SCREEN AND STAGE

Otago Daily Times, Issue 22963, 19 August 1936, Page 4

SCREEN AND STAGE

FROM GREEN ROOM AND STUDIO

BY HARLEQUIN

’Jix Popular After 15 Years

Stars may come and stars may go but Richard Dix goes on forever. At least that is the way the popular actor is regarded in motion picture circles. His current starring vehicle, “ Special Investigator,” an RKO Radio feature, soon to be released, rounds out approximately 15 years of sustained popularity, and stardom on the screen. Critics attribute this long popularity to a sound dramatic technique, and to the fact that Dix represents a solid, wholesome, he-man type that will always be popular with the public. Dix has appeared in more than 75 feature-length films, and has played opposite more than 50 glamorous female stars during his unusual career. In fact, Margaret Callahan, who appears in his ..current picture, is his forty-first leading lady. They are supported by a versatile cast, including Erik Rhodes, Sheila Terry, Owen Davis, jun., Ray Mayer, J. Carroll Naish, and others.

War On Crime In " Show Them No Mercy! ” the Twentieth Century thriller, which opens to-day at the Grand Theatre, Producer Darryl F. Zanuck has managed to catch a new slant on pictures which deal with the war against crime. Violence, intense emotional drama, spontaneous humour and romance are in the sequences of this new picture which reveals the new under-world terror in America’s fight to wipe it out. The plot of “ Show Them No Mercy!” carries Rochelle Hudson and Edward Norris, two innocent young people with their baby, into the hideout of the gang. The criminals have 200,000 dollars in “hot money,” and are waiting for the hue and cry to die down. Panicky, afraid that the youngsters will disclose their refuge, the gangsters are all for putitng them out of the way. Through a series of exciting scenes, the picture reveals how the well-laid plans of the Department of Justice draw the net tighter and tighter about them, until the mobsters flee, leaving one of their number behind. In a gripping climax, Cesar Romero and Bruce Cabot, leaders of the gang, decide to shoot Miss Hudson and Norris. But a daring ruse on the part of the two intended victims gives them the upper hand just as the Federal men arrive on the scene. The author of “ Show Them No Mercy ” is Kubec Glasman. George Marshall, famous as Will Rogers’s director, handled the direction of the picture. Prominent in the supporting cast are Warren Hymer and Edward Brophy.

A. A. Milne Play “ The Fourth Wall,” by A. A. Milne, has been chosen by the Dunedin Repertory Society as its fourteenth production to be staged for a series of four nights at His Majesty’s Theatre, commencing on September 9. The play will be produced by the society’s producer, Miss Bessie Thomson, and the stage, manager will be Mr T. Wynne. Without Asking For It

As a result of her work in “Captain Blood,” "A Midsummer Nights Dream," and the just-completed “Anthony Adverse,” in which she has the important role of Angela, Olivia de Havilland, who was unknown to moviegoers a year ago, is the proud possessor a new contract voluntarily tendered her by her boss, Jack L. Warner, vice-president in charge of production at the Warner Bros., Studios. Miss de Havilland is 19 years old now, and got her big j chance last year when she played the role of Hermia in Max Reinhardt’s Hollywood Bowl production of “A Midsummer Night’s Dream.” She became associated with the bowl enterprise as understudy to the understudy, finally getting the part When both the regular player and the understudy withdrew from the cast. Then she played the same role in the film made from Shakespeare’s comedy. Miss de Havilland has just finished working with Enroll Flynn, with whom she appeared in “Captain Blood,” in “The Charge or the Light Brigade.” “Boulder Dam”

