SCREEN AND STAGE

Otago Daily Times, Issue 23333, 27 October 1937, Page 13

SCREEN AND STAGE

♦♦♦ FROM GREEN ROOM AND STUDIO BY HARLEQUIN

"The Dominant Sex " The controversial play that ran for over two years in London is now filmed under the challenging title " The Dominant Sex." Michael Egan wrote thi* play on the question of equality in marriage, and it has been adapted to the screen by British International Pictures, and forms one of the chief attractions to be screened at the St. James Theatre on Friday. The two young pedple in the play show what Eresumably goes on in newly estabshed flat-homes as a result of the talk in recent years about partnership equality, independence of the wife, and voluntary parenthood. Which is the dominant sex? Mr Egan left the matter open for discussion at the climax of his play. Perhaps he could not decide. The picture at the fadeout ordains the capitulation of one of tile parties. This ending, if less subtle, is said to be both pleasing and interanting. "The Dominant Sex" is a

comedy-drama, well written, and with strongly drawn characters. It has also a subject of wide public concern. The film represents a polished and competent production. Phillip Holmes, the Hollywood actor, appears in the leading role as Dick Shale, and enacts the part with skilful versatility. Diana Churchill gives an excellent portrayal of Angela, the wife, who is in turn provocative and intriguing and yet a sincere lover. Miss Churchill will be remembered for her outstanding performance in "Dishonour Bright" and "Foreign Affairs." She appears with Holmes for the first time, and the combination scores a great success. George Formby in "No Limit," the associate" picture, shows the popular comedian in the role of a chimney sweep's help whose one ambition is to win the famous Isle of Man Tourist Trophy Race. Formby is in his element. His amusing antics as he makes his way to the scene of the great race are just ■ a gay prelude to the hilarious events that follow. He is greatly assisted by the charming Florence Desmond, with,whose co-operation he at last lines up for the trial race. After one of the most amusingly spectacular races filmed Formby pushes his machine over the finishing line to win the coveted trophy and the love of his charming assistant. \ "Zola " Cabled advice received by Mr Ralph Clark, general manager, Warner Bros.First National Pictures, Ltd., states that Warners' biographical drama "The Life of Emile Zola," starring Paul Muni, had the most sensational opening at the g-trand on Broadway since the introduction of sound in 1927. Many people who offered to pay as much as five dollars (255) had to be turned away from the box office because the theatre was crammed to capacity long before the advertised starting time. "The Life of Emile Zola" is being hailed as an even more powerful and dramatic film than the memorable "Story of Louis Pasteur." According to the "Motion Picture Herald." at the end of the preview showing of the " Zola" Rim in Hollywood, the audience refused to leave the th:atre. . . . "Choking the

aisles, lobbies and foyers," says the Trade Journal, " the audience seemed to be awaiting some way in which to expres its appreciation of the picture it had just seen. When Paul Mum appeared it was the signal for an outburst of handclapping and cheering." - Strand Theatre Films

Set against the spectacular background of a ship fire at sea, "Girl Overboard! " a Universal picture opens at the Strand Theatre on Friday, with Gloria Stuart and Walter Pidgeon in the leading roles. The screen play tells the story of a beautiful New York girl who flee-s from the sinister influence of the proprietor of an exclusive Manhattan gown shop. Just before she sails, the man is killed and the finger of suspicion is pointed at the girl. By this time, however, she is at sea, on board a ship on which a disastrous fire breaks out. Consumed in the blazing inferno of the ill-fated liner is the only evidence of the true killer's identity. Supporting Miss Stuart and Walter Pidgeon are Billy Burrud, Hobart Cavanaugh, Gerald Oliver Smith and Sidney Blackmer. The story of " Variety," the British Dominions release which is coming to tne Strand Theatre on Friday, unlike many other films built around the show business, is said to be strong and intensely human. It traces the life and

changing fortunes of a famous family of showmen from the rise of the oldtime music hall of the 90's, through the good and bad times of the changing years, up to the triumph of modern high-speed variety. The film covers a sweeping canvas, and traces exciting and momentous times. It is claimed that " Variety" will do for the show business what the famous film " Cavalcade " did for English working and middle classes. "Variety" features a huge cast of popular artists, amongst the most prominent of which are Nellie Wallace, the Houston Sisters, Bobbie " Uke " Henshaw, Tessa Deane, Dennis O'Neil, George Carney, Harry Brunning, Phyllis Robbins. John Rorke, Sam Barton, Olsen's Sea-lions, the Livesey family, Billy Cotton and his band, and Sherman Fisher's 28 Girls and his Eight Can-Can Dancers. Jean Harlow's Story Jean Harlow was born In Kansas City, Mo., March 3, 1911. Her real

