SCREEN AND STAGE

Otago Daily Times, Issue 23858, 12 July 1939, Page 15

SCREEN AND STAGE

FROM GREEN ROOM AND STUDIO

BY HARLEQUIN

Acting and Character An ordinary mortal may read of the fall of Rome, the earthquake that demolished San Francisco, the War of the Roses or the Black Plague arid retain only a vague impression of these now so distant and far-removed happenings. But let an actor play a character whose life was connected with a phase of history and his conception of the, selfsame incidents \yill be as vital and personalised as if he had actually lived through them. Merle Oberon will serve as an illustration of this phenomenon. Four months ago. although she had in the course of her kinematic career existed in a varied assortment of periods, she had no conception of the England that the famous Bronte sisters knew and wrote about. True, she had read their books and others of the same date, but she had only the dimmest notion of the early nineteenth century in Yorkshire. Then she was cast to play Cathy, the leading role in Samuel Goldwyn’s film version of Emily Bronte’s famous novel. “Wuthering Heights.” Now, having completed her acting stint, she has an intimate knowledge of the times that could not be duplicated by any amount of delvins into dusty history books. In the space of three months, while the filming was in process, she lived the life of a young woman of 1840. From 6 o’clock in the morning to 5 o’clock at night, five and sometimes six days a week, she wore the clothes of the period. Her body was encircled

by tiny-waisted cornets, she Was literally shrouded in layers of heavy petticoats, her chin was bound tight in bonnets—physically she was a belle of 100 years ago. Her very manners were changed to conform with the character file was portraying. Her walk was more mincing, she learned to . curtsy correctly. Instead of dancing in the accepted proximity of the present she swayed and attitudinised In the manner of yesterday while dancing' the polka and schottlgche. • Embroidery became one of, her accdmplishments. She.suffered the indignities of a bath in a;large copper cauldron, the great-grandparent of today’s luxurious porcelain bathtubs. And, to top all these, experiences, she was subjected to varied doses of the most violent asnects of Yorkshire’s admittedly violent' weather—from wind . storms, through rain and hail to several feet of impassable snow. Now Merle Oberon may add still another period to the many that she has already experienced during the five years 'that she has been one or the top-ranking stars of the screen. Nineteenth century England may take its place In her "memory beside other uerlods that she has met and known in her perigrinations as an actress. A well-rounded'education has. been the lot of Merle Oberoh. simply, by . way of her profession, Other actors, whose even longer careers have ,encomnassed more roles, have also lived at second-hand in past ages and one is safe in suggesting that many of the more learned students of history may i well envy.actors their close understanding of the past, gained .in the course of earning their daily bread. Irene Dunne Has Glamour

Irene Dunne is one "glamour girl who breaks all the Hollywood rules for keening glamour before the public. It is true that Hollywood’s sirens apparently have never been able to agree unanimously on how to solve this burning issue. Yet one thing they have settled on. judging by certain, didoes, is that whatever a glamour girl does must be sensational. But to this, rule Miss Dunne opposes an obstreperous exception.. The HKO Radio star never has stabled a pet lion cub in .her boudoir. She never has bathed in milk nor dined on canary bird wings. She has never played regal or mysterious, either one. She has never thrown tantrums nor flirted with romance outside, of her marriage. “But, no, 1 have not any secret formula,” she told one interviewer on the set during the making of “ Love Affair.” “Unless it is this! I do the best work I can and let my pictures speak for themselves.” Pretty good formula. Miss Dunne. But there must be more to it than that. How about these questions;— 1. Must not a glamour girl always be photographed in her pictures in flattering noses, lights and clothes? “ Wait till you see me in ' Love Affair’.” said Miss Dunne to that. “In one sequence I am in a wheel chair.”

