its products.

VUTAPHom

is the registered trade mark of the Vitaphone Corporation designating

321 WEST 44th STREET

NATIONAL PICTURES |

NEW YORK, CITY, U.S. A.

ORINNE GRIFITA

This Is A

First National and

( TAPione

Picture Cash in on the Name!

FANNIE HURST’S SENSATIONAL LOVE-ROMANCE

‘ze mogr

ACK PAY

With GRANT

WITHERS

“BACK PAY” IS BEST STORY FROM PEN OF GIFTED WRITER

Corinne Griffith Makes Most of Fine Oppor-

tunity in Role of Country Girl in Fannie Hurst’s Brilliant Drama

(PREPARED REVIEW)

‘‘Back Pay,” perhaps the most celebrated of all Fannie Hurst’s short stories, first published in a magazine, later in-

eluded in ‘“‘The Vertical City,’’ then dramatized by the author |

as a starring vehicle for Margaret Lawrence, and some years ago produced as a silent picture for Seena Owen has finally found its way to the audible screen with Corinne Griffith in the

stellar role.

A crowded and highly enthusiastic audience

s theted the premiere of this absorbing First National production

> Yeht at the Theatre. ‘Miss Griffith’s Vitaphone version

of “Back Pay” follows out the es- sentials of plot and characterization of the original story and Francis

Edwards Faragoh, who made _ the screen adaptation, has _ cleverly caught the spirit of Miss Hurst’s

The changes in the story are mainly such as add colorful backgrounds or a bit of comedy relief. The war episodes merely hinted at in the book and legitimate drama form one of the most thrilling sequences of the pic-

brilliant and natural dialogue.

ture.

The story of “Back Pay” is chiefly concerned with the struggle of the heroine, Hester Bevins, to escape the hopelessness of her narrow environ-

“ams “i in a sleepy Virginia town where jves with an aunt of frowsled

ne .¢ soiled kimono and questionable reputation. Gerald, Hester’s child- hood sweetheart, a fine, high prin- cipled youth, offers the escape of mar-

+ *

riage, but the girl can see no -per- eentage in merely transferring her sordid under another roof. She loves the handsome South- but he is poor and can only _offer her a humdrum existence with- out yesterdays or tomorrows. Hes- ter’s pretty head is turned by the smooth flattery and roseate promises of a travelling salesman from New York. She runs away with him but the romance is short-lived and then

surroundings

erner,

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Believe It Or Not

Three property boys who worked on Corinne Griffith’s latest First National and Vita- phone production, “Back Pay,” which opens at the Theatre » recently re- éeived the strangest assignment of all the various odd jobs which frequently fall to their lot. Dur.

ing the making of this Fannie Hurst Story, they were ordered to tear up fifteen barrels of old newspapers and sheets of colored tissue from 9 o’clock in the morning until three in the after-

noon.

The barrels full of small bits of paper were needed for one of the scenes in “Back Pay” which takes place on Armistice Day in New York City.

begins a cycle of Manhattan love ad-

ventures, finally terminating in a

luxurious Fifth Avenue apartment with a wealthy, middle-aged pro- While Hester and her lover are making whoopee in New York, Gerald enlists and is fighting in No

Man’s Land in France where he is gassed and becomes totally blind. The balance of the story deals with the awakening of Hester’s better self and her reunion with Gerald just be- fore the latter’s death.

Miss Griffith can always be relied

tector.

upon for intelligent rendering of any role. Her portrait of Hester Bevins is extremely human _ and feminine. The gradual _ transition

from a village belle “who wears cotton frocks but has a crepe-de-chine soul” to an ultra-sophisticated woman of the world is portrayed with subtle shading and conviction. She further proves her artistry by playing the role primarily for understanding rather than sympathy. Grant Withers and the other players under the di- rection of William A. Seiter are excellent.

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Corinne Griffith and Grant Withers have received wide-spread recognition for their respective dramatic achievements in “Back Pay” the Fannie Hurst story on view currently at the Strand

New Love Team In

“Back Pay”’

“BACK PAY” IS STRONG DRAMA OF SOCIETY’S HEIGHTS AND DEPTHS

Corinne Griffith, Grant Withers and Others Score in Appealing Characterizations — Picture Splendidly Produced

(CURRENT READER)

“Back Pay,” Corinne Griffith’s lat- est starring picture for First National, now heading the bill at the Theatre, famous of all of Fannie Hurst’s short stories. The period of “Back Pay” is during the late World War and one of the important sequences is laid in No Man’s Land in France, but Di- rector William A. Seiter, has chosen

is founded on the most

intimate sidelights on the war rather than any big spectacular battle scenes. There are no shots of thousands of soldiers on the march or huge enemy In- stead, the main action is concentrated

armies fighting in the trenches.

on a small group of eight American doughboys in a dugout detailed to lay barbed wire entanglements.

These scenes were shot at night exactly as they actually occurred in the war. Grant Withers, who plays opposite Miss Griffith in this dra- matic First National production, is one of the wiring squad who loses his way -and is gassed and blinded in the story.

In addition to Grant Withers who plays opposite Miss Griffith, the star’s

supporting cast includes Montagu Love, Vivian Oakland, Hallam Cooley, Mitchell,

Virginia Sale and Louise Beavers.

Geneva William Bailey,

Three admirers are important to the psychological development of Cor- inne Griffith’s character in the role of Hester Bevins in “Back Pay,” the famous Fannie Hurst story and Broadway play, which brings the First National star to the ......... Theatre in an all Vitaphone produc- tion next Grant Withers plays an unsophisticated Virginia youth who -has- nothing to offer but an all-compelling love; Hallam Cooley has the role of a smart-aleck wise- cracking traveling salesman who per- suades Hester to run away with him to New York and Montagu Love will be seen as a middle-aged wealthy man- about-town who showers her with jewels and furs.

The struggle between love and luxury is at the basis worthy of Miss Griffith’s emotional talents. Accord- ing to William A. Seiter who directed this story, all the witticisms and deep currents of humor, drama and char- acterization which have brought fame to the author of “Lummox,” “Humor- esque” and “Back Pay,” have been retained in Francis Edwards Fara- goh’s screen adaptation of Miss Hurst’s story.

a i

CORINNE GRIFFITH SINGS FOR FIRST TIME ON SCREEN

No Voice Doubling in “Back Pay’’ Picture Based on Fannie Hurst Story

The story of “Back Pay,” Corinne Griffith’s First National and Vita. phone production directed by Willi:. A. Seiter Witten Drigs to Tie scrkh tl.» most famous of all the short — stories in the voluminous collection by Fannie Hurst, opens with Miss Griffith singing to ‘her lover as. they sprawl under the trees at an em- ployees’ picnic in the little town of There will be

no voiee doubling for Corinne’s songs,

Demopolis, Virginia.

as she is an accomplished musician who has been playing a piano and singing for her own amusement for many years before she ever dreamed of sound pictures.

The song chosen by the heroine of “Back Pay,” a modern drama laid in the period of the late World War, is “They Didn’t Believe Me,” with words by Herbert Reynolds and musie by Jerome Kern. This number was an outstanding hit when it was first introduced in the musical comedy, “The Girl from Utah,” and was se- lected in preference to a new theme song because it exactly fits the action of the story.

“Back Pay” is scheduled to open ee at the The- atre. It was*directed by William A, Seiter and adapted for the screen by Francis Edwards Faragoh. Promi- nent in the strong supporting cast are Grant Withers, Montagu Love, Hallam Cooley, Virginia Sale, Geneva Mitchell, Vivian Oakland, Bill Bailey and Dee Loretta.

Margaret Lawrence Role

For Corinne Griffith “Back Pay”? the First National production starring Corinne Griffith, with Grant Withers and Montagu Love in~ the principal supporting roles, is scheduled for early release at the Theatre. This is

a. Vitaphone version of Fannie Hurst’s renowned stage play in which Mar- garet Lawrence once appeared on Broadway.

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_ Page One

Sold In Advance To Countless Readers As Fannie Hurst’s Most Famous Short Story!

ORCHID OF THE SCREEN TURNS TO RED-BLOODED WOMEN

Corinne Griffith Reveals

New Depths in

Portrayal of Country Girl in “Back Pay’’—Tired of Being Called Beauty

(ADVANCE FEATURE)

For the past year or so, Corinne Griffith has been undergoing a gradual metamorphosis in her screen personality. Instead of the blue-blooded noblewomen, virtuous clinging vines and lan- guorous ladies of the salon of her early performances, the one

time

orchid lady of the silver sheet’’ has turned the key on

hot-house roles and transplanted herself to hardier soil.

