SEXY Carole Lombard UP POPS THE DEVIL (1931) still 1316-66 pre-Code Norman Foste

(This looks MUCH better than this pictures above.) SEXY Carole Lombard UP POPS THE DEVIL (1931) still 1316-66 pre-Code Norman Foster, probable restrike or original? A REAL COLLECTOR’S ITEM! A photo restrike is a second-generation print made from the same plate as the original, but after the initial run. The time between the original and the restrike can vary from a month to several years. This would look great framed on display in your home theater or to add to your portfolio or scrapbook! A worthy investment for gift giving too! PLEASE BE PATIENT WHILE ALL PICTURES LOAD After checking out this item please look at my other unique silent motion picture memorabilia and Hollywood film collectibles! SHIPPING COST CAN BE CUT WHEN SHIPPING MULTIPLE ITEMS TOGETHER AND SAVE $ See a gallery of pictures of my other auctions HERE! This photograph is a real photo chemical created picture (vintage) and not a copy or reproduction. DESCRIPTION: “Up Pops the Devil, the 1931 A. Edward Sutherland New York City Broadway romantic marriage comedy ("Fresh-sparkling intimate drama of life among the mad, modern younger 'marrieds'"; "She keeps her husband on allowance--and--the allowance of love runs low!"; about a married man who quits his steady job to finish his novel, and his sexy wife takes a job as a dancer in a Broadway show, and that puts lots of strain on their marriage, and then she discovers she is pregnant!) starring Richard 'Skeets' Gallagher, Stuart Erwin, Carole Lombard, Lilyan Tashman, Norman Foster, and Theodore von Eltz.” CONDITION: This vintage 8” x 10” still photograph is in Near MINT physical condition with only faint scuff marks (old yes, with an excellent detailed image that is possibly an original or maybe a better restrike. YOU CAN SEE EYELASHES CLEARLY) SEE PIX FOR MORE DETAILS. A photo restrike is a second-generation print made from the same plate as the original, but after the initial run. The time between the original and the restrike can vary from a month to several years. Finally, this is a vintage. (This is NOT a cheap digital dupe, a re-release or copy, it is a real vintage photograph made the year of the release of the film or soon after.) SHIPPING: Domestic shipping would be USPS Ground Advantage (includes $100 insurance) and well packed in plastic, with several layers of cardboard support/protection and delivery tracking. The USPS has removed FIRST CLASS from eBay’s postage label system. (Darn it!) International shipping depends on the location, and the package would weigh close to a half a pound with even more extra ridge packing. PAYMENTS: Please pay PayPal! All of my items are unconditionally guaranteed. E-mail me with any questions you may have. This is Larry41, wishing you great movie memories and good luck… BACKGROUND: “Up Pops The Devil was a Broadway play by Albert Hackett and Frances Goodrich which ran for 148 performances on Broadway, a most respectable run for the Depression years. It is most dated since it rigidly defines the gender roles of the day. I doubt will see the play revived or the movie remade. Norman Foster and Carole Lombard are husband and wife. He's an ad man who dabbles in writing, she's your typical homemaker. When he gets a nibble on one of his story ideas he can't work on that exclusively so she goes to work as a showgirl for nightclub owner Theodore Von Eltz. He stays at home and is real unhappy the wife is supporting the household. They used to entertain a lot, but it turns out Foster can't budget and manage money the way Lombard could. Parties are out, a lot of what they did is out. Both also spark interest from other parties for affairs. Best in the film is a cameo from Stu Erwin as an inebriated stranger who wanders in off the street because it looks like a good time is to be had. It's a good film, but it's a museum piece, terribly dated.” “Carole Lombard was born Jane Alice Peters in Fort Wayne, Indiana, on October 6, 1908. Her parents divorced in 1916 and her mother took the family on a trip out West. While there they decided to settle down in the Los Angeles area. After being spotted playing baseball in the street with the neighborhood boys by a film director, Carole was signed to a one-picture contract in 1921 when she was 12. The film in question was A Perfect Crime (1921). Although she tried for other acting jobs, she would not be seen onscreen again for four years. She returned to a normal life, going to school and participating in athletics, excelling in track and field. By age 15 she had had enough of school, though, and quit. She joined a theater troupe and played in several stage shows, which were for the most part nothing to write home about. In 1925 she passed a screen test and was signed to a contract with Fox Films. Her first role as a Fox player was Hearts and Spurs (1925), in which she had the lead. Right after that film she appeared in a western called Durand of the Bad Lands (1925). She rounded out 1925 in the comedy Marriage in Transit (1925) (she also appeared in a number of two-reel shorts). In 1926 Carole was seriously injured in an automobile accident that resulted in the left side of her face being scarred. Once she had recovered, Fox canceled her contract. She did find work in a number of shorts during 1928 (13 of them, many for slapstick comedy director Mack Sennett), but did go back for a one-time shot with Fox called Me, Gangster (1928). By now the film industry was moving from the silent era to "talkies". While some stars' careers ended because of heavy accents, poor diction or a voice unsuitable to sound, Carole's light, breezy, sexy voice enabled her to transition smoothly during this period. Her first sound film was High Voltage (1929) at Pathe (her new studio) in 1929. In 1931 she was teamed with William Powell in Man of the World (1931). She and Powell hit it off and soon married, but the marriage didn't work out and they divorced in 1933. No Man of Her Own (1932) put Carole opposite Clark Gable for the first and only time (they married seven years later in 1939). By now she was with Paramount Pictures and was one of its top stars. However, it was Twentieth Century (1934) that showed her true comedic talents and proved to the world what a fine actress she really was. In 1936 Carole received her only Oscar nomination for Best Actress for My Man Godfrey (1936). She was superb as ditzy heiress Irene Bullock. Unfortunately, the coveted award went to Luise Rainer in The Great Ziegfeld (1936), which also won for Best Picture. Carole was now putting out about one film a year of her own choosing, because she wanted whatever role she picked to be a good one. She was adept at picking just the right part, which wasn't surprising as she was smart enough to see through the good-ol'-boy syndrome of the studio moguls. She commanded and received what was one of the top salaries in the business - at one time it was reported she was making $35,000 a week. She made but one film in 1941, Mr. & Mrs. Smith (1941). Her last film was in 1942, when she played Maria Tura opposite Jack Benny in To Be or Not to Be (1942). Tragically, she didn't live to see its release. The film was completed in 1941 just at the time the US entered World War II, and was subsequently held back for release until 1942. Meanwhile, Carole went home to Indiana for a war bond rally. On January 16, 1942, Carole, her mother, and 20 other people were flying back to California when the plane went down outside of Las Vegas, Nevada. All aboard perished. The highly acclaimed actress was dead at the age of 33 and few have been able to match her talents since.”