SCREEN AND STAGE Fiction Into Film

Otago Daily Times, Issue 23327, 20 October 1937, Page 15

SCREEN AND STAGE

Fiction Into Film

BY HARLEQUIN

"Girl ta a Million"

Sonja Heine, world champion skater, With twinkling feet and flashing smile, has made an immediate ascent to stardom with her first full-length film, "Girl in • a Million," which will be shown at the State Theatre on Friday. The story of Sonja's first screen vehicle has to do with a troupe of American entertainers in straitened circumstances whoare travelling in Europe under the wing of their ebullient manager, played by Adolphe Menjou. They arrive at a Swiss resort, where they were to put on a performance, but find that the hotel has been burned down. Installing his troupe at a little lodging house, the manager discovers a marvellously gifted amateur ice skater in the person of beautiful little Greta, the innkeeper's daughter (Sonja Heine), who is being trained by her father (Jean Hersholt), to win the Olympic ice-skating championship, which he once held, but which was taken from him on false charges of professionalism. Amid plot complications during which Menjou nearly ruins the father's and daughter's hopes by placing her in a professional skating * performance, Son] a finds occasion to give some stunning exhibitions of her genius as a dancer on the ice. Finally, through the help of a young American newspaperman (Don Ameche), who has fallen in love with her, Sonja is saved from the taint of professionalism and wins the Olympic championship.

Repertory Society Activity The Dunedin Repertory Society"? final production for 1937 will be Keith Winter's play, "The-Shining Hour." This will be presented at His Majesty's Theatre for four nights at the end of November. The Dunedin Repertory Society is forming a Play-Reading Circle, which • will be open to all active members. The first reading will be held in the eecond week in November in the society's rehearsal room, Dowling street. Details will be discussed at the next social evening.

Strand's Next Features Columbia's "Roaring Timber," starring Jack Holt with Grace Bradley, Ruth Donnelly and Raymond Hatton in support, will be the main feature at the Strand Theatre starting on Friday. Set against the Rocky Mountain timberlands, the story of "Roaring Timber" tells the tale of one man's battle against Nature's fury and man's treachery for supremacy in the north woods. Briefly, the film relates the story of Jim Sherwood (Jack Holt), boss of the lumber camps, who agrees to cut a record volume of timber within six months. Before successfully completing his assignment he overcomes a forest fire, checkmates the plans of a scheming engineer (Willard Robertson) to wreck the project, and j wins the love and respect of his lovely employer (Grace Bradley). Friday marks the opening of Universal's "Oh, Doctor!" starring Ed- { ward Everett Horton, at the Strand 1 Theatre. The picture is an adaptation i of Harry Leon Wilson's humorous ' • novel of the same name and presents the inimitable Horton in the role of the chief character, Ned Billop, a hypochondriac who sells his birthright for a mess of pills. He lives to regret the bargain and then regains his heritage by methods which, although amusing, are dangerous and thrilling. The fun begins when Horton, falling in love, tries to impress his sweetheart with - a series of dare-devil stunts. The cast includes Donrue Leighton, William Hall, Eve Arden, Thurston Hall, Catharine Doucet and William Demarest.

FROM GREEN ROOM AND STUDIO

Exciting Drama for Dunedin Rehearsals are reported to be well in hand for the next major productions of the Dunedin Little Theatre Society, "Till the Day I Die" and "Waiting For Lefty," which will be bracketed to provide a varied and unusual programme of theatrical fare. In keeping with the forward policy of the society, these plays, which are from the pen of Clifford Odets, whose work has created something of a sensation both in the United States and Australia, are concerned with other matters besides entertainment. "Till the Dav I Die" deals starkly and grimly with the fate of minorities under the Nazi regime in Germany, and represents a challenge to thought in democratic communities. "Waiting for Lefty," on the other hand, has its social relevance in the perpetual war of classes, which can no less be ignored by thoughtful people. In this play the audience will have the unique sensation of becoming, in a sense, a part of the cast. " The Last of Mrs Cheyney "

