TALKING PICTURES

Ashburton Guardian, Volume 58, Issue 299, 29 September 1938, Page 8

TALKING PICTURES

Billie Burke is joining the cast <>l “The Young in Heart” tor Selznick. I'na Merkel will do a hulii-lmla with Eleanor .Powell in “Honolulu.” Universal have bought Deanna Durbin a story called “First Love.” Leo MeCarey would like to borrow George Raft for his first production for Radio. Irene Dunne will make a picture for Paramount, under Wesley Ruggles’s direction, in the autumn. ‘ Paulette Goddard’ is going into a summer stock theatre to play the lead in “French Without Tears.” Cinesound Productions Ltd., makers of “Let George Do It.” the uproariously funny comedy starring George Wallace, are the only Australian motion picture studios in continuous production. In addition to providing permanent employment to a large company of Australian artists, technicians and tradesmen, Cinesound are offering unique opportunities of a screen career to young Australians. Cinesound it was that started Jocelyn Howarth on her way to film fame. Errol Flynn, another Hollywood favourite, also made his dehut before a movie camera at Cinesound. Cecil Kellaway, Elaine Hamill, John Warwick, remember his sterling performance in “The Silence of Dean Maitland,” and Frank laughton, all now enjoying much success as screen stars overseas, played their first film roles at the Australian studios, under producer-director Ken G. Hall. Shirley Ann Richards, charming young* Australian who has also won fame audi favour by her work in three Cinesound productions, is a trainee of the studio talent school. Aileen Britton, Alec Kellaway. Rosalind Kenncrdale are others, and the list runs on Cinesound are certainly doing a great job for Australia. Their pictures to-day rank high in the standard of international productions, and are assured of prominent presentation and enthusiastic reception at leading theatres throughout the length and breadth of the Commonwealth. And hv their generous support and continued patronage, an appreciative Australian public say “Congratulations, carry on the good work.” Loy-Cabfe-Traoy in “Test Pilot.” With aviation the fastest growing industry in the world, and motion picture audiences demanding authenticity and realism in their screen entertainment, it is a. courageous producer who launches a bi.g air film. Metro-Goldwyn-Mayer discovered this with the production of “Test Pilot,” the week-end attraction at the St. .Tames Theatre. This picture was the studio’s first aviation picture in three years. Clark Gable, Mvrna Loy. Spencer Tracy, and Lionel Barrymore were given the starring roles. The air film was four months in production. Eight months prior to the starting date, location experts, production heads, and technical exports wore working on the picture. Pilots and cameramen flew 500,000 miles before the picture was completed, and -100.000 feet of film were shot before Fleming was satisfied

with the serial scenes. Only IU.OOOtt are used in the finished picture. Fighteen cameras were used in many of tile flying sequences. Nine of these were on the ground, tlie other nine handled by serial experts in ’planes, and 823 ’planes were used before the picture was finally completed. A great variety of types of niodeni land ’plane are shown. They include lighting crait, racing ’planes, passenger machines, and air liners. Five airports were used for location scenes. 'iTiese were Mines. Metropolitan, and d'nion Air Terminal in the I,os Anueles sector. ’Lindbergh Field in San Diego, and March Field, the army aerodrome, near Riverside. George Wallace in “Let George Do It.” Refusing a double for his i oca lion riding sequences in "l.el George Do li.” (i m 'soi 1 1 n I’ s riotous comedy, bvouglil praise lor George Wallace from his fellow actors, lull painlul results In George. Vaulting on to the tallest horse procurable, the popular little comedian galloped bareback up a country road, gamely clinging to his steed. After the third “take.” however. he decided that the horse’s backbone was sharper than any he had previously ridden, and by the end of the day* a limping figure painfully sank into the seat of the studio ear, with a sigh of relief. With his partner in comedy. Dotty Cravdon. George had to take several flying leaps on to the horse’s hack during the sequence.

(By “Spotlight.”)

George succeeded, hut the scene was made doubly humorous when Lotty mounted behind George in the final “take” with the aid of a step ladder she had borrowed from production manager, .Jack Soutir. And Lotty s fall from the galloping horse was another of the painful; experiences this comedy couple endured in the worthy cause of “art lor art’s sake. “45 Fathers.” The popular juvenile star. Jane Withers, ami the Hartmans, eccentric ventriloquists and Broadway' satirists, appear in “15 Fathers.” coming shortly to tin* St. .lames Theatre. Admirers of Jane Withers should find Ibis production well up to the standard ot hearty entertainment set by the previous pictures in which this precocious young star has appeared. Ihe story presents the situation of the 45 members of the Spear and Gun Club, to which. Jane’s dead lather belonged, when they draw lots to see which should have the task of making a home for the orphan child. Surrounded by an exceptional cast, Jane raises a riot in the exclusive bachelors’ club wdien its members adopt her, exposes a false romance, and brings happiness to everybody. Based on a story by Mary Bickel, the screen play, written by Frances Hyland and Albert Ray, is full of highly mirthful situations sprinkled' with tenderness and romance. Leaving Africa, where her father was fatally wounded while hunting. Jane meets the Hartmans, eccentric ventriloquists, dance satirists, and sleight-of-hand artists, aboard ship. Becoming inseparable, the trio arrives in New York, where after a series of wild adventures. Jane lands in a Fifth Avenue bachelors’ club, whose 45 members solemnly draw' lots to determine which one will have the privilege of being her foster father . Richard Carle wins, but the members find they have dynamite on their hands as Jane and her pet monkey go on a rampage. Carle takes Jane to his nephew’s home, where she seeks to do good by rescuing the wealthy nephew from an entanglement with an attractive hut scheming society girl. Her good intentions serve to cause more trouble, excitement, and fun. Building steadily 7 and hilariously to the climax, in which a heart halm trial is in progress, the picture becomes a carnival of laughter as Jane and the Hartmans expose snobbish society schemers with ventriloquism. Expertly directed by James Tinling, with John Stone as associate producer, “45 Fathers” is fast-moving, frolicsome entertainment. “Crime of Dr. Hallet.” “The Crime of Dr. Hallct.” shortly to ho released in Ashburton, is a powerful and poignant picture. Tt tears at the heart strings and holds the interest from the moment that Dr. Hallet is first seen fiediting a tragic misunderstanding in his Sumatran jungle lahoraforv, until tin* moment when he plucks victory and love from the jaws of defeat, and" the snares of hatred. The story of this picture concerns a battle of elemental love and hate, with men and women aroused to primal emotion at lever heat, against a baekeround of heroic martyrdom to science. Hallet goes to Samatra to find a fever euro, and falls in love ivitli his woman assistant. Dr. Reynolds. When Dr.

Saunders, another assistant. dies through an imperfect experiment, Hallet takes his name to carry on his work to fulfilment. Then Saunders’ wife, Claire, arrives and threatens exposure. Ralph Bellamy is outstanding as Dr. Hallet. William Gargan. as his ironical assistant, revels in one of the picture's host roles. Josephine Hutchinson. as Hallet ’s sweetheart, Dr. Reynolds, gives a touching portrayal, while Barbara. Read, as Claire, and John King, as the idealistic Dr. Saunders, round out a most convincing cast. S. Sylvan Simon's direction is grand.