This new Corinne Griffith,

born of rebellion and revolt

against saccharine society sirens in stories built around twenty

or thirty French gowns, has become wicked, wayward and wild and glor- ies in her escape from the drawing room to the very heart of the slums, the uncertain crossroads and lowly by-paths of life.

“A long time ago, I became heart- ily sick and tired of hearing about my poise, my beauty and my ability to wear clothes well,” says Corinne. “T want to be an actress, not a fashion plate. For years, the pub- licity built up around my face just because I happened to get my first start in pictures by winning the beauty prize at a Santa Monica ball- room contest, when I was sixteen years old, has proved a detriment rather than an asset.

Tired of Being a Beauty

“To this day I’m constantly read- ing how I was selected as Queen of the Mardi Gras in New Orleans. Not a word of truth in it—I was just a child when my family moved, for a time, from Texarkana, Texas, to New Orleans because my father had business there. I attended boarding school and studied art, intending with

the ego of my eleven winters and ummers to become a great portrait painter. It had never entered my ead at that age to go on the seccn. Furthermore, I was regarded as the ugly duckling by my family. I was pale, delicate and thin and I had failed to inherit my mother’s great luminous brown eyes, the distinguish- ing mark of beauty in our family, as mother is very proud of her Italian origin. To have the only blue eyes in the family was almost a sin.

“But once I had been tagged with the beauty label there was no getting away from it. Artists invited me to sit for them, couturieres wanted me to be their first to wear their most - expensive models and producers cast me in stately, insipid roles where I could be clad in jewels and satins. As long as I walked through a part without stubbing my toes they were satisfied, but I, myself, was miserably unhappy. I longed to play women in varied walks of life requiring keen characterization and I wanted to give vent to my emotions.

Stories of Struggle

“Stories of human struggle attract me most, whether it is a struggle for achievement, fame, money, virtue, power, love or existence itself. Red- blooded characters present the great- est acting opportunities. I want parts which offer possibilities for contrast and shading. In short, “the aristo- erat of the screen,” as many have called me, has kicked over the traces!”

A Fair Exchange

Although Corinne Griffith re- ceives nearly a thousand re- quests per week for her auto- graph from admiring fans, it is a new experience for the First National star to collect signatures of others. But while making her latest all-dialogue drama, “Back

| Pay,” by Fannie Hurst, which is

proving an overwhelming suc- cess at the Theatre, Miss Griffith became so interest- ed in all the other renowned works of this great American writer that she began a collec- tion of Fannie Hurst first edi- tions.

When the author of “Back Pay” visited Hollywood, recent- ly, to consult with Herbert Bren- non on the filming of “Lum- mox,” she graciously consented to autograph all her novels and books of short stories in Miss Griffith’s library in exchange for an autographed copy of a por- trait of the beautiful Corinne by James Montgomery Flagg.

Since Miss Griffith has taken mat- ters into her own hands she has de- parted more and more radically from her erstwhile goody-good roles. In “Outcast” she was a social derelict, a girl of the streets. In “Saturdays’ Children” she played a working girl with decidedly advanced and uncon- ventional ideas regarding matrimony. In “Prisoners” she slipped down an- other rung in the social ladder by going to jail as a thief. In “Lilies of the Field,” her first all-Vitaphone production, she became a Broadway cabaret girl, wore tights, got drunk and amazed her audiences by execut- ing a jazzy tap dance atop a baby grand piano.

And now as Hester Bevins in “Back Pay,” the celebrated Fannie Hurst story which opens at the Theatre, on day, the new Corinne Griffith will be seen as a small town Southern girl who harbors a erepe de chine soul under her cotton frocks. Her wasted life is finally re- deemed by the awakening of her bet- ter self when her childhood sweet- heart whom she has deserted, returns from the war blind and _ helpless. “Back Pay” is directed by William A. Seiter and included in Miss Grif- fith’s supporting cast are such ster- ling players as Grant Withers, Mon- tagu Love and Hallam Cooley.

GRANT WITHERS

A FIRST NATIONAL & VITAPHGNE HIT

ea CAPITOL |

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Page Two |

One Of The Season’s Finer Pictures!

Produced by

WALTER MOROSCO "fe

Based on story by

FANNIE HURST

A William A.

SEITER PROD.

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“Vitaphone” is the registered trade mark of the Vitaphone Corp. designating its products

——

pay,

CORINNE

FFITH

with GRANT WITHERS

Montagu Love Hallam Cooley

EMORIES of a beautiful romance was HIS back but what about hers?

Luxury was happiness to her,

until she tasted the wealth of a

true love.

NLY Fannie Hurst could

tell such life-drama. the Orchid Of The Screen couk interpret it for the Vitaphone. It’s her outstanding Vitaphone achievement.

Only

Y y (tae REG, TRADE MARK

PLAYS HEROINES OF MANY LANDS

Corinne Griffith’s Characteriza- tions Cover Wide Range of Nationalities

(CURRENT READER)

Corinne Griffith has been skipping all around the globe in her recent First National productions. As Lady Hamilton in “The Divine Lady,” she played a celebrated English beauty; as Riza Riga in “Prisoners,” she was a Hungarian waitress in a little town near Budapest; in the role of Mildred Harker in “Lilies of the Field,” Cor- inne portrayed a dyed-in-the-wool New Yorker, who became a Broadway cabaret show girl, nad now as Hester Bevins, in “Back Pay” at the Theatre, the versatile dramatic star enacts a Southern girl from a small town in Virginia,

“Back Pay” is based on an original story by Fannie Hurst and affords Miss Griffith an opportunity for one of the most interesting characteriza- tions of her entire career. After de- liberately sacrificing love for riches and adventure, the heroine discovers that real happiness depends upon be- ing true to oneself and that life col- lects an exorbitant interest from the wages of sin.

Grant Withers and Montagu Love are the two masculine leads in “Back Pay.” William A. Seiter directed.

Vivian Oakland

Vivian Oakland was christened Vi- vian Anderson but chose the Cali- fornia city of her birth as her stage name when, at the age of nine, she began her professional career in an Oakland stock company.

It was while appearing in a light operetta in New York that Miss Oak- land made her screen debut at the suggestion of Edwin Carewe who cast her for the role of Beauty in “Des- tiny.” Her second picture was “Peter Ibbetson” with Wallace Reid. Her latest role is that of the principal feminine part in Corinne Griffith’s supporting cast of “Back Pay” by Fannie Hurst made for First Na- tional. “Back Pay” is the current

athreetion=—atatne= 2 sa ee The- BITES Airc ee Se A Real Artist Montagu Love, who plays the

heavy in “Back Pay” starring Corinne Griffith, which is the feature attrac- tion this week at the Theatre, was a well known newspaper artist in London several years before he began his stage career. Love is particularly adept at drawing animals and illustrated articles in many mag- azines devoted to sports in addition to his newspaper assignments. Many of his original drawings now line the walls of his Hollywood home.

SEITER ONCE MORE DIRECTS GRIFFITH

Star of “Back Pay’ and Director Have Been To- gether in Many Pictures

(ADVANCE READER)

William A. Seiter, after gu Corinne Griffith’s destinies in “. cast” and “Prisoners” and also direct- ing the talking sequences of her re- cent Maxwell Anderson Pulitzer Prize play, “Saturday’s Children,” has again directed the beautiful First Na- tional star in “Back Pay” by Fannie Hurst, which is soon to have its long anticipated premiere at the Theatre.

About all the vacation Seiter has had between pictures during the past year is a deep breath. In addition to Miss Griffith’s films, he directed Col- leen Moore in “Happiness Ahead,” “Synthetic Sin,” “Why Be Good” and “Trish Eyes Are Smiling.”

Mr. Seiter really belongs in the category of Hollywood “pioneers.” He started as an extra man about fifteen years ago. His companions in those days of making the studio rounds in search of a day’s work were Harold Lloyd, Hal Roach and Sydney Franklin.

Mr. Seiter will remain with Corinne Griffith when she begins her next picture, “The Lost Lady” by Willa Cather.

Wm. A. Seiter Who Gave You “Outcast’’And Other Big Gross Builders Directed “Back Pay’’

OLIN COLLAR. CONTINUES OROHAY THEE. SO Att~w 1500 fe. = GRAND =

First National Pictures, Inc.

