MICKEY ROONEY.

Evening Post, Volume CXXVII, Issue 75, 30 March 1939, Page 21

MICKEY ROONEY.

Mickey Rooney, who achieves stellai honours for the first time, co-starring with Spencer Tracy in "Boys' Town,' was born on September 21 in Brooklyn New York. His mother and fathei were both in vaudeville and Mickey spent the early days of his life in the lid of a theatrical trunk. At the age of fifteen months he broke out of hh backstage dressing-room nursery and wandered on to the stage, where he completely broke up the headline act Thus his career began. At the age of two he was on his own in an act oJ singing, dancing, and imitations. Arriving in Hollywood with his mother on nis fifth birthday he appeared in Will Momssy's Revues. Here he came tc the attention of motion picture producers, who cast him as Mickey MeGuire in a comedy series based on the comic strip. Today Mickey occupies the unique spot of being the only "kid character actor" in pictures. He has appeared in more than seventy-five featured roles since leaving the MeGuire series. GIGANTIC SETS BUILT. The largest location set ever constructed outside of Hollywood for a motion picture was erected at the base of Mt. Whitney, 225 miles from the cinema capital, for RKO-Radio's "Gunga Din." Using nearly 1500 players and technicians for its more thrilling scenes, approximately two-thirds oi the film epic was filmed in scenes representing India's lofty Himalayan ranges. The gigantic sets included a large army cantonment and.the sizable town of Muri, the native village oi Tantrapur nearer the frontier border, and a huge Hindu temple serving as the headquarters for a tribe of religious fanatics, knows of Thugs. It is an uprising of this murderous band of religious stranglers, and a British battalion's efforts to crush it, that the exciting story of "Gunga Din" describes. Cary Grant, Victor McLaglen, and Douglas Fairbanks, jun., portraying three army sergeants stationed at a British colonial outpost, have the stellar roles. One of the spectacular high lights of the production is a battle between the natives and her Majesty's soldiers. For this fierce conflict, Darrell Silvera, head of RKO-Radio's property department, was required to obtain the following unusual armaments typical of the turn-of-the-century period:—l2oo muzzle loaders and regulation rifles; 425 cutlasses, sabers, and swords; 280 lances, 8 cannons; 2 Gatling guns; 80,000 rounds of ammunition for the obsolete guns, and 400 horses accustomed to both cameras and gunfire. In constructing the four mammoth sets, it is interesting to note that 2,000,364 board feet of lumber was utilised and one ton of nails. Fifty elephant-headed pillars 25 feet high were constructed for a Hindu temple. It took two sprinkler trucks and 27,000 gallons of crude oil to transform seven acres of level ground at the foot of Mt. Whitney to look like the black soil of Northern India. The ground was thus "dyed" in the vicinity of the army cantonment, where the drill field, barracks, and officers' quarters were located. MARY DEES OF "THE WOMEN." Pretty Mary Dees of "The Women," which play comes here shortly, was born in Alabama, but is a Californian by long residence. She looks exactly like Jean Harlow, as she was seen on the screen, is the same height, weighs the same, and wears her hair in a similar platinum blonde bob. "I want to forget the Harlow angle and build up an acting individuality of my own," she confesses. This has led her to abandon film work temporarily for the theatre. Her role in "The Women" is her first stage venture. Miss Dees is insistent in describing herself as "double" and not "stand in" to Jean Harlow. "Those are two entirely differen things," she says. "A stand-in does not necessarily resemble a star, but, naturally, a double must, and is a very necessary person. All stars of importance have doubles who substitute for them when they are ill to avoid hold-ups in the production of the film." SOCIETY TO SCREEN. One of Hollywood's best up-and-coming young actresses is Louise Platt, whose resemblance to Katharine Hepburn has been noted, though they are not actually alike except in feature. Louise Platt is the daughter of an American naval surgeon and was educated in Manila. She studied law with the object of taking up a career, but the stage claimed her attention; she worked for some time in the Minneapolis repertory movement, later appearing in a New York drama festival when producer Walter Wanger noticed the intelligence, poise, and eagerness of her work. She has been given several excellent roles, notably in "I Met My Love Again" and "Spawn of the North," winning the role in the later release against the tests of such experienced actresses at Carole Lombard, Madeleine Carroll, Barbara Stanwyck, Mkiam Hopkins, and Virginia Bruce. At 21, this young Connecticut society girl is headed for the stars. In "I Met My Love Again" she was teamed with Henry Fonda, Joan Bennett, and young Tim Holt, the son of Jack Holt, a veteran of the silent screen who is still a prominent Hollywood actor. Tim is a grand polo player who prefers games to movies. A HOT DOG. "The English language is very funny and sometimes I think I shall never learn all of it," Franciska Gaal told Bing Crosby while working with him in Paramount's "Paris Honeymoon." Bing, however, laughed as he recalled Miss Gaal's arrival in Hollywood from Vienna year ago. "You couldn't speak a word of English then," said Crosby. 'Now listen to you today. You know as many words as I do." "Well," reolied Franciska, quite seriously, "just when I think I am good I learn something else. I heard a man today ask another man to get him a 'hot dog.' Mow I had heard of Americans eatng 'hot dogs' and I thought it very wicked. I got so curious that I waited around until the man returned. I can't ;ell you how surprised I was when I "ound that the man was just carrying i Bologna sandwich.".

