Tugboat Annie

New Yorkers were enduring the dog days of August, and those who couldn’t escape the heat by fleeing to the country or the beach could find cool respite at the movies.

August 19, 1933 cover by Gardner Rea.

It was doubtless in an air-conditioned theatre where critic John Mosher enjoyed the craft of older actors, in this case Wallace Beery and Marie Dressler in Tugboat Annie. Although the film didn’t quite live up to Beery and Dressler’s 1930 smash hit, Min and Bill, Mosher found Beery to be a “beautiful foil” to Dressler, who thankfully wasn’t just another “fluffy little pink young thing.”

ON GOLDEN POND…Wallace Beery and Marie Dressler portrayed a comically quarrelsome older couple who operate a tugboat in MGM’s Tugboat Annie. It would be one Dressler’s last film roles—she would die the following year; at right, a young Robert Young with Dressler in a scene from the film—Young would go on to television fame playing two beloved characters: the father in Father Knows Best (1954-60) with fellow film star Jane Wyatt, and the kindly, avuncular doctor on Marcus Welby M.D. (1969–76). (IMDB)

Another seasoned performer Mosher admired was Mary Boland, although her latest film, Three Cornered Moon, was crowded with “too many young people”…

BRAT PACK…Mary Boland (left) with Wallace Ford, Claudette Colbert, and Hardie Albright in Three Cornered Moon (IMDB)

MONKEYING AROUND…A self-described “King of the Serials,” Buster Crabbe’s career included nine sound serials, including Flash Gordon and Buck Rogers (1936-40). In Tarzan the Fearless Crabbe’s sole appearance as Tarzan was played opposite Jacqueline Wells (aka Julie Bishop). The media at the time made hay of a so-called rivalry between Crabbe and Johnny Weissmuller, who defined the Tarzan role in twelve films from 1932 to 1948. Both men were Olympic athletes: Crabbe won the 1932 Olympic 400-meter freestyle swimming championship, while Weissmuller was the undefeated winner of five Olympic gold medals. (IMDB)

 * * *

From Our Advertisers

The folks at Hoffman Beverages continued to offer up ways to enjoy an adult refreshment, including a tongue-in-cheek “code” to be used until the repeal of Prohbition…

…with the return of legal (3.2) beer, brewers were aggressively targeting women as a new growth market…

…a selection of one-column ads from the back pages touted imported beers and an old “Pennsylvania Dutch” quaff, intermixed with apartment ads and a women’s deodorant called SHUN…

Otto Soglow, who would become rich and famous with his The Little King strip, also did well as an illustrator for various products, including Rheingold beer…

…another way to stay cool was to dine at Longchamps, thanks to their “scientific air-conditioning system”…

…on the subject of keeping cool, back in the day you had to regularly top off the radiator on hot days, and if you added lead to your gasoline you could also get rid of those annoying hot engine knocks…

…It would be four years before Dr. Seuss would publish his first children’s book, so he continued to pay the bills with illustrated ads for Flit insecticide…ah the good days when spraying poison above a child’s head seemed perfectly reasonable…

…another one-column ad from the back pages says a lot about how advertisers perceived a New Yorker reader—even dog food demanded snob appeal…

…on to our cartoons we return to Otto Soglow and his take on the old William Tell trope…

Peter Arno delivered some surprising news to dear old mom…

Henry Anton gave us a sign man unconvinced that sex sells…

Gluyas Williams gave us his latest take on “Fellow Citizens” (this originally appeared sideways on p. 17)…

…and Garrett Price shared this observation, from the mouth of babes…

…on to Aug. 26…

Aug. 26, 1933 cover by Perry Barlow.

…where we find Ring Lardner, who since March had been injecting humor into the “Over the Waves” radio column.

In this installment, Lardner outlined his ideal radio program. An excerpt:

UP TO OLD GAGS?…Ring Lardner gave the comedy duo Jack Pearl (right) and Cliff Hall a generous four minutes in his fantasy radio show—if they did their old routines. (Wikimedia)

Lardner concluded his dream program:

Sadly, Ring Lardner would be gone in less than a month—he died of a heart attack on Sept. 25, 1933, at the tender age of 48.

 * * *

On Second Thought

Previously, film critic John Mosher had been lukewarm to the up-and-coming Katharine Hepburn. No more. Her appearance in Morning Glory drew praise from all over, including the Academy, which gave the young star her first Oscar.

A STAR IS BORN…Katharine Hepburn with Douglas Fairbanks Jr. (left) and Adolphe Menjou in Morning Glory (1933). Hepburn would win the Oscar for Best Actress in a Leading Role, the first of four she would receive in that category—a record for any performer. (IMDB)

 * * *

Life With Clarence

Following “The Talk of the Town” section was this illustrated contribution by Clarence Day

 * * *
More From Our Advertisers
While folks were cooling down at the movies Barbara Stanwyck did her best to heat up the screen…

…the frank discussion of sex in Baby Face made it one of the most notorious films of the year and no doubt hastened the implementation of the Hays Code…

LIGHT MY FIRE…Barbara Stanwyck in Baby Face.

…in case anyone had forgotten during Prohibition, Budweiser reminded them who was the king of beers with this inside front cover ad…

Irvin S. Cobb was back on behalf of Hupmobile, the struggling carmaker hoping that a bit of humor would boost sales…

…this ad from Reo not only lacked humor, it lacked the car itself…

…too bad, because the 1933 Reo Royale was a beauty…

…more color ads from our cigarette manufacturers Camel…

…and Chesterfield…

…why, it’s Barbara Stanwyck again, this time in color, thanks to the folks at Powers Reproduction…

…and Otto Soglow again for Rheingold beer…

…and on to the cartoons, with Soglow’s Little King…

Carl Rose demonstrated the perils of attending theatre in a barn…

Robert Day found a Hebrew lifeguard at Coney Island…

…and we end with another by Day, with a twist on America’s Pastime and a subtle plug for the National Recovery Administration…

Next Time: The Shape of Things to Come…

The Night the Bed Fell

James Thurber was well established as a New Yorker writer and cartoonist by 1933, but his fame would grow with the publication of the autobiographical My Life and Hard Times, serialized in The New Yorker beginning with the July 8 issue.

July 8, 1933 cover by William Cotton.

And what a beginning. “The Night the Bed Fell In” recounts the comically absurd events that took place in the wee hours at the Thurber family home in Columbus, Ohio. Beginning with his father’s decision to sleep in the attic, the story introduces a cast of characters including cousin Briggs Beall and his mother, Clarissa. Excerpts:

Briggs’ mother also had fears of impeding calamity…

ALL IN THE FAMILY…Clockwise, from top left, James Thurber (center, back row) with his family circa 1915; the Thurber house that provided the setting for “The Night the Bed Fell In”; Thurber’s illustration of cousin Briggs Beall; cover of the 1933 first edition of My Life and Hard Times. (thurberhouse.org)

Need more Thurber? Longtime New Yorker cartoonist and author Michael Maslin recounts a 1986 pilgrimage to the Thurber house in this Ink Spill entry from 2018. You should also check out Maslin’s regular Thurber Thursday feature for more insights into the world of this beloved humorist.

 * * *

The Naked Truth

Once upon a time a Baptist and a Presbyterian got together and created a magazine promoting nudism. The Baptist, Ilsley Silias Boone (1879–1968), was founding father of the American Sunbathing Association—later reorganized as the American Association for Nude Recreation. His ally in advancing the cause of nudism, Presbyterian minister Henry Strong Huntington Jr (1882-1981), was the first president of the International Nudist Conference. “The Talk of the Town” laid bare the world of these randy clergymen.