A brilliant cast headed by Joan Crawford, William Powell, and Robert Montgomery will appear at the Empire Theatre next week in Metro-Goldwyn-Mayer's "The Last of Mrs Cheyney/' based on the stage play by Frederic Lonsdale. An exceptional supporting cast includes Frank Morgan, Jessie Ralph, Nigel Bruce, Colleen Clare,

Benita Hume, Ralph Forbes, Aileen Pringle, and Melville Cooper. The story, ultra-modern as a stage play, has been advanced to the current minute in dialogue and atmosphere, so that it is more than ever smart and sophisticated. Miss Crawford portrays a charming American widow in London society, and William Powell is a suave butler who is in reality a crook. Robert Montgomery portrays the young English lord who falls in love with the American girl, only to find her under suspicion of jewel theft. However, when it is discovered that the gay lady from America has bravely destroyed a love letter which might have created untold trouble, and furthermore that her butler is the thief, all is well. Obviously, as she becomes Lady Dilling in response to the young lord's plea, it is happily "The Last of Mrs Cheyney." Miss Crawford, looking well in the gowns designed for her by Adrian, is said to give a fresh vivacity and sparkle to the role of the glamorous Mrs Cheyney., Advance reports also state that Powell has never been better than as the crook with a sense of humour, and Montgomery as Lord Dilling once again proves his flair for sophistication and jauntiness. With its star-studded cast, its brilliant production and engrossing story, "The Last of Mrs Cheyney " is hailed as one of the most entertaining and delightful films to be presented here in some time. Two Sudden Deaths

The London stage has suffered the loss of two well-known actors, both of whom died suddenly within a day of each other (writes our correspondent on September 18). They were Mr lon Swiniey, the Shakespearian actor and tragedian, who took a prominent part in Merton Hodge's latest play, "The Island," recently, and Mr Clifford Heatherley, a bluff and jovial master of comic character. The similarity in the manner of their deaths was paralleled in their lives. They were of about the same age—Mr Swiniey 45 and Mr Heatherley 48. Both had begun their stage careers under Sir Herbert Tree at His Majesty's Theatre about a quarter of

a century ago. While lon Swinley was noted for his performances in Shakespearian parts, Clifford Heatherley made his name in musical comedy. Mr Swinley appeared on the night before'his death as the Duke of Ephesus in "The Comedy of Errors" at the Open Air Theatre, Regent's Park, and took part later in a broadcast as Raleigh in "The Last Fight of the Revenge." He was found dead at his home in Holland road, Kensington, the next morning. It was understood that death was due to internal haemorrhage and that there will be no inquest. As a result of his death Mr Sydney Carroll abandoned two performances of " The Comedy of Errors." Mr Heatherley appeared in two performances of "Crest of the Wave," at Drury lane, also on the night before his death, taking the parts of Palasti, the foreign film director, and of the ghost of Henry VIII in the Abbey scene. He was in his usual jovial spirits. His wife found him dead in bed next morning. Grand Theatre Films

A fast-moving romantic portrayal of outdoor life in the West comes to the Grand Theatre to-day. where Paramount's "Hills of Old Wyoming" presents William Boyd in the star role of '• Hopalong Cassidy." The film centres

about a large reservation in Wyoming where a crooked Government agent tries to use his Indian wards as a screen for his sinister operations as head of a cattle rustling gang. Cassidy, with his pals "Windy" and "Mesquite 'Lucky' Jenkins." is a peace-loving rancher when the picture opens. The three, together with their neighbours, rise in protest, however, at the continued cattle thieving. The Government agent inflames the Indians against, the white men. The threatened result is a sanguinary and reckless conflict which the hard-riding, straight-shooting and quick-thinking "Hooalong Cassidy," undertakes to avert. This is-the tenth "Hopalong Cassidy" picture in which William Boyd, who created this exciting screen personage, has appeared. He is supported in his performance by George Hayes. Russell Hayden. Stephen Morris and Clara Kimball Young. Miss Young, who is continuing her screen comeback, is amusing as "Ma Hutchins." a typical hearty Western woman storekeeper. The second feature is a Ralph Lynn Comedy, "All In." the story of a man who is left a horse which is entered for a Derby and who buys a wrestling stadium and between the two finds considerable excitement. Claude Dampier and Gina Malo are also in the cast.

