REDHEAD'S RETURN.

Auckland Star, Volume LXV, Issue 11, 13 January 1934, Page 5 (Supplement)

REDHEAD'S RETURN.

THE REAL CLARA BOW.

CHANGED TYPE FAILS. RIDDLE OF HER PERSONALITY. Clara Bow is coming back—not as the new Clara Bow, minus her famous "It" but as the red-headed tomboy who captivated the male hearts of half the world. He* next picture, "Hoopla," will bear, it is said, no resemblance to the Clara presented in "Call Her Savage. A Yale graduate—scion of a wealthy and prominent family—sat before a mirror and slashed his wrists because she wouldn't have him. A noted director in the throes of jealousy because she was out dancing with another man, sat on her doorstep till dawn lhe coach of a football team called his players together and told them to keep [heir minds on football-and off her. A SrArricr^n y O f the mduetry. It had 1 mmm Iftfisl been crazy, could they ' draw ing Star (Breakdown. Retirement.) Not

refused a contract from a big film cornThen, in 1932, she came back in "Call Me Savage." In 1934 she"s due in a new picture, which her producers claim will be by far the best that she has ever made.

Despite the sneers of her detractors, there must bo something besides "It" to Clara Bow. She will not fade out of the picture. Heraldry of the new release, "Hoopla, featuring "the little Brooklyn girl who inspired Klinor Glyn to give a pronoun a complex and make it famous, has aroused a new furore of speculation regarding the redhead —"the redhead" to men and "that redhead" to women.

This feminine streak of greased lightning with the flaming, riotous hair, the flaming, mutinous, laughing mouth, the dark, daring, flashing eyes —that withal have in their depths something of the wistfulnoss of the baby Jackie Coogan, is unique in the Parade of Vamps who have strutted their stuff across the silver sheets of the world. Theda Bara, Clara Kimball Young, the rest of the slithering sisterhood, had thejr day—and when their tents were folded they were folded for good. None of these ladies e'ver rose Phoenix-like from her ashes. But, after ten years of storm-tossed publicity that would have foundered another woman, the men tion of Clara Bow's name sets interest seething and finds film "fans" agog for tidings of her and the new picture in which she is to appear. Somewhere in the nature of Clara Bow is something that mysteriously keeps the world's interest fomenting in a girl with no family background and no education; a" girl with no more beauty than thousands of her sisters; a girj for whom a man went to prison for calling her a courtesan, a gambling debt welcher, and an ingrate.