2. Must not a glamour girl in her private life be always entangled in romance, or romances? “ I’ve been happily married for quite a while,” said Miss Dunne to that one. “I do not go to-night clubs, and the gossip columnists would starve to death if thev depended on me.” 3. Must not a glamour girl be faddy? “Maybe." said Miss Dunne noncommittally. “But I am not.” Yet from “ Cimarron ” to ” Love Affair,” the star has mounted steadily in public favour. In that same period of time, other glamour girls who played the Hollywood game: according to standard rules have faded away in legions. Their names are even forgotten. Why? Miss Dunne is also “They were badly advised, probably,” she said. “And very likely, too, they had poor screen material. I have always been lucky that way. And her rules for glamour? “I don’t know,” said Miss Dunne. “Anyway, what is glamour? •

•Topper Takes a Trip” Constance Bennett, who proved herself a first-rate comedienne in last year’s “ Topper ” and “ Merrily We Live,” returns to the screen in Hal Roach’s latest comedy production, “ Topper Takes a Trip,” scheduled for its initial showing on Friday at the State Theatre, through United Artists release. Roland Young, who scored so brilliantly in “Topper” last year and in “The Young in Heart” this

year, j portrays Cosmo Topper, the banker who manages ; .to slide into marital and fiscal difficulties.when Miss Bennett. “philgnthropically” takes a hand in his affairs. Billie Burke, one of the , screen’s most popular comediennes, is again' guillible .Mrs Topper, who gets into a whole series of strange scrapes when. she is followed to the Riviera by Mr Topper. Alan Mowbray is cast as valet to Mr Young, and be manages to infuse his duties with a dash of hilarity and to complicate his actions with his usual unique logic. As the gentleman who is attracted by Mrs Topper’s goodly fortune,. Alexander D’Arcy contributes a portrayal of a | penniless man-about-town with a fine flair for love-making. Also importantly cast are Franklin Pangborn. Verree Teasdale and Paul Hurst. Several of the largest and most lavish sets Hollywood has seen, in recent years were constructed for “Topper Takes! a Trip,” the most outstanding among these being an exact replica of one of the famous -gambling casinos which add to the glitter and gaiety of the French Riviera. • Peter Dawson’s Retirement

Peter Dawson, the well-known baritone, arrived, in Australia recently to begin an IS-weeks* seasonforGreater Union Theatres, Ltd. . He intends to retire from professional singing shortly ..(states an Australian exchange) and will then, go to'Sydney an#-.enter the manufacturing business’ ! which his brother. Mr William D^wsdn.'conducts at Camperdown. ' “ <■' “ But I must go back to London this trip,” said Mr Dawson in-ari Interview. “If I do not catch the first available ship Eifter my tour finishes my' contract with Greater Union Theatres provide for a fine of £75 a day as long as I remain. . ..

Mr Dawson had originally intended to visit Australia under the auspices of the Broadcasting Commission. But he was dissatisfied with the terms which were offered him; \

“I was expected to sing in all sorts of out-of-the-way places, such as Kalgoorlie and Broken Hill,” he said. “ Naturally. I objected. It would have been too strenuous. Besides, the tour would have begun before Easter, which is a bad time for, concerts. ' “I suggested that I should come in 1940. but the commission replied that it had already filled its programme for that year. Next I learned that a member ol' the commission had told a newspaper that the commission did not want Peter Dawson on any terms in 1940 or. any other year, Naturally. I was not pleased “So when Greater Union Theatres came forward with a proposal for me to sing in the large cities in spacious and comfortable theatres. I was happy to accept. ’ ■ -

“ One reason I do not like singing for broadcasting is that people hear me too often. They turn on their sets the first time, aud probably enjoy the concert thoroughly. They hear me a week later, and say, disappointedly.