Mayfair Features In 1932 Edward Arnold paid an income tax of £5. Now he is star of Samuel Goldwyn's production of Edna Ferber's "Come and Get It," which comes to the Mayfair Theatre to-day. Arnold was orphaned before he was 12 years old and never got further than the fourth grade of grammar school. He got stage struck when he was 11 and heard his uncle Hilmer play the bass fiddle in Tony Pastor's famous old New York Theatre. While working in the engine room of Columbia University three years later, he joined a settlement house theatrical group. Fired for letting one of Columbia's engines run hot, he secured a place with the Ben Greet Players. He toured with them for two years, at a salary of £5 per week, doing minor parts in Shakespearian drama and learning much about acting. He was 17 when he left that group and went with Maxine Elliott at a salary of £lO. The Los Angeles Philharmonic Auditorium, one of the largest theatres in the world, definitely "went Hollywood" when a motion-picture troupe moved in and took possession of the historic building. Many sequences of Columbia's "Adventure in Manhattan," with Jean Arthur, Joel M'Crea, and Reginald Owen, now at the Mayfair Theatre, are laid on the stage of a theatre while rehearsals and a stage play are in progress. Huge studio dynamos, lights, generators, and other filming paraphernalia were hauled backstage at the theatre and the mo-tion-picture workers went about their tasks with all the advantages of filming on a studio sound stage. Jean Arthur, Joel M'Crea, Reginald Owen, and other members of the cast occupied the dressing rooms which countless stars of yesteryear in the world of opera, music, and ballet have immortalised.

The Serial Returns The exciting adventures of "Secret Agent X-9," drawn as a newspaper strip by Charles Flanders, have now made their way to the screen as a Universal chapterplay. The first episode will begin at the Strand and Mayfair Theatres on Saturday afternoon. " Secret Agent X-9 " concerns the stealing of the Belgravian crown jewels by a band of international thieves. Scott Kolk as the secret agent, learns who is the leader of the gang. Then he trails the criminals and finds where the gems are hidden. Finally he runs down the entire crew of evildoers, battles them in their lair and captures them all, including the ringleader. Jean Rogers, Monte Blue, Henry Hunter and David Oliver have prominent roles. "The Singing Marine" Dick Powell, Warner Brothers' popular star, who was last seen here in "Gold Diggers of 1937," will appear in their latest production, "The Singing Marine," at the Regent Theatre on Friday next. Warner Brothers call this production " an extravaganza," but there is more to It than a succession of tableaux and song and dance numbers. There is a definite story with humour, romance, and drama. At the San Diego Marine Barracks, Bob Brent

(Dick Powell) is a timid private. He is a splendid singer and guitar player. His pals, Sergeant Mike (Allen Jenkins) and Slim (Lee Dixon), take him along—to provide romantic music—when they go out with their girl friends. Bob himself is in love with Peggy (Doris Weston), but is so bashful he cannot tell her about it. Peggy decides to visit New York and try "Major Rowe's" amateur programme. When the Marines hear that, Bob's company takes up a collection and sends him along, too, as "the singing

marine." But success goes to his head. He neglects Peggy. He forgets about his marine comrades. His 30-day furlough ends, and he is ordered to return to the base, and then go to China with his outfit. He does this, but travels on a luxury liner instead of an ordinary transport. Arriving in Shanghai, unknown to him, his managers open a luxurious night club; name it "The Singing Marine"—and exercise their power of attorney by using his savings to finance it. Headquarters refuse to let him participate, but he manages to perform on opening night. The turnout enables him to pay off his debts. He then turns the establishment over to Ma Marine, the beloved matron of the marines. He again wins the favour of all concerned. The film closes with a spectacular sequence. Artful Showman To stimulate business, a German Theatre manager advertised a special picture, and offered 500 marks to any

patron who did not like it. The house was packed, but no one claimed the money. The picture was a film dealing with Adolph Hitler. "Wings Over Honolulu"

