SCREEN AND STAGE

Otago Daily Times, Issue 23463, 30 March 1938, Page 13

SCREEN AND STAGE

FROM GREEN ROOM AND STUDIO

BY HARLEQUIN

“ Shall We Dance? ” Blending romance, melody, dancing, and laughter, “ Shall We Dance? ” coming to the State Theatre, the new Fred Astaire-Ginger Rogers musical film, is said to reach a new level in screen entertainment. Made on a scale that surpasses all the noted duo’s previous vehicles and offering brilliant novelties in its dances, songs, and settings, “ Shall We Dance? ” is hailed as the finest and most entertaining picture of the two stars’ careers. The story deals with the love affair between Astaire, as an outstanding ballet dancer, and Miss Rogers, as a noted revue favourite. Astaire’s interest in the tap dancer leads to a series of incidents which in turn give rise to popular belief that the two are married. Despite Miss Rogers’s denials, the rumours grow, and, unable to escape the resulting publicity, the

two decide that the only way to obtain their freedom is actually to get married. This ingenious plot is played against a background of modern life, with spectacular dances and tuneful song numbers woven into the action. The two stars present three dances together, one of them an unusual roller skating number. Others include a solo dance by Astaire in time to the whirling machmery'of an ocean liner’s engine room, another solo in a finale, a sparkling duet dance by Astaire and Harriet Hoctor (America’s foremost ballet artist), and a solo number by Miss Hoctor, as well as a group of novel ensemble dances specially created for the picture. Six song hits composed by George and Ira Gershwin are featured in the film, of which

the best are “They Can’t Take That Away,” “I’ve Got Beginner’s Luck,” and “ Let’s Call the Whole Thing Off.” In addition to Miss Hoctor, the featured cast of the picture includes Edward Everett Horton, Eric Blore. and Ketti Gallian. “ Dangerous Adventure ” Don Terry, the screen’s new boxing hero, proves himself in Columbia’s “A Dangerous' Adventure,” which opens on Friday at the Strand Theatre. Aided by the charming Rosalind Keith, Terry does much to turn the picture into a vigorous production. Tim Sawyer (Terry) is boss of the Gale steel mill, which on the death of Gale has just come into the hands of the magnate’s young daughter. Spencer Allen, general manager, is endeavour-

ing to undermine the mill sufficiently to force Linda Gale to sell out at a low price. Tim is bending every effort to fulfil an important contract when Linda arrives on the scene. After a social battle with Linda and her friends, Tim quits the mill. When the steel for the big contract is delivered it proves faulty. It is at this point that Tim again consents to take a hand. Ralph Bellamy and Betty Furness appear in Columbia’s comedy with music, “It Can’t Last For Ever,” which opens on Friday at the Strand Theatre. For good measure, Robert Armstrong, Raymond Walburn, and a bevy of specialty and vaudeville entertainers do their stunts to add to the fun. It is the story of a Swami who predicts events, even if he has to arrange them himself.

Cinderella of 1938 Hollywood critics have acclaimed Joy Hodges the “No. 1 Cinderella girl of the year.” A year ago Joy, who went to Hollywood from her home town,, Des Moines, Indiana, was singing with Jimmie Grier’s orchestra at the Biltmore bowl in Los Angeles. Executives of Universal motion picture studios saw her, heard her sing, and gave her a contract. She soared to stardom in her very first picture, “ Merry-Go-Round of 1938,” with the “ four horsemen of hilarity,” Mischa Auer, Bert Lahr, Jimmy Savo, and Billy House. Then she sang on the radio—and

several “sponsors” offered to star her in her own show. But she turned down radio for the leading feminine juvenile lead in the Broadway play, “ I’d Rather Be Right,” with George M. Cohan—and the play is one of the hits of the year. When the play run ends Joy will return to Hollywood to make more pictures for Universal—and to be near her fiance, Bob Wilcox, handsome young actor who is under contract to the same studio. The Gallant Gary Gary Cooper’s almost legendary gallantry was put to a severe test during the filming of “ Bluebeard’s Eighth Wife.” The screen’s No. 1 hero was called upon to place Claudette Colbert across his knees and administer