' There’s Peter Dawson again. We heard him a few nights ago.’ If they come across me a third time they say, ‘Why. that old Peter Dawson’s always on the air nowadays. We’re sick_ of him.’ It is the same with any musician.” Mr Dawson admits that broadcasting has raised public taste, but he thinks also that it has made things difficult for young musicians seeking to make their way. “ More and more, the musical business is depending on the older and fully established artists,’ he said. “Agents setting out to organise concerts think first of all: ‘What famous names can we get? ’ and not ‘ What singers and players can do this work? “ But in time the famous artists will get too old to appear. What is to happen then? People often say to me, • Where are the Melbas of to-day? The Clara Butts? The Sims Reeveses?’ I answer. ‘ They are there, but they are never given a chance to gain experience.’ ■ , , , "The radio employs singers two or three times, and then it drops them. Where are they to turn? Not to the suburban and provincial musical societies. The competition of the radio killed those long ago. In England, oratorio has almost vanished. All that one hears are performances of two or three old stagers like “ The Messiah, “Elijah,” and Bach’s St. Matthew Passion. Recitals by individual musicians, unless these musicians have famous names, are also a drug on the market. Instead of going to recitals, people throng to orchestral concerts. In days gone by the Queen’s Hall used to be only half full for the promenade concerts. Now it is crowded to the doors during the whole season. - ■ , . " Television will make the plight of the average musician; a great deal worse. Even the motion pictures are beginning to suffer now; for from one central 'point in London a programme can be thrown on screens far and wide. Television is very clear, and its radius is extending. “ So the:e is no longer any reason for a yoimg person to enter the musical profession- unless he has superlative qualities. I always advise musical aspirants that they must be magnificent performers, must have an attractive personal appearance, and must be possessed of at least £SOOO to cover tuition and waiting time, before they think even remotely about a career, There is. room nowadays only for the few ' supreme artists right at the top.” Anna Neagle's New Film > “I prefer portraying on the screen the characters of real people, but playing Queen Victoria was a great responsibility,” said Anna Neagle at afternoon tea in her dressing-room on one of the Edith Cavell sets at R.K.O. Radio Studios, in conversation with the Sydney Morning Herald correspondent recently. “I was almost terrified at first," she continued, " but the Royal Family was so helpful that much of my nervousness disappeared. I have become known for my characterisations of real people, and I really am very thrilled with my role as, Edith Cavell. “It is my first American film, and is designed to introduce me to a wider audience than those which have greeted my English films. The character of the devoted nurse who was one of the heroines of the Great War apSeals to me tremendously, and I have een reading all the biographies I can find. "One of my most treasured possessions is a letter written by Edith Cavell,, apd given roe by Sister Wilkins, who was with her at the hospital in Brussels, Sister Wilkins is now living in Somerset, and she has told me much about her friend, which has been helpful to me in building up my portrayal of the character.” Like “Jane Eyre.” the film “Nurse Edith Cavell” might be termed “a novel without a hero,” but the romantic' interest is given by George Sanders* who has had considerable experience on the stage and screen in England, and who has replaced Louis Hayward as “The Saint" in the series of films dealing with Leslie Charteris’s adventurer. _ . , Anna Neagle will return to England immediately on completion of the film, which is planned for release in London on August 4. . Looking at the slight figure of the English actress as she sipped her tea and refused a cigarette—she does not smoke—it is difficult to realise that she is the same person who portrayed Queen Victoria. Anna Neagle is very

slender, with softly-waving golden brown hair, and steady grey eyes. She wants to continue her character parts, developed from the lives of real people and she wants to make a film in Scotland. . , “ But it must be between J une and October,” she told me, “ because that is when the heather covers the hills. She admitted that she had a story in mind, but she would not tell it because negotiations had not been completed. Anna Neagle has a definite link with Australia. Her father. Captain Robertson. was for nearly 40 years on shins running betweeen Australia and New Zealand, and last year, after his retirement. he visited Australia. liei brother. Stuart Robertson, tdured with Melba, and is doing well recording and broadcasting in England. “And Australia has always been very kind to my films.” she added. Mayfair Theatre

“The Count of Monte Cristo," tiie United Artists’ release, which will be screened at the Mayfair Theatre tonight, Thursday, and Friday, has been awaited by South Dunedin picturegoers With great anticipation, and it is safe to say they will share the pleasure of audiences everywhere in this film version of a world-famqus classic. For those to whom the story is not familiar, a short resume is given. The hero, Edmond Dantes, is the victim of political persecution in the intrigue following Napoleon’s banishment to Elba. After years of unjust imprisonment in the Chateau d'lf, an island fortress, during which time his only consolation is the friendship of a fellow-prisoner, the Abbe Faria, he makes a sensational escape, recovers untold treasure bequeathed to him by the Abbe, and sets out to track down his three great enemies. One by one he despatches them, and the onlooker experiences exultation in seeing three unscrupulous scoundrels brought to justice. The concluding scene in which Dantes, as the Count of Monte Cristo. dramatically turns the tables on his third and greatest enemy will hold the audience spellbound. Comparatively limited in scope. O. P. Heggie s performance as the aged Abbe Dantes’s one friend in the Chateau d’lf is nevertheless an equally memorable characterisation of great subtelty , The three villains of the play provide colour, and are competently played by Lotiis Calhern. Sydnev Blackmer, and Raymond Walburn, Elissa Landi supplies the romantic interest in the story, and, as usual, is thoroughly satisfying in her portrayal. The supporting feature. Born to the West." is from a story by Zape rtrey. and stars John Wayne.