Settings so huge and costly that even the most ambitious " movie art director could never undertake them were used in the filming of Universal's exciting navy flying picture, "Wings Over Honolulu," which opens at the St. James Theatre on Friday next with Wendy Barrie and Ray Milland in the leading roles. Milland scored previously in "Three Smart Girls." Notable among them was the giant naval aircraft carrier, the U.S.S. Ranger, which represents an investment of 25,000,000 dollars. Serving as the base for a swarm of fighting planes, it is one of the largest of the American Pacific fleet, and was used by Director H. C. Potter as the background for some of the picture's most spectacular scenes. Other sets which were utilised in the production include the navy transport Chaumont and hangars, buildings, barracks and landing fields at the North Island naval air base near San Diego. A company of 60 persons was sent to North Island by Universal to take advantage of these backgrounds, which could not be reproduced in a studio. Their use gives "Wings Over Honolulu" an authenticity which it is claimed is seldom achieved by a motion picture. All settings for the spectacular production were not left to Uncle Sam however. More than a score of elaborate sets were built for interior scenes in the picture. These included a huge Virginia plantation house where an oldfashioned Southern birthday ball provides a highlight of the film. There was also a complete Hawaiian night club, modelled closely after one which actually exists in Honolulu. On one of the studio sound stages. Universal craftsmen erected a bungalow of the type used in the tropics. Against these backgrounds Universal has produced an unusual story from the pen of Mildred Cram. In addition to Miss Barrie and Milland, the cast includes Kent Taylor, William Gargan, Polly Rowles, Mary Philips, Samuel Hinds, Margaret M'Wade, and Clara Blandick.

If a list of "Who's Who" in the literary world were to be compiled it must inevitably contain a great number of the names that will receive story credit in forthcoming pictures from Warner Bros.-First National. In the company's policy announcement for the season 1937-38, at least 17 well-known authors appear as contributors to the production programme. Some of these—Lloyd C. Douglas, Peter B. Kyne, Hugh Walpole, and Fannie Hurst, for instance—have written not one but many stories which public demand keeps forever off the library shelves. A list of writers and their stories which will be made by Warner Bros, as pictures follows:—Lloyd C. Douglas, " White Banners " (Douglas was responsible for both "Magnificent Obsession" and "Green Light"); Hugh Walpole, "A Prayer for My Sons"; Peter B. Kyne, "The Valley of the Giants"; Fannie Hurst, "Sister Act" and "The Life of Emile Zola"; Geza Herczeg, biography; Myron Brmig, "The Sisters"; Fedor Dostoievsky, "The Gamblers"; Louis Bromfield, "And It All Came True "; Faith Baldwin, " Comet Over Broadway "; Clements Ripley, "Gold Is Where You Find It"; Katherina Brush, "You're All I Want"; Clarence Buddington Kelland (who wrote "Mr Deeds"), "Mr Dodd Takes the Air"; Donn Byrne, "This Woman Is Dangerous"; Samuel Hopkins Adams, "The Perfect Specimen.