a sound, old-fashioned spanking. A serious objection arose, not, as you might suppose, from Miss Colbert, but from Mr Cooper, who declined pointblank to carry out the instructions. It appears that Mr Cooper is rather touchy on the subject of ungallant behaviour. He has not forgotten the flood of abusive letters which he received after that celebrated moment in “ The General Died at Dawn ” when he struck Madeleine Carroll on the jaw. Not all the persuasive eloquence of the director, Ernest Lubitsch, _ would induce Mr Cooper to go on with the scene, and he was won over only when Miss Colbert promised to answer all protests with the assurance that she had insisted upon the chastisement. The incident recalls that in “ Souls at Sea" Mr Cooper walked off the set until a scene in which he was required to slap Frances Dee was rewritten. Physical violence to women is, of course, not foreign to the screen. Despite the objection of the Hays office (the producers’ voluntary organisation which exercises a strict censorship upon the studios), Fredric March is allowed to kick Carole Lombard in "Nothing Sacred,” and it has long been a by-word in Hollywood that all James Cagney’s leading ladies' have to take their meals off the mantelpiece during production. Grand Theatre Films One of the most brilliant comedies, with a large cast of stage and screen revue personalities, will be shown at the Grand Theatre to-day. The film is “ Okay for Sound,” a G.-8.-D. attraction starring the comic team—the Crazy Gang. The Crazy Gang is composed of three of London’s most celebrated humour duos —Nervo and Knox, Flanagan and Allen, and Naughton and Gold—all of whom have entertained you through the medium of radio and recordings. In “ Okay for Sound ’’ they run through a hilarious set of situations in which they are supported by an all-star cast of musical and comic artists, including Enid Stamp Taylor, Fred Duprez, the Sherman Fisher Girls, Patricia Bowman, Louis Levy’s Orchestra, Peter Dawson, and Lucienne and Ashour. Joe E. Brown in “ Fit for a King, ’ showing to-day at the Grand Theatre, forsakes the “ small town ” boy character he has made famous. This new adventure, said to be one of the most hilarious the comedian has ever had, takes place mostly in Europe, with France and a mythical European kingdom serving as the scenes of action. “Fit for a King” is intended to prove a delightful experience for Joe’s followers. Joe is cast as a news hawk who is sent to cover a political plot in the kingdom, and his battle with intriguing diplomats and rival reporters forms the basis for the story. A large cast of favourites supports Brown, including Helen Mack in the feminine lead, Paul Kelly, who has the second male lead, and John Qualen, Halliwell Hobbes, Harry Davenport, and Russell Hicks. “The Bride Wore Red” * Once again the screen improves on an outstanding stage hit. “The Bride Wore Red,” which will be shown at the Empire Theatre, was Ferenc Molnar’s “The Girl from Trieste.” Joan Crawford unquestionably was a happy choice for the starring role, and she has two excellent leading men in Franchot Tone and Robert Young. The Cinderella story of a poor, beautiful girl who acquired luxury for a fleeting time and then became rich in love has been directed with the delicate feminine influence of Dorothy Arzner, Hollywood’s only woman director. The company went up into the high Sierras for scenes to duplicate those of the Austrian Tyrol in Molnar’s original. But aside from the technical charm of this picture, there is the acting of the cast, which includes lovely Lynne Carver, Reginald Owen, Billie Burke, George Zucco, and Dickie Moore. Deeply human in theme, yet replete with amusing comedy situations and characters, “The Bride Wore Red” is the story of a waterfront cabaret singer and dancer who suddenly becomes a Cinderella. As Anni. the vivacious waterfront waif around whom the story is woven. Miss Crawford culminates three years of voice