CINEMA NEWS

Ashburton Guardian, Volume 69, Issue 75, 8 January 1949, Page 2

CINEMA NEWS

(By “Spotlight”)

M.G.M. REPORTS Jnines Mf 155011,*“'one of 1 lie screen’s most celebrated personalities, will portray Gustave Flaubert., one of literature’s greatest figures, in Metro-Goldwyn-Mayer’s forthcoming production of ‘"‘Madame Bovary.” The British actor, who will be making his second Hollywood film appearance in tlie highly dramatic story, joins an outstanding cast that includes Jennifer Jones, Louis Jourdan and Christian Kelleen.

The most glamorous premiere of a “gas” station ever held—even in Hollywood—is being planned by Esther'Williams, who lias just bought a station in Santa Monica. The M.G.M. star is planning a big opening with kleig lights, an orchestra and stars in attendance.

Frank Morgan is turning his desert holdings, pojt far from Palm Springs into fruitful vineyards—he is planting 200 of his 300 acres in grapes. The experiment of raising grapes in the nearby sand was introduced by his neighbour two years ago, proving so profitable that the M.G.M. actor has decided to follow suit.

Claude Jarman, jnr., who won a special Academy Award with his. first film appearance in ‘‘The Yearling, ’ has been selected for the part of another Southern hoy in M.G.M,’s “The Intruder.” Young Jarman will portray 16-year-old Chick, wiio helps an innocent Negro escape a lynching, in the picturisation of the William Faulkner novel.

Bustles and muttoncliops, the wearable kind, are the vogue at M.G.M., where five films in production or preparation cover mid-Victorian period of past century, from “Greyfriars Bobby” >(1858) through “Little Women,” “Madame Bovary,” “The Great Sinner,” to “The Forsyte Saga” (1880). Studio is even going further back in. the centuries for forthcoming “Robinson Crusoe,” which opens in 1659.

If you have a “growler” in your backyard, please contact Greer Garson, and we don’t mean a husband or a dog! A “growler,” fo.ur-wheelecl horse-drawn cab, is needed for scenes in the star’s new M.G.M. technicolour film, “The Forsyte Saga.” Such vehicles, forerunners of today’s taxi, plied London .streets during the latter part of the nineteenth century. The studio property department, which can usually supply any type of vehicle, from Aztec to Zulu, has no “growlers.” Unless one can be located, studio craftsmen will construct the Victorian ' not rod” from old drawings and photographs.

The cast on the set of M.G.M.’s “The Secret Garden,” marvelled at the sight that met their eyes. In a large cage, erected on the stage, were two foxes used in; scenes,of thej picture. The other morning the cage contained not only foxes but Margaret O’Brien having a wonderful time romping with the pair. Since everything seemed to be going amicably, no one said a word. At last Margaret waved goodbye to her playmates, and left the, cage. “What do you think of the foxes?” inquired Director Fred M. Wilcox. “Foxes,” squeaked Margaret, wide eyed, “I thought they were dogs!”

There-lias been a, lot said on the basic dress and the basic suit, but M.G.M. fashion designer Helen Rose goes one step further and recommends a basic evening gown. To give you some ideas Tor changing your basic party dress," Miss Rose (who is currently sketching the costumes for Judy Garland in “Annie Get Your Gun”) selected a strapless black satin gown, with a snug fitting bodice and very full skirt. With tins dress in mind she worked out five different changes.

NEWS FROM BRITISH EMPIRE FILMS, LTD. It was on the set of Eagle Lion's “Red Stallion,” the story of a boy’s devotion to a horse, that Robert Paige, who plays one of the leading roles was telling the modern version of the old fable of the three bears. “Mama and Papa Bear were out walking in the woods one day,” said Bob. “Suddenly Papa Bear said, ‘Let’s go home. I’m hungry.’ ‘Yes,’ said Mama Bear, ‘let’s go home. I’m-hungry too.’ So Mama and Papa, Bear went home. Papa Bear opened the door to the refrigerator. • ‘Someone was here and drank up all my beer,’ said Papa, Rear. ‘Someone was here and ate up all my radishes,’ said Mama Bear. Mama Bear and Papa Bear turned and looked at little Baby Bear. Baby Bear said, ‘Burp, burp.’ ” •

“Padded hips, _ and the roundshoulder, long skirt silhouette? I’m against them.” So says Constance Bennett. “The world has progressed mightily in science and education and industry,” says the actress. “I’m sorry I can’t say the same for some fashion designers. What if airplanes went back to the days of the Wright, Brothers, medical science to the days of the medicine man, and women returned to the days of elbow-grease and washboards? It, would be pretty gruesome. wouldn’t it? And that is exactly the word I think describes the new silhouettes—gruesome. We’ve reached a, sad state of affairs when designers don't, use their creative ability and go ahead, instead of reverting to the ugliest period of the past.” All this is stated with the force for which Miss Bennett is noted.

The bobby soxers are driving Turban Bey to drastic measures. Because of the hordes of youngsters who were gathering nightly at the front gates of the Eagle Lion studios where the romantic leading man was working in “Out of the Blue,” Bey evolved a plan to avoid them out of sheer desperation. At the end of the day, Bey would drive, his car into a huge caravan truck on the lot and then the truck would pull out of the studio. A few blocks away, the truck would stop and Bey would drive his car out and start on his way home. Beautiful rare silverware and plate valued at £BOOO were loaned by the Goldsmiths and Silversmiths Guilds for a. sumptuous State banquet featured in Ealing Studios’ “Saraband For Dead Lovers.” The tables were laden with rich food but little of it was genuine. The appetising pies contained wads of newspaper. The frmr •was papier-mache. However, ten or tin players were lucky. I hey had a real meal of a, standard rarely sampled these days, with the appropriate accompanying wines.