"When Thief Meets Thief" The British film "When Thief Meets Thief." which opens at the Octagon Theatre on Friday, is said to be deserving of considerable attention by those people who like their stories to be exciting, unusual, and filled with incident. The star is Douglas Fairbanks, jun., a young man whose popularity has suffered from the sins of overacting remembered against his father, but who has few equals on the

screen in roles demanding youth, vigour, and romantic bearing. Those who saw "The Amateur Gentleman" should agree with this, and he is equally at home in a modern setting. This is a story about amiable crooks. If such people existed in real life they would soon find themselves behind bars, and there would be few to mourn, but when they appear on the screen everyone wishes them the best of luck. So it is with young Fairbanks in his portrayal of a handsome rum-runner, safecracker, and cat-burglar, and with Valerie Hobson as a beautiful adventuress whose activities are more within the law, but scarcely less a menace to polite society. Romance enters the story when Fairbanks goes to take the rich girl's jewels, but steals her heart instead, but before this he has had exciting encounters with a blackmailing colleague (Allan Hale), and this unpleasant person returns later to furnish the film with several surprising twists and a rather ingeniously-con-

trived climax. I have long regarded Hale as one of the five most capable villains on the screen (says a writer), and his latest performance confirms that belief.

All in all, "When Thief Meets Thief" is melodrama well worth watching. The associate feature is "Marry the Girl," a delightful comedy.

Montague Show Over 12 months ago Sir Benjamin Fuller, in an interview, stated that he believed flesh-and-blood entertainment

in New Zealand was still popular, and he intended putting his belief to the test. As a result, Dominion audiences were entertained with the Marcus Show, a bright American revue that was different from anything else yet imported. Now comes the Bertram Montague Company, the first complete London West End Revue to be presented in its entirety in this country. That Sir Benjamin's belief was correct has already been demonstrated by the

successful seasons the company has enjoyed elsewhere in the Dominion, and its opening in Invercargill last Saturday night was something that southern residents will not forget for many years. "Crackling, robust comedy, beautiful costuming, original ideas, cleverly executed, specialty acts of an entirely new type, picturesque settings, and, what is increasingly important in these impatient days, a fast tempo throughout, are all evidence of a successful effort to re-establish the oncepopular revue on a modern footing to compete with the screen." That is what one reviewer thought, and he added: "The Montague Show is that product of radio entertainment, a nonstop revue. Gone are the old halts between one act and the next, gone are the old jokes and the old stock acts that in other years made one vaudeville show so very much like the next. The Montague Show, like its predecessor, is new, but unlike its predecessor, it is less spectacular and more of a revuemore of vaudeville." And so it should

be with the cast that "puts it over." First, there is the famous Damora Ballet that has delighted London for many months. George Doonan and Jewel and Warris are responsible for most of the comedy, and their clever cross-talk adds greatly to the sparkle of the show. Others in an exceptionally large cast include the Dawn Sisters, hilarious American burlesque dancers; Barbara Vernon, the American comedienne, who played the name part in the London production of "No, No, Nanette," last year; the Blenders, a quartet of harmonious singers, of stage, screen, and radio fame. The Two Rogues, celebrated screen comedians and dancers; Margaret Kelly, enchanting soprano; Alma Mackie, the different dancer"; and the ballet of 30 beautiful girls.

Hollywood Cemetery Quite as extraordinary as the film city itself, is the place where Hollywood screen stars are eventually laid to rest—the unique cemetery known as Forest Lawn Memorial Park. What was, 20 years ago, a depressing necropolis near Hollywood, has been converted by Hubert Eaton, the chairman of the Memorial Park, into an imposing area of 200 acres which contains the dust of some 55,000 humans, with room for about 150,000 more.