“ Boulder Dam,” a Warner Brothers’ production, heralded as a drama of thrilling action, heroic deeds, and glamorous romance, opens at the Strand Theatre on Friday. The picture is based on Don M. Templin’s story of the building of this mighty project, and the lives of the daredevil workmen who blasted their way through solid rock and scaled the walls hundreds of feet above the river is painted in the picture in colourful detail. Death faced these dynamic workers at every turn, and many of their deeds of heroism, depicted in this film, will go down in the history of this great undertaking. The picture is enlivened by song numbers written by the famous team of Mort Dixon and Allie Wrubel and sung by Patricia Ellis. Ross Alexander portrays a shirking, disgruntled mechanic in a mid-west garage. In a first fight with his boss, the latter is killed by a fall, and the mechanic flees. He lands at Las Vegas, where the dam was being built. In a dance hall and cafe he is about to be ejected as a tramp, when Patricia Ellis, in the role of a singer at the club, intervenes, buys him food and takes him to her home, where he is welcomed by her kindly father. The mechanic goes to

work and saves the lives of many of his fellows at the risk of his own. Lyle Talbot, in the “ heavy ” role, is in love with the girl, and also knows of his successful rival’s past. He gives Ross 24 hours to quit the town, but on that last day an incident occurs which changes the whole aspect of the situation and brings the picture to a close in a smashing climax. It comes to the Strand Theatre on Friday with a new Buck Jones feature, "The Man Trailer.”

Trials of an Actor Sir Cedric Hardwicke experienced severe qualms when he was cast as Mr Baxley in A.T.P.’s attraction “ Laburnum Grove.” It was he who produced this most successful J. B. Priestley play in London, and during his directorship he insisted that the actor taking the role of Baxley, the offensive brother-in-law, should be a banana-eating fiend and chain smoker Now that he is playing this identical part in the film, he cannot complain about the gastronomical feats he is called upon to perform. Being a meticulously careful actor. Sir Cedric even gallantly consumed the bananas during rehearsals, and his record for one day was 16 and his best for a week rather over 100. As a chain smoker the strain was even more severe. He never appears in the film unaccompanied by a cloud of smoke, and. of course, the cigarette had to be always the right length to preserve the continuity—here the continuity girl at A.T.P. studios had her work cut out. This involved the smoking of between 50 and 60 cigarettes per day. To cap all this, one series of scenes necessitated the consuming of foaming glasses of beer, and only the genuine material would suffice. The number of necessary close-ups. medium shots, long shots, and rehearsals woul’d have tested anyone’s capacity for imbibing. Sir Cedric’s own comment was: “This is the most indigestible part I have over played.” But he also stated that he thoroughly enjoyed the comedy after his many period roles, and the spectator will agree that he in himself is entertainment of the first order. This film is to be released shortly throughout the main centres in the Dominion.

New Policy for His Majesty’s A new policy on the part of the management of His Majesty’s Theatre will shortly be inaugurated. The theatre is to be fitted with a modem Wide-range talking picture plant, and

only special feature films will be presented. These engagements will not be permitted to clash with seasons arranged for legitimate stage attractions. The first production to be presented is an appropriate one, linking the stage and the screen. It Is Max Reinhardt’s adaptation of Shakespeare’s “Midsummer Night’s Dream,” and it will De screened locally for the first time on September 16. Considerable attention has been aroused by this Warner Brothers production, and in England and America it has been warmly praised, critics agreeing that it has “the true Elizabethan flavour.” With Reinhardt directing the entire production, William Dieterle assisting, Nijinska staging the ballets, and Erich Wolfgang Korngold arranging the beautiful musical score by Mendelssohn, Warner Brothers had gathered together probably the world’s leading personalities in their own spheres. Hollywood technicians played a large part in the staggering entertainment that is "A Midsummer Night’s Dream,” as did the hand-picked cast, which includes old favourites in Joe E. Brown, James Cagney, Dick Powell, Jean Muir, Victor Jory, Verree Teasdale, Anita Louise, Hugh Herbert, Frank M’Hugh, Mickey. Rooney, and others. Korngold’s arrangement of the lovely music adds to the beauty and entrancement of a definitely distinguished production of this gay and elfin satire on the course of true love. At one end of the scale is lan Hunter as Theseus, with the smooth and perfect style of a mellow English actor, and at the other Joe E. Brown, of Hollywood, whose comicalities as the coddling Fute are not only entertainment in themselves, but are in the best vein of the Elizabethan mood. James Cagney, the boisterous fighter of other films, slips to the manner born into the difficult part of the boastful and foolish Bottom. Famous Comedian’s Illness

