Super Tramp

The late film critic Roger Ebert once observed that “if only one of Charles Chaplin’s films could be preserved, City Lights would come the closest to representing all the different notes of his genius.”

Feb. 21, 1931 cover by Rea Irvin, marking the New Yorker’s sixth anniversary.

The New Yorker’s film critic in 1931, John Mosher, would have agreed. Before he previewed the picture, however, Mosher feared (along with others) that the great actor and director had seen his best days…

…instead, the film proved a hit with both audiences and critics, and today is regarded as one of the greatest films ever made. It was no doubt a relief to Ebert when the film was selected by the Library of Congress for preservation in the National Film Registry.

HE DOES IT ALL…United Artists issued several different types of posters to promote the film, including these two. (IMDB)
A TENDER FELLOW…The Tramp (Charlie Chaplin) encounters a blind flower girl (Virginia Cherrill) on a street corner and is instantly smitten; later that evening the Tramp saves a drunken millionaire (Harry Myers) from suicide. (IMDB)

The film has its tender moments, but being a Chaplin production it also had plenty of slapstick, including this famous scene in which the Tramp and his millionaire friend go out on the town and dig into plates of spaghetti…and in the Tramp’s case, some confetti…

Mosher (and many other critics since) believe the opening scene of the film — in which a statue is unveiled to reveal a sleeping Tramp — was Chaplin’s attack on sound movies:

CAUGHT NAPPING…The Tramp is unveiled along with a statue in the opening scene of City Lights. (IMDB)

Although the film had a full musical score and sound effects, there was no spoken dialogue. Rather, Chaplin poked fun of the tinny-sounding talkies of the day by putting not words, but the sounds of a kazoo, into the mouths of speechifying politicians gathered at the statue’s unveiling…

For all its humor, City Lights was a serious work by a serious actor and director who sought something close to perfection. The scene in which the Tramp encounters a blind flower girl on a street corner required three hundred and forty-two takes with actress Virginia Cherrill, who was a newcomer to film.

Writing in the New Yorker, critic Richard Brody (“Chaplin’s Three Hundred and Forty-Two Takes,” Nov. 19, 2013) noted that “Chaplin didn’t have a mental template that he wanted Cherrill to match; he approaches the scene not quite knowing what he wanted.” Brody observed that the perfection Chaplin sought was one of results, and not of conformity to a preconceived schema. “He sought what provoked, in him, the perfect emotion, the perfect aesthetic response — but he wouldn’t know it until he saw it. He started to shoot in the confidence that the thing — whatever it was — would happen.” Chaplin’s technique can be seen in this clip from the Criterion Collection’s 2013 DVD release of the film. Note that this footage was shot by the New Yorker’s Ralph Barton, a close friend of Chaplin’s:

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Chaplin, Part Two

The Chaplin buzz was not confined to the movie section of the magazine, which featured more insights on the star in “The Talk of the Town.”

GENIUS LOVES COMPANY…Photo of Albert Einstein and Charlie Chaplin at the Los Angeles premiere of City Lights. Einstein said Chaplin was the only person in Hollywood he wanted to meet. (Wikipedia)

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Funny In a Different Way

Like City Lights, Tod Browning’s Dracula is today considered a classic film. Indeed, Bela Lugosi’s timeless portrayal of the old bloodsucker set a standard for vampire flicks and horror films in general. The New Yorker’s John Mosher, however, would have none of it, dismissing the film in a single paragraph.

PAIN INTHE NECK…Count Dracula (Bela Lugosi) goes for a nibble on the fragile Mina (Helen Chandler) in 1931’s Dracula. (IMDB)

Mosher was also dismissive of Fritz Lang’s By Rocket to the Moon, originally released in German as Frau Im Mond (Woman in the Moon). The 1929 production is considered one of the first “serious” science fiction movies, anticipating a number of technologies that would actually be used in space travel decades later.

RETRO ROCKET…Fritz Lang’s Woman in the Moon would predict a number of technologies used decades later in actual space flight, including multi-stage rockets. Lang also anticipated the future in the much-acclaimed Metropolis (1927).

