SCREEN AND STAGE

Otago Daily Times, Issue 23693, 28 December 1938, Page 3

SCREEN AND STAGE

BY HARLEQUIN

Buchanan’s Return to the Stage This space had been reserved to tell you of Jack Buchanan’s impending return to the London stage—-since thick and fast were the reports that he had a new musical show in hand. But it seems we have to wait a bit longer (whites. Harold Conway in the Daily Mail). “I have the idea for a stage show all right, and I am looking forward to my return,” Jack told me recently “ But the films have me fast, right through the winter and well into next year. ■‘However, my spare time will be devoted to working on this idea for a new musical comedy—so directly my

film commitments are up I can go ahead with the rehearsals. “Meanwhile, so as not to lose touch altogether with the theatre, I’m. hoping to present—as a manager—two straight plays, ‘Chrlstabel’ and ‘The Women. The last-named is the comedy with an all-women cast which has had a huge success in New York; its London production has been held up owing to certain censorship difficulties. They have now. I hope, been overcome—so I shall soon be able to get busy again in the theatre, even if I am not actually acting there.’’ Well, we have got the other Jack coming "back after six years in the studios (the Hulberts are opening their musical at the Palace this month). But the problem remains. We are losing far too many of our most valuable stage personalities to the films. Oh. yes—l know all about the impressive assurances they give:: “ The theatre is my first and true love; I shall insist in my contract on being, allowed to act: on the stage for at least six months yi the year.” It all sounds lovely, but mqst of them get into the studios, either here or In Hollywood, and—so far as that first love is concerned —continue to let absence make the heart grow fonder. . . .

Mind you, there are heaps of firstrate actors and actresses left In the theatre—r doubt if the all-round level has ever been higher. But playgoers are interested more in attractive personalities than mere acting—they have acquired the taste from their picturegoing. you see. And it’s just there you find the rub. Jack Buchanan was the sole remaining stage star in the literal sense —by that I mean an actor whose personal popularity was sufficient to make people pay to see him, even when the show itself was no great shakes. (Other performers who think they’re stars have tried to do it. and have discovered their mistake. So have the managers.) We’re waiting patiently—it’s all we can , the return of such personalities as Robert Donat. Charles

Laughton, Leslie Howard, and Greer Garson. to mention just a few. Also watching, with rather less patience, the continuance of the dear old Holly-wood-cunvPinewood game, of snatching away new stage talent just when It has developed a box-office value.

Strand Theatre “The Invisible Menace,” Warner Bros.’ new mystery comedy, stars Boris Karloff, the master of horror characterfsatidli?, '. It is based on the stage Warning,” and .as a filmin' is said'-' to be definitely, superior, to the stage version. The story begins on an Eastern island used by the army as an ordnance arsenal. An officer has been slain and several are suspected, including Karloff,,.- and not until the end of the picture is, the real murderer discovered. Marie Wil-

son supplies the comedy and romantic interludes supported by Eddie Craven. “ The : Invisible Menace ” will be the main feature on the Strand Theatre’s

new programme on Friday. The associate , feature is “ Oh, Susanna,” another delightful musical western film starring Gene Autry.

Autry’s films are popular fare with their blending of tuneful songs and swift action, and “ Oh, Susanna ” should be no exception. Songs introduced by Autry include “ By a Waterfall,” “Riding Down the Texas Trail,” “Dear Old Western Skies,” “Whisky

Bill,” “ Honeymoon Trail,” and the title song, “Oh, Susanna.”

FROM GREEN ROOM AND STUDIO

On Desert Location One hundred and forty packing cases, containing material from the studios for the filming of “ The Four Feathers' in the Sudan left Denham recently. Mr Zoltan Korda, the director, Captain Anderson, military adviser, Miss Eileen Corbett, continuity girl, Mr Geoffrey Boothby, assistant director, and Mr David, business manager, have arrived at Khartoum, , . u . London Films will make their headquarters in a gorge 40 miles from Khartoum, where they will film the capture of Omdurman and many other incidents from the Sudan War which appear in A. E. W. Mason’s famous novel.

It is the intention of Mr Korda to show on the screen the hauling of the British Army in boats over the Nile cataracts, one of the most remarkable feats in British military history.