Fighting a grim battle with death for almost a year, W. C. Fields, probably one of the most brilliant comedians on the screen to-day, has made a grand recovery to good health. Many times doctor's gave up hope of his recovery, and similarly many were the rumours that he had passed away, but in Fields’s own words, “I fooled the charlatans who masqueraded as diagnosticians.” To-day Fields is one of Hollywood s heroes, occupying the niche that was held by the late Will Rogers. Reports from the Paramount studios reveal that “Poppy.” W. C. Fields’s new picture, has been completed, and, according to press criticism from America, the great artist has achieved a glorious victory, not only from his health point of view, but from the

point of view of his performance in this picture. “Poppy” is claimed as Fields’s greatest comedy. After devoting a full column to the review of the picture, the New York Times closes their story by saying: “The real news, however, and the occasion for our great rejoicing is this: Fields is back again.” The local Paramount office reports that “Poppy” is due in New Zealand within the next few weeks. Laurel and Hardy

If you can imagine Laurel and Hardy cutting their capers in doublet and hose as two idiotic bandits in a “Maid of the Mountains” type of story you have • some idea of the comedy contained in “ Fra Diavolo,” which opens on Friday at the St. James Theatre. But this is very much more than just a vehicle for the foolery of Stanley and Oliver; it is a blend of slapstick farce, musical comedy, and grand opera, and it brings to the screen once more the charming personality and glorious voice of the famous tenor, Dennis King, star of that early talkie success, “The Vagabond King.” The film has been produced on a most pretentious. scale, with a cast composed almost entirely of comedy favourites. The story is based on the real life exploits of Fra Diavolo, a. bandit chief who made himself notorious in the lawless days of Italy in the eighteenth century; but, contrary to history, he is shown on the screen as a romantic figure of the Robin Hood type. Stanleyo and Olio—no need to explain who

“I Found Stella Parish”

these are—take up banditry as the easiest way of getting rich quickly, and after having presented a blunderbuss at the terrible Fra Diavolo himself, are made to join his band. They accompany him as retainers when he goes, disguised aS the Marquis dc San Marco, to a village inn to rob an affluent old duke who is travelling through Italy with his beautiful and flirtatious young wife (Thelma Todd). At the inn the two try to capture Fra Diavolq and gain the reward, but succeed only in nabbing the duke; and after that they try to make themselves useful to the bandit chief. Which means, ot course, that they upset all his plans lor robbing the duke and consoling his wife, who is pining for young romance and not at ail averse from encountering it at the hands of the gallant “ marquis.”

Southland Film Venture Southland’s first talking picture, “The Wagon and the, Star,” is attracting favourable attention at its initial presentations in Invercargill. “So far as the publicity aspect is concerned,” says a writer in a Southland paper, “ the many shots of Southland’s varied scenic attractions must serve the province well. The camera work is excellent, and the most has been made in this direction of plenty and wonderful material. The picture will bo an education of their own province to many South landers. The story is not a heavy one, which is just as it should be. The first aim of the picture was to illustrate the natural beauties of Southland, and this object could not have been attained as fully as it has been if too much attention had been focussed on the story. But it is by no means flimsy; there is no suggestion of disjointedness. It is logical and runs smoothly from the ( opening sequence until the curtain. : There is no ground for serious criticism of the performance of the actors | and actresses. Mr John Peake and Miss Faye Hinchey. hero and heroine, sustain their parts well, and their die- , tion is excellent. Mr W. Buchan has j a happy time as the camp cook, the i romance between him and Miss Moira O’Neill being great fun. Mr A. F. Grenfell, who plays the good-natux-cd. : gruff land owner, the father of the ; heroine of the story, is iix his element, j

