$9.99


This is an ORIGINAL Double Sided SPANISH Daybill Herald Flyer, that is OVER 70 years old!!! It is from SPAIN and it measures 3-1/4" x 5". It is hard to believe it was saved at all! This was used to promote in theaters in Europe at the time the 1943 Comedy Romance film,

THE MORE THE MERRIER

During the WW2 housing shortage in Washington, two men and a woman share a single apartment and the older man plays Cupid to the other two. It's World War II and there is a severe housing shortage everywhere - especially in Washington, D.C. where Connie Milligan rents an apartment. Believing it to be her patriotic duty, Connie offers to sublet half of her apartment, fully expecting a suitable female tenent. What she gets instead is mischievous, middle-aged Benjamin Dingle. Dingle talks her into subletting to him and then promptly sublets half of his half to young, irreverent Joe Carter - creating a situation tailor-made for comedy and romance.

Director: George Stevens

Writers: Robert Russell (screen play), Frank Ross (screen play)

Stars: Jean Arthur, Joel McCrea, Charles Coburn

Cast

Jean Arthur ... Connie Milligan
Joel McCrea ... Joe Carter
Charles Coburn ... Benjamin Dingle
Richard Gaines ... Charles J. Pendergast
Bruce Bennett ... FBI Agent Evans
Frank Sully ... FBI Agent Pike
Donald Douglas ... FBI Agent Harding (as Don Douglas)
Clyde Fillmore ... Senator Noonan
Stanley Clements ... Morton Rodakiewicz

Day bill features classic romantic image of the two leads with artwork different from the American version. Hard to believe it was saved at all.

Shop with confidence! This is part of our in-store inventory from our shop which is has been located in the heart of Hollywood where we have been in business for OVER 40 years!

MORE INFO ON JEAN ARTHUR: Jean Arthur (October 17, 1900 - June 19, 1991) was an American actress and a major film star of the 1930s and 1940s.

Arthur had feature roles in three Frank Capra films: Mr. Deeds Goes to Town (1936), You Can't Take It With You (1938), and Mr. Smith Goes to Washington (1939), films that championed the "everyday heroine". Arthur was nominated for an Academy Award for Best Actress in 1944 for her performance in The More the Merrier (1943). James Harvey wrote in his recounting of the era, "No one was more closely identified with the screwball comedy than Jean Arthur. So much was she part of it, so much was her star personality defined by it, that the screwball style itself seems almost unimaginable without her." She has been called "the quintessential comedic leading lady".

Her last film performance was the memorable, and distinctly non-comedic, homesteader's wife in George Stevens' Shane in 1953. To the public, Arthur was known as a reclusive woman. News magazine Life observed in a 1940 article: "Next to Garbo, Jean Arthur is Hollywood's reigning mystery woman." As well as recoiling from interviews, she avoided photographers and refused to become a part of any kind of publicity.

Arthur was born Gladys Georgianna Greene in Plattsburgh, New York to Protestant parents, Johanna Augusta Nelson (1874 - 1959) and Hubert Sidney Greene (1863 - 1944). Her maternal grandparents were immigrants from Norway who settled in the American West; she also had distant ancestors from England. She had three older brothers: Donald Hubert (1890 - 1967), Robert B. (1892 -1955) and Albert Sidney (1894 -1926). She lived on and off in Westbrook, Maine, from 1908 to 1915 while her father worked at Lamson Studios in Portland, Maine, as a photographer. The product of a nomadic childhood, Arthur also lived at times in Jacksonville, Florida; Schenectady, New York; Saranac Lake, New York; and, during a portion of her high school years, in the Washington Heights neighborhood at 573 West 159th Street of upper Manhattan. The family's relocation to New York City occurred in 1915, where Arthur dropped out of high school in her junior year due to a "change in family circumstances".

Presaging many of her later film roles, she worked as a stenographer on Bond Street in lower Manhattan during World War I and the early 1920s. Both her father (at age 55, claiming to be 45) and siblings registered for the draft. Her brother Albert died as a result of injuries sustained in battle during WWI.