For the making of “ The Four Feathers” in the Sudan it has been necessary to send 33 cases of technicolour camera equipment, 56 cases of “props,” 25 cases of wardrobe, seven cases of make-up equipment, and 26 cases of general stores. Included in the war material are 12 rifles and trick bayonets; 90,000 rounds of ammunition and 4200 rounds of machine gun cartridges were also sent. From the special effects department went smoke puffs and smoke pots, mines and electric detonators for the battle scenes, while in contrast to this the' property department included lists of diaries, five pairs of scissors, one

English-Italian dictionary, two bundles of orange sticks, tubes of seccotine. visiting cards, ostrich and goose feathers, and two hair nets. One mysterious item of equipment from the property department is 12 pawn tickets. The explanation of this is that the property man must prepare for all emergencies, and if for any reason a pawn ticket should be needed in one of the scenes it would probably turn out to be the most difficult and expensive item to acquire 40 miles out in the desert.

Hollywood Stunt Girls Do you want a girl to throw herself out of a sixth-floor window, or jump off a cliff, or rush into a burning building, or stand on her head on the wing of a plane? If you do, and you want to be sure she does not break her neck, you will call the Hollywood Riding and Stunt Girls’ Association. On a moment’s notice they will give you feminine dare deviltry at its best. The association was organised about 10 months ago and boasts of a membership of 37 good-looking dare devils. France Miles, for 12 years a stunt girl, is president, and says the society’s membership could be a lot more, only three are not any more really first class, guaranteed non-breakable stunt girls in Hollywood. With the return to popularity of outdoor and western type films, the girls are at a premium. When Samuel Goldwyn wanted a couple of dozen for roles in “ The Lady and the Cowboy," with Gary Cooper and Merle Oberon, he had to be satisfied with only 10. and Miss Miles, one of that number, says he is lucky to get so many. Movie producers such as Goldwyn have found the association a real help. Miss Miles says, because the girls do not let any incompetents join their ranks. When the group was first formed they had a membership of nearly 100, but in a few months they were weeded out to the present 37 experts. Because the producers know they are getting first-class product, Miss Miles says they do not mind paying a minimum price of 16 dollars a day, which is a considerable rise over what used to be paid for hit-or-miss stunt girls. Miss Miles says that, when times are good, as at the present, the girls build a treasury through dances and entertainments once a month, to be used as sick or disability funds, and take care of hard-pressed or dependent members when things are not so good. They also used some of the money to print and distribute illustrated brochures to all the producers, listing the qualifications of every member. Miss Miles says this little book has become the casting director’s favourite. “ Tovarich ” Hollywood, which exists by virtue of its cosmopolitan appeal, once in a while breaks forth and produces an original theme. From the film city has come a popular version of the record-breaking stage play “ Tovarich,” and it has translated one of the most successful stage plays of this or anv year into a film which can be safely stated to be one of the memorable efforts of the production year. The Regent Theatre is fortunate in having secured the release of this picture, which is the next attraction at this popular house, and patrons will leave the theatre in the firm belief that Claudette Colbert and Charles Boyer have interpreted faithfully the essential worth of the play. Indeed, they have not been seen to more advantage. It was Charles Boyer who made “Algiers.” It was Claudette Colbert who made “ It Happened One Night.” Now they are together, and it is in their mint acting which makes “Tovarich” outstanding. There is not a weak spot in the production (writes the New Zealand Herald). There is never a dull moment in the film. It has all the essentials that mark the good picture. There is drama in plenty. There is humour; there is pathos. Perhaps it is the union of these last two elements which makes the film one to be remembered, for through the humour and the pathos the audience will live in “Tovarich” and be swayed by the same emotions which Claudette Colbert and Charles Boyer portray. Claudette Colbert has the sense of humour of which one never tires. It is not blatant. It is not obvious. It is quiet and inclined to be subtle, and it never fails. She “ puts it over ” with so little effort that one forgets she is acting. Charles Boyer has an intensity of acting. -In

that regard he acts as foil to Claudette Colbert and she to him. Both are impoverished members of the Russian aristocracy, who enter domestic service in Paris. After many amusing and satiric experiences they donate their fortune to a Russia which they still consider theirs, though it has Eassed under an alien rule, and find appiness in continuance of their menial duties. The series of scenes in which the erstwhile Grand Duchess is washing—or trying to wash —dishes is one of the most charming sequences of the whole film.

