TYRONE POWER'S STAR SET IN "LLOYDS OF LONDON"
December 1, 1936
By Irene Thirer

Tyrone Power is "in"! When 20th Century-Fox produced "Lloyds of London," which is currently doing SRO business at the Astor, Production Chief Darryl F. Zanuck (who's as smart as they come in the way of Hollywood executives!) launched a new screen personality.

The young man concerned is Tyrone Power, for whom this vehicle was a pre-starring test. That he emerges from it a full-fledged star is on account of his own charm, camera personality, and histrionic prowess.

There was critical acclaim for young Power (whose late father was an esteemed thespian during a lengthy theatrical career), but more than that--yes more!--there was appreciable audience reaction. The latter definitely establishes Tyrone Power, He's "in"!

He's a star! And his stellar spot in the flicker firmament is no meteoric rise, contrary to many success tales which emanate from the screen capital.

The attainment of major screen ran, according to Producer Zanuck, is a precise matter of formula--the pattern of which varies in no important particular.

First, we select a player who we think has the potentialities of a star (Tyrone had played in Katharine Cornell's 'St. Joan'). Then we place the player in strategic pictures from time to time, and await public reaction."

Power's rapid rise, in less than a year, is due to the fact that this "strategic pictures" came close to gather, and favorable response greeted each of his performances. Beginning with a brief role in Simone Simon's "Girl's Dormitory," he was promptly assigned a more lengthy role in "Ladies in Love."

The results of each convinced Zanuck that Power's early promise of screen talent was certain of realization. So, when the star-studded cast of "Lloyd's of London" was being selected, the young actor was given the male lead opposite Madeleine Carroll. surrounded by such established players as Miss Carroll, Freddie Bartholomew, Sir Guy Standing and C. Aubrey Smith, he was facing keen competition for audience, and critic attention. But when the comments were scanned it was found that Power had uniformly attracted notice, and drawn high praise for his portrayal.

The final test had been passed! And, in his next picture, "Love is News," Tyrone Power is "billed ahead of the title"--as his distinguished father so often was on the stage and screen in the decades preceding his death. The youthful star gets co-billing with Loretta Young--a film veteran in spite of her tender years.

Thus another "meteoric rise" to stardom is seen in its true light as a scaling of precisely determined hurdles along the set formula which Zanuck has followed in making stars of Simone Simon, Paul Muny, Loretta Young and numerous others whose careers he sponsored during his years as a Hollywood scenarist and producer.







PICTURE PLAYS AND PLAYERS
A Talk With Tyrone Power of 'Lloyd's of London'--And With Dick Purcell
By Eileen Creelman
[1937]

Slightly bewildered and more than a little surprised, Tyrone Power Jr. has returned to Hollywood. He was back a good deal less anxious to see New York again then he was before his visit. His sudden popularity, brought about by "Lloyds of London," combined with the affable efficiency of a high Power publicity department accounts for his unexpected reaction.

Mr. Power is the tall, dark-eyed, good-looking youth who plays the lead in "Lloyds of London," which, after a reserved-seat engagement at the Astor Theater, on Thursday will start a popular-priced run at the Music Hall. Costumes and makeup made him look several years older than his real age, for the film. He is 23, and looks not a day more. In spite of this quick success, he has kept his handsome head.

"When I think of it," he said during gone of the most hectic episodes of his recent visit, a tea dance at the Waldorf-Astoria, "I just can't believe it.

"Really, it doesn't seem possible. It's all happened too fast. Why, it was just last year--nobody cared then who I was or What I was doing. Now they're making all this fuss."

Last year this son of the late Tyrone Power was following in his father's footsteps. After sounding training in Shakespearean repertoire, he had gotten to Broadway. the parts were small, bits in Katharine Cornell's productions of "St. Joan" and "Flowers of the Forrest." they were at least a start, and they caught the eye of a talent scout. Mr. Power departed for Hollywood and played bits in a couple of films, "Girls' Dormitory" and "Ladies in Love."

'Lloyds of London.'

"I thought Don Ameche was all set for 'Lloyds," he explained. "I was leaving for New York the next day. then they called me in for a test. I didn't take it seriously until they bought my contract from Wood."

That started it. Since then life has moved fast for Tyrone Power.

"It's gone so fast I can hardly keep up with it," he admitted. "I didn't think things could go at such a pace. Why, last year I thought I was going fast. But now that it's galloping, I know last year was just a trot."

He's made one film since "Lloyds of London"; by now he's reported for another. "Cafe Metropole," [is co-starring Loretta Young and] Edward H. Griffith is directing this, with Adolphe Menjou, Jean Hersholt and Gregory Ratoff, author of the story, all in the cast.

Mr. Power had no idea what the story was about.

"I'm probably a waiter," he remarked, "judging from the title, anyway.

"But I'm not sure. Maybe not, I never know anything until I read it in the papers. That's the way you always find out about your pictures in Hollywood.

"All I know of this, except the announcements in the papers, is that, just before I left, they gave me a piece of paper with an address on it. It was an optician's address and I was to go down and have a plain glass monocle fitted and then practice wearing it.

"They didn't even tell me that name of the picture."

He bought the monocle and practiced conscientiously, in private. He wasn't very good at it yet, he admitted.

"I can get it in place all right," he said, laughing. "Then when I catch a glimpse of myself in the mirror, I laugh so hard it falls right out."






PICTURE PLAYS AND PLAYERS
Tyrone Power Jr. Talks by Telephone Regarding His Latest Film, 'Lloyds of London'
By Eileen Creelman
[1937]

There was a slight delay while the telephone operators of 20th Century Fox's local headquarters and at Movie City, 3,000 miles away, conferred on the whereabouts of Tyrone Power, Jr. He was discovered at last on the set of "Love is News," right in the middle of a comedy sketch with Slim Summerville; but he seemed not at all loath to forsake it briefly for a telephone interview.

"That noise," he declared, "is just people talking and laughing on the set. We've been at work on this picture for a week now."

"Love is News" is quite a different type of picture from 'Lloyds of London,' Mr. Power continued. He's eager to avoid that almost unavoidable Hollywood trick. The new picture is a fast newspaper story, directed by Tay Garnett, with Loretta Young and Don Ameche prominent in the cast. It is comedy, too, a fact which Mr. Power relishes. He hasn't had a chance at screen comedy before.

"But I think I can do it," he confided over three thousand miles of telephone wire, "and I don't know yet whether that's conceit or confidence."

'Lloyds of London

He hadn't, as a matter of fact, had much chance to do anything on the screen until 'Lloyds of London" came along. son of a distinguished actor and actress, Tyrone and Patia Power, he had, of course turned naturally to theater. His career was still in the building when he tried Hollywood. There he played Simone Simon's cousin, little more than a bit, in "Girls' Dormitory," and the handsome, fickle young count who breaks Loretta Young's heart in "Ladies in Love."

He still wonders a little how he got the lead in "Lloyds of London," sharing dramatic honors with sir Guy Standing, Madeleine Carroll and little Freddie Bartholomew. Mr. Power plays Jonathan Blake, a character portrayed in boyhood by Freddie during the early sequences of the film.

It was a big leap from two small role to the romantic lead in a production 20th Century Fox considers [so] important, that, beginning [____} it will enjoy an exceptional [premiere ] opening just two days off, sounding cheerful and amuse. He thinks he's been awfully lucky not just because he's got the romantic lead in "Lloyds of London," but because he's worked under four grand directors.

"Tay Garnett is so different from Henry King who directed 'Lloyds,'' he remarked, "but he's a real person too. Henry King was slower--he had to be with such a big production. He's a very human kind of man--and of-the-earth type, very real. Then there was E. H. Griffith in 'Ladies in Love'. And Irving Cummings in 'Girl's Dormitory.' After those four, I'm completely spoiled."

Mr. Garnett, he insisted, was not losing his temper because the telephone call was holding up production. Mr. Garnett never lost his temper, he went on. Mr. Power didn't think he could. He wasn't in costume yesterday, for 'Love is News." That's a modern story. Tyrone Power further rejoices over that.

"I think I've got more costumers to my credit than any one in Hollywood," he chuckled, "and I don't know why except that they fit me."

Since he hasn't seen even a rough of "Lloyds of London," he is looking forward to the premiere.

"Although I don't know how to get there," he said. "They'll have me working here so late I'll have to go home and dress."

Since even a Garnettt might lose his temper on due provocations, Ty Power said goodbye and returned to a cast that was probably more impatient than he had admitted.







ACTOR OF THE MOMENT
[1937]

The third to bear the name of Tyrone Power, the young man who is co-starred with Loretta Young in "Love is News" at the Roxy, is carrying on an acting tradition and fame that date back more than 100 years. For generations the name of Power has been famous on the English speaking stage and now young Power bids fair to carry it all over the world through the medium of the screen.

Already hailed as the most promising recent discovery in Hollywood, Tyrone Power became a star almost over night. After appearing in small bits in "Girl's Dormitory" and in "Ladies in Love." Darryl Zanuck cast him for the lead in "Lloyds of London." Immediately a new star was born and today Power promises to be a second Robert Taylor.

Like Taylor, Power's success did not come easily, even if it finally did come suddenly. For years ,while his father was still alive, Tyrone tried to get work in Hollywood, but could not get past the casting director.

In 1931, when his father died, young Power came East to try his fortunes on the stage. But in New York he had to live over his Hollywood experiences. No jobs were forthcoming. After a long spell of unemployment, he got work as understudy to Burgess Meredith in "Flowers of the forest," which starred Katharine Cornell. Following that he appeared with Miss Cornell to "Romeo and Juliet" and in "St. Joan," after which he was "discovered" by movie scouts and signed to a Hollywood contract.

