FOOTLIGHT FLASHES

Evening Star, Issue 23497, 10 February 1940, Page 5

FOOTLIGHT FLASHES

by Loiterer"

FUN AND REGULATIONS

American Script Writer In England

Strange Points of Comparison

Attitude of the " Ruling Class M

Mora fun than any job he’s, ever done—that’s the way American scribe Bartlett Cormack describes his work in writing the script for’‘The Beachcomber,’ the new Charles Laughton-Elsa Lanchester picture. But as for writing in England in general; well, that has its drawbacks! The scenario of ‘The Beachcomber’ is an adaptation of the W. Somerset Maugham story of ‘ Vessel of Wrath,’ and it is a story Cormack had wanted to do for the screen for four • years before Eaughton’s new company gave him the chance. He had suggested it to many a producer, only to have them stare blankly at him and say it was a goodstory—but not for the mo vies.

taughion, .too, had suggested it to a number of producers—only to get the same reaction. So when Eanghton and Erich Pommer formed their own producing company, settled on ‘ The Beachcomber ’ as their first picture, and sent for Cormack to “ script it, ” the , writer took the boat happily. But about England’s reception of American writers: Cormack. says the tigbt little island isn’t too enthusiastic about imported'talent.

“ Pm surprised,” he admits, “ and I don’t blame them over there. It’s due, I should, say, measure to the squawks against English methods—-and-lack of them—made upon their return by some of our brightest and most expensive boys. When I checked into the situation over there, I found that three of our ‘ ace ’ writers had badly hunted their English employers. ' The ■writers had drawn their money on schedule but turned in no work at all, and left for home without paying a cent of hacoine tax!-

‘•Youcan well imagine that this trio >—l-won’t mention their names; they’re all friends of mine—has left an aroma around the whole idea of American •eript-writers that others have found •o impossible to dissipate. “So far as I’m concerned, British production is tops. Of course, that’s a personal reaction, and I’m objective enough to ’ realise that it’s probably due to the fact that England let me do something I’ve wanted to do for years.” Cormack emphasises that while English production can give - a “class” polish to a scene which Hollywood cannot duplicate, England’s exported films sometimes seem rather bloodless, due to what he calls “ the insularly British consciousness of class distinction which so rigidly enforce and perpetuate good form.” ** SOCIAL CENSORSHIP.” “ Our pictures,” he points nut, “ are under a moral censorship, but English censorship is social. Technically, English production is deficient in equipment; but in

talent it’s right on a par with- ours. I’d say that what i personally missed in England most was the lack of initiative (they have, you know, a definite attitude of ‘ Oh, but that’s not customary, sir!.’) and the lack of the American enthusiasm which lets you sweat with vulgar enthusiasm at a job until it’s done, whether it Interferes with tea or not. * Amateurism ’ Is good form there.

Americans are always being taken down for doing things too well —a spirit which found its example in the English criticism of Don Budge’s winning streak.

“They make it pretty hard for a foreigner to go to work in Englaud. To write pictures there you have to have a labour permit. This has to be applied for not by the writer, but by his employers, who have to explain in detail why a British subject cannot fill the job. “ After the Ministry of Labour agrees that the alien is necessary _ to the production, it okays the application and the Home Office okays your visa to its Consul in the United States with the qualification that you are permitted to remain in the United Kingdom not longer than a specified time. “ If an extension is necessary and is granted, the passport is stamped by the Home Office as follows: ‘ The condition attached to the grant of leave to land is hereby varied so as to require departure from the United Kingdom not later than * MUST TELL BOBBY. “ In London, you have to register with the Alien Department of the Police, which must be notified of any change of address, or departure from and return to England. This is all accomplished by the Home Office, the Ministry and ,the police with the utmost courtesy, but reporting your perigrinations to the police is definitely insisted upon. M In the hurly-burly of location shooting in the South of France I

GENE AUTRY SCREEN!.AMD'S NO. 1 COWBOY JUDGE OF SHOWMANSHIP Ex-tolegraph boy, ex-cowhand, Gene Autry is now cowboy film star No. 1. So far as the younger generation is concerned. and, for that matter, this goes for not a few of the old ’uns, too, you can keep your Colmans and your Gables. There is only one star who can draw them to the box office to spend a hard-earned or ’ hard-saved shilling. That man started life as a ranch hand and to-day is well on the way to becoming one of the richest men in Hollywood. Autry owes success to his faith in the simple theme. His pictures are unashamed horse-operas. A little shooting, a little hard riding, and a song or two about the cattle trail, and the trick is done. These pictures cost little to make, but their popularity has put Westerns back on the cinema map, and kept Autry at the top of the cowboy actors’ poll for three years in succession.

