There is a big charity function at the house of Mrs. Cheyney and a lot of society is present. With her rich husband, deceased, rich old Lord Kelton and playboy Lord Arthur Dilling are both very interested in the mysterious Fay. Invited to the house of the Duchess, Fay is again the center of attention for Arthur and Kelton with her leaning towards stuffy old Kelton. When Arthur sees Charles, Fay’s Butler, lurking in the gardens, he remembers that Charles was a thief caught in Monte Carlo and he figures that Fay may be more interested in the pearls of the Duchess, which she is. After Fay takes the pearls, but before she can toss them out the window, she is caught by Arthur who is very disappointed in how things are turning out. —IMDb
Richard Boleslavsky (February 4, 1889 – January 17, 1937) was a Polish film director, actor and teacher of acting. Richard Boleslavsky was born Bolesław Ryszard Srzednicki on February 4, 1889 in Dębowa Góra, in tsarist Russia-ruled Poland. He graduated from the Tver Cavalry Officers School. He trained as an actor at the First Studio of the Moscow Art Theatre under Konstantin Stanislavski and his assistant Leopold Sulerzhitsky, where he was introduced to the ‘system’.
During World War I, Boleslavsky fought as a cavalry lieutenant on the tsarist Russian side until the fall of the Russian Empire. He left Russia after the October Revolution of 1917 for his native Poland, where he directed his first movies. As his birth name was difficult to pronounce (even for Poles), he took the name Ryszard Bolesławski. His Miracle at the Vistula (Cud nad Wisłą) was a semi-documentary about the miraculous victory of the Poles at the Vistula River over the superior Soviet Russian forces during the… read more
hough not the first woman director, California-born Dorothy Arzner was for many years the best known, as well as the only female member of the Director’s Guild of America. Publicity releases of the 1930s and 1940s tended to emphasize the so-called “masculine” traits in Arzner’s background—she was a pre-med student at the University of Southern California and an ambulance driver during World War I. Her film career began with a clerical job for director William C. DeMille. Arzner then became a film editor for Paramount Pictures’ subsidiary Realart Films, working on many of the Bebe Daniels comedies. Director James Cruze was so impressed by Arzner’s editing of the Rudolph Valentino picture Blood and Sand (1922) that he immediately engaged her to work on his The Covered Wagon (1923); one of Arzner’s first screenplay credits was for Cruze’s Old Ironsides (1926). In 1927, Arzner directed her first film, Fashions for Women. Two years later, she helmed her… read more