In addition to coming from a long like of actors, Power has had the best training of all for his career--the stock company. After graduating form high school in Cincinnati in 1929, Power joined a local stock company. The experience he gained there is evident in his work, for even now, thought still in his 20's, Tyrone Power shows the same ability that made the name of Power as famous as it was made in England.







TYRONE POWER ANNOUNCES HE WON'T WED GAYNOR
October 19, 1937

New York, Oct. 19, 1937--It's all very confusing. Tyrone Power flew in from the west coast, arriving last night, with the announcement that he was here "to see some shows." And within a half hour he was dining and dancing with Janet Gaynor, fellow screen player. No one even asked him, and yet Power volunteered the information that "I'm not going to marry her." It was understood he was talking about Miss Gaynor and not Sonja Henie with whose name he has been linked for some months now.







STARS RISE TO TOP SLOW IN MOVIES
By Tyrone Power
[1937]

I suppose there is nothing that fills the Hollywood-bound trains with can[...] dates for film disappointment more readily than the frequent stories, about the "meteoric rise" of one or another addition to the group. It is easily to be understood the account of some player becoming a star "over night"--a phrase which seems to apply to any period up to a year after the player's arrival at a studio--might stir the imaginations of young people with screen ambitions to the point where they undertake the westward trek on the optimistic theory that they, too, can do the same thing.

It may be that such sudden success is a frequent happening in Hollywood. but I know of only one such case: that of Sonja Henie, who became a leading star with her first picture, "One In A Million," without any previous stage or screen experience. but it must be remembered that Sonja was the greatest ice-dancer in the world before she came to Hollywood, and to star her in a picture for which she was to skate seemed a reasonable, inevitable move.

WORKED YEARS

I have read stories which have described my own ascent to stardom within a year after I came to Hollywood, for current picture "Cafe Metropole." But such stories are about as accurate as the numerous reports that Miss Henie and I are to be married almost any day. It is true that Sonja and I are good friends, but it does not follow from that that we are engaged. And it is true that I have become a star within a year after entering films, but it does not follow that only one year of work went into becoming a star. Actually years of hard training were required before films even would give me a chance.

My acting preparations began literally, as soon as I was old enough to know what was going on. My father, Tyrone Power, and my mother, whose professional name is Patia Rayome, both were stage players, as were my grandfather and great-grandfather. As long as I can remember, my one ambition has been to be an actor.

When I graduated from high school my parents wanted to send me to college, but I finally won their permission to join a stock company to begin my acting career. After that, I played small roles in the Fritz Leiber Shakespearean repertory company, in which my father was a leading member. Later when my father and I went to California for the stage production of "Miracle Man," I made my first attempt to enter motion pictures--and got no further than the casting director's office.

Shortly afterward, the fats decided to take my father away. My mother retired from the stage, and I started East to make my way. Stock company roles in Chicago and a few radio appearances led to New York, where I quickly found that being the son of a famous actor meant as little as it had n Hollywood. I shall never forget those wearisome days in New York, when I pounded the Broadway pavement day after day seeking stage work, living in a room at a friend's house with five dollars a week to keep me going.

HUNGRY

I learned pretty thoroughly what it means to be hungry during that time, and it was a Heaven-sent gift when I was selected to under-study Burgess Meredith in "Flowers of the Forest," starring Katharine Cornell. After that, I had roles in two of Miss Cornell's plays, "Romeo and Juliet" and "St. Joan."

Having won the approval of stage producers, I was suddenly the object of attention by screen scouts, whose studios had seen nothing in me a few years before. After that, came a bid to take a 20th Century-Fox screen test, and my present contract resulted.

And that, in brief form, is the history of what has been described as a "meteoric rise" to film stardom. From it, I draw this lesson for those who would become film players. Hollywood has little time to train beginners, and only those who have learned the dramatic art before the footlights have, as a usual thing, any real basis for cinematic hopes.







NBC PERSONALITIES
Program Service, Vol. XI, No. 40
Oct. 3, 1937

Tyrone Power filmdom's newest contribution to the NBC airwaves is a fellow whose dramatic career very nearly had a dramatic ending before he got started on it. It appears that Fritz Lieber, of all people, almost killed him with a huge knife, before a whole theater full of people. Not intentionally, you understand. The knife just happened to slip from Lieber's grasp during some heavy gesticulation and it went whizzing by Tyrone's head to stick hilt-deep in the scenery. this was during a performance of the "The Merchant of Venice" in Chicago, on the occasion of Tyrone's first important appearance as a professional actor, in 1931. but already we are far ahead of the story.

If you put much stock in heredity, Tyrone Power is a point in your argument, because he inherited a flair for the drama from three generations of Powers before him. His father, Tyrone, Sr., was a distinguished Shakespearean actor, well known on both shores of the Atlantic.

Tyrone was born in Cincinnati, Ohio, but before he was two years old his actor-parents were packing him up with the rest of their baggage and taking him around the continent with them.

The family, at various times during Tyrone's childhood and youth, lived in New York, San Diego, Hollywood, Alhambra, Coronado Beach, Quebec and Chicago. But aside from his school dramatics at Purcel High in Cincinnati, young Tyrone did very little acting anywhere. Is first professional work was with the Shakespearean troupe at the Chicago Civic Auditorium--a company which included such stars as Fritz Lieber, Helen Menken and William Faversham. Here, indeed, was where Tyrone came near having his head cut off.

After the Chicago and Shakespeare, young Tyrone accompanied his father when the latter was engaged by Paramount to take the starring role in "The Miracle Man." the senior Power fell ill on the set. Tyrone Junior was summoned, and took his father home from the studio. A few hours later the weary old man died in the arms of his son.

Tyrone, now on his own, discovered to his dismay that the achievements of his forebears in the theater cut precious little ice with producers and casting director. He was turned down by casting directors. He was turned down cy casting offices and agents with dull regularity, and finally he decided that either he wasn't ready for Hollywood or vice versa. So with his mother and sister, who had came from Cincinnati to be with him, he moved to Santa Barbara. And there, before long, he became active in the Community Theater.

For two years Tyrone kept taking cracks at Hollywood. When nothing came of this he made up his mind to go to New York. On hi sway he stopped off in Chicago to see some of his friends. The Century of Progress exposition happened to be in full swing, and after brief negations. Tyrone was engaged for the Circuit Theater productions. A while later he ventured into radio, and landed, happily, on NBC's Grand Hotel program with don Ameche. thus was established a friendship which was to be renewed not long afterward in Hollywood. But again we're ahead of the our story.

Toward the end of 1934, Tyrone got a role in "Romance" at Chicago's Blackstone Theater, and the play ran eight weeks. At its conclusion Tyrone decided it was high time he was on the New York stage, so he took a train east. And in Manhattan, exciting things happened. Helen Menken, whom he had known from the Shakespearean season in Chicago, recommended him strongly to Guthrie McClintic, noted stage director, and McClintic assigned him to understudy Burgess Meredith in a play starring Katherine Cornell. There was nothing immediately i the way of a role on Broadway, but his first eastern Summer he spent with a company at West Falmouth, Mass. there he attracted the attention of Hollywood scouts and earned himself a job in Cornell's "Romeo and Juliet," later in "St. Joan."

By this time 20th-Fox had made a test of him, and signed him to a seven year contract. His first job under this arrangement was a brief spot in "Girl's Dormitory," the picture which introduced Simone Simon to America. Then, at the age of 22, with only one sizeable film role behind him, he was given the opportunity of a lifetime in "Lloyds of London." He was catapulted to screen prominence overnight.

Offscreen, Tyrone is an intelligent young man interested in books, music, sports and photography. He professes a fondness for Victor Hugo, W. Shakespeare and Maxwell Anderson, and in the department of music he's a sucker for a Strauss Waltz.







HERE TO SEE THEMSELVES
By Regina Crewe

There are enough motion picture stars in New York now, or on their way, to make Broadway look like Hollywood Blvd.

Par of the influx is due to the holiday season - even screen stars like a little cold weather and snow with their Winters. But at least two of the most attractive young players of the film colony are coming hers to see themselves in the movies.

It has been a big year for Tyrone Power and Alice Faye, and their trip to town to see the world premiere of "In Old Chicago" at the Astor, Jan. 6, will be something in the nature of a pat on the back for each of them from their boss, Darryl Zanuck, who by the way, is in town too for the same event.

The past twelve-month has been particularly significant for Tyrone. It was little over a year ago that, at that same Astor Theatre, he made his first appearance in a really important role, the part of Johanthan Blake in "Lloyds of London."

Busy Denying Romantic Reports

In the interval he's been a very busy young man, what with four pictures in which he played leads, and denying reports of his engagement to half a dozen Hollywood belles.

Naturally, Tyrone, who is a mite superstitious like most screen folk, sees his latest venture as surrounded by good omens. In the first place it is an historical picture, like his first success, and in the second place, it's opening at a theatre he has reason to call lucky. In the third place, his leading lady, Alice Faye, is the girl who helped him make his first screen test when he was a greenhorn out on the Twentieth Century-Fox lot.

To Alice, too, the production changes a lot for it marks her distance from the ranks of chorus and dance girl. For a long time she worked simply for the chance to sing and dance in the movies, and then after that chance had come, she wished it hadn't.

This wasn't any so-called feminine inconsistency, or any example of that prevalent Hollywood ailment known as temperament, but merely a realization that her musical and dancing talents stood in the way of her career as an actress.

The story of the man who couldn't see the woods because of the trees applied aptly to the blond singer. For a long time directors couldn't see her dramatic talent because of her shapely legs, and couldn't hear her speaking voice because she sang so well.

For the past year, however, things have been looking up for Alice, as well as for Tyrone. While she has had singing to do in every picture--she even has a couple of songs in "In Old Chicago"--there have been increasing opportunities for her to display emotional depths and heights not ordinarily included in the roles of musical stars.







