Cinema Stars, Films and Stage

Nelson Evening Mail, Volume LXXI, 24 July 1937, Page 12

Cinema Stars, Films and Stage

NORMA SIGNS UP

Norma Shearer is definitely back in pictures, and, for' a long time, too. She has just completed arrangements for a new deal with M.-G.-M. It seems that her old contract automatically. ended with the death of her husband, Irving Thalberg.

There is some doubt as to what will be the first Shearer production. It might be "Pride and Prejudice,”, and it might be “Marie Antoinette,” but.at the moment it looks as if. the famous novel by Jane Austen will get Norma’s first attention. - :

“IT ISN’T .DONE”

GOOD-AUSTRALIAN COMEDY “It Isn’t Done” is probably one of the best films to come from the Australian studios. The three essentials of motion picture production, theme, acting, and presentation, are to be found in the picture.. The settings, too, are unusually good, but the film’s main attribute is the inimitable Australian humour which 1 characterises practically every scene. Cecil Kellaway, who is well known'to New Zealand audiences, and Shirley Ann Richards head a large cast, but these two almost dominate the picture. As Hubert Blaydon, an Australian squatter, Kellaway comes into the title of a lord, and his family go to London to claim the title and the.estate. Like fish out of water they find themselves in difficulty through being forced to associate with the social set in England, and many humorous situations -develop as a result. Lord Blaydon’s daughter falls in love with her father’s nephew, the next in line for the estate, and these two provide the romantic interest. After many vicissitudes, Lord Blaydon realises that the life of a lord is not all milk and honey, particularly when it is thrust upon him late in life. He employs a means of destroying the only conclusive proof of him being heir to the title, and as a result he finds happiness in seeing his beloved daughter take over the title through her marriage to her cousin. Kellaway and Miss Richards give splendid performances, as do Lord Denvee, the scoffing peer, and Sylvia-Kellaway as Lady Blaydon. “LOST HORIZON” Vic Thaete, whose fame as an originator of new drinks has spread from ,the Saddle. Bar X in Palm Springs, where he now officiates, to the most famous bars of Europe, recently introduced the “Lost Horizon” cocktail, and it bids fair to sweep the country. Thaete conceived the new drink as a tribute to Frank Capra and Ronald

Colman, while they were on location at „ TahquitZ Canyon filming scenes for the Columbia picturisation of the James ' Hilton best-seller novel. Vodka is the base, of the “Lost Horizon” cocktail, ■ which contains nine other liquors and resembles a section of' the rainbow. It ■ is smooth, subtle, and highly aulhorita- ■ tive.

CURTAIN INTO GOWN

How. to make a stunning evening gown out of a pair of window curtains? That was the problem confronting Omar Kiam, head designer for Samuel Goldwyn productions, for Miriam Hopkins, to, wear in "Woman Chases Man’’ a riotous comedy. Miriam plays the part of a young lady who must have a good looking lady who must have to buy one. Hence (he necessity of concocting the gown out of the window curtains. The scene shows the curtains at. the windows, the various stages of sewing and the finished product. • The result is noteworthy, the white dotted organdie becoming a bouffant, ruffled frock to delight the heart of any woman.

MUNI RETIRING

The screen is going to lose one ol its finest actors, Paul Muni—or so he says.

After acting for 30 years- -he commenced his career when he was 11, and is now 41—Muni declares that he has had enough of work; he wants to loaf. At present working on “Emile Zola,” this star has played some memorable roles, chief among them being the magnificent characterisation of Louis Pasteur, which won him the Academy Award for 1930.

“Emile Zola,” Muni announces, will be his last picture.

MUSICALS THE VOGUE

Hollywood is going musical. The most enthusiastic of producers are saying that the time for genuine grand opera is at hand, but this by others is assessed as the famous wish being father to the well-known thought.

Fifty musical. comedies are scheduled for production between now and this time next year. M.G.M- alone have eight in prospect; “Rosalie,” “Firefly.” “Girl of the. Golden West,” “Hats in the Air,” “B Before High C,” “Great Day,” “Show Shop,” and “Johann .Strauss.” The last is likely to be one of the most attraclive of the "Lives of the Musicians,” of which we arc threatened with a cycle. All the classical composers are being considered by one or other of the Hollywod studios.

