that runs through the story up to then. He's told midway by one of the girls he is more likable when he's himself.
• • Roscoe Karns is the only other male player of story importance, being active in most of Raft's scenes as the speakeasy owner's combination pal and handy man. He grabs laughs, too.
• • Louis Calhern is in for one scene. Except for minor footage in the Park Avenue lady's apartment, the action doesn't leave the speakeasy.
• • The place is one of those brownstones in the 50's and the twist is that, before becoming a ginmill, it was the "nice" girl's birthplace and home.
• • Story was adapted from Louis Bromfield's "Single Night," but the dialog that was added by Mae West made the story and the picture.
• • By: Bige, Variety
• • Originally published: 1 November 1932
• • • • • • • • • • • • • • • • • • • • • • • • • •
• • Paramount production and release.
• • Directed by Archie Mayo.
• • Adapted by Vincent Lawrence from Louis Bromfield's "Single Night."
• • Continuity by Kathryn Scola.
• • Ernest Haller, photog.
• • At the Paramount, New York, week of October 28.
• • Running time, 76 minutes.
• • Joe Anton . . . . . George Raft
• • Jerry Healy . . . . . Constance Cummings
• • Iris Dawn . . . . . Wynne Gibson
• • Maudie Triplett . . . . . Mae West
• • Mrs. Mabel Jellyman . . . . . Alison Skipworth
• • Leo . . . . . Roscoe Karns
• • Blainey . . . . . Al Hill
• • Dick Bolton . . . . . Louis Calhern
• • Jerky . . . . . Harry Wallace
• • Patsy . . . . . Dink Templeton
• • Frankie Guard . . . . . Bradley Page
• • Malloy . . . . . Marty Martyn
• • • • • • • • • • • • • • • • • • • • • • • • • •
• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
________
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Mae West
• • Photo: • • Mae West • • none • •
NYC
Mae West.

Mae West: "Number 55"

MAE WEST made her screen debut in "Night After Night" (1932) in a cameo that stole the picture. Though the film's screenplay was adapted from Louis Bromfield's Cosmopolitan Magazine story, "Single Night," this motion picture was originally titled "Number 55." Has anyone ever thought of that title in numerical terms as "May the 5th"?
• • Curiously, the fifth month played a large role in the birthdates (and, occasionally, the death dates) of the cinematographer and the cast — — five people in all.
• • Louis Calhern, who portrayed Dick Bolton [and was born on 19 February 1895 in Brooklyn, NY], died in Tokyo, Japan in May — — on 12 May 1956.
• • Constance Cummings, who portrayed the socialite Miss Jerry Healy, was born in Seattle in May — — 15 May 1910 [and died in the UK on 23 November 2005].
• • Wynne Gibson, who portrayed Joe's low-class gal pal Iris Dawn [and was born in NYC on 3 July 1903], died in California in May — — on 15 May 1987.
• • Marty Martyn, who had a bit part as Malloy, was born in May — — on 19 May 1905 [and died in Beverly Hills on 25 December 1964].
• • Cinematographer Ernest Haller was born in Los Angeles in May — — 31 May 1896. A few years after working on this movie, Ernest Haller won an Oscar in 1940 for "Best Cinematography, Color" for Gone with the Wind (1939). He died in a California road accident on 21 October 1970.
• • Mae West did her best to dress up a bland bit part with her witty lines, industrial strength charisma, and rapid-fire energy. Paramount Pictures realized that it was "love at first sight" between the studio and this box-office baby.
• • Mrs. Jellyman: Do you believe in love at first sight?
• • Maudie Triplett: I dunno, but it saves an awful lot of time.
• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
________
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Mae West
• • Photo: • • Mae West • • 1932 • •
NYC
Mae West.