They are the logical successors to the boot-and-saddle epics of Tom Mix. proving that in some ways, at least, public taste has not changed in a generation! Autry was never a real cowboy in the accepted sense of the word. The son of a horse trader, he moved from Texas to Oklahoma when he was quite young. Horse trading expeditions give him an intimate knowledge of the people and ways of the West, and incidentally, provided him with time to learn to play the guitar. He would while away the long wagon journeys over the prairies strumming away, crooning cowboy ballads picked up in the towns and hamlets through which they passed. He learned the technique of telegraphy and soon landed a job as an operator on a railroad station. He continued to play the guitar and to sing with success, and in the weeks that followed, an idea grew in Gene’s mind. Then he threw np his job, packed his guitar, and went to New York to try to. get an audition. The Big City was polite, but unimpressed. “Come back when.you’ve had more experience,” was the invariable answer. Autry returned to Oklahoma. Dressed in cowboy outfit, he sang and played at small radio stations and soon his fame had spread throughout the Middle West. Recordings were made of his songs. Impressed, the manager of the studio sent him _ to Hollywood with a note of introduction. Hollywood replied with a note to New York asking: “ What the heck they thought the- place.yvas-rh' home for broken-down cow punchers? ” But Autry persevered. He madegood in a aerial. A year later he was; placed twelfth in a popularity poll for cowboy stars. Three years later his name was at the top. “ For a Middle-Westerner,” the star has proved himself a shrewd judge of showmanship. He wears cowboy rig on all occassions, and sees to it that his horse receives as much publicity and cameraroom as himself.

Autry himself probably spends more on his clothes than any other male .star in Hollywood. His suits cost £2O, his shirts never less than £5. Shy, or aware of the bad publicity it would bring him, he shuns the social round and spends his spare time on his ranch.

Autry has brought the cowboy business to a, fine art, orytallising the popular idea of the handsome, hardriding he-men of the prairies. The fact that he has a pleasant singing voice is an added advantage. It has enabled him to sell 10,000,000 gramophone records in a matter of seven years. His latest film is ‘ Git Along Little Dogies.’

forgot this once, and returned to find on- my doorstep a welcoming committee in the form of a hefty police constable. I was at Bow street Station before yon could say ‘ tea.’ ‘ The trade unions, too. watch their permits closely. If admitted as a writer, that’s all you can do, and if you extend your operations, out you go! “ Apropos the higher income tax in England; American workers there are allowed personal and business expense deductions. They are both more generous than here, and His Majesty’s Inland Revenue Office and its collectors are considerate, courteous, and quiet, which is.one goal for England in the comparisons match, anyway. “ Americana ‘ on the film,’ as they sav in England, must pay income tax on earnings in England and the United States both, if the stay in England is less than six months this tax is a jolt. My peculiar sense of humour found some consolation, though, in the fact that the name of His Majesty’s Collector of Inland Revenue, who signs the tax receipts, is C. H. Thrift! There’s another British official whose name pleases me. He’s the Controller of Death Duties, who rejoices in the name of M. H. Nell. Honestly! AMATEURS ALL. “ The thing that most clogs English film production is the attitude assumed toward it by the . ruling class—as witness this ‘crack’ made by Lord Hewart, Chief Justice of England, from the bench during trial of a suit involving somebody engaged in film production. I saw the story quoted in the London ‘ Evening News ’ cf December 10, 1937, and I liked it so well that I clipped it. It seems that the barrister for the claimant began, ‘ In the film world ’ . . . and was interrupted immediately by Lord Hewart, who said, ‘ I know nothing about the film world. I don’t want to know anything about it, and I hope I never shall!’” In preparing ‘ The Beachcomber ’ for the cameras. Cormack worked directly with Laughton. Pommer, and Elsa Lanchester—Mrs Laughton. In the opinion of many critics, the sinusual " community of interest ” of the four was one of the big factors in making ‘ The Beachcomber ’ the success that it has proved.