and very nearly steals the picture. Mrs A. C. Mac Ewan, the heroine’s charming aunt, and Mr T. R. Vanity, the pompous lawyer who is the villain of the piece, also give accomplished performances. It Is easy to scofl at local effort, particularly in an enterprise of this kind, but it is only the truth to say that “ The Wagon and the Star” deserves to be ranked as something more than a local amateur production. It is being appreciated by Invercargill, and it will be appreciaed further north and overseas. The supporting programme, with its glimpses of Nature in Southland, is splendid, and cannot fail to be a valuable advertisement for the tourist attractions of the province.” The film will be exhibited in Dunedin in the near future.

Almost everybody has some “prized possession,” some single item or article which for sentimeptal reasons or intrinsic value has become his most cherished chattel. Kay Francis, star of the First National production, “I Found Stella Parrish,” which comes to the Empire Theatre next Friday, has two pieces of property which she values highly for entirely different reasons. One of these is a ring, now something more than 2000 years old, which her great-grandmother found in the catacombs under Rome. She found it on a ledge where it had rested undisturbed for some 1900 years. The ring has been handed down through four

generations and is Kay’s most valued—and probably her most valuable—possession. For sentimental reasons this same actress values a black comb. It was her first dressing room “prop.” It was used by Miss Francis during her first stage performance, and she claims it is her good luck piece. Some of the teeth are broken and the comb itself, even when new, probably cost no more than 50 cents. But she wouldn’t part with it for a thousand times that amount. Miss Francis has the role of a beautiful and talented actress in “ I Found Stella Parrish,” a powerful drama of a woman's secret past. Others in the cast include lan Hunter, Paul Lukas, Sybil Jason. Barton Mac Lane, Jessie Ralph, Eddie AcuiT, Harry Beresford. and Joe Sawyer. John Monk Saunders wrote the story, while the screen play is by Casey Robinson. Mervyn Leßoy directed.

Famous Tail Celebrities During their many years as entrepreneurs of famous artists, Messrs J. and N. Tail have brought to New Zealand and Australia many celebrities of stage and concert platform. Reminiscence recalls such notabilities as Anna Pavlova, Ignacc Paderewski. Arnclita Galli Curci, Bcnno Moiseiwitsch, Joseph Hislop. Peter Dawson, Fedor Chaliapin, Yehudi Menuhin. Jascha Heifetz, and others. Now comes Richard Crooks, America’s silvervoiced tenor, who will be in Now Zealand next month, commencing a tour of the centres at Wellington on September 29, and subsequently visiting Christchurch on October 3. 7. 8; Dunedin. October 5; and Auckland, October 10. 13, 15. The exuberant personality of this tall, handsome American is a sure passport to popularity. In addition, he has a glorious voice, an understanding of music for all tastes, purity and variety of tone, lovely high notes that ring out with effortless ease, and an almost heartrending emotional capacity for getting every ounce of feeling and music out of every song tie sings. “ Captain January ’’ The fascinating adventures of a little waif and her two grizzled old sea-salt friends furnishes the story basis for “ Captain January," tuneful, colourful Shirlev Temple picture which comes shortly to the Stale Theatre. Somewhere on the rockbound coast of Maine

! the action of this most delightful of j Shirley’s pictures is set. She is a | nimble-toed little lady of a lighthouse. I adored and jealously guarded by old ■ Guy Kibbee, the lighthouse keeper i who had fished her from the sea years I ago. Her other old salt friend, Slim I Summerville, constantly bickers with I Kibbee, but when authorities threaten j to take the little girl away the two i old sailors present a united front. De--1 spite their strategy and an attempted j flight to sea in the night, the inevit- ; able happens, and vixenish old Sara ! Haden, the truant officer, takes possession of Shirley. But not for good, however, because unexpected friends turn up to bring Shirley and Kibbee together again, and the picture to a happy close. Shirley executes her toetickling new dances in company with Buddy Ebsen, who was a sensational Ziegfeld Follies dancer, while her old song writer, Lew Pollack, composed the music for her three new hit tunes. June Lang. Jane Darwell, as the lady who has her heart set on Kibbee, and Jerry Tucker are prominent in , the supporting cast of “ Captain January.” Produced under the supervision of B. G. DeSylva, the picture was directed by - David Butler.

