SCREEN AND STAGE

Otago Daily Times, Issue 23515, 1 June 1938, Page 13

SCREEN AND STAGE

FROM GREEN ROOM AND STUDIO

BY HARLEQUIN

•Ebb Tide” What is claimed to be some of the most stirring colour photography that has teached the screen so far combines with the efforts of a briliant cast to make “ Ebb Tide,” the first sea picture ever turned in technicolour, an exciting film. Taken from a story by Robert Louis Stevenson and Lloyd Osbourne, the film-is played by Oscar Homolka, noted Viennese star, Frances Farmer; Ray Milland, Lloyd Nolan, and Barry Fitzgerald. At the beginning of the film Homolka Milland and Fitzgerald, a sly and dishonest Cockney, are “on the beach” of a South Sea island, hungry and without shelter. Frances Farmer’s ship comes into harbour, the captain dead. Homolka is put on as captain to take the ship to Australia. He takes,, his companions along with him, and once at sea he plans to steal * the ship. Frances Farmer tries to stop the scheme, but is ignored by the three men, except Milland, who tries to be friendly. The supplies give out. the ship is almost lost in a storm, and they are blown off their course. Milland sails the ship to a small island ruled by Lloyd Nolah, who is a sadistic, half-mad trader in pearls. Homolka and Fitzgerald try to rob Nolan, and are killled, while Milland and Frances . Farmer escape from the island. Acting credit is centred in the hands' of five persons. Ray Milland makes fine work of the hero role, while Frances Farmer looks lovely throughout. Oscar Homolka is splendid as the villainous skipper. Lloyd Nolan, as the crazy island dweller, is,a remarkable figure at all times. But the palm goes to Barry Fitzgerald as the detestable Cockney “sea rat.” Stevenson’s tale has been faithfully handled. The film is remarkable not-, only for its drama, but also for the loveliness

of its tropical setting*. The. beauty that James Hogan, the and the photographer (Leo Tover) have taken from the tropics makes arresting scenes- - Breakfast for Two”

Brought together for the first time as co-stars in the romantic comedy, “Breakfast for Two,” showing to-day at the Grand Theatre, are Barbara Stanwyck and Herbert Marshall. They are supported by a quartet of funmakers including Eric Blore, Glenda Farrell. Etienne Girardot, and Donald Meek. “Breakfast for Two” is based on David Garth’s novel of the same name, which was published in Red Book. This comedy-romance, directed by A 1 Santell, deals in sprightly fashion with a rich girl’s efforts to make a man out of a charming idler. Herbert Marshall, as the last of the ship-own-ing Blairs and president of the Blair Steamship Lines, takes no interest in the affairs of the company and prefers night life in a big way, while the Lines are rapidly going into bankruptcy. Barbara Stanwyck is an heiress from Texas who meets Marshall during a hectic tour of the New York night clubs and escorts him home, only to discover he is practically engaged to Glenda Farrell, as a gold-digging actress whose career he is financing. Undaunted, Miss Stanwyck decides to make a man of Marshall ■ whether he likes it or not, and proceeds to buy control of the Lines from under his nose. Enraged by what he considers her trickery. Marshall prepares to fight back, but, practically penniless, is in no position to do so. Miss Stanwyck makes him vice-president of the company to build up his morale—and learns he intends to marry Miss Farrell. How the heiress and Marshall’s faithful valet. Eric Blore. team together to prevent this and to stimulate Marshall into putting up a fight for his firm and his name, leads to the exciting climax.

Songs on the Screen The music goes round and round and comes out on the screen in a musical that enchants both eye and ear. But during the time when it is going round and round in production the important people are not alone the actors and the musicians later seen upon the screen. For in the making of a film musical there are great unknowns seldom heard of and never seen by the public. Behind that smooth prpduction which weaves its taut magic in a couple of hours, lie days and nights and weeks and months of arduous preparation by composers, song writers, scorers, arrangers, rehearsal accompanists for singers, and trained technicians tor recording music.

And also (they require a separate paragraph) by the symphonic orchestras which provide the incidental music that knits all the scattered elements of song and story into a harmonious whole.