HISTORY AND MR. POWER
The London Observer ; November 27, 1938
By C. A. Lejeune

One of the more casual speculations of the cinema chronicler is to wonder what would have happened to the human race if a young man looking remarkably like Mr. Tyrone Power, had not kept popping up al lover the pages of history, putting the world to rights and involving it in cataclysms?

********************

It was he, you will remember, whose boyhood pact with Nelson brought about the victory of the Battle of Trafalgar in LLOYD'S O FLONDON. It was he whose mother's cow, aided by his own indifference to bad housing condition, started the fire that burnt out old Chicago. It was he who illustrated Irving Berling's musical fame, and a few months later (as the time goes) vainly tried to snatch Marie Antoinette from the guillotine. In many a case he looked strangely like Mr. Power, spoke oddly like Mr. Power and when asking, in MARIE ANTOINETTE, how would you use a native of Sweden?") he behaved as gallantly and nicely as I am sure Mr. Power must behave.

********************

Now this same young man has turned up again as a Frenchman. Ferdinand--or Ferdi-ttand, as they insist on calling him--de Lesseps, in the film of SUEZ, at the New Gallery. I must confess that his participation in history this time does surprise me. I was always under the impression that the Suez Canal was the product of centuries of thought, matured and carried out by the untiring efforts of a middle-aged family man and inventor. I had heard that Haroun-al-Raschid envisaged the thing in the eighth century, and that the Venetians began negotiations for a canal across the isthmus some time in the Middle ages. I even had an idea that Leibnitz and Napoleon were somehow interested in the project. Now I learn that the Suez Canal came into being because young Mr. Power went out riding in the desert with Miss Annabella one stormy afternoon.

********************

He saw it seemed, a rainbow, with one end in the Red Sea and the other in the Mediterranean. His quick brain, cinematographically trained, visualised its possibilities. He dreamt of a great trade route across the desert, carrying the ships of all nations. (He knew something about shipping from LLOYD'S OF LONDON.) Setting out to realize to dream, with Miss Annabella as secretary-companion, he began by winning over the heir to the throne of Turkey by teaching him boxing, fending, and how to disappear a handkerchief between the soup and the fish.

Growing bolder, he won the support of Louis Napoleon through the kind offices of his former sweetheart, Miss Loretta Young, now the empress Eugenie. He won the co-operation of Britain by hopping across to the House of Commons and materially assisting Disraeli, still Leader of the Opposition, with his election propaganda.







TYRONE TELLS ALL ABOUT IT
Young Mr. Power Breaks Down and Confesses How It Feels to Play Opposite Norma Shearer
1938
By Tyrone Power

After playing my first scene with Norma Shearer in "Marie Antoinette," I quietly pinched myself. any one in my shoes would have done the same. The last two years of my life seem incredible. having all of one's dreams come true in so short a time is an odd feeling. Perhaps I am still dreaming.

Being starred with Miss Shearer came as a surprise. Never having been away from my home lot, I didn't know what to expect. Being at a strange studio is like moving from one city to another. but the cordiality with which every one welcomed me made it easier. Despite what may be said about Hollywood, it is a friendly and co-operative town.

Miss Shearer was particularly gracious. She made a special trip to the studio to rehearse with me. It was a greatly appreciated courtesy, W. S. Van Dyke II directed my test personally. They made what could have been a difficult test very simple and pleasant.

The first day of shooting is always nerve-racking. Starting a picture is like breaking in a new automobile. Things go unexplainably wrong. You have to take it easy. From the time I can remember, I have been fidgety and high strung. My mother used to make me sit at the table for 15 minutes after dinner while she lectured on poise. She taught me to be easy under all conditions an outwardly calm no matter how i felt. but I have yet to conquer that all-gone feeling in the pit of my stomach when the director says, "Camera!" To be frank about it, I had the jitters.

Worse yet, I discovered on reading the script that I had to kiss Miss shearer in the opening scene. Rather, she had to throw her arms around my neck and kiss me. I was supposed to act dumbfounded. I didn't have to act. Oddly enough, the scene was the meeting between Marie Antoinette and Fersen. Miss shearer and I had met just four days before. I figured that if I could get by that scene, the rest would be easy, I managed it finally after three "takes." Van dyke wanted more reaction.

"You don't look startled enough, Ty," he said.

Van Dyke didn't know the half of it.

It was after the scene had been okayed by Van Dyke that I pinched myself.

"Power," I said, "less than two years ago, you couldn't get a job i Hollywood no matter how hard you tried. Now you are playing a scene in an important picture with Norma Shearer. what a break!"

thoughts like that have been a steadying influence on me. I have a lot to learn and I have been lucky. I can still remember when I lived on $5 a week and I wasn't too unhappy. I could do it again if I had to. It's so easy to let yourself drift above the clouds in Hollywood. But having walked the streets looking for work, I know how far it is back to earth."





TYRONE POWER 'PLANES' IN FOR 'RAGTIME' OPENING
By Regina Crewe

Each day since word leaked out that Tyrone Power would be coming to won Grand Central has been thronged with crowds of kids awaiting the arrival of their film favorite. This has been going on since last Friday, but the patience of the faithful fans went for naught, for Tyrone arrived from Hollywood yesterday, by plane, a few hours before his boss, Darryl Zanuck, steamed in from Europe.

It isn't exactly a coincidence that so many big shots converged on our city just at this time, as you'll find if you watch radio announcements for tomorrow. There you can see, a big broadcast scheduled as a sort of aerial preview of the latest Twentieth Century-Fox film sensation. "Alexander's Ragtime Band," which bows in at the Roxy Friday.

The picture is a tribute to the best beloved tunesmith of our time, Irving Berlin, and it parallels many events in his life as it enacted by Tyrone Power. Mr. Berlin himself will be on the air for the film casting, and so will personalities for closely identified with the movies as Al Jolson, Eddie Cantor, Rudee Vallee, Paul Whiteman and many more.

ETHEL MERMAN ON AIR

New York's best girl, Ethel Merman, who'll be on the Roxy Screen Friday, will be on the air tomorrow night, sort of doubling in her own role, and one which is played in the picture by Alice Faye. She'll be singing the songs in the inimitable Faye style and, from Hollywood, Alice will sing the sentimental hit of "Alexander's Ragtime Band," "Now It Can Be told."

what with being whisked thither and yon about town. Ty had small time to talk about anything, but he did manager to tell us, with a ring of sincerity, how much he had enjoyed creating the character which resembles the real-life compose of " Alexander's Ragtime Band" and literally hundreds of other hits during the last quarter century. He has, he says always been one of the host of Berlin admirers and found a wealth of rich material in the carefully contrived script of Irving's life story.

Seen in Hollywood at one of those "sneak" previews, "Alexander's Ragtime Band" looked like as fascinating entertainment as "In Old Chicago" which, you'll recall, also had Power, Alice Faye and Do Ameche in its cast.

The Power of the picture is at least equally impressive, and the acting of the cast is right up to the standard of this film's popular predecessor. It seems certain that in New York, Berlin's home town, it will be super-sensational.





TYRONE POWER PAYS FATHER'S $500 DEBT AFTER SEEING PHOTO
December 12, 1938

Newark, N.J., Dec. 12--[Special]--A picture of Tyrone Power, the movie actor, when he was 9 years old, standing beside his father, Tyrone Power Sr., Shakespearean actor, recently was worth $500 to Benjamin Bleiberg.

When Bielberg operated the Hotel Hollenden, celebrated theatrical rendezvous in 46th street, he occasionally lent money to the elder Power. The actor died three years ago still owing his friend $500. Having lost the hotel and needing money, Bielberg decided to write the movie star.

He admitted he had no record of the debt but he did have proof that he was a friend of the star's father. He enclosed a photograph showing the elder Power and his son and his daughter, Anne. It was inscribed: "To Dear Benny," and bore the comment: "The best production in which I ever appeared as a star." The photograph was returned to Bleiberg with a new autograph and a check for r$500.





A HARD JOB," SAYS TYRONE POWER JOCKEYING "GLAMOUR BOY" QUEST
"A Young Actor Has to Be Almost Perfect." No Crooner, He Likes All Types of Girls. Smokes a Package of Cigarettes a day
By Ed Johnson
[1938]

The good-looking youngster with the Shakespearean voice was trying to be patient and serious about an interview on the subject of interviews about the subjects of glamour boys, romance, ideal marriage and queenly womanhood.

It was a tough job for the youngster, whose name is Tyrone Power, because just out of his range of hearing Paul Whiteman could be seen shaking with laughter at a wisecrack of Sophie Tucker's, and Sophie tucker is the youngster's favorite entertainer.

Also, Eddie Cantor, another Power favorite, was panicking the bit players for rough-housing Ethel Merman, and telling her he was demonstrating a cave man's idea of a should kiss. Miss Merman was kicking up those elegant legs of hers, and shaking that bushy mop coiffure.

Irving Berlin, ten feet away, was protesting mildly against Al Johlson' stentorian denunciation of the timbre of the Berlin crooning voice. Ben Bernie was in a huddle with Walter Winchel, with other bit players trying to catch the drift of the seemingly intimate conversation.

LOOKS DIFFERENT IN PRINT

The director of the show was trying to bring some kind of order out of the melee without offending several million dollars worth of free playhouse No. 1 on W. 45th St., and the youngster restrained his more normal impulses and spoke as follows--

"Well I'm not very old, and I haven't been interviewed enough to know just what to say. You know lots of things that you say in a kind of facetious way look just like hell when they get down in print.

"Sure, the women reporters all want to talk about romance. They ask you questions like, 'What do you think of women?' Well, you tell them that you think women are wonderful, but, then, where the hell are you?

"You try to explain by saying, 'Look, I'm a young guy and, naturally, I like women.' Well, then they want to put you down as a guy who's on the make all the time, instead of just part of the time.

