FOOTLIGHT FLASHES

Evening Star, Issue 22578, 20 February 1937, Page 5

FOOTLIGHT FLASHES

SCREEW JOTHR6S

Lilian Harvey, on holiday on the Riviera, is returning to Germany to appear' in a political drama.

How do motion picture players study their lines? Methods differ, of course, but a good example is the cast of Pafamount’s ‘A Son Comes Home,’ in which Mary Boland plays her first ‘dramatic role, and which is to commence oh Wednesday at the Grand. Miss Boland locked herself in her library and didn’t come out until the lines for her following day’s scenes were letter perfect. Donald Woods studied his role in bed, and usually, fell asleep [while reading it. Julie Haydon committed her lines to memory while taking long walks, and even studied them while on the way to the studio. How Wallace Ford learns his lines is a mystery. He seldom looks at a script, but never fails to have his lines and businesh ready. He possesses a most active mind and commits the dialogue in some manner duping rehearsals, Anthony Ngce (.was usually found outside the studio reading over his lines »—and with his shoes off. Roger Imhof insists he can study best with music, and turns on the radio, hunting for a symphony concert while concentrating. Mis 'sßoland’s role in ‘A Son Comes Home ’ is emotional. She portrays a mother who, while seeking to aid an innocent man charged with murder, discovers that hor own son, who deserted her; years before, is the real murderer..

The “ gadgets ” used on a motion picture set are a source of never-failing amazement and amusement to Burgess Meredith, young Broadway star, who is making his film debut in RKO Radio’s Wintersat,’ playing the role he made famous on the New York .stage. ‘‘ ]n my first scene,” Meredith told a friend, kl I was a little strange to it all, anyhow, but just before the cameras started turning I 'was set upon by people from all corners. _ One. had a spray gun full of an oil mixture, which he aimed at my forehead to make synthetic perspiration. Another dabbed my nose with a sponge full of grease paint with one hand and smoothed my hair down with his other. A third worker was having a fine time sprinkling water on my shoulders from a little bucket, so I’d look like I’d just come out of the rain.” When he is not needed in a scene Meredith can generally be found prowling around the sound stage seeing what other new and unfamiliar tricks of the trade he can find.

Mary Maguire, the youthful star from Australia, who is known as “ Australia’s Mary Pickford,” is making her American debut in ■ ‘ Love Begins,’ now in production at the Warner Bros.’ First National studios. Tom Brown is appearing opposite Miss Maguire in the film, other principals being the one and only Hugh Herbert, with Joseph King, Arthur Aylesworth, Dorothy Vaughan, and Teddy Hart of ‘Three Men on a Horse.’ The script of 1 Love Begins ’ was written by Lillie Hayward from an original story by the distinguished’ novelist Ida A. R. vWylie. Louis King is directing.

by “Loiterer”

Writing of ‘ Toll of the Road,’ ■which conies on Friday to the Strand, the film critic of the ‘ Evening Post ’ of Wellington said: “ A most unusual and striking film was released this morning by Paramount and parliamentarians, City Council traffic officers, and executives of the Wellington Automobile Association were invited to the

screening. The film has already been screened before the Minister of Transport (the Hon. R. Semple), who is convinced that it holds a definite interest for motorists. Spectacular crashes, loss of life, and unexpected catastrophe to drivers in many forms are shown vividlly. In order to attract public attention, the lesson is presented in the form of romance, but this is done so naturally that it does not detract from the stern lessons given. The heroine, a society “ Bud,” is introduced speeding at 72 miles on a zone restricted to 30. When she details the happenings at the swimming pool, her story is hailed with delight, but the tragedy which is later

worked out amongst her cocktail-drink-ing, pleasure-loving, speed-worshipping friends is gripping. The slowness of even the most amiable people to realise that when they speed, drive with faulty brakes, disregard traffic rules, and drive when intoxicatedj they are potential engines of destruction, is well brought out. There are wonderfully realistic wrecks. An innovation is the delinquents’ .school, where those who have their licenses endorsed often enough are shown moving pictures of typical smashes and the causes.”