This is true of any film musical. Such men are the spark plugs. And every studio which makes musicals has its own particular set. Universal s functioned in the making of 100 Men and a Girl.” Twentieth Fox’s great unknowns were vital factors in producing “ Thin Ice.” Metro, Paramount, Columbia—they all have their musical aces, whom the public never knows.

Chief of them all is the scorer and arranger—a post filled at the Warner Bros.’ studios, where production of musicals is a major feature of annual picture schedules, by Ray Heindorf. His latest task, occupying him for months, has been concerned with “Hollywood Hotel.” How Heindorf operates is simplicity itself in the telling, but a complicated

business in fact. For instance, Johnny Mercer conceives the lyrics for a song that Dick Powell and Rosemary Lane are to sing in the picture. Then Dick Whiting plucks' a basic tune for it out of the ether. After that comes Heindorf’s task.

He scores and arranges the music for that song for orchestral rendition. He scores and arranges all the incidental music for the play. And when Director Busby Berkeley writes “ Finis" to his work of shooting the scenes, when the cutting room has edited the film and put it together. Heindorf has another week or 10 days of arranging to bring all the elements into a musical whole.

Another unknown who is vitally necessary is the rehearsal pianist. In this case he is Malcolm Beelby, formerly with some of the leading orchestras and bands of the country. With his pint-size piano mounted on a dolly which can be wheeled around the sets, he rehearses Dick Powell and Rosemary Lane, Frances Langford, Johnny Davis and Mabel Todd in their numbers. He gets no screen credit at all. But Leo Forbstein and his Vitaphone orchestra of 35 pieces do better. It gets a line of type to announce “Incidental music by .” And. though Forbstein and his orchestra do not appear before the camera, leaving that to Benny Goodman and his swing band, to Raymond Paige and his orchestra, yet an end-to-end statistician readily might compute that they play more bars of music than the others put together. Presently, when the picture is released and the patrons go away from thousands of theatres whistling hit tunes in the night, the great unknowns will have done their part along with the stars and the orchestras of glittering name and fame. But it will be all the same to them. They will be hard at work on another musical — propping it up behind the scenes.

“In Old Chicago ”

Screen spectacle, with all the elements that go into the making of entertainment, is featured in “In Old Chicago,” coming on Friday to the Octagon Theatre. Not since the “ Birth of a Nation,” it is claimed, has such completely overwhelming grandeur graced a motion picture screen. That it is derived from the fury of an holocaust which wiped out a middlewestern metropolis is only part of the film. The true beauty lies in the love story. The story leading up to the burning of the city on the night of October 9, 1871. is lusty and authentic. No less brilliant has been the direction of Henry King, who developed the personalities of the O’Learys. He keeps a lot of movement in the early sequences, and steps up his tempo to move fluently into the terror, tragedy and flight of the fire. For the realism that wells up from the screen in these stirring, blazing scenes. Bruce Humberstone’s direction earns praise. Dramatic laurels are given to Alice Faye, Tyrone Power, Don Ameche, Alice Brady, Brian Donlevy and Andy Devine. Miss Faye is revealed in “in Old Chicago” as the soubrette in a gaudy, glittery saloon of 1871 and is the tempestuous sweetheart of the saloon’s owner. Tyrone Power, that comet among the Hollywood stars, takes the role of Dion O’Leary, Don Ameche, as Jack O’Leary, the direct antithesis of Dion, gives a sincere performance as the reformer. Alice Brady gives one of the finest performances of her brilliant dramatic career as the hardworking, outspoken Molly O'Leary. Opening with the O’Learys in a covered wagon, bound for Chicago, Pa O’Leary typifies the grim bervity of existence in those days when he tries to outrace a new-fangled (Currier and Ives) locomotive. Molly O’Leary buries her husband in the prairies, only a few hours away from the city he longed to see. Then, the next morning Ma O’Leary brings her three sons into this brawling, bawdy city of 1854. The strange O’Leary tribe fights tooth and nail at times, and the climax comes when Dion has his brother perform the marriage ceremony which makes Belle Fawcett the bride of Dion O’Leary typifies the grim brevity of that the marriage was engineered by Dion so that Belle could not testify to Dion’s political chicanery. From here the story rises to its climax in the fire scenes Strand Theatre Features