Goldwyn’s Schedule The Samuel Goldwyn productions for the coming season will include the following eight pictures:— Edna Ferber’s “ Come and Get It,” adapted by Jane Murfln, with Edward Arnold, Virginia Bruce, and Francis X. Shields, which will be directed by Howard Hawks. Sinclair Lewis’s “ Dodsworth,” adapted by Sidney Howard, starring Walter Huston and Ruth Chatterton. It will be directed by William Wyler. Sam and Balia Spewack’s “ The Princess and the Pauper,” starring Miriam Hopkins. Charles Nordhoff-James Hall's “ Hurricane,” adapted by W. P. Lipscomb, most of which will be filmed in the South Seas, and probably in colour.

The annual Eddie Cantor production, “Pony Boy,” by Harry Selby, with Parkyakarkus as Eddie’s chief comic support. “ Goldwyn’s Follies,” an international revue.

“Three Live Ghosts” Reunion

Sidney Kingsley's “ Dead End,” based on one of the current stage successes on Broadway. This will probably be Miriam Hopkins’s second production for Goldwyn. The final production will be a starring vehicle for Merle Oberon.

“Little Lord Fauntleroy” An old friend in a new guise will be warmly welcomed at the Regent Theatre on Friday next, when little Freddie Bartholomew acquaints us with a completely modernised “Little Lord Fauntleroy,” bereft of the traditional long curls and plush suit, but none the less lovable for that. Frances Hodgson Burnett’s story has captured the heart of everyone who has ever read it. The adaptation of the story to

the screen is another triumph for David O. Selznick. It will delight all manner of audiences, critical or casual, with its high comedy, effective pathos, genuine feeling, and superb dramatic unfoldment. “ Little Lord Fauntleroy ” also marks a triumphant return to the screen after four years for the lovely Dolores Costello Barrymore, who is costarred with Freddie in the role of the little lord’s adored young mother, “ Dearest.” Adapted to the screen by Hugh Walpole, the famous novelist, this handsomely produced film marks an auspicious start for the newly-orga-nised Selznick International Pictures Company. The picture is released through United Artists. It tells, in heart-warming terms, the familiar story of the little American lad who became a lord and went to England to live in a castle with his grandfather, the gruff, gout-ridden old Earl of Dorincourt (C. Aubrey Smithl, and was separated from the dear widowed mother whom the stubborn earl refused to receive inside the castle gates because his son had married against his wishes. How the child wins his way into the old man’s heart and transforms him into a loving and delightful grandfather is charmingly depicted amid smiles and heart-lugs and tears. Eventually the old earl softens even towards “ Dearest,” but is too proud to seek her out until his newfound happiness is endangered by the appearance of another, claimant to the title of “Little Lord Fauntleroy” in the person of an unpleasant little chap named Bevis (Jackie Searl). The story has a joyous ending, however, with all the difficulties ironed out and everybody gloriously happy. Freddie Bartholomew is even better than he was as “ Copperfleld Dolores Costello Barrymore is as effective as she is beautiful as “Dearest”; and C. Aubrey Smith is perfectly cast as the old earl. Grace Moore Since the autumn of 1934, when her first screen success, “ One Night of Love,” was released to the public, Grace Moore has consistently been in the public eye. Few stage, opera, radio, or motion picture stars have ever equalled the acclaim that has been Miss Moore’s since that time. “Love Me Forever,” the one picture she has made since “ One Night of Love,” brought her new plaudits. Now Miss Moore comes to the screen again in what has been heralded as her finest film to date, Columbia’s “The King Steps Out,” with Franchot Tone, Walter Connolly. Raymond Walburn. and Victor Jory assisting.