“ The Shining Hour ” A fllmisation of a notable Broadway success by Keith Winter, M.G.M. s “The Shining Hour,” comes to the Regent Theatre next Friday. Portrayed by a cast composed of front-rank screen personalities, this drama holds its audience throughout the presentation until its conclusion. Joan Crawford fills, the leading role, and opposite her is Melvyn Douglas. Other stars in a distinguished group of players are Margaret Sullavan, Robert Young and Fay Bainter. The story is a combination of Broadway gaiety, with the lights and music contrasting with the tranquility of a mid-Westem farm. Briefly, it is the account of a charming dancer who marries a grave young farm expert for security and peace rather than for love. When he takes her into the cold heart of his Kansas family, her difficulties begin. A younger brother falls in love with her and she is attracted to him. His wife, a courageous and unselfish girl, is heartbroken. A dour sinister spinster sister is bitter and unrelenting. In this predicament the dancer is helplessly trapped as the play of human emotions reveals the good and bad in all of them, herself included. Miss Crawford plays Olivia Riley, the dancer. She is womanly and annealing, and the drama is just what fs P expected of her. Margaret Sullavan is fine as the sister-in-law. Robert Young as'Margarets young husband, presents ■ his usual outstanding formance. Melvyn. Douglas gives a strong characterisation to the role ot the bewildered bridegroom, and Fay Bainter brings her artistry to the part of Hannah, the spinster sister. The story ends on a happy note, following spectacular scenes of a fire which results in hear-tragedy. "Lone Wolf Spy Hunt”

One of the most popular criminals in ■ modern fiction, Michael Lanyard, the Lone' Wolf, also.is one of the most popular heroes on the screen. ine Louis Joseph Vance character nas figured in silent films from as far back as 1917, and in talkies. His most cent screen adventure, The Lone Wolf Spy Hunt,” is currently to be found at the Grand Theatre, with Warren William as the suave international thief and Ida Lupino co-featured as a charming young woman determined to wed the man. “The Lone_ Wolf Spy Hunt” is the first in a projected new series of Lone Wolf films planned by Columbia. Warren William will play the title role and Miss Lupino, it is expected, will continue her matrimonial intentions. In 1917, Selzmck released the first.of many Lone Wolf films: two, years later, W. W. Hodkmson Company produced a sequel, The

Lone Wolf’s Daughter.” “The Lone Wolf" was the title of the 1924 production of Associated Exhibitors: Columbia, two years later produced “The Lone Wolf Returns.” This was the film in which Michael Lanyard spoke on the screen for the first time. In 1927, the same company produced “Alias the Lone Wolf.’’ The Lone Wolf returned again in 1929 in Columbia's version of “The _iOne Wolf’s Daughter,” and, in j93u Columbia again produced “The Lone Wolf Returns.” Last year, “ The Lone Wolf in Paris" scored a tremendous success, and now the Lone Woh embarks upon a series of criminal adventure films. In the 22 years that the Lone Wolf has been on the screen, he has been portrayed by such brilliant actors as H. B. Warner, Melvyn Douglas, Bert Lytell, Francis Lederer and now. War-_ ren William. The “ Formby Twins ”

A happy ending to an amusing story of two Formby fans in Australia was given recently' when Marie and Betty Kingham. twins from Grmond. near Melbourne, Australia, went to the Ealing Studios. Six years ago. when Formby pictures were not released in Australia or New Zealand, he received a fan letter from the twins asking for a photograph and wanting to know if George liked horse riding. George obliged them, and a steady stream of letters passed to and fro.

The twins mysteriously got hold of a gramophone record of George singing 11 Chinese Laundry Blues." It was at that time the only Formby record anywhere in Australia. The twins began playing it to an ever-increasing number of their friends, who liked the cute way George sang and the strumming of his uke. The demands on this one record increased so rapidly that letters started arriving at the offices of the Australian Broadcasting Commission asking that thev should broadcast it. All the twins’ friends telephoned the radio station with the same request.

The A.B.C. decided to broadcast the record and actually had to borrow the twins’ copy of it. One broadcast of the record was followed by 10 further broadcasts and at this point Formby’s first pictures were iust being released in Australia

By borrowing the record from the twins thev became known to everyone as the “ P'ormby Twins,” and their father went to enormous trouble some more records sent out from England.