The Jones Family, in “Off to the Races,” Twentieth Century-Fox hit, opening Friday next at the Strand Theatre, is beset with a new complication—Uncle Slim Summerville and his horse. The fourth film in the popular series featuring the adventures of a typical American family retains the players who have made the Jones Family one of the country’s favoured households Jed Prouly, Shirley Deane, Spring Byington, Kenneth Howell. George Ernest, June Carlson, Florence Roberts, and Billy Mahan — and adds, as a new heart interest op-., posite Shirley Deans, personable young Russell Gleason. When Slim Summerville shows up with a meantempered little niece of seven, and a horse who seems to be all appetite, the even tenor of the Jones life is upset. “Under Suspicion.” Columbia’s newest mystery, starring Jack Holt, and adapted to the screen from Philip Wylie’s widely-read magazine story, will be shown at the Strand Theatre, starting or Friday. The cast supporting Holt includes Katerine De Mille, Rosalind Keith, Alberm, Esther Muir, Purnell Pratt, and Granville Bates. The story qf “ Under Suspicion ” tells of a millionaire auto magnate, played by Holt, who- decides

to retire and turn over his plant to his employees. The move makes enemies of many of his friends,, several of whom he believes would like to see him dead, To forestall any assassination he invites all the wouldbe culprits to his mountain lodge, and through a series of cleverly-planned manoeuvres, traps the lurking killer.

“ King Solomon’s Mines ” During the past six months or so there has been a dearth of film adaptations of story classics. Strangely enough, England has contributed but little to the really excellent classic productions to date, but now at last we have seen an English film that is said to rank with any previous classic brought to the screen. “ King Solomon’s Mines,” to be shown as next change at the State Theatre. H. Rider Haggard has been responsible for many adventurous, imaginative tales that have thrilled readers since the 'eighties. These stories have all the glamour and romance that appeals to any imagination, and “ King Solomon’s Mines” is probably the best of

these. It is ideal film material. The story of Kathy O’Brien and her dia-mond-mining father who obtain a wagon lift from a hunter, Allan Quartermain, and who are later joined by Commander Good and Sir Henry Curtis, explorer and adventurer, with the powerfully built Umbopa for driver and guide., makes interesting material. O’Brien then disappears with a map he has obtained, supposedly locating the fabulously rich diamond mines— King Solomon’s Mines—-and the party, following in the wake of Kathy, who has gone in search of her father, takes an interest in the proceedings. From the moment they are captured by Zulus and Umbopa reveals himself as their rightful King, the story builds up to a climax that involves fierce tribal wars, and an enormous volcanic upheaval. As Umbopa, Paul Robeson has seldom been seen to better advantage. He sings three songs during the action of the film, and acts with conviction. Sharing all honours is Cedric Hardwicke as Allan Quartermain, adventurer. This convincing English star adds but one more characterisation to his successful list. Roland Young makes Commander Good an interesting, friendly little fellow, and the romantic interest is sincerely handled by Anna Lee and John Loder.

“The Vagabond King" The Dunedin Operatic Society will present “The Vagabond King” in His Majesty’s Theatre on Saturday, opening with a gala matinee and continuing during Winter Show Week, with a special matinee on the King’s Birthday- ... The original costuming has been imported for the production, and it is interesting to note that the costume worn by Mr James Macfarlane. as

Francois Villein, in act 2, has ..written inside of it the signature of Denis King, presumably placed there when the famous film star wore the costume when playing the “ Vagabond King ” for the film version with Jeanette MacDonald.

Theatregoers will await with interest the debut of Miss Rita Stone, an Auckland soprano who has recently come to live in Dunedin. Miss Stone has been allotted the important role of the Princess Katherine. Mr James Macfarlane, as Francois Villon has a spectacular role, and will be heard with Miss Stone in several delightful numbers. Miss Freda Elmes, whose ability is well known, will be heard in two items. Others in the cast are Tui Northey. Harriet Hamer. Stan Lawson, Richard White. S S. Lock Jack Johnson, Richard Murphy, Donald Munro, E. Ombler, and a full operatic orchestra and chorus of 75 voices.

Mr Stan Lawson is the producer of “ The Vagabond King,” with Mr James Clark as musical director and Angus Gorrie as stage manager.