AUBREY SMITH, C.B.E. "England's Ambassador to Hollywood" is the, veteran actor, C. Aubrey Smith, C.8.E., who has done for the films what Sir Henry Irving did for the stage. By the quality of their work and the dignity of their private lives they approach similarity. Mr. Smith once captained a British cricket team, and it is not surprising that he plays an important part in cricket in Hollywood. He first went to America in 1930 to act in films, and now divides his time between Hollywood and London, where he has a flat in Portland Place. This distinguished veteran of stage and screen is at home at Lord's, and numbers among his friends statesmen, Empire builders, theatrical folk, and private people of note. While he was in England for the newest Queen Victoria film he motored extensively through Scotland. One of the high lights of his latest visit to his home country was seeing Bradman at Lord's. C. Aubrey Smith comes of a family of theatrical note, and has been on the stage for 25 years. In "Sixty Glorious Years" he plays the Duke of Wellington, whos.e death occurs in the film story. Aubrey Smith, C.8.E., is a very lovable English gentleman.

RICHARD CROOKS. t I Returning to New Zealand for i » brief season prior to touring Australia J and then proceeding to America [ Richard Crooks, the world's favourite ' tenor, will give three concerts in the ; Wellington Town Hall on May 20, 23 5 and 25. Richard Crooks consistently maintains his position as America's most popular tenor, and one of the world's finest artists. His voice lends itself equally well to the singing oi 1 operatic arias, classic lieder, popular ' ballads, or sacred songs. For the coni summate artistry of his musicianship .he has been repeatedly likened to 1 many of the greatest tenors of the past, but the magnetism of his per- ; sonality is distinctly Richard Crooks, ■ Crooks's career is typically American, As boy soprano in his native Trenton, N.J., he worked hard to provide himself with means for serious study."He first sang from the concert platform when only ten, attracting unusual notice at an important music festival. Although he was under age when the United States entered the World War, he joined the 626 th Aero Squadron. Shortly after resuming his musical activities in. New York in concert, recital, and as soloist with orchestra, he was in demand from coast to coast. His operatic debut was made in Hamburg, Germany, in "Tosca," followed by appearances at the Stadtische Opera in Berlin, where he again created a furore. Crooks made his first appearance at the Metropolitan Opera House, New York, on February 25, 1933, in Massenet's "Manon." He had declined contracts until he felt ready to appear in this house of great tradition after serving' his apprenticeship on the concert stage. His first appearance there "stopped the show" for many minutes. Since then he has earned ovations for his finished portrayals of the leading tenor parts in "Manon," "La Traviata," "Faust," "Linda di Chamounix," "Tosca," "Madame Butterfly," and "Mignon." In a recent radio poll he was selected as "the most popular" tenor of classic repertory on the air. Besides his performances in opera in America, he has appeared in concert and recital in England, Germany, France, Hungary, and the Scandinavian countries. During the summer of 1936 he made a successful tour of Australia. His phenomenal success in New Zealand followed.