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Bored on Broadway

Robert Benchley was visiting friends abroad, so Dorothy Parker did what any pal would do and subbed for his theater column. As it turned out, it was not a happy task, even if she did receive complementary tickets to one of the hottest shows on Broadway:

Having dispatched Katharine Cornell’s Barretts of Wimpole Street, Parker took aim at America’s Sweetheart, based on a book by Herbert Fields with music and lyrics by Richard Rodgers and Lorenz Hart. Parker ended the savaging with a plea to her dear friend and colleague to return home soon:

THEY LAUGHED, THEY CRIED…Katharine Cornell (left) portrayed Elizabeth Barrett in Barretts of Wimpole Street. Dorothy Parker thought Cornell was a first-rate actress, but didn’t think much of her play. As for Inez Courtney (right) in America’s Sweetheart, Parker believed she did what she could, whatever that meant. (Pinterest)

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Lest We Forget

The New Yorker turned six with this issue, and in the life of any magazine, that is something to be celebrated, and especially in hindsight as our beloved publication closes in on its centenary in 2025.

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From Our Advertisers

We’ve seen in past ads how Prohibition-era vintners marketed grape juice bricks that could be dissolved in water and fermented in the home. In this ad they took it a step further, sending expert cellarers direct to customers’ homes to help them create their own, perfectly legal, wine cellar…

…those with wine cellars might have preferred to live in a “highly restricted” community in Jackson Heights…

…and furnish their homes with the latest in modern furniture design…

…and here we have an early example of the “macho” smoker, anticipating the arrival of his buddy, the Marlboro Man…

…on to our cartoonists, another theater section entry by one of Charlie Chaplin’s closest friends, Ralph Barton

…and cartoons by Peter Arno, who channelled Dracula via his Sugar Daddy…

Garrett Price, and the burdens of the rich…

Denys Wortman examined the follies of youth…

…and we end with dear Helen Hokinson, and the miracle of birth…

Next Time: Chaplin of the Jungle…

And the Winner Is…

We lead off with a couple of winners from the Feb. 7, 1931 issue, beginning with a cover by Rea Irvin that takes measure of a lighter moment at the Westminster Kennel Club Dog Show.

Feb. 7, 1931 cover by Rea Irvin.

The 1930 Best of Show winner Pendley Calling of Blarney also took the top honor in 1931, giving the wire fox terrier back-to-back Westminster wins. Overall, terriers have dominated Westminster — wire fox terriers have won Best of Show 15 times, with Scottish terriers a distant second, with eight wins.

TOP DOG…Pendley Calling of Blarney won back-to-back crowns in 1930-31 at Westminster Kennel Club Dog Show at Madison Square Garden. The dog’s owner, John Grenville Bates, mercifully retired the pooch after the ’31 win. (Westminster Kennel Club)
STANDARD? ARE YOU KIDDING ME?…Standard poodle Siba won Best in Show at the 144th annual Westminster Kennel Club Dog Show on Feb. 11, 2020, at Madison Square Garden. (Reuters)

The other winner was Cimarron, the first film to receive more than six Academy Award nominations, winning three including Best Picture (then called Best Production). It was the first Western to win Best Picture, and it would be nearly 60 years until another Western, Dances with Wolves, would take the top honor.

HE LOST HIS SHIRT, TOO…

Despite some “sagging moments,” John Mosher mostly lavished praise on the film, which was showing at the Globe Theatre:

THAT’S NO WELCOME WAGON…Clockwise, from top left, Yancey and Sabra Cravat (Richard Dix and Irene Dunn) join the 1889 Oklahoma Land Rush with their son, Cim (Junior Johnston); a less-than-friendly greeting at a boomer town; wagons line up for the big land grab; a young prostitute, Dixie Lee (Estelle Taylor), outwits Yancey for a piece of prime property. (IMDB)
OH DEAR, THERE’S THAT LOOK AGAIN…Yancey (Richard Dix) takes it upon himself to establish order in the boomer town of Osage. On the bed are Yancey’s son, Cim (Junior Johnston) and wife Sabra (Irene Dunn). (IMDB)

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Handy Painter

It is hard to imagine the struggles of one-handed painter José Clemente Orozco (1883-1949), who despite his handicap was able to complete huge murals in true fresco style (paint applied quickly on fresh, wet plaster), including five socially-themed frescoes at the Joseph Urban-designed New School. The murals included controversial depictions of Lenin and Stalin, but it wasn’t until the 1950s — during the McCarthy era — that school officials felt compelled to cover the images with a curtain. More protests followed, this time from faculty and students, and the curtains fell along with Joe McCarthy. “The Talk of the Town” looked in on the artist at work:

HE LOOKS FAMILIAR…José Clemente Orozco’s “The Struggle in The Occident”, 1930-1931, one of five frescoes at the New School. (Pinterest)

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Prescience of Mind

News reporter and author Elmer Davis submitted this humorous piece to the New Yorker doubtless thinking how preposterous, and therefore humorous, the following notion would be (a brief excerpt):