Presents

CORINNE GRIFFITH “BACK PAY”

Based on the story by Fannie Hurst

FIRST NATIONAL BUILDS TOWN ____ FOR “BACK PAY”

ll Virginia Community .~ Accurately Reproduced in Corinne Griffith Film

(ADVANCE READER)

Three whole acres of ground on the First National studio lot at Burbank, California, were devoted to the econ- struction of the little town of De- mopolis, Va., which forms one of the principal locales of Corinne Griffith’s “Back Pay,” the famous Fannie Hurst story coming to the Theatre,

Screen version and dialogue by Francis Edwards Faragoh

A William A. Seiter Production Produced by Walter Morosco A First National and Vitaphone Production

Vitaphone Orchestra Directed by Leo Forbstein Photography by John Seitz

THE CAST

In addition to the quaint residen- HESTER BEVINS Sas ee CORINNE GRIFFITH tial section compromising several full||] Gerald Smith Grant Withers length city blocks of typical small||| Wheeler. = = Montagu Love town frame cottages, the entire vil- OG) lOGI es. Hallam Cooley

Rite Sat ee a eRe ae Vivian Oakland

lage business section of Demopolis

before the war, had to be faithfully|]] Babe. s—‘“—sS Geneva Mitchell reproduced in every detail. There is Be ee ee eee William Bailey the inevitable saloon and pool room, Wheeler’s SOCK CtAR yo Virginia Sale the usual barber shop, corner drug Aggie Simms Dee Loretta store, quick lunch cafe, furniture pS ee ee oe ee Javied Mascws ~~ feed and fuel building, city Masiccsa See ee eee Ve ree. ae eet Pan ae Caves

, hardware shop, wall-paper

grocery and meat market com- bined, gunsmithy, and Finley’s De- partment store, a two story edifice completely stocked from pins to phonographs where Miss Griffith as Hester Bevins and ‘her leading man, Grant Withers as Gerald Smith, are both employees in the story. A large park square proudly displays an old- fashioned cannon in front of the City Hall, church and Commercial Hotel, and there are lumber yards, old- fashioned stables and the railroad station and tracks.

Much of the action of “Back Pay” takes place out-of-doors in these busy street scenes and the microphone equipment mounted on trucks fol- lowed the camera for several blocks in the long shots. William A. Seiter who formerly directed Miss Griffith in “Outcast” and “Prisoners” directed this all-talking First National story. Francis Edwards Faragoh is respon- sible for the adaptation, continuity

‘ialogue. Mr. Faragoh recently ied Corinne’s first 100% Vita- p..._.¢ film, “Lilies of the Field.”

Besides Grant Withers, Miss Grif- fith’s “Back Pay” cast includes Mon- tagu Love, Hallam Cooley, Dee Loretta, Dick Gordon, William Bailey, Geneva Mitchell, Louise Beavers, Viv- ian Oakland, Louise Carver and James Marcus.

Tioster’s: Maid.< Ee Louise Beavers

“BACK PAY” A HUMAN STORY

SYNOPSIS (Not for Publication)

“Back Pay” deals with the struggles of a small town girl, Hester Bevins, to escape the cramping monotony of her narrow environ- ment. She lives in a Virginia town with a slatternly aunt whose reputation is none too good. Gerald, Hester’s childhood sweet- heart, a high-principled youth, wants to marry her, but Hester sees nothing to be gained by such a marriage, in that it would mean a continued residence in the tiresome town.

At this time, a debonair travelling salesman arrives from New York. Hester runs away with him and accepts the luxury of a Park Avenue apartment with all expenses paid.

Gerald goes to the war, is gassed in No Man’s Land and becomes totally blind. When Hester learns of this tragedy, her old love for Gerald is revived and she rushes to the hospital where he is lying helpless. Although his condition is fatal, she wants to marry him in order to make his remaining hours more tolerable. The marriage takes place and the two lovers experience a brief period of peace and calm before the death of Gerald.

Hester had planned to return to her former mode of living, but

finds it impossible after having experienced the beauty of un- | selfish love.

WAR VETERANS . 1. @ RL epa ie pAy Chic Sale s Sister 5 ES In “Back Pay

(ADVANCE READER) (ADVANCE READER)

Although Corinne Griffith’s latest First National and Vitaphone pro- duction, “Back Pay,” by Fannie Hurst, is by no means a war picture, there are certain sequences in the picture ‘which take place during the late world-conflict and call for a war background.

One of the scenes laid in New York faithfully reproduce 36th Street and Fifth Avenue in 1917 when companies of American soldiers marched through

Dee Loretta is Versatile Dee Loretta, who plays Corinne Griffith’s aunt of very shady reputa- tion in First National’s “Back Pay,” a forthcoming attraction at the Theatre, is a well known stage actress who is equally at home in dramatic or musical comedy pro- ductions. Miss Loretta has appeared in character roles on the New York stage in “Glorianna,” “Jimmy,” “May- time,” “No, No, Nanette” and “Broad- Sway.

ous Chie Sale, is a comparative new-

the role of a prim secretary to Mon- Pay” by Fannie Hurst, a First Na-

of employing extras to portray the|iS Promised at the The-

doughboys, Director William A. Seiter|atre beginning engaged one hundred men from the Los Angeles Veterans’ Bureau who had actually seen service at the front, with ,Captain John McCafferty as their presiding officer.

“Back Pay” is scheduled for early release at the Theatre. It is an all-dialogue production, said to be the finest achievement of Cor- inne Griffith’s varied screen career. Grant Withers and Montagu Love the principal supporting roles.

_— New Beach Home "Inne Griffith, whose latest all-

£ picture, “Back Pay” by Fan- alurst is now playing to capacity audiences at the Theatre, has recently purchased a large lot at Malibu Beach and is building an all- the-year-round home there overlooking the Pacific Ocean. Miss Griffith has a private beach frontage of 150 feet. The new home will be ready for oc- cupancy by the first of May.

Virginia has never traded on her brother’s reputation and has refused repeatedly to let him use his influence in any way. When she went to Hol- lywood three years ago she took an assumed name and accepted extra work in various studios, even though she had just completed a successful tour in vaudeville. Finally, she signed with the Christie Comedies and played a series of short subjects opposite Jack Duffy. Her first full length pic- ture was “Embarrassing Moments” with Reginald Denny. Since then she has been freelancing and though still in her early twenties has specialized in the parts of eccentric elderly la- dies. She has also been particularly successful in the roles of foreign servant girls, fussy old maids, school teachers and stenographers.

“Back Pay’ was directed by Wil- liam A. Seiter, who previously di- rected Miss Griffith in “Outcast” and “Prisoners.” Grant Withers plays op- posite the star. Montagu Love has an important role and others in the cast besides Miss Sale are: Vivian Oakland, Hallam Cooley, Geneva Mit- chell and William Bailey.

hh.

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Virginia Sale, a sister of the fam- comer to the screen who inherits her brother’s talent for comedy charac- terization. Miss Sale will be seen in

tagu Love in Corinne Griffith’s “Back

° . . . i) the shopping district daily. Instead tional and Vitaphone production which

She traded Love for Luxury; Dirty Dishes for Dazz- ling Diamonds. She was blind to her mad bargain until Love open- ed her eyes.

The loveliest of all screen stars heading a fine cast including

GRANT WITHERS

Montagu Love Hallam Cooley

Based on story by

FANNIE HURST

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A Wm. A. Seiter

Prod.

Stage Players

Several experienced actors and ac- tresses of the legitimate stage will be heard in important supporting roles when Corinne Griffith comes to the Sie ee Theatre next week in the most celebrated of all Fannie Hurst’s famous stories, “Back Pay,” directed by William A. Seiter. Montagu Love, Vivian Oakland, Dee Loretta, Vir- ginia Sale, a sister of Chic Sale, Hal-

lam Cooley and William Bailey have

all gained their experience on the speaking stage long before entering pictures and did not have to take any

lessons in voice culture.

