FILM WORLD.

Greymouth Evening Star, 29 June 1940, Page 12

FILM WORLD.

News of Pictures and Players.

WARNINGS TO CHATTERBUGS. DANGERS DEPICTED IN- FILtylS.

The dangers of careless talk about military matters are vividly shown in three short films, financed by the Ministry of Information. In “All Hands,” a sailor of H.M.S. Cambridge tells his sweetheart in the hearing of a waitress that his leave has been cancelled and his ship is sailing from Portsmouth at 9 p.m. The waitress tells the quiet, middle-aged she parses on the information, a German agent signals from the shore, and the Cambridge is torpedoed by a waiting Üboat. “And such a nice couple,” laments the sentimental waitress. “I do wish I could have done something for them!”

In “Now You’re Talking,” a lorry driver chatters in a public house and an aeroplane factory is blown up. “Dangerous Comment” teaches the same lesson by showing how an airman’s sweetheart reveals that he is leading a raid on Germany. _ The films, produced by Michael Balcon and directed by John Paddy Carstairs, are good entertainment in their way and carry a powerful moral. They will shortly be distributed free to two thousand cinemas, and it is estimated that 20,000,000 people will see them. “In Germany,” said Sir Kenneth Clark, director of the films division of the Ministry of Information, “they cure wagging tongues in a concentration camp. That is not our way. We don’t want to make people think that there is a spy in every public house, but if we don’t show the danger of careless chatter we shall not be doing our job.”

“THE CAT AND THE CANARY.”

A FAMOUS MYSTERY.

In the matter of transforming a great * mystery play to the screen--the play in question being John Wil- 1 lard’s famous “The Cat and the Canary”—Paramount has made every effort to make it the greatest comedymystery of the year. For when tne picture opens none other than Bob Hope, leading screen, radio and stage comedian, will be seen in one of the starring roles, and lovely Paulette Goddard will be playing the starring role opposite him. Paramount didn t stop there. With Bob in the cast, there had to be plenty of gags, ana according to all reports, Bob is at his gagging best in this one. As for a foil for his gags, could there be a lovelier one than Paulette Goddard? But to get down in the story. It tells, briefly, now seven people come to a lonely mansion in the marshes of Louisiana to hear the will of a man who died ten years before, how one —Paulette Goddard—is named heiress, and how before the picture reaches its startling climax, she is driven half-mad by “The Cat,” a murderous, hairy creature who reaches out of panels in the wall, murders one of the company, and terrorises even wise-cracking Bob. In the supporting cast are sych favourites as John Beal, Douglass Montgomery, Gale Sondevgaara, Elizabeth Patterson and George Zucco.

NEW ZEALAND FILM. REWI’S LAST STAND. Another achievement has been added to the list of Dominion successes—the production Qf a fulllength feature film complete with dialogue and songs, the whole thrown into relief by background music composed by Alfred Hill. “Rewi’s Last Stand,” produced by Rudall Hayward, written, acted, photographed, recorded, and produced by New Zea--1 landers in New Zealand, well merits the praise accorded to it by. Mr John Grierson, the well-known British and Canadian producer. Two and ahalf years in making it demonstrates what can be done by application and co-operation, the thought uppermost in the minds of all those associated

A NEW ROLE. FOR LEWIS STONE. It takes a lot to get Lewis Stone to desert his tremendously popular role of Judge Hardy, even momentarily. But the role of the President of the United States of America in “Joe and Ethel Turp Call on the President,” was of so unsual a nature and had such great possibilities in the way of inserting humanness in a dramatic characterisation, that Stone eagerly accepted it. The usual Hollywood search for actors and actresses was given a reverse twist with Stone’s selection as the in Damon Runyon’s widely-read story of Joe and Ethel Turp who call on the aid of the Chief Executive when a friend of theirs finds himself in trouble. The casting'office was instructed to find a man with dignity and poise, who did not resemble President Roosevelt even slightly. / “I could not have undertaken the part otherwise,” declared the veteran star. “What with the magic of Hollywood make-up as it is to-day, it is often possible to transform one’s features and personality into that of a totally different type than oneself; President Lincoln, as recently portrayed on stage and screen, is one of numerous examples. But in the present instance, it would be impossible to attempt to portray President Roosevelt and still keep within the boundaries of good taste. It was a wise decision on the part of the producers of Joe and Ethel Turp Call on the President to make the roll of the Chief Executive totally dissimilar to that of Mr Roosevelt.”

