FILM WORLD.

Greymouth Evening Star, 20 September 1940, Page 10

FILM WORLD.

HOLLYWOOD PRECEDENT.

STARS AND CHILD DISCOVERY Joan Blondell and her husband, Dick Powell, who are co-starred in Paramount’s “I Want a Divorce,” have established a Hollywood precedent with the announcement that they will personally undertake the development of a child star who they are convinced will win the hearts of moviegoers as no youngster has since Jackie Coogan. Joan and Dick announced they are sponsoring the career of a six-year-old, Mickey Kurn, the little ’ actor working with them in “I Want a Divorce.” Mickey's performance to date in a most difficult role in the film, in one scene of which he is required to manage more than seven minutes of | tricky.dialogue, has for days been the I talk of the Paramount lot, and the lad has endeared himself in particular to Miss Blondell. Joan and Dick say they have pledged themselves to furthering the lad’s climb to stardom by insisting he is given every opportunity bn any lot on which they work, and by coaching him and closely watching his career until he has. reached the top.

PASSING OF VAUDEVILLE. THEME OF “BABES IN ARMS.” America’s boy and girl stars, present and future, have their day on the screen in “Babes in Arms,” elaborate screen version of the Broadway musical success. Headed by the incomparable Mickey Rooney and Judy Garland, more than two hundred of. Hollywood’s talented youngsters combine to present what is said to be one of the most > exciting and entertaining musifilms of the year. .... “Babes in Arms” is set in the period that saw the passing of vaudeville, and concerns those happy-go-lucky

News of Pictures and Players.

POPULARITY GROWING.

BRIAN AHERNE’S SUCCESS It was Thursday night at Ciro’s, our fashionable night club, and Brian Aherne was guest of honour at his own birthday party (writes a Hollywood correspondent). I watched his peculiarly happy table from across the floor—noting that his young wife, Joan Fontaine, looked radiant; that Jimmy Stewart, Olivia de Havilland, the Rathbones, the Herbert Marshalls were among the guests. Then the man by my side spoke. . “Aherne’s one fellow who’ll never wear out his welcome on the screen.” That comment tied up with the opinion of Hollywood—a Hollywood which, like his ever-growing public, [turns confidently to Aherne for any type of role. This tall, lean, smiling and cultured Englishman has found the secret of enduring respect—he never forgets he is an actor; he never remembers, he is a star. He made his stage debut at the age of three, in amateur theatricals. He was trained at Italia Conti’s famous London school for child actors—having as classmates Gertrude Lawrence and Noel Coward.

■ headliners and their children who saw that world totter and crumble about them when motion pictures shoved their two-a-day into discard; But mostly it deals with the children of these performers, who save the day when they crash Broadway by the very talent that made the names of their fathers and mothers household words. Besides Mickey Rooney and Judy Garland, important roles are filled by June Preisser, Betty Jaynes, Douglas McPhail, Leni Lynn and John Sheffield of “Tarzan Finds a Son!” fame. The adult members of the cast are Charles Winninger, Guy Kibbee, Grace Hayes, Rand Brooks, and a host of old-time .vaudevillians.

OSA JOHNSON’S GENIUS HUNTS WILD LIFE WITH CAMERA If genius is “an infinite capacity for taking pains,” Osa Johnson certainly qualifies for that super-status. Small, dark-eyed, strikingly pretty and charming, Miss Johnson is one of the world’s most extraordinary women. She is the wife and fellow-adventurer of the late, famed Martin Johnson. She was the first white person ever to penetrate the wilds of Africa, Asia, Australia, Borneo and the treacherous Malayan jungles and bring back their thrilling beauty in the most exciting motion pictures civilisation had seen. She is, beyond question, the greatest woman explorer in world history. But the rating of genius is reserved for another, a more prosaic, reason. Referring to her latest Columbia picture, “I Married Adventure,” a cav-