“LOVE ON THE RUN” Reuniting the popluar three-some of the highly successful “Dancing Lady,” Franchot Tone appears with Joan Crawford and Clark Gable in “Love on the Run.” As Barney Pells, Gable’s newspaperman buddie, who is always a lap behind his colleague on (he highest story of the year, Tone fills an outstanding comedy role. Gable takes care of the romance angle with Miss Crawford playing an American heiress, who leaves a pompous nobleman at the altar and runs into trouble. When Gable agrees to aid her escape, their mad dash over the map of Europe causes international complications. Tone recently completed an important part in “The Gorgeous Hussy” with Miss Crawford. The new M.G.M. picture marks their second appearance together on the screen since their marriage. “Love on the Run” is based on a story by Alan Green and Julian Brodie. It was directed by W. S. Van Dyke and comes on top of such of this great director's hits as “San Francisco.” {• * * -VWilliam Powell confesses himself baffled. Several night ago, while his motor was parked directly in front of his home in the exclusive Bel Air district, all the tyres were slashed with a sharp knife, as if by a vicious enemy. The all-knowing detective of the screen cannot supply the name of a suspect, or even guess at a motive.

ELEPHANT BOY AN EARNEST STUDENT

Sabu, charming, smiling Indian lad who was Elephant Boy, is at work again down at Denham on tests for the studio sequences of his next film, “The Drum.” While there is only testing lo be done, he has asked to be allowed lo work in (he afternoon as he wants his morning lessons to be uninterrupted.

Now that the warmer weather has begun he has a desk in the garden, and his tutor reclines in a deck chair. After eighteen months of study his masters say that he knows as much as the average English boy of twelve.

TWENTY-FIVE SPIRITUALS SUNG

MUSICAL GEMS IN MARC CONNELLYS FABLE Lovers of spirituals, those haunting, minor-keyed hymns of primitive races, v'ill find plenty of them to be delighted about in “The Green Pastures,” the Warner Bros, production. There are no less than Bn spirituals in the picture, two more than there were in the story’s stage version. Some of them are sung in full voice, with the singers visible; others arc used ns fainter background music, with the choir unseen.

The spirituals used in “The Green Pastures” all fit very appropriately into the play. Quite a number arc familiar to the general public through glee concerts or through their rendition for (lie radio.

For example there is "Joshua Fit dc Battle for Jericho and dc Walls Came Tumblin Down." and the familiar “DcOld Aark’s A-Moverin’.” Well-known is the spiritual, “Let My People Go.’ while “Run. Sinner, Run" is perhaps not as familiar as some of the others, but musically if. is excellent. Another musical gem, considerably on the solemn side, is “Death’s Gwinlcr Lay ITis Cold Icy Hands On Me!" and "When the Saints Come Mnrchin’ In” is a lively 4-4 tunc tunc. Sort of a chant. “Certainly, Certainly. Lawd!” All the spirituals arc apepaling in their quccrlyatinned harmony.

In the piclurisation of “The Green Pastures,’ the music is rendered by the Hall Johnson Choir, an organisation of 60 trained men and women singers taken lo Hollywood from New York. “The Green Pastures.” a fable by Marc Connelly, was directed by Connelly and William Keighley. Mr Connelly also wrote the screen play with Sheridan Gibncy from the stage production wivfph was suggested by Roarl; Bradford’s novel

“THE BIG BROADCAST OF 1937”

SPLENDID VARIETY SHOW To appreciate fully the progress indicated by such talkies as “The Big Broadcast,” one has to go back a few years, and think of the sad alfairs these once were. Jusl recollect 'the days when j studios felt that such an occasion i called for a display of almost I every player on the promises. Jt 1 did not matter that an artist had j never appeared soio before; he 1 appeared then. Nobody knew what he suffered; nobody cared. Audiences had their own sufferings to think about. To-day this is changed. Artists for “The Big Broadcast of 1937,” have been hand-picked and then graded again and again, until those who come through are expert entertainers. “The Big Broadcast” has a story. Grade Allen is the centre of that story, and she is funnier than she has ever been before. She is admirably supported by George Burns, and that other Burns, Bob, brings his bazooka, and bis own particular brand of humour. Jack Benny is I another individualist who brings nis own contribution of laught -r. Frank Forest sings love songs, Shirley Ross is attractive and talented, Martha Raye raves engagingly, and Ray Millancl looks quite like Robert Taylor.

