Author: [20th Century Photographer]
Title: Louis Hayward and Joan Bennett. (Scene from the Motion Picture "the Man in the Iron Mask")
Description: London: Edward Small Prod. [Ca. 1939]. Original hand colored real photograph issued as a postcard. 5.5 x 3.5 inches. Very Good. Printed on verso: "Film Partners" Series, 85, Long Acre, London; No. PC 306. Made in Great Britain. The Man in the Iron Mask is a 1939 American film very loosely adapted from the last section of the 1847-1850 novel The Vicomte de Bragelonne by Alexandre Dumas, père, which is itself based on the French legend of the Man in the Iron Mask.The film was Peter Cushing's screen debut. It was also notable for being the source of several subsequent remakes. The film was directed by James Whale and stars Louis Hayward as royal twins, Joan Bennett as Princess Maria Theresa, Warren William as d'Artagnan, and Joseph Schildkraut as Nicolas Fouquet. Louis Charles Hayward (19 March 1909 – 21 February 1985) was a Johannesburg-born, British-American actor. He became a protege of Noël Coward and began appearing in London in plays such as Dracula and Another Language. He was in the Sir Gerald du Maurier stage play, The Church Mouse. He started being cast in some British films of the early 1930s, such as Self Made Lady (1932) and The Man Outside (1933). He had the lead role in Chelsea Life (1933) and supporting parts in Sorrell and Son (1933), The Thirteenth Candle (1933) and I'll Stick to You (1933). Joan Geraldine Bennett (February 27, 1910 – December 7, 1990) was an American stage, film, and television actress. She came from a showbiz family, one of three acting sisters. Beginning her career on the stage, Bennett then appeared in more than 70 films from the era of silent movies, well into the sound era. She is possibly best-remembered for her film noir femme fatale roles in director Fritz Lang's movies such as Man Hunt (1941), The Woman in the Window (1944), and Scarlet Street (1945). Bennett's career had three distinct phases: first as a winsome blonde ingenue, then as a sensuous brunette femme fatale (with looks that movie magazines often compared to those of Hedy Lamarr), and finally as a warmhearted wife-and-mother figure. .

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