It (film)
A
Paramount
Picture
Adolph Zukor and Jesse L. Lasky
present
CLARA BOW
in
AN Elinor Glyn–Clarence Badger
PRODUCTION
"it"
With Antonio Moreno
B. A. SCHULBERG
ASSOCIATE PRODUCER, WEST COAST STUDIOS
COPYRIGHT—MCMXXVII—FAMOUS PLAYERS-LASKY CORPORATION—ALL RIGHTS RESERVED
Directed
by
Clarence Badger
Photographed
by
H. Kinley Martin
PASSED BY THE NATIONAL BOARD OF REVIEW
Story and Adaptation by
Elinor Glyn
Screen play by
Hope Loring and Louis D. Lighton
Titles by
George Marion, Jr.
Editor-in-chief
E. Lloyd Sheldon
THE PLAYERS
Betty Lou . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Clara Bow | |
Cyrus Waltham . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Antonio Moreno | |
Monty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
William Austin | |
Molly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Priscilla Bonner | |
Adela Van Norman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Jacqueline Gadsdon | |
Mrs. Van Norman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
Julia Swayne Gordon | |
and
Madame Elinor Glyn
"IT" is that quality possessed by some which draws all others with its magnetic force. With "IT" you win all men if you are a woman—and all women if you are a man. "IT" can be a quality of the mind as well as a physical attraction.
Waltham's
WORLDS LARGEST
STORE
Leaving his department store to his son, Cyrus P. Waltham has gone to Herrin, Illinois, for the shooting.
"A gentleman to see you, sir."
GOOD
LUCK
"For a good boy—on his first work day."
"If you ever go to work, Monty, I'll do as much for you."
[...] who is divinely good-looking has not "IT" at all. Do you gather what I mean, Grannie?
"'IT' is that peculiar quality which some persons possess, which attracts others of the opposite sex. The possessor of 'IT' must be absolutely un-selfconscious, and must have that magnetic "sex appeal" which is irresistible.
"It is a magnetic and peculiar force, and you know it as soon as you come in contact [...]
[...] and a fearless unconquerable flash in the eye which reveals that "IT" is part of his character.
Mothers spoil boys with "IT" — women never refuse them favors!
But the quality of "IT" is something that is never unrecognizable, even though its pos-
"Old fruit, you've got 'IT'!"
"What the devil are you doing?"
"No—too bad—but you haven't any 'IT'!"
"Run away, Monty, the keepers are coming."
"I'm to look over the store. Come along."
"Hot socks—the new boss!"
"Sweet Santa Claus, give me him!"
"Let's have a double wedding—you and him—and me and the Prince of Wales!"
"Where do you figure? The Prince is going to be our best man!"
"I've inspected all the lady employees—and not one of them has 'IT'!"
"You went over big, dearie!"
"Just you wait—I'll take the snap out of your garters yet!"
"Look! If I ever saw 'IT', that's 'IT'!"
"Shall we gnaw a chop at the club tonight?"
"Thanks, but I have an engagement at the Ritz."
"Could I—is it asking too much—would it be possible for me to—to drive you home?"
"I'd be very glad to go with you—if you'd ride in my car."
Betty lived in that fashionable downtown suburb—Gashouse Gables—
"Would—could—do you ever dine?"
"I'd love to—"
"—at the Ritz!"
"Shall we dress?"
"Of course—how absurd!"
"Then I'll pop around at eight?"
"Toodles is hungry."
"The doctor says I can't go back to the store for a month—and I can't let you do any more for me."
"Don't be sill, Molly! I won't go back on a pal!"
"That pest of a landlady and her friend just left. The baby shouldn't do this—and I shouldn't do that—"
"If this was my baby, I'd tell 'em where to head in!"
"I'm dining out tonight—at the Ritz!"
Every evening in America, eighteen million blondes prepare to dine with gentlemen. One of the eighteen million—
"Mother, would you approve of my being Mrs. Cyrus T. Waltham?"
"He hasn't proposed yet—but he's going to!"
WALTHAM'S
Charming New Dresses at $11.50
"Mademoiselle's car is without."
"A nice, quiet table—in the corner, Mr. Montgomery?"
"I don't crave this table. When I'm in the swim, I want to be with the goldfish!"