NOVEL HOLLYWOOD THEATRE

A novelty in theatres in Hollywood is one into which you can drive your car, just sit in it, and watch the pictures. The area is ten acres. Seven of the ten are for the parking of cars to the number of 465 at every performance. The cars are banked in eight semi-circular rows, giving the occupants a clear view of the massivescreen—39ft by 55ft. In a dug-out, in front of this, are two giant projectors. They are so powerful that perfect screen images are possible even during a rain-storm. Separate loud-speakers for each car have been installed, with the result that everything in the picture is clearly heard. This theatre—the only one of its kind in the world—is a great boom for invalids and parents with children. Instead of leaving the children at home to get into mischief, it is pointed out, parents may take them with them, and let them curl up on the back seat and go to sleep. HOLLYWOOD PREMIERE A real gala Hollywood premiere, complete with pressing throngs, searchlights, radio announcer, and eelebrites is one of the thrilling highlights of “A Star Is Born,” David O. Sleznick’s Technicolour production co-starring Janet Gaynor and Frcdric March. William A. Wellman directed this glamorour story, which casts Janet as a little country girl who came to Hollywood in search of fame, faced the crushing odds of 100,000 to one, and made good. Adolphe Mcnjou, May Hobson. Andy Devine, and Lionel Slander are prominently featured in this first up-to-the-minute story Lo be filmed in Technicolour, while others playing important roles are Owen Moore. Peggy Wood, Elizabeth Jenns, Edgar Kennedy, J. C. Nugent, and Guinn Williams. A KORDA FIND In May, 1035, a comparatively unknown actress called Vivien Leigh made a great hit in tlie third act of a play, "The Mask of Virtue,” in London. The critics all became excited, compared her with Bergner and Bernhardt. and mapped out a brilliant future for her. Along came Alexander Korda, with a pen in one hand and a contract in the other. That contract guaranteed her £50.000. The public eagerly awaited her film debut, but it was two years before Korda found the role that would put his new star on the map so thoroughly that she would earn many times that large sum for him. He chose two pictures for her. "Fire Over England'’ and “Dark Journey.” in this latter film particularly she rises to great heights and with Conrad Veidl, provides a team that could not be excelled,

ANCIENT CARS SOUGHT FOR “ZOLA” FILM

EVERYTHING MUST BE AUTHENTIC PAUL MUNI PORTRAYS FRENCH NOVELIST Have you a Coupe Mors, standing in your backyard? Or a cab Jcautaud, or a Due Dclahaye in your garage? No? That’s too bad. For the Warner Bros, studio is in d f re need of these automobiles for its forthcoming picture. “The Story of Eiriie Zola,” in which Paul Muni will portray the great French novelist.

Cars of this type will be seen in the film, which covers the period between 1870 and 1906. If the sludio can t find them, they'll have to be built on the chassis of more modern conveyances. Dozens of ancient autos and hundreds of even more antique bicycles and carriages, will be used in the film, which deals with the role oiaycd by Zola in the famous Dreyfus trei.-.u case

According to Dorothy Hegcman. nea.l of the studio research department. "The Story of Emile Zola” presents more research problems than did "An thony Adverse" Because this is a picture dealing with real people in real times, everything must be authentic. Zola’s bedroom in the film must really look like Zola's bedroom Mis houses must be replicas of the ones in which he lived. The prison ship on which Alfred Dreyfus was carried lo Devil's Island must be an exact d jpiicate of the real one.

Four research experts v.ve been working for two months on the film So far, most of the 'ata has been secured from copies of "L’lllustrathn ' magazine, tho “Illustrated London New/’ and "Le Monde Illustre.” Mrs Hcgeman says there is a wealth of material about Zola and the Dreyfus case, which Tilled the magazines and newspapers of the time and has been the inspiration for a score of books and couril less pa mph 1 ets. Phot tgrapiis of pages ol Zolas origi nsl manuscripts have been 1 he most difficult lo obtain. The Warner Bros.’ Paris oil ice tliinPy furnished lliosc The Paris office also provided n photograph of the inscription on Zola’s tomb, a picture of the ceremonial precession in Zolas honour after his death, and a copy of the famous R< rdcrau papers writ'en by Col. Fsterhaz.v, flint brouglV ••.bout Dreyfus' arrest. Mrs Hegcman has had to answei -cnie odd requests during I lie research work on tlie picture. One script writer wanted the first