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Funny Cigarettes

In the early years of broadcast radio (and later TV) tobacco companies rightly saw a huge gold mine in radio show sponsorships. So when CBS radio executives accepted a sponsorship from Lorillard (the makers of Old Gold), they realized they had a challenge on their hands. “Talk” explained:

COUGH ME A MELODY…The makers of Old Gold cigarettes had CBS in their clutches in this September 1933 ad featuring bandleader Fred Waring and singer Babsie. (period paper.com)

…The above “Talk of the Town” item referred to the famous Murad ads illustrated by the New Yorker’s own Rea Irvin

…while other advertisers were scaling back a bit due to the Depression, lovely full-color ads continued to flow from tobacco companies (and oil companies)…

…Pierce-Arrow was also known for its sumptuous ads, but they wouldn’t save the luxury car maker from going under by the mid-1930s…

…Some less expensive black and white ads, such as this hand-lettered ad from Stein & Blaine, could be quite charming…

…speaking of charm, this ad from Arthur Murray could have used a little of it…note the stern visage of the woman, described as “typical of Arthur Murray’s staff of expert teachers”…

…on to our Feb. 7 cartoons, we have one of Peter Arno’s stock characters, the Sugar Daddy, in an awkward moment at a costume party…

…Arno’s party looked a lot more lively than this affair, illustrated by William Crawford Galbraith...

…and Carl Rose gave us this pair, who seem to having the best time of all…

Mary Petty eavesdropped on a guileless young woman…

…and Gardner Rea paid a visit to the Met…

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On to our Feb. 14 issue, and Gardner Rea once more…

Feb. 14, 1931 cover by Gardner Rea.

The Feb. 14 issue featured a profile of actress Katharine Cornell (1893-1974), written by cultural critic Gilbert Seldes. The caricature of Cornell is by Al Frueh. Excerpts:

Promotional photograph of Katharine Cornell as Elizabeth Barrett in the original 1931 Broadway production of The Barretts of Wimpole Street. It was her most famous role(Theatre Magazine, March 1931)

Cornell is considered one of the greatest actors of American theater, known for her eloquence and romantic stage presence. Seldes concluded:

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Strange Bedfellows

In his column “Of All Things,” Howard Brubaker referred to an exchange between American capitalists and Soviet Russians that resulted in the rapid industrialization of the Soviet Union. That actual story behind this effort is pretty amazing.

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Sneak Peek

Film critic John Mosher was so excited about Charlie Chaplin’s latest film that he offered this teaser to readers…

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From Our Advertisers

We have this ad from the developers of the Empire State Building, which was being readied for a May 1931 opening…

…the Empire State Building was erected on the site of the old Waldorf-Astoria Hotel. The new Waldorf-Astoria, also completed in 1931, was located more than 15 blocks away from its original site. Both the Empire State Building and the Waldorf Astoria would become Art Deco landmarks, and both shared the distinction of holding world records: the Empire State was the world’s tallest building (a record it would keep until 1970), and the Waldorf would claim the title of the world’s tallest hotel (until 1963)…

…on to our cartoonists, we have Ralph Barton contributing one of his last illustrations to the theater review section…

Richard Decker references a recent change in New York telephone numbers with this prison scene…

…Decker was referring to this bit of news, here interpreted by E.B. White in his Feb. 14 “Notes and Comment.”

James Thurber returned with his second-ever stand-alone cartoon for the New Yorker

Garrett Price mined a theme that would become common in New Yorker cartoons: the tycoon vs. meek employee…

Nancy Fay gave us a glimpse of the seamier side of family life…

R. Van Buren goes even darker with this entry…

…and we end on a high note, with Alan Dunn

Next Time: Super Tramp…

Rise of the Gangster Film

During the early years of the Depression and before censorship guidelines were imposed by the Hays Code, Hollywood cranked out a slew of “Pre-Code” films filled with sex and violence, including 1931’s Little Caesar, the first “talkie” gangster film that defined the genre for decades to come.

Jan. 17, 1931 cover by Peter Arno.

For the Byrds

Since time immemorial human beings have clung to the idea that unknown lands must surely contain vast mineral treasures.

July 26, 1930 cover by Helen Hokinson.