BE MULE AGAIN ANOTHER SPECTACLE PLANNED World war or no world war, Cecil B. He Mille is planning one of the most imposing all-star casts of his spectacular career for his sixty-sixth production, ‘ North-west Mounted Police.’ With Joel M'Crea and Robert Preston cast in two of the three equally important masculine leads, the producerdirector announces that, besides the third man, two top-ranking feminine stars remain to be selected. Do Mille has already obtained the Canadian Government's assurance of complete co-operation in the filming of his story based on some of the actual exploits of the celebrated Mounties. He has had a research staff working on historical data for the past three months. De Mille plans to send a large location expedition to Canada almost im-

mediately to film action and background scenes, and possibly a second unit to Montana or Idaho.

M'Crea and Preston have worked together previously in De Mille’s last picture, 4 Union Pacific,’ but that time Preston’s role was definitely secondary to M'Crea’s. As a result of his work in 4 Union Pacific,’ Preston was given top billing with Gary ■ Cooper and Ray Milland in Paramount’s : 4 Beau Geste,’ and has since been elevated to stardom opposite Dorothy Lamour in 4 Typhoon.’

M.G.M. are teaming Gene Reynolds and Virginia Weidler in ‘ Looking After Sandy,’ with Lois Wilson as their mother.

Joan Blondell and Melvyn Douglas will he teamed for the third time by Columbia in 4 The Incredible Mr Williams.’

NEVER STUCK! HOLLYWOOD FOUND THE GOLD COAST A bit of Africa recently came into being only 20 miles from Hollywood. An African Gold Coast * locale was needed for Universal’s 4 The Sun Never Sets,’ but time limitations, to say nothing of the expense that would have been involved, prohibited sending Douglas Fairbanks, jun., Basil Rathbone, Virginia Field,• Barbara O’Neil, and other members of the company to the actual Gold Coast. So Universal s locatiqn scouts went out and found the Gold Coast within 20 miles of the studio. At least they found a rather large plot of ground that looks so much like the Gold Coast that it might have been transplanted directly from Africa, The trees and vegetation duplicate to the minutest detail those found in Africa. With the location found, studio art

director. Jack Ooterson, was confronted with the problem of building an authentic African village' on it. Before even starting to design the village, Otterson spent two months in intensive research —reading books and getting as many photographs as possible of Gold Coast settlements.

As soon as the village was designed more than 300 workmen started erecting it. In the foreground were_ numerous scattered structures, including the government headquarters of Fairbanks and Rathbone, who portray British Civil Service Commissioners in the picture. Other buildings include their home, soldiers’ barracks, a native school, and many huts for housing the natives employed in the film.

Lionel Barrymore no longer needs his wheel chair, and. will walk in several scenes in 4 The Secret of Dr Kildare.’

