ACROSS THE FOOTLIGHTS

Taranaki Daily News, 15 August 1931, Page 26 (Supplement)

ACROSS THE FOOTLIGHTS

COMING EVfINTS. OPERA HOUSE. To-day at 2 p.m. and to-night at 8 pm: U ‘ “High Society Blues” (Janet Gay- ; nor—Charles Farrell), Fox Movietone production. August 22: “The Love Parade” (Maurice Chevalier • Jeanette McDonald), Paramount special production, and dance recital by the pupils of Mona

Kirwin. August 29: ‘‘Loose Ends” (Edna Best), °British production; and “Not so Quiet on the Western Front” (Leslie Fuller), British comedy special. August 31 to "September 2: “Africa Speaks" (all star), Columbia attraction extraordinary.

EVERYBODY’S. /

To-night, Monday and Tuesday: “The Dancers’,’. (Lois Moran), Fox Movietone production. August 19 to 21: “College Lovers” (Marian Nixoh-J-ack Whiting), First National production; arid “Numbered Men” (Bernice Claire-Conrad Nagel), Warner Bros.’ production. August 22 to 25: “A Tailor-Made Man” r (William Haines), Metro-Goldwyn-Mayer production. August 26 to 28: “Sunny’’ (Marilyn °Miller), First National special production. THE REGENT. To-niHit, Monday and Tuesday: “The Yellow Mask” (Warwick Ward and Dorothy Seacombe), Edgar Wallace musical British production. August 19 to 21: “Manslaughter” ( Claud°ette Colbert-Frederick March), Paramount special production. August 22 to 25: “The Boudoir Diplo°mat” (lan Keith—Jeanette Loff— Mary Duncan), Universal productioon. _ August 26 to 28: “Courage” (Belle Ben°nett—Marion Nixon—Leon Janney), Warner ' Bros. production; and “Sweethearts and Wives” (Billie Dove—Clive Brook), First National production. “THE YELLOW MASK.” “The Yellow Mask” is a thrilling cirama packed with entertainment, value, colour and mystery. The cast for rthia subject was chosen carefully. Dorothy Seacombe, with her dark, sparkling eyes, oval features and golden hair, is the heroine. Then, as. a foil to this beauty, Warwick Ward, tall and slight, with dark, well-groomed hair, > is the Oriental. Wheri Warwick Ward is playing a part, slowly but surely the psychology of the role he is creating creeps into his Mood, and he becomes, even to himself, the person he is depicting. He believes that the only way to act for the screen is to live the part mentally, for the camera is so subtle that the thought is frequently seen through the mask —the human face. Haddon Mason, another popular star, is also seen in “The-Yellow Mask” as an officer of the - Grenadier Guards. The comedy touch in this film is provided by Lupino Lane. “The Yellow Mask” was adapted from . Edgar -Wallace’s mystery story, “The Traitor’s Gate,” and is a 100 per cent. British production. It commences at the Regent to-day at 2 and 7.45 p.m. * • “HIGH SOCIETY BLUES.” “High Society Blues,” Fox Movietone musical romance, showing at the Opera House to-day at a matiriee at 2 p.m. and to-night at 8 p.rii., is the third audible screen production with music by David Butlpr/director. Butler previously directed those two sensational successes,<“Fox Movietone Follies of 1929” and “Sunny Side Up.” “Fox Follies” was the first ’ all-talking, singing and dancing revue ever offered on the screen. “Sunny Side Up” was the first ’original musical comedy written directly.for the screen. Essentially youthful in his viewpoint and philosophy, Butler ■has a trick of projecting is personality into every picture he.directs. The result is clean, wholesome entertainment with the'best qualities of the younger generation. As in “Sunny Side Up,” he again has for his featured leads Janet Gaynor and Charles Farrell. They both sing five songs in this production. The music was provided by Joseph McCarthy and James F. Hanley. Others prominent in the. cast include William Collier, Sr., Joyce Compton, Hcdda Hopper, Louise Fazenda, Lucien Littlefield, Brandon Hurst and Gregory Gaye.

• • “THE DANCERS.”