Mr Moto Again Facing a wilderness of mystic temples and nameless terrors, the famous Saturday Evening Post master of mystery meets his most sensational adventure as Peter Lorre brings to the screen the character created by J. P. Marquand. “Mr Moto Takes a Chance,” thrilling 20th Century-Fox mystery-adventure story opening today at the Grand Theatre with Rochell Hudson, Robert Kent, and J. Edward Bromberg featured in the supporting cast, is the latest in the series. The amazing Mr Moto, mild-manpered, nimble-witted detective, fights poisoned blow-gun darts with hypnotism, jiujitsu, swords, burning oil, sorcery, machine guns and magic in a drama of mystery, thrills and adventure. In the jungles of Indc-China. British Intelligence officers strongly suspect that an uprising is being fomented by a native rajah. Into this scene comes Rochelle Hudson, a round-the-world flyer who has landed via parachute from her flaming aeroplane. An American newsreel cameraman, his assistant and the mysterious Mr Moto, as a Japanese archaeologist, join her. Immediately, the four are constantly on the defensive as poisonous cobras, wells of death, and mysterious murderers attempt to kill Mr Moto and his friends until the wily detective, with clever disguises, outwits the natives. Again Peter Lorre delights with his highly individual characterisation of the famed Saturday Evening Post sleuth. Meeting threats of death with his apologetic, deprecating smile, Lorre makes a Mr Moto who has been highly praised bv the creator of that char acter.

The second feature is an exciting and up-to-date film, “ Smashing the Rackets.”

Stars Are Camera Shy There are two kinds of actors — camera-lovers and camera-dodgers. Charles Boyer, who is starring with Claudette Colbert in Warner Bros.' screen version of the comedy “ Tovarich,” is a camera-dodger. He hates to have his picture taken. Mr Boyer does not mind motion picture cameras. It is the still cameras and candid cameras that he dislikes. To get him into a gallery for a portrait sitting is a week’s work. “I’ll do it next week,” is his invariable answer when asked to come in for a sitting. And he adds, with a smile:: “ That’s what I told them when I was making ‘Conquest,’ and they never got me in.”

Mr Boyer will pose for production stills (pictures illustrating the making of a “ movie ”) without a complaint. And when cornered he will stand up with his fellow-players for an offstage shot. Basil Rathbone, on the other hand, is a camera-lover. Mr Rathbone, who plays the Soviet commissar in the film is a candid cameraman himself. He will pose for almost any sort of picture. For the still cameraman on the “Tovarich” set. Rathbone, wearing a beard and a full dress suit, climbed to the floodlight gallery atop the stage and went to sleep. Claudette Colbert, co-starred with Boyer in “Tovarich,” is shy of stillcameras. She poses willingly enough, but she does not like to do it. She says she feels self-conscious when a lens is poked in her face. St. James Theatre A drama of paroled ex-convicts and the parole rule that forbids them to marry, comes on Friday to the St. James Theatre in " You and Me,” Paramount’s new Sylvia SydneyGeorge Raft film. Both Miss Sydney and Raft portray the roles of ex-con-victs. Raft has worked out his parole and marries Miss Sydney, a coworker in a large department store. The girl, afraid of losing his love, conceals from him the fact that she is still on parole and therefore runs the risk of being committed to prison for marrying. When Raft learns of her past he become embittered, gives up his struggle to go straight, returns to his “ mob,” and is only saved from another criminal' career by the daring action of his wife, who risks everything to save him. Featured in the excellent supporting cast of the new film are Roscoe Karns, George E. Stone, Warren Hymer and Barton Mac Lane. Fritz Lang, talented director of Miss Sydney’s recent “ Fury ” and “You Only Live Once,” produced and directed “ You and Me.”

Martha Rave, Bob Hope, Betty Grable and Jack Whiting have the leading roles in “ Give Me a Sailor,” Paramount’s madcap comedy about sailors on shore leave, which will have its local opening on Firday at the St. James Theatre. The story concerns a contract, made in childhood, by which two brothers promise to marry two sisters, and the efforts of one of the young men to evade its terms. As the plot unrolls, Miss Raye, the ugly duckling of the family, turns into a beauty with a nation-wide reputation and winner of a beauty contest, while her sister, Miss Grable. loses on the field of love when she turns out to be a dunce in the kitchen.

William Powell’s Contract

The news that William Powell has finally signed a new contract with Metro-Goldwyn-Mayer and will make another “ Thin Man ’’ film with Myrna Loy ends speculation concerning Powell’s immediate future He will not make more than two pictures annually unless 'he wishes, and will receive £45,000 for each. He has also been granted certain rights to reject or modify screen parts offered him.

Powell’s health is much improved, but he confides, “I want work, but I don’t intend to kill myself.”