Between pictures, Miss Moore is not forgotten. Distinctly a glamorous personality, she makes , good, copy for the newspapers, and thousands of lines have been written about her. The diva’s concert, opera, and weekly radio engagements constantly attract her to millions, and her recent tiff with Hollywood, which was subsequently smoothed over, was featured in practically every newspaper. All of which goes to prove that Miss Moore has left Jellico, Tennessee, far behind. Small-town, very small town-girl, she has won the world to her bosom. She battled mightily to reach the peaks. Parental objections were one of the greatest obstacles. The Moores, like all other families in Jellico, were conservative and religious. Grace herself had, for a long time, a genuine desire to become a missionary. But when, during her freshman year at WardBelmont Seminary in Nashville, Grace heard Mary Garden sing at a recital, she made up her mind that she would follow in the famed opera star’s golden footsteps. Thousands of girls have made similar decisions, few have carried them out.

Grace’s first real opportunity came while she was Julia Sanderson’s understudy in “ Hitchy Koo.” Miss Sanderson fell ill one night, and Grace stepped into the starring role, doing so well that she was subsequently cast in the leading soprano role in “ Up in the Clouds.”

In 1928 Miss Moore made her debut at the Metropolitan in “La Boheme,” her favourite opera. Lured by Hollywood during the early days of talking pictures, Grace, because of faulty recording. was unable to impress the movie-going public. But in 1934 Columbia, with an advanced and heretofore unused method of musical recording, signed Miss Moore to a longterm contract. “ The King Steps Out " is the third picture under that agreement. Josef von Sternberg directed. Fritz Kreisler wrote the music. Sidney Buchman, who penned “Love Me Forever,” wrote the screen play.

Eight years ago in the dressing room of a New York theatre a theatrical manager introduced Beryl Mercer and Charles M’Naughton by saying, “Mother, here’s your son!” Neither of- the principals exhibited undue emotion, although they were meeting for the first time. They were scheduled to play mother and son in an untried play that was to open in a couple of weeks. The play was “ Three Live Ghosts,” which became one of the great hits of modern theatrical history. Miss Mercer and M‘Naughton played mother and son for almost two years, and then when the show closed they parted. A few weeks ago in a dressing room of a Hollywood studio a casting director brought a young man to where Beryl Mercer was sitting and said, as had that other man years earlier, “ Mother, here’s your son! ” But this time each of the principals displayed emotion, for the young man was

Child Screen Players

Charles M’Naughton, who had been engaged to play the same role in the picture he had played years earlier on the stci££c> These players will shortly appear together once more on the screen of the Empire Theatre in Metro-Goldwyn-Mayer’s picturisation of the famous play. They are members of a cast which includes Richard Arlen, Claude Allister, Cecilia Parker, Dudley Digges, Nydia Westman, Jonathan Hale, Lilian Cooper, and Robert Greib. The picture was produced by John W. Considine, jun., and directed by H. Bruce Humberstone.

“ Les Miserables ” “Les Miserables” arrives on the screen as one of filmdom’s greatest triumphs, and commences a season at the Mayfair Theatre to-day. It is claimed by overseas critics to be one of the major screen achievements. Once in a decade comes a picture so vast, so moving, so vividly dramatic, that it takes its place among the immortal triumphs of the screen. To take all that Hugo had to say regarding man’s inhumanity to man and the degradation and regeneration of Jean Valjean in a book of more than half a million words and condense it into something less than two hours of screening time is no mere task of technical craftsmanship. It has been adapted in a series of dramatic crises aimed at the heart, forming a pageant of human misery, defeat and triumph. The screen’s finest actors are seen in the film as the principal characters in the story. Fredric Marsh represents the unfortunate Jean Valjean sentenced to 10 years in the galley ships for stealing a loaf of bread and then set free to live a life of terror, bereft of name, honour, and love, and relentlessly hunted by a human bloodhound. Charles Laughton is the detective, Javert, symbolising the letter of the law, and Valjean’s ruthless pursuer. Sir Charles Hardwicke is the benevolent Bishop Bienvenu, and Rochelle Hudson. Frances Drake, and John Beal are featured in the supporting cast.