HARDY FAMILY AGAIN.

ANOTHER APPEALING STORY.

“Andy Hardy Gets Spring Fever” proves that the Hardy Family series grow stronger with each picture. Never before has the family appeared more human, more appealing.

In this latest of the Hardy saga the family gets a taste of romance and drama. The judge, portrayed by Lewis Stone, becomes involved in a crooked promotion stunt which threatens the savings of the Hardys as well as of their friends. The irrepressible Andy, naturally none other than Mickey Rooney, quarrels with his girl friend Polly Benedict, and falls in 'love with his beautiful dramatics teacher. • The latter role is played, by a newcomer, Helen Gilbert, who shows definite ability. , Fay Holden and Sara Haden, as the restraining mother and Aunt Milly, turn in their usual heartwarming characterisations, Cecilia Parker wins sympathy as Marion Hardy, and Ann Rutherford once I again personifies the “sweet sixteen” type of girl. Terry Kilburn is a newcomer to the Hardy ranks, and is excellent as the little boy who worships Andy Hardy. “Andy Hardy Gets Spring Fever’ is a delightful entertainment treat in every respect.

with the production appeared to be, “What can I do to make the film worthy of New Zealand?” The chief merit of the film is in its authenticity. The various details of the battles of the early settlers are faithfuly reproduced. Search was made to ' obtain and record the actual words >used on historic occasions. Many of jthe “props” used are the actual ■weapons and garments used in the ; wars of that period in New Zealand. ‘■The canoe loaned by Princess Te ■Puia is the famous Te Wiriaka, which was partly destroyed by Von Tempsky in 1863 and since repaired. The players are largely descendants of the original participators re-enacting the deeds of their forefathers. Nor are romance and thrills lacking. A beautiful half-caste takes the part of Ariana.

AGEING A CITY. < • TASK FOR~ARIZONA. ‘ 1 - , ■ Paul Chabot was not alive four centuries ago, for he still is a young man in his early thirties, but he has taken a .mile-square city as-it would have been that long ago and has added four hundred years to its age. Chabot’s job is to make new things look old. By his touch, new-born cities become wrinkled with age in a few days. Newly-manufactured furniture becomes antique in a few minutes and spic-and-span cornersare spiderwebbed in a flash. As Columbia Pictures’ scenic department head, or chief “character” ager, in studio language, Chabot in three weeks has aged the recreated Old Tucson, with its 82 adobe buildings and mile-square high wall by so many centuries. When ProducerDirector Wesley Ruggles and his company of 2500 headed by Jean Arthur and Warren William, took possession to start the production of “Arizona,” he found Old Tucson as it j was in 1869, although it was almost 400 years old at that early date. '

“Build me the town of Tucson as it was in 1860,” Ruggles commanded

a few months ago. Lionel Banks, art director, and Loren Patrick, his assistant, obeyed. But the town was clean and new. It was next turned over to Chabot and when he and his crew of “character” agers were through with Old Tucson, an old, old town was handed back to Ruggles. Not only had Chabot given new Old Tucson the complexion of a bent, crumbling old man, but he and his agers had aged the doors, the bottles, the saddles, the blankets, the furniture and the horse troughs, wash tubs and the hundred or more wagons cluttering the 11 dusty streets. Chabot loves to beat Time at his own game. He likes to think bf himself as the man who carries Time around in a bucket of paint, A Belgian, born in Liege, he was four years old when he arrived m America. He saw a man painting a house one day and liked the thought of slapping paint on things with a big brush. So he became a painter. Sixteen years ago, he asked for a job at Metro-Goldwyn Mayer and they gave him a brush and bucket. Bis first daubing was on the “Ben Hur set and he has been in pictures evei since.

ANNA NEAGLE AND FATE. “If you put it in a picture,” said Ray Milland, “people will say it is too pat a coincidence, it cannot be true n * He was talking about the strange way in which fate tangled the paths of two young people. Nine years ago, each was an unknown, trying to get a footing in the London amusement world. The man had been a British cavalry subaltern. The girl was a dance instructress. They entered an international dance competition held in London that year. Successively, they advanced, changing partners as they proceeded. In the finals they were teamed, competing against another dancing couple for the world ballroom title. >‘lf we win,” said the man, ' “let’s make it a stage team. But they did not win, and they drifted apart. They met in Hollywood recently, when Producer Herbert Wilcox undertook to film the comedy musical, “Irene.” He is co-starring the pair in the picture. The girl: Anna Neagle. The man: Ray Milland. Together they dance once more —this time to the strains of what, ’ when “Irene” was a Broadway smash-hit musical, was sung and played around the world. It is “Alice Blue Gown.

