Back Pay (Warner Bros. Pressbook, 1930)

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

ED

_

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,

Cut No. 14 Cut20c Mat 5¢

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.

Cut No. 15
Cut 30¢
Mat roc

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.

Cut No.9 Cut 20c Mat sc

_ 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

oe

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 |

Cut No. 10 Cut 4goc Mat 10¢

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.

Cut No.1 Cut 6o0c Mat 15c

“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.

ee

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.

Cut No. 12 Cut 40c Mat roc

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

Cut No. 5
Cut 40c
Mat roc

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.

v

\

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

Cut No.2 Cut 4oc Mat roc

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”

Cut No. 11
Cut 15¢
Mat 5c

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,

in

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

A

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

Orders

Scanned from the United Artists collection at the
Wisconsin Center for Film and Theater Research,
with support from Richard Koszarski.

WISCONSIN CENTER

FOR FILM & THEATER RESEARCH

http://wcftr.commarts.wisc.edu

MEDIA
HISTORY

DIGITAL LIBRARY

www.mediahistoryproject.org