Discovered by Fox Film Studios while she was doing commercial modeling in New York City in the early 1920s, Arthur landed a one-year contract and debuted in the silent film Cameo Kirby (1923), directed by John Ford. She reputedly took her stage name from two of her greatest heroes, Joan of Arc (Jeanne d'Arc) and King Arthur. The studio was at the time looking for new American sweethearts with sufficient sex appeal to interest the Jazz Age audiences. Arthur was remodeled as such a personality, a flapper. Following the small role in Cameo Kirby, she received her first female lead role in The Temple of Venus (1923), a plotless tale about a group of dancing nymphs. Dissatisfied with her lack of acting talent, the film's director Henry Otto replaced Arthur with actress Mary Philbin during the third day of shooting. Arthur agreed with the director: "There wasn't a spark from within. I was acting like a mechanical doll personality. I thought I was disgraced for life." She was planning on leaving the California film industry for good, but reluctantly stayed due to her contract, and appeared in comedy shorts instead. Despite lacking the required talent, Arthur liked acting, which she perceived as an "outlet". To acquire some fame, she registered herself as a photo player in the Los Angeles city directory, as well as appearing in a promotional film for a new Encino nightclub, but to no avail.

Change came when one day she showed up at the lot of Action Pictures, which produced B westerns, and impressed its owner Lester F. Scott, Jr., with her presence. He decided to take a chance on a complete unknown, and she was cast in over twenty westerns in a two-year period. Only receiving $25 a picture, Arthur suffered from difficult working conditions: "The films were generally shot on location, often in the desert near Los Angeles, under a scorching sun that caused throats to parch and make-up to run. Running water was nowhere to be found, and even outhouses were a luxury not always present. The extras on these films were often real cowboys, tough men who were used to roughing it and who had little use for those who were not." The films were moderately successful in second-rate Midwestern theaters, though Arthur received no official attention. Aside from appearing in films for Action Pictures between 1924 and 1926, she appeared in some independent westerns including The Drug Store Cowboy (1925), and westerns for Poverty Row, as well as having an uncredited bit part in Buster Keaton's Seven Chances (1925).

In 1927, Arthur attracted more attention when she appeared opposite Mae Busch and Charles Delaney as a gold digging chorus girl in Husband Hunters. Subsequently, she was romanced by actor Monty Banks in Horse Shoes (1927), both a commercial and critical success. She was cast on Banks' insistence, and received a salary of $700. Next, director Richard Wallace ignored Fox's wishes to cast a more experienced actress by assigning Arthur to the female lead in The Poor Nut (1927), a college comedy which gave her wide exposure to audiences. A reviewer for Variety did not spare the actress in his review: "With everyone in Hollywood bragging about the tremendous overflow of charming young women all battering upon the directorial doors leading to an appearance in pictures, it seems strange that from all these should have been selected two flat specimens such as Jean Arthur and Jane Winton. Neither of the girls has screen presence. Even under the kindliest treatment from the camera they are far from attractive and in one or two side shots almost impossible." Fed up with the direction that her career was taking, Arthur expressed her desire for a big break in an interview at the time. She was skeptical when signed to a small role in Warming Up (1928), a film produced for a big studio, Famous Players-Lasky, and starring Richard Dix. Promoted as the studio's first sound film, it received wide media attention, and Arthur earned praise for her portrayal of a club owner's daughter. Variety opined, "Dix and Arthur are splendid in spite of the wretched material", while Screenland wrote that Arthur "is one of the most charming young kissees who ever officiated in a Dix film. Jean is winsome; she neither looks nor acts like the regular movie heroine. She's a nice girl but she has her moments." The success of Warming Up resulted in Arthur being signed to a three-year contract with the studio, soon to be known as Paramount Pictures, at $150 a week.