study by singing on the screen for the first time. She also dances the tango. Like all of Molnar’s characters, the people are dojvn-to-earth and real. The swiftmoving action takes place during four weeks. In those weeks, through the whim of a philosophical nobleman, Anni is sent to a fashionable mountain resort where she becomes a society belle. Forced to choose between the humble Giulio, played by Tone, and the wealthy Rudi. portrayed by Young, Anni faces a problem that determines the future course of her life. Anni’s decision and her constant fear of discovery make for romance, suspense, and humour. Baa, Baa, Black Sheep When lan Hay puts his name to a play one may be assured of an excellent plot, abounding in humorous situations. The name of P. G. Wodehouse is a guarantee of the superlative in dialogue, clever lines and sparkling repartee. In “ Baa, Baa Black Sheep ” these two English authors have combined. This three-act farce, the themephrase of which is “ Baa, Baa, Black Sheep, have you any comedy? Yes, sir; yes, sir; three acts full,” is to be presented for a season of three nights, commencing to-morrow (Thursday) by the Dunedin Little Theatre Society. Invariably, the fault of a comedy such as this one is the absence of a logical plot to hold the lines together. “ Baa, Baa, Black Sheep ’’ is a perfect comedy in every way. The producer is Mrs Aubrey Stephens, with Mr Morris Kershaw as associate. The cast is well chosen and includes Claude Gray, Arthur Watson, Bernard Sullivan, Les Jack, Breta Callender, Nina Anderson and Meg Walker. The box plan is now filling rapidly at the D.I.C. “ Bulldog Drummond Comes Back ” In the new Paramount picture, “ Bulldog Drummond Comes Back,” which will open at the St. James Theatre on Friday, John Howard plays Drummond, and is part of a fine cast headed by John Barrymore, with Reginald Denny, Louise Campbell, and E. E. Clive. The theme of “Bulldog Drummond Comes Back ” is the struggle of Drummond and his friends to find Drummond’s fiancee, Miss Campbell, who has been kidnapped by a ruthless woman criminal. The story was taken from the “ Sapper ” book, “The Female of the Species.” William Gargan scares up an actual mystery for story material in Paramount’s new comedy mystery, “ She Asked For It,” the accompanying feature. The beautiful new star, Orien Heyward, plays opposite Gargan in the picture, and the supporting cast includes Vivienne Osborne, Roland Drew, Richard Carle, and Tully Marshall. Mayfair Theatre Feature Probably the largest audition ever held for a motion picture took place recently in a London theatre, when 1000 extras were chosen to appear in spectacular scenes of Erich Pommer’s production “ Fire Over England,” which will be seen at the Mayfair Theatre to-day. This great crowd was used in scenes showing the camp at Tilbury, where Elizabeth had assembled her army and was awaiting news of the coming of the Spanish Armada, already reported in the English Channel. Tilbury Fort formed a background, and Queen Elizabeth, mounted on a white charger, rode at the head of her nobles. “ Fire Over England,” which is released through United Artists, was recently awarded the League of Nations gold medal for 1937. It features an imposing cast of players headed by the famous London stage actress Flora Robson, Leslie Banks, Raymond Massey. Laurence Olivier and Vivien Leigh. Handsome Russell Gleason, who plays the romantic lead opposite Shirley Deane in the Jones Family’s fourth screen appearance, “ Off to the Races,” coming to-day to the Mayfair Theatre, has turned writer, director and producer of films that will probably show to some of the most critical of audiences. 'The Twentieth Century-Fox player is taking advantage of his two years of premedical work to shoot movies of surgical operations. He has already completed films of thoracic and abdominal surgery, and is now considering the technical difficulties of taking motion pictures of a brain operation.