line of the Toreador song from "Carman.” Another wanted to know where French Guiana was located. Norman Reilly Raine wanted to know what kind of birds there are on Devil's Island. And Director William Dieterle wanted a Baedeker map of Paris in 1870. Paul Muni will appeal - as Zola in this picture, his first for Warner Bros, since his Academy Award winning "Story of Louis Pasteur.” "THE GREAT BARRIER” . The film prints of the great Gau- i moot British Dominions attraction ar- i rived in Wellington per Doric Star j recently... A private screening of the j film was made at the State Theatre in j the presence of the Canadian Consul- - general, the Traffic Manager of the i Canadian Pacific Railway Company and J other distinguished visitors, each and : every one of whom expressed delight with the wonderful merit of the pro- ! duction. Done on the actual spots in the heart of the Canadian Rockies with j hearty co-operation extended by the 1 C.P.R. forces the picture tells with ; real dramatic force the breath catching : story of man's fight against nature and the amazing achievement of one of the most hazardous and memorable feats ever performed in the British Empire. The completion of the undertaking i resulted in giving to Britain one of the j most notable sections of the all-Red : route between Australia, New Zealand, j across Canada to England. ATTEMPTED EXTORTION j Anna May Wong, the pretty Chinese] movie actress, has received weird i threats of death and torture, as has also' Producer David O. Selznick Police' have dubbed the writer of the mysterious notes a "movie maniac.” The letters give evidence of a mad J imagination fascinated by the glamour and the wealth of the motion-picture industry. The letters demanded I’sooo each of Anna May Wong and Mr Selznick. The name (ho vonld-ir '■ <y tioni.t used was that of a Los Angeles doctor, who. the police discovered, was entirely innocent, the doctor himself being a third recipient of the madmans' 'breals "You will be disfigured and your father crippled, and others c lose to you will be injured." Anna May Wong was told in the letter, "unless the money i; paid " Police guards are kef-ping close watch on the homes of the actress and the producer.

HOLLYWOOD STIRRED BY WEDDING

GENE RAYMOND AND JEANETTE MarDONALD j At long last. Gene Raymond and Jeanette MacDonald are man and wife. Not that the period of their engagement was so long—judged by normal standards—but in Hollywood anything may happen when a marriage does not take place on the spur of the moment. Hence, the ceremony in the Wilshirc.. Methodist Episcopal Church ended a nerve-shaking and apparently inter- , minable wait for Hollywood gossips, j. True to their expressed intentions,'. Gene and Jeanette had a ceremony formav in every respect. In complete bride’s attire, designed designed by M.-G.-M.’s Adrian, Jeanette, unforgettably beautiful, went to Ihe 1 altar escorted by her bridesmaids. Fay Wrav. Ginger Rogers and Helen For-.' guson. i : Not to be outdone in the brilliance of i< what, may be termed his supporting I cast. Gene had. as ushers. Harold Lloyd and Basil Rathbonq. among others [, Every detail of the formal wedding was observed, .members of the film' colony vicing with each other to make the function something which would show the world that unconventional [ Hollywood can do things properly if il , so desires. [ World-famous Lily Pons. Metropoli- j tan Opera House and screen soprano, i even attended to render a serenade! -iPch was nationally broadcast. | As if to make (be marriage even j more of an occasion, neither bride nor t groom had previously been wedded. • ( This, in itself, is cough to meke news, j The crowd which assembled at the:' church was terrific. Hours before the! ceremony was time dto commence, on-1 : lookers commenced to gather.

Arrangements had been made early with the police department, but as the throng grew thicker, making it a matter of the utmost difficulty for invited guests 1o approach the church, police reinforcements had to be rushed out until, finally, there were.a hundred constables trying to keep order among the 15.000 excited spectators.

"THREE ON THE TRAIL"

Based on the popular Clarence E. Mulford stories. “Three on the Trail,” brings William Boyd back in his role of “I-lopalong Cassidy,” and Jimmy Ellison as Johnny Nelson. The story shows "Hoppy's” efforts to free himself and Johnny from a false and Jimmy Nelson. The story shows “Floppy’s” efforts to. free himself and Johnny from a false charge of robbery and murder fastened on them by Pecos Kane, crooked gambler, and their thrilling adventures in ridding the country of Kane and his desperadoes. "Three on the Trail” is a thriller, with deft comedy touches and romance woven expertly into the sioiy oy the capable direction Gl Howard Bretherton. The beautiful country of the West forms a background that will linger in the minds of the audience.