POTAGES
Soup cressonnière . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
2.00 | |
Perles lu Japon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
2.00 | |
Consommé, Croûte au pot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
2.00 | |
Fromage râpé . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
2.25 | |
HORS-D'ŒUVRES
Salade de concombres . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
4.50 | |
Salade de Museau de bœuf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
4.00 | |
Harengs, rolmopps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
4.00 | |
Saucisson de ménage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
3.00 | |
Radis roses au beurre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
3.00 | |
Andouille fumée . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
3.00 | |
Anchois de Norvège . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
3.00 | |
"I'll take the same!"
"Who is the girl with Monty?"
"I don't know—but isn't she attractive?"
"Who's the blonde with Mr. Waltham?"
"Adela Van Norman—they've been friends for years. Some day they'll marry and end it all."
"Of course you're reading Elinor Glyn's latest story, 'IT'?"
"Monty was raving about it today. What is 'IT'?"
"Here's Elinor Glyn herself! Let's ask her to tell us something about 'IT'."
"Madame Glyn, we've been talking about your latest story. Just what is this 'IT'?"
"Self-confidence and indifference as to whether you are pleasing or not—and something in you that gives the impression that you are not all cold. That's 'IT'!"
"If you have 'IT', you will win the girl you love."
"Cyrus, do you believe in 'IT'?"
"I certainly do!"
"I'm going to get my wish!"
"Oh, I must telephone!"
"Who is that charming girl with you?"
"This is a great pleasure."
"I'll bet you won't even recognize me, the next time we meet."
"I'll take the bet—and you can name the stakes."
In a shopgirl's day, the first thousand customers are the crabbiest.
"She always takes goods on approval—wears them around for six months—and then finds she doesn't approve!"
"—and the girl insulted me!"
"See that the garment is replaced—and send the salesgirl to my office."
"Young lady, in this store the customer is always right—"
"I'm the salesgirl! Go on—bawl me out!"
"Well, anyway, I lose the bet for not recognizing you. What's the forfeit?"
"Oh, that wasn't a real bet. I don't want anything—"
"Thanks, Adela, I'll be very happy to dine with you tonight."
"If you insist on paying your bet, you can take me out tonight."
"All right! Where?"
"Let's go to the beach—and do it up right!"
HOT DOGS!
THAT
Sizzle AND Satisfy!
Best ON THE Beach!
FUN
HOUSE
SOCIAL MIXER
"Hold me tight, Mr. Waltham."
"Happy?"
"So you're one of those Minute Men—the minute you know a girl you think you can kiss her!"
Poverty is no disgrace——until meddling neighbors hear of it.
"There's no use arguing! We're going to take that baby to the Home, until you're well!"
"Get that story."
"If women like you would stay home and have babies of your own, we'd all be better off!"
"We're doing our duty. The mother is ill—and she has no means of support."
"This is my baby!"
"I don't believe it."
"I'm the baby's mother—I'm not sick—and I've got a job! Laugh that off!"
"Haven't I a job, Monty—at Waltham's? Tell 'em!"
"Is that the baby's father?"
"Him? He couldn't even give birth to a suspicion!"
"Who is your husband? Have you a husband?"
"None of your business!"
"I say, Betty, this isn't really your child, is it?"
"Are you blind? Can't you see the resemblance?"
[...] and I was not able to wave.
Will you forgive me for the other night, Betty, and go to the theatre this evening? I promise not to misunderstand again.
so do [...] in any case [...]
"I have tashted the milk of human kindnesh—an' it's a lot of Fermillac!"
"B'lieve it or not—my baby is its mother!"
GIRL MOTHER BATTLES
BITTERLY FOR BABE
LIKE TIGRESS AT BAY, ROUTS
WELFARE WORKERS
Within the drab walls of a second-floor flat on Nolan Street, [...]
[...] session of the tiny child.
A man about town, clad in the height of fashion, testified that the girl had ample means and was able to meet all obligations in connection [...]
"I'm the chappie—the man about town—I'm the ample means!"
PRIVATE
"We are investigating the case of a girl who says she's employed here—"
"—she—she—there's a baby."
"She gave the name of Betty Lou Spence."
[...] floor flat on Nolan Street, the young mother clasped her babe to her bosom and defied all who sought to gain possession of the tiny child.[1]
A man about town, clad in [...]
"Thank you. You see, we had to verify her story."
"She's the one. She told me it's her baby—told me with her own lipsh!"
"Will you issue the bonus checks now, Mr. Waltham?"
Betty Lou Spence
ASSURED
TWENTY
DOLLARS
IN
"Are you mad at me because I slapped you?"
"I'm sorry—but a girl has to do that. You know how those things are!"
"Let's forget it. We've got each other straight now, haven't we?"