“The Prisoner of Zenda” Excitement and splendour are features of “The Prisoner of Zenda,” a Selznick International picture, which commences its Dunedin season on Friday next at the Regent Theatre. The film has an admirable heritage of success in the literary, stage, and kinema fields. Written over 40 years ago by Anthony Hope, the book has been reproduced in all the modern languages, and dramatisations have been seen on the stages of the world’s most important cities. Two film versions have been made of it in the past 25 years, the more pretentious one in 1923, with Lewis Stone, Alice Terry, and Ramon Novarro in the lead-

ing roles. This production boasts a cast with Ronald Colman, Madeleine Carroll, and Douglas Fairbanks, jun., filling the principal roles, and prominent among the supporting artists are Mary Astor, C. Aubrey Smith, Raymond Massey, and David Niven. Colman is at his best in the difficult dual role of the adventurous Rudolf Rassendyll and as the roistering King Rudolf V, whom he resembled so closely. When the agents of the King’s brother. Black Michael (Raymond Massey), who is plotting to seize the throne, render the king incapable of attending his own Coronation by drugging his drinks, Colonel Zapt (C. Aubrey Smith) and young Captain von Tarlenheim (David Niven) enlist Rassendyll to impersonate the King at the Coronation Rassendyll does so well that he even

deceives the lovely Princess Flavia (Madeleine Carroll), betrothed of the King, who proceeds to fall madly in love with him. Rassendyll loves her, too, and is about to reveal the deception when it is discovered that the King has been kidnapped by Black Michael and his henchman, the dashing Rupert of Henszau (Douglas Fairbanks, jun.), and imprisoned in Zenda Castle. It thus becomes necessary to keep Rassendyll on the throne. The beautiful Antoinette de Mauban (Mary Astor) jealous sweetheart of Black Michael, goes to Rassendyll and offers to help him rescue the King. She lures Ruperl to her room to get him out of the way. Black Michael discovers her in Rupert’s

arms, and Rupert kills him. Rassendyll invades the castle single-handed and opens the way for the attacking party. In a thrilling duel Rupert is bested. The King is rescued and restored to the throne. And as for the lovers, Flavia realises her duty as a princess and sends Rassendyll away. Lavishly mounted with some 60 odd sets, including a cathedral, a castle, and the castle ballroom, “ The Prisoner of Zenda ” offers some of the most impressive and beautiful scenes ever filmed, notably, the Coronation ceremony and the Coronation ball. Box-office Winners A film barometer published by Smith’s Weekly (22.1.38) shows the relative Sydney seasons of the 16 best