New Arliss Political Drama Mr George Arliss is not playing Lord Nelson in his new Gaumont-British picture, which started production this week. The title of this film, “The Nelson Touch,” has misled fihngoers into believing that Arliss is once again venturing into history, but this is not the case. His new film is from Neil Grant’s play, which deals with Whitehall and trouble in the Near East, and tells how a rolling stone, scapegoat brother, rescues his other brother, a pompous, hot-headed Foreign Minister, from plunging Britain into war

with Arabia. He accomplishes this by what is known as “ the Nelson touch,” namely, taking a risky chance and somehow succeeding. Arliss plays both roles in this picture, perhaps the only time in his career that he has had a co-star that can equal himself.

Production commenced his week in “Arabia” which, by the courtesy, of the carpenters and painters, rose with all its minarets and turrets in the Middlesex meadows near Northolt, where G. B. erect their huge out-of-door sets. Complete with camels, goats, jostling crowds of white-robed, fez-capped Easterners, . exhausted horsemen riding in from the desert and natives drawing water from the well, this colourful scene forms the background to the opening of the story. Then comes drama. The local Emir is murdered; anti-British feeling runs high as a white man is suspected, rumours of war spread through the desert villages and in London the dignitaries of Whitehall shift uneasily. From sipping wine in'the Arabian cafe Arliss as " Richard,” the ne-er-do-well brother- suddenly heads for England with two Arab plotters close on his heels, and there in the Foreign Office the fun begins when Arliss comes up against the thick-headedness of his Cabinet Minister brother.

Child players engaged in motion picture work have many opportunities not afforded youngsters regularly attending grade schools. At least, that is an impression three years of instructing talented youngsters has made upon Mrs M. D. Angier, for many years a teacher in public schools. “A child in motion pictures is much more closely guarded and watched than in public schools,” observed Mrs Angier, during a recess period, while she was teaching a host of youngsters who appear in the Paramount feature “ Too Many Parents.”

“In the first place,” she continued, "such children are under the supervision of a teacher, and a .welfare worker, and in the second place one or both of their parents are constantly with them.

“From the standpoint of training the children, the interpretation of English which they receive from directors cultivates in them an ability to read and understand what they are reading. They are trained by the best people the studio can hire.

“I have noticed, too, that motion picture children are much more sensitive to approval and disapproval than other children. And they are much more eager to win approval than other children. Of course that eagerness is based on a sindere liking for the people under whom they are working. “ Instead of there being anything detrimental in the association of children with actors, actresses and workers, such associations have been highly helpful, as far as I can observe.”

Ra Hould, six-year-old Dunedin boy, is among the many children under contract to the Paramount studios. #» . * • : • ■ Ballard Berkeley Is His Name

“Tall, dark, and handsome” is what the maidens warn, and that is what they are going to gel wnen “East Meets West,” the Gaumont. British drama, arrives on the local screen and they lay their eyes on Ballard Berkeley. Ballard, who is a wnoie sheaf of answers to any maiden’s prayer, plays “ Nezim,” handsome, swarthy Eastern prince, be-turoanned and be-jewelled, and son to Sultan Arliss in this new story of intrigue in the jungle of Renang. Recently ne has achieved great stage fame for his leading role with Wendy Hiller in the famous success, “Love OntheDple,” and for Ballard the saying, “All the world’s a stage” is quite true for he has toured every'continent and played romantic roles in some of the most outlandish theatres on earth. Adventure has followed him doggedly, and it is in his veins, for this six-foot hero has a dash of the wild Hungarian blood in him from his Magyar ancestors. Once in Buenos Aires, Detween shows, he explored some of the haunts of the city in search of local colour. He asked a beautiful senorita to dance with him, heedless of the risk in those parts of speaking unintroduced to a Spanish girl. Oil they went. Suddenly he thought he was having hallucinations, for a swarthy face, creased with fury; loomed up, and his partner was wrenched from him and flung aside! The next minute Ballard saw a knife in an upraised hand bearing down on him, and he modestly says that. it was due to “Dutch” courage only that he swung an uppercut to the man’s jaw and knocked him senseless.