Such was the case when Admiral Richard Byrd returned from his Antarctic expedition, during which he conducted a number of geological studies. Ever ready to tweak a senator’s nose, the New Yorker’s James Thurber imagined an exchange between Byrd and a U.S. Senate subcommittee that was more interested in exploitable commodities than in scientific discoveries:

HMMM, NO OIL HERE…Richard Byrd’s expedition building their “Little America” encampment at the South Pole in 1928. (osu.edu)

One passage of particular interest in this imaged exchange dealt with the speed of climate change in relation to potential mineral extraction…

BIRDS MEET BYRD…Admiral Richard Byrd onboard the USS Bear during his second expedition to the South Pole. (Wikipedia)

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Before CNN

Newsreels came into their own with the advent of sound, offering moviegoers a selection of news stories from the around the world. In his “Notes and Comment,” E.B. White observed that newsreels depicted foreigners as people who just liked to hang out (note the racial slur directed at Latin Americans). White’s characterization of Germans as an indolent lot is also noteworthy, given the country was just two and half years away from Nazi takeover.

TANZEN UND TRINKEN…Kroll’s Biergarten in Berlin in September 1928; English visitors raise a glass at a beer hall in Hesse, 1929. (YouTube)

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Speaking of Slurs

Here is what passed for a humorous anecdote in the July 26, 1930 “Talk of the Town”…

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Star Power

William Powell and Kay Francis were frequent co-stars, and would team up for the 1930 courtroom drama For the Defense. Powell and Francis would be two of Hollywood’s biggest stars in the 1930s.

LET’S MAKE A PICTURE…Frequent co-stars William Powell and Kay Francis in a publicity photo for 1930’s For the Defense. Francis was a longtime friend of the New Yorker’s Lois Long. (IMDB)

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From Our Advertisers

What Depression? As bread lines lengthened so did the “super-chassis” of this monster Cadillac…

…in contrast, this ad in the Aug. 2 issue questioned the necessity of a 4,000-pound car (or in the case of the 16-cylinder Cadillac, 6,500 pounds), and touted this “common sense” British import…imagine the America of today if this idea would have taken hold in the 1930s…

…we return to the June 26 issue to find an ad that would likely not appear in today’s New Yorker

…another unlikely ad is this spot from the makers of Farina cologne featuring a skinflint applying the stuff to his armpit…yeah, I’ll take a bottle…

…and Rea Irvin continued his series of illustrations for Murad cigarettes…

…in cartoons, Irvin gave us this interpretation of country life in a full-page panel originally featured sideways…these “Country Life in America,” scenes depicted common folks enjoying the outdoors at the expense of country squires…

…and then we have the bohemian artist and set designer Cleon Throckmorton (1897-1965), with his one and only contribution to the New Yorker

…in a previous issue (May 31, 1930) Throckmorton had placed this tiny, curious ad in a corner on page 46…

…and in the June 7, 1930 issue, he placed another ad in the bottom corner of page 94…

Cleon Throckmorton, well-known for his bohemian lifestyle, operated a backyard speakeasy called the Krazy Kat Club in Washington DC. He is pictured here (center) with a couple of “Klub” members in 1921. He was no slouch, however, designing 149 New York theatrical productions between 1920 and 1934. (messynessychic.com)

…back to our cartoons, we have Otto Soglow, who was going through a wavy period in his illustrations…

…Soglow would soon become famous for his Little King strip, but for now we’ll leave the king jokes to Peter Arno

Gardner Rea contributed this series cartoon that slid around page 20…

Leonard Dove looked in on a domestic scene…

…and John Reehill contributed this weird little cartoon that reminded me a bit of the humor of Gahan Wilson

Next Time: The Drys Are All Wet…

 

 

Germany’s Anti-Decor

The annual Salon of the Société des Artistes Décorateurs in Paris reflected the growing importance of design as a profession, although it was primarily attuned to an affluent urban elite. Then along came the Germans.

June 14, 1930 cover by Helen Hokinson.

A radical new wind blew through Paris in 1930 when Bauhaus designers were invited to exhibit in their own special section at the Salon. According to the New Yorker’s Paris correspondent Janet Flanner, the Germans put on a display in their Section Allemande that left some French designers scratching their heads.

KEEPING IT CLEAN…Members of the Bauhaus Werkbund displayed their wares in the Section Allemande (German section) of the annual Salon of the Société des Artistes Décorateurs in Paris. Clockwise, from top left, examples of reception areas and workspaces by Walter Gropius; bottom left, inside pages of the exhibition catalogue for the Section Allemande. (journal.eahn.org)
STAIRWAY TO THE FUTURE…A staircase fashioned from galvanized chicken wire, by Walter Gropius, on display in Section Allemande of the 1930 Salon of the Société des Artistes Décorateurs. (journal.eahn.org)
UNKNOWN THEN, COMMON NOW…The Section Allemande also featured building models, including this multi-story apartment with communal facilities, designed by Walter Gropius. (Journal of Design History, 2004)
HOW IT STACKED UP…Rather than dazzle audiences with the latest in posh decor, the Germans confronted Salon audiences with their radical approaches to furniture and interior spaces. At left, chairs by Marcel Breuer and others; at right, Light Prop for an Electric Stage by László Moholy-Nagy. (journal.eahn.org/Artists rights Society)