box-office film attractions of 1937. The relative points are estimated on a basis of the number of weeks in each run, ' multiplied by a factor showing the seating capacity of the theatre:—loo, “Wings of the Morning”: 88, Swing Time”; 83. “Rainbow on the River”; 76, “Maytime” (to the end of 1937); 74, “ The Charge of the Light Brigade, “Theodora Goes Wild”; 70, "Dodsworth,” “The Lost Horizon"; 67 “After the Thin Man,” “ Captains Courageous,” “Rose Marie”; 65, “It Isn t Done”; 62, “I Met Him In Paris”; 55, “The General Died at Dawn,” “The Plainsman ”; 53. “ The Good Earth.” London will be visited this year by two of the most famous film personalities of Hollywood—Marlene Dietrich and Josef von Sternberg. Von Sternberg is to work at the Joe Rock Studios at Elstree. but this will not be the first time the discoverer of Marlene has worked in London. Years ago, as Joe Stern, he was assistant director at the studios at Twickenham. That was even before he made himself famous with “ The Salvation Hunters ” in 1925. On April 10 he will begin production of a film adaptation of Emile Zola’s “Germinal” at the Joe Rock Studios. This he intends to be the first of a series of films he will make in London, the second of which is planned to be the next film starring Marlene Dietrich. Chaplin’s Retreat Ended Two years have elapsed since Charlie Chaplin gave us “Modern Times.” and the world is wondering how much longer the little comedian intends to remain in solitude. It is true that he was disappointed with the reception accorded that comedy, with its curious attempt to compromise between sound and silence; it is also true that he has been much pre-occupied with his latest matrimonial affair; but there are signs that the interregnum of inactivity is coming to an end. The crop of rumours that usually presage a renewed outburst of Chaplinesque activity has grown to impressive dimensions. The most significant of these stories was begun by no less an authority than Paulette Goddard, to whom Chaplin is supposed to be married (although neither P3hy has officially admitted it). Miss Goddard declares that “ he is working night and day on our next picture,” a statement which confirms the belief, current m many quarters, that Miss Goddard is exerting influence on the comedian to give her a more imposing part than she was vouchsafed in Modern Times.” But another rumour also deservecredence. It is that Chaplin intends to re-issue “The Gold Rush, one oi his most successful comedies, with a new musical accompaniment. Cutting a Film Lloyd Nosier found cutting a film hurricane a much tougher assignment than cutting a chaript race. Eleven years ago Nosier finished the editing of “Ben Hur.” It was, in movie parlance, a colossal job of cutting. Recently he edited Samuel Goldwyn s production of the Charles NordhoffJames Norman Hall South Seas story, “The Hurricane.” He says it was a super-colossal task. Thousands of miles of film representing many scores of feature pictures have passed through Hosiers shears between “Ben Hur” and “The Hurricane.” Each picture presented its problems, of course, but in discussing his current assignment, Nosier inevitably goes back to “ Ben Hur for comparisons. The reason is logical enough. Ben Hur” had its chariot race as spectacle climax. “The Hurricane has its hurricane. Between the two there is a close analogy in drama, suspense, and accelerating tempo. When “ Ben Hur ” was made sound had not appeared on the kinematic scene to complicate the work of the cutter, or, to use the preferred name, film editor. Included in the mass of film that poured in upon Nosier from « The Hurricane ” stages were thousands of feet of sound track marked with the roar and whine of furious gales, the booming of waves, the crash of buildings, and the shouts and screams of terrified men and women. Most of this sound was recorded separately from the action. Thus the variegated noises had to be clipped and trimmed and assembled with matching action. Aside from the added complications of sound, however, Nosier says the hurricane presents a more difficult problem than “ Ben Hur’s ” chariot race. There are, for one thing, far more elements entering into the drama of the great He takes, for example, the film of one day’s work and runs it through his movieola (miniature projector). The images that pass in swift review comprise a strange conglomeration of falling trees, running natives, cowering women, terrified faces, racing waves and crashing walls. Each has its place in the dramatic pattern of the hurricane. Exactly where that place shall be, however, is a question that the cutter, the director and the producer must decide. Except for the beginning, the end and certain scenes covering salient story points, the pattern of the hurricane is flexible. A great majority of the terrific action scenes can be fitted in where most expedient to build dramatic climax. By the time he finished shooting, Director John Ford had approximately 100,000 film feet of hurricane action alone. The sound department recorded an approximate equal footage. In the final release form of the picture, the hurricane runs some 2000 feet, with sound matched to action. All of which gives an idea of the magnitude of Nosler ’ s The hurricane itself is, of course, just the climaxing phase of the picture. The location unit that went to the South Seas brought back 140,000 feet of film. Director Ford had shot far more footage than that in the story action leading up to the hurricane. Ford, Incidentally, worked closely with Nosier in the preliminary editing of this ambitious production. When he had finished shooting the picture he spent almost as much time in the cutting rooms as Nosier. “ The Hurricane,” written by the authors of “Mutiny on the Bounty, has a cast headed by Jon Hall, Dorothy Lamour, Mary Astor, C. Aubrey Smith. Thomas Mitchell, Raymond Massey, John Carradine and Jerome Cowan. United Artists will release the production. “ Magnificent Obsession ” One of the most satisfying motion pictures produced last year. “ Magnificent Obsession,” will play a request return season at the Octagon Theatre, commencing Friday next. Irene Dunne and Robert Taylor are co-starred in this stirring production whose cast includes such screen favourites as Charles Butterworth, Betty Furness, Sara Haden, Ralph Morgan, Henry Armetta. and Gilbert Emery. “ Magnificent Obsession” is a sweet romance, yet it reaches into the realms of deepest drama. It is the crowning achievement of John M. Stahl, whose previous productions include such outstanding successes as “ Back Street,” “ Only Yesterday.” and “Imitation of Life.” Premiere at St. James Gene Autry, who is the most popular star on the films to-day. makes his debut before New Zealand audiences in “The Big Show,” Action Pictures’ super western production, shortly to be released at the St. James Theatre. Autry (whose name is pronounced “Jeen Ortree ”) topped the polls for popularity in America and England recently, defeating Robert Taylor and Clark Gable by several thousand votes. He has the largest fan mail and has an office in Hollywood solely for the purpose of answering this correspondence. “The Big Show” is probably the most ambitious western film ever produced, and was filmed against the 25,000,000-dollar background of the Texas Centennial Exhibition. In the film Gene sings several new song hits, including “Mad About You,’ “Old Faithful,” and “ Lady Known as Lulu. Brisson Returns to Stage After an absence of five years in Hollywood and on Broadway, Carl Brisson has returned to the English stage. His first appearance was at the King’s Theatre, Southsea. He took the part of a dashing prince in “Venus in Silk ” a new musical comedy, with music by Robert Stolz, of “White Horse Inn ” fame (writes a Daily Mail reporter). , , , In a few weeks this colourful show will be seen in the West End. It has some exceptionally tuneful songs, sung with infectious zest—especially by Mr Brisson. Carl and his sister Tilly, after a break which has lasted