COMEDIAN AND COMPOSER MAHONEY’S MARTIAL MUSIC Will Mahoney is a grand comedian; in fact, one of the world’s best—as newspaper clippings from Pittsburgh to Portsmouth indisputably indicate. But his capabilities run even further than the commendable quality of being able to make people laugh at will. He’s a* song writer; to go further, he’s a writer of hits! Since he first commenced work at Cinesound on ‘ Ants in His Pants ’ Will, in association with his genial manager, Mr Bob Geraghty, has written two songs. The first, entitled 1 When I Saw My Wife in Pictures,’ was composed in honour of his wife, Evie Hayes, who plays an important role in the picture. The second —and most important—is ‘ It’s Up To You,’ a martial tune destined to leave its mark upon the war songs that the present conflict has produced. Already arrangements have been made for its publication, while the Macquarie Broadcasting network has recorded it for subsequent sale throughout the Commonwealth of Australia. So just as ‘ Ants in His Pants ’ will prove yet another milestone in the path of Australia’s film production progress, a song created by its star may prove to be another ‘ Tipperary.” At least, Messrs Mahoney, Geraghty, and the Cinesound gang sincerely hope so! The sheet music is already in New Zealand. INTRODUCING MARGO OR MARIA MARGARITA GUADALUPE BASTADO CASTILLA BOLADA Margo’s name in lights would set the town ablaze so she just had to shorten it for film work —her name is Maria Margarita ‘ Guadalupe Bastado Castilla Bolada. When she eventually decided on a career behind the footlights, it became obvious that it was too great a mouthful for even a theatre manager to handle without running out of breath. So she made the change to Margo—nothing in front —nothing in back—just plain Margo. She was born in Mexico City, the daughter of an eminent surgeon, and must certainly have suffered some pangs of homesickness during the mating of ‘ Miracle On Main Street,’ for this Columbia film includes a great many scenes in the Mexican quarter of Los Angeles. Even as a child Margo showed talent and she made her debut as a dancer at the age of six. Soon after that she was taken to Europe and studied in that country nnder the leading instructors for five years. It was a Ben Hecht and Charles Mac Arthur fibn script that gave her the chance she was waiting for. In strict Hecht and MacArthur fashion they decided that an 'actress alone would not do for their play, the girl must be able to dance. Margo received the vehicle. Since then her best remembered role was that of Maria in ‘ Lost Horizon,’ the girl who never grew old. THE LION FLIES KORDA TRIBUTES THE R.A.F. Alexander Korda’s 4 The Lion Has Wings ’ is a full-length feature which dramatises the story behind England’s defence. Filmed from an original scenario by lan Dalrymple, ‘The Lion Has Wings’ has. a cast which includes Ralph Richardson, Merle Oberon, June Dnprez, Robert Douglas, Anthony. Bushell, and Derrick De Marney. The central theme of ‘ The Lion Has Wings’ revolves around the thrilling and exciting exploits of the (Royal Air Force, winged Mercuries of the present war. The film unreels a vivid drama, full of suspense, of the thousands of men who have been trained to man England’s mighty Air Force and to use the powerful machines for death-deal-ing blows to the enemy. The film starts with a review of Europe’s _ “ war of nerves,” which led up to Britain’s declaration of war against Germany, and focuses on her vast and mighty network of military machinery and resources. Going behind the scenes, 4 The Lion Has Wings ’ reveals how Britain’s air army operates._ It shows the Royal Air Force in action over the Kiel Canal, when its swift and mighty bombs recently destroyed a German battleship; it shows how a barrage of anti-aircraft batteries shot down enemy raiders and demoralised the entire attack; it shows how air espionage agents pry open the secret plans of the enemy and relay them to the Air Defence Ministry. Among the most dramatic scenes shown in the film are the central control room, from which all aeroplane manoeuvres are directed; the operation of a balloon system which forces enemy planes high up into the sky and prevents exact bombing positions; the munitions factories, where millions are being spent for the manufacture of planes and armament. 4 The Lion Has Wings ’ was staged by three of Europe’s leading directors— Michael Powell, Brian Desmond Hurst, and Adrian Brunei. It was photographed by Osmonde Borradaile, Harry Stradling, and Bernard Browne. MIAGLEN'S RUGBY TEAM Athough Victor M‘Laglan is one of the busiest stars in Hollywood, he still finds time to take an active interest in everything connected with sport. At the moment the stalwart screen actor is keyed over the news that his “Victor M 4 Laglen’s All-star” Rugby football team recently defeated! _ the crack Chicago Rugby team in Chicago by a score of 13-11. “We organised the team only a year ago,” M 4 Laglen said. “ And I’m highly pleased that the hoys beat Chicago, which I consider one of the finest Rugby teams in the country.” M'Laglen said that when his team had completed its initial tour through the east it would return to California for igames against the best competition available.