Dunedin Playbox “Miss Black Sheep,” an amusing and original comedy by Brenda Girvin and Monica Cosens, will have its New Zealand premiere on Tuesday evening next at the Playbox Club. Mr Russell-Wood has chosen a well-bal-anced cast, and in it are several players of experience and some who will be appearing for the first time In the West End production, Louise Hampton, Drusilla Wills, Hermione Baddely, and Dennis Barry appeared in outstanding parts. In the Playbox interpretation. Miss Una Ferry is appearing in the leading part, while Mrs A, J. Ryan, Miss Leila Greenall. and Mr Morris Kershaw have major parts. Others who make up an interesting cast are Mrs M. Hey, Mrs Richard Hill. Misses Doris Nees. Betty Rhodes. Paumea Elston, Denzil Duthie. June Williams, and Mr C. Bills.

The Legend of “ Hinemoa ” To-night, in the Town Hall, the Choral Society, under Mr Alfred Walmsley, will present Alfred Hill’s musical version of the “ Hinemoa ” legend. This is a beautiful work that can hardly be familiar to many, as it ; s at least 30 years since it was heard in Dunedin. Those who hear it tonight will probably be agreeably surprised by its melodious beauty. The story is a picturesque one, relating the love of the Maori maiden, Hinemoa, and the brave young chief who is enabled to serenade her by playing his flute, the sound reaching her across Lake Rotorua. The music is highly varied, and ranges from a terrifying war chorus to such expressively beautiful numbers as Hinerr.oa’s ballad, “When the Tired Winds.” Soloists, chorus, and orchestra are expected to give a good account of themselves. Paramount Considering “ Carmen ” Hollywood’s most difficult search for beauty is not for chorus girls or even actresses, according to a recent news release from Paramount. It is for “streamlined”' singers of operatic calibre who are young, who can act, and who can qualify in a beauty contest.

“There are thousands of girls who can meet any one of the requirements: there are hundreds who can meet two of the requirements; there are scores who can meet three: but those who can meet all four are as scarce as roses in a Kansas wheat field,” said Director Raoul Walsh. “ It’s a serious matter in Hollywood. The public is demanding more and more pictures with fine mqsic, and is even beginning to demarid opera. “The idea of producing opera is fine and undoubtedly the initial picture would be a tremendous success,” he continued. Paramount is entertaining the idea of producing “ Carmen.” But where is Carmen? Where is Don Jose? Where are all the other characters? Many persons could sing the roles, but kinema audiences are not satisfied with mere singing as opera audiences are. They want a Carmen who is a combination of Lupe Velez with a temper, Ninon Valin with stream lines, and a Da Vinci portrait brought to life. Once the public is given opera as Hollywood wants to make opera, the demand from the public will be insatiable, but operatic roles are as widely divergent as dramatic roles, and the

casting of a Hollywood Carmen in another operatic role would be about as ridiculous as having Claudette Colbert do a Martha Raye routine. However, Hollywood is gradually building up its singing power. Metro-Goldwyn-Mayer has Jeanette MacDonald under contract, R.K.O. has Lily Pons, and Universal has Deanna Durbin. At Paramount, Gadys Swarthout, Metropolitan opera beauty, has been under contract for some time. Miss Swarthout has just completed a brilliant performance in Paramount’s “ Romance in the Dark,” which that company plans releasing in New Zealand within a few weeks.

This search for beauty is not confined to the motion picture studios. The broadcasting talent departments are combing the world for the girls. But the number uncovered by the combined talent departments of radio and screen is very small. One of the reasons for the scarcity of girls with operatic voices, according to the talent scouts, is that in the past a girl with a pleasing voice finds immediate and sizable salaries with dance band engagements. and, therefore, is reluctant to spend the years needed to cultivate the voice to the operatic standard. The increasing popularity of the classic form of music, however, is causing more and more girls to turn to the neglected field. Comedian Learns to Talk

Jimmie Savo is taking the chance Charlie Chaplin refused. This world-famous pantomimist, with a reputation that extends from Paris to Portland, Oregon, is risking that reputation by breaking the cardinal rule of all good pantomimists. He is finally talking. Savo, who can do more with his expressive hands, face and feet than most C layers can do with their voices, finally roke down and consented to do a speaking role in Universal’s “ Reckless Living.” His previous screen experience, in “Merry-Go-Round of 1938,’ found him willing to depart from the trade which had brought him fame.