"YOU TRY TO EXPLAIN."

"You try to explain that you're 24 and want to have some fun before you get married and settle down. But that's no damn good, either.

"Then they want to know what your ideal woman is like, and you go into that--you know, sense of humor and all. When you tell them that she's got to be in the profession, or at least have an understanding of what it's like, they want to know why. Honest, they 'why' the hell out of you.

"How are you going to get over to them the fact that only somebody who'd been though it would understand how much a day's work takes out of you, and wouldn't expect you to be the great lover all the time? Just try to explain that without making it look dopey."

The director was smiling a prop smile, full of forbearance and admiration and was motioning at Tyrone Power. the yuoungster jumped up from the seat in the rear of the playhouse and went up to the mike.

REHEARSES FOR PREVIEW

For twenty minutes he rehearsed his part in the radio preview of "Alexander's Ragtime Band." The show was to be a tribute to Irving Berlin, which explained why so much high-priced talent as assembled in one room, willingly enduring the monotony of rehearsing the same thing over and over, and relieving the boredom with impromptu cuts that would pack a dozen theaters on a rainy Monday night in midsummer.

The kid left the stage when his part was done for a while and came back to the seat in the rear.

His questioner slid out in the aisle where ducking would be better in case the kid wanted to fight about it, and he asked:--

"Howe does it feel, Mrs. Power, to be American's No. Glamour Boy?"

The kid got a look on his face as if his best girl had jabbed him in the stomach with a hatpin. A romantic writer might have noted that he looked like a startled faun. Actually, he just looked a little fed-up and a little sore.

A REAL ANSWER

"You want a real answer to that?" Mr. Power demanded. Then he got over it and dutifully answered:--

"I'm not going to be jockeyed into describing myself as a glamour boy, see? But if you wan tot know how it feels to be a young actor, you can say it is damned hard work, because if you make a mistake you get the razz berry."

He explained that he wasn't trying to pull anything like genius being more perspiration than inspiration. he was just trying to explain that, well, look at his last picture, "Suez," with Loretta Young, for instance.

"I've got to fence and swim, and play tennis and dance in that one," he said. "Well, suppose I don't handle the foil just the right way. Everybody who knows anything abut fencing will say that I am a bum. You got to be almost perfect."

On request, he supplied this incidental information about himself which should be of interest to many, many women unless all the studio help are lying about his fan mail:--

He smokes a package of cigarettes a day, drinks Scotch, doesn't care much for wines because they don't sit as well as hard liquor, likes blondes, brunettes, redheads and girls with hair gone prematurely gray. He is a football fan, but never played it because he was too skinny as a boy. Exercises at tennis and swimming as often as possible, slouches around in his shorts when he's along, lives with his mother in Hollywood.

He is no darling with the autograph fans, though he will sign books by the scores if they are sent to him. Standing around before a crowd of people and scratching down his name gets him daffy.

STICKS TO MOVIES

He doesn't think over-much abut where the world is heading, but is immediately interested when the movies in general or Tyrone Power in particular seem headed in any particular direction.

His name is pronounced teh-RONE, and he's called Ty by his friends.

He comes from a long line of theatrical people, was frail when very young, but hasn't been sick much in recent years.

He was born May 5, 1914, often is more polite than he feels like being, and is an incurable hunch player.

He'll never croon you a love song, because he can't sing a note. Neither can he play any musical instrument, and he had to practice for months before he could keep time to the orchestra he was supposed to be leading in " "Alexander's Ragtime Band."







A POWER IN THE MOVIES
Tyrone, of That Name, Finds Himself in Illustrious Company
By Bosley Crowther ; 1938

If a young gentleman named Tyrone Power, recently arrived in town, had been discovered at the corner of Broadway and forty-fifth street one day last week proclaiming, in a manner reminiscent of the Count of Monte Cristo rising from the sea, that the world was his, no one of generous disposition could have taken a reasonable exception. A phalanx of steaming femininity might have mobbed the audacious chap and a bewildered Irish cop might have summoned the rowdy wagon. but, taken by and large, Mr. Power would have been justified.

For, high above the pavement on the northwest corner of that busy intersection was--and still is--and electric sign of truly gigantic proportions. And in spite of its colossal dimensions, it is simple, straightforward and dignified. A mammoth bas-relief crown surmounts this imperial display. And beneath it, in Mazda letters all of seven feet high, are the following names, in this order:

NORMA SHEARER
TYRONE POWER
Marie Antoinette

Now, any one who might find himself billed in such company--and in upper case letters, too--would have ample reason to regard himself as in. And particularly would he have cause to be proud if--as is the case with Mr. Power--he had been musing around the same corner less than three years ago a rank unknown.

But Mr. Power was neither on street corners nor shouting when a scribe caught up with him the other afternoon. He was sitting in a little restaurant just west of the Martin Beck Theatre and was reminiscing fondly with the help about the old, old days when he, a hopeful youth, was playing exceedingly minor roles at the theatre next door. That was was something like two and a half yeas ago. And the play in which Mr. Power was making his Broadway debut was Katharine Cornell's "Romeo and Juliet," with himself playing Benvolio. The help was remembering him with extraordinary vividness. One might have thought Mr. Power was the restaurants' prize customer at that time--when, as a matter of fact, he confessed himself that he was a precarious patron.

*****************


If ever there was a living example of the popular success story, a la Hollywood, young Mr. Poewr is it. Three years ago he was dreaming of having his name up in lights. Today his famliar handle is blazoned forth on Broadway in companhy with the great, and farther uptown on Seventh Avenue--at the Roxy Theatre, to the exact--his boyish phiz is being splashed all over the screen in another triumph, "Alexander's Ragtime Band." As stars are listed in the movies, Mr. Power is of the first order.

And, modestly, he professes that he doesn't yet know what to make of it. One day he just woke up and found that Darryl F. Zanuck had created him. From small stage roles with Katharine Cornell in "Romeo and Juliet," and "Saint Joan," he was suddenly playing picture leads in "Lloyds of London" and "Thin Ice." And, if any one has a notion that the direction of his progress is disputable, they should hae a look at his payckeck and comparative box-office figures.

"Boy," Mr. Power was saying the other day, "when I rode down Broadway last night and got a load of that electric sign--boy, it was wonderful!" that was about the extent of Mr. Power's boasftulness. Nor, indeed, could he offer any explanation of his sudden rise to fame. Perhaps modesty forbade. To him, apparently, it's just one of those things. And, although he sincerely hopes that the honeymoon will last, he is nevertheless saving his money. He has had experience with what is called "show business."

Son of the famous stage actor of the same name, Tyrone Power, this exceptionally handsome young man was an usher in a Cincinnati movie house. (And, like a good trouper, he had to cross his fingers and and up his age a few year to get a job.)

Later he made his real stage debut in Chicago at the Civic Auditorium, playing minor roles in the Shakespearean company which included Fritz Leiber, his famous father. William Faversham and Helen Menken. Indeed, it was with this company that he first appeared on Broadway in 1930--but his roles were seldom listed. What were they? "You know," said Mr. Power. "'Light your torches and pull up your tights!'"

*****************


Then it was here and there across the country--Hollywood, looking for work which had a most disheartening way of eluding him, and back to Chicago. There he got some radio jobs on a couple on a couple of programs--"First Night her" and "Grand Hotel"--on which a promising young actor names Don Ameche was quite the glorified stuff. And finally, in 1934, he was cast to play a lead opposite Eugene Leotovich in a Chicago revival of "Romance." That was, in those days, success!

Following the run of this effort, young Mr. Power came to New York and--after considerable expense of shoe-leather, winning smiles and patience--was given a chance to understudy Burghess Meredith in "Flowers in the Forest" a lesser item in the Cornell dossier). The Summer of 1935 he spent at the Beach Theatre in West Falmouth, Mass. where the movie scouts looked him over and reported "promising." And then, the following Winter, while displaying himself at the Martin Beck, he was yanked out to the West Coast.

The rest is history--marked by such bright chapters as the aforementioned "Lloyds of London," "Thin Ice," and "In Old Chicago." Now come "Alexander's Ragtime Band," "Marie Antoinette" and--in the not-far-distant future--a picture entitled, "Suez," in which Mr. Power, is his favorite of all the pictures he has made. Success apparently, has not gone to his head.







ROMEO OR DITCH DIGGER, TYRONE POWER STARS
By Regina Crewe

From ragtime Romeo, to Queen's lover, to ditch digger--that's the course Tyrone Power has taken, not in one generation but in a single cinematic season which is yet far from coming to a close. Quite easily, Darryl Zanuck's "development" might have had a movie monopoly on Broadway. "Alexander's Ragtime Band" could be playing still but for other films clamoring for screen life, and with "Marie Antoinette" running on month after month, the advent of "Suez" (opening at the Roxy this Friday) would have given Ty as many pictures at one time as the Yanks have pennants.

As ditch digger Ferdinand de Lesseps, that hero who wrote history with a spade in engineering the Suez Canal, Power has another pseudo-historic role such as has been falling to his lot from "Lloyds of London" to "Jesse James." In his actor's wisdom, Ty takes to such parts. To begin with they're pretty sound and have authentic precedent to go by in characterization. There is a reality to the, and at least some of the potential patrons will have text-book familiarity with the personality the actor brings from between pages. Actor and audience have a common ground of knowledge upon which to meet.

VERSATILE ARTIST

However, young Mr. Power, isn't the one to go profound about his art. As he is proven a person of versatility, so it is demonstrated that to him it makes small difference whether he pretends to be in the court of Louis or n a Chicago cabaret. He recalls the days when there were no parts for him on either stage or screen. And others when his Dad's lesson in reading Shakespeare came in handy as he read the funnies to the kiddies over the radio. In "Suez" he wields a sabre, and among other items, it was necessary from him to learn a little of the particular intricacies of sabre slashing. At the end of one such practice bout Ty explained, "Yesterday I'd have been willing to carry a spear to get into the movies--now I carry a sabre. That's progress!"