Jottings on the people of tha Stage and Screen and on the latest recorded Music.

What has brought about the sudden rise of the child star on the Hollywood scene? Can it be ascribed only to a whim of movie studios themselves, or has it a deeper meaning? Motion picture producers think it has. They say that the film world has been answering a sudden new demand when it lias “ boosted ” to stardom Shirley Temple, Freddy Bartholomew, Jane Withers and the latest of all, Virginia Weidler, starred for the first time in Paramount’s ‘ Girl of the Ozarks,’ mountain picture. And the demand, they hold, is signified. A. M. Rotsforth producer of ‘ Crirl of the Ozarks,’ puts it this way: “If the movies cannot gauge what is going on in the homes of the nation, they die. When they do deflect the tastes of American life, they prosper. They make a perfect index of the nation's heart and mind. The child star’s popularity has a very deep meaning. It indicates that America is seeing a return of the homo ns the centre of fife, that the terrific tempo of the ‘ jazz ’ age lias settled down to a pattern close to the true nature of the American people.” The pattern to which the nation is returning, he believes, is the pattern of days before the World War. The war, autos, prosperity, and sprawling growth sent Americans on a rapid search for novelty and more notelty. Life spilled out of the home on to the highway and into dance halls and night clubs. To-day, he says, America is going back to its old folkways. Both radio and the depression, Botsford feels, have been important factors in bringing about the change. A girl’s influence on the romance of two older people, both of whom she loves, is the theme of Virginia Weidler’s picture, which comes to the Strand on Friday,

Director Gregory La Cava “ did his stuff ” and upset the old theory about “ Jack of all trades, master of none.” His early experience as an artist and a cartoonist served him in’good stead while he was producing Universal’s ‘ My Man Godfrey,’ starring William Powell and Carole Lombard, coming on Friday to the Empire. La Cava made oil paintings for 15 years before he became a newspaper cartoonist. In Hollywood ho developed into one of filmdom’s leading cartoon animators, and then became a director. He utilised his knowledge of art in planning the colour schemes of all the 28 important sets with Charles Hull, who carried out the designs. The elaborate Waldorf set was a faithful reproduction of the modernistic lobby of that famous hotel, even to the running elevators in the sequence. The cameras in this immense set were rigged to a giant crane that had a 50ft steel arm, which swung in

a complete semi-circle, either vertically or horizontally. The cameras operated on a swivel, which made it possible to shoot scenes with great fluidity, carrying the action from one place to another with smooth, uninterrupted rhythm. La Cava’s cartoons came into use during the “monkey shine” sequence of Misclia Auer’s. The director made a series of sketches that showed Auer how his leaps would proceed, to make it easier for the cameras to follow him. A copy of these sketches was given to the cameraman to simplify his work still further. Charles Hall added special steel springs to the furniture which Auer used as jumping-off places.

In ‘ Men are Not Gods,’ a London FdlAis picture shortly to be released in New Zealand, Miriam Hopkins plays the part of Ann Williams, secretary to the theatre critic of the ‘ Daily Post.’ It is Ann’s falsely reported criticism of the ‘ Othello ’ first night that makes Edmond Davey, in the name part, famous overnight. Ann, who loses her job for distorting the criticism, goes to see the actor from the gallery and becomes infatuated with him’. She gets to know him well, but gives him up when Edmond’s wife begs her to do so. In the latter part of the film, when matters come to a dramatic climax on the stage of His Majesty’s Theatre,. Ann is the means of stopping Edmond from killing his wife Barbara. This is iriam Hopkins’s first appearance in a British film, although she has played ou the London stage. She has many successes to her credit, including ‘ Design for Loving,’ 1 Barbary Coast ’ with Edward G. Robinson, ‘ Becky Sharp ’ (the first fulllength colour film), ‘Splendour,’ and finally she gave a brilliant and sensitive performance as Martha in 1 These Three ’ under the Goldwyn banner.