alcade offthrills distilled from her exploits on three continents, Miss Johnson recently said, “The first question people ask me after seeing the picture is, ‘How in the world do you ever photograph animals so close, s especially when they are lions, tigers, pythons and elephants and it . would- be so much safer to'be holding a gun in your hands?’” She smiled. “The gun is there, in the other hand, but only for emergencies. I do most of my shooting with a camera, but it is often a long, hard, wearisome experience, repeated over and over again until the action is just what is wanted.” The reason emerges. It involves going thousands of r miles into the unknown, hacking one’s way through a trackless jungle, concealing a camera near a likely water hole, waiting for days in the merciless tropical sun and keeping heavy-lidded watch through chilling nights, meanwhile menaced by untold dangers—all to find out that the shooting light is poor, camera angle bad or that one has picked the wrong water hole, and has to start all over again. ■ BEN TURPIN’S DEATH Ben Turpin, famous cross-eyed slapstick comedian of the silent films, who starred with Chaplin, died in Hqllywood recently. He was 65 years of age. It was about 34 years ago that Ben Turpin started his film career with the old Essanay Company. He was in turn actor, property man, wardrobe master, and general helper. Those eyes and that set expression soon caught on. Ben became one of Essanay’s leading comedians. . He was starred in many short comedies, including the popular “Snakeville” series. At one time he was earning £6OO a week. His first wife died in 1927 after a long illness. Ben left the screen to nurse her. He latex - married again.

Starring Role: Warner’s is negotiating with Margaret Sullavan on a one-picture deal for the top role in “The Constant Nymph,” the Margaret Kennedy novel for which Merle Oberon and Olivia de Havilland have also been mentioned.

“ADVENTURE IN DIAMONDS” l GEORGE BRENT—ISA MIRANDA. - » i* In “Adventure in Diamonds,” Paraf mount have presented Isa Miranda, in , a less exotic but just as glamorous role 1 as she had in her first film, “Hotel j Imperial.” In the current production . she plays the part of a diamond thief ? who poses as a wealthy tourist inter- . ested in anything in South Africa, > even in diamonds if time should hang too heavily on her hands. • Arriving at Capetown she is taken • by George Brent to see ‘the ostrich f races, wherein enters the 'beautiful decoy’s partner, the English actor, , John Loder. Before long, the ini’ fatuated aviatof, whom Mr. Brent portrays, obtains permission to show the couple over the diamond mines, the operations of which make a highly entertaining section of the film. The quixotic Mr. Brent, unaware that' the mine authorities have planned to trap the diamond thieves, checkmates this intention by a quick ruse which makes it appeal’ to the others that he also is interested in illicit diamond operations. Being a love story, “Adventure in Diamonds” ends as such screen romances should. Melodrama provides a good climax to a polished production. MARITAL COMPLICATIONS , The marriage of four well-known London stage stars often brings its complications. Barry K. Barnes, well known on stage and screen, is married to Diana Churchill, who is no relation to Sarah Churchill (daughter of the Prime Minister of England), who in turn is married to Vic. Oliver, the well-known American stage star. They are often mistaken for each other—the two Misses Churchill —though not in any. way alike. The romantic marriage of Miss Sarah Churchill with the American actor was quite a sensation when it was announced. Mr. Oliver is almost a Britisher by adoption now, for he spends a lot of time in England and is one of the most popular of the 8.8.C.’s array of theatrical talent telling. overseas what London is like in wartime. The Barnes live not far from London Jn a charming cottage. A MODERN COMEDY. “Turnabout,” Hal Roach’s new comedy hit to be released shortly, is said to be one of the gayest and sprightliest of modern comedies. It is directed by Hal Roach-himself, and its starring cast is headed by Carole - Landis, John Hubbard, Adolphe Men- ‘ jou, Mary Astor, Veree Teasdale, Donald Meek, William Gargan, and < Franklin Pangborn. “Turnabout” has ( excitement, suspense, surprise, and 1 humour. Its story concerns a young J modern couple who complain about i‘ their respective lots in, life —he is a P successful advertising man, she ai J comely society matron. Their com- c plaints give little god Ram an idea—and he acts upon it. He exchanges ? their personalities and gives them a ■ chance to find' out about the other Q side of the question. This of course £ leads to hilarious complications in the advertising and social world.