A TREASURED VIOLIN. Above the great orchestras playing the music of Johann Strauss in "The Great Waltz" sings the golden tones of what is acclaimed the world's most' valuable violin. This is the Da Vinci Stradivarius, declared by experts to be the finest example of the ancient, violin maker's art. It is owned by Toscha Seidel, eminent concert artist, who was soloist for important numbers in the musical score of the new picture. Made by Stradivarius in the seventeenth century, the violin's history is obscure up to 1886, when, after changing hands many times, it came into the possession of the House of Chardon in Paris. The Chardons christened it the Da Vinci violin. It created a furore among musicians. From this family it went to the Lachmarin collection in Germany. Whett the depression came it was sent to the United States to be sold, and Seidel purchased it. In 1924 it was conservatively valued by experts at £12,000, but since then Seidel has refused seve» ral offers of £ 16,000 for the rare instrument. In tone, he says, it surpasses any other violins created by the maker. Orchestras duplicating those of Strauss, whose assemblies were composed mainly of stringed instruments, were used in the music for "The Great Waltz," a story of the composer's life, with Luise Rainer, Fernand Gravet, and Miliza Korjus.

PHILANTHROPIC LADS. Now in Wellington in the course of their Dominion tour, the members of the Young Australians Band and Revue company have enjoyed their progress through the North Island and were especially intrigued with the sight of snow-capped mountains. All are anticipating their southern tour, with hopes of seeing more snow, and speak highly of the magnificent scenery through which they have already passed. It is a very happy band of young men, and in Australia, particularly in New South Wales, their philanthropic acts are deeply appreciated. Charities benefit from the profits of their concerts, and many organisations have reason to be grateful to this talented little band o£ boys. Visits to hospitals and institutions are made by the boys, who provide entertainment for inmates unable to enjoy the usual amenities-of the theatre. The majority of the lads are sons of returned soldiers and are imbued with a . cheerful spirit of camaraderie and charity. The company has recently concluded a tour of South. Africa, and in Durban received at the hands of Miss Ethel Campbell, a wellknown personality in connection with soldier organisations, a welcome of which the boys are exceptionally proud. During their present tour they are scouting for talent, and have already annexed a clever young Auckland piano-accordeon player. A tour of Canada is contemplated at the end of the New Zealand tour, and it is hoped to again - include South Africa and Rhodesia in the itinerary. -The- lads speak in glowing terms of the hospitality being received throughout New Zealand. SHAW'S "APPLE CART." ■ The Wellington Repertory Society cannot be accused of being complacent or lacking enterprise for not only has it a comedy running concurrently with a picture of the same title, but it also has Bernard Shaw's "The Apple Cart" in rehearsal under the direction of Leo dv Chateau at the same time. "The Apple Cart," it will be remembered, was first produced at the Moscow Arts Theatre. Later it wa3 produced in London/where it met with a mixed reception. But in New York it apparently peeved the critics according to an excerpt from the New York "Times." "Being a law unto himself, and quite properly, Mr. Shaw does not pretend to be a play-joiner in 'The Apple Cart.' He1 is notoriously ready with answers, so he conducts a long conversation with himself, dubbing his piece 'a political extravaganza.' It is benignant deviltry. As usual, he speaks candidly about subjects that are commonly approached with tact. And he takes a poke at the United States which is no longer news. 'What they call an American!' he lets a female Cabinet Minister say, 'is only a wop pretending to be a Pilgrim Father.' Towards England his heart is forgiving and almost warm. 'This ilttle gem set in the silver sea,' he permits the King to murmur in • its honour. It is as bad a play as only Bernard Shaw would write in the ripeness of his years. Of all the bad plays produced this season this is the worst." "HOLLYWOOD HOTEL" REVUE. The speed, dexterity, and symmetry, of the eight original "Big Apple" dancers, who make their appearance in the "Hollywood Hotel" revue, which opens at Wellington shortly, are amazing. The act is the first of its kind to be brought to New ' Zealand, and the rounds of applause which have followed the dancers' performances throughout Australia, prove without a doubt their popularity. These talented coloured people give an authentic exhibition of the "Big Apple", as originally danced in the Harlem district of New York before the modified version was introduced to the ballrooms of the world. With a reproduction of an oldtime Mississippi show boat aglow with lanterns as a background, the dancers work up to a startling climax of colour and speed, creating a magnificent spectacle which has seldom been equalled on stage or screen.