Madge Collins, 18-year-old sister of Cora Sue Collins, child film star, makes her screen debut with Claudette Colbert and Fred Mac Murray in ‘ Maid of Salem,’ the historical romance being produced and directed by Prank Lloyd at Paramount.

Leslie Howard has refused to allow Ills daughter, also named Leslie, to appear in Paramount’s ‘ National .Velvet.’

Because of her work with Dorothy Lamour in Paramount’s ‘The Jungle Princess,’ Molly Lament, South African beauty, has been given roles in several other Paramount pictures, including ‘Happiness Preferred.’

The sharpest eye and the steadiest hand in Hollywood missed their mark for the first time in 20 years. So Ronald Column, star of 20th Century’s ‘ Under Two Flags,’ now at the State, figures himself lucky to he alive and only suffering from a slight bum]) inflicted when a flying knife hit his chest. The man who missed is Steve Clemente, an unseen motion picture star, whose job it is to throw knives that miss by the narrowest fractions or plunge in up to the haft, according to orders. At one time a leader in Pancho Villa’s insurgent forces, Clemente deserted that precarious mode of living for the pickings of Hollywood, where he has been getting knife-throwing assignments at 250d0l a throw. Steve blames the unfortunate incident in ‘ Under Two

Flags ’ on the crowding extras, for his knife quivered for an instant in the post which he intended to hit, then deflected to strike Colinau a forceful blow in the chest. Despite the protests of Frank Lloyd, the director, the plucky star insisted on reshooting the scene, and everything came off according to schedule the second time. But Steve, abashed at his mistake, refused to accept his pay for the assignment. Column, who plays a Legionnaire in the

adaptation of Ouida’s immortal novel, appears with Claudette Colbert, Victor M‘Laglen, and Rosalind Russell in this stupendous drama of blazing war and flaming love, set against Sahara’s arid deserts.

Fresh from operatic, triumphs at the Metropolitan Opera House, New York, Grace Moore and Lawrence Tibbett are co-starred in Metro-Goldwyn-Mayer’s film version of the famous stage success * New Moon,’ which opens at the St. Tames on Friday. Lawrence Tibbett gives an outstanding portrayal of a fiery lieutenant in the Russian Army who falls in love with Grace Moore, a Russian princess, on a steamer, New Moon,'bound for a Russian port. After