The most unusual thing about this cemetery is the fact that there is a ban placed on tombstones —which, being considered unsightly and inartistic, have been substituted by bronze markers laid flush with the grass. The Park is divided into sections named Resthaven, Eventide, Babyland, Vale of Memory, etc., surrounded by shrubs and trees. In this setting lies the famous "Wee Kirk o' the Heather," an undenominational shrine where the funeral services of many a film favourite have been held. This church was built in 1929—a copy of the little Scottish kirk where Annie Laurie worshipped. Forest Lawn's first funeral chapel was the equally famous " Little Church of the Flowers," a quarter of a mile down the hill from the Wee Kirk. Strangely enough, both of these sanctuaries are used for weddings alsomuch to the distaste of the clergy. The most recent of famous film funerals was that of the late star Jean Harlow, to whom 200 of her friends paid their last respects, while patrolmen kept the public at bay. The nave of the wee kirk was decorated with 15,000 dollars' worth of flowers; after the service, at which Jeanette MacDonald sang " Indian Love Call," and Nelson Eddy "Ah, Sweet Mystery of Life," the body was then taken to a mortuary chamber costing 25,000 dollars, and purchased by William Powell, who was to have been Miss Harlow's fourth husband. Jean

Harlow's last resting place is the Sanctuary of Benediction. Owing to the number of film stars whose mortal remains lie there, Forest Lawn has come to be known as Hollywood's Valhalla. Among its filmfamed dead are Irving Thalberg, Marie Dressier, Flo Ziegfeld, Lon Chaney, Rudolf Valentino, Harold Lloyd, Guy Bates Post, and Wallace Reid. Thousands of dollars have been spent on making this unique cemetery. At the foot of Mount Forest Lawn there is an enormous marble group statue called Mystery of Life, and at its top stands the huge Tower of Legends. There is an Administration Building, full of antiques, a flower shop, and a crematorium. Hollywood dies, it seems, on a scale equally grand with that at which it lives. Hollywood "Loans" Hollywood " loans " pay the greatest dividends in history, if the collateral is talent. The cases of Carole Lombard

and Frances Farmer are conspicuous and have a* number of parallels that are rapidly swelling the ranks of " topnotch" players who are clamouring not for contracts, but for independence. They want the privilege of selecting their own roles at whatever studio offers them the best story, direction, jind Crist Invariably cast in glamour girl roles at Paramount, the lovely Miss Lombard went on loan to Universal, and, in " My Man Godfrey," proved herself one of the " daftest" comediennes in the show world. Rated a leading lady and a newcomer, Frances Farmer left the Paramount lot on a loan to Samuel Goldwyn, and in "Come and Get It" emerged as an actress worthy of star billing. The situation is repeated over and over. When Gertrude Michael had completed her second " Sophie Lang " title role, Paramount allowed her contract to lapse. They've borrowed her back from RKO for "Sophie Lang Goes West" at a higher weekly wage. But it is not all error with Paramount This studio has freely taken advantage of oversight elsewhere. Shirley Temple was just another "contract kid" around the Fox lot when Paramount borrowed her, and immediately sky-rocketed her into the hit class with "Little Miss Marker." Borrowing Gladys George from M.G.M., where she was inactive, Paramount did 'the same thing with her In " Valiant is the Word for Carrie **: and repeated again by establishing Victor Moore, an RKO loan-out, as an appealing tragedian in " Make Way for To-morrow."

One of Clark Gable's outstanding hits was made away from his own studios," M.G.M. Remember his co-starring role opposite Claudette Colbert in Columbia's "It Happened One Night"? Warner Baxter was thinking seriously of retiring at the end of his Fox pact, when Columbia's "Broadway Bill** pushed him away on the top of the stars, and Fox signed him to a better contract.

Randolph Scott and Fred Mac Murray are others whose reputations were made, or at least well launched, away from their home lot.

Most envied of all the players in Hollywood are Fredric March and Irene Dunne, who, though riding high, are signed and sealed to no one. Thus March can wait until he finds a story as much to his liking as "A Star is Born," or Paramount's "The Buccaneer," directed by Cecil B. De Mille. Miss Dunne can hold out for such Dunne "naturals" as the Oscar Ham-merstein-Jerome Kern "High, Wide, and Handsome," also a Paramount picture, and the well-mannered light comedies Columbia has in store for her.

Long-term contracts, once the goal of all players, are being literally spurned these days. All the players want now is the privilege of freelancing and a reputation.