With the rise of the talkies in the late 1920s, Arthur was among the many silent screen actors of Paramount Pictures initially unwilling to adapt to sound films. Upon realizing that the craze for sound films was not a phase, she met with sound coach Roy Pomeroy. It was her distinctive, throaty voice in addition to some stage training on Broadway in the early 1930s that eventually helped make her a star in the talkies. However, it initially prevented directors from casting her in films. In her early talkies, this "throaty" voice is still missing, and it remains unclear whether it has not yet emerged or whether she hid it. Her all-talking film debut was The Canary Murder Case (1929), in which she co-starred opposite William Powell and Louise Brooks. Arthur impressed only a few with the film and later claimed that at the time she was a "very poor actress ... awfully anxious to improve, but ... inexperienced so far as genuine training was concerned."

In the early years of talking pictures, Paramount was known for contracting Broadway actors with experienced vocals and impressive background references. Arthur was not among these actors, and she struggled for recognition in the film industry. Her personal involvement with rising Paramount executive David O. Selznick despite his relationship with Irene Mayer Selznick proved substantial; she was put on the map and became selected as one of the WAMPAS Baby Stars in 1929. Following a silent B-western called Stairs of Sand (1929), she received some positive notices when she played the female lead in the lavish production of The Mysterious Dr. Fu Manchu (1929). Arthur was given more publicity assignments, which she carried out, even though she immediately disliked posing for photographers and giving interviews.

Through Selznick, Arthur received her "best role to date" opposite famous sex symbol Clara Bow in the early sound film The Saturday Night Kid (1929). Of the two female leads, Arthur was thought to have "the better part", and director Edward Sutherland claimed that "Arthur was so good that we had to cut and cut to keep her from stealing the picture" from Bow. While some argued that Bow resented Arthur for having the "better part", Bow encouraged Arthur to make the most of the production. Arthur later praised her working experience with Bow: "[Bow] was so generous, no snootiness or anything. She was wonderful to me." The film was a moderate success, and The New York Times wrote that the film would have been "merely commonplace, were it not for Jean Arthur, who plays the catty sister with a great deal of skill."

Following a role in Halfway to Heaven (1929) opposite popular actor Charles Rogers (of which Variety opined that her career could be heading somewhere if she acquired more sex appeal), Selznick assigned her to play William Powell's wife in Street of Chance (1930). She did not impress the film's director John Cromwell, who advised the actress to move back to New York because she would not make it in Hollywood. By 1930, her relationship with Selznick had ended, causing her career at Paramount to slip. Following a string of "lifeless ingenue roles" in mediocre films, she debuted on stage in December 1930 with a supporting role in Pasadena Playhouse's ten-day run production of Spring Song. Back in Hollywood, Arthur saw her career deteriorating, and she dyed her hair blonde in an attempt to boost her image and avoid comparison with more successful actress Mary Brian. Her effort did not pay off: when her three-year contract at Paramount expired in mid-1931, she was given her release with an announcement from Paramount that the decision was due to financial setbacks caused by the Great Depression.

In late 1931, Arthur returned to New York City, where a Broadway agent cast Arthur in an adaptation of Lysistrata, which opened at the Riviera Theater on January 24, 1932. A few months later, she made her Broadway debut in Foreign Affairs opposite Dorothy Gish and Osgood Perkins. Even though the play did not fare well and closed after twenty-three performances, critics were impressed by her work on stage. She next won the female lead in The Man Who Reclaimed His Head, which opened on September 8, 1932, at the Broadhurst Theatre to mostly mixed notices for Arthur, and negative reviews for the play caused the production to be halted quickly. Arthur returned to California for the holidays, and appeared in the RKO film The Past of Mary Holmes (1933), her first film in two years.

Back on Broadway, Arthur continued to appear in small plays that received little attention. Critics, however, continued to praise her in their reviews. It has been argued that in this period, Arthur developed confidence in her acting craft for the first time.

The Curtain Rises, which ran from October to December 1933, was Arthur's first Broadway play in which she was the center of attention. With an improved resume, she returned to Hollywood in late 1933, and turned down several contract offers until she was asked to meet with an executive from Columbia Pictures. Arthur agreed to star in a film, Whirlpool (1934), and during production she was offered a long-term contract that promised financial stability for both her and her parents. Even though hesitant to give up her stage career, Arthur signed the five-year contract on February 14, 1934.