Reading between the lines, Ballard’s uppercut was not so much chance as an inherent knowledge of sound boxing tactics. He is one of the keenest of amateur boxers, never missing a championship fight, always keeping in training, and often to be seen at>London’s famous Blackfriar’s ring, ’doing rounds with toughened pugilists to keep in trim. This promising screen hero began life conducting a children’s concert party to entertain wounded soldiers in war time, made his professional debut as “ Wishy-Washy ” in the pantomime “Alladin,” and used to tour the English provinces in musical comedies with Fred Astaire.

Film Topics After one year of intensive preparation, the cameras have started turning on “ Lost Horizon,” Frank Capra’s next production for Columbia, in which Ronald Colman will be starred. During production, scheduled to last for at least two months, almost every stage of the Hollywood Studios will be used for the gigantic Tibetan sets, and the many exteriors will be filmed on one of the largest outdoor sets ever built. This setting, at the Columbia ranch in the San Fernando Valley, is a lamasery and garden covering approximately two city blocks.

Making use of the publicity given “ Mutiny on the Bounty ” when it won the Academy award for being the best picture produced in 1935, Irving Thalberg announced recently that “ Pitcairn Island,” the sequel to the famous sea story by Charles Nordhofl; and James Norman Hall, would be produced immediately. Clark Gable will once again play the role of Fletcher Christian, and Mamo Clarke will once again be the native wife. Frank Lloyd, who directed “ Mutiny on the Bounty,” is now a producer for Paramount, but Thalberg may borrow him from that studio for the new picture. Irene Dunne and Ann Harding have been definitely set to play in Paramount’s “The Old Maid.” After that Miss Harding goes to England to play in a picture for Capitol Films. Jean Muir has been lent by Warners to Twentieth Century-Fox to play the lead opposite John Boles in “White Fang,” a screen version of the Jack London book.

Gladys Swarthout’s next picture for Paramount will be “ The New Divorce.” She will have two leading men: Herbert Marshall and Cary Grant. Pravda, the official Communist newspaper, has been attacking Russian film directors. It accuses them of conceit and “ sabotaging ” scenario writers. Wesley Ruggles has been set by Paramount to direct “ Poor Sap,” with Carole Lombard starring. Paramount hope to borrow Charles Laughton to play opposite Miss Lombard. The musical score written by Charlie Chaplin to accompany “Modem Times" has received “highbrow” recognition. Leopold Stokowski and his Philadelphia Orchestra have played it. Louis Bromfield, the well-known American novelist, has sold a story called “And It All Came True'’ to Warners. It will be made as a musical, with Dick Powell and Ruby Keeler costarring. Ladislaus Fedor, the Hungarian author, has signed a contract to write for M.-G.-M.—but only on condition that he does not have to go to Hollywood. He will write four stories in Budapest; one for Garbo, one for Harlow, one for Crawford, and possibly one for Luise Rainer.

Anna Sten is to play the title role in “The Witch.” The picture, based on a story of fourteenth century Italy, goes into production in July. Paramount are planning to remake “ Beau Gesto ” in colour. Gary Cooper will have the title role and Henry Hathaway will direct. Claudette Colbert’s next picture for Paramount will be “I, James Lewis.” Frank Lloyd will direct. Fred Stone has been given a longterm contract by Radio, for whom ho recently featured in “ The Farmer in the Dell.”