This year the twins were nearing their twenty-first birthday, and were asked what they would like best for a

Strand Theatre

coming-of-age present. They said that a trip to England to see George and Beryl Formby would please them more than anything else, and to this their father agreed. On their arrival in London, they contacted Formby who invited them to come to Ealing Studios and meet him for the first time On their twenty-first birthday and. excited beyond measure, they arrived at the studios and spent the best part of the day with George and Beryl. ■ The first person they met on the set of George’s new film, “ Come on, George,” which followed “ Trouble Brewing,” was a man who lived three doors away from them in Melbourne He is Joss Ambler, who has a featured part in the film. The twins were also introduced to Jack Kitchin. the producer. At the end of the day the twins left Ealing with two autographed plaques of George. Back in Australia, their present collection of 56 Formbv records is awaiting their return, along with some new ones from England, and from the very first records and the broadcasts George has become one of the biggest box-office stars in Australasia. After their visit to Ealing, the twins left with their mother, father, and aunt for a motor trip of England in a car which their father has bought them. George Formby will soon be entertaining New Zealand audiences again, as “ Trouble Brewing,” the new Formby mirthquake, is to be released in New Zealand very shortly. It is reported to be his best to date, judging from cabled advice S. Y. Greisman. Svdnev. which runs: “ Trouble Brewing ” even better than expected. You can confidently give it all you have got. as grosses should far exceed any previous Formby. Regards.

Gunmen Who Never Kill Dee Gascoin and Erl Bunne, who appear in Columbia’s "My Son is a Criminal” are World War veterans and machine gun experts, to whom Hollywood opened new professions. One of these men has lost an eye and a leg. The other has spent many years in hospital, and for two years he was unable to speak. And yet. for both these veterans. Hollywood has furnished an “ out "—has given them work to do. provided them, not only with a fine income, but with that salve to the ego which comes of being known as an expert. 4 These two enlisted as privates, and both emerged as officers, but both were very badly wounded. There were long periods of hospitalisation for both when they returned to America. Then at loose ends. Hollywood knew how to use them when they drifted to that city. If there was anything that Dee did not know about machine guns, then Erl could teach him. and vice versa. But there is nothing that either of them does not know. So they get £4 a day a-piece. or more, serving in the many pictures in which the bark of a machine gun is demanded by the script. Sometimes they are in as many as three pictures at once. Sometimes together and sometimes at different studios. Usually, however, they work together as in Columbia’s “My Son is a Criminal,” which, with Alan Baxter and Jacqueline Wells, will soon be seen In this city. Between them Dee and Erl have blasted away, at one time or another, at most of the screen’s celebrities. They have shot at such luminaries as Ronald Colman and Jean Harlow. Claudette Colbert. Marv Astor. Richard Barthelmess. Grace Moore. Barbara Stanwyck and many others. Thev have taught Paul Muni. Edward G. Robinson. James Cagney, and other players how to handle the vicious guns when their parts demand it. Both men hold special permits from the Federal. State and local governments to perform, with bullets and dynamite, stunts for the performance of which the unlicensed citizen would promptly find himself in gaol. For the use of guns, which are their stock in trade, studios making such pictures must have a permit from the Government, and after each day’s shooting it is locked in a vault. If a gun is lost the studio pays a £250 fine. To date, no loss of a machine gun from a Hollywood studio has been reported.

A winning trio is expected tp score a third hit in the field of mystery film thrillers when Universal’s sixth Crime Club production, “ The Last Warning,” opens next Friday at the Strand Theatre. Preston Foster and Frank Jenks appear for the third time as Bill Crane and Doc Williams, supersleuths who punctuate their expert detective work with wisecracks. Third member of the trio is Jonathan Latimer, popular Crime Club author, whose stories, “The Westland Case” and “Lady in the Morgue,” first presented the Foster-Jenks team and initiated the mystery screen series. “The Last Warning” presents the detectives in their most baffling case as they track down “The Eye," mysterious character who leaves threat notes in rooms locked from the inside and then commits a murder, by the same method. A killing in a gambling casino and a kidnapping also are marked during the dramatic unfolding of a case in which

the dozen-odd suspects include three' beautiful women.

Gene Autry is said to score again in “Gold Mine in the Sky,” coming next week to the Strand Theatre. There is plenty of entertainment, singing, and action. Autry is surrounded by a good supporting cast, and with a good story to go on, the picture gives all-round enjoyment. As usual, Smiley Burnette plays his role of Frog Millhouse. Carole Hughes has the feminine lead. Craig Reynolds does his dirty work in a convincing way The Stafford Sisters and. the Golden West Cowboys supply most of the music.