“IT’S A GIFT” W. C. Fields has acquired a family of three in his new starring comdey, “It's a Gift.” They are Kathleen Howard, as his wife,' Jean Rouverol, as his daughi ter, and Tom Bupp, as his young son. They, together with Baby Le-Roy. form the featured supporting cast for j the new Fields comedy about the henI pecked grocer who yearns to own an orange ranch in California where lie : can just rest and watch the oranges ■ grow. - ! An inheritance from his uncle makes his dream possible and, before his wife | can interfere, Fields has bought the 1 ranch from his daughter’s young man and started cross-country with his 1 family. Their crazy voyage in a batj tered old car is full of thrills and J comedy. But when they finally arrive i at their destination they discover that the ranch is nothing but a bit of | barren, sun-baked acreage. How fortune intervenes to save the situation ' for Fields and give him his dream- ' ranch brings the film to a happy and j satisfactory conclusion. MAKE UP MAN Imagine Eros without his bow--Chap-i lin without hir, cane—Neptune without i I.is .trident-Negretti without Sambra. ; Or. again, imagine Tom Walls without | in's moustache, Ralph Lynn without his j monocle. Impossible, you say? Yet the | latter two miracles took place at the ! Sound C ity Studios where these two i comedy stars hav* '«•«! completed their latest film, “For Valour,” written by j their old associate and friend Ben Traj vers. In this film, Ralph Lynn appears in I - ertain scenes as a doddering old man of eighty-five. Tom Walls appears as a j man twenty jears bis junior, but with--1 out a moustache, and afierned with the j nicest cauliflower cars you've seen in •.cars. It took Hermann Rosenthal brilliant mrlm-un artist, nearly two and half hours to get. each of those stars j readv for the scenes in which they apvear thus, of which a few minutes war lost, overv day wh -n lie was reduced loj ’,slighter by Ms own liar” - I’- 1 ’ -- I l ' --- j mann Rosenthal is one of the greatest! experts alive in this fasctnalmg art. l-'i insists on doing every bit of the work '-•imself and even makes wigs.

“NO. MODERN PHRASES”

A large premium was paid on an accident assurance policy for Laurence Olivier,, who risks limbs and face during the wrestling sequences in' “As You Like It.” ’

During rehearsals of the cheering of the wrestling match scenes the crowds were so carried away by excitement that,there were lapses into 193 C vernacular like “whoopee” and “Atta-boy.' - Dr. Czinner, the director, admonisned. the “extras” and proclaimed “no modern phrases.” So the multitude shoulded “Huzzah” and “Bravo Irlando.”

The topsy-turvy routine of Hollywood studio life was never better illustrated than the incident involving Jean Arthur and George Brent on the Columbia set where a scene from “More Than a

Secretary” was being filmed. The sequence called, for a shot of George Brent catching cold after walking in the rain, while Miss Arthur, radiantly healthty. jibes him goodnaturedly. What actually happened that day was that Brent never felt better in his life, and had to simulate - cold, while Miss Arthur tried her best to loon healthy while suffering her worst cold of the year.

HOLLYWOOD CONTRADICTS PARIS

"The Paris / prediction ! that j skirts will continue to-cliirtiy uhtii’they - ,have reached the knees, anti that; necklihes will drop to fashion- dramatically Joto dccolletages, doesn't wip.-the approval of the Hollywood stirsA'yiS the opinion • expressed by ccljlarmjrfg; Patricia Ellis ' yvho . appears /opposite James Dunn pi"• Columbia’s '“Vetitis Makes Trouble.” vf >' ! v

M’iss Ellis explained that .she felt that no set rule for the length jof' skirts could ever, be made •aftbri woiriehYrdilised the unbecoming o£ tpe short dress fashions of a decade albv . .

In selecting skirt . lengths, f. \yprpeh should alwaj's take into consideratjpp the shapeliness of their Tegs. iHei&hVji another important factor, in' govprp'ihg the skirt length' for -'.any'particular

figure. ■ In further explanation of her opinion; " " ! • • . m

Miss Eliis feels that low necklines, al* though becoming, .allow' the sun .arid Wind tc- burn, deep shadows on the neck and thus spot! the even tclouring of the skin, so Hollywood necklines are. sure to remain crowded about the throat \ Milady's frock may fashionably have the popular . V-necklme, but it will be filled with ascots kerchiefs' or frills. A.W