No Screen Makeup For Corinne Griffith

When Corinne Griffith comes to the Theatre in “Back Pay” in which she plays Fannie Hurst’s famous Hester Bevins, a southern girl, the beautiful First Na- tional star will be seen without any Sev-

heroine,

makeup other than lip rouge. eral male stars have recently appeared before the camera without makup, but Miss Griffith is said to be the only screen actress in Hollywood who uses no grease paint. “Back Pay” is di- rected by William A. Seiter. Grant Withers and Montagu Love have the principal supporting roles

Popular Song

“They Didn’t Believe Me,” the big song hit from “The Girl From Utah” with words by Herbert Reynolds and music by Jerome Kern will be sung by Corinne Griffith in her forthcom- ing First National and Vitaphone production “Back Pay” by Fannie Hurst soon to be shown at the Se eae roe Theatre. This number was chosen rather than a new song because the words exactly fit a situa- tion in the story. “Back Pay” marks Miss Griffith’s debut as a singer on the screen.

A FIRST

Produced by Walter

Morosco

NATIONAL

and. TADHDR ss

eG TRADE MARE.

Colorful Story \ Coming To Screen

Of Theatre

Corinne Griffith Plays Southern Girl in Her Latest Film “Back Pay”

(ADVANCE READER)

“Back Pay,” Corinne Griffith’s First National and Vitaphone production adapted from Fannie Hurst’s famous story and play of the same name, opens at the Theatre next day

ee s © @

engagement.

In “Back Pay” Miss Griffith plays the role of a Southern girl from a little town in Virginia and as the star is herself a Southerner, having been born in Texarkana, Texas, her voice is particularly well suited to the role.

The story deals with the colorful adventures of a heroine who sacrifices love for beautiful clothes and a life of easy virtue. She runs away to New York with a travelling salesman and progresses from a cheap tenement in the Bronx to an arty stucco house in Greenwich Village and finally to a swanky apartment on Park Avenue. In the end, just before it is too late, she learns the meaning of real love.

Grant Withers, who recently played opposite Miss Griffith in “Saturday’s Children” will again be seen as her leading man and Montague Love has an equally important role. Others in the supporting cast are: Vivian Oak- land, Hallam Cooley, Geneva Mitchell, Virginia Sale, William Bailey and Dee Loretta. William A. Seiter directed.

There are many colorful back- grounds in this absorbing Fannie Hurst drama which was adapted for the screen by Francis Edwards Fara- goh, including snow mountains of Lake Placid where much of the action takes place in a hunting lodge; the

picturesque street and home scenes in

the sleepy town of Demopolis, glimpses of New York City; bits of gay life at Hot Springs and an intensely thril-

ling war sequence in No Man’s Land

“Somewhere in France.”

Page é Three: .

Every ad and story on this page can be used for advertising the Vitaphone version with slight additions to the copy.

From Fannie Hurst’s Gifted Pen! With Corinne Griffith’s Charming Voice!

She bargained for luxury and found happiness, until Love showed her how poor she was! Corinne in the kind of a role you’ve always wanted her to portray. It’s her best talkie—by far!

‘BACK PAY’

with GRANT WITHERS “sitagua-~Love, —Hallam— Cooley

A William A. Sefter Production.

Based on story by Fannie Hurst.

A FIRST NATIONAL

Produced by

: and WALTER \ WU TADHON MOROSCO

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A Double Romance

When Corinne Griffith comes to the Theatre next week in her second all-talking First National pro- duction, “Back Pay,” adapted for the screen from Fannie Hurst’s famous short story and drama, the star will have two well-known leading men,— Grant Withers, who plays her early sweetheart in a little town in Virginia and Montagu Love. who becomes her patron lover when the southern hero- ine journeys to New York City for William

Distinguished Cast

In the celebrated Fannie Hurst story “Back Pay,” which has its ini- tial showing at the Theatre ONE ess re es » Corinne Griffith will be supported by a east of such well known names as Grant Withers, Mon- tagu Love, Vivian Oakland, Hallam Cooley, Geneva Mitchell, Dee Loretta, William Bailey and Virginia Sale. William A. Seiter directed and Fran- cis Edwards Faragoh is responsible for the adaptation and dialogue.

Grant Withers With Corinne Griffith Again

Two years ago Grant Withers was thrilled at winning the small part of

a life of ease and luxury. A. Seiter directed.

SILENT

Brief Biographies of the Cast

CORINNE GRIFFITH

Corinne Griffith in

“Back Pay”

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Corinne Griffith is claimed as a native daughter of two states, as she was born in Texarkana right on the border line between Texas and Arkan- Her father, John Griffith, of English descent, was a railroad man connected with the old Vanderbilt line in Texas. Her mother’s parents were Italian. Corinne had her first insight into the amusement world at the age of four when she followed a circus parade and was given a lift in a big red wagon by a couple of acrobats. Several hours later, her distracted parents found the child calmly play- ing with some clowns under the Big Top.

sas.

While attending a public dance at Santa Monica, Miss Griffith won a beauty contest which decided her future career. Among the judges was Roland Sturgeon, then a director for Vitagraph, who invited the girl win- ner to make a test the following morn- ing. This resulted in an immediate contract. After a few pictures on the Coast, Corinne became a full fledged star and was transferred East to make a series of films in the old Flatbush Studios. She remained with Vita- graph for five years. Samuel Goldwyn next signed Corinne to star in Elinor Glyn’s “Six Days” and this was fol- lowed by a screen version of Robert W. Chambers’ novel, “The Common Law.” In 1925, First National Pic- tures claimed her and she was starred in “Black Oxen,” “Declasse,” “Classi- fied,” “Mademoiselle Modiste,” “Into Her Kingdom,” “The Lady In Er- mine” and “Three Hours.” Her more recent pictures include “The Divine Lady” by E. Barrington, “Saturday’s Children” by Maxwell Anderson, “Prisoners” by Ferene Molnar, “Lilies of the Field” by William Hurlburt and “Back Pay,” an _ all-Vitaphone production, by Fannie Hurst, which is soon to be shown at the Theatre. “Back Pay” is directed by William A. Seiter.

Corinne Griffith is a great reader and is especially fond of poetry. She swims, plays tennis and rides a bi- eyele far from the maddening crowd at Malibu Beach, Calif., where she has a summer home, and enjoys long walks. She never diets, preferring to keep her slender figure through con- stant exercise. Much of her leisure time is devoted to studying French,

HALLAM COOLEY

Hallam Cooley who plays Al Bloom,

GRANT WITHERS

Grant Withers in

“Back Pay’’

Cut No. 13 Cut 15¢ Mat 5¢

For the past two years Grant Withers has been rapidly working his way toward stardom. But the youth- ful Colorado actor experienced many early struggles and discouragements before achieving his present eminence.

Finally he was engaged for a series of twenty short length features with Alberta Vaughan and Margaret Morris. Other fairly ‘good roles fol- lowed with Fox, Universal and Chris- tie Studios, but it was not until he played a small part as Lord Nelson’s flag lieutenant in Corinne Griffith’s “The Divine Lady,’ that the real turn- ing point in his screen career was reached. Miss Griffith liked the young man’s looks, earnestness and ability so much that she elevated him to the part of her leading man in “Satur- day’s Children” and he made good. Now Grant has again been chosen by Corinne to play opposite her in “Back Pay” which opens shortly at the Theatre.

Other recent productions in which young Withers has appeared are “In the Headlines,” “The Madonna of Avenue A” and “The Other Tomor- row” with Billie Dove.

MONTAGU LOVE

The noted character actor, Montagu Love, who plays the “heavy” in Corinne Griffith’s all-talking First National picture, “Back Pay,”. by Fannie Hurst, is a native of Ports- mouth, England. He was graduated from Cambridge and started his career as a newspaper artist in London. He was particularly successful in draw- ing army and sporting illustrations, although he also sketched famous English actors at first nights. Soon, however, he gave up art in favor of the stage.

It was while playing in New York that he succumbed to the lure of the camera and made several pictures for the old World Film Company, win- ning particular praise for his per- formance in “Rasputin.” Some of his most recent pictures are “The Divine Lady” with Corinne Griffith, “Bulldog Drummond” with Ronald Coleman, “Night of Love” with Coleman and Banky, “The Mysterious Island,” “Charming Sinners” with Ruth Chat- terton, “Her Private Life’ and “A Notorious Affair” with Billie

Biography of WILLIAM A. SEITER

William A. Seiter first came to Hol- lywood fifteen years ago when the thriving motion picture colony of to- day was hardly more than a su-- sion of orange groves. Seiter’s f a partner in the old established York firm of Higgins and Seiter, uu- porters of glass and chinaware, gave his son an excellent art education in- tending to have him become a junior member of the business. But Bill had other plans, he wanted to be a screen actor.