Stage-Appearance: Having completed the film “Susan and God,” which has been banned in Sydney, Joan Crawford is planning to go to New York in the hope of finding a stage play. i Remarque Story: Margaret Sullavan has been given the feminine 'lead in the picture of Remarque’s “Flotsam.” The producers originally announced that they intended to engage for this role an unknown actress, who had been a refugee in real life.

| SANCTUARY FOR STAR I AN UNUSUAL EXPERIENCE , Jean Arthur has found one city where motion picture celebrities are permitted to live like normal human beings. Like other film stars, she has [known the hectic experience of battling the crowds of autograph hunt- [ ers, of living in glass houses whenever she ventured away from her Hollywood home. For three months she enjoyed sanctuary from a gold-fish existence, however. She found it is Tucson, Arizona, which was her home for three months during the filming, of AVesley Ruggles’ “Arizona” for Columbia Pictures. Even on the day of her arrival, last April, she entered Tucson as unostentatiously as any other visitor. A few people were at the railway station

but not particularly to greet her. In pursuit of privacy, Miss Arthur leased the Catalina foothill ranch home of Walt Coburn, noted western writer, In the quiet gardens she waded barefoot on the lawn in the spray of the sprinklers, swam in the blue pool, lazed on the patio and gazed at the stars. For pastime, she, trained and played wtih the 16 mongrel dogs | she adopted from Old Tucson and the j little gray burro that wandered out of the hills and adopted her. Then she discovered that on the streets, she was accepted as one of the natives. No fans trailed her into shops, seeking autographs. Often, in the evening, she ventured into one of ! the four picture houses. No parade followed her. . I “GRANDPA GOES TO TOWN.” In “Grandpa Goes to Town,” the Gleasons, the well known family group, continue a • successful series. The Gleasons are a product of work in vaudeville, stock, and on the stage. James has had a most successful career as a writer. Lucille has worked in many motion pictures, and son Russell has carved out his own niche as an actor and recently scored in “.Here I am a Stranger.” Also in the cast are Harry Davenport, Tommy Ryan, Lois Ranson and Maxie Rosenbloom. •'■. / / ■ .

PRODUCTION PARS NEWS FROM THE STUDIOS. Anne Nagel has been cast for the i romantic lead opposite John Loder in .. Universal’s “A Modern Monte Cristo,” ; starring Victor McLaglen. Philip Dorn, Universal’s young Dutch importation, and Lionel Belmore have also been added to the cast, paving 1 the way for an immediate start of the production. Teamed Again: Myrna Loy and William Powell have started work on “I Love You Again.” Comedy Team: To ensure plenty of laughs in the new Deanna Durbin Picture, “Spring Parade,” Producer Joe Pasternak has created special roles for Mischa Auer and Andy Devine, Universal’s ace comedians. Mischa will enact the part of a Hungarian goat-buyer, and Andy will essay the role of a gipsy fortune-teller. Australian Short: A “March of Time” film is to be made in Australia, for world-wide release. It will include glimpses of Australia’s war effort. Arrangements have been made for the American operatives to leave the U.S.A, by Clipper. FEMININE INFLUENCE. Here’s how the feminine influence shapes up in “Dance, Girl, Dance”:— Two of the three co-stars are women: Maureen O’Hara, R.K.0.-Radio’s find, and Lucille Ball. The author of the original story is another woman: Vicki Baum. Sharing script honours with her husband, Frank Davis, is Tess Slesinger. Dividing choreography and dance direction with ‘ her husband, Ernest Matray, is the European ballerina Marie Solveg. And guiding all is the only woman .director’ in the movies, Dorothy Arnzer. The masculine minority is headed by Louis Hayward, co-starred with Misses O’Hara and Ball. Ralph Bellamy heads the supporting cast. “But,” said Hayward, “we are all but submerged. There must be a million toe dancers, chorines, and backstage beauties in ’ the cast.” POPULARITY RECORD.

In a profession notorious fox’ its quick “fade-outs,” Adolphe Menjou has retained his popularity as a screen star for more than 20 years. In addition, he is called the man who accomplished the impossible because he made transition from silent films to sound, and from sophisticated leads and heavies to characters, without losing his status as a player. In a recently-finished picture, “That’s Right, You’re Wrong,” he went back to a villain part. To add to his unusual record, Menjou has made pictures in more foreign languages than any other star in films, having appeared in screen productions in French, German, Italian, Spanish, and I Russian. He has the distinction of I having starred in the first talking pic- | ture in the French language, “Mon Gosse de Pere.” - In “A Bill of Divorcement,” yet to be released, Menjou delineates the character of an insane man" restored to apparent sanity only to find that his wife has divorced him and is about to marry another man.