Savo is playing the role of a racetrack tipster who suffers from confidence in his own judgment, and is consequently always broke. It is one of the largest speaking roles of the cast, which includes Robert Wilcox, Nan Grey, William Lundigan. and Frank Jenks. The diminutive Savo, who has mastered juggling, tightwire walking, professional magic, acrobatics, and singing in addition to pantomime, confesses that his hardest task now is to talk around the spike of a cigar which is always fixed in his face and which has become as much of a Savo trade mark as have Chaplin’s shoes and cane to the noted screen comedian, who has refused to talk in any of his productions since sound came to the screen. “ Juggling eight oranges while walking a tight wire is easier.” Savo declares.

Savo is under contract to Universal studios, who believe they have a potential gold mine in the famous pantomimist. His agreement is arranged so that he can accept New York stage engagements. Since working in “ Merry-Go-Round of 1938 ” last summer, he has appeared in New York’s Cafe de Paris. His plans include a Broadway production this coming fall.

Tibbett in August It is announced by Messrs J. C. Williamson (New Zealand). Ltd., and J. N. Tait, that Lawrence Tibbett, the noted baritone of the American opera, screen and concert platform, will commence his New Zealand tour at Wellington on August 9. In presenting this most popular singer to Dominion audiences. Messrs Tait are confident they will be providing music lovers with an unforgettable treat. The Australian season of the tall, genial, baritone (who is accompanied by his charming wife) is proving something of a sensation, even in a country notable for its appreciation of only the highest standard of vocal expression. The personal appeal of Lawrence Tibbett is instantaneous, for he has a whimsical touch of humour that brings him into immediate, intimate sympathy with his audiences. His remarkable'versatility is expressed in opera, ballad, and lyrics. He lives the characters of his songs, and his programmes demonstrate the full compass of his extraordinary attainments. His baritone voice is ardent and resonant: and fragrant with sentiment, HL effortless singing is delighting audiences in Australia, where crowded houses are the nightly rule. Mr Tib- , bett's accompanist is the brilliant pianist. Stewart Wille.

“ Topper ” To obtain the outstanding stars best qualified for the portrayal of the distinctive characterisations in Thorne Smith’s sensational novel, “ Topper,” which will be the next attraction at the Empire Theatre, the start of production on the Hal Roach-M.-G.-M. feature comedy was delayed a full 'month. Constance Bennett was lured back to Hollywood while on her vacation in New York by the role of “Marion Kerby,” the uninhibited wif" of the irresponsible “George Kerby." As the lovely but madcap ghost. Miss Bennett is credited with the finest performance in her entire career, portraying whimsical, sophisticated comedy with subtlety. Miss Bennett is noted for being one of the bestgroomed ladies of the kinema. Carv Grant, the most sought-after leading man in motion pictures after the brilliant hit he scored with Grace Moore in “When You’re in Love,” was considered the ideal star to play “ George

Kerby,” Connie’s screen husband. But there were prior commitments, and only Grant’s keen enthusiasm enabled him to complete his prior assignments in time to enact his role in “Topper.” Roland Young, expert farceur, fits the requirements of “Cosmo Topper.” the president of a Wall street bank, whose dignified wife moulded and repressed his life. But this piece of casting was not an accident; Thorne Smith, the author of “Topper,” dedicated one of his books to Young, whom he considered over nine years ago as the only “Topper.” Featured players were selected \Vith the same painstaking care. Billie Burke was borrowed from M.-G.-M. to play “ Mrs Topper.” Alan Mowbray as “Wilkins,” the “Topper’s proper English butler.” seemed the most perfect selection. Eugene Pallette, as “Aloysius Casey,” the house detective, filled the bill to perfection, Supporting parts are interpreted by Hedda Hopper, Arthur Lake, J. Farrell McDonald, Si Jenks, Claire Windsor, Betty Blythe, Tom Moore, Syd Saylor, Jack Mulhall, Eddie Kane. Lionel Belmore and Kenneth Harlan. "Artists and Models ” A colourful, tuneful production, containing a wealth of humour, “Artists and Models,” which will be shown at the St. James Theatre on Friday, is a film that should appeal to many. The title is somewhat misleading, as it gives the impression that the picture is along the lines of a beauty or fashion parade. But this is far from being the case. The film is a comedy, interspersed with musical and staged items. Jack Benny has the leading role as manager of a rather shaky advertising firm anxious to gain a million-dollar contract from the young controller of a huge silverware firm. But things do not go smoothly, largely owing to the fact that Paula (Ida Lupino), his model, wrecks his plans by pursuing and falling in love with the silverware man. The scene shifts to Miami, where orchestras play in idyllic surroundings, and beautiful girls swim gracefully in time with the music. Events move quickly and culminate in a colourful finale at the artists and models’ ball, where a solution is' found to all the difficulties. Gail Patrick has a leading role as a young society woman, and Ben Blue and Judy Canova. with their songs and fun-making, contribute much towards the humorous side of the production.