One menace of the movies is the wind machine. In action it generates as fierce and big a blow as ever flattened land or whipped oceans into boiling maelstroms. You'll remember "Hurricane," and the holocaust in "In Old Chicago." In "Suez," Tyrone faces the machines which in this picture blow up a devil wind from the desert to simulate the blasts of the Arabian gale that tears loose with a vicious vengeance. It is to exaggeration to say that this studio-created gale lacked nothing of the ferocity of the original. Power was swept across the set, hurled off his feet and whipped with cuttings and that stung his unprotected face.

CAMEL SEASICKNESS

Aside from such "Suez" experience, there was that of the camel. Ty swears that the reason these evil-smelling brutes are called "ships of the desert" is because anyone riding them gets seasick. In any event, Ty did. And if you don't think it is a difficult job to look the handsome and heroic star of motion picture with a stomach that is flopping like a seal's fin, young Mr. Power swears you have another thing coming.







Reel News from...Hollywood
By Elizabeth Copeland
HOLLYWOOD, SEEKING ILLUSIONS OF REALITY, OFTEN LEANS OVER BACKWARDS

The demand for reality in theatrical presentations has assumed different proportions and involved various and sundry artistic and scientific attempts and achievements as long as there has been a theatre.

The ancient Greeks went so far as to fashion masks for the stage characters to wear so that there would be no possibility of the audience mistaking their facial expressions. When Shakespeare could not procure women to enact the roles of women in his drama he chose boys whose voices were still in the treble clef. Wagner went so far to achieve reality that the limitations of the stage and the vocal ability were never able to realize his dram. Perhaps the screen will be the ultimate refuge for Wagner as it has been for Shakespeare in two notable instances. Only the amazing abilities and possibilities of the camera and its attendant arts can approach the insatiable desire of the human mind for the perfection of the illusion of reality.

Hollywood has gone far toward satisfying this desire. It has created illusions never before dreamed of in the theatrical world. It has recreated historical events and scenes, great disasters, and even the facial and temperamental characteristics of historical personages dead these many years.

You get a splendid idea of what we mean in "Suez," which is now playing at the Byrd here. Perhaps only the motion picture could recreate the actual building of the canal, the characters and events involved and the actual atmosphere of the times. Turning back the pages of history cinematically has been such a vast achievement and such an artistic success in many cases that its full possibilities, even now, have perhaps never been imagined. Already you have seen the turning back of the red Sea, San Francisco earthquake, the French revolution, the War Between the States, the World War, the Irish Rebellion. You have traveled to every part of the world in this and all ages. You have suffered and laughed with so many historical characters that you can hardly believe you weren't there when it all happened.

But Hollywood, it its passion for reality, has lent over backwards in many instances. We believe it is a fair criticism and not all a desire to find whatever faults there may be to say that. Hollywood is a public organization and as such is open to and should welcome the honest criticism of its patrons.

It has lent over backwards in a desire to achieve authenticity. That is certainly a most natural result of its attempt to achieve reality. It is not an irrevocable or inexplicable fault, but it is certainly one that can be corrected and very easily, too.

Hollywood can learn wonderful things from its friends in Europe. the English, the French and the Russian films have a whole world of territory which Hollywood has left almost unexplored.







CUPID DEPLETES FILM COLONY ELIGIBLE LIST
April 24, 1939

HOLLYWOOD. April 24--(UP)--A series of movie star weddings, culminate a yesterday by Tyrone Power's left Hollywood with a serious shortage of eligible bachelors today.

Alas! the only marriageable bachelors in sight, with one exception, were a few screen villains, a coupe of middle-aged character actors and one crooner.

the exception among the topflight stars was Robert Taylor--and he's definitely out of the field, with his marriage to Barbara Stanwyck expected almost any day. This leaves better than a score of picture damoisels in the lurch insofar as their chances of marrying a leading man are concerned.

Also left in the lurch--and what a sad plight was their's--were the picture company press agents, who had to forgo, for the first time since the days of Mack Sennett, their beloved stories about studio romances.

Power married Annabella--Susanne Georgette Charpentier. The day before Douglas Fairbanks, Jr. became the husband of Mrs. Mary Lee Epling Hartford, of Hot Springs, VA. A few days previously, Clark Gable had married Miss Carole Lombard--and that about cleared the deck.

The Power-Annabella nuptials were celebrated in seven minutes flat and with a minimum of Hollywood whop-de-do at the Bel Air home of the bride. Superior Court Judge William J. palmer read the vows and then joined a few friends of the newlyweds in a glass of champagne and a corned beef sandwich.







1937 - 1939

SONJA HENIE EVASIVE ABOUT ENGAGEMENT..Sonja Henie, Olympic figure skating champion, whose engagement to Tyrone Power, the actor was reported recently in Hollywood, merely smiled at such questions when she arrived at Newark Airport today from the West Coast.

She did reveal, however, that Power had left the transport plane carrying her East when it landed at Kansas city. She said that the actor would come on to New York to see her after Christmas. Miss Henie accompanied by her parents ,came to New York by motor car a few minutes after her arrival in Newark.

**************


TYRONE-ANNABELLA PRESENTED TO POPE.

Rome, July 22, 1939. Tyrone Power and Annabella's look-see at Italy's Hollywood, Cinecitta, coupled with a presentation to the Pope, marked the high spots of their Rome sojourn.

They arrived in Italy last week, and after a quick look at Naples, came here, where Bruno Fox, head of local 20th-Fox office, took them under his wing.







ENGLISH GIRLS MOB TYRONE POWER
August 15, 1939

LONDON, Aug. 15 (AP).--Sturdy English girls--who go in for athletics and long hikes--"roughed" young Tyrone Power tonight. Scheduled to make a personal appearance in a Strand theatre, the actor drove up in a car. When the girls spotted him it was every girl for herself, whit a Power clothes-button considered a prime souvenir. Police rescued him, but in the traffic jam there were eighteen minor, "casualties."

**************


CHILEAN GIRLS RUSH FOR Tyrone
November 18, 1939

Santiago, Chile, Nov. 18 (UP).--Tyrone Power, Hollywood film star, on a six-week's air cruise, arrived today by airplane and was almost mobbed by a group of girls when he stepped from the plane. He was rescued by passport and customs officials.

**************


400 WOMEN PUT Tyrone TO FIGHT
November 21, 1939

Buenos Aires, Nov. 21 (UP)--Four hundred women, braving a heavy rain, broke a police cordon at Moron Airport and smashed windows in an effort to reach Tyrone Power, today.

The young Hollywood film star escaped his besiegers by sneaking out a back door of the airport administration building.

The women, most of them young and many of them beautiful, surged across the field as Power landed from Santiago, Chile, and jammed against the building. Many screamed hysterically for autographs...

**************


TYRONE POWER, ANNABELLA IN RIO
November 29, 1939

RIO DE JANEIRO, Nov. 29 (INS). --Brazilian movie fans today saw confirmation of a romance between Tyrone Power and the French actress confined most of their sight-seeing to seeing each other.

The couple toured Guarnahara Bay this morning in a launch belonging to Darke de Mattros, Brazilian millionaire sportsman.

Last night Power and Annabella, who recently obtained a Paris divorce, were dinner gusts at the Palatial De Mattos residence.

Meanwhile, feminine admirers openly expressed their disappointment over young Power's attitude toward them. there were obvious signs of jealousy as the Hollywood star devoted most of his attention to Annabella.






























1939 ...Tyrone Power has been in New York all week on a holiday, hiding from the press. The press co-operated by not bothering about Mr. Power at all, which was exactly what the young man wanted, but it alarmed his press agents. They hustled Tyrone out of his holiday seclusion this day for a big reception. He must meet as many newspaper people as possible.

There he was, a medium-sized Irish boy with long eye-lashes, a little


worried about whether he could manage to get permission to sit on the Fordham bench during the football game Saturday. Everyone assured him that was a very bad place for watching a game.

"I suppose you're right," he agreed, "but I'd like to be able to say I'd done it once, anyway."

His holiday was to have ended before the week-end with a Friday flight back to Hollywood, but with weather prospects bad he was told to stay and do his Sunday broadcast in New York. He will start back to movie-land Monday but not by plane. Urgent wires came from the movie studio insisting that he cancel all plans to fly.

He's a surprising young man to spring from generation after generation of classical actors.







A BANDIT IS A HERO, WHEN DEAD
1939

After he's safely dead, there's no more popular hero than a man with a price on his head. Doubtless there were plenty of stout English yeomen who had no particular fondness for Robin Hood while he was alive, but that hasn't stopped the scourge of Sherwood from being good ballad, fiction and film material. And Jesse James, who has just had a Technicolor picture named after him, was not the popular figure during his lifetime that he has become since "the dirty little coward" did his work.

Of course, in the cases of both Robin Hood and Jesse James, soon after they were officially announced dead rumors began to swirl that they were still alive and there's documentary evidence to support the believe that they might be walking around today, though Robin Hood must be a ripe old 700. Jesse a stripling of ninety-one or so

Regardless, however, of whether outlaws are endowed with immortality in the flesh or not, the fact remains that they make the best film biographies. It was not unportentous that the first motion picture with a plot should be "The Great Train Robbery." [This type of film] and players alike have danced most successfully ever since. Psychologists offer several reasons for this some of them a little startling all of them interesting. All a conscientious cinemagoer can say, though is that most of the good pictures he has seen have been about bad men. "the Thief of Baghdad," "Robin Hood," "the Black Pirate," "Scarface," "Public Enemy," "Little Caesar," "the Cisco Kid," "Morocco" and all the rest of them. Love and war are all very well in their way, but the story of the bad man--who's unusually in love, by the way--tops them all when it comes to film fare.