several charming scenes on the ship, in which both are given opportunities to sing some delightful numbers, they realise their love for each other. When the steamer reaches port, however, the engagement of the princess is announced to Adolph Menjou, a Russian nobleman, and a high officer in the Russian Army, and at a hall subsequently given by Menjou to announce his engagement Tibbett sings a scornful song, directed at the princess. For this be is sent to command an outpost where no man has been able to subdue the tierce tribesmen. The shots of the tribesmen whom he commands are . particularly fine. Grace Moore follows the lieutenant to the fort, determined to punish him for the insulting song, and while she is there an attack on the fort becomes imminent. Tibbett, with great courage, leads the attack, and the princess is forced to seek his protection. Lawrence Tibbett, at the lieutenant, gives a powerful performance, and impresses with the great vigour of his voice and his very fine acting capabilities. Grace Moore deepens the impression made in ‘ One Night of Love ’ with her beautiful voice, and acts with rare poise and artistry. Roland Young gives a sound performance as a debonair court official, and Adolph Menjou acts in his usual polished manner. Gus Shy and Emily Fitzrov also please. Numbers by Clifford Grey and Herbert Stothart augment the original song successes. ‘ Wanting You,’ ‘ Stout Hearted Men, and ‘ Lover, Come Back to Me.’ The story is good, containing as it does romance, adventure, and excitement, and the picture has all the elements of good entertainment. • • * • 'i'' ■ * When You’re in 'Love ’ will be the permanent release title of Grace Moore’s current Columbia starring picture, which up to this time has been known as ‘ Interlude.’ Cary Grant is the musical star’s leading man, and Columbia has surrounded her with a distinguished cast of stage and screen personalities, including Henry Stephenson, Catherine Doucet, Aline MacMahon, Thomas Mitchell, Luis Alberni, Marcelle Corday, Edgar Kennedy, Soledad Jiminez, Pat W*est, Billy Gilbert, Lucille Ward, Montague Scott, Remain© Callender, Patsy O’Connor, Gene Morgan, Robert M'Kenzie, Gerald Oliver Smith, and Edward Keane. Robert Riskin and Harry Lachman redirected, while the former also authored the screen play. Leon Leonidoff, noted Radio City music-hall impressario, staged the wide range of songs to he sung by Miss Moore, which run from a “ hotcha ” number to operatic arias. • • • • Two radio . “ headliners,” Bing Crosby and Bob Burns, have leading roles in the newest of the Paramount musicals, ‘ Rhythm on the Range,’ scheduled to open on Wednesday _at the Grand. The picture stars Bing Crosby andl Frances Farmer in the lead, "and boasts a cast headed l by such outstanding players as Samuel S. Hinds, Warren Hymer, Lucille Webster Gleason, and George E. Stone. It also introduces for the first time to screen audiences Martha Raye, dynamic stage commedienne who boasts an acrobatic face and l a rapid-fire line of near-insanity. 1 Rhythm on the Range ’ launches six song hits, all of them currently heard on the radio and in dance halls everywhere. They include ‘I Can’t Escape from Yo.u,’ ‘ The House that Jack Built for Jill,’ ‘ If You Can’t Sing It You’ll Have to Swing It,’ ‘ Empty Saddles,’ ‘ I’m an Old) Cow Hand from the Rio Grande,’ and ‘ Round-up Lullaby.’ Crosby and Burns are cowboys in the picture,

which opens with the pair appearing iu a Madison Square Garden rodeo. The story’s plot revolves around their return trip to Arizona. Crosby rides in a box car with a prize Hereford bull he has purchased—and l a stowaway. Miss Farmer, who is a society girl fleeing from an nndesired marriage. ]3urns rides in. a passenger car —and has the erratic Miss Rayc as travelling companion.

One of the most mysterious figures of the world is the inspiration of the central character in a picture soon to start production at tne Warner Bros, studios in Burbank, California, The life ofthe late Sir Basil Zaharoif, munitions king, who died a few weeks ago in France, will be fictionised in a screen play. Sir Basil’s activities, which attained legendary fame during his own lifetime, included a rise from a humble origin to a position as one of the richest and most powerful men of modern history. His sale of war materials is said to have changed the course of European events

on numerous occasions. No cast for the picture lias yet been announced, although the temporary title _ of ‘ Uncrowned Emperor ’ has been given to it. • * ■ * • Brilliant staging, fast-moving comedy, and well-balanced drama all make ‘ Cain and Mabel,’ which opens on Friday next at the Regent, an outstanding attraction. The film is notable for the lavishness of the stage sets, some of which are extremely beautiful, being carried out in Hollywood’s re-gardless-of-expense manner. The story is not new, but it follows the more modern trend in film production in that it is neither purely drama, nor solely

comedy, nor even wholly musical, but is a combination of all three —a conjbination in which the best elements of each are presented. Thus, there is a good plot, of • which the dramatic essence is well sustained, and there is plenty of action. In this regard it should be sufficient to say that there is a boxing match. The film also abounds in clever humour. The most lasting impression, however, will be that given by,

the extraordinarily lavish and beautiful settings, which occur in the musicalcomedy side of the picture. Nothing more brilliant than these has been seen for years. These alone will serve to make the picture a Success; but also there is the combination of those two screen favourites, Marion Davies and Clark Gable. Clark Gable is cast as a motor mechanic who has become a champion boxer. Marion Davies; once a waitress, has made the most of a chance on the stage. A brilliant scheme is conceived of stating in the newspapers, in streamer headlines, that the

champion boxer and the newly risen star have fallen in love. Although, through an unfortunate previous meeting, each loathes the sight of the other, they agree with misgivings to what is purely a publicity “ stunt.” The climax of the story is, of course, that they actually do fall in love. Proverbially the path of true love never did run smooth, and the humour which accompanies the disentangling of their love affair provides the excuse for many of the most comical twists to the romance. • * * * W. C. Fields is now busy scripting * Murder in the Hospital,’ the story he wrote during his recent illness, and in which he will make his return to the screen.