Many critics and commentators at the time characterized the Salon as a nationalistic showdown between French luxury decor and German efficiency and standardization. Flanner suggested that while the Germans seemed to be throwing out the rule book, the French were accepting modernity at a much slower pace:

MODE DE VIE…Salon entries by French designers had a more art deco bent. Clockwise, from top left, vestibule of a boudoir by Jean Dunand; cover of the Salon’s catalogue; Petit Salon by André Groult; a living room by Jules Leleu. (Pinterest/art-utile.blogspot.com)

Of course we know how this story in turns out. In just three years the Nazis would shut down the Bauhaus, scattering its faculty and students abroad, including many to America, where they would find fertile soil to continue their work and eventually spread their design philosophy and aesthetic (for better or worse) across the U.S. and to every corner of the world.

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A Gay Old Time

New Yorkers could escape the summer heat by taking in the latest incarnation of the Garrick Gaities at Broadway’s Guild Theatre. Character and voice actor Sterling Holloway Jr., (1905-1992) best known today as the voice of Disney’s Winnie the Pooh, appeared in all three Garrick Gaiety revues (1925, 1926, 1930), which were staged as benefits for New York’s Theatre Guild. Robert Benchley offered this review:

                   Sterling Holloway, left, with June Cochran in Garrick Gaieties.

Another familiar face in the Garrick Gaieties was Imogene Coca (1908-2001), a pioneer of early television (with Sid Caesar on Your Show of Shows) who is best known today for her role as Aunt Edna in National Lampoon’s Vacation (1983).

KEEP ‘EM LAUGHING…Clockwise, from top left, Scene from the 1930 Garrick Gaieties revue, with Philip Loeb in the high hat and Thelma Tipson standing behind him. Also from left are Ruth Chorpenning, Donald Stewart and Ted Fetter; cover of the program for the 1930 revue; publicity photo from 1983’s National Lampoon’s Vacation, with Imogene Coca as Aunt Edna at right; Coca, far left, in the chorus line for the 1930 Garrick Gaieties. (New York Public Library/IBDB/ifccenter.com/Pinterest)

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Ahh-Choo

A child of New York City’s suburbs, E.B. White developed a love of the natural world thanks to a severe bout of hay fever he had as a child — on the advice of a doctor, he was sent to Maine for the summer. White’s allergies, and his love of country living, would prompt him to buy a summer residence on the Maine Coast in 1933. He and his wife, New Yorker writer and fiction editor Katherine Angell White, would make it their permanent home four years later. In 1930, however, White was still putting up with the bad summer air of the city:

THANK GOD I’M A COUNTRY BOY…E.B. White on the beach with his dog Minnie, circa 1940s. (Wikipedia)

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It Didn’t Work Then, Either

Some things never change. The HawleySmoot Tariff Act, sponsored by Representative Willis C. Hawley and Senator Reed Smoot and approved June 17, 1930, raised tariffs on more than 20,000 imported goods. Promoted as a way to protect American businesses and farmers, it put additional strain on international markets already reeling from the effects of the Depression. A resulting trade war severely reduced imports and exports. Writing for “The Wayward Press,” Robert Benchley (under the pen name Guy Fawkes) shared these observations:

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How Dry I Ain’t

Despite his sober demeanor, Henry Hastings Curran (1877-1966) was a champion for those seeking the repeal of Prohibition laws. A longtime city manager in several roles, in 1930 he was president of the Association Against Prohibition Amendment. According to profile writer Henry Pringle, Curran predicted the end of Prohibition in five years. Happily for the wet side, they would get their wish in just three. A brief excerpt from the profile, titled “The Wet Hope.”