And of all the bad men in history none has got a stronger hold on the American imagination than Jesse James. The real desperado gathered legends about himself even while he lived, helped, perhaps, by sympathetic neighbors. There's one well authenticated account of a group of twenty officers from Kansas City who sent out to capture Jess and his gang. The nearer this posse got to the James home, the stronger grew the tales they heard of Jame's accuracy and speed with the revolver. finally, when they were about five miles from the spot where Frank and Jesse were lying unarmed and unattended. [__]







FOX FILM HAS RADIO GUESSING
Tyrone Power Series Abruptly Cancelled
By Leonard Carlton

Announcements last night by Darryl Zanuck, Vice-President of Twentieth Century-Fox Films, that Tyrone Power is leaving the air after next Sunday's broadcast, caused considerable comment along Radio Row.

The official reason given for cancellation of Power's contract that it was done to meet complaints of motion picture exhibitors who blamed film stars on radio programs for their own empty theatres--was generally discounted.

It is pointed out that yanking Tyrone will hardly affect the Sunday situation for theatre owners, since his WJZ program provides a relatively minor portion of the evening's entertainment. Feeling is that Twentieth Century-Fox, had it really wanted to cut into the Sunday night audience, world have taken popular Don Ameche from the Charlie McCarthy show. Don isn't affected at all, however.

Another Factor is Said to be Tyrone's own dissatisfaction with financial arrangements on the income from his radio program.

So far no one has been chosen to replace him on the series. Charles Boyer, who opened the program last fall while Tyrone was on vacation, is a strong contender. He's already been signed to appear on the show this autumn at a figure considerably higher than last year's.

**************


Darryl Zanuck, production head of Twentieth Century-Fox, yesterday announced that he was withdrawing Tyrone Power, one of the company's leading stars, from further radio broadcasts because of objections from theatre exhibitors to excessive appearances of screen stars on radio programs. In and agreement with Power's sponsors, the company will terminate his program after next Sunday's broadcast.

In his announcement Mr. Zanuck said: "We have no quarrel with the studio but...by the crowding of the air lanes with screen personalities...not only the theatres but the stars themselves are endangered, because it is so difficult to get adequate material for these programs, especially when they must present something new every week."







TYRONE OFF AIR, SEE RADIO WAR
Feb.2, 1939

HOLLYWOOD, Feb. 2 - (AP)--If the barring of Tyrone Power from the air means Producer Darryl F. Zanuck wants the movies to start a war with radio it appeared today he will have to do most of the fighting.

Little support was forthcoming elsewhere in Hollywood for the Twentieth Century- Fox head's opinion that radio hurts movie actors at the box office. Other studios avoided formal statements but several admitted they considered their stars' value definitely increased by air engagements.

HOW AOBUT AMECHE?

A spokesman for Zanuck called the producer's action the "opening gun" which might lead to withdrawal of other Fox stars from radio. How it would affect Fox's Don Ameche, who went into pictures with a reputation built as an actor on the air, was unanswered.

Like the studies, officials of networks declined public pronouncement. But radio sources pointed out that many of the films outstanding personalities started n the air, that Power radio rating has never been particularly high and that in many instances, notably the case of Dorothy Lamour film figures are under contract to a network and merely borrowed by studios for pictures.

Zanuck's action announced yesterday will remove his superstar after next Sunday from a dramatic program on which he has been appearing. The producer said he was taking cognizance of many protests from film exhibitors who contend that when the stars are on the air patrons stay home to listen to them. Radio sources, however, said Power quit the program in an argument over introduction of a commercial announcement between acts of his play.

SAYS BOTH SUFFER

Zanuck contended stars as well as exhibitors suffer, "because it is so hard to get adequate material for these programs, especially when they must present something new each week."

In recent y7ears, radio and films have hired freely of each others talent. Jack Benny, Gracie Allen, Bob Burns, Bing Crosby, Cecil B. De Mille, Rudy Vallee, Edgar Bergen and Charlie McCarthy, Eddie Cantor, Al Jolson, Robert Taylor, Robert Young, Jean Hersholt and Edward G. Robinson are equally known to screen fans and radio listeners.

Metro Goldwyn Mayer once discouraged radio appearances b its contract players, but now produces a sponsored show each week. Universal steadfastly keeps its premier attraction, Deanna Durbin, off the air, although she was "discovered" on Eddie Cantor's show. But others with Universal, such as Andy Devine, are free to do as they please.







TYRONE POWER'S $4,000 RADIO SPLIT 50-50 WITH 20TH-FOX EAST'S SLANT ON ZANUCK'S ACTION
Feb. 7, 1939

Radio's slant in New York on the sudden concern of Hollywood about picture stars on the air, specifically as applies to the Tyrone Power- Darryl Zanuck case, is that the actor was 'getting tired of paying his own salary from 20th Century Fox.' The eastern advertising agencies point to Powers $4,000 a week from Woodbury Soap and the fact that he split it 50-50 with the studio. Power's stipend from 20th Fox is $2,000 weekly, thus his radio earnings for the studio pays off his film work.

Power is said to have demanded $3,500 a week from 20th Fox on a new picture deal.

Meantime the Zanuck move to terminate radio appearances of its star spurred exhibitors all over the country into all sorts of plaudits for Hollywood. theatre owners associations have been petitioning Hollywood. theatre owners associations have been petitioning Hollywood producers to take further steps to keep film names off their air for the past two years. Position of exhibitors has been that picture stars are built up at theatre box offices and producers, were making a mistake in extending assistance to a competitive industry which kept people home.

Zanuck's Exhibit Curtsy

HOLLYWOOD, Feb. 7. Presumably because of exhibitor squawks against picture names on radio Darryl Zanuck, 20th-Fox production chief, last Wednesday (1) ordered Tyrone Power off Woodbury Playhouse. Actor withdrew after last Sunday's (5) broadcast, with Charles Boyer finishing [the show]. Boyer had recently been signed to resume permanently for Woodbury next fall.

Zanuck's statement on radio constitutes a complete about-face for the producer who had long advocated the ether plug as a good exploitation medium for films.

Zanuck issued the following statement anent his action:

'We have no quarrel with radio, but there is a great validity in the insistence of theatre exhibitors throughout the country who contend that they are being severely injured because the airlanes are so crowded these days with screen personalities.

'Not only the theatres, but the stars themselves are endangered because it is so difficult to get adequate material for these air programs especially when they must present something new every week. film companies spend thousands of dollars and months of time preparing for the single appearance on the screen of any one of their stars. By is very nature radio cannot exercise such care for the protection of the player.

'The screen and radio can continue to help each other when they cooperate to mutual benefit, but the situation today is such that unless stern measures are taken, both must suffer.'

No little miffed by Zanuck's action, which may have a tendency to spread, although a canvass of other plants failed to disclose any bandwagon climbers-on, network and agency spokesmen gave out freely with their own versions of what was behind the Power withdrawal.

The Boyer Influence

Those close to the Woodbury Playhouse setup claim that Power hasn't been the same since he returned from his South American trip. It was during this layoff that Charles Boyer was brought in as replacement and so impressed the sponsors that he was contracted to take over the series permanently when Power's contract ran out. This is said to have rankled Power no little, ergo the squawk against the half-way commercial cut-in. Boyer takes over next Sunday (12). Power was in the seventh week of the second 13 on a year's contract.

Exhibitors throughout the country hailed Zanuck's action as a move in a direction designed to aid ailing biz. They are hopeful of similar action by other studio heads.







MOVIES' ROYAL COUPLE: TYRONE AND JEANETTE
January 22, 1939

The 1939 king and queen of the movies: Tyrone Power and Jeanette MacDonald!

Readers of the Chicago Tribune and more than fifty other newspapers made the selection in one week's voting. thousands of ballots were case. First one star, then another, took the lead as the contest continued. Hollywood celebrities were as excited as the movie fans themselves. And now, the final returns!

Succeed Clark and Myrna

Power and Miss Macdonald dethroned Clark Gable and Myrna Loy, first in the hearts of cinemagoers for 1938. Miss MacDonald entered the contest with an advantage, for she is a singer, and dancer as well as an actress. Power was born to the stage. Both his mother and father were actors. His name derives from County Tyrone in Ireland.

Power's popularity in New York captured for him the No. 1 position among the male stars. In Chicago he finished second, Miss Macdonald was first in both cities.

Power received 89,617 points in the national poll. Gable, in second place trailed him by more than 35,000. Miss MacDonald's victory total was 59,608. Sonja Henie, the Norwegian skating star, was close behind with 52,098....







TYRONE POWER TO LEASE ISLAND

HOLLYWOOD, Jan. 27--(AP)--When Tyrone Power wants to get away from it all--including, maybe, even those engagement rumors--he can go to his own island.

The actor received word today that a deal to lease a small island off the coast of Mexico, a few miles from the port of Maatlan, had been completed.

"It isn't much of an island and there's nothing on it except a good well, some trees and a lot of rocks," Power said. "I'll probably build a little house on it some time."

Power isn't a very good judge of distance, but he thinks his island is about two miles long and perhaps half as wide.







MR. POWER HEADS THE CASTE

It isn't every day that Hollywood gets a chance to make a Maharajah out of one of its personable young men. for the most part, the modern matinee idols are compelled to do their fascinating handicapped by regulation gent's three-piece suits which by no stretch of the imagination can be called romantic. when the chance does come, as it did in "The Rains Came," for a studio to deck out its ace enchanter in fancy clothes, it falls to with astonishing vim.

Tyrone Power, complete with small mustache and slightly darkened complexion, as Major Safti, Maharaha-elect to the State of Ranchipur, rated a wardrobe more expensive than Myrna Loy's, and she's the leading lady of "The Rains Came." And of course Power's costume bill came to much more than that of George Brent or any of the other principals who play Europeans.