“ Confessions of a Nazi Spy ” Courageously produced by Warner Brothers. "The Confessions of a Nazi Spy” will be shown on Friday at the Empire Theatre. Inspired by recent exposures in the United States of the existence of a large and efficient spy ring, this film deals faithfully with the ingenious methods used to break the ring and imprison Us leaders. Actual names are used where necessary, an unnamed German refugee playing Goebbels. Newsreel scenes have been used where it was necessary to portray Hitler. Striking portrayals are given by Edward G. Robinson as the Federal agent. George Sanders as the chief spy. Dorothy Tree as the latter’s assistant, Francis Lederer as a Nazi informer, and Paul Lukas as the director of the spy ring, Their performances are even more remarkable when it is realised that they received numerous threats against their lives while the film was in course of production, and were forced to live in the studio under an armed guard until the photography was finished.

Cinesound’s New Effort Playing the romantic leads in the new Will Mahoney comedy, which will go into production at Cinesound Studios soon, are Shirley Ann Richards and John Fleeting. Four years ago, a young salesman and a 17-year-old typiste played opposite each other in an amateur performance of “The Last of Mrs Cheney.” Unsophisticated and with her school days just behind her the girl, Shirley Ann Richards, was not exactly the playwright’s conception of the daring “Mrs Cheney.” But a driving ambition and. a flair for acting was responsible for her dramatic efforts. Her leading man. tall, grey-eyed, and with the poise of 28 years, was Claude Fleeting, who. strangely enough, was completely disinterestered in an acting career. To him. it was merely an amusing hobby. V The career of Shirley Ann Richards, however, was launched with this play. A talent scout for Cinesound recommended the young player to the studio, and before long she was cast as the ingenue lead in “It Isn’t Done." This was followed by “Tall Timbers,” in which she was co-starred with Frank Leighton; “Lovers and Luggers,” when she played opposite Lloyd Hughes; and “Dad and Dave Come to Town.” Claude Fleeting, following the career of his former leading lady with interest. had failed to become movieminded in the slightest degree. It was the producer-director for Cinesound. Mr Ken G. Hall, who first saw the film possibilities of this young man. in his performance in Mrs Drake Brockman’s Centenary play. “-Men Without Wives.” ■.> A screen test followed with the sceptical Claude still refusing to be very serious about a movie career. It was so successful, however, that it was followed by an offer from Mr Hall to play the juvenile lead in “ Gone to the Dogs ” opposite v Lois Green, which was accepted, and his name was changed from Claude to John. When William Freshman, young scenario writer who recently arrived from England, completed the Mahoney scrip. John was cast opposite Shirley Ann.

Evie Hayes, who, in private life, is Mrs Will Mahoney, is another member of the cast who will support the famous comedian. Tall and slim with dark hair and grey eyes, her lovely voice will be heard in an unusual and amusing number. She will play the role o* a gymnasium teacher, t Jean Hatton and Sidney Wheeler complete the cast at the moment. Other players will be announced later. The little 1,6-year-old singer will play a prominent'role and will be heard in several numbers. Following her success in "Mr Chedworth Steps Out,” she was signed to a long-term contract with the studios.

Sidney Wheeler, who played his first screen role as Shirley Ann’s father, the lovable “ Quid,” in “ Lovers and Luggers.” and has also played in “Mr Chedworth Steps Out" and “Dad and Dave Come to Town.” will be seen in a rich comedy part in the Mahoney picture. He will portray the role of Jean Hatton’s father.

A Hollywood Designer “ Gowns by Orry Kelly ” is a wellknown caption under the title line of Warner Bros.’ pictures, and is another Australian connection with Hollywood’s greatest-industry. For Orry Kelly was born 41 years ago at Kiama, and was christened Orry by his father (who was a Manxman) after King Orry of the Isle of Man. And though Warner Bros, tried to persuade Orry Kelly to take a French name he steadfastly refused, and has always preferred to be known by his own distinctive name.