“ Dad and Dave ” Two of the greatest favourites in Australia to-day are “Dad and Dave” of the famous Rudd family, and when ‘ Dad and Dave Come to Town” at the Empire Theatre on Friday, starring Bert Bailey, the grand old man of the Australian stage and screen, there is comedy for everyone. “ Dad," straight from the bush, inherits a city dress salon. With “Dave” (Fred MacDonald) and “ Jill ” (Shirley Ann Richards), his eldest daughter, the old man sets out to show the city folks how a modern frock shop should be run, and very soon he is drawn into a skirmish with his opposition. “Pierre,” played by Sidney Wheeler. The action is fast as ‘ Dad ” applies his farm methods to his city business, and “Dave” makes love to the mannequins. To celebrate the opening of his new store, “Dad,” assisted by his publicity manager, played by Billy Rayes. and his floor walker, “Entwistle” (Alec Kellaway), launches a spectacular fashion parade. It is then that “ Pierre,” who holds a promissory note for £IOOO. brings in the bailiffs. The manner in which “Dad”'and “Dave” save the situation nrovides a fitting climax. Camden, New South Wales, was chosen for the setting of the “ Rudd’s ” farm. An uncomfortable experience for “ Dad ” and “ Dave ” was the “ shooting ” of a modern bathroom “set” at the studio. Bert Bailey, clad in a white nightshirt, and Fred MacDonald in gaily-patterned pyjamas, had to investigate the mysteries of various taps and sprays. In suite of a complete and chilly drenching. the scene was not successful, and after some technical adjustments .they had to face another shivering ordeal. The mannequin parade in an ultramodern salon shows the beautiful gowns t<jr their full advantage, and among the “ lovelies ” who wear the creations in this scene are Sydney’s best-known mannequins and photographic models.

New Company Formed A new company has been formed in London under the name of “ Capad.” This company will bring about a close working arrangement between various British studios and production concerns. The directors are Messrs Anthony Havelock-Allan, Riginald Baker. Michael Balcon, Stephen Courtauld. Richard Norton, and Arthur Rank.

Mr Baker states that “ the company is being formed with a view to sponsoring the production of economical British films at any of the major film studios for release through A.B.F.D (Associated British Film Distributors, distributing unit for A.TJP.) The ma-

chinery of “ Capad ” will be available for all approved British productions. “ Capad ” is an abbreviation of “ Cooperative Association of Producers and Distributors.” The general idea is to gel a certain amount of co-operation between the studios and the personnel—to interchange what is available, so as to avoid “lag.” Some of the nictures will be on a co-operative arrangement as well. At the moment Pinewood and Ealing are the two studios involved, but we are informed that the new company is “ dickering ” with another major studio. Stephen Courtauld. who built Ealing studios, is the world-famous artificial silk manufacturer and is considered one of England’s wealthiest individuals. R. P. Baker is a fellow chartered accountant, and is managing director of many English companies, Michael Balcon was for years nro-ducer-in-chief of Gaumont BritishGainsborough Films, and latterly M.-G.-M. "A Yank at Oxford ” was a recent production, Anthony Havelock-Alien has produced 24 pictures in three years. Arthur Rank is a multi-millionaire flour merchant who built Pinewood studios.

Captain Richard Norton is a producer of high standing in England,

Millionaire Influenced for Good Columbia’s “You Can’t Take It With You,” now establishing sensational box office records all over the United States, was brought to the attention of several million people recently. The New York daily newspapers, under large display heads, primed the story of John F. Webendorfer, of Mount Vernon, New York, who, after seeing the Frank Capra production, sold his printing press machine shop and turned over 200,000 dollars of the proceeds of the sale to his employees. The story-was picked up by syndicates and reprinted all over the country. Interviewed by the correspondents from newspapers all over the States, Mr Webendorfer gave all the credit for his generous gift to the Columbia pictures, and especially Frank Capra “1 saw the movie, and it gave me the idea. I appreciated the moral of the film,” said the manufacturer. “ I could have gone and rolled up a couple of million more. But what was the use? ” Will B. Johnstone, cartoonist on the New York World Telegram, on November 14. devoted his five column strip on the editorial page of that newspaper to the Webendorfer news item and the Columbia picture ‘that influenced him.”

“ Little Miss Broadway ” Shirley Temple always turns in a fine performance, but in “ Little Miss Broadway,” which will be the next change at the Octagon Theatre, she is said to excel anytljjng she has done in the past. The grand group of troupers which aids and abets Miss Temple is headed by George Murphy, the irrepressible Jimmy Durante, Phyllis Brooks, and Edna May Oliver, the popular, prim, and prudish grande dame of fllmdom. To make this the musical thrill hit of the year six new Bullock and Spina melodies are provided. and the selectors can choose from “Be Optimistic,” “We Should be Together,” “If All the World Were Paper,” “Swing Me an Old-fashioned Song,” “ How Can I Thank You? ” and “ Little Miss Broadway,” the title song. The film is about a little miss who lives in a vaudeville hotel with her foster family. Edward Ellis and Phyllis Brooks. When Jimmy Durante’s jazz band gets too loud in its rehearsals, the wealthy neighbour, Edna May Oliver, complains and threatens to close the hotel. • George Murphy, her nephew, intercedes, and while he wins nothing but enmity from his prim aunt at least he wins the favour of fair Phyllis. Led by Shirley, everything ends as it shouldI—especially 1 —especially after Shirley convinces an austere judge that he