**************


The first item of cost was research. While Louis Bromfield was careful to lay the scene of his bestseller in an imaginary locals he was also careful to hint that his scene was drawn from an actual place in an authentic modern India. It was up to the Twentieth Century- Fox people to get hold of technical exports who knew their India so well they could think up a costume for Power that would be at once authentic and unreal. these whizzes were found in the persons of Major George Remington, Charles Whitaker and Hussain Nasrl, Indian experts all. (Another expert, Lal chand Mehra, was employed to adapt Indian music to the use of occiddental instruments, but that had nothing to do with clothing of Tyrone Power.)

**************


Certain details of the leading man's costume needed only deft fingers, not imagination. His turban, for instance, had to be wound a certain way and only that way, because he is supposed to be a member of the warrior cast, and as such his headgear would be wound the same way, regardless of where in India Ranchipus was supposed to be. the curved jeweled sword he carries was simply copies from an authentic article in a Los Angeles museum.

**************


One the other hand, there was considerable argument between the authorities as to whether the turban, once wound, should be decorated with (a) a large jewel, (b) a jewel and white peacock feather, (c) a jewel and bird-of-paradise feather. they finally chose the last because it was easier to obtain than white peacock plumage. Another ;point of dispute among the experts was the number of strands of matched pearls Power should wear on his coronation day. Major Remington said they should be no more than three and that they should be supplemented with necklaces of other jewels. The other men said that this would make it too easy to identify what State Power came from if he wore replicas of existing jewels. Nine strands of matched pearls were finally decided on.

The exact cut of Power's coat was also debated; it seems that an Indian expert can tell just where you come from by the cut of your ceremonial robes, and the studio preserving the Bromfield spirit didn't want to identify Ranchipur too carefully. the patter to be embroidered on the coat was also a problem; an expert can tell what part of India you come from by the way the leaves and flowers run. A neat way around these two difficulties was found by copying cut and pattern from an old Persian coat. It's gold thread on red cloth, and it took two months to make, thought it will only show up as black and white on the screen.





HIS FATHER TAUGHT HIM ALL HE KNOWS
1937

GEE, Mom, isn't it great?" so saying, Tyrone Power stepped from the train, swooped his mother up in his arms and hugged her so hard that she suffered three broken ribs! Painfully enthusiastic, Tyrone's mother shed tears, for her twenty-two year old son had at last broken his jinx and in his pocket was a signed movie contract. It should have been easy for a boy who was on the stage before he was born to become an actor--Mrs. Power was playing Shakespeare until within two months of Tyrone's birth. But such was not the case in Tyrone's topsy-turvy career.

He played his first stage role at the age of seven years, but everyone believed his famous actor-father responsible, and that lingering suspicion defeated the youth's ambition for years. Yet, the happiest time of his life was the Summer of 1931 when he appeared in "The Merchant of Venice" with Tyrone Power, Sr. Strangely, the first day of the play almost cost Tyrone his life when a dagger slipped from the hand of an actor, grazed his cheek and buried itself to the hilt in the scenery behind him. In December of this same year, Tyrone's father collapsed on the set and died in his son's arms, just five days before Christmas.

This tragedy determined Tyrone to carry his illustrious name to further glory. but Hollywood, remembering only the father, rejected the son. Tyrone hurried to Chicago for a small stage job. Tyrone hurried to Chicago for a small stage job, found himself in a rut and stayed three years, during which time he appeared for a while with don Ameche on the radio. with but $5 a week on which to live, he stormed New York. His first job came in Katherine Cornell playing which he understudied burgess Meredith for a whole year without once facing an audience. As he was about to give up in despair he captured a role in the Broadway version of "Romeo and Juliet."

Like magic, talent scouts from the same studios that had ignored him began a hot pursuit. Tyrone surrendered to 20th Century-Fox and was rushed to Hollywood. Almost at once he ran into Don Ameche again, this time as a competitor for a choice role in "Lloyds of London." Tyrone won the part and with it, stardom.

He is still flabbergasted at such sudden success because he had learned to accept failure as a matter of course. Aside from his exciting romance with the spectacular Sonja Henie, Tyrone admits only two really great thrills in his life.

"That first day on the stage with any father is one," he says. "And then the evening they previewed 'Lloyds of London.' I walked into the theater unnoticed, but coming out I was almost mobbed by fans and well-wishers."

These are great days for Tyrone Power, but greater days are ahead, beginning with his new picture, "Cafe Metropole," opposite Loretta Young.





POWER TO WED HENIE--MAYBE YES, MAYBE NO
By Edna Ferguson ; New York Daily News
March 25, 1937

Tyrone Power is smooth, but no softie. He knows the answers.

"Will you," I asked in my most dulcet fashion yesterday when he came to the News One and Three color Studio" if he "will marry Sonja Henie"?

He looked at me from under bushy eyebrow, through lashes as long as front page headlines: "I'm much too busy acting, she's much too busy skating, to think about it."

"Then it's just a friendship?"

Just a Romance

He raised those eyebrows:

"Friendship? What an unnatural relationship! It's just a romance."

I thought I had something there.

"Then you will marry her?"

"Perhaps yes, perhaps no," he replied smoothly, doing the photographers' bidding for his picture in color. "I can't tell who it'll be. Marriage is a long way off for me. I wouldn't want to marry until my career is assured and I know I can support a wife. Eventually, of course, I I'll marry.

Learns to Skate

Power flew into town for a short vacation between picture. He stopped off at Detroit to see Sonja skate. he's flying back to Hollywood tomorrow. He's taking skating lessons himself, but not from Sonja.

The actor was outfitted in imported brown berringbone. His tie was wine, complementing his pocket handkerchief. His shirt was white.

He's interested in sit-down strikes and children. Sit-downs he doesn't fancy; children, he does, when the time comes. if they show talent, they'll be actors, too, like himself, who at 23 has made a name for the third generation of a family of actors.







FRENCH FILM STAR TO SUE FOR DIVORCE
Annabella Will Not Oppose Action by Jean Murat
October 10, 1938

PARIS, Oct. 10.--Annabella, starring in the motion picture "Suez" with Tyrone Power, has announced a definite break with her husband, Jean Murat, French film star. She is returning to Hollywood Oct. 26 and will not oppose her husband's suit for a separation.

The Murats have decided on a divorce because this film contracts prevented any kind of family life for Annabella, she being constantly in the United States. It is understood she preferred her life as an international star and they agreed to separate.

Annabella, christened Anne Charpentier, married Jean Murat in Paris in October, 1934. Only two friends were present at the simple ceremony.

Annabella--inspired to her screen name by the Edgar Allan Poe poem--was born in Paris in 1912. She played obscure but increasingly important parts in French films before going to Hollywood. Her French productions include "Le Million" and "The Fourteenth of July." She made her English speaking debut in "Wings of the Morning," produced in England.

Jean Murat is a popular French screen star. Several films in which he played have been imported into this country. His pictures include "The Soul of France," "Venus," "La Nuit Est a Nous" (The Night Is Ours) and "Escaped from Hell."








...."HE'S REGULAR"....

Whenever I want to know the low-down on a new star, I discount the raves of the press agents and consult the prop men, grips and electricians on the set. It takes a real human being to impress them.

"That Tyrone Power"--one of the set crew informed me that other day--"he's regular. He belongs to our bowling team and he drove in from location forty miles last week to attend our Wednesday meeting. Did you read about the big birthday party he threw for the other stars on the lot? Don't let anybody kid you that was on the day before his birthday. On his real birthday, he bowled with us."







POWER'S SCHOLARSHIP

Cincinnati, May 17. Tyrone Power has established an annual award of $350 for a senior scholar of the Schuster-Martin School of Drama showing marked ability and in need of financing for continued training in a stage, screen or radio career. The film star, a native of Cincinnati, made announcement of the award in a telephone address from Hollywood Saturday (14) night to an audience attending the local school's anniversary stage production. 'Dancing Moods,' in Taft auditorium. Power was honorary chairman of the affair, which was in the nature of a memorial tribute to Mrs. Helen Schuster Martin, who founded the school in 190..

Mrs. Patia Power, mother of Tyrone, came on from the Coast for the celebration of the school which she attended in girlhood. Walter Connolly and Janete Flyn (Gina Malo), among the celebs who received training under Mrs. Martin, wired their sentiments from California and London, respectively.







TYRONE POWER PAYS DAD'S DEBT WITH FAMILY PHOTO AS I.O.U.
Film Actor Sends a Check to Father's Friend On Strength of Inscription on Picture
December 12, 1938

NEWARK, Dec. 12, 1936--Benjamin Bleiberg--Broadway used to call him Bennie--has his vegetable shop in Irvington, and the "best production" that Tyrone Power, the elder, ever "starred in" is responsible.

Even the brilliancy of his movie star son hasn't dimmed the memory of the elder Power in the vicinity of Broadway. People remember his Caesar, other Shakespearean roles and his "Little Billee" in "Trilby."

Bennie Bleiberg has other memories, personal ones. When Bennie ran the Hotel Hollenden, celebrated theatrical rendezvous in W. 46th St. Power was a regular there. Once in a while he would bring along his kids, Tyrone, Jr. and Anne. He was mighty proud of those kids and had high hopes for them. Bennie was the kind of man could talk to about things like that, Bennie understood.

He'd Turn to Bennie

Trouping is a great life, but it has its drawbacks. One of them is unsteady income. Now and then, things got bad for the elder Power. Then he would turn to Bennie. Bennie understood. When Tyrone Power, Sr. died three years ago, he still owed his friend Bennie $500.

Things weren't so good for Bennie either, recently. The hotel had gone and so had other ventures. He needed some money to start business in Irvington. One day he wrote Tyrone Power, Jr. and enclosed a photograph. It showed the elder Power with his 9 year old boy and his daughter Anne. It was inscribed.--

"The best production in which I ever appeared as a star. To Dear Bennie."