Even as a small boy Orry Kelly was fond of drawing and designing, and took an absorbing interest in everything connected with the stage. His mother (now Mrs J. Hart, of Parramatta) did not encourage his stage leanings, as she thought such a life too precarious. The small boy. however, was given every encouragement with his art, though he himself very early realised that there was not a living in painting pictures. “You’ve got to be dead before they’re worth anything,” said Orry. “I want to paint something that will wear out.” In deference to his mother’s wishes, young Orry entered a bank after .he had finished his schooling at Wollongong. He stayed there only eight months, however—the call of the stage was too strong—and he joined the “ Irene ” company. Shortly afterwards, Orry Kelly went to New York, where he opened his first studio, and where he created the fashion for hand-painted Spanish shawls. He returned to Australia some lime later to see his father, who, was seriously ill, and opened, a studio in Castlereagh street, but after his father’s death he returned to America which he realised was the country of opportunity. Hollywood he made his home, working on home decorating and dress designing, counting Ethel Barrymore among his clients. •>, Seeing his work for Ethel Barrymore, Warner Bros, gave the young designer a contract, which has just been renewed for a further seven years at a large salary. His contract is. to work only for 40 weeks in the year, and during his holiday this year Mr

Kelly Is planning a visit to Sydney to see his mother and his many old friends.

Orry Kelly has designed for many of the most famous film stars, including Kay Francis, Bette Davis, Be be Daniels, Joan Blondell, Ruby Keiler. Glenda Farrell, and Marion Davies. His favourites are Kay Francis and Marion Davies. Kay he considers the ideal model for his gowns. " She knows what she wants and she is a marvellous woman” is his opinion of this star.. He .also has a great admiration for Marion Davies for her unfailing kind-heartedness. f > ;,•

Orry Kelly has a lovely home on a hill in Hollywood, with a fine collection of lovely antiques. Here his constant companion is " Stymie.” a Sealyham dog which he adores. Mr Kelly’s mother. Mrs Hart, is naturally looking forward to seeing her son again—she has already been to America twice to stay with him. She says he is still very quiet and modest, and that most of what she knows of his work she learnt not from him, but from his friend, Milton Owen, a former stage manager for J. C. Williamson, Ltd., who now lives in Hollywood.

Youth Has Its Chance It has been already pointed out that youth is having its fling at the Ealing Studios, where two Michael Balcon productions are on the floor. The four leading players of “ there Ain’t No Justice ” have an age average of approximately 21. They are Jimmy Hanley, Phyllis Stanley, Jill Furse. and Nan Hopkins, and “ Pen ” tennyson. the director, is only 26. On a neighbouring set Robert Stevenson (33) is making rapid progress with “Young Man’s Fancy," in which his wife, Anna Lee (23) is teamed with Griffith Jones (27). ' Twenty-seven-year-old , cameraman Ronald Neame has already lit between 40 and 45 full-length films.. His father. Elwin Neame. was in his day, one of the best-known photographers. As a young man Neame. sen., had to judge between 50 finalists in a newspapersponsored portrait competition. The photograph he chose was that of a, strikingly beautiful girl, whom he had' to photograph, having declared her, the winner. Her name was Ivy Closo,' who later became one of the five most popular British film stars of 20 years ago, Ronnie’s father married his beautiful sitter, and to-day at 27 Ronnie might well claim to be blase about films, for he played in a scene with his mother when he was six months old. Ronnie went to Elstree Studios as a call boy when aged 13. In a year’s time he joined the camera department

“Young Man’s Fancy" is the second time he is working with Bob Stevenson;# their first collaboration was on the extremely successful Clive Brook film “The Ware Case.” Strangely enough his principal’s illness also gave his first break to 25-year-old Wilfred Shingleton, art director on “Young Man’s Fancy.” Wilfred was 17 when he left Chiswick Art School to join the art department ol the Ealing Studios as a draughtsman. Two years later the illness of art

director Edward Garrick gave Wilfred his first, experience’ of carrying the full responsibility of art-directing, • film. At 23 he became a fully fledged art director working mainly on the George Formby compdies, ’ I , A " Royal ” Theatrical Family

