HOLLYWOOD IN PERSON.

Auckland Star, Volume LXII, Issue 282, 28 November 1931, Page 5 (Supplement)

HOLLYWOOD IN PERSON.

GOSSIP FROM FILMLAND.

(By MOLLIE MERRICK.)

HOLLYWOOD, October 26.

Joel McCrea will be the lead in Hope Williams' picture, which gives this young man a unique record in what Hollywood calls ' "Motion Picture Breaks." When Joel McCrea was chosen to play opposite Evelyn Brent in "The Silver Horde," he was Hollywood's playboy extra —a lad who came to work in the most shining and imposing sportster on the lot. Executives eyed the cut of his clothes and studied the quirks of his haberdashery, knowing if they but followed in his footsteps they couldn't go wrong, for here was a young man from the classes with a bent for cinematic work.

Constance Bennett's releases liave done more for Joel McCrea than anything else. For this slim golden young lady is the magic personality of the colony to-day. Her stories are steeped in glamour for the great masses — and any man who enters a Connie Bennett film in the guise of the lover, is bound to rub some of the gold-dust off on his own ambitious wings.

Hope Williams comes to pictures with the reputation of being one of the most fascinating personalities ever seen on the New York stage. Time was when this sort of thing handicapped a girl in movies, but we are learning how to capture that subtle thing, magnetism, on the screen. Barry Williams, yachtsman, polo enthusiast and manager of the big Wyoming ranch, which is Hope Williams' greatest enthusiasm, aside from her work, will play a part in the picture; His sister introduced him to executives, put in a good work for 'him, and he was signed up forthwith.

Jack Gilbert keeps them all guessing. Blondes, brunettes, and blondes again, follow in rapid succession. His latest appearance in public featured Virginia Cherrill, uliat lovely blonde chosen by Charlie Chaplin for his lead in "City Lights." Virginia Cherrill has regular features—a camera face —lovely bhie eyes and a flawless skin, yet her picture career has been singularly brief. There seems to be a little difference of opinion between the Jack Dempseys as to their divorce. Jack Dempsey, granted a Reno divorce, considers himself a free man. Estelle Taylor, who contends that he is a resident of California and only staying in Nevada for business and

divorce purposes, declares that until the year -allotted by tlie Californian law expires, she will call herself Mrs. Jack Dempsey and will still consider herself wife of the ex-champion.

One of the strangest stories of Hollywood's indifference to the established great, and one of the most singular instances of a family's carelessness of its fledglings, is the tale of young Samuel Barrymore, colt, and his efforts to get into pictures. He, son of Ethel Barrymore and her millionaire manufacturer ex-liusband, has determined upon a movie career. 4 He set about making inquiries in the colony as to how such a feat is accomplished. He was told the usual: "Why, with your influence through your uncles —John Barrymore and Lionel Barrymore—it's easy. All you need is a word from one of them, and you get a camera test at once." Young colt rang his illustrious Uncle John, but to his consternation, received no helping hand in that direction. However, friends are doing for him the difficult work of opening studio doors. Bob Ames has played uncle and arranged camera tests, and through various, friends of his mother's, other contracts have been established. If he proves a true member of this royal-family, he will probably go

over well in Hollywood. He is all Drew in the upper part of the face, and the mouth and chin are Barrymore. If he combines the acting elements of the two strains, Hollywood will fall heir to a young man who may supply the things they most desire. But, if he gets anywhere, it will be on his own merits and without help from that relentless acting family, which believes every man should fend for himself.

Broadway producers are beginning to reach towards the movie village for stars for the coming season. Ina Claire is receiving such flattering offers that she may decide to do a 'play this winter, returning to the colony in the late spring to finish the contracts she now holds. It is four years since Broadway has had Ina Claire in a smart comedy; that street is beginning to feel cheated. Meanwhile, Ina Claire is finishing the role of the subtle vamp in "The Greeks Had a Word for It." Lowell Sherman has suffered an attack of larynxgitis just as the time for shooting his own particular talking sequences has arrived; he has been directing the picture also.

Richard Bennett is perhaps the greatest "pick-up" the modern movie can have. His superb art livens each film in which he is cast, so much so that producers are paying him a "dizzy" salary for those marvellous characterisations of his. Even if the final footage assumes an amazingly small proportion, Bennett has astounded them all by his generosity and understanding of their time and money problems—and this group of men, accustomed as they are to being bled at every turn, do not quite know what to think of him. That is, so far as money goes. So far as acting goes, they realise more often than not that five minutes of Richard Bennett is an audience cocktail with plenty of kick to it.

Paramount will make available next year 70 feature-length pictures, together with a great variety of short features, according to Mr. John W. Hicks, jun., managing director for Australasia. The short feature schedule will include 32

two-reel comedies, 52 single-reel musical acts, 12 pictorials, 18 talk-cartoons, 18 screen songs. "Next year's group will be known as .the company's twentieth birthday jubilee programme," Mr. Hicks remarked, "because 1932 will mark the twentieth anniversary of the entrance into motion pictures of Adolph Zukor, its president. The new programme will comprise . more pictures of long-run calibre than ever before, as well .as some exceptional attractions from the British studio at Elstree."

Irene Dunne, and Pat O'Brien, having made good in a big way as a movie team, will in future be given roles together. Teams are becoming more and more difficult, according to talkie makers, who insist that' one or the other of a pair will score and the combination discarded. But Irene Dunne and Pat O'Brien have gone over from scratch with a very poor story, it would seem. So from now on it will be fun to see what they may do with better material. They will be given what's left of "Penthouse"—the talkie originally intended for Hope Williams. But that lady probably read the scenario, listened to the proposed changes, saw them effected, and then backed out. *

Phyllis Konstam, the beautiful British actress, has insured her, eyes for £5000.