DON’T GET UP…Baptist minister Ilsley Silias Boone (top, left) partnered with Presbyterian minister Henry Strong Huntington Jr on The Nudist (right). The magazine was published from 1933 to 1963. Later issues were published under the title Sunshine & Health. (flickr.com)

 * * *

His Kind of Town

In his “Shouts & Murmurs” column, Alexander Woollcott recounted his trip to Chicago, ostensibly to see the Century of Progress (the 1933 World’s Fair) but was sidelined along the way by various diversions, including a visit with poet Edna St. Vincent Millay. An excerpt:

WAYLAID…Alexander Woollcott stopped by to see the poet Edna St. Vincent Millay before finally making his way to Chicago’s Century of Progress, which featured such spectacles as this Chrysler exhibition. Photo of Woollcott was taken upon his return from Europe in January 1933. Photo of Millay is by Carl Van Vechten, 1933. (Wikipedia/eBay/chicagology.com)

 * * *

From Our Advertisers

Prohibition wouldn’t be officially repealed until Dec. 5, 1933, but that didn’t stop New Yorkers from enjoying their favorite adult beverage, including this pair. What on earth is that man on the left doing? It appears he’s opening a bottle of White Rock (glimpsed between his legs), but why with his back turned?…

…the folks at Packard were consistent in promoting the durability and longevity of their premium automobiles…

…and it’s no coincidence that the makers of Goodyear tires featured a 1933 Packard to tout the durability of their product…

…speaking of durability, the ever-reliable Gardner Rea kicks off our cartoons…

Mary Petty eavesdropped on the latest social event…

…the battle of the sexes continued in James Thurber’s world…

Barbara Shermund shared the lamentations of a modern woman…

…and Garrett Price, likely inspired by a recent trip abroad, gave us this homesick tourist…

…and the cover of the July 15, 1933 issue…

July 15, 1933 cover by Garrett Price.

…in which Thurber continued his tales from My Life and Hard Times with “The Car We Had to Push”…also in the issue was a profile of “Bolshevik Businessman” Peter Bogdanov, written by foreign correspondent William C. White. An excerpt:

From 1930 to 1934 Bogdanov (1882–1939) headed the Amtorg Corporation, which helped the struggling Soviet economy establish valuable business and diplomatic relations with the United States. It is no surprise that like many who helped the Soviet cause, Bogdanov was eventually arrested on trumped-up charges and executed by Stalin’s henchmen. In March 1956 he was posthumously “rehabilitated.”

WORKING TOWARD AN EARLY RETIREMENT…Peter Bogdanov, circa 1920s. (Wikipedia)

 * * *

On the Lighter Side

While millions in the Soviet Union were dying of famine and other Stalin-inspired atrocities, Americans were keeping their Depression-era spirits up at the movies, including critic John Mosher, who called the latest Mickey Mouse cartoon “a beautiful thing”…

THE MOUSE THAT ROARED…Mickey Mouse hobnobs with celebrities of the day including Harold Lloyd, Charlie Chaplin and Greta Garbo in his latest picture, Gala Premiere. (IMDB)

 * * *

More From Our Advertisers

I once had a relative in New Jersey who drank a tall can of Schaefers every day, on orders from his doctor…

…the makers of Coca-Cola continued to tout their product in full-page New Yorker ads…

…recalling the Packard ad from the previous issue, the cheapest Packard model would set you back $2,150…you could instead get this swell Plymouth Six for just $455 and head down to the waterfront, where, according to this salesman, “men are men”…

…and while on the waterfront you might be able to bum a smoke and maybe some caviar from a sailor named Hugh…

…and now we take a stroll in the park with Otto Soglow’s “Little King”…

…and find romance along with other hot dishes at the automat, courtesy Whitney Darrow Jr

…adrift with Carl Rose, and a man unlucky in love…

Peter Arno played hide and seek with an escaped con…

…and we end where we began, with James Thurber at his best…

Next Time: She Wore the Pants…

Bohemian Rhapsody

Part love story and part wildlife protection fable, the pre-Code romance and melodrama Zoo in Budapest was that rare film that pleased critics and audiences alike.

May 6, 1933 cover by Richard Decker. This is one of four covers Decker (1907–1988) contributed to The New Yorker; he also contributed more than 900 cartoons in his nearly 40-year run with the magazine.

Jesse L. Lasky’s first production for Fox (Lasky was the founder of Paramount Pictures), Zoo in Budapest starred relative newcomer Gene Raymond as a young man (Zani) keenly attuned to nature and particularly to the animals he cares for in the Budapest Zoo. In the course of the film he becomes an anti-fur industry activist and rescues a beautiful orphan girl, Eve (Loretta Young) from a life of servitude. Although the film is little known today, in 1933 it had quite a winning effect on critic John Mosher, who usually found little to like from Hollywood’s output:

HE TALKS TO THE ANIMALS…Top, zoo worker Zani (Gene Raymond) rescues a beautiful orphan girl, Eve (Loretta Young) from a life of servitude, and both come to the aid of a little boy named Paul, played by Wally Albright, who escapes the clutches of his harsh governess. Below, hidden in the bushes, Eve changes her clothes after escaping from a group of orphans visiting the zoo. (IMDB)

The film made such an impression that even E.B. White had to mention it in the opening lines of his “Notes and Comment”…

ANIMAL CRACKERS…Filmmakers went all out in creating elaborate sets for Zoo in Budapest. The film was likened to Grand Hotel because the drama took place in less than 24 hours, almost entirely in one location. Below, Loretta Young converses with director Rowland Lee on the set. (IMDB)

 * * *

High Anxiety

The Depression was hard on the Empire State Building, which opened its doors during some of the darkest days of the economic crisis. Visitation was down, and a lot of the office space in the world’s tallest building remained vacant. It would remain in the red into the 1940s.

BEEN THERE, DONE THAT…To this day the 86th floor observation deck has been a popular destination for tourists. In the 1930s a photographer stationed on the deck captured the moment for tourists on a souvenir postcard. The image at top is from 1934, the one below circa 1930s. Fencing to deter suicide attempts (or people chucking things over the side) wouldn’t be erected until 1947. (nyccirca.blogspot.com)

 * * *

As the World Churns

Howard Brubaker continued to comment on the deteriorating conditions of the German people in his column “Of All Things”…

…and speaking of the Third Reich, Alexander Woollcott profiled (in his column “Shouts and Murmurs”) an enterprising young journalist Hubert R. Knickerbocker (1898–1949), who reported from Berlin from 1923 to 1933 and wrote about the threat of Nazism. In April 1933, after fleeing Germany, he reported in the New York Evening Post that “an indeterminate number of Jews [had] been killed.” A brief excerpt (with illustration by Cyrus Baldridge):

MYSTERY WRITER…In December 1930, H.R. Knickerbocker interviewed Josef Stalin’s mother, Keke Geladze, for the New York Evening Post. The resulting article was titled, “Stalin Mystery Man Even to His Mother.” (The New Yorker)

A graduate of Southwestern University in Texas and a 1931 Pulitzer Prize winner, Knickerbocker kept his word with Woollcott and entered Columbia University to study psychiatry.

TALES TO TELL…H.L. Knickerbocker (at the microphone) with Alexander Woollcott circa 1940. (Kansas City Public Library)

 * * *

From Our Advertisers

We begin with an ad from the makers of the first commercially successful wheat flake breakfast cereal…before there were Wheaties (created in 1921) there was Force, invented in 1901…almost from the beginning the Force brand was wildly successful thanks to a series of jingles featuring a morose character, Jimmy Dumps, who was transformed into Sunny Jim by consuming Force flakes…in 1933 the makers of Force were still big on jingles, sponsoring contests such as the one below…

…here is a box from that period, promoting cash prizes for winning jingles…

(worthpoint)

…the folks at Chesterfield began targeting the working man in their advertising…

…while Canada Dry was anticipating the end of Prohibition…

…but until that day, you could mix some Green Ribbon with your bootleg alcohol, according to Sonia Strega, who was likely an invention by the advertisers rather than an actual living endorser…

…Lux, on the other hand, had piles of money to spend on real life endorsers including Jimmy Durante, Hope Williams and Lupe Velez

Otto Soglow drew up this strip for the makers of Nettleton shoes, creating a character similar to his famed “Little King” to promote the company’s sports and golf shoes…

James Thurber continued his work for the French Line, replete with his familiar dogs…

…and we also find Thurber in the cartoons…

…joined  by Garrett Price

Gardner Rea

Gluyas Williams (originally this ran sideways)…

…and we close with a frolic by Robert Day

Next Time: Headline News…

 

Not Worth a Dime

First performed in Berlin in 1928, The Threepenny Opera was Bertolt Brecht’s socialist critique of capitalist society and was a favorite (somewhat ironically) of that city’s bourgeois “smart set.” However when it landed on the Broadway stage in 1933, it famously flopped, and closed after just twelve performances.

April 22, 1933 cover by Helen Hokinson.

The first American production, adapted by Jerrold Krimsky and Gifford Cochran, opened April 13, 1933, at the Empire Theatre, featuring Robert Chisholm as Macheath (“Mack the Knife”) and Steffi Duna as his lover, Polly. Critic Robert Benchley found value in the play’s “modernistic” music, but seemed puzzled by its enigmatic production, an opinion shared by other contemporary critics.