Telling You--in Case

"I haven't got any records of that money," Bennie wrote to Tyrone, Jr. "All I've got is this picture I'm just telling you--in case."

The photograph came back with a new autograph. Along with it was a check. Now Bennie can get back into business, and he has another precious memory of the Power family.







OLD DEBT OF HIS FATHER IS PAID BY TYRONE POWER
December 12, 1938

IRVINGTON, N.J.--Benjamin Bleiberg, proprietor of a vegetable market here revealed today that Tyrone Power, the motion picture actor, had sent him a check for $500 to cover a personal debt of Mr. Power's father Tyrone Power Sr., also an actor who died in 1931.

Mr. Bleiberg once was a manager of the Hotel Hollender and the restaurant of the Hotel Richmond of New York. In this capacity he got to know the elder Mr. Power and years ago when he was "in the money" he made a loan to Mr. Power. Two months ago, Mr. Bleiberd said, he was in financial need and was threatened with the loss of his vegetable market. He wrote young Mr. Power a letter, telling of his father's debt, and enclosing an autographed picture of the Power family.

In short time, he added, he got the picture back--and young Mr. Power's check for $500, which came just in time to save his business.







NO 'HIGH HAT' FOR TYRONE POWER
By Tyrone Power

When I first came to Hollywood (and that wasn't [a] very long time ago), I was impressed by the great number of people who were willing, day an night, to offer expert advice on how to get along in pictures.

It is almost impossible to escape these well-wisher. They grab you in studio restaurants, corner you in lobbies and even telephone their warnings to you in the dead of night. The striking thing about these people is that they are sincere, which makes them double persistent.

Boiled down to its finest essence, their advice is: "Don't go Hollywood! Be yourself!"

While in New York and Chicago, doing the best I could at finding odd jobs in the theatre and on radio programs, the phrase "going Hollywood", had ;puzzled me. I knew that it was the equivalent of going high-hat, because it was used that way, But of its subtler forms I knew positively nothing.

In the theatre the opportunities for going high-had are quite remote. You may have the luck to be in a good play for two or three months and then a lousy one shortly after that. The ups and downs tend to even things, make you realize that actors are victims of circumstance and that it is better never to take one's self too seriously.

But since I have been in Hollywood under contract to 20th Century-Fox, I can see the reason why it is that so many do go Hollywood. In the film city gigantic forces are forever at work remolding the characters of actors and actresses. A newcomer is deluged by attentions; a dozen publicity men and his working and play hours in search of a copy to feed 296 photographers [..] and he can see a lot of humor in this. Only recently a red-thatched boy of then came up to me with an autograph book and I started to write on an empty page, but the boy covered it with his hands.

"But you're going up," said the boy. "Three weeks ago you were worth only 15 cents."

Hope for Higher Value

And I ended up by signing six pages for him, five of which he was going to hold against the time when I am worth something more than 25 cents.

this demonstrates, I believe, one of the many facets of this glamorous business which might turn an actor's head and possibly lead him along that troublesome road going to Hollywood. As I have said before, it is understandable why some of us travel that path.

With so many agencies pumping ego into heads, there is some excuse for strange conduct by film players. this adulation of motion picture players, unsurpassed in any other field of endeavor, is extremely trying.

No Immediate Danger
I don't think there is any immediate danger of my "going Hollywood," for the simple reason that I am not at all impressed by flattery or the adulation of fans. At best a leading man has but a limited time in pictures. If he keeps his head and conducts himself naturally, which is to analyze demonstrations for what they are and discount himself 50 percent, he's apt to prolong his career a good many years.

Motion picture acting is a business of good and back luck. No actor should pat himself on the back because something beyond his control suddenly projected him into a position of great prominence. The men who believe in themselves also are able to take themselves apart and with clinical interest recognize the elements that made them stick."

I know that but for the circumstance of a very good picture [start] of my career I might still be hammering at the gates of Hollywood. Realizing this, I have nothing to "go Hollywood" about.











1,000 AUTOGRAPH HUNTERS BESEIGE TYRONE POWER
Actor and Wife, Annabella, Sail for Europe
New York Herald Tribune ; July 2, 1939

Mr. and Mrs. Tyrone Power sailed yesterday on the Italian liner Rex after 1,000 autograph hunters and motion-picture fans had put on a mob scene at the West Thirty-second Street pier in which one young woman fainted and scores of personas were bumped and bruised.

A squad of detectives and uniformed police escorted Mr. Power and his wife who is known on the screen as Annabella through the crowd on the pier. About 100 of the fans pushed after Mr. and Mrs. Power and their escorts. As an emergency expedient Mr. and Mrs. Power were taken to Room 307, deep within the vessel, until their admirers departed. Then the couple went up to their suite.

The Powers, who were married in Hollywood on April 23, were bound or belated wedding trip in Italy and southern France. Mr. Power said they would be gone seven weeks. They will visit Annabella's mother and father in Pilat Plage, on the Bay of Biscay, France, and will motor through Italy and France.

The only casualty at the farewell is Miss Mary Byrne, who declined to give her address. She fainted in the rush on the pier and was revived with a glass of water.





1,000 SPEED TYRONE, BRIDE OFF TO ITALY
July 2, 1939

'Twas bump, bruise and faint as 10,000 movie fans stormed Tyrone Power and his French bride, Annabella, yesterday noon when they sailed for a honeymoon on the Italian liner Rex.

A pretty young thing named Mary Byrne, who shyly refused to tell her age or address, was among those who collapsed from sheer thrill--not to speak of the crush--as throngs clamored for autographs. She was revived.

Powers and his bride expect to be gone seven weeks. They plan a motor trip through Italy, culminating in a visit to Annabella's parents in a small French town, Pilat Paige, on the Bay of Biscay.

Tyrone wore a light tan suit, red and yellow tie and brown and white sport shoes. Annabella, a vivacious blonde, was garbed in a tailored lavender, whit blouse and shoes that matched her hubby's.

The other 1,285 passengers on the Rex included Archbishop Ameleto G. Cicognani, Apostolic Delegate to the United States, making his periodical visit to the Vatican. Archbishop Francis J. Spellman and a number of prominent priests were on hand to bid to the Apostolic Delegate bon voyage.
















[FANNIE BRICE] SAYS FILM DEFAMED HER Fannie Brice Asks $750,000 and Ban on Further Showing
July 14, 1939

CHICAGO, July 14 (AP)--Fannie Brice, screen and radio comedienne, filed suite today for $750,000 damages against the Twentieth Century Fox film Corporation, Tyrone Power, Al Olson, Alice Faye, eight theatre companies and officials of the film corporation.

She charged defamation of character, use of her life story without permission and invasion of privacy in connection with the production and showing of the film "Rose of Washington Square." Libel was charged with reference to dialogue and scenes in the film.

The suit, asking that an injunction be granted to restrain further showing of the picture, alleged incidents in the film closely paralleled Miss Brice's own life.












LETTERS OF A FOND PAPA
November 26, 1939

"Mrs. Power and I have a little son," Tyrone Power wrote, "and naturally all our hopes are centered in him. And when he grows in years, the art of the motion picture will do much for his education."

The Tyrone Power doing the writing--and a nice bit of prophecy it turned out to be--was the father of the present Tyrone. The date was 1915, and the reason for writing was that the elder Power, a great matinee idol of the stage, had just agreed that movies were all right and had a future.

The "little son" recently came across the above quotation in the :picture Play Weekly of Oct. 16,1915. The prophecy of the older Power should have stopped the portion just quoted, but that's never the way with interviews. when posterity comes upon them, the sage words of a previous generation have a tendency to look a little silly, a little pathetic, mildly ironic in the light of present events.

Mr. Power had gone on to say--after the bit about the movies educating his son--"He will have educational advantages that I never had. His mind will be broadened without the vexations of extensive travel" (to date Power films have made more than ten transcontinental trips, toured South American and traveled through much of Europe, experiencing vexations in the form of too-ardent autograph hunters that his father never dreamed of). "He will have learned at an early age the wonderful story of the bee and other secrets of nature; his imagination will have been cultivated by visits to motion picture dramas of higher class; without imagination a human being is nothing...Pictures will bring higher thoughts and fancies; tend to refinement and gentleness."

Just now much gentleness and refinement the offspring for whom the elder Power had such hopes got out of playing the title role in "Jesse James" might be questioned. As for the bees, Tyrone, Jr. had not more chance than any one else to see Maeterlinck's Life of the Bee" in the moves. If he saw any other, he doesn't recall it.

Power here went on, "I confess that for some time I held the attitude of many other well-known actors toward the silent drama. I thought the industry just a flash in the pan. But with the advancement, the wonderful strides onward and upward. I experienced a change of heart. I was informed that people who never before could afford to see m acting would now be given an opportunity, for the prices for the silent drama are not so high. I was informed that picture play audiences were exacting and as appreciative and as pliant as those who frequent the legitimate theatres, and I have been studying the audiences. I believe that my art will not suffer, and that I am in a humble way, contributing to the enjoyment of the masses when I try to do my best in picture-play-land.

"I do not think I shall return to the spoken drama. In the motion picture are one has his evenings at home with the family, and there are no long railroad journeys to make or trunks to continually pack and unpack. I preat, the motion pictures have a great future, and I hope to become more and more strongly identified with that future."

Well, at any rate, the name of Tyrone Power has become pretty strongly identified with the movies. The present wearer of it is just making his thirteenth appearance in a starring role in "Day-Time wife," now at the Roxy. Last year, he was starred in a mere $10,000,000 worth of motion pictures. And, all in all, the "little son" of twenty-five years ago has fulfilled the hopes that were centered on him and on the movies.













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