Henry H. Curran (Underwood and Underwood)

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From Our Advertisers

The Hotel Algonquin ran a series of ads in the back pages of the New Yorker that capitalized on its reputation as a place where stars and other notables gather. And although the Algonquin Round Table was a thing of the past, the hotel made sure to showcase names forever associated with the famed table, including Robert Benchley and the hotel’s manager, Frank Case

…hoping for some crossover interest from New Yorker readers, William Randolph Hearst’s Cosmopolitan (then a publisher of fiction, not sex tips) promoted this fictionalized autobiography of a famous tap dancer in this full page ad…

…introduced in 1924, Kleenex was originally marketed as a cold cream remover, and not as something you would blow your nose into, for goodness sake…

…however, after 1930 Kleenex was being marketed with the slogan “Don’t Carry a Cold in Your Pocket”…

DON’T BLOW IT…Kleenex boxes circa 1925. (Kleenex.com)

…and artist Carl Erickson remained busy making Camel cigarettes look so darn appealing…

…from Macy’s we have a jolly ad illustrated by Helen Hokinson

…and for our cartoons, Peter Arno, and an awkward moment in a parking lot…

Reginald Marsh visited Coney Island…

…fresh off his first “Little King” strip for the New Yorker, Otto Soglow returned with this wry observation…

...Garrett Price looked in on a clash of cultures at a golf course (an image that seems quite relevant today)…

Barbara Shermund found a bit of trouble at home…

…while Art Young offered this woman a choice of her daily mayhem…

Next Time: Robeson’s Othello…

 

Noblesse Oblige

Just three years before she would enter the White House as First Lady, Eleanor Roosevelt was familiar to some New Yorkers for her social work, but was known to most as the wife of the Governor of New York, Franklin D. Roosevelt.

This week we look at two issues, March 29 and April 5, 1930, both with covers by Rea Irvin.

In a profile featured the April 5 New Yorker, Helena Huntington Smith looked at the life of a woman who was a niece to former President Theodore Roosevelt and a fifth cousin (once removed) to her husband Franklin. A somewhat reluctant mother (who nevertheless had six children) in a marriage that was mostly a political arrangement, Eleanor devoted considerable time and energy to social causes. Below is a brief excerpt, accompanied by an illustration of Eleanor by Cyrus Baldridge.

ALBANY DAYS…Clockwise, from top left: Eleanor Roosevelt in 1933; Gov. Franklin Roosevelt, Eleanor, and their youngest son, John, in Albany in 1930; FDR being sworn in as Governor of New York, January 1929. (Wikipedia/Albany Group Archive)
IN HER ELEMENT…Eleanor Roosevelt with boy and girl scout volunteers at the University of Kentucky, July 1934. (eleanorroosevelt.org)

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No Laughing Matter

In a surprising twist, James Thurber took a hand at writing the “A Reporter at Large” column (titled “Cop Into College Man”) in the March 29 issue, visiting a new “Police College” in New York City. In this engaging piece, Thurber seemed thoroughly engrossed in the operation…

…and particularly in the mugshots of some of the city’s most notorious criminals, including gangster Jim Flanagan, “debonair in a Bangkok hat”…

…and in the college’s museum, filled with all manner of deadly implements…

PREPPING FOR PERPS…The April 1930 edition of Popular Science featured the opening of New York’s new Police College. (Modern Mechanix)

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Pluto’s Salad Days

In was something of a sensation in February 1930 when Clyde Tombaugh (1906-1997) discovered the then-planet Pluto at the Lowell Observatory in Arizona. Howard Brubaker in “Of All Things” (March 29) had this to say about the achievement:

JUST A SPECK…Clyde Tombaugh poses with the telescope through which he discovered the planet Pluto at the Lowell Observatory on Observatory Hill in Flagstaff, Ariz., 1931. At right, images of the planet (specks indicated by arrows) were all the proof Tombaugh needed to confirm his discovery. (AP/NASA)

Thanks to a 2015 flyby by NASA’s New Horizons spacecraft, we now have a better idea of what Pluto, now classified as a “dwarf planet,” actually looks like…

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Dandy Doodle Mayor

Fillmore Hyde, author (and four-time national amateur squash tennis champion), penned this ditty in the March 29 issue in tribute to New York City’s dandyish mayor…

HAT’S OFF…Mayor Jimmy Walker.

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Back for More

Also for the March 29 issue art critic Murdock Pemberton was back at the Museum of Modern Art — a new institution he met with skepticism when it opened in late 1929, but a place that was definitely growing on him as a destination to revel in the work of some of the world’s top modern artists, including the American Max Weber (1881-1961), whose retrospective was supposed to the big draw of MoMA’s latest show, but Pemberton seemed more impressed by French artist Aristide Maillol (1861-1944) and particularly by the Swiss-German Paul Klee (1879-1940).