for more than four years, make an irresistible appeal in a sensational gipsy dance, which brought down the house. „ „ , . Since he has visited the United States Carl Brisson has developed his already considerable talent for light comedy to a higher degree. His methods have been simplified, and today they are much more human. From the moment he made his first appearance —when he received a tremendous welcome —he was at home with his audience, and they welcomed back an old friend. All the old glamour was there, so was that fascinating smile, the dimpled cheeks, the whimsical style. His leading lady, Kitty Reidy, has an excellent number in “My Lover, but Carl has a real best-seller in “Little Girl Living Around the Corner.” Another success is “Little Rendezvous,” which is sung with the whole company, and there is a fine waltz, “Eyes of Blue,” and a rousing bandit chorus. The story is based on the real-life exploits of a Hungarian bandit, for whom Carl Brisson is mistaken. The Hungarian settings are well done, the tuneful, lilting music is consistently good, and the costumes,

particularly in the second act, are beautiful. Supporting Carl are Shaun Glenville and Leo Franklin, the rnan who stepped into the late Laddie Cliff’s part in “Crazy Days” at the Shaftesbury. Illusion Without “Props” To resort to a device is the ruination of a good actor, according to Eduardo Ciannelli, veteran RKO Radio character player, remembered for his work in “Winterset.” The use of fake moustaches, monocles, or wigs in creating an ordinary characterisation is a weakness that may grow upon an actor to the point where he depends upon such “.props” for every role, thus submerging his efforts in giving a realistic portrayal to one of flat imitation, Ciannelli said. In appearing opposite Lily Pons in “Hitting a New High,” the actor was asked if he would not wear a moustache or goatee and keep an eyeglass in use.

“I would rather try to create the illusion of an opera impresario just as I am,” he explained. “ If my portrayal isn’t satisfactory, I'll be glad to make use of any devices you choose.” , . Needless to say, Ciannelh’s role of the impresario was wholly satisfactoThe actor said the most difficult role he ever had played was of a butler in Sardou’s “Divorce,” ana one of the classics of the stage. In the last act Ciannelli served an eight-course dinner with real food, at all times portraying a role which was the most exacting of any player on the stage during the scene. Theatrical Successes Here’s another theatrical success story to follow the “Victoria Regina.” “ Balalaika’’—which, says an official announcement, is now entering on its last weeks at the London His Majesty s —has already been seen by over half a million people during its 13 month*

in the West End; has taken £200.,000 at the box-office, and has paid £35,000 to the Exchequer in entertainment tax. Rights have been sold to every cpUfitry with the exception of Soviet Russia (where the theme would not be very popular!), a tour is now breaking alltime records in Australia—and a_lilm is shortly to be made by Metro-Gold-wyn Clifford Mollison and Muriel Anger lus, stars of the show, have not missed a single performance since it opened. 3 Both “Victoria Regina” and ' Balalaika ” will be seen locally in the near future. Public Wants Fast Musicals What kind of a picture do they want? Ah! That’s one of the biggest questions in Hollywood. The attempt to answer it occasions Hollywood s greateß S G/LBuddy ”De Sylva, who started Hollywood's long string of musicals 10 years ago by making ?Su |3 S rhlJfpS starring Janet Gaynor and Charles Farrell, believed to-day he had found the answer. When he made “Youre a Sweetheat," with Alice Faye, he reduced Biz* f °“ i SP go d t' the idea from modem

music,” De Sylva said. "Maybe you ve noticed that modem music travels at a faster tempo than the songs of yesterday. It’s more exciting, more thrilling, than the older and slower compositions. , . . “The public to-day demands that the action, the progression of the story, be rapid.” . He explained this was necessary In the modern musical because it must have plenty of music, plenty of specialties and novelties. “And unless you’ve streamlined your story you haven’t room for the other elements.” he said. The gamble in Hollywood pictures varies according to the type of product. Westerns and action subjects are the safest; there’s always a public for the cops-and-robbers types of pictures, just as there are readers for pulp fiction. Straight love stories aren’t a bad risk. The boy-meets girl, boy-loses-girl, boy-regains-girl romances, if half-well done, are comparatively safe investments. But putting money into the big musi-

cal pictures is the zenith of gambling. The Hollywood producer isn’t entirely reckless. He tries to protect his investment in the best possible manner. . . More necessary than money is good, sound judgment. DeSylva started musicals ■ with “ Sunnyside Up.” It was new, it was expensive, it was a departure fro™ P re " vious musicals. But it “ clicked and made money, and DeSylva s judgment was vindicated. To-day he’s off again—with "You’re a Sweetheart.” Which proves that hei s still willing to take a chance on a new formula, rather than to play relatively safe with the old. Critics proclaim that “You’re a Sweetheart” will be one of the smash hits of 1938! V