Mayfair Theatre Programme Universal studios have incorporated the modern pirate in “Armoured Car,” which comes to the Mayfair Theatre to-day. The pirate of to-day is the gangster chieftain; the treasure is the cargo of the armoured and heavilyguarded pay rool trucks which transport untold millions in cash and securities. “Armoured Car ” tells the story of a plot to rob the carriers of their treasures. Irving Pichel and Cesar Romero will be seen in the roles of the master crooks. Robert Wilcox is a special detective who tries to upset their plans. Others in the cast are Judith Barrett, who provides the romantic interest, David Oiiver. and Inez Courtney.

The amazing climax of “ Tall Timbers,” the second feature, revolves around a giant timber drive. Fifty acres'of giant trees were to crash into the valley below, and the men went unhesitatingly into the area of the drive to perform their various duties, whilst all about them were trees on the verge of falling, or actually crashing. The country was very rough, so it was difficult to move with speed and the danger of being caught by a falling tree was ever present. But although a doctor was posted close by the danger zone, he was only called upon to dress minor abrasions, and these men have now forgotten their gruelling experiences during the making of “Tall Timbers” and are ready for their next test. But Director Ken G. Hall has not forgotten the work )f the men behind the scenes of “Tall Timbers" “ Have a Heart ” Louise Fazenda wants to play Ophelia or suffer the pangs of an aching heart —theatrically speaking. She took her problem recently to one of the Hollywood casting directors. “Am I,” she asked. ” the sawdust dummy of slapstick? Am I just a bathing beauty out of water? Don’t you think I have a feeling for anything besides kicks? Do you think that 20 years of Hollywood have not shown me you can’t have your pie and throw it too? ” “ Look, I have a heart.” She pointed modestly. “ I can feel sorrow, sym-

pathy, "ever-loving kindness, pity, Really, this is no laughing matter. I’d do anything for a tear. Just one role to make ’em weep.” The casting director looked grave. “Louise. I know just the part for you,” he said, and cast her as a lady blacksmith. Not just a lady blacksmith, but a midget ’smith who is matched to wrestle a mountain of a man, a barnstorming behemoth, in ‘‘Swing Your Lady,” a Warner Brothers’ screen play, based on one of last year’s Broadway stage comedies. “ Have a heart! ” the comedienne exclaimed. It has been the same for more than 20 years, since that day back in 1915, when Louise got her first part in the films, the role of an Indian squaw. Not much of an Indian squaw, at that. Just a two-and-a-half-dollar a day extra squaw.

Miss Fazenda did not consider herself a glamour girl or siren. SJie did not know just what she was. Her second film assignment was to be one of a group of prettily-dresssed young women who would provide background atmosphere for a costume production. The finery was quite the nicest she ever has worn. But when the assistant director called for a volunteer to put on blackface and play the part of a negro mammy, Louise just could not help obliging. She has been a character comedienne ever since. If your memory goes back to the Mack Sennett comedy days, you will remember her as the “ugly duckling” of a swimming pool troupe, the girl with the pigtails. Others in the company might have curves or what-not; Louise had pigtails. And if you do not think they were worth something, it might interest you to know that Mr Sennett had them insured for 10,000 dollars. She still has them, but they are rolled up out of prominence now. end are no longer insured. “ Typing ” has prevented Louise Fazenda ever being a leading woman but few leading women do not envy her success. She is a freelance player who never is idle, and is unable to accept all the assignments offered to her. But if someone offers her Ophelia, watch her make time for that. She will revel in the soft music.