name was Harlean Carpentier, but she adopted her monther's name when she made her first picture. She spent the first 10 years of her life in a suburban home outside Kansas City, where she studied at the Barstow School for Girls. From the ages of 10 to 13 she lived in Hollywood and studied at the Hollywood School for Girls. Her entrance into pictures was a matter of chance. One day she went to the Fox studio with a girl friend who was working in pictures. While

waiting for her friend she was seen by one of the Fox officials, who gave her a letter to the casting director. She worked one day as a member of the mob in a Fox picture and two days in a Richard Dix picture at Paramount. Hal Roach then offered her a part in one of his comedies. She played in two-reelers at the Roach studio and signed a five-year contract with that company. In Kansas City her grandfather went to the movies one night. In addition to the feature there was a Roach comedy. He saw Jean for the first time on the screen wearing only a pair of lacy black underthings. He immediately got in touch with his granddaughter, and on the next day

Jean asked for her release from the Roach contract. It was given to her. Believing her career in pictures to be at an end she spent the next eight months doing nothing in particular. Then she played with Clara Bow. At the Christie studio she met Ben Lyon and James Hall, who were making " Hell's Angels." As a result she was given the feminine lead. When she came under the management of Metro-Goldwyn-Mayer she became a star with her first picture, "The Secret Six," released April 18, 1931. Pictures that followed included "Red Dust," 1932; " Hold Your Man," 1933; " Bombshell," 1933; "Dinner at Eight," 1934; "Reckless," 1935; "China Seas," 1935; "Riffraff," 1935; "Wife Versus Secretary," 1936; "Suzzy," 1936; "Libelled Lady," 1936; " Man in Possession," 1937; and her last picture, " Saratoga," 1937, which is now being released by M-G-M. " Man in Possession " will be the next change at the Empire Theatre.

The British Industry Friendly yet penetrating criticism of the British film industry was made lately in a London newspaper by a writer who has been connected with the industry since its early days. While he is proud to have watched its gradual emergence, he says, it. is not a very good film industry. It depends for its strength upon less than a dozen men, lumping together all the indispensable producers, directors, writers cameramen, and actors.

It is new, disorganised, and easily assailable. It trusts the wrong people; spends money foolishly and wastefully. It is always in trouble, because it has neither the strength nor the experience to get rid of the men who force it into trouble. It is young, stupid, and obstinate: but it is alive, and the English people want it. Any fair census of the British populace would tell you so. "Without any reflections on the popularity of Gary Cooper, Greta Garbo, Robert Taylor, and Claudette Colbert in this country, I believe that a majority vote of all British citizens

would be for English-speaking actors in pictures with English backgrounds," the writer adds. "American films are grand. We cannot do without them. But they can never replace the need we have for our own people, our own humour, our own accents, and the blessed home face of our own country. "For 500 years and more English actors, playwrights, poets, and showmen have entertained the English people. There is nothing constitutional about the 1930's that should change that order. The English theatre is not my concern, but I believe it to be rich and fertile. The English kinema is my concern, and I know it to be rich and fertile." " Love Is News " " You're supposed to be rivals, always feuding," explained Director Tay Garnett to Tyrone Power and Don Ameche, co-stars with Loretta Young in the Twentieth Century-Fox comedy-ro-mance, "Love Is News," the next change at the State Theatre, as he outlined their roles before shooting. "Do you think you can do that? " "Do we!" the pair exclaimed in unison, breaking into peals of uncontrollable laughter that set the entire studio to smiling. It seems that with the production of "Love Is News," Hollywood's arch rivalry is resumed. Tyrone Power and Don Ameche are two friendly enemies who cannot get away from each other. Their chief trouble was that the more each saw of the other, the more they liked each other.

Each then received his biggest opportunity, Tyrone in the male lead in " Lloyds of London " and Don opposite Sonja Henie in " Girl In a Million." Now surely, it seemed, their rivalry was broken. Loafing at home, Don read the script of " Love is News " and saw in it the perfect part for himself. On the other side of Hollywood, Tyrone, stretched out on a couch, was reading the same script at the same time He, too, saw in it the perfect part for himself. , On Monday morning Tyrone hurried to the sound stage and greeted Director Tay Garnett. Then, looking about the stage, Tyrone saw Don Ameche. A cold chill went through Tyrone. He realised what had happened now. Once more Don drew the part he wanted Tyrone walked over to Ameche. "Good luck. Don," he said, shaking hands. " You've done it again. I guess there's no use in my trying for a part while you're around." "I'm glad to get the part," Don said, " but I'm sorry to cut you out, Tyrone." " Yes, it's tough. And that's a swell part, that young reporter."