HANGING IN THERE…Scenes from the 1928 Berlin premiere of Bertolt Brecht’s musical, The Threepenny Opera. At left, Macheath (tenor/baritone Harald Paulsen) is spared the noose during the closing act, much to the relief of his lover, Polly (soprano Roma Bahn); at right, in a deus ex machina moment, a messenger arrives at the hanging and announces that Macheath has been pardoned by the queen. (British Library)

Some critics today defend the 1933 American production, noting that the Krimsky–Cochran adaptation was quite faithful to the Brecht original. Perhaps something was lost in translation, or maybe the world in which the play was conceived no longer held much relevance to Depression-era Americans.

THE FINAL CURTAIN fell after just twelve performances of the first American production of The Threepenny Opera at Broadway’s Empire Theatre. The production featured Robert Chisholm as Macheath and Steffi Duna as Polly. (discogs.com/bizzarela.com)

Benchley half-heartedly concluded that the play was probably worth seeing, for no other reason than to experience something different for a change.

By 1933 the world that had conceived The Threepenny Opera was long gone—Brecht fled Nazi Germany two months before his play opened in New York, fearing persecution for his socialist leanings. Things were quickly going “from bad to worse” under Adolf Hitler’s new regime, as Howard Brubaker observed in his “Of All Things” column:

 * * *

Look Ma, No Net!

Karl Wallenda (referred to as “Carl” here) was born to an old circus family in Germany in 1905, and by 1922 he would put together a family-style high-wire act (with brother Herman) that would come to be known as “The Flying Wallendas.” They debuted at Madison Square Garden in 1928, notably without their safety net, which had been lost in transit. So they performed without it, much to the acclaim of the adoring crowd. They soon became known for their daring high-wire acts, often performed without safety nets. E.B. White filed this (excerpted) report for “The Talk of the Town.”

In the years that followed Karl developed some of troops’ most startling acts, including the famed seven-person chair pyramid. They performed this incredibly dangerous stunt until their appearance at the Detroit Shrine Circus in January 1962; the wire’s front man, Dieter Schepp, faltered, causing the pyramid to collapse. Schepp, who was Karl’s nephew, was killed, as was Richard Faughnan, Karl’s son-in-law. Karl injured his pelvis, and his adopted son, Mario, was paralyzed from the waist down.

DON’T TRY THIS AT HOME…The Wallenda family practices the seven-person pyramid just prior to the Shrine Circus in Detroit, where the group fell, killing Dieter Schepp (far right, bottom row) and Dick Faughnan (second from left, on bottom). (Sarasota Herald-Tribune)

Karl’s own luck finally ran out on March 22, 1978, on a tightrope between the towers of Condado Plaza Hotel in San Juan, Puerto Rico. High winds, and an improperly secured wire, caused the 73-year-old Wallenda to wobble, and then fall, one hundred feet to the ground. He was dead on arrival at a local hospital.

THE SHOW ENDED for Karl Wallenda on March 22, 1978, on a tightrope between the towers of Condado Plaza Hotel in San Juan, Puerto Rico. The 73-year-old high-wire legend fell one hundred feet to his death. (esquire.com)

 * * *

Safer Entertainments

Lois Long continued to file nightlife reports in her “Tables for Two” column, reveling in the sights and sounds (and rhythms) of the Cotton Club’s orchestra, led by Duke Ellington…but the real attraction was Ellington’s unnamed drummer, whom I assume was the great Sonny Greer

JAZZ GREAT Sonny Greer wowed Lois Long and the rest of the crowd at Harlem’s Cotton Club in April 1933. (jazz.fm)

 * * *

From Our Advertisers

Given the news Howard Brubaker shared earlier in this post, I wouldn’t use the word Gemütlichkeit (basically, warmth and friendliness) to describe the state of things in Nazi Germany…

…a better option would be a trip to the British Isles or France on the White Star lines, nicht wahr?…

…RCA’s mascot, Nipper, appeared to contemplating fatherhood in this two-page ad for the company’s new “baby sets”…

…Camel took a break from its magician-themed “It’s Fun to be Fooled” ads to run another elegant Ray Prohaska-illustrated spot…

…on to our cartoons, Carl Rose demonstrated the economic benefits of legal beer…

E. Simms Campbell showed us a woman seeking a bit of motherly wisdom…

Whitney Darrow Jr (1909–1999), who began his 50-year career at The New Yorker on March 18, 1933, offered this look at childhood’s hard knocks…

James Thurber drew up an odd encounter at a cocktail party…

Peter Arno served up a proud patriarch…

…and William Steig explored the perils of somnambulism…

…on to our April 29, 1933 issue with a cover by Garrett Price…although we’ve already seen many cartoons by Price, we haven’t seen many covers (he did two covers in the magazine’s first year, 1925). Price would ultimately produce 100 covers for The New Yorker, in addition to his hundreds of cartoons…

April 29, 1933 cover by Garrett Price. Note the little train illustration along the spine.

…for the record, here is Price’s first New Yorker cover from Aug. 1, 1925…

…there was more troubling news from Nazi Germany, this time from Paris correspondent Janet Flanner in her “Letter from Paris” column…Flanner would later gain wider fame as a war correspondent…

THUGS…SA members stick a poster to the window of a Jewish store in Berlin on April 1, 1933. The poster is inscribed, “Germans, Defend yourselves, Do not buy from Jews”. (Bundesarchiv, Berlin)

 * * *

From Our Advertisers

Camel followed up its elegant ad from the previous issue with another “Fun to be Fooled” spot, this time presented as a multi-panel comic strip…

…Powers Reproduction was a frequent advertiser in the early New Yorker, touting the “realism” of their color photography, but in this case the model looked more like a department store mannequin…

Otto Soglow continued to ply a lucrative sideline illustrating ads for Sanka decaf…

…as we segue to our cartoonists, the opening section featuring work by both James Thurber and George Price

Gardner Rea’s snake charmer expressed her belief that all men are created equal…

…here is a cartoon by a new artist, Howard Baer, who contributed to The New Yorker between 1933 and 1937…

…and another by newcomers Whitney Darrow Jr.

…and E. Simms Campbell

Barbara Shermund continued to rollick with her modern women…

…and we end with the ever-reliable Peter Arno

Before we close I want to remember Roger Angell, who died last week at age 101. A literary legend and a great baseball writer to be sure, but also one of the last living links to the first days of The New Yorker. Rest in Peace.

Photo by Brigitte Lacombe, for The New Yorker.

Next Time: Bohemian Rhapsody…

 

 

Beer Thirty

There’s a good reason why Americans celebrate National Beer Day on April 7.

April 15, 1933 cover by William Steig.

It was on that day in 1933 that the Cullen-Harrison Act went into effect; after nearly 13 years of Prohibition, folks were allowed to buy and drink low-alcohol content beer. The act not only promised to wet their whistles on the hot summer days ahead, but it also signaled the eventual doom of 18th Amendment. E.B. White opened his column with musings on the Easter holiday, but soon turned his attention to the big news of the day.

THINK THIS WILL BE ENOUGH?…Workers at a New York brewery unload thousands of crates of beer, getting ready for the return of legal beer in April 1933. (allthatsinteresting.com)
FRONT PAGE NEWS…The New York Times proclaimed the return of legal beer in this April 7, 1933 edition.
BLONDE’S BOMBSHELL…While on the other side of the Lower 48, actress Jean Harlow christened the first legal bottle of beer at midnight in Los Angeles, April 6, 1933. (Los Angeles Public Library)

In his “A Reporter at Large column,” Morris Markey looked in on a former speakeasy owner who was more than happy to go legit, and who also predicted the demise of his fellows who still lingered in the underground liquor trade. An excerpt from “Now That There’s Beer”…

CHEERS!…The first truckload of beer to leave New York exits the Jacob Ruppert Brewery in New York in 1933. (allthatsinteresting.com)

The subject of Markey’s column explained why speakeasies would soon be a thing of the past. Markey also observed that theatre owners would soon feel the pinch as folks would forgo movies for summer evenings at a beer garden.