Young Seiter journeyed to Holly- wood armed only with ambition. He refused any financial help from the family back East, and bravely made the daily round of studios in search of extra work. There were many lean times when his bed was the back seat of an automobile in a garage where the night watchman was a sympathetic old negro. But finally, after playing a number of Keystone cops in the old Mack Sennett Studios, and act- ing as an assistant cameraman on various productions when no parts were forthcoming, perserverance won Bill a leading role as a Northwest

Mounted Policeman opposite Loretta

Blake in a picture produced by ~ Griffith.

When Norma Talmadge lef _. Vitagraph Company in Brooklyn to make “The Captivating Mary Car- stairs” at the Coast, Seiter was not only assigned the juvenile lead but was also made assistant to the di- rector. His next step was to direct a series of comedies starring Carter de Haven. Then Thomas W. Ince, as- signed him to the megaphone for “The Kentucky Colonel” which lead to a contract with Warner Brothers. His next move was to Universal where he directed Laura LaPlante, who has since become, in private life, Mrs. William A. Seiter.

When his Universal contract termi- nated, Bill was immediately signed by First National where he has be-

come an ace director, equally at home

in comedy and intense emotional drama. For Colleen Moore he has di- rected many stories in lighter vein, while for Corinne Griffith he wielded the megaphone for more serious mas, such as “Outeast,” “Pris

and “Back Pay.”

First National Pictures, Inc. presents

Cut No. 8 Cut 20c

Dove.

Withers’ New Role

Grant Withers the handsome young American actor from Colorado, who was recently signed to a long term contract by First National Pictures, on the strength of his fine perform- ance as leading man to Corinne Griffith in “Saturday’s Children,” will again play opposite Miss Griffith in ‘Back Pay,” which is promised as he next attraction at the Theatre.

Colored Actress Scores

Louise Beavers, the colored actress who’ won considerable favorable com- ment from press and publie for her fine performance of Mary Pickford’s negro mammy in “Coquette,” will again have a talking role in Corinne Griffith’s “Back Pay,” opening to- MOTLOW=< OU ATNO Scots ok Theatre, As Corinne’s maid in this Fannie Hurst drama, directed by William A. Seiter, Miss Beavers supplies the comedy relief.

a flag lieutenant in “The Divine Lady” with Corinne Griffith. Though his name never appeared on the cast, his ability and good looks did not escape Miss Griffith’s attention and the handsome Colorado athlete was promoted to the role of her leading man in “Saturday’s Children.” Now Grant is again playing opposite the First National star in “Back Pay” at the Theatre,

a travelling salesman, in Corinne Griffith’s First National-Vitaphone production, “Back Pay” by Fannie Hurst, was born in New York City, but journeyed to Chicago during his high school days and later attended Northwestern University where he de- voted as much time as his studies would allow to amateur dramaties.

After being graduated, Cooley toured the United States with a stock company appearing in “The Man From Mexico,” “The Kingdom of Content” and various other produc- tions. However, the screen was flour- ishing during his cub days on the stage and Hal finally returned to New York to join the Selznick Picture Company. Several character and com- edy roles followed in Cosmopolitan Productions. and Cooley forged rapid- ly ahead in a long series of Fox two- reel domestic comedies opposite Kath- ryn Perry. Heis much in demand at the studios. Hal’s favorite hobbies are tennis and polo. He is six feet tall, has dark hair and dark eyes and is an all-around athlete.

Dog Actor Well Paid

Dumpsie, a clever maltese terrier only a year and a half old, is one of the important members of the cast in Corinne Griffith’s “Back Pay,” the current -attraction at the =........ Theatre. In the OLS Mr; Schwartz,” Dumpsié was paid $25.00 per day all during the making of this absorbing Fannie Hurst story di- rected by William A. Seiter for First National and Vitaphone.

Newspaper Experience

Grant Withers who is appearing opposite Corinne Griffith in “Back Pay” at the .. Theatre was onee a copy reader in Colorado on his grandfather’s newspaper, The Pueblo Chieftain. Grant’s first job in California was that of reporter on a Los Angeles daily. He was fired from the job but by a curious quirk of fate received hhis first starring role in a Warner Brothers picture of newspaper life, “In the Headlines.”

Sylvan Love

One of the most beautiful love scenes ever portrayed on the screen has for its background the picturesque picnic grounds in the sylvan woods of Virginia in Corinne Griffith’s “Back Pay,” soon to be shown at the Theatre. It is at a picnic given for the employees of a small town department store that Miss Griffith and Grant Withers first re- ‘veal their love.

with

GRANT WITHERS

Montagu Love, Hallam Cooley. Based on story by Fannie Hurst. A Wm. A. Seiter Production. Pro- duced by Walter Morosco.

A FIRST NATIONAL &| VITAPHONE PICTURE |

role

Page Four

SECTION

You can use any illustration and almost every story in this entire press sheet for your silent show- ing with slight changes.

First National Pictures, Inc., presents

{ws

of the Screen in her Greatest Vitaphone Achieve- ment

Produced by WALTER

Cut No.7 Cut 4oc Mat roc

Varied Locales In New Corinne

Griffith Picture

Scenes in “Back Pay’? Move From Small Virginia Town To Fashionable

Park Avenue

(ADVANCE READER) -

Many varied and interesting locales form the background of “Back Pay,” by Fannie Hurst, Corinne Griffith’s second all-talking production for First

a nal, which follows her recent of eabaret night life, “Lilies of

_«dield,” which was entirely laid in New York City.

In Miss Hurst’s famous play found- ed on a short story by the same dis- tinguished author, which has been translated into seven languages, there are scenes in the sleepy little town of Demopolis, Virginia, where the star jis shown as a working girl in a small department store; settings in a lux- urious Park Avenue apartment house and crowded street scenes in New York City, when the heroine leaves Demopolis for a life of easy virtue in a big metropolis; snow mountain scenes at Lake Placid depicting win- ter sports and a jolly week-end in a hunting lodge; festive bits of fast life at Hot Springs and wide waste- lands with trenches, barricades, dug- outs and miles of barbed wire en-

_ tanglements, “somewhere in France,” during a thrilling war sequence.

“Back Pay” is the coming attrac- ; tion at the Theatre. It _- was directed by William A. Seiter and the surrounding cast includes such well known names as Grant Withers, Montague Love, and “Vivian Oakland.

SEITER’S FIFTEENTH

“Back Pay,” Corinne Griffith’s lat- est screen production founded on the world-celebrated story and _ stage drama by Fannie Hurst, which has been announced by the Theatre as one of their forthcoming big attractions, is the fifteenth fea- ture film to be directed by William A. Seiter in the two years he has been under contract to the First National Studio. This achievement marks a record unequalled by any other mega- phone wielder in Hollywood, for the same length of time.

One of the chief reasons Seiter has been assigned so many more pictures than the average director is because he is equally at home in guiding his players through light farce or heavy drama.

Southern Girl

Corinne Griffith will have the role of a department store worker in the little town of Demopolis, Virginia, in First National’s “Back Pay” soon to be shown at the The- atre. As Miss Griffith is a native daughter of Texas, her soft, well- modulated voice is particularly well suited to this southern role. Grant Withers plays Miss Griffith’s leading man and Montagu Love has an equally important role. William A. Seiter di- rected.

Corinne Griffith Sings

For the first time in her long and varied screen career, Corinne Griffith has joined the ranks of the screen stars who not only talk but sing, as well. She is said to have a charming mezzo soprano voice and will make her debut as a singer in “Back Pay,” a First National and Vitaphone pro- duction which opens at the Theatre next

Pr er ee cr}

Actor Braves Wet And Cold Making “Back Pay” Scenes

Grant Withers Gets Soaked Seven Times In Course

Of a Day’s Work

(NEWS STORY)

All in the interest of Art with a capital A, Grant Withers, leading man for Corinne Griffith in “Back Pay,” the star’s second all-talking picture for First National, was called upon to risk pneumonia and a few other ailments while on location dur- ing the making of this celebrated Fannie Hurst story which is an- nounced for early showing at the i eee eee Theatre.

One of the picturesque scenes in “Back Pay” represents a picnic ground where Miss Griffith, Mr. Withers and forty other players in the roles of employees of Finley’s Department Store in the small town of Demopolis, Virginia, are making merry. It is at this pienic that Withers in the role of Gerald Smith first declares his love for Miss Griffith as Hester Bevins. The action requires Grant, all dressed up in white trousers and a blue coat, to plunge into an icy cold stream, where Corinne is marooned on a rock, and carry her in his arms to shore.