" Say! I wasn't even thinking about the reporter when I read the script. The managing editor, that's what I wanted to play." Just then, Director Garnett spoke up. "What are you two talking about? You're both in the picture! Tyrone plays the reporter and you, Don, play the editor!" "Bulldog: Drummond Escapes" " Bulldog Drummond," one of the most popular detectives of fiction and the screen, has only eight hours in which to solve a series of crimes which grip London in his latest Paramount adventure, " Bulldog Drummond Escapes," which begins to-day at the Grand Theatre. The role of the dashing young sleuth and soldier-of-fortune is handled by Ray Milland, the handsome young Englishman who soared to popularity as leading man in " The Big Broadcast of 1937" and "The Jungle Princess." He is supported by Sir Guy Standing, as Inspector Neilson, of Scotland Yard, his rival in the crime-fer-reting business; Reginald Denny as "Algy," his pal and assistant; Heather Angel as the girl in the case, and Porter Hall—as the villain, of course. The latest Dummond adventure begins shortly after his arrival in London by plane. Landing in deep fog at Croydon Field, he soon finds himself confronted with the most baffling crime of his career. His car is stolen from him by a beautiful woman when he stops to investigate a scream on the moor. The first thing he must find out is the identity of the mysterious beauty. When he does, he finds himself with two murders, a kidnapping, and a counterfeit ring to contend with. And, as usual, Inspector Neilson is no help. Like the others in this popular series, "Bulldog Drummond Escapes was written by H. C. "Sapper' McNeile and Gerard Fairlie, famous for a generation as writers of mystery stories. It was directed by James Hogan. Miss Fay Compton

" When you listen to Miss Fay Compton you hear English as it should be spoken," recently wrote a leading London newspaper writer. Just before she sailed for Australia, Miss Compton received this expressive tribute from the critic of the London Evening News:— "' Julius Caesar' is not by any means my favourite Shakesperian play. Yet I am grateful for the inspiration which prompted me to go to Regents Park Open-air Theatre on Monday last. I heard again the voice that always moves me to feel it is the finest speaking voice of the English theatre—Fay Compton's." Of her performance as Titania in "A Midsummer Nights Dream" at the same open-air theatre, The Times critic said: " This, as one would have expected of Miss Compton, is a truly regal Fairy Queen, dominant of voice and bearing, who promises to be more than a match for Oberon. Her lovely speaking voice is a notable asset to the production." Fay Compton's Australian season will open with the production of "Victoria Regma" at the King's Theatre, Melbourne, on October 23. under the management of J. C. Williamson, Ltd.

"Hotel Haywire" "Hotel Haywire," the Paramount picture which will be screening at the Octagon Theatre on Friday, is a mixup with a fine cast of comedians to interpret it. It is the story of Dr Parkhouse and his wife who are a perfectly happily married couple until a practical joker puts a lady's vanity case into the doctor's pocket, and his wife, finding it, consults her confidant, Dr Zodiac Zippe, an astrologer. Dr Zippe, who has just read the horoscopes of Bertie and Genevieve Sterns (Benny Baker and Collette Lyons) and told them to become detectives, counsels Mrs Parkhouse to seek a divorce and engage the Sterns as her detectives. Phyllis, the Parkhouses' daughter, is carrying on a romance with Frank Ketts and does not know of her mother's intentions. Dr Zippe goes to Dr Parkhouse and convinces him that his wife needs watching, and advises him to get the Sterns to shadow her. Their exaggerated reports lead Parkhouse to decide upon a divorce. Meanwhile Phyllis and Frank decide to get married and go to Hotel Haywire for a secret marriage since their parents are against the alliance. Hardly have they arrived at the hotel when Dr Parkhouse arrives, and later Mrs Parkhouse with a raiding party. There follows a wild mix-up as various parties rush from room to room seeking to evade each other. Dr Zippe, of course, is revealed as a charlatan who had started all the trouble to enrich himself, Bertie and Genevieve go back to vaudeville, and Phyllis and Frank are married

Star Turns Film Producer Beautiful Madeleine Carroll temporarily deserts her histrionic career before Hollywood cameras to become a tourist and film producer. Having just completed filming of Columbia's "It's All Yours," in which she costars with Francis Lederer, the blonde actress has departed on a two-month vacation abroad with her husband.