AMERICAN CUBIST…Max Weber’s The Cellist, 1917, oil on canvas, was featured in Weber’s 1930 retrospective exhibition at the Museum of Modern Art; at right, Weber seated in front of Interior with Music (1930). (Brooklyn Museum/Smithsonian)
Aristide Maillol’s Crouching Woman, bronze, 1930. (MoMA)

Pemberton wrote that Klee’s show gave you “quite a feeling”…

Catalogs from Max Weber’s retrospective and Paul Klee’s exhibit at the Museum of Modern Art. (MoMA)

…and when he compared Klee’s work to that of the other artists, Pemberton saw something “more potent even than electricity…signposts toward a glorious future”…

A GLIMPSE OF THE FUTURE…From left, Paul Klee’s Actor’s Mask, 1924, oil on canvas mounted on board; Josef Albers’ 1929 photographic portrait of Klee, 1929; Klee’s In the Grass, 1930, oil on canvas. (MoMA/Guggenheim.org)
 A week later, writing for the April 5 issue, Pemberton penned this piece for “The Talk of Town” about the work habits of artist John Marin

OLD MAN AND THE SEA…John Marin in 1921, in a photograph by Alfred Stieglitz; Marin’s Bathers, 1932, oil on canvas. (mfa.org/Dallas Museum of Art)

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Who Needs a Vet?

The April 5 issue featured James Thurber’s latest installment of “Our Pet Department…

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Spend It Quickly

April 5’s “Talk” also featured this item about Al Capone’s release from prison in Philadelphia, lavishing money and gifts on prison employees as he made his exit from Eastern Penitentiary…

…it was no wonder, because officials at the prison didn’t treat Capone like some ordinary prisoner…

SALUTARY CONFINEMENT…Arrested outside a Philadelphia movie theater for carrying a concealed, unlicensed .38 caliber revolver, Al Capone was sentenced to a year in Eastern State Penitentiary. His last seven months were served in a cell (right) with fine furniture, oriental rugs, paintings, and a console radio, among other frills. (easternstate.org)

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This Al Could Sing

Upon the DVD release of Al Jolson’s 1930 film, Mammy, Dave Kehr of the New York Times wrote that Jolson was “Simultaneously one of the most significant and most embarrassing show business figures of the 20th century.”

That was not view of most audiences 89 years ago, when Jolson reigned as one of America’s most famous entertainers. In his review of Mammy for the April 5, 1930 issue of the New Yorker, critic John Mosher admitted that he didn’t care for minstrel shows depicted in the film, but not for any of the reasons we would cite today…

UGH…Clockwise from top left, Al Jolson and Lois Moran in Mammy; a studio promotional poster; Jolson as a minstrel performer in the film. (IMDB)

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We have more racial stereotypes, this time to sell Stetson shoes…

Theodore Geisel (Dr. Seuss) continued to pay the bills by illustrating ads for Flit insecticide…

…while professional golfer Walter Hagen picked up some extra cash by launching his own line of golf underwear…

…Walter has been gone for 50 years, but you can still get his branded clothing from Dick’s Sporting Goods…

Julian De Miskey picked up some extra work illustrating this house ad for the New Yorker

…and then we have this spot from the American Austin Car Company, which produced cars licensed from the British Austin Motor Company from 1930 through 1934…interestingly, the ad doesn’t feature the car itself…

…which looked like this…

(theoldmotor.com)

…on to our comics, Alan Dunn looked in on a devoted listener of S. Parkes Cadman’s Sunday radio broadcast…Cadman (1864-1936) was a British-born clergyman whose NBC radio broadcasts reached millions of listeners across America…

…signs of spring were noted by Otto Soglow

Don Herold shared an observation on stage entertainments…

…William Crawford Galbraith found unrequited love at the circus…

…while Barbara Shermund found a more agreeable pairing at a Manhattan cocktail party…

Garrett Price found humor in the growing numbers of the down and out…

…and Peter Arno turned in this epic two-pager that illustrated the challenges of filming in nature…

Next Time: Hot Jazz in Stone and Steel…

 

 

 

 

 

 

Garbo Speaks

Imagine your favorite Hollywood actress, maybe someone like Meryl Streep or Judi Dench. You’ve followed their careers and watched most of their movies, but you’ve never heard their voices.

March 22, 1930 cover by Gardner Rea.

That’s what it was like for Greta Garbo fans before March 1930, when she spoke her first onscreen words in the 1930 MGM drama Anna Christie, which was adapted from a 1922 play by Eugene O’Neill. 