In 1935, at age 34, Arthur starred opposite Edward G. Robinson in the gangster farce The Whole Town's Talking, also directed by Ford, and her popularity began to rise. It was the first time Arthur portrayed a hard-boiled working girl with a heart of gold, the type of role she would be associated with for the rest of her career. She enjoyed the acting experience and working opposite Robinson, who remarked in his biography that it was a "delight to work with and know" Arthur. By the time of the film's release, her hair, naturally brunette throughout the silent film portion of her career, was bleached blonde and would mostly stay that way. She was known for maneuvering to be photographed and filmed almost exclusively from the left; Arthur felt that her left was her best side, and worked hard to keep it in the fore. Director Frank Capra recalled producer Harry Cohn's description of Jean Arthur's imbalanced profile: "half of it's angel, and the other half horse." Her next few films, Party Wire (1935), Public Hero No. 1 (1935) and If You Could Only Cook (1935), did not match the success of The Whole Town's Talking, but they all brought the actress positive reviews. In his review for The New York Times, critic Andre Sennwald praised Arthur's performance in Public Hero No. 1, writing that she "is as refreshing a change from the routine it-girl as Joseph Calleia is in his own department." Another critic wrote of her performance in If You Could Only Cook that "[she is] outstanding as she effortlessly slips from charming comedienne to beautiful romantic." With her now apparent rise to fame, Arthur was able to extract several contractual concessions from Harry Cohn, such as script and director approval and the right to make films for other studios.

The turning point in Arthur's career came when she was chosen by Frank Capra to star in Mr. Deeds Goes to Town. Capra had spotted her in a daily rush from the film Whirlpool in 1934 and convinced Cohn to have Columbia Studios sign her for his next film as a tough newspaperwoman who falls in love with a country bumpkin millionaire. Even though several colleagues later recalled that Arthur was troubled by extreme stage fright during production, Mr. Deeds was critically acclaimed and propelled her to international stardom. In 1936 alone, she earned $119,000, more than the President of the United States and baseball player Lou Gehrig. With fame also came media attention, something Arthur greatly disliked. She did not attend any social gatherings, such as formal parties in Hollywood, and acted difficult when having to work with an interviewer. She was named the American Greta Garbo who was also known for her reclusive life and magazine Movie Classic wrote of her in 1937: "With Garbo talking right out loud in interviews, receiving the press and even welcoming an occasional chance to say her say in the public prints, the palm for elusiveness among screen stars now goes to Jean Arthur."

Arthur's next film was The Ex-Mrs. Bradford (1936), on loan to RKO Pictures, in which she starred opposite William Powell on his insistence, and hoped to take a long vacation afterwards. Cohn, however, rushed her into two more productions, Adventure in Manhattan (1936) and More Than a Secretary (1936). Neither film attracted much attention. Next, again without pause, she was re-teamed with Cooper, playing Calamity Jane in Cecil B. DeMille's The Plainsman (1936) on another loan, this time for Paramount Pictures. Arthur, who was De Mille's second choice after Mae West, described Calamity Jane as her favorite role thus far. Afterwards, she appeared as a working girl, her typical role, in Mitchell Leisen's screwball comedy, Easy Living (1937), with Ray Milland. She followed this with another screwball comedy, Capra's You Can't Take It with You, which teamed her with James Stewart. The film won an Academy Award for Best Picture with Arthur getting top billing.

So strong was her box office appeal by now that she was one of four finalists for the role of Scarlett O'Hara in Gone with the Wind (1939). The film's producer, David O. Selznick, had briefly romanced Arthur in the late 1920s when they both were with Paramount Pictures. Arthur re-united with director Frank Capra and Stewart for Mr. Smith Goes to Washington (1939), with Arthur cast once again as a working woman, this time one who teaches the naive Mr. Smith the ways of Washington, D.C.