As the entire sequence was shot out- doors with difficult travelling mic- rophone equipment to follow the dia- logue. it was necessary to photograph each shot several times, which meant hat the hero must dash into the water in dry trousers for each “take.” In the course of half an hour seven pairs of wet, muddy white flannels were soaked to the waist and pre- sented an amusing picture as they hung, flapping in the breeze, on the side-lines, at fashionable Bel-Air, California, where the Demopolis pic- nie scenes were made.

William <A. Seiter directed “Back Pay” and Francis Edwards Faragoh wrote the screen adaptation and dia- logue. Besides Grant Withers, Mon- tagu Love and Hallam Cooley also play Miss Griffith’s lovers.

Chic Sales’ Sister

When “Back Pay,” starring Cor- inne Griffith, comes to the Theatre, , Virginia . Sale, younger sister of the celebrated stage and screen comedian, Chic Sale, will be seen in the role of an eccentric comedy characterization of a steno- grapher. Miss Sale, who was formerly on the legitimate stage, is rapidly making a name for herself on the talking screen as a character actress of considerable ability.

COLLECTS LACES

Corinne Griffith who plays Hester

Bevins in-the Fannie Hurst drama, “Back Pay,” which First National is now .presenting at the Theatre as an all Vitaphone produc- tion, directed by William A. Seiter, has a collection of real laces valued at several thousand dollars. Many of these rare laces are museum pieces of -great historical value. Among the modern things in Corinne’s collection is a banquet tablecloth on which thirty girls worked for a whole year. Into the laces are woven various por- traits of Miss Griffith as Lady Hamil- ton and heads of all the principal characters of “The Divine Lady.” In a bed room scene with Montagu Love in “Back Pay,” the star appears in a lace-trimmed fluted chiffon night- dress showing under a _ gorgeous French negligee. The lace medallions inserted in this nightie are rare ex- amples of 15th Century needlework.

French Accent For Geneva

Geneva Mitchell will talk with a French accent in “Back Pay” star- ring Corinne Griffith, when this cele- brated Fannie Hurst story is shown HG the she sces Theatre the week of Miss Mitchell speaks French fluently in private life and also has a knowledge of Italian and German, which she finds very useful since the advent of dialogue films. Her role in “Back Pay” is that of a lady of easy virtue.

“BACK PAY” IS HEART INTEREST STORY BRILLIANTLY ENACTED BY ALL-STAR CAST

Corinne Griffith Seen At Her Best in Splendid Adaptation of Sympathtic Drama By Fannie Hurst

(PREPARED REVIEW)

Grant Withers, Corinne Griffith and Montagu Love in “Back Pay.”

Cut No. 16 Cut 30c Mat roc

A crowded and distinguished audience welcomed the pre- miere of Corinne Griffith’s ““Back Pay,’’ at the ....-.2..... Theatre last night, and was rewarded with a brilliant union of beauty, drama, personality and intelligent direction in this cele- brated Fannie Hurst story.

‘‘Back Pay’’ has been widely read-as a short-story and en- joyed a successful New York stage run some years ago with

Helen MacKellar in the role of Hester Bevins. Her Hester is a flesh-and-blood heroine who chafes under the restraint of her narrow environment in a small Vir ginia town and longs for romance, pretty clothes and the animation of a big city. Though she loves Gerald Smith who works at the same depart- ment store, the ambitious Hester real- izes that life with him would mean a continued humdrum existence. She finally settled down to a life of easy virtue in a Fifth Avenue apartment with Wheeler, a middle aged suitor.

Then the war breaks out and while Gerald is fighting for his country at the front, Hester, Wheeler and the fast set in which they move are shown making merry with a round of gay parties at Hot Springs, Lake Placid and New York. But when Gerald is sent from France to a New York hospital wounded and blinded, Hester is brought to the realization of her wasted life and decides to marry her soldier lover though he has only a few days to live. The climax is par- ticularly appealing.

“Back Pay” offers Miss Griffith one of the finest roles of her career. She is ably supported by a fine cast under the direction of William A. Seiter.

WS WARFIELD

DIRECTION ISEST COAST THEATRES INC,

You’ve Been Waiting For It! Here It Is!

First National Pictures, Inc. Presents

Withers is Aviator

About two years ago, Grant With- ers, handsome hero of Corinne Grif- fith’s “Back Pay,” the feature attrac- tion this week at the

Again she aims at your heart. And again she

Theatre, fell 1500 feet in an airplane hits!

in Arizona. Grant was thrown out IN

head first when the ship hit the .

ground, barely escaping death, But AC a the crash has not taken away his ss

fondness for flying and he spends all his spare time between pictures in California soaring the clouds for amusement.

Varied Locales

Many interesting and varied locales form the background for Corinne Griffith’s ‘stellar vehicle, “Back. Pay,” which is to be the next feature at- traction at the Theatre. There are scenes in Demopolis, Vir- ginia, New ‘York City, Hot Springs, Lake Placid and No Man’s Land in France, where a thrilling war sequence takes place.

with

GRANT WITHERS

Montagu Love, Hallam Cooley Based on story by Fannie Hurst A William A. Seiter Prod. Produced by Walter Morosco

Cut No.6 Cut 20c Mat sc

A FIRST NATIONAL & VITAPHONE PICTURE

- ary Page Five

EXPLOITATION

DOOR KNOB ENVELOPES

This unique advertising medium is called to your attention, owing to its extreme economical value. The accompanying illus- tration shows how it is used. The same not only safely protects the enclosure but pro- vides for a headline or teaser message on the outside. It insures 100 percent distribu- tion of all heralds, throwaways, advertising novelties and can be sealed.

IT HANGS SECURELY ON THE DOOR- KNOB, attracting undivided attention. This Door-Knob Envelope is ideal for use in the “Herald Stunt” idea funished on this page. Gy

ORDER THESE DOOR-KNOB ENVELOPES DIRECT FROM CHANIN ADVERTISING SYNDICATE, Inc., 276 West 43rd Street, New York, N. Y.

The following grades and sizes are recommended.

Kraft 20 Ib, No. 6% (size 3% x 6%). Price 5 to 9M. $6.00 per M.—10 to 24M $5.00 per M.

Kraft 20 Ib. No. 10% (size 434 x 934). Price 5 to 9M $6.50 per M.—10 to 24M $5.50 per M.

Prices substantially lower in larger quantities.

Back Pay in

Bank Tieup Cash Stunt

unive’ “The Orchid Of\

The title “Back Pay” lends itself| Here is an idea for building up admirably to bank tieups. Make| those off matinees or night perform- up a number of tieup show cards|@nces. Advertise through every med- per copy furnished here and take|ium at your command that every pur- them around to your various banks| chaser of a full priced admission for window display. They should find| ticket for the performance in ques- ready acceptance from officials of|tion will receive “Back Pay” in these institutions owing to the co-|a¢tual cash as they pass into operative message presented. theatre. State that these pay en- velopes will contain cash amounts ranging from One Cent to Five Dollars. You might find it feasible to announce that one back pay en- velope will contain a Five Dollar gold piece.

You can use your own judgment as to the number of higher amounts in excess of a penny which of course will be in the majority. Some envelopes should hold a nickel, some dimes, a few quarters and a lesser number halves and dollars. One five dollar gold piece should be spotted in.

Corinne Griffith,

known as

Sereen” prompts the following

lobby trim suggestion. Have your sign artist design a number of huge Orchid Bloom cutouts and set in the petals of same a poster cutout head or photo enlargement eutout of Corinne Griffith, Another idea is to give each frame and panel the effect of a huge pay-envelope with a facsimile of the usual printed form at top of each, these three lines to be lettered to represent the printed form and then filled in type. STRAND—Back Pay NAME—Corinne Griffith WEEK OF—(play-dates) These envelopes to be used as background for your mounted stills, art work ete. Place a replica of a pay envelope of huge proportions at entrance or over marquee with fol- lowing copy. IF YOU MISSED CORT — GRIFFITH in “LILIES OF FIELD,” “PRISONERS,” “bs... «- URDAY’S CHILDREN” or “THE .- DIVINE LADY” here is your ehance to collect your

HAVE WE GOT YOUR “BACK

PAY?” A PORTION OF TODAY’S PAY— DEPOSITED WEEKLY— MEANS

YOULL ALWAYS HAVE “BACK PAY” COMING TO YOU WITH INTEREST!