SWEDISH SPHINX…Greta Garbo’s mask-like qualities on display in this publicity still for Anna Christie. (IMDB)

The New Yorker’s film critic John Mosher, not always a fan of Garbo’s silent work (although she had plenty of fans), found a “special kind of glamour” in her first talking picture, even tossing out the word “legend” to describe this Swede who avoided publicity like a bad cold…

No doubt a few moviegoers saw the movie just to finally hear that voice, which Mosher described as “a surprise…a deep, low voice, a boy’s voice really, rather flat, rather toneless, yet growing more attractive as the picture advances”…

Director William H. Daniels (seated, left) with unidentified cameraman filming a scene from Anna Christie with actors Greta Garbo and Clarence Brown; at right, the actors contemplate the microphone hovering above them. Note how the camera in the first photo is contained in a soundproof case. (IMDB) click image to enlarge

Publicized with the tag line “Garbo talks!,” Anna Christie premiered in New York City on Feb. 21 and became the highest-grossing film of 1930. Later that year a German language version would be filmed featuring Garbo but with a different director and supporting cast.

SOUND DEBUT…Clockwise, from top left, Greta Garbo and Marie Dressler in Anna Christie; an MGM ad touting the film as one of the best pictures of the year (it would be the year’s highest-grossing, and Garbo would receive an Academy Award nomination); studio portraits of Garbo used in the film’s promotion. (IMDB)

And if you want to hear Garbo deliver those famous first lines — “Give me a whisky, ginger ale on the side. And don’t be stingy, baby” — here it is, in a scene about sixteen minutes into the film…

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Chicken and Cocktails
En route to the South Seas, the French artist Henri Matisse (1869-1954) paid a visit to New York City, and by all accounts had a good time there. His visit was described by Murdock Pemberton in “The Talk of the Town”…

I ♥ NEW YORK…Henri Matisse arriving in New York City on the S. S. Mauretania, December 15, 1930. He described the city as “majestic.” (artistandstudio.tumblr.com)
NICE PLACE, THIS…Henri Matisse sitting on the brick roof terrace of 10 Mitchell Place (formerly Stewart Hall), the Queensboro Bridge glimpsed in the background. The photo was taken in 1930 by his son, Pierre Matisse, who was living in New York. At right, 10 Mitchell Place today. A framed photograph of Matisse sitting on the rooftop hangs on the wall of the building’s lobby. (Henri-matisse.net/Ephemeral New York)
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The Last Page
The death of author D.H. Lawrence (1885-1930) was reported to New Yorker readers by Janet Flanner, the magazine’s Paris correspondent, who briefly detailed the writer’s rather sad decline…

FLEETING DAYS…D. H. Lawrence (right) with fellow writer Aldous Huxley at Bandol, in the South of France, 1929. (Topham Picturepoint)

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What Depression?

Nearly five months into the Great Depression, yet little evidence in the New Yorker of the catastrophe that was unfolding across the land. And true to form, the approach to the topic was made with humor, via E.B. White in “Notes and Comment”…

KNOW ANY GOOD JOKES?…At left, unemployed New York dockworkers; at right, folks enjoying the New York Public Library’s outdoor reading room in Bryant Park, 1930s. (Lewis Hine/National Archives and Records Administration/New York Public Library)

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Cathedrals of Commerce

E.B. White also observed the changing skyline, and how the towering skyscrapers were quickly overshadowing the once prominent steeples of the city’s churches…

REACHING TO THE HEAVENS…Clockwise, from top left, Trinity Church Wall Street and St. Patrick’s have been eclipsed by the towers of Mammon, but St. John’s and Riverside still dominate their surroundings today. (Wikipedia/St. John’s/Riverside)

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The Other House of Worship

Perhaps a certain skyscraper ennui settled in, as architecture critic George S. Chappell was not all that impressed by the “huge” Lincoln Building (which today still seems huge)…

SIZE DOESN’T MATTER…Although the new Lincoln Building proved to be a massive addition to the New York skyline, its style seemed outdated in contrast to its flashy new neighbor, the Chrysler Building — one of its gargoyles, at right, seems poised to devour the Lincoln Building. (nyc-architecture.com)

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From Our Advertisers

We have a bit more evidence of the Depression in the ads, including this one from Abercrombie & Fitch, with two sporting gents opting to go fishing to take their minds off the markets…

…if fishing wasn’t your thing, perhaps you just wanted to escape into the “quiet” of the wide streets in the East Seventies…

…or relax with a smoke, which artist Carl Erickson made look so appealing with his Camel ad illustrations…

…or take the humorous route to a relaxing smoke, with this ad for Murad as illustrated by Rea Irvin

…on to our cartoonists, Garrett Price captured the mood of the times…

…while Alfred Krakusin captured an altogether different mood…

...Leonard Dove examined the path to stardom…

I. Klein pondered modern art…

William Crawford Galbraith found an unlikely victim of religious zeal…

Mary Petty gave us a glimpse of a doctor’s office…

…and Leonard Dove again, this time at ringside…

Next Time: Noblesse Oblige…