Captain Phillip Astley, of the British Army, and will tour Europe. A romantic journey through the various French Riviera canals and rivers will be made in Miss Carroll's own Diesel-powered cruiser with auxiliary sail, and the entire cruise will be chronicled into a travelogue on 16mm. film. The actress believes that this portion of the world has never been filmed in a manner which would bring out the intimate characteristics of the people along the French waterways. It is also her purpose to film the geographic qualities of the territory as they have never been brought out before.

Director Elliott Nugent devoted much time to enlightening Miss. Carroll on the finer and technical points of picture-making between scenes , of " It's All Yours." He declares that the actress shows the same aptitude and natural ability for making pictures as for appearing in them, and predicts that she will bring back to Hollywood a film of fine pictorial quality. "Marked Woman" When an actress of Bette Davis's dramatic stature is cast in a film that is powerful, vivid, and dynamic—that is real entertainment! So it is no wonder that audiences elsewhere have been thrilled by this production from Warner Bros, which opens on Friday at the Regent Theatre. The theme of " Marked Woman " is based on a true-to-life story of one of the great metropolitan centres of America, and gives Miss Davis scope for her versatility. Bette plays one of half a dozen nightclub girls who are forced by their overlord, a racketeer who buys the place, into helping him (Cianelli) rob the patrons both by overcharging and by luring them into his gambling rooms. A patron of the club is killed by one of Ciannelli's henchmen. This brings to hurricane force the storms of indignation that have been growing throughout the city against racketeers. By dint of bribing and intimidation. Ciannelli and his gang have gained control of every night club in the city, leaving a trail of violence in their wake. Their crimes are hushed up, and bail is always forthcoming to rescue those who are embroiled in the law. They are a law in themselves, apparently immune to punishment. The brave young attorney who dares to arrest and prosecute. them is

Humphrey Bogart. With the aid of the night club girls he is able to break up racketeering and place its leaders behind bars. The girls give their testimony with the full knowledge that they face the underworld's vengeance. Directed by Lloyd Bacon, "Marked Woman" is hailed as a gripping drama.

"The Prisoner of Zenda" At the age of only four years, Douglas Fairbanks, jun., who is appearing with Ronald Colman and Madeleine Carroll in David O. Selznick's "The Prisoner of Zenda," had the distinction of throwing an entire theatre audience into an uproar and halting the show for several minutes.

"It was the first time I ever saw my father on the stage," young Doug, explains. " I didn't see him during the first act, because I was too busy playing in the box I occupied with my mother. Suddenly, during the second act of ' Hawthorne of U.S A.,' I looked toward the stage and saw my father making love to an actress. I turned and shouted to mother, ' Father's kissing that lady—look!' The audience howled, mother blushed, and the show laboured under difficulties the rest of +l-|p set " " The Prisoner of Zenda " is released through United Artists. Mayfair Features Many actors of the stage, when making their initial screen portrayals, have a lost feeling before the movie mike and camera, because they cannot see the audience to whom they are playing. The lack of a visible audience did not bother Doris Nolan while she was playing in Universal's "The Man I Marry," the film now at the Mayfair Theatre. The director, Ralph Murphy, noted her apparent imperviousness to the absence of spectators, and said to her, " You play your scenes as well without seeing an audience as you do in the theatre. That is unusual for a stage performer s first picture." Doris answered, "Thanks for noticing it. But to tell you the truth, I'am playing to an audience. I decided after the first scene we made that I would have to find some people and play to them. So I play to the technical staff, to the electricians, and the 'grips.' Why, I even play to you. Do you know, in the scenes where I can watch you, I know that my performance is gomg smoothly when you pull down the

corner of your left eyebrow. You always do that when you like a player's work. I discovered that first when Michael Whalen' was doing a sequence with Skeets Gallagher and Cliff Edwards. They were turning out a fine bit of comedy, and you had that eyebrow curled away down like a crescent moon." " I see," nodded the director, "you roll your own audiences."