POST CARD COPY

Dear Friend:

All hail Corinne Griffith’s greatest screen achievement!

The world beloved ‘orchid of the screen’ comes to the ________. Sa Theatre in First National’s sensational photodrama “Back StQELING = ee se Corinne Griffith’s beauty, charm and artistry is accentuated more than ever, in this, her outstanding characterization since the advent of the talking picture.

If you loved her before, you’ll adore her now!

Sincerely,

CORINNE GRIFFITH HAS A MESSAGE FOR YOU AT THE STRAND

Newspaper

Contest

The title “Back Pay” obviously

‘|| Teaser | Campaign

Plaster your town with one and half sheets, tack and window cards also distribute throwaways (the latter incorporating a likeness of (Corinne Griffith) and run slugs on various pages of your newspapers well in advance of your official an- nouncement of photoplay coming, using teaser copy furnished here, Bill tike-you-have never “billed be- fore and make it impossible for a person to walk fifty feet without coming face to face with some unit of this teaser campaign.

KEEP YOUR EYES

AND EARS OPEN!

A Certain Local Enterprise is

Coming Through With

BACK PAY For Everybody!

Souvenir Photos =o! Every movie fan in the world would welcome the opportunity to secure an autographed photo of Corinne Griffith and no better way to fill that certain off matinee or “supper” show with a capacity audience. can be devised than to advertise a special Souvenir Photo Performance.

These photos ordered in quantities

suggests newspaper contest possibi- lities and one in particular that should have an unusual reader ap- peal.

The specimen announcement story furnished here is self explanatory and should be followed up with similar copy daily during period of contest (which should run for a full week in advance) together. with scene and star cuts from the photo- play. The winning letters should be run each day as well.

HOW WOULD YOU SPEND

YOUR “BACK PAY” Free Theatre Tickets For Best Answers

Most people, especially the wage earner has voluntarily placed them- selves on the _ so-called budget system. The individual budget of course allows so much for actual living expenses, so much for cloth- ing, an allowance for amusements, a portion if possible for the sav- ings account etc., ete.

Many items of necessity have to be curtailed and we often wish that our income was just a certain amount higher that we might be able to buy this or that, take a long desired trip or perhaps dwell in more desirable quarters.

The coming of the First National

all talking photodrama, “Back Pay” | j

CO tNO A ree Ee Theatre and which stars Corinne Griffith, prompts a most interesting letter writing contest, which everybody is invited to enter. Suppose you were unex- pectedly informed that you had One Hundred Dollars BACK PAY coming to you, just how would you

Street Bally

A sequence in “Back Pay” sug- gests the following street bally idea which has a direct tieup with the picture. Still No. 3—from the regu- lar set of press stills on “Back Pay” shows the ‘hay ride’ party on which the bally is based. Frame up a similar horse drawn country hay truck with the banner frame placed upright through center of floor space as shown in this still. Cover floor with hay and with driver attired in typical ‘Rube’ togs, drive same through the congested districts of your city when the most people are about. Attire a number of girls and boys in gingham frocks and overalls and carry them as pas- sengers. Following is the banner copy. BRING ALONG YOUR “BACK PAY” AND JOIN CORINNE GRIFFITH’S PICNIC AT THE STRAND THEATRE.

Marquee

Stacattos

FROM PICNICS AND HAY RIDES TO PARTIES AND JOY RIDES

Fannie Hurst’s great story. Corinne’s out-

The Management.

“pA C KPA YS?

ON KUNSKY CIRCLE

She Owed A Debt — Of Love—And Paid!

standing Vita- phone success. One of the sea- son’s better

are reasonable in cost and can be| Spend this sudden windfall? Write secured through your exchange, ~ to the Back Pay Contest Editor in not over fifty words to what means you would put $100.00 back pay.

PROVING THERE’S NO SUB- STITUTE FOR HAPPINESS

THE ORCHID OF THE

There are several stills that have a direct tieup value with dealers in various lines from the regular press and star set on “Back Pay” and which present excellent oppor- tunities to gain cooperation from the shops and merchants in ques- tion. They are designated below and we strongly advise taking ad- vantage of everyone of them. In each instance, arrange of course, for a most attractive display of the merchandise that ties in with each still together with supplemented window trim of material from the photoplay such as poster cutouts and hand-lettered tieup show-cards. Negligee and lingerie shops—Nos.

42; 43; 51; 52; Electric Baths and Reducing equip-

ment—Nos. 49; 59; 61; Massage Parlors—No. 61; Evening Wear—Nos. 68; 70; Sportwear (Winter)—No. 94.

Page Six —

_ Each day during period of Back pictures.

Pay contest which ends .......... SCREEN BLOSSOMS B the ten best letters on this subject FORTH AT HER BEST

will be awarded Two Free Tickets ee

each to witness Corinne Griffith in A NEW CORINNE—

SBack Pay” at thes osc erie A NEW THEME Cut No. 4

Theatre.

So get busy folks and make the best possible use of that unexpected “Back Pay.” The very best letter

received each day will win the fur- ther distinction of being published in these columns.

Vitaphone

Accessories |

Available at your local exchange are many Vitaphone accessories that will help you cash in on the million dollar Vitaphone advertising cam- paign. Free trade mark euts and mats; Vitaphone slug cuts; Vita- phone paper and a free Vitaphone 24-sheet are on hand. Ask your accessory manager.

SMALL TOWN LOVE AND BIG CITY FOLLY

Anytime you can arouse sufficient interest by getting people to”™ open up an envelope out of sheer curiosity and note the contents, you have better than an even chance of sell- ing your wares. Copy is furnished here for sealed envelopes in which should be enclosed the regular “Back Pay” herald. Give these wide dis- tribution and you will soon realize the favorable reaction.

THANKS FOR WAITING!

HERE’S YOUR—

BACK PAY.

Mat roc

with

GRANT WITHERS

Montagu Love and Hallam Cooley

Wm. A Seiter Prod.

As! FIRST NATIONAL \ a

“Vitaphone” is the reg-

istered trade mark of the

Vitaphone Corp. desig- nating its products.

And A Great “ Vitaphone Variety,” too!

Wait Till You Hear Corinne Talk And Sing

She’s Twice As Appealing As Ever Before:

WILL NOT TRADE ON NAME OF HER FAMOUS BROTHER

Virginia Sale, Sister of Chic Sale, Insists On

‘Developing Artistic Career Strictly On Her Own Merits

(FEATURE STORY)

Although still in her early twenties, Virginia Sale, sister of the renowned comedian, Chic Sale, is known as ‘‘the youngest

old lady in Hollywood.’’

Virginia is rapidly making a name

for herself in eccentric comedy characterizations and is an author as well as an actress, having written a series of original monologues in which she toured in vaudeville.

Miss Sale attended the University of Illinois for two years and left to become a student at the Sargent Academy of

Dramatic Arts in New York City, much to the disapproval of her mother and father who preferred to have her become a business woman or school teacher. Curiously enough, with the exception of the old lady parts, Vir- ginia’s roles on the stage have been

along the lines her parents hoped she would follow in real life. She has

‘zed in parts of school teach- mographers, bookkeepers and vn .3 types of business women.

In Corinne Griffith’s First National and Vitaphone production, “Back Pay,” by Fannie Hurst, opening at the Theatre next Miss Sale has the amusing role of a prim “prunes and prisms” secretary to Montagu Love, who plays one of Miss Griffith’s lovers.

“It’s a curious thing,” says Vir- ginia, “but all my characterizations are founded on childhood impressions. I spent my early years in the little town of Urbana, Illinois, and even as a youngster, I was deeply im- pressed by the quaint types I met there. Little did my maiden aunts, my neighbors and my grammar school teachers think that they were un- consciously furnishing me ‘copy’ for my future career.

“One must have an instinctive feel- ing for comedy character parts just as one is born with an ear for music.

Yr ~ither feel music or you don’t gs the same with playing com- c es. The minute an actress

shows the slightest sign of effort in attempting to be funny, the result is the exact opposite. In other words, seriousness is the keynote to humor, and tragedy is always trading on the toes of comedy.

“Clothes become a terrifically im- | z

portant item in eccentric character interpretations. One little thing wrong, a scarf or a string of beads not in keeping with the rest of the costume, is apt to throw the entire characterization all off. When I+ was choosing my outfit for the role of the stern stenographer in “Back Pay,” the wardrobe woman at the First Na- tional studio insisted that the tailored skirt and coat did not fit, and I had difficulty in convincing her that was exactly what I wanted.