should permit the actors to stage their show in the courtroom. “Algiers ” The colourful activity of a Mediterranean city of Northern Africa forms the background, of “Algiers,” Walter Wanger’s romantic melodrama, starring Charles Boyer opposite Sigrid Gurie and Hedy Lamarr, which will be the next change at the State Theatre. Practically the entire action of the picture takes place in “The Casbah,” mysterious native quarter of the capital of Algeria. This district is a haven of refuge for criminals of all countries of Europe. Asia, and Africa. As the story opens. Boyer and his gang, fugitives from Paris, have lived in the Casbah for two years, never venturing outside its boundaries for fear of arrest. In the district they are safe from the police in the adjoining French city, who dare not molest them owing to the ferocity of the natives, though the local inspector. Joseph Calleia, continually watches the genial crook. The only hope of the officials is that some time they may lure the jewel thief outside the Casbah and thus bring about his capture. Boyer, however, is content to remain in the squalid quarter with his wildly jealous native sweetheart. Sigrid Gurie, and laugh at the futile scheming of the police—until another charmer attracts him.

Trends of 1938

The trends of motion picture entertainment in 1938 were largely mfluenced by the fact that producers, struggling against a financial recession in America, indulged in an outburst of mildly insane comedy that occupied the city’s screens for perhaps longer than any other type of film. They spent their money, too, on a number of spectacular romances, many with historical backgrounds, several with music, as well as some very fine dramatic offerings,

This year saw the end of the greatest series of films in the history of the

screen, the *“ Charlie Chan ” series, brought to a close by the death of Warner Gland. A substitute has been found, and “ Chan ” films will continue but they cannot hope to recapture the character created by the immortal Chinese detective..

“The Jones Family” have continued their adventures With tleir first flame of popularity still undimmed, and another family, “Judge Hardy’s Children,” have started their career. There has also corr.e to the screen the first adaptation of the greatest series of detective tales since Sherlock Holmes —Leslie Charteris’s “ Saint" stories. This was “The Saint in New York,” skilfully played by Louis Hayward, which proved so popular that the producers, RKO-Radio, bought every story Charteris has written

In America 1938 saw an amazing selection of revivals and reissues of famous films of both silent and early talkie days. Rudolph “Son of the Sheik” has been shown in: the north, but has not yet reached: Dunedin. All will welcome the opportunity to see these films, which in their day were outstanding in their class. In recalling the dramatic presentations of the year, many names come easily to mind: “Blockade,” “Dead End,” “Night Must Fall,” “Stella Dallas,” and “Stage Door” probably the most notable. “The Drum,” and “Hurricane” combined the intensely dramatic with modern romance. Historical romances included “In Old Chicago,” “Marco Polo,” “Prisoner of Zenda,” “Return of the Pimpernel,” and “Wells Fargo.” The musical romances of note were “ Firefly ” and “ Maytime.” There was one outstanding biography, Paul Muni’s “Life of Emile Zola;” ; ■ '

Looming large on the long list ot comedies are “Awful Truth,” “Double Wedding,” “ Divorce of Lady X,” “ Merrily We Live,” “ Nothing Sacred,’ “Perfect Specimen,” “Romance for Three.” “ Rage of Paris," /* Stand-In.” and “Topper.” One chnnot overlook Sonja Henie’s “Happy Landing,” or Deanna Durbin’S “ One Hundred Men and a Girl " and" Mad About Music.” Stars Burlesqued

Delicious, devastating caricatures of famous film stars are included in the latest, and one of the best, Walt Disney films—“ Mother Goose Goes to Hollywood.” Katharine Hepburn L Little BoPeep. Hugh Herbert, as Old King Cole, has the Marx Brothers for his three fiddlers. Charles juaughton is seen as Captain Bligh, with Spencer Tracy and Freddie Bartholomew taken from “Captains Courageous.” Stanley Laurel is Simple Simon and Oliver Hardy is the pieman. Edward G. Robinson is included to play seesaw with Marjorie Daw, who is Greta Garbo. Little Boy Blue is WaTace Beery—and others in this film are Fred Astaire, George Arliss, Eddie Cantor, Martha Raye, and Joe E. Brown.

“Mother Goose Goes t~ Hollywood/’ is a brilliant take-off of stars, uncannily accurate in reproducing mannerisms of voice and gesture.