Appropriately, "regal” epitomises Dolores Costello, a star , who , has had the distinction of belonging to two “ royal ’’ families at once—that of stage and screen. . ■ . Dolores comes of the kinema’s first royal house, that headed by the former matinee idol, Maurice Costello, -and graced by her sister. Helene. - And. when married to Johp Barrymore. she was allied with the first family of the theatre. .fi That Dolores knows how to ■ wear such laurels well is 4 attested by her popularity' as a person, and the fact that she is greatly in demand as a .leading woman. She currently - niay be seen in "Outside These Walls” the gripping Columbia drama in which she. Michael Whalen, and little Virginia Weidler play major roles. Born in Pittsburgh, : Dolores wa* schooled largely by private tutor's. She was only a child when she became enamoured of acting. Her father. vy.a* the screen's first matinee idol and one of the greatest stars then reigning. To amuse little Dolores and ■ Helene, he often took them to his studio, and when chance afforded, let them do extra .work in his pictures. This sort of fun was far more exciting than any "make believe” Dolores could indulge in at home. She decided to follow her father’s profession, and in 1924 made her stage debut in George White’s “Scandals.” Hollywood was quick to recognise talent in this second of the Costello clan. Dolores was brought west, and clayed her first, important role in " The Sea Beast.” It was during this picture that she was met and. wooed by Barrymore. They married. She temporarily retired from the screen. Recently she resumed her career, and just prior to Columbia’s " Outside These Walls,” was featured with Jack Holt in "Whispering Enemies” at the same-studio. A few of Miss Costello’s most outstanding films include "Bride of the Storm.” “Old San Francisco,” “Glorious Betsy.” " The Heart of Maryland,” “The Song of Songs.” and “Little Lord Fauntleroy.”, ■ In addition to those mentioned, Don Beddoe. Robert Emmett Keane. Selmar Jackson, Dick Curtis. John Tyrrell, Pierre Watkin and Tommy Bupp play important parts in “ Outside These Walls.” a powerful dramatic story of love, regeneration and self-sacrifice. Ray McCarey directed. St. James Theatre

Telling an emotional story of adventure and thrills in the lives of wireless operators on American merchant ships. Universal’s production of “The Storm” opens- on Friday at the. St. James Theatre. Filmed against the colourful background of giant ships and : thundering storms at, sea, the 'narrative , possesses power and realism. The cast includes Charles Bickford', Barton MacLane. Preston Foster, Tom Brown, Nan Grey, Andy Devine and Frank. Jenks. It unfolds as one of the’most virile action dramas to come out of. Hollywood in „ recent months. Impressive scenes show' a great steel freighter crashing into an" iceberg and going down while Preston Foster sticks to hi» radio key sending SOS calls for help. Bickford adds.. to his standing ,as a skilled portrayer of rugged he-man roles ;ih stirring fight scenes along the waterfront and aboard ship. The story concerns itself with the efforts of Bickford, an adventurous-and-hard-fighting wireless operator, to keep his young brother; Brown, from marrying the ship's .ptetty nurse, Ndn Grey. *

Probably the most intriguing of tho many underworld stories that have served as a vehicle for Gordon Harker, the popular English comedian. ■is "No Parking, ’ which screens . with “The Storm” at the St. James Theatre next Friday, His Cockney characterisations have made him famous on stage and screen, and once again his sleuthing leads him into a host of delightful situations before he ultimately gets his man. •This time it is a gang of international jewel thieves who provide the many hair-raising interludes while a strong romantic' interest adds to the power of the story. The Attractive Van Sisters The Attractive Van sisters who appear in the all-American Variety Company, “ Frunz-a-Poppin’,” which will be presented here soon, definitely are twins. No audiences will question that fact once they have seen these girls in their novelty singing and dancing act. New Zealanders have seen them on, several occasions in short films, as they have made these for Twentieth Century and “ Fox." In one of these short subjects they did the • “ Chain Dance,” which they feature in “ Funz-a-;Poppin“.” They were born in Colone, South Dakota, studied dancing together and started to. perform about 16 years of age. They worked in unit shows—4o- - presentations in motion picture houses. They have danced with some famous bands, including Paul Whiteman’s. They sing in harmony after the manner of the Boswell Sisters,-and both can play the piano. They have done a good deal of night club work in cafes and hotels and in the famous “ Rainbow Room,” and they have been used in innumerable advertising stunts. They have never worked singly, and they have never separated but for a period of six weeks last slimmer. They always dress alike, both on and off the stage. They wear the same size shoes (each knows her own because they “feel different”), and the same size clothes. June is the eldest, having an advantage of 20 minutes over Trudell. In Kentucky, one of the senators wished to confer on one of the twins the honour of making her: * Kentucky colonel for the necessary papers, etc.—and then found there Wat another Van girl and had quite a lot of explaining to do when he approaches the Governor again for another set of papers. In order to satisfy the department concerned he had to produce t photograph showing the two girls together.