Slim Summerville has signed a new long-term contract with Twentieth Century-Fox. His most recent picture tor them was ‘ Reunion,’ with the Dionne quintuplets. • * * * Victor M'Laglen and June' Lang are to be co-starred by Twentieth Cen-tury-Fox in ‘ The Lost Nancy Steele. Otto Preminger directs. t ♦ • * Jesse Owens, coloured champion runner of Olympic Games fame, has signed a contract with Twentieth Cen-tury-Fox. He will play straight dramatic roles. » * * * Eric Blore, comic butler of the screen, has written a book of verso tor children, which will be published this vear, Blore was formerly one ot the most prolific of British song writers. • * • • Thousands of people all over the world have laughed at Stanley Holloway’s humorous monologues about “ Albert ” at the lion’s den and other adventures. Few know that the author is George Marriott Edgar, ecript writer for Gainsborough, and responsible for the dialogue of Windbag' the Sailor,’ Will Hay s latest comedy. George ought to b nOA T way from experience what the British public want. He has had over 25 years’ experience on the boards, ranging from the comedian in concert parties to leads in numerous stage farces. George has also played the Dame in panto over 12 times. • * * * Ernest Turnbull, managing director of Gaumont-British Dominions Film Distributors Ltd., has just been advised from London that Gracie Fields has signed a long-term contract with the British producing organisation ot Twentieth Century-Fox to make, a number of pictures. The productions, which will be on a superlative scale, null receive the personal attention of Darryl Zanuck and selected executives from bis technical corps. Monty Banks has already been assigned the .post of associate producer. Gracie Fields will receive £40,000 for each picture, the hist of which will go into production almost immediately. Titles are now being selected, and will be announced shortly, together with details of the musical numbers, which will be outstanding features of each picture. Pointing out that these important pictures will be distributed throughout Australia and New Zealand by Mr Turnbull stresses the point that it was by such indications of continued large-scale production in England that Australian and New Zealand exhibitors could view the future with complete confidence. * * * * Ricardo Cortez received a letter from a woman living in Minneapolis, just as he was about to start work on the First National picture, ‘ The Case ot the Black Cat,’ coming on Friday to the Octagon. “ I understand you are going to play the , part of lerry Mason,”'she wrote. “Now, Mr Cortez, I have my own ideas about Perry Mason and how his character should be played, and I hope you will follow my suggestion faithfully. ... the woman’s ideas were well meant, but a trifle out of line with the senpt writer’s thoughts, on the subject, she started out by saying that her late husband had been an amateur detective and had always worn a silver-plated badge on his coat lapel. “Perry Mason should wear a badge, too,” she said. “ How are people going to know he’s a detective unless he makes the point clear?” This is only o.ne of many letters which Cortez received after it was announced that he was to do a screen characterisation of one of the most popular figures in contemporary American mystery fiction. The letters came from all parts of the country, and everyone' wanted Cortez to play the debonair lawyer-detective to his own design. It all goes to prove, said Cortez, that cinema fans draw a mental picture of their heroes of fiction and are apt to be pretty snappy about it when our actor does not live up to specifications. “If I had taken the fans’ collective advice,” said the actor, “ my Perry Mason would have been a remarkable person, indeed. He’d have been tall and short—thin and fat—and clean-shaven with a moustache and a goatee. They wrote in and suggested how I should walk, how I should talk, and how I should part by hair. A woman in Memphis who said she was the mother of 10 children, all of whom were potential Perry Masons, advised me to go to bed early on the nights before I was to work in the part. She said I could think more clearly in the morning if I did.” ‘ The Case of the Black Cat ’ is another of the thrilling murder mystery dramas by Erie Stanley Gardner. Besides Cortez, the cast includes June Travis, Craig Reynolds. Carlyle Moore, jun., Gordon Elliott, and Nedda Harrigan. The picture was directed by William M'Gann from the screen play by F. Hugh Herbert.

Marjorie Gateson, character actress who has a featured role in Paramount’s farce of in-law trouble, ‘ Three Married Men/ coming on Friday to the Octagon, is very much afraid that she’s literally “ going to the dogs.” Miss Gateson, who appears with lloscce Karns, William Frawley, Lynne Overman, Mary Brian, and George Barbier in the film, has appeared in four pictures in succession having scenes in which she pets and plays with a canine actor. ‘ The First Baby ’ gave her a scene with a dog 1 Big Brown Lyes ’ brought a bit with a Peke. ; 1 Private Number ’ put her in a scene with a Great Dane. ‘ Three Married Men ’ teams her, for a scene, with yet another dog. Miss Gateson appears as the rather domineering wife of Overman in the picture. The story deals with the troubles of a youfig couple, Karns and Miss Brian, who marry despite parental objections.

There is more thau “a little bit of Erin ” in seven of the eight principals of the cast of ‘ Kelly the Second,’ the Hal Roach-M.G.M. feature comedy which is now at the Mayfair. As a matter of fact, the Emerald Isle can claim most of the progenitors of the actors in question as their own. It is perhaps needless to state that both of Patsy Kelly’s parents originated in Ireland. The comedienne herself was born in this country but she has a sister who first saw the light of day in County Mayo and who still resides there. Another member of the cast whose parents were 100 per cent. Irish is Charley Chase. Pert Kelton’s mother, Edward Brophy’s grandparents on both sides, and Guinn “ Big Boy ” William’s grandfather likewise made their debut in life in the land of the shamrocks. Both Harold Huber’s and Syd Saylor's mothers are Irish, Mis Saylor was born on - “ St. Patrick's Bay in the mornin’.” The onlv principal member of the cast of ‘ Kelly

the Second/ who is not certain whether he can truthfully boast of Celtic blood in his veins is Maxie Bosonbloom, former light-heavy-weight boxing champion, of the world, who, despite his Jewish parentage, believes there must be a trace of Irish somewhere among his ancestors from whom he inherited his fighting spirit. Tho picture is presented by an Irish producer, Hal Roach, and was photographed by an Irish cameraman, Art Lloyd.

The producers of ‘ The Man Who Broke the Bank at Monte Carlo,’ the current attraction at the Mayfair, have succeeded in weaving together an interesting tale, in which the bright strands of humour are prominent. But, clover as are some of the twists of dialogue and situation, it is the acting of Ronald Column which gives the fabric much of its richness, in characteristically English style, he never runs to extremes. One can go to see any of his films in complete confidence that he will be suave, sympathetic, and sincere, but, to outward appearances, calm. His voice is one of the most attractive that are to bo heard on the screen. Through subtle shades of inflection, rather thau hy visible means, he conveys, where necessary, a sense of emotional stress. The latest plot shows him as a fortunate individual who, on one memorable evening, carries all before him at baccarat ; and then takes train for Paris, transporting his winnings in a suitcase. The directors of the Sports Club are desolated to see him go. The loss of several millions of francs they could withstand: but the winner has given an interview to the newspapers, in which he advises the public to avoid gambling, and then declares that bo will never return to Monte Carlo. To get him to alter this decision they go to great lengths, and the scenes change with rapidity. Joan Bennett plays the part of a girl with whom the gambler falls in love, and Colin Clive represents the girl’s travelling companion. The work of Nigel Bruce as the gambler’s valet is outstanding.