MONTE CARLO BALLET A HOLLYWOOD ROUND-UP Nine members of, the famous Monte Carlo Ballet, of the gambling principality of Monaco, disbanded soon after the death of Pavlova, have found their wav to Hollywood and into the polka dance sequences of RKO Radio’s 4 Abe Lincoln in Illinois,’ starring Raymond Massey. These are Dave Rebel, who directs the polka and Paul Jones dances; Mary Manners, favourite’ of Pavlova’s, who last year was featured in the New York production of 4 The Great Waltz ’; Harvey Karels, now head of the Karels Ballet, Pauline Edwards, Sattler Wells, Jo Lane Reynolds, Diana Poisseau, Carolyne Batties, and Eddie Rian. The troupe, which originally numbered 75, now can muster less than two' dozen. The members plan to recruit new dancers and tour the United States until conditions in Europe will permit their return. HDRSEY STABLES TRANSFERRED TO STUDIO Faced with the problem of transplanting an entire horse-racing stable from the country to the Ealing studios for a whole week’s shooting on George Formby’s picture, 4 Come on George,’ directed by Anthony Kimmins, studio technicians got busy on blue-prints. While set destructors cleared stages 3a and 3b workshops hummed, plasterers moulded, and painters sprayed. Lorries unloaded heaps of chopped cork 44 gravel,” tractors towed in leafy trees, and loud neighings came from within six motor horse boxes. One might have been in Newmarket or Lambourne, so realistic was the studio setting. Stable lads in breeches and jockeys in pullovers carried buckets and saddles and fodder.

Six shiny, groomed hordes from Captain Younghusband’s stables peered out of loose horse-boxes, and Diana, the specially-trained horse belonging to a Russian trainer, Agube Gudzow, turned out to be a champion camera subject,

doing just as she was told and keeping still and quiet. Diana appears in many scenes with George Formby. That horses like studios as opposed to the rigid exercise ■ and “diet” of racing stables is illustrated by the fact ’that they’ve all. put on weight through the countless lumps of sugar fed them by the unit. No tea tray left the set that wasn’t stripped of its sugar bowl, and Anthony Kimmins found the white lumps the one certain way of attracting a horse at the right moment. With everything very 44 horsey ” at Ealing, a second camera unit left for Southend, where, at the amusement park, they anchored cameras on everything that moves in the fun fair and switched on the motors. After 15 trips riding in the front - car of a rollercoaster, one of the cameramen felt that, whatever the requirements of the camera, he at least had had enough.

4 Gulliver’s Travels,’ the eagerlyawaited cartoon feature, produced on the same scale as 4 Snow White and the Seven Dwarfs,’ has been two years in the making at the Max Fleischer studios, where it is being produced for Paramount release. The first prints are expected in New Zealand within the next two months.

GONE WITH THE WIND’ FULL CAST ANNOUNCED Following is the complete cast and a list of production credits for ‘ Gone With the Wind,’ as adapted by the lat» Sidney Howard from Margaret Mitchell’s novel. The film wae directed by

Victor Fleming; musical score W Max Steiner; photography by Ernest Haller; released by Metro-Goldwyn-Mayer. Scarlett O’Hara, Vivien Leigh; Rhett Butler, Clark Gable; Ashley Wilkes, Leslie Howard; Melame Hamilton, Olivia de Havilland; Mammy, Hattie M‘Daniel; Gerald ' O’Hara, Thomas Mitchell; Ellen O’Hara,' Barbara O’Neil r Frank Kennedy, Caroll Nye; Aunt Bitty pat Hamilton, Laura . Hope Crews; Doctor Meade, Harry Davenport; Charles Hamilton, Rand. Brooks; Belle Watling, Ona Munson; Carreen O’Hara, Ann Rutherford; Brent Tarleton George Reeves ; Stuart Tarleton, Fred Crane: Pork, Oscar Polk; Prissy, Butterfly M'Queen. Minor roles are as follows:—Snellen O’Hara, Evelyn Keves; Mrs Merriwether, Jane Harwell: Mrs Meade. Leona Roberts; Big Samy Everett Brown; Uncle Peter, Eddie Anderson; Tom, a Yankee captain. Ward Bond; Bonnie Blue Butler, Cammie King; Johnny Gallagher, J. M- Kerrigan; Emmy Slattery, Isabel Jewell; :Each* Wilkes, Alicia Rhett; Jonas Wilkerson, Victor Jory; John Wilkes, Howard Hickman; Maybelle Merriwether, Mary Anderson; a Yankee looter, Paul Hurst; Oathleen Calvert, Marcella Martin; Beau Wilkes, Mickey;Kuhn; Bonnie’s nurse, Lilliam Kemble Cooper j reminiscent soldier, Cliff Edward*; Elijah, Zack Williams.