In "Sworn Enemy," the second film on the programme, Joseph Calleia,

famous for his gangster roles; Florence Rice, daughter of the sports commentator; Robert Young, Lewis Stone, and Nat Pendelton are starred in parts which offer them every opportunity for good work. Film Editor's Task

The credit titles at the beginning of a motion picture usually include the name of the film editor. Few in an audience, perhaps, know what are the functions of the film editor, or what is the nature of his contribution to a production. A film editor's chief concern is to ensure that a picture has good

continuity—that the film tells its story smoothy and fluently. Sometimes the action of a picture is jerky and spasmodic and the characters appear to bob from place to place with unnecessary abruptness, and without sufficiently indicated reason. On the other hand, the action may drag. The characters may stand in one setting holding long conversations until the lack of variety and movement becomes irritating. In such cases the picture has been badly " cut." It is the film editor who supervises the " cutting." Cinesound pictures have usually earned praise for their technical qualities, and amongst the technicians who have been called on to take bows has been William Shepherd, Cinesound's film editor, who is now applying the finishing touches to "Lovers and Luggers," which is the twelfth Australian feature film he has edited. A few words about how Shepherd goes about his job will explain the part played in a production by a film editor. First of all he attends certain conferences called by the director (Ken Hall) prior to the beginning of a production, and is thus able to gather a general idea of the nature of the picture. A fuller knowledge is imparted by the script of which he receives a copy. The script is the full story of the picture set out in terms of the camera. The script is dissected and turned into a working schedule. So many weeks are allowed

to produce the picture and to every day of that period a certain number of sequences is allotted. These sequences are shot in the order most convenient for the progress of the production, so that frequently it happens that incidents far-removed in the story are shot on the same day. The last scene might be shot on the first day of production. Shepherd frequently sits with the director and cameraman on the set and follows the progress of the production. He gauges the importance of every incident, and speech, and the relationship of the "takes," and may suggest a method of treatment that will facilitate the cutting of the film in a certain way thereby obtaining the best effect on the screen. The result is seen in the "rushes" which are screened each 'day. The frlm editor does not cut or otherwise edit the film until the director has passed the "rushes." The film, including the accompanying sound track, shot on each sequence is indexed and it is the film editor's task to join up the various "takes" in the sequence order indicated by the script. All the film shot on a production is assembled and joined up day by day and this is not the simple job it may seem. For instance, the director may. have treated a sequence in a variety of ways, providing long shots, medium shots and close-ups which cover the same incident. It is left to the film editor to study these "takes" on the screen and decide which he will use in order to get'the best effect. The film, discarded , for the moment, is not thrown away. Every inch of film is kept because later decisions may call for the use of some of.the "cuts." During a production Shepherd may handle from 70,000 to 100,000 feet of film, both negative and positive. In spite of the trimming that has gone on from day to day as the sequences have been assembled the first cut of the complete picture is usually about a couple of thousand feet more than the length desired, which is about 7000 feet. Further careful pruning has to be done. Sometimes a whole sequence is cut and nice adjustments have to be made in order not to leave a jarring gap in the continuity. All going well, the final cut of the picture is usually ready about a week or ten days after the director has finished the last sequence. In the meantime, however, Shepherd will have had other things to attend to. The sound department will have recorded background music, and the sound track for this has to be fitted to the right sections of film. There may also be other recorded sound to applv making three separate tracks—music, dialogue and some natural sound such as wind, the roar of the ocean, or perhaps rain on a roof.

Surrounded as he is by miles of valuable film, the film editor's activities are such that the production cutting room must be conducted with great system. There is a saying that some pictures are made in the cutting room. It is certainly true that the film editor can make or mar a "picture in much the same way that a newspaper sub-editor can improve or spoil a

written article. It is no mere courtesy that places the film editor's name among the credit titles. He earns the recognition.

Highest Paid Writer Ben Hecht must be surprised to find himself officially rated as the highest paid writer in the film industry. When Hecht began to dabble with films he had a supreme contempt for Hollywood. Later his famous independent picture, " Crime Without Passion," and the Noel Coward vehicle, "The Scoundrel," Were both in the nature of gestures of defiance at the film magnates. Now Hecht has signed a contract which is said to be bringing him £52,000 a year.

The world's cleverest dog is claimed by Mr Richard Davidson, of Nelson, British Columbia. Duke is his name. and he is a three-year-old Alsatian with a strain of Airedale. He plays cards, picks out coins, and knows the names of 300 articles,. When his master tells him to pick out any card from a pack laid out on the floor he never misses. Ordered to select a card to beat a king, he invariably pulls out an ace.

A sure, safe remedy £oj children s coughs, colds, and chest and lung ailments—TONKlNG'S LINSEED EMULSION. They love it. Is 6d, 2s 6d, 4s 6d. at all chemists and stores.— Advt.