Arthur continued to star in films such as Howard Hawks' Only Angels Have Wings (also 1939), with love interest Cary Grant, The Talk of the Town (1942), directed by George Stevens (also with Grant), and again for Stevens as a government clerk in The More the Merrier (1943), for which Arthur was nominated for the Academy Award for Best Actress (losing to Jennifer Jones for The Song of Bernadette). As a result of being in dispute with studio boss Harry Cohn, her fee for The Talk of the Town (1942) was only $50,000, while her male co-stars Grant and Ronald Colman received upwards of $100,000 each. Arthur remained Columbia's top star until the mid-1940s, when she left the studio, and Rita Hayworth took over as the studio's biggest name. Stevens famously called her "one of the greatest comediennes the screen has ever seen", while Capra credited her as "my favorite actress."

Arthur retired when her contract with Columbia Pictures expired in 1944. She reportedly ran through the studio's streets, shouting "I'm free, I'm free!" For the next several years, she turned down virtually all film offers, the two exceptions being Billy Wilder's A Foreign Affair (1948), in which she played a congresswoman and rival of Marlene Dietrich, and as a homesteader's wife in the classic Western Shane (1953), which turned out to be the biggest box-office hit of her career. The latter was her final film, and the only color film in which she appeared.

Arthur's post-retirement work in theater was intermittent, somewhat curtailed by her unease and discomfort about working in public. Capra claimed she vomited in her dressing room between scenes, yet emerged each time to perform a flawless take. According to John Oller's biography, Jean Arthur: The Actress Nobody Knew (1997), Arthur developed a kind of stage fright punctuated with bouts of psychosomatic illnesses. A prime example was in 1945, when she was cast in the lead of the Garson Kanin play, Born Yesterday. Her nerves and insecurity got the better of her and she left the production before it reached Broadway, opening the door for a then-unknown Judy Holliday to take the part.

She did score a major triumph on Broadway in 1950, starring in an adaptation of Peter Pan playing the Boy Who Wouldn't Grow Up when she was almost 50. She tackled the role of her namesake, Joan of Arc, in a 1954 stage production of George Bernard Shaw's Saint Joan, but she left the play after a nervous breakdown and battles with director Harold Clurman.

MORE INFO ON JOEL McCREA: One of the great stars of American Westerns, and a very popular leading man in non-Westerns as well. He was born and raised in the surroundings of Hollywood and as a boy became interested in the movies that were being made all around. He studied acting at Pomona College and got some stage experience at the Pasadena Community Playhouse, where other future stars such as Randolph Scott, Robert Young, and Victor Mature would also get their first experience. He worked as an extra after graduation from the University of Southern California in 1928 and did some stunt work. In a rare case of an extra being chosen from the crowd to play a major role, McCrea was given a part in The Jazz Age. A contract at MGM followed, and then a better contract at RKO. Will Rogers took a liking to the young man (they shared a love of ranching and roping) and did much to elevate McCrea's career. His wholesome good looks and quiet manner were soon in demand, primarily in romantic dramas and comedies, and he became an increasingly popular leading man. He hoped to concentrate on Westerns, but several years passed before he could convince the studio heads to cast him in one. When he proved successful in that genre, more and more Westerns came his way. But he continued to make a mark in other kinds of pictures, and proved himself particularly adept at the light comedy of Preston Sturges, for whom he made several films. By the late Forties, his concentration focused on Westerns, and he made few non-Westerns thereafter. He was immensely popular in them, and most of them still hold up well today. He and Randolph Scott, whose career strongly resembles McCrea's, came out of retirement to make a classic of the genre, Sam Peckinpah's Ride the High Country (1962). Scott stayed retired thereafter; McCrea made a couple of appearances in small films afterwards, but was primarily content to maintain his life as a gentleman rancher. He was married for fifty-seven years to actress Frances Dee, who survived him.

This item is part of Backlot Movie Memorabilia and collectibles in-store inventory from our shop which is located in the heart of Hollywood, where we have been in business for OVER 40 years!!!

JEAN ARTHUR The MORE THE MERRIER Original SPANISH Art DAYBILL Joel McCrea HERALD
Item #BMM0004007