Mae West: Right After Night

Right after MAE WEST stole the show – – with her cameo in "Night After Night" – – the reviews came in, applauding the Brooklyn bombshell from coast to coast. Featuring Mae West and starring George Raft, the film opened at the Paramount Theatre on 31 October 1932. Here is what Variety had to say on 1 November 1932.
• • • • • • • • • • • • • • • • • • • • • • • • • •
• • Judicious casting, pacing that inspires excitement and dialog that sparkles are three forms of flattery for this cut-and-dry scenario. The cast is interesting, the pace commands attention, and the dialog is exceptionally entertaining, so here is one instance where a story's shortcomings can be overlooked. The points in its favor make "Night After Night" an entertaining – – and probably profitable – – talker.
• • Further than that, it's another advancement for George Raft and an auspicious start for Mae West in her first talker.
• • Raft as a mugg proprietor of a class speakeasy with a Park Avenue yen is the central figure from start to finish, but it's the quartet of varied femininity surrounding him that gives the picture its real character nourishment.
• • Miss West is last but not least of the femme foursome which includes Constance Cummings, Wynne Gibson, and Alison Skipworth. That each fits perfectly in her role, in appearance and performance, and that each is a distinct type without a conflict attests to an expert casting job. Bootlegger stuff and some gangster atmosphere climaxed by and off screen shooting finish are played down to run secondary to the feminine interest. Raft is mixed up in both.
• • The women are: a past flame (West), recently discarded sweetheart (Gibson), present head woman and "nice" girl (Cummings), and a middle-aged school teacher employed to give the mugg English lessons. When the Misses Skipworth and West are on view, together or separately, the laughs come often, and in the brief period assigned them as a team the comedy pace is even speedier. They do a virtual cross-fire two-act when doubling.
• • Miss West's dialog is always unmistakably her own. It is doubtful if anyone else could write it just that way. The way the West-Skipworth moments stand out suggests the picture could have stood more of them, but the obvious intent is to nurse Miss West along. She's tossed into this one rather abruptly and without bearing on the plot, much in the manner that Jimmy Durante has been handled by Metro. That's okay if they don't do it too often. As long as this film proves the former legit name has something for pictures, it wouldn't be taking a chance to shoot the works on her from now on.
• • Miss Skipworth's intelligent painting of a cultured lady having her first taste of hootch is a gem.
• • Misses Cummings and Gibson are more restricted than their elders, holding down ingenue-like roles that call for looks mostly. But they deliver in every way. No leading man has been more ably supported.
• • Story is merely that of a mugg who yearns to toss off the mugg staff after falling in love at a distance with a Lady. That he winds up with his goal attained doesn't matter much, although the happy ending changes the tone that runs through the story up to then. He's told midway by one of the girls he is more likable when he's himself.
• • Roscoe Karns is the only other male player of story importance, being active in most of Raft's scenes as the speakeasy owner's combination pal and handy man. He grabs laughs, too.
• • Louis Calhern is in for one scene. Except for minor footage in the Park Avenue lady's apartment, the action doesn't leave the speakeasy.
• • The place is one of those brownstones in the 50's and the twist is that, before becoming a ginmill, it was the "nice" girl's birthplace and home.
• • Story was adapted from Louis Bromfield's "Single Night," but the dialog that was added by Mae West made the story and the picture.
• • By: Bige, Variety
• • Originally published: 1 November 1932
• • • • • • • • • • • • • • • • • • • • • • • • • •
• • Paramount production and release.
• • Directed by Archie Mayo.
• • Adapted by Vincent Lawrence from Louis Bromfield's "Single Night."
• • Continuity by Kathryn Scola.
• • Ernest Haller, photog.
• • At the Paramount, New York, week of October 28.
• • Running time, 76 minutes.
• • Joe Anton . . . George Raft
• • Miss Jerry Healy . . . Constance Cummings
• • Iris Dawn . . . . . Wynne Gibson
• • Maudie Triplett . . . . . Mae West
• • Mrs. Mabel Jellyman . . . . . Alison Skipworth
• • Leo . . . . . Roscoe Karns
• • Blainey . . . . . Al Hill
• • Dick Bolton . . . . . Louis Calhern
• • Jerky . . . . . Harry Wallace
• • Patsy . . . . . Dink Templeton
• • Frankie Guard . . . . . Bradley Page
• • Malloy . . . . . Marty Martyn
• • • • • • • • • • • • • • • • • • • • • • • • • •
• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
________
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Mae West
• • Photo: • • Mae West • • 1932 • •
NYC
Mae West.

Mae West: Curdling Melodrama

MAE WEST would, no doubt be capable of delivering "curdling melodrama," predicted the publication Hollywood Citizen News in its issue dated 17 June 1932.
• • Correspondent Elizabeth Yeaman thrilled her readers by announcing, "Excitement will pick up when Mae West gets into town on Sunday."
• • Yeaman explained, "This actress-playwright has had a stormy career, on more than one occasion being hailed into New York courts to defend herself against the charges of immodesty on the stage. You may have seen her a couple years ago when she came to the Biltmore Theater [California] in Diamond Lil, of which she was both the author and the star."
• • Added Yeaman, "Paramount is bringing her out from New York to make her film debut in Night After Night. Since, on the stage, she is fond of playing scarlet ladies, it is presumed that she will have a similar role in this picture. At least the title suggests that the picture might contain such a part.
• • Of course, Mae West would not be only attraction in the film.
• • According to Elizabeth Yeaman, Mae "will have strong competition in Nancy Carroll, Wynne Gibson, George Raft, and Allison Skipworth. The plot concerns the dramatic events that take place during twelve hours in an aristocratic old mansion that has been converted into a speakeasy."
• • And here's the line that will whip your cream: "With the exception of Nancy Carroll, all the players selected for the cast are quite capable of playing heavy character roles," Yeaman noted, "so you may look for some curdling melodrama in Night After Night when it is released. But do not count on that title, for it may be changed again before it reaches the theaters."
• • Along the way, Paramount Pictures dropped Nancy Carroll and cast Constance Cummings instead for the role of the heiress Jerry Healy.
• • Source: Hollywood Citizen News
• • Byline: Elizabeth Yeaman
• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
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Mae West
• • Photo: • • Mae West • • none • •
NYC
Mae West.

Mae West: 1932

MAE WEST co-starred in the 1932 "speakeasy" film "Night After Night" with two actresses who are linked to the month of May.
• • Constance Cummings, who was 22 when she played a socialite Jerry Healy in the movie, was born in Seattle, Washington on 15 May 1910. At age 95, the actress died in Oxfordshire, England on 23 November 2005.
• • Constance's blueblood persona was based on the heiress Barbara Hutton (who inherited the Woolworth fortune), who had once lived in a rowhouse on West 56th Street – – before it was turned into a ginmill operated by gangster Larry Fay.
• • Wynne Gibson, who played the "tough" cookie Iris Dawn [the dame George Raft's character Joe Anton is getting tired of], died on 15 May 1987 of cerebral thrombosis.
• • Come up and see Mae every day online: http://MaeWest.blogspot.com/
________
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Mae West
• • Photo: • • Mae West's co-star • • 1932 • •
NYC
Mae West.