 * * *

No Laughing Matter

Writers and editors at The New Yorker did their best to keep things as light and witty as possible, but sometimes the headlines could not be ignored, and tragedy was acknowledged, albeit briefly. “The Talk of the Town” had this to say about history’s deadliest airship disaster:

NATURE’S FURY…The U.S. Navy’s 785-foot dirigible, the USS Akron, plunged into the Atlantic Ocean during a violent storm shortly after midnight on April 4, 1933, claiming the lives of 73 crewmen. Clockwise, from top left, the Akron on a routine flight; men in a rear control car; servicemen in the dirigible’s engine room; April 23, 1933 photo of wreckage recovered off the coast of New Jersey. Because the ship had no life vests and one rubber raft, only three crew members survived the disaster, which heralded the end the Navy’s dirigible fleet. (howstuffworks.com/AP/Daily Mail)

In his “Of All Things” column, Howard Brubaker had this to add:

 * * *

Alex at the Movies

It wasn’t every day you got to read a movie review by Alexander Woollcott, but he did just that in the opening lines of his “Shouts and Murmurs” column, calling Cecil B. DeMille’s The Sign of the Cross an “unpleasing mess drooled on to the brobdingnagian bib” of the director.

Woollcott, who doubtless related to Nero’s bacchanalian ways, singled out Charles Laughton’s campy performance as the Roman emperor.

ANIMAL HOUSE…Charles Laughton camped it up as the Emperor Nero in Cecil B. DeMille’s The Sign of the Cross. (IMD

Besides Laughton’s performance, the pre-Code film is perhaps best known for Claudette Colbert’s revealing milk bath scene, which took several days to shoot—the powdered cow’s milk eventually turned sour, making it a very unpleasant experience for all involved.

IT STINKS…that was Alexander Woollcott’s assessment of The Sign of the Cross. Clockwise, from top left, studio poster for the film; Claudette Colbert’s famous bath scene; an actress portraying a Christian being thrown to the lions (as well as crocodiles and gorillas) was the famed burlesque dancer Sally Rand, who left little to the imagination in her uncredited appearance; an orgy scene. Although Paramount marketed the film to churches, it was attacked by the Catholic Legion of Decency: a re-release of the film was censored after the Hays Code went into effect in 1934—a “lesbian dance,” violent gladiator scenes and sequences with naked women being attacked by crocodiles were cut and wouldn’t be restored until a 1993 video release. (Wikipedia/IMDB)

As for film critic John Mosher, the remaining Hollywood fare was even worse—like The Sign of the Cross, these pictures used faith-based themes, a seemingly new trend in Hollywood scenarios, to poor effect.

Gabriel Over the White House starred Walter Huston as a politically corrupt president who, after a near-fatal car accident, comes under the divine power of the Archangel Gabriel and the spirit of Abraham Lincoln…

I SEE DEAD PEOPLE…Walter Huston and Karen Morley in Gabriel Over the White House. (TCM)

…the pre-Code drama Destination Unknown also summoned supernatural forces to tell the tale of a stranded ship saved by a stowaway who turns wine into water and heals a crippled man.

NEEDING A MIRACLE…Pat O’Brien and Betty Compson in Destination Unknown. (IMDB)

 * * *

From Our Advertisers

Considering that Adolf Hitler gave Nazi paramilitary units control of German streets in January 1933, the words “Appeasing refuge” don’t readily come to mind…

…if you liked all things German but wanted to avoid getting a jackboot to the groin, you could remain stateside, drink some 3.2 beer, and chew on some Liederkranz…

…actually this looks more preferable, especially as rendered by fashion illustrator Leslie Saalburg

…before Zillow or Craigslist you could look for some digs in the New York American, which merged with the New York Journal in 1937…

…the makers of leaded gasoline urged on a stereotypical country doctor, even though the stork seemed to have things under control…

…on to our cartoonists, Garrett Price illustrated the limits of legal beer…

…while Chon Day explored the same problem at this tea room…

…here’s a trio of The New Yorker’s early women cartoonists…Barbara Shermund

Mary Petty

…and Alice Harvey

…and we close with Al Frueh, and some brave firefighters…

Next Time: Not Worth a Dime…

Role Reversal

James Cagney began his entertainment career singing and dancing in various vaudeville and Broadway acts, but when he was cast in his first film as a tough guy, the die was cast…at least for one New Yorker critic.

Feb. 11, 1933 cover by Constantin Alajalov.

Cagney’s first film role came after he starred along with Joan Blondell in Broadway’s Penny Arcade. However when the play was made into the 1930 movie Sinners’ Holiday, execs at Warner Brothers opted to put Grant Withers and Evalyn Knapp into the lead roles, believing they were destined for stardom; Cagney and Blondell were relegated to supporting parts. As fate often has it, Withers and Knapp ended up in B-movie obscurity, while Cagney and Blondell went on to become two of the biggest stars of the 1930s. The pair would appear in six more films together, including the gangster film The Public Enemy (1931) and the musical Footlight Parade (1933).

TWO-FACED…James Cagney would be paired with Joan Blondell in seven films during the 1930s including the gangster film The Public Enemy (1931, left) and the musical Footlight Parade (1933, also with Ruby Keeler). (IMDB)
THE ONE I USED TO KNOW…Top, Cagney mashes a grapefruit half into Mae Clarke’s face in a famous scene from Cagney’s breakthrough film, 1931’s The Public Enemy; below, Cagney gets acquainted with a bartender (Lee Phelps) in The Public Enemy. (IMDB)

New Yorker film critic John Mosher preferred the tough guy Cagney to the toe-tapping version, and was anticipating Cagney’s return to pictures after a contact dispute with Warner in which he threatened to quit the business and follow his brothers into the medical profession…

When Cagney finally announced his return in Hard to Handle, Mosher found he had taken on the guise of actor Lee Tracy, who was best known for his comic portrayals of wisecracking salesmen and reporters…

MY SOFTER SIDE…James Cagney and Mae Clark (top) in 1933’s pre-Code comedy Hard to Handle — Cagney played a clowning con artist who organizes a dance marathon. Below, critic John Mosher thought Cagney was channelling the comic actor Lee Tracy, seen here with Jean Harlow in 1933’s Blonde Bombshell. (IMDB)

 *   *   *

Slippery Slope

Located on Lexington between 102nd and 103rd streets, Duffy’s Hill was once famous for being the steepest hill in Manhattan and the scourge of street cars that had to quickly accelerate and decelerate at that point, leading to numerous accidents. An excerpt from “The Talk of the Town”…

LOOK OUT BELOW…Duffy’s hill played merry hell with New York’s streetcars more than a century ago. (New York Social Diary via Facebook)

 *   *   *

Getting High

George Spitz Jr was an AAU high jump champion when he participated in the 1932 Summer Olympics in Los Angeles. In 1933 he made a personal best leap of  6 feet, 8¼ inches using scissors-style leap with elements of the Western roll. “The Talk of the Town” marveled at Spitz’s feat, giving him an extra quarter inch for his record leap:

MILLION-DOLLAR LEGS…In 1933 George Spitz Jr made his personal best leap of 6 feet, 8¼ inches using a scissors-style jump with elements of the Western roll. With the introduction of the Fosbury Flop in 1968, today’s men’s record stands at 8 feet, ¼ inches. The current women’s record is 6 feet, 10¼ inches. (Olympedia)

 *   *   *

Ugh, This Guy Again

As we move into the 1930s we will be seeing more references to Adolf Hitler, who seized power in Germany on January 30, 1933. At this point “The Talk of the Town” wasn’t taking him seriously…

…and neither was Howard Brubaker in his regular column of short quips…

 *   *   *

From Our Advertisers

Hitler aside, the German-owned Hamburg-American Line was still serving peaceful purposes when it advertised the comfort of its “stabilized ships” on transatlantic voyages…these sisters ships of the Hamburg-American Line were all destroyed during World War II…the SS New York and the SS Deutschland were both sunk by the British RAF in 1945…The SS Albert Ballin and the SS Hamburg sank after hitting Allied mines…

THE BIG BANG…the RAF sent the S.S. Deutschland to the bottom of the Bay of Lübeck  on May 3, 1945. (Wikipedia)

…if travel wasn’t your thing, when you escape the winter blahs in the comfort of your home thanks to the GE Mazda Sunlight Lamp…

…and Dad, when you were her age you called these things “horseless carriages”…

…the folks at luxury carmaker Packard answered the splashy color ad from Cadillac in the Jan. 7 issue…

…with a colorful show-stopper of their own…

…if the Packard was too pricy, you could have checked out this lower-priced Cadillac, marketed as the LaSalle…