VIVIEN LEIGH’S NEXT. The most discussed star of the day, and certainly the most valuable from a box-office point of view, is British actress, Vivien Leigh, whose selection . for the role of Scarlett O’Hara and her t subsequent success in “Gone With the Wind has been front-page news for film tans the world over. Practically every company m Hollywood would mortgage year’s earnings to, get Vivien Leigh s signature to a long-term contract. Therefore, the news that her next screen appearance- will be under the Columbia symbol is of interest to her admirers the world over, zi Days Together” is the title of her new film. Columbia announces tbat in addition to feminine public f a y~ ourite No. 1, that the male star of the hour, Lawrence Olivier plays opposite her. This glamorous couple will shortly be seen in “21 Days Together,” a stirring British romantic drama, directed by Basil Deane. An imposing cast of supporters consists of Leslie Banks, Francis Sullivan and Hay Petrie. The film is based on a story by John Galsworthy.

WORLD FAMOUS NOVEL. John Steinbeck’s novel, “The Grapes of Wrath,” 'which has become world famous, has ben picturized and will shortly be shown in New Zealand/ with the following cast:—Henry Fonda as Tom ;Joad, Jane Darwell as Ma Joad, John Carradone as Casy, Charlie Grapewin as Grampa, Dorris Bowdon as Rosasharn, Russel Simpson as Pa Joad, John Qualen as Muley and O. Z. Whitehead''as Al. John Steinbeck startled readers with “The Grapes of Wrath,” an indictment of the methods of the Californian millionaire fruit-growers.

i- PRODUCTION: PARS. i NEWS FROM THE STUDIOS. British Empire Films are shortly to release - throughout Nev/ Zealand “Drums of Fu Manchu,” the famous and thrilling radio play taken from the book by Sax Rohmer. Important Role: Joe Penner has been signed for the important dual role of the slave twins in “The Boys From Syracuse,” Jules Levey’s initial Mayfair production for Universal release. Arrangements include options on the comedian’s services for two additional pictures. Garbo’s Next: Production of Greta Garbo’s next picture, “Madame Curie,” was to have begun during May. Garbo likes the story very much. It provides a new type of role for her, and, of course, a great contrast to “Ninotchka.”

In Demand: » ' There’s a big demand for Bob Hope’s services at present. Warner Brothers want to borrow him from Paramount to play opposite Ann Sheridan in a musical,. “College Widow.” “College Widow,” written by George Ade, was first produced on the stage with Elsie Janis as the lady. The picture is set in 1906. First for a Year: Miliza Korjus will be starred by M.G.M. in “1417 Broadway,” a story by Vicki Baum. This is Miss Korjus’s first assignment for M.G.M. in over a year, the last being “The Great Waltz.” Colman Sings: Ronald Colman has to sing a number in his picture with Ginger Rogers, “Lucky Partners” (formerly called “Good Luck”). This will be the first time that Colman has sung for the screen. INTERESTING REVIVALS.

Two interesting forthcoming revivals are “The Freshman” and “Grandma’s Boy,” which were among Harold Lloyd’s-greatest silent successes. Lloyd will himself star in the remakes.

“Grandma’s Boy” took more than £600,006, which was much money for those days, and “The Freshman” nearly touched the million mark. Harold Lloyd has moved with the times and with the screen as povertystricken as it is at present so far as comedy is concerned, there is no reason why he should not clean up another fortune.

The return of Lloyd is the first result of a strong move to bring back the old familiar comedies. May McAvoy has been given a new longterm contract at Metro, while popular clamour may bring back Gloria Swanson and Marion Davies. SHORTEST AND LONGEST. Shortest and longest of movie titles of the year emanated from Universal Studios.

Recently released was Universal’s “Rid,” with Basil Rathbone, Sigrid Gurie and Robert Cummings in the leading roles. Now in production, and scheduled for release soon by the same company, is a movie musical featuring Johnny Downs, Peggy Moran and Broderick Crawford, entitled “I Can’t Give You Anything But Love, Baby!”