“You see, I am invited to join Miss Griffith and Mr. Love with a party of their sporty friends on a merry week-end skeeing party at Lake Placid. Naturally, the type I play would not have the correct outfit for such luxurious outings and her at- tempts to be properly dressed for the occasion would lead her to extremes. Therefore, I wear high, funny galoshes to keep my feet warm while tramping through the snow and wide pockets in my mannish sport coat to hold my stenographic notebooks and several pencils, as I am called upon to take dictation at odd moments. I have a wide ribbon on my shell eye- glasses, a woolen scarf wrapped un- gracefully about my neck and clumsy woolen mittens. These things give the necesary contrast to the swanky trouserette costume worn by my ultra smart companios.”

Miss Sale has consistently refused any help or influence on the part of her famous brother. She even took an assumed name when she first came to Hollywood and played extra parts until her talent was gradually recog- nized.

CATCHLINES

The story of a small town Southern girl who finds that to find Life’s real happiness depends upon being true to

one’s self.

The screen’s most beautiful star in Fannie Hurst’s most

famous story.

Corinne Griffith in an absorbing dialogue drama by Fannie Hurst, the famous author of “‘Humoresque,”’ “Star

Dust” and “Lummox.”’

A hectic past is redeemed at great price when Hester “ins loses her lover but finds her own soul.

Jne of the screen’s greatest emotional stars in Fannie Hurst’s powerful dramatic story of a small town Southern girl who is torn between love and luxury.

Always supreme in the silent drama the unforgettable Corinne Griffith now adds to her artistry the magic of a

golden voice.

A village beauty, decides to escape her mean environ- ment and pays in full for her self-made destiny in a big

Metropolis.

See and hear the new and even greater Corinne Griffith in two hours of gripping entertainment with sobs, laughter,

talking and singing.

The magic of a golden voice on the silver screen in a ory of exciting escapades written by the famous Fannie

rst.

Fannie Hurst’s great modern drama of small-town Vir- ania life contrasted with the adventures of New York’s nart set, starring the incomparable Corinne Griffith.

A great star in a great modern drama by a great author.

Screen Orchid

“ C . Se : : Corinne Griffith in “Back Pay’ Cut No.17 Cutirsc Mat 5c

A WAR SEQUENCE

No Man’s Land forms one of the interesting locales in Corinne Griffith’s First National and Vitaphone pro- duction, “Back Pay,” by Fannie Hurst, which comes to the .......... The- atre next One of the highlights of the picture is a scene somewhere in France during the late World War where Grant Withers, who plays Corinne’s leading man, is called upon to creep out of his dug-out and wiggle on his stomach through muddy wastelands from a stake to stake as he places wire entanglements before the trenches. Grant gets lost from his six companions and is gassed and wounded while trying to find his way back. In the end of the story he is totally blind.

Several regiments of ex-service men from the California’s Veteran Bureau were used instead of extras in this thrilling war sequence and a mile of French and German trenches was con- structed on the First National lot at Burbank. William A. Seiter directed.

One Silent Role

Imagine, if you can, the Orchid Lady of the screen inter- viewing fifteen dogs before she could find a suitable one to play an important role in “Back Pay,” the First National and Vitaphone production now star- ring Corinne Griffith at the

Theatre. Miss Griffith finally selected an extraordin- arily intelligent terrier, partly maltese and partly Yorkshire, whose real name is Dumpsie, though the canine actor appears in the cast of this celebrated Fannie Hurst drama as Mr. Schwartz.

Dumpsie has had an interest-

ing career. She — yes, Mr. Schwartz is a lady dog — was rescued when a puppy from the Mississippi flood at Helena, Arkansas, by Miss Bonnie Fergu- son who trained her to perform the most amazing tricks. Al- though Dumpsie is said to be the only terrier in the world who can pick out the notes of “Home, Sweet Home” on the piano with her two front paws and sing in two registrars, she is cast for _ one silent role in this all-talking film directed by William A. Seiter with Grant Withers and Montague Love playing opposite the star.

Grand Grant

Cut No. 18 Cut3rsc Mat 5c

Grant Withers, who plays opposite Corinne Griffith in “Back Pay,’ a First National Picture

VETERAN ACTOR SCORES IN TALKING PICTURES

Will the mantle of the departed Emil Jannings fall upon the capable shoulders of that splendid actor, Montagu Love?

Mr. Love has rapidly been coming into his own since the advent of dialogue films, because of his ability both as a stage and motion picture actor. He is really a veteran of pic- tures almost since their inception, has been an actor of fine reputation on the speaking stage long before ever making his Kleig-light debut.

For years, Love has been trying to get away from bad men impersona-

tions and now at last, he is being recognized by producers in Holly- wood as a true and versatile actor. Jannings proved to the world that the public no longer insists upon the perfect profile or eternal youth. Real histrionic ability covers a multitude of years! Besides, Love’s repeated appearance in more that fifty feature films~-have~ given him ai enviable standing with the public. His most recent appearance is in support of Corinne Griffith in “Back Pay,” a First National picture coming to the Theatre.

You'll ~ You'll Cry! You'll Cheer!

Produced by

Walter Morosco

Cut No. 3 Cut 60c Mat r5c

Based on story by

FANNIE HURST

FIRST NATIONAL ot WU TAD HO

COOL ASA uN TAIN Tor hee 5 ( @) De 52 OFS. Os 81 0) es

When you See, Hear and Thrill to

Wealth was her ambition—heart-

aches her “Back Pay”’!

Her beauty conquered everything

but memories!

Young love, sophisticated love, daring love — you'll find them

all in

GRANT WITHERS

Montagu Love, Hallam Cooley A William A.

Seiter Production

Page Seven

Are You Taking Advantage Of First National’s Sliding Scale Of Accessory Prices?

= 4 ) RS BAG EEE

| INSERT CARD |

PDS RATION ACTUE

ieats

SPECIAL VITAPHONE STREAMER

Can be used as a permanent display to sell sound to your public. Can be adjusted to

SIX read either “Our Screen Speaks” or “Our SIX Screen Sings’ by simply detaching either “Speaks” or “‘sings” from the string.

COLORS

Big enough to be read from the other side of the street. Printed in six brilliant colors, each card in a different color, giving the streamer a startling effect. 10 ply card makes it durable and protects it against tearing. Strung with heavy rope-twine all ready to hang. Can be stretched from six feet to eighteen feet. Packed in heavy corrugated cartons which insures their delivery in perfect condition.

= eecccccecereeenceeesercvenseercecces:-cneees ----ONLY $2.50 each complete

Seow we nae iW

Price

THERE IS A WONDERFUL ALL-TALKING

TRAILER

ON THIS PRODUCTION

ASK FOR IT!

SLIDE “A”

SLIDE “B”

Color Description of Twenty-four Sheet

The entire background is in bright red. Lettering “Corinne Griffith’ in sright yellow with blue _ outline. ‘Back Pay” in orange with a lighter fone of orange outlining it. Cast is 'ettered in a striking shade of pink. Lower panel, with trade-mark and lettering “A First National,” etc., is | white with lettering in brilliant red.

VIUTApHoN: BLOCK PAPER

WINDOW CARD

Sliding Scale Prices of Advertising Accessories

1-SHEETS 15c each 13c each llc each

WITHERS

40c each 36c each

75c each 70c each 65c each

11 to 20 Over 20

24-SHEETS up to 25 Over 25

$2.00 each 1.75 each

ONE SHEET | TO 9 ~—12¢ EACH 10 TO 49 — 10¢ EACH 5O OR MORE 8¢ EACH

WINDOW CARDS 7c each 6c each 5'%c each

3-SHEET 2 COLORS 25¢ EACH

New Low Accessory

Prices warrant

Larger

2 COLOR SNIPE t4’x? 1 TO 49 ——~3¢ EA’ SO OR MORE 2¢£&

SNIPE STYLE

PHOTOS 11 x 14 photos (8 in set-colored)

22 x 28 photos (2 in set-colored)

2 COLOR SNIPE 1 TO 49--34 EACH 5O OR MORE 2¢ EACH;

ie SNIPE STYLB A

ides

Stills Accessory 2 COLOR SNIPE SNIF Fress Sheets Gratis 1TO 49 ~~ 3¢EACH, STYI

Music Cues Gratis 50 OR MORE 2¢ EACH * B

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