…no, New York did not say “Rockne, you’re the car!”, even if it was juxtaposed with a giant, attractive woman…the car was named for famed football coach Knute Rockne, and the Depression was not a good time to promote a new car line…it was produced from 1932 to 1933, when Studebaker pulled the plug and sold the remaining inventory (about 90 cars, packaged in kits) to a Norwegian railroad car manufacturer…

…a couple of posts ago (“Life With Father”) we were accosted by a 3-page Camel ad featuring a Q&A stating the facts about its product…here they are back with two more pages of irrefutable evidence…

…what I read in their eyes is that none of them, including the woman, gives a damn about the others…if anything, the fellow at left is checking out the other guy…

…this ad from Sonotone Corporation promoted a new hearing aid developed by Hugo Lieber…this revolutionary bone conduction receiver enabled the deaf to hear through bones in their head…

…a 1939 Sonotone catalog demonstrated how the hearing aid could be worn inconspicuously…

(abebooks.com)

…on to our cartoonists, Al Frueh illustrated the drama on board Broadway’s Twentieth Century Limited…note vaudevillian William Frawley’s caricature in the bottom right hand corner…although he appeared in more than 100 films, Frawley is best known today for his role as Fred Mertz on TV’s I Love Lucy

…here’s a great caricature by Rea Irvin of New York’s new mayor John P. O’Brien, using his new broom to sweep away the corruption of the deposed Jimmy Walker and his Tammany Hall cronies…

…here’s another early work by George Price, who would be a cartoonist at The New Yorker for nearly six decades…

…and here we have the other Price…Garrett Price gave us a fellow who made some changes in his life à la Paul Gauguin

…I like this Perry Barlow cartoon because it reminds me of the patient-in-traction trope commonly seen in comedy of the 1960s and 70s…

…such as this Paul Coker Jr. illustration from the June 1970 issue of MAD magazine…

…and Terry-Thomas and Spencer Tracy in 1963’s It’s a Mad Mad Mad Mad World

William Steig assured readers there was nothing sweet about his “Small Fry”…

…once again Helen Hokinson offered her impressions of the annual Westminster Kennel Club show at Madison Square Garden…

Peter Arno’s Lake Placid would never be the same for his mustachioed millionaire “walruses” after the previous year’s Winter Olympic Games…

Next Time: One Perfect Night…

 

Modernism Lite

Above: “The Fountain of Youth” mural by Ezra Winter in the Main Foyer of Radio City Music Hall. (Architectural Digest)

The opening of two new theaters at Rockefeller Center no doubt brightened a few souls at the start of 1933, but art and architecture critic Lewis Mumford wasn’t particularly dazzled by the “watered-down” modernism of the buildings’ much-ballyhooed decor.

Jan. 7, 1933 cover by Rea Irvin, in a nod to the annual automobile show in New York City.

Oddly, it was a philosophy professor from Nebraska, Hartley Burr Alexander, who was tasked with creating an artistic vision for Rockefeller Center, developed along the theme of “Frontiers of Time.” According to Mumford, Alexander’s “classic-banal” vision, executed under the “virtuous glare” of theatrical impresario Samuel L. “Roxy” Rothafel, resulted in the first “large-scale vulgar tryout of modern art.” Excerpts from Mumford’s column:

Several aluminum sculptures in Radio City Music Hall no doubt pleased Mumford — Gwen Lux’s Eve sculpture, William Zorach’s Spirit of the Dance, and Robert Laurent’s Goose Girl. However, thanks to Roxy Rothafel’s “virtuous glare” and worries that the nudes might hurt ticket sales, all three sculptures were temporarily banned from RCMH.

NAKED AND AFRAID…A flare-up of puritanism led to the temporary removal of aluminum sculptures at Radio City Music Hall. At left, Eve by Gwen LuxRobert Laurent (right) working on Goose Girl in his studio. Below, William Zorach’s Spirit of the Dance. (Smithsonian/viewingnyc.com)

Radio City Music Hall also featured an array of murals that should have brought some delight to Mumford…

SHOW BEFORE THE SHOW…Radio City Music Hall featured a number of murals including, clockwise from top left, a detail of Donald Deskey’s The History of Nicotine (The Life of Saint Nicotine) in a second floor men’s lounge; a textile piece titled The History of Theatre by Ruth Reeves, which covers the back wall of Radio City Music Hall; Stuart Davis’s mural Men without Women in the  men’s lounge; Yasuo Kuniyoshi’s mural in the women’s powder room. (melwithpals.medium.com/viewingnyc.com/evergreen.com)

*  *  *

Mea Cuppa

“The Talk of the Town” shared this account of fifteen Harvard freshman who dared to pay a call on the home of visiting poet T.S. Eliot

TEA-DIUM…Fifteen nervous Harvard freshman confronted this visage until one of them finally broke the ice. Photo above taken during one of T.S. Eliot’s visits to Monk’s House, the 16th century cottage of Virginia Woolf. (blogs.harvard.edu)

*  *  *

Country Cousins

During his 1932 presidential campaign Franklin D. Roosevelt paid a Sept. 29 visit to the Waterloo, Nebraska farm of Gustav “Gus” and Mary (Kenneway) Sumnick. Mary served FDR a chicken dinner and pie before he addressed a crowd of 8,000 at a rally on the Sumnick farm. Gustav, a German immigrant, and Mary, a daughter of Irish immigrants, were successful farmers even during those tough years. The visit would turn the Sumnicks into national celebrities, and in later years FDR would return to visit the family and would also stay in touch by telephone. Howard Brubaker, in “Of All Things,” made this observation about the celebrated farm family:

TIME FOR SOME VIDDLES!…Mary Sumnick chats with presidential candidate Franklin D. Roosevelt during his Sept. 29, 1932 visit to the Sumnick farm. (douglascohistory.org)
ENOUGH FOR A FOOTBALL TEAM…A lengthy article in the Dec. 4, 1932 New York Times described life on the Sumnick farm and their upcoming visit with President Roosevelt in the spring. Gus and Mary and their 11 children all planned to make the trip. (NYT)

*  *  *

The Gang’s All Here

Siblings Ethel, John and Lionel Barrymore of the famed Barrymore theatrical family appeared together in just one film — Rasputin and the Empress — and you would think that would have been enough to guarantee multiple awards along with box office gold. However, the film actually lost money, and on top of that attracted a lawsuit that further dipped into the pockets of MGM producer Irving Thalberg. Critic John Mosher was wowed by Ethel’s performance, but wasn’t exactly charmed by the overall production:

ACTING ROYALTY ACTING ROYAL…John Barrymore, Ethel Barrymore, and Lionel Barrymore with child actor Tad Alexander in Rasputin and the Empress. It is only film in which all three siblings appeared together. (Pinterest)

About that lawsuit: The film used the real-life Princess Irina Yusupov as a model for Princess Natasha, portrayed by English actress Diana Wynyard. The film implied that Rasputin raped Princess Natasha (that is, Irina), which wasn’t true, so she sued MGM and won $127,373 from an English court; MGM reportedly  settled out of court in New York for the sum of $250,000 (roughly equivalent to nearly $5 million today). The ubiquitous “all persons fictitious” disclaimer that appears in TV and film credits is the result of that lawsuit.

NO HARD FEELINGS?…English actress Diana Wynyard (left) portrayed Princess Natasha in the Barrymore family vehicle Rasputin and the Empress. Her portrayal, however, drew the ire of a real Russian royal, Princess Irina Yusupov, who successfully sued MGM in 1933 for invasion of privacy and libel. (Wikipedia)

A much-less controversial film was the “glib” No Man of Her Own, a pre-Code romantic comedy-drama starring Clark Gable and Carole Lombard in their only film together:

LET’S PLAY HOUSE…Clark Gable romances Carole Lombard in the pre-Code romantic comedy-drama No Man of Her Own. It was their only film together, and several years before they became a married couple in real life. (ha.com)

*  *  *

Vroom-Vroom

The annual National Automobile Show opened at the Grand Central Palace and other locations in Midtown, promising an array of affordable models:

DECISIONS, DECISIONS… The 1933 National Automobile Show offered a number of affordable options to car buyers including these shiny new Pontiacs on display at the Grand Central Palace. (libwww.freelibrary.org)
BUT LOOK OVER HERE…General Motors also displayed its models at the first “Motorama” held in the Waldorf-Astoria’s Grand Ballroom in 1933. (waldorfnewyorkcity.com)

Auto Show visitors also got a glimpse of their streamlined future in the form of a 1933 Pierce-Arrow Silver Arrow…

FAST & FURIOUS…Powered by a V12 engine, the aerodynamic 1933 Pierce-Arrow Silver Arrow could exceed 100 miles per hour. Unveiled at the 1933 National Automobile Show, the car grabbed the spotlight with its futuristic, streamlined design. Just five of these were built, and only three are known to exist today. The Silver Arrow was one of Pierce-Arrow’s final attempts to appeal to its wealthy clientele, but even they were feeling Depression’s pinch. The company folded in 1938. (Sotheby’s)

 *  *  *

From Our Advertisers

The New Yorker had unusually thin issues over the holidays, so the magazine’s bean-counters must have been thrilled by the dozens of ads that poured in ahead of the National Automobile Show. As usual Walter Chrysler took out several two-page ads to promote his Chryslers, Plymouths, Dodges and DeSotos…

…while GM one-upped Walter with its own series of two-pagers — in color — sprinkled throughout the magazine…everything from the affordable Oldsmobile…

…to the high-end Cadillac…

…General Motors also featured this Peter Arno-themed ad (with sugar-daddy walrus) to promote its posh new venue at the Waldorf-Astoria…

…the folks at struggling Hupmobile tried to wow not with shiny cars but rather with the announcement of their…drum roll, please…annual report…

…companies that supported the auto industry also got in on the act, including the makers of leaded fuel…this image says a lot about the lack of safety concerns in the 1930s…

John Hanrahan, who early on served as the New Yorker’s policy council and guided it through its lean first years, be­came the publisher of Stage magazine (formerly The Theatre Guild Magazine) in 1932. In 1933 Stage became part of the Ultra-Class Magazine Group’s line-up that included Arts & Decoration and The Sportsman. Stage published its last issue in 1939, and I don’t believe the other two survived the 1930s either…

ULTRA-CLASS GROUP was the over-the-top name used to describe this line-up of magazines.

…on to our cartoons, we join Peter Arno for some fine dining…

…based on the what we have seen lately from William Crawford Galbraith, he seems to be hung up on seductresses and showgirls…

…to my point, some of Galbraith’s recent entries…

…we move on to Richard Decker and a dangerous cold front…

Garrett Price pondered the wisdom of children…

Gluyas Williams was back with the latest industrial crisis…

Perry Barlow found some ill-fitting words to go with an ill-fitting coat…

…and we close with James Thurber, and some very fitting words for those times, and ours…

Next Time: March of Time…

 

Comrade Alex

If folks thought things were bad in Depression-era America, they could ponder the famine-ravaged masses in the Soviet Union…

Dec. 24, 1932 cover by Rea Irvin.

…not that Alexander Woollcott seemed to notice or care all that much. In the autumn of 1932 he traveled to Moscow to check out some Russian theater and enjoy the fine food and drink provided by his friend Walter Duranty, Moscow bureau chief for The New York Times. In his “Shouts and Murmurs” column…

…Woollcott reflected on his Moscow visit, his humor at odds with the stark reality  all around him…

ELEPHANT IN THE ROOM…Alexander Woollcott (left) was amused by the stares of starving Russians he encountered with his substantial bulk on the streets on Moscow; Walter Duranty (1884–1957), Moscow bureau chief for The New York Times, played host to his old friend Woollcott.(Pinterest/Daily Mail)

Woollcott wrote of “spindle-shanked kids” singing cheerless songs about tractor production, recounted a conversation with a hungry moppet at a boot factory, and noted the “appreciative grin” he received from a teenager who both envied and admired his girth:

PERHAPS A SIDE TRIP TO UKRAINE?…Starved peasants on a street in Kharkiv, 1933. Millions of Ukrainians died during Stalin’s enforced famine. (Wikipedia) 

*  *  *

Happier Thoughts

The Dec. 24 issue marked the beginning of a New Yorker tradition: Frank Sullivan’s annual holiday poem, “Greetings, Friends!” Writing for the Dec. 17, 2009 issue of the New Yorker (“Behind the Writing: “Greetings, Friends!”) Jenna Krajeski observes that “as far as holiday poems go, ‘Greetings, Friends!’…is as much an acknowledgment of the season as a noting of the times.” Frank Sullivan faithfully continued the tradition until 1974; after his death in 1976, New Yorker editor William Shawn asked Roger Angell to take over the writing of the poem. In 2012 Angell passed the duty along to Ian Frazier, the magazine’s current Yuletide bard.

CHEERFUL BUNCH…The holiday poem “Greetings, Friends!” has been a New Yorker tradition since 1932. It was originated by Frank Sullivan (left) and carried on by Roger Angell (center) and Ian Frazier. (hillcountryobserver.com/latimes.com/gf.org)

*  *  *

Waxing Poetic, Part II

In the Dec. 17, 1932 issue humorist and poet Arthur Guiterman penned this petition to Acting Mayor Joseph McKee on behalf of the city’s statues…

…to which Mayor McKee replied in the Dec. 24 issue:

DUELING POETS…Acting New York Mayor Joseph McKee (left) rarely smiled in photographs, but he seems to have been a person of good humor in his poetic reply to Arthur Guiterman. Both photos are from 1932. (Wikipedia/credo.library.umass.edu)

*  *  *

From Our Advertisers

New York’s fashion merchandisers continued to tout their latest copies of Paris styles such as this “Poppy Dress” from Lord & Taylor…

…Radio City Music Hall and the RKO Roxy Theatre announced their grand openings…

…Radio City featuring a cavalcade of stars along with the “Roxyettes” (soon to be renamed “Rockettes”) while the RKO Roxy presented the pre-Code romantic comedy The Animal Kingdom

LIGHT IN THE DARKNESS…It was winter, and the Depression was still on, but there were bright spots to be found on the stage at the opening of Radio City Music Hall and on the screen at the RKO Roxy; at right, Ann Harding, Leslie Howard and Myrna Loy in The Animal Kingdom. (Pinterest/IMDB)

…the folks at R.J. Reynolds challenged smokers to “leave” their product, if they cared to, knowing full well they were hooking new smokers by the thousands every day…

…we ring in the New Year with some hijinks from James Thurber

…and this unlikely dispatch from a New York police officer via Peter Arno

…ringing in the year with Harry Brown’s Dec. 31 cover…

Dec. 31, 1932 cover by Harry Brown.

…and Alexander Woollcott’s continuing account of his visit to Moscow, where he was shown the town by his friend Walter Duranty. In this excerpt, Woollcott makes a rare political observation regarding his friend: “Except for a few such men from Mars as Walter Duranty, all visitors might be roughly divided into two classes: those who come here hoping to see the Communist scheme succeed, and those who come here hoping to see it fail.”

For the record, Duranty has been widely criticized, especially since the 1950s, for his failure to report on the 1932-33 famine (which claimed as many as 7 million lives) and for covering up other atrocities of the Stalin regime. In the 1990s there were even calls to revoke Duranty’s 1932 Pulitzer Prize, which was awarded for his reporting on the Soviet Union.

GOOD & PLENTY…Walter Duranty (center, seated) at a dinner party in his Moscow apartment.

*  *  *

Rocky Theme

As Rockefeller Center prepared to open its doors to its first buildings (there would be 14 in all) American playwright and screenwriter Robert E. Sherwood  penned this hymn to the “Citadel of Static”…

STANDING TALL…American playwright and screenwriter Robert E. Sherwood, one of the original members of the Algonquin Round Table, was moved to verse by the opening of Rockefeller Center’s first buildings. At left, Rockefeller Center in 1933. (Wikipedia)

*  *  *

Oh Chute

In 1929 Geoffrey Hellman secured a position with the New Yorker as a writer for “The Talk of Town” and also contributed a number of profiles, including this one about a parachute stunt-jumper named Joe Crane. Here is the opening paragraph and an illustation by Abe Birnbaum:

On Feb. 18, 1932, Joe Crane amazed crowds at Roosevelt Field with double parachute descent, in which he opened a second parachute through the first. If you are wondering, Crane died in 1968…of natural causes.

 *  *  *

From Our Advertisers

Illustrator Howard Chandler Christy (1872-1952) is best remembered for his patriotic poster designs of World War I, which might explain why this fellow looks a bit outdated…

…Christy also originated the popular “Christy Girl,” the embodiment of the ideal American woman in the early 1900s (note the Christy Girl’s resemblance to the woman in the ad above)…

A “Christy Girl,” from 1906.

…speaking of ideal, imagine a movie featuring this trinity of actors: John, Ethel and Lionel BarrymoreJohn Mosher will give us his review in Jan. 7 issue…

…the Lyric Theatre saw its glory years during the 1920s when it hosted stage shows featuring such talents as The Marx Brothers, Fred and Adele Astaire and a young Cole Porter, who hit it big in 1929 with Fifty Million Frenchmen…the 1930s, however, saw the Lyric’s fortunes diminish and in another year it would be converted into a movie house…also note the influence of Italian Futurists in this ad for an Italian theater troupe…

…and there’s also a futuristic bent to this Garrett Price cartoon, which steers more in a Kandinsky direction…

…cartoonists were also finding inspiration in the magazine’s advertising, Pond’s cold cream providing the spark for Alain (aka Daniel Brustlein)…

…for reference, a Pond’s ad from 1933 comparing Lady Diana Manners complexion to her former visage, circa 1924…

Lady Chatterley’s Lover, by D. H. Lawrence, was banned for obscenity in the United States in 1929, but Helen Hokinson’s enterprising librarian was still able to deliver the goods…

…on the other hand, it is doubtful George Price’s sales clerk will also deliver…

…a great one by James Thurber, with more detail than his usual spare line…

…and we say goodbye to 1932 with Alain, and a New Year’s Eve party with some familiar faces…

Next Time: Modernism Lite…

Cheers For Beers

Good cheer was in short supply during the worst year of the Depression, but as 1933 approached many New Yorkers could at least look forward to legal beer in the New Year.

Dec. 3, 1932 cover by Helen Hokinson.

But as with all things political, new rules and regulations would need to be hashed out before the taps could flow, and both brewers and beer drinkers would have to recalibrate a relationship that had been suspended for nearly 13 years. Alva Johnston gave this (excerpted) report in “A Reporter at Large”…

WHILE YOU WERE AWAY…Vaudeville star Rae Samuels holds what was purportedly the last bottle of beer (a Schlitz) distilled before Prohibition went into effect in Chicago on Dec. 29, 1930. The bottle was insured for $25,000. After Prohibition ended in late 1933, Schlitz reappeared with gusto and quickly became the world’s top-selling brewery. (vintag.es)

 *  *  *

National Treasure

Chester Dale (1883–1962) began his career in finance at age 15, working as a runner for the New York Stock Exchange. Just 12 years later he would marry painter and art critic Maud Murray Dale, and together they would amass an art collection that would include significant works by Claude Monet, Paul Cézanne, Amedeo Modigliani, Henri Matisse and Pablo Picasso. In 1932 the Dales were well on their way to building a collection that would eventually end up in the National Gallery of Art in Washington, D.C. “The Talk of the Town” featured the Dales in this except:

WAYS OF SEEING…Maud Dale was a staunch supporter of artist Amedeo Modigliani, whose 1919 painting Gypsy Woman with Baby (top left) was among 21 of his works collected by the Dales. Maud also commissioned a number of her own portraits, including (clockwise, from top center) ones rendered by George Bellows in 1919, by Jean-Gabriel Domergue in 1923, and by Fernand Léger in 1935. At bottom left is a 1945 portrait of Chester Dale by Diego Rivera. (National Gallery of Art)
SAINTED PATRONS…Clockwise, from top left, a 1943 photo of Chester Dale in the West Garden Court of the National Gallery of Art, which today holds the Chester Dale Collection of 240 paintings among other items; Maud Dale, c. 1926; Madame Picasso (1923) by Pablo Picasso on view in the Dale residence, c. 1935; a 1926 caricature of Chester by Mexican artist Miguel Covarrubias, a close friend of the Dales and early New Yorker contributor. (National Gallery of Art)

 *  *  *

Smoke Screen

E.B. White noted the historic meeting of outgoing U.S. President Herbert Hoover and his successor, Franklin D. Roosevelt. White speculated on at least one topic of discussion:

DO YOU INHALE?…Outgoing President Herbert Hoover (left) and President-elect Franklin D. Roosevelt on their way to the inauguration ceremonies, 1933. (National Archives)

 *  *  *

No Longer “It”

Here is how IMDB describes the 1932 pre-Code drama Call Her Savage: “Sexy Texas gal storms her way through life, brawling and boozing until her luck runs out, forcing her to learn the errors of her ways.” The actress who portrayed that “Texas Gal,” Clara Bow, was getting sick of Hollywood and would make just one more film before retiring at age 28. Although in some circles the silent era’s “It Girl” sex symbol was finally beginning to earn some credit as an “artiste,” critic John Mosher was reserving judgment:

WHIP IT GOOD…Clara Bow brawls her way through life in her second-to-last film role, Call Her Savage. (IMDB)

 *  *  *

From Our Advertisers

Is this really how the smart set lived in 1932 Manhattan? Here we have an old toff dressed like Santa (in a top hat) sneaking presents onto the Christmas tree…and caught in the act by, I presume, his wife and a chambermaid?…

…in sharp contrast, here is an ad from the Golden Rule Foundation, which annually designated the second week in December as “Golden Rule Week”…the foundation raised funds to help needy children throughout the world…

…and here’s a bright, back cover ad from Caron Paris…apparently the face powder industry had been good to them in 1932…

…on to our cartoons, we start with a smoking tutorial from William Steig

…some sunny optimism from one of Helen Hokinson’s “girls”…

…in this two-pager by Garrett Price, an artist asks his patron: All right then, what was your conception of the Awakening of Intelligence through Literature and Music?…

Izzy Klein dedicated this cartoon to the much-anticipated launch of a new literary magazine, The American Spectator (not to be confused with today’s conservative political publication by the same name) and its illustrious line-up of joint editors…

Crawford Young’s caption recalled the precocious child in Carl Rose’s 1928 cartoon caption, a collaboration with E.B. White — “I say it’s spinach, and I say the hell with it”…

…and speaking of Carl Rose, this next cartoon by James Thurber has an interesting history…New Yorker cartoonist Michael Maslin explains in this Carl Rose Inkspill bio: In 1932, Rose submitted a drawing captioned, “Touche!” of two fencers, one of whom has just cut off the head of the other. Harold Ross (according to Thurber in The Years With Ross) thinking the Rose version “too bloody” suggested Thurber do the drawing because “Thurber’s people have no blood. You can put their heads back on and they’re as good as new”…

…as we close out December 2021 (which I am dutifully trying to do the same in 1932), we move on to the Dec. 10 issue…

Dec. 10, 1932 cover by William Steig.

…and Samuel N. Behrman’s profile (titled “Chutspo”) of comedian Eddie Cantor, who made his way from vaudeville and the Ziegfeld Follies to fame on the radio, in film and on early television. Theater great Katherine Cornell certainly appreciated Cantor’s gift for making his routine look easy: Here’s an excerpt:

AH, IT WAS NOTHIN’…Comedian Eddie Cantor was adored by millions of radio listeners as the “Apostle of Pep.” At right, caricature for the profile by Al Frueh. (bizarrela.com)

 *  *  *

Christmess

Lois Long’s “On and Off the Avenue” column was thus titled to reflect the annual challenge of buying that special something for that special someone. Here is the opening paragraph:

One of the items suggested in Long’s column was a game named for our friend Eddie Cantor called “Tell it to the Judge”…

…or you could select one of these gifts from A.G. Spaulding…my grandfather had one of those perpetual desk calendars…I would stave off boredom by endlessly flipping those numbers while the adults conversed in German…

…on to our cartoonists, James Thurber provided this nice bit of art for a two-page spread…

Kemp Starrett gave us some biscuit (cookie) execs contemplating a new, streamlined design for their product…

Norman Bel Geddes is perhaps best known for designing the “Futurama” display at the 1939 New York World’s Fair…here is Bel Geddes’ “Cobra Lamp”…

George Price gave us a fellow peddling more than a simple top…

…and with Peter Arno, the party never ends…

…on to Dec. 17, 1932…

Dec. 17, 1932 cover by Harry Brown.

…and Arno’s ex Lois Long was back with another “Tables for Two,” still feigning the old spinster (see “shawl and slippers” reference in first graf) when in fact she was an attractive, 31-year-old divorcee who apparently still had plenty of fire for late night revelry…

According to the Jeremiah Moss blog Vanishing New York, Long was likely describing 52nd Street between Fifth and Sixth avenues that “began as a row of speakeasies, which turned into jazz clubs that then evolved into burlesque houses.” The speakeasies got their start when the city lifted residential restrictions on the brownstones and businesses moved in, including Tony’s, the Trocadero and later Place Pigalle…

(vanishingnewyork.blogspot.com via NYPL)

…it was at the new Place Pigalle that Long enjoyed the “knockout” after-midnight show featuring ballroom dancers Frank Veloz and Yolanda Casazza and the diminutive singer Reva Reyes

AFTER HOURS entertainment at the Place Pigalle included Frank Veloz and Yolanda Casazza (left, in a 1930 portrait by Edward Steichen) and Mexican singer Reva Reyes. (Vanity Fair/El Paso Museum of History)

…and there was more entertainment to be had in Midtown with the upcoming opening (Dec. 27, 1932) of Radio City Music Hall, a dream project of Samuel “Roxy” Rothafel. Hugh Blake had the scoop for the New Yorker in the “A Reporter at Large” column…an excerpt:

AIN’T IT GRAND?..of Radio City Music Hall would open its doors on Dec. 27, 1932, fulfilling a dream of theater owner Samuel “Roxy” Rothafel. (nypap.org/Wikipedia/dobywood.com)

…Radio City Music Hall was built to host stage shows only, but within a year of its opening it was converted into a movie venue…and speaking of movies, we have film critic John Mosher finally finding a movie to his liking, and a novel-to-film adaptation to boot…

FAREWELL TO ALL OF THOSE ARMS…Gary Cooper, Helen Hayes and Adolphe Menjou in Paramount’s A Farewell to Arms, directed by Frank Borzage. The film received Academy Awards for Best Cinematography and Best Sound. (buffalo.edu)

…and back to the stage, Al Frueh lent his artistry to the play Dinner At Eight, which opened October 22, 1932, at the Music Box Theatre, and would close May 6, 1933, after 232 performances. The popular play had revivals in 1933, 1966 and 2002 as well as a George Cukor film adaptation in 1933 with an all-star cast.

 *  *  *

From Our Advertisers

We begin with this helpful advice from the folks at the Lombardy…

…while we have a much less stuffy invitation from the French Line…

…the usually staid Brooks Brothers sprung for an all-color Christmas ad, featuring items that would suit any aspiring Bertie Wooster…

…and what would be the holidays without canned meat, eh?…

…and we end with James Thurber, who gets us into the proper mood for the New Year…

Next Time: Comrade Alex…

 

The Faux Prince

He was variously a restaurateur, con man and actor, but one thing Prince Michael Alexandrovitch Dmitry Obolensky Romanoff was not was a prince.

Oct. 29, 1932 cover by Adolph K. Kronengold.

But apparently to many movers and shakers he was a lot of fun, and so much of a character that Alva Johnston penned a five-part profile of Romanoff. A brief excerpt of Part One:

Born Hershel Geguzin in Lithuania, Romanoff (1890–1971) immigrated to New York City in 1900 and changed his name to Harry F. Gerguson. An odd-jobber and sometime crook (passing bad checks, etc.), at some point Romanoff raised the ante to become a professional imposter, and among other guises began passing himself off as a member of Russia’s royal House of Romanov. Few believed him, but it didn’t matter because his antics (aided by an eager press) got him invited to all sorts of soirees. And what better place than America to re-invent yourself, and especially Hollywood, where in 1941 Romanoff cashed in on his fame to establish a popular Rodeo Drive restaurant.

ALL THAT GLITTERS…Although Romanoff’s attracted all matter of glitterati, from Sophia Loren and Jayne Mansfield (in a famous photo) to Marilyn Monroe and Clark Gable, Romanoff mostly ignored his clientele, preferring to dine with his dogs. (stuffymuffy.com)

Here’s the terrific cover of the Romanoff’s menu:

Romanoff appeared in various films — both credited and uncredited — from 1937 to 1967…

ON THE SCREEN…Michael Romanoff (right) with Louis Calhern in 1948’s Arch of Triumph. (IMDB)

…and apparently he didn’t ignore all celebrities…

…AND OFF…Romanoff in the 1950s and early 60s with some of his pals including, clockwise, from top left, Cary Grant, Humphrey Bogart, rat-packers Dean Martin and Frank Sinatra, and Bob Hope. (Pinterest)

…and if you are hungry for more, there is a recipe named for Romanoff, still available from the folks at Betty Crocker:

 *  *  *

Return to Sender

In his “Notes and Comment,” E.B. White exposed the corrupt ways of the Tammany-dominated Department of Taxes and Assessments thanks to the New Yorker’s fictional figurehead Eustace Tilley:

IN ARREARS…Neither death, nor taxes, bothered the inimitable Eustace Tilley.

 *  *  *

Chinese Checkered

White actors portraying Asian characters was all too common in the 20th century (and still persists to this day) but Alla Nazimova’s portrayal of O-Lan in the Guild Theatre’s stage adaptation of Pearl Buck’s The Good Earth was just too much for critic Robert Benchley:

WHAT’S SO GOOD ABOUT IT?…Claude Rains as Wang Lung and Alla Nazimova as O-Lan in the Guild Theatre’s The Good Earth. At right, Nazimova as O-Lan. (allanazimova.com)

In all fairness to Rains and Nazimova, many of their white Hollywood compatriots portrayed Asian characters, including Katherine Hepburn in another adaptation of a Pearl Buck novel:

IN ON THE ACT…Luise Rainer as O-Lan and Paul Muni as Wang Lung in the 1937 film adaptation of Pearl Buck’s The Good Earth; at right, Katherine Hepburn in the 1944 film adaptation of Buck’s Dragon Seed. For the record, the New Yorker’s John Mosher called the 1937 film “vast and rich.”  (IMDB/history.com)

 *  *  *

From Our Advertisers

We begin with some good old-fashioned sexism from the makers of Packard automobiles…if this woman had a job outside of the home (uncommon before the war) she could have just gone and bought the damn car…right?…

…and don’t forget the ANTI-FREEZE, as this two-page ad from Union Carbide helpfully suggested (Prestone anti-freeze, that is, not the other crap on the market)…

…some back-page ads…the one on right featured a rather somber-looking Jack Denny, appearing at the Waldorf’s famed Empire Room…and then there is the Schick Dry Shaver…I owned a Schick in the 1980s and had a permanent 5 o’clock shadow until I switched to blades; I can’t imagine how these things would have performed 89 years ago…

…cartoonist Otto Soglow continued to extoll the virtues of decaf coffee…

…and on to our cartoons, William Crawford Galbraith eavesdropped on a backstage political discussion…

Peter Arno found a lovelorn soul in a furniture department…

Soglow again, this time hinting at the Little King’s naughty side…

…as a former newspaper editor, this entry from Garrett Price really hit home…I used to get calls about all sorts of interesting critters and misshapen vegetables…

Rea Irvin gave us a former bank teller all washed up by the Depression…

…and James Thurber continued to explore the growing war between the sexes…

…we continue on to Nov. 5, 1932…

Nov. 5, 1932 cover by William Cotton.

…and this observation by E.B. White on the state of cigarette ads, namely the latest from Lucky Strike…

…one of the ads that caught White’s eye…

…the Nov. 5 issue featured another edition of the parody newspaper “The Blotz,” but what caught my eye was the upper right-hand corner…

…intended as a joke, of course, referring to political changes in Germany…but to our eyes quite ominous…

…and here we have a Lord & Taylor ad that begs the question, “What’s wrong with this picture?” Aside from the weirdly attenuated figures (admittedly standard in fashion illustration), the fellow in the lounger appears to be sitting at floor level, contemplating a photograph that seems to be of some interest to his companions, none of whom appear to be all that cheerful

…the Nov. 5 issue also offered readers several options for stockings…

…on to our cartoonists, James Thurber provided these sketches for the magazine’s football column (except the one at bottom left, which appeared in the events section in the Oct. 29 issue)…

…Americans were turning out for the 1932 presidential elections, some in their own way per Helen Hokinson

…twenty-year old Syd Hoff gave us some late night hijinks…

William Crawford Galbraith continued to probe the entertainment world…

…and we close with Alan Dunn, who takes us out with a bang…

Next Time: Pining for Tin Lizzy…