When the rhythm of dance weaves its spell over two beautiful women and embroils a sentimental sweetheart and a ne’er-do-well’ son of wealth, dramatic intensity is sure to follow. This situation .in the Fox ’ Movietone version of the famous stage play, “The Dancers,” featuring Lois Moran, which will be shown at Everybody's Theatre beginning to-day at 2 and 7.45 p.m., comes at the climax of the picture when Phillips Holmes engages Walter Byron, the ne’er-do-well, in a battle over Lois’ affections. Their struggle over this girl, temporarily blinded by the pleasures of gay night life and dancing, is brought to vivid contrast by the pathetic plight of Mae Clark, who, as a professional dancer, is forced to look on while the boy she loves is made a. fool of by Lois' selfish behaviour. The picture Was directed by Chandler Sprague, who recently directed Miss Moran and Waiter Byron in the Fox Movietone, “Not Damaged,” and whose handling of the many delicate and dramatic situations if said to be of the most skilful. In addition to those playprs mentioned the cast includes Mrs. * Patrick Campbell, whose

name ranks with that of Sarah Bernhardt in the history of the drama, and > Tyrell Davis. ‘‘The Dancers” was ad- ’ apted to the audible screen by Edmund Burke from the stage play of the same name by Sir Gerald Du Maurier and Viola Tree, in which Richard Bennett ficored so sensationally on the New - York stage. Burke also wrote the dialogue. During the picture Mae Clark sings the delightful song, “Love Has •Past-id Me By,” written by James Mondeo and Cliff Friend. •.• • • “COLLEGE LOVERS.”

The age when love and its disappointments are taken hard is the college'age. It -is around this , theme that .“College Lovers.” the delightful First; National comedy, which coined to Everybody’s .-.Theatre on .Wednesday, is constructed. The story concerns a “dumb” but powerful football hero, played by? Guinn

(Big Boy) Williams, who takes the elopement of his girl with another fellow so hard that he is going to quit school, thus eliminating the dear old alma mater’s football prospects. Williams is not the hero of the story. That role is played by Jack Whiting, who made such a hit in “Top Speed.” Whiting is the college popular guy, the chap who manages everything. He concocts a plot which at the last minute kc"ps Big Boy at college in the team. The only trouble is that it leads to a lot more complications with the football hero's pal, who also plays, in the team. Marian Nixon is the girl around whom all the intrigue centres.

’“NUMBERED *MEN.”

“Numbered Men,” the new and sensational romance laid behind prison bars, will be screened at Everybody’s commencing on Wednesday, in conjunction with “College Lovers.” Conrad Nagel, Bernice Claire and Raymond Hackett head the all-star cast of this First National and Witaphone melodrama, which touches upon an clement of modern crime new to the screen. Tully Marshall, Ralph luce, Maurice Black, William Holden, Blanche Frederici, Ivan Linow, George Cooper, and others portray startling and unusual cnaracteis behind the bare, and on the “outside.” The story depicts events in the life of a boy, portrayed by Hackett, who has but a short time left to serve, but who is drawn against his will into a jail break. The penalty for participation ,i# death or long imprisonment. All phases of prison life are shown in “Numbered Men” as well as the sensational scenes of the “break,” said to be one of the most poignant dramatic depictions shown by a talkie. .Nagel Portrays a “good conduct” prisoner and Miss Claire, noted before as a screen singer, proves her right to be called one of -the most talented of youthful actresses. A charming new screen person - ality, she devotes her abilities exclusively to drama in this role. “MANSLAUGHTER.”

In 1922, .Alice Duer Miller wrote a smashing, best-seller novel, “Manslaughter.” . Cecil B. DeMille produced Thomas Meighan and Beatrice Joy in it as a silent moving picture with the leading roles. Both the book , and the picture were sensations. Now Paradrama of “Manslaughter”. to the talkmount has transferred the thrilling inf screen. Claudette Colbert and Fredric March play the leading roles in this audible moving picture, which George Abbott adapted and directed. Brought up to date, inspired, with Abbott’s genius, “Manslaughter” is even more of a sensation on the talking screen than it was either as a novel or as a silent picture; “Manslaughter,” which opens a three night season at the Regent Theatre, starting on Wednesday next, is richly produced, filled with speed and vivid verve of tlie new-day children of wealth. It opens among the playboys and gay girls who ride arid swim and make merry in the society whirl. It turns to the serious side of life, as tragedy grips the most daring and. carefree of these gorgeous people. It develops- into a tremendous conflict of love and hate, with a handsome young attorney pitting his strength against the wilfulness of a beautiful girl. “Manslaughter”. is thrilling, emotionally great, an entertainment based on a stupendous idea -entertainingly produced.

••. • • “THE LOVE PARADE.”

Paramount’s all-talking, singing and dancing picture, “The Love Paiade, starring Maurice Chevalier, will be seen at the°Opera House on Saturday, August 22.. “The Love Parade” is from the play, “The Prince Consort,” by Ernest Vadja, authoi- of “Sally,” “Hit the Deck,” and dther famous musical comedies. Guy. Bolton wrote the libretto; and Victor Schertzinger composed the musical score. t The songs, specially written , for the’ picture, include ’The Love Parade,” “Anything to Please the Queen,”- a duet sung by Chevalier and Jeanette MacDonald; “My Dream Lover,” a solo by Miss MacDonald; “Paris Stay the Same,’’ a Chevalier solo; “LH’s be Common,” a comedy duet by Lupino Lane and Lillian Roth, and the enchanting chorus number, “Song of the Grenadiers.” -

•-» ■ ♦ * DANCE RECITAL.

At the New Plymouth Opera House on Saturday evening, August 22, in conjunction with the special picture, Tiie Love Parade,” the pupils of Mona Kirwin will appear in.a special repeat performance of her dance recital.

• • *’ • “THE BOUDOIR DIPLOMAT.” ''All the splendour of European court life is shown in a number of colourful scenes of “The Boudoir Diplomat,” the daring Universal comedy which comes to the Regent shortly. These brilliant scenes represent the terrace outside the royal palace of the kingdom of Luvayia during a state ball, and the majority of men in attendance are dressed in the rrergeous uniforms of their various military unite. Helmeted guards stand at attention before the great doors, and beautiful women in court dress throng the terrace. The gigantic setting for these scenes was erected “on the lot at Universal City, California. In these scenes appeared all the principal players of ‘‘The Boudoir Diplomat,” including Betty Compson, lan Keith, Mary Duncan, Jeanette Loff, Lawrence Grant, Lionel Belmore and Andre Eeranger. Malcolm St. Clair directed. “MY LADY’S DRESS.” . Frank Harvey received high praise for his acting in the revival of “My Lady’s Dress” in Sydney. One paper says: “Tone and not pause is what Frank’Harvey builds his stage points upon and the swift rapier-like method of his replies is most telling in the scries of character sketches of “My Lady’s Dress.” Yet when it comes to a bit of silent acting he excels. Take the episode of the fly in the saucer in the Coster sketch. Harvey, as the Coster, drinks his tea out of his saucer. He finds a fly. removes it and throws it on the floor.* -Presently he sees , the insect move —ti ie audience can’t see it. except from the actor's eyes, but that fly is as real as the Coster himself. The fly extricates itself from the pool of tea, crawls across the floor, finally takes to the air,'revivified. Nothing is .eaid. Yet; merely, following the actor's facial expression of surprise, the audience find, themselves giving him the est laugh of the evening. This is acting.”

OPERA HOUSE, RAWER A. August IS and 19: ‘’lron Man’ (Lew Ayres). August 20 and 21: “Escape” (Gerald du Maurier). August 22 and 21; “Dracula’ (Bela Lugosi). GRAND THEATRE, HAWERA, August 22 and 24: “The Virtuous Sin” "(Walter Huston). • • • • MUSIC FORSAKEN FOR ACTING. Lew Ayres, who plays the stellar role in “Iron Man,” claims to have learned one thing early in life —it is difficult to do two things at once and be taken seriously in both. Lew Ayres is a good musician. He not only plays the. banjo, but also the organ and had his own orchestra for a season. He made his living from hid music for several years. However, for some time he had wanted to try screen acting. He gave up his own orchestra and started out to break into pictures, inerply doing part time work as a musician to make a living. He found lie could not play, in pictures as an actor because he was known as a musician. Determined- