FOOTLIGHT FLASHES

Evening Star, Issue 23041, 20 August 1938, Page 5

FOOTLIGHT FLASHES

IMPORTANCE OF CASTING THE QUALITY OF NATURALNESS FRANK CAPRA SPEAKS For 30 years Hollywood has been, trying to decide which is more important .—the star or the picture. Here Frank Capra, noted/ Columbia producer and director, makes some relevant remarks. Personally (he says) I subscribe to the profound, wisdom of those who think the picture is more important. Pictures make stars. No star, however bright, can 'save-a bad picture. But, what makes a star? My observations of the big stars who have come under my direction convince me that the greatest asset an aspiring screen star can hkve is the ability to express natural characteristics of sincerity. The best person to play a Chinaman is a Chinaman. The best actor to play a grouchy old man is a grouchy old man. The less a man or woman has to make over his personality to portray a character on the screen, the better are the chancese of an outstanding performance. In the final analysis, I believe that good casting makes good stars. I never attempt prophecy, but I have on occasions perceived in rising screen

favourites some inborn characteristics and a certain easy knack of conveying them through the camera, which made me say to myself, “ Here is another star,” and invariably I have added, “ if the public see what I see.” A good example of a star who scored success by living the part is that of Gary Cooper in ‘Mr Deeds Goes to Town.’ Gary Cooper was Mr Deeds. Without his complete understanding of the inner psychology of the character Gary could never have conveyed the splendid conviction to his audience as he did. Without any. false modesty, Gary will tell you that he is not an actor. He between the player who acts many diversified roles and his own natural characteristics on the screen; being fine, high minded, and a clean individual he excels in motion picture portrayals of such a man.

b y “Loiterer”

Let’s take a look at the case of Clark Gable. I had never met Gable before he walked into the studio to make ‘ It Happened One Night.’ The Gable I saw was not the Gable of the screen. It was apparent that the real Clark had not been photographed. His flair for light comedy and his great personal charm had been missed. The Gable I saw was unaffected, easy, and humble. He -was a person quite different from the aggressive physical specimen we had seen up to that time. From the moment Clark stepped on to the set he changed completely. Or at least ho changed our opinion of him. And although ho was then as a star, he has retained, with good effect, something of that lighter quality which came out in ‘ It Happened One Night.’ His performance won him the Award of the Motion Picture Academy for the best acting performance of the year. The truth of the matter is that he wasn’t acting at all. Another actor who exemplifies , perfectly my ideas of what makes a star is Ronald Colman. I believe he was admirably cast in ‘ Lost Horizon.’ He has , a , high manifestation of character and breeding. He is the gentleman all men would like to be; and all women would delight /to know. He is the Robert Conway of ‘ Lost Horizon,’ as. James Hilton, the author, pictured him. Colman’s philosophy on motion picture acting is perfect. He realises the unimportance of what he is doing, and beats everybody at the game. He is

visionary and quite mystical. He lends his own personal charm to the characters Jie portrays. Invariably the man you see on the screen is Colman only in superficial disguise. The nearer- his characters approach his own personality the better are Colman’s performances.

For ‘ You Can’t Take It With You,’ I had to find a. man who was really Grandpa Vanderhof. After reading Robert Riskin’s screen play we had to look for a grandfather of Mr Deeds. We persuaded Lionel Barrymore to he tested for the part, and as soon as he stepped' before the camera I knew we had found grandpa. There is an innate quality about Barrymore, a kindly understanding outlook . that he expresses naturally and without affectation, that is the essence of the lovable old eccentric who has found his own

way how to get the most out of living. Not one of the other characters for our pioturisation of the George S. KaufmanMoss Hart Pulitzer Prize comedy was selected until wo had found grandpa. He was the key to the whole human assemblage—the central figure of our animated canvas. Of course, good casting alone cannot make a picture a success. An affinity of personalities working on a production often has a, lot to do with the result. How far Claudette Colbert helped Clark Gable achieve his success in ‘ It Happened One Night,’ and what he may have contributed to hers is impossible to say. But the making of a good picture depends a lot upon fortunate co-ordination of a complicated mechanism. Many a good watch has failed to tick because somewhere a defect, microscopically small, jammed the smooth operation. Many a picture has failed to click for the same reason. Towards this objective of perfect harmony there must be design, but too great an effort might show through and ruin everything. One golden rule is to take everything in an easy stride. We should never make the mistake of regarding pictures as too important, least of all to take ourselves too seriously. Film stars more than most people need sincerity and humility. Motion pictures have seldom attained true lasting greatness. They are frequently manufacturer’s entertainment, living at best for to-day and are dead to-morrow. So there is little to warrant egotism either among stars or directors. Aside from the works of Chaplin and Walt Disney, Hollywood has little to be proud of. It has achieved little to rank with the masterpieces of the older arts. Much talent has been unearthed, but little genius. When the combined psychology of 900 persons in a theatre approves a picture and when that verdict is repeated by thousands of audiences, we know that a universal chord has heen touched. (But that is all we know. Motion pictures are not sufficiently matured to establish an artistic standard such as exists in literature or another art. And experiment comes high. While a book or a painting requires the time of one man, and a play involves a modest investment, big motion pictures cost hundreds of thousands of dollars.

in most cases -we must be content to search the Hollywood scale for that elusive chord of popular appeal. We strike some interesting story idea, cast it well, and are just ourselves. So far as stardom is concerned, which seems to be the question we set out to answer, that just happens. PARAMOUNT BUSY NEW ATTRACTIONS UNDER WAY Three of the foremost attractions for the current production season are under way at the Paramount studios. The group which will create more activity on the various stages than has been experienced for many weeks comprises the Frank Lloyd production ‘ If I Were King,’ starring Itonald Colman, ‘ Artists and Models Abroad,’ and the teohnicolour air epic ‘ Men With Wings,’ for which air sequences will soon commence. ‘ If I Were King,’ with Colman starring in the role of rascally Francois Villon, fifteenth century poet, and Frances Dee, Basil Rathboue, Ellen Drew, C. V. France, Alma Lloyd, and Colin Tapley as principal supporting players, will got under way immediately. The picture will require approximately three months’ actual photography. ‘ Artists and Models Abroad ’ will be made under the direction of Mitchell Leisen, and will star Jack Benny and Joan Bennett with the Yacht Club Boys. ‘Men With Wings,’ the cast of which is headed by Fred Mac Murray, Hay Milland, and Louise Campbell, is in the early stage of studio photography, and then it will take to the outdoors for the spectacular air sequences. Paramount has six more pictures scheduled to go into production within a month: ‘ Beauty and the Beach,’ with comedian Ben Blue; ‘ Paris Honeymoon,’ with Bing Crosby: ‘ Arkansas Traveller,’ with Bob Burns; ‘ Bulldog Drummond in Africa,’ with John Barrymore; and the Harry Sherman .productions ‘The Mysterious Rider ’■ and ‘ The Return of the Fox.’ SHE ANSWERED AN “AD." DANIELLE DARRIEUX ENTERS MOVIES Answering a one-inch “ want ” advertisement in a Paris newspaper brought Danielle Darrieux, star of the French screen, her first film job. She spoke of this while appearing in her first American film, Universal's ‘The ft age of Paris,’ which will be shown in Dunedin shortly. “ The advertisement said a Paris studio was looking for a 14-year-old girl to play a 'leading role in a new picture, ‘ Le Bal,’ ” Miss Darrieux explained. “I didn’t say a word to my parents. I just clipped the ad. and hurried to the studio.” After reaching the producer’s office, however, she became a little terrified by the boldness of her move. She hung back near the wall, behind some 200 other girls who were seeking the part. Just as she was about ready to 'leave and forget her film aspirations, Danielle was sighted by the director, John Thiele, who entered the room. “ You’re just the girl I’m looking for,” he told Danielle. “You get the part.” Scoring an outstanding success in that first picture, Miss Darrieux appeared prominently in numerous other foreign screen hits before going to Hollywood. She was born in Bordeaux on May 1, 1917. Her father was a famous eye specialist, now dead from wounds received in the World War. I ler mother is a noted singing teacher, j who early trained her daughter in music. In ‘ The Rage of Paris ’ Danielle Darrieux plays a French girl who finds herself in Now York penniless. She takes work as a model for a famous artist, hut in her excitement at getting any sort of employment she goes to the wrong address and starts disrobing in the office of an advertising firm, just as the young fellow who}

bonds t ho concern walks in. From that point dramatic and comic complications come thick and fast. The young advertising executive is played by Douglas Fairbanks, jnn., who is co-starred with Danielle Darrleux. Mischa Auer and Helen Jirodcr-

iek 'play featured comedy roles. Louis Hayward is cast as Fairbanks’s rival for Milo Darricux’s affection, and Samuel S. I finds. Charles Coleman, Nclla Walker, and Harry Davenport have important roles under the direction of Henry Koster.

CITY RELEASES CURRENT AND COMING ATTRACTIONS Empire, Friday next: Paramount's ‘ The Big Broadcast of 1938,’ a singing and dancing specialty which includes the top names of American screen and radio. W. C, Fields heads the “ mirth parade,” and is ably supported by Martha Raye, Dorothy Lamour, Shirley Ross, Lynne Overman, Ben Blue, and Grace Bradley. Kirsten Flagstad, Metropolitan Opera House prima donna, will be heard in operatic numbers. Screening time, 85min. Regent, Friday next: Ronald Sinclair (formerly Ra Mould), of Dunedin, is starred in M.-G.-M.’s drama of childhood friendships and loyalties, with a race-track background, ‘ Thoroughbreds Don’t Cry.’ Associated with him are Mickey Rooney, Judy Garland, Sophie Tucker, C. Aubrey Smith. Screening time, 96min. State, now showing; 1 Rebecca of - Sunnybrook Farm,’ Twentieth Cen-tury-Fox’s picturisation .of Kate Douglas Wiggins’s famous story, to which have been added singing and dancing. Shirley Temple plays Rebecca, and the cast includes Randolph Scott, Gloria Stuart, Slim Summerville, Alan Dinehart, and the Raymond Scott Quartet. Grand, Wednesday next; ‘ Rawhide ’ (Twentieth Century-Fox), drama of the American West in which a two-fisted attorney and a fighting baseball player clean up a gang of 23 desperadoes. With Smith Ballew, Lou Gehrig, Evalyn Knapp, Arthur Loft, Lee Shumway. In support, ‘ Hideaway,’ R.K.O. Radio release, dealing with city gangsters who hide in a sequestered country district. Cast: Fred Stone, Emma Dunn, Marjorie Lord, J. Carroll Naish, Bradley Page. Screening time, 59min. Octagon, now showing: The David 0. Selznick production of Mark Twain’s ‘ The Adventures of Tom Sawyer.’ This classic of the life of a boy follows the book closely, and has been filmed in technicolour.. The cast: Tom Sawyer (Tommy Kelly), Huck. Finn (Jackie Moran), Aunt Polly (May Robson), Muff Potter (Walter Brennan), Injun Joe (Victor Jory), Becky Thatcher (Ann Gilds), Amy Lawrence (Cora Sue Collins). Screening time, 90min. Strand, Friday next; ‘ Blossoms on Broadway ’ (Paramount), with Edward Arnold, Shirley Ross, John Trent, Rufe Davis, William Frawley. Comedy, with music, of the adventures of a gang of confidence crooks and a wealthy mine owner. Screening time, 87min. Also showing, ‘ Little Miss Roughneck,’ a Columbia musical comedy romance, 'starring Edith Fellows, who sings ' Caro Nome ’ from ‘ Rigoletto ’ and ‘ The Wren,’ by Benedict. Cast includes Jacqueline Wells, Scott Colton, Leo Carrillo, Margaret Irving. Screening time, 65min. St. James, Friday next: ‘ Wings Over Africa,’ a PremierStafford production, the story of which concerns diamond-hunters who become lost in the African wilds, and are sought by airmen. The cast: Joan Gardner, lan Colin, James Harcourt, James Carew, James Craven. Screening time, 62min. Also showing, ‘ Prescription for Romance,’ Universal’s sparkling romantic comedy of love and adventure in Budapest, with Wendy Barrie, Kent Taylor, Mischa, Auer, Dorothea Kent. Screening time, 70min. Mayfair, now showing; ‘ Souls at Sea,’ Paramount’s epic of the deep, based on a true incident of the American merchant service, with Gary Cooper, George Raft, Frances Dee, OJympe Bradna, Henry Wilcoxon. Screening time, 90min. Also showing, ‘Life Begins at College,’ Twentieth Cen-tury-Fox dancing and singing comedy of American college life, with the Ritz brothers, Fred Stone, Nat Pendleton, Tony Martin, Gloria Stuart. Screening time, 9Smin. FLYNN S GOOD LUCK CHARM DISCARDED FOR FIRST TIME Errol Flynn is no more superstitious than the average motion picture actor, but it took a good deal of pressure on the part of Warner Bros.’ executives to talk him out of wearing his goodluck charm during the filming of some prize fight scenes for ‘ The Perfect Specimen,’ the comedy-drama that is now on release in New Zealand. As a consequence, when the amazing Mr Flynn stepped into the squared circle he removed from his,neck a slender gold chain that he had worn for more -than eight years. The chain, composed of gold taken from the first nugget discovered in the Bulolo goldfields of New Guinea, had never been off Flynn’s neck since a dying priest placed it there. The Irish star confessed he was frankly worried by the prospect of defying his one and only superstition. But no ill came of it.

Flynn acquired the slender gold chain, hand made, quite by accident during the days he spent recruiting native labour far in the interior of New Guinea. On a inarch through the jungles one blazing afternoon he came upon the camp of the missionary, who lay near death with blackwater fever. The priest's native porters had deserted him, fearful that they, too, would contract the disease. For seven days and nights, hardly sleeping, Flynn nursed the sick man, who was hardly able to talk. On the morning of the eighth day the priest called the young Irishman to his bedside. Fixplaining that he knew the end was near, the missionary thanked Flynn for his kindness. “ I want to give you something to show my gratitude,” ho went on. “ It’s not much, but keep it and may it bring you good luck!” The priest then removed the slender gold chain from his own throat and fastened it around Flynn’s, He died while telling Flynn the story of its origin. During the succeeding years the chain got Flynn into more than one fight with some individual who took exception to his wearing it, considering it effeminate. Nevertheless, the adventurer continued to wear it, as it seemed to bring him good fortune. When Flynn was assigned to play the leading role in ‘ The Perfect Specimen,’ however, studio executives decided the gold chain would look out of place around the neck of a boxer. Flynn declined to sec tilings tlicir way, and the argument waged back and forth for many days. Finally, however, the studio won out, and the chain came off Flynn’s throat for the first time when he stepped into the ring.

FRONTIER THRILLS

ALEXANDER KORDA'S ' THE DRUM ' ‘The Drum,’ Alexander Korda’s latest production, has been adapted from an original story by A. E. W. Mason, and "was produced in technicolour with the Indian North-west Frontier as a background. It is an epic said to outrival • ‘ The Bengal

Lancer,’ dealing with insurgent Indian tribes on the Indian frontier, of the dethroning of a boy prince, and the attempted massacre of the inmates of the British (Residency. Through this thrilling story of intrigue and battle runs the thread of the little prince’s friendship for a Scottish drummer boy, who teaches him a “Signature Tune” of his own. True to Frontier legend, intrigues, plots, and counter-plots follow one another in quick succession, the climax being reached with an attempt to murder the British Government’s Commissioner and his wife by neighbouring chieftains. How they were defeated and the Residency ’ saved at the last possible moment, forms a thrilling finale. Though ‘ The Drum ’ will make

British hearts heat faster, its patriotism is -never overdone. Sahu (the Elephant Boy) is as appealing as ever in the part of the Indian prince. He is well matched with young Desmond Tester, whose cheeky drummer boy is English to the backbone. Other' important roles are played by Raymond. Massey, Valerie Hobson. Roger Livesey, Martin Walker, and over 3,000 tribesmen were used as extras in the film. The natural settings in bechnicolour of the Indian Frontier are said to be magnificent.

RESEMBLANCE ACCIDENTAL! At a recent preview-of ‘ Daffy Duck and Egghead,’ a Merrie Melody cartoon produced for Warner _ Bros, by Leon Schlesinger in technicolour, a rather unique introduction was noted which poked fun at the “ alb characters are fictitious ” announcements which appear in most films nowadays. The cartoon (which is about duck hunting) is prefaced with the following words:— ■ . “ The events and ducks depicted in this photoplay are fictitious. Any similarity to actual ducks, 4 either living or roasted, is purely coincidental.”

SCREENLAND JOTTINGS

TALENTED JUVENILE CAREER OF MICKEY ROONEY Mickey Rooney began earning his way in the world when he was less than a year old. He was born in Brooklyn, New York, on September 23, the son of Joe Yule and Nell Brown, who christened him Joe, jun. His parents were vaudeville players, and Mickey made his stage debut at the age of 11 months.

He wore a specially made dress suit, which he still treasures as a souvenir of his initial stage appearance. He was in the act for only three weeks because his parents thought he was too young to become an actor. Mickey, or Joe Yule, jun., as he was christened, satisfied himself for the next year playing around the back stages of theatres while his parents were performing. He still remembers vividly how, as a baby of two, he crawled out on the stage_ and interrupted his parents by sneezing. His father picked him up, gave him a French harp to play, and he was an instant hit with the audience. From that day on he was a regular member of the act. In order to comply with New York laws Mickey was given a special work permit by Governor Alfred E. Smith. Spending most of his time back-stage, he soon learned to dance, and, with a partner, Sid. Gold, toured the East Coast with a vaudeville danoe routine. The novelty of his act won him a job with Will Morrissey’s Revue in New’ York City. His dancing m the revue brought him to the attention of a studio executive who signed him to play the role of a midget in ‘ Not To Be Trusted.’ He was only four years old at the time, and the part called for him to smoke a cigar in one scene. Of course, a fake cigar was used, but when the prop pulled out several of _ his baby teeth, matters became complicated. Mickey again portrayed a midget in ‘ Orchids and Ermine,’ and then came a long series of roles, including ‘Fast Companions,’ ‘ Love Birds,’ ‘ Manhattan Melodrama,’ ‘ Chained,’ ‘ Blind Date,’ and ‘Hide-Out.’ Then he won acclaim for his work as Puck in Max Reinhardt’s Hollywood Bowl production of ‘Midsummer Night’s Dream.’ He appeared in the picture version of the spectacle, and then continued work on his M-G-M contract with ‘ Ah, Wilderness,’ ‘ Riff Raff,’ ‘ Little Lord Fauntleroy,’ ‘The Devil Is a Sissy,’ ‘ Captains Courageous,’ ‘ A Family Affair,’ ‘ Live. Love, and Learn,’ and ‘Thoroughbreds Don’t Cry.’ Between working in films the young veteran attended Dayton Heights and Vine Street Grammar Schools and the Pacific Military Academy. The remainder of his schooling has been accomplished at studio schools with private tutors. Mickey is a rabid sports fan and is adept at all types of athletics, including swimming, football, baseball, horseback riding, hockey, golf, handball, basketball, tennis, and ping-pong. He boasts of the fact that he has always worn long trousers. He collects old coins, and odd matchboxes. _ He plans definitely to become a motion picture director by the time he is 21. Among "Mickey’s diversified talents is the ability to play many musical instruments, and : this led to the formation of his own orchestra._ This organisation is by no means a joke, because it has had several engagements at different hotels, where it never failed to give satisfaction. An aspiring song writer, Mickey s third song is being published by Irving Berlin. Sidney Miller wrote the lyrics. THE SPANISH CIVIL WAR BACKGROUND TO UNUSUAL FILM Perhaps the timeliest of the season’s motion pictures, and certainly the one presenting the most tensely dramatic action, is e Blockade, 1 which the film critic of ‘Reynolds News,’ London, reports as “ worthy of ranking among the greatest dramas that the screen has produced.” This Walter Wanger production stars Madeleine Carroll and Henry Fonda. The background of this stirring photoplay is the Spanish Civil War, though the central theme of the story is the romance of Miss Carroll and Fonda, both caught in the seething maelstrom of the conflict. The events of the story lose none of their exciting quality through the fact that the production preserves a strictly neural attitude and does not identify any character as a member of one faction or the other. After a series of dangerous adventures, the pair confess their love when they find themselves facing death at the hands, of a group of enraged soldiers. • An unexpected happening in the high command brings the story to a thrilling climax. •- ‘ Blockade ’ was directed by William Dieterle, who gained fame when the Motion Picture Academy of Arts and Sciences aedaimed his most recent picture, ‘The Life of Emile Zola,’ as the greatest production of 1937. The exceptional cast supporting Miss Carroll and Fonda is headed by Leo Carrillo, and also includes John Halliday, Reginald Denny, Vladimir Sokoloff, Robert Warwick, and Katherine De Mille. ‘ Blockade ’ is an original screen story by John Howard Lawson. RETURN OF SPECTACLE LESS FOLK—MORE ACTION Spectacle has regained popularity in Hollywood. There is a campaign for less talk and more action in pictures, and as a result the director of spectacle has come into his own again. Men like Cecil B. de Mille, Frank Lloyd, and Michael Curtiz, who cause prodigious things to unfold before one’s eyes, can write their own cheques these days. Producers grieve because there are so few directors equipped like these men to stage the enormous tacles they would like to throw on next season’s screens. Hollywood has indicated by its plans for forthcoming films that it is thoroughly in earnest about its professed desire for spectacle, and is going in for it in a big way. Many big scenes which are expected to thrill audiences will be revealed soon. The series will begin about the middle of August. A huge body of ice is brought down after a spectacular crash in ‘ Spawn of the North.’ A film crew spent two months in. Alaska shooting this and other scenes for the picture, in which are George Raft, Henry Fonda, and Dorothy Lamour. Squadrons of aircraft will go into battle in ‘ Men With Wings,' which_ is being filmed in technicojour and which

features Fred Mac Murray, Ray’ Milland, and Louise Campbell. There is' a _ reproduction of the Morro Castle -disaster in ‘ Too Hot to Handle,’ with Clark Gable, as a newsreel cameraman, swooping over a burning vessel and photographing it from' a plane, while 1,000 extras become panic-stricken and leap overboard. This will be staged near Catalina Island at a cost of £31,250. Fifteenth century Paris will be besieged by the Burgundians in Frank Lloyd’s ‘ If I Were King,’ co-starring Ronald Colman and Frances Dee. A vast cattle drive and a roaring prairie fire are among the spectacles in ‘ The Texans.’ Randolph Scott and Joan Bennett are cast in the chief roles. The storming of the Bastille and other scenes of the French Revolution are promised in ‘ Marie Antoinette,’ which brings Norma Shearer back to the screen after a long absence. Forest thrills of the ‘ Come and Get It ’ variety are provided in ‘ Valley of the Giants,’ with Wayne Morris and Claire Trevor in the chief roles. Great vistas of wilderness, Indian fights, fires, and snow blockades form part of ‘ North-West Passage.’ Robert Taylor and Spencer Tracy figure in this. ‘ Test Pilot ’ and ‘ The Adventures of Marco Polo ’ are a sample of what 75 per cent, of next season’s product will offer in the way of robustness. TWENTY-FOUR YEARS OLD VETERAN CAR " PASSES " An old Mercedes motor car, veteran of many motion picture thrillers, has sung her swan song. She collapsed on the floor of a sound stage at the Metro-Goldwyn-Mayer studio during a dramatic, scene with Lionel Atwi'il and Margaret Sullavan. First aid was administered, and it was found that the car had suffered a severe fracture that will prevent her from ever again working in motion pictures. Although it once travelled with kings and queens of the screen world, in recent years it had been forgotten and neglected. Finding it, Frank Borzage cast it for a small rdle in ‘ Three Comrades.’ For several days it ran up and down country roads for scenes in the picture without showing any signs of exhaustion. Then it was taken to stage 11. All that Borzage asked was for the car to advance 30 feet toward the camera for a closc-up, but, 10 feet from the camera, it trembled, and. with a groan, sank to the iloqr.\ The ancient- limousine was the pride of Carl Laemmle in 191-1. j