"Yes—we have!"
"It's a star sapphire."
"It's pretty—but I like diamonds better."
"Would you like some diamonds for yourself?"
"Betty, I'm crazy about you—"
"I love you, too."
"I'll buy you diamonds—clothes—everything you want—"
"What are you trying to do? Offer me one of those left-hand arrangements?"
"I'm crazy about you! Isn't that enough?"
"I suppose that's what you men call love!"
"Cancel my appointments, please. I'm leaving town for a week."
Betty was too poor to quit her job—and too proud to stay. So she quit!
The Daily News Dispatch
FEMALE HELP WANTED
—Must be experienced, neat ⟨appearing⟩
"I—I've come to forgive you."
"You don't mean you thought the baby was really mine?"
"There's its mother! Can't you see the resemblance?"
"What a joke on Waltham—I told him it was your baby!"
"He thought it was mine?"
"And he wouldn't even give me the benefit of the doubt!"
"I'll make him propose to me—and when he does, I'll laugh in his face! And you're going to help me do it!"
"But—he's going on a yachting cruise and—and I'm going with him!"
"Fine! I'll yacht with you."
"But, I say—what about your clothes?"
"That's the joke on you—you're going to buy them for me."
"Give me your word you won't tell him—anything!"
"Is Mr. Waltham aboard?"
"Not yet, sir."
"The party's off. We might as well go back."
"Oh no, sir! Mr. Waltham's expecting you—he'll be here any minute."
"Shall I show you to your cabins?"
"Something I can get for you, Mr. Montgomery?"
"No, thanks—I'm just prowling about."
"Just going for some—some—cigars."
"Everything ready, Captain?"
"Let's get under way."
"I'm not feeling so well."
"Tea, sir?"
"Feeling better, Monty?"
"I feel so low, old chap, that I could get on stilts and walk under a dachshund!"
"Shall I call Miss Van Cortland, sir? She's in her cabin."
"I say, I almost forgot about Miss Van Cortland."
"Miss Van Cortland—the—the girl I asked when you asked me to ask someone."
"Monty, who is Miss Van Cortland?"
"You—you tell them, old thing."
"She's a very nice girl. I—I believe Monty met her in Paris last summer."
"You idiot! Who is this girl?"
"She's a ripping sort, really! She's positively topheavy with 'IT'."
"Oh, Monty, am I late for tea? I'm so sorry."
"Mr. Waltham! It's been years, hasn't it?"
"Won't you have some tea?"
"Haven't I seen you some place?"
"In Paris, perhaps. I'm there so often."
"Desirez-vous du sucre?"
"What do you mean by bringing her?"
"You know what sort she is—with her fatherless child!"
"But, I say—it isn't fatherless—"
"I won't have her on board! We'll put back to port."
"Do you think we'll have as nice a day as this all day, Captain?"
"That's the last time I'll get you out of a scrape!"
"Miss Van Cortland seems to be rather lacking in reserve, doesn't she?"
"Personally, I think she has plenty—in reserve!"
"Betty, I've something to say to you."
"Won't it wait until morning?"
"I've been thinking things over, Betty. I want to talk to you—seriously."
"Be serious—with you? How silly!"
"I don't care what you've been—I want you to marry me!"
"I'd rather marry your office boy!"
"He asked me—and I laughed at him—and now it doesn't seem so darned funny, after all!"
"It was a ghastly joke, old man—her baby's just a moth—I mean a myth!"
"It's her friend's baby! And she's crying for you—I mean Betty, not the baby—"
"But you said yourself it was her baby—"
"Take the wheel, Monty—I'm going to find her."
"The ballast has shifted to port, sir—but there's no danger!"
"Silly of me, but I'm afraid I overdid it—made a left-hand turn and what not—"
"Take your girl friend. I had to knock her cold—but maybe it'll do her good."
"Betty, where are you going?"
"I'm going home!"
ITOLA
"Monty will get you."
"Monty, I wonder if there's anything between them?"
"I'm afraid there is."
"We're just a couple of It-less 'ITS'!"
This work is in the public domain in the United States because it was published in 1927, before the cutoff of January 1, 1929.
The longest-living author of this work died in 1964, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 59 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
Public domainPublic domainfalsefalse
- ↑ While the newspaper at 40:42 is the same newspaper as this one according to the film's story, the prop designers clearly used two different papers for these two shots. This is clear because 40:42 gives "[pos]session of the tiny child." and this one ends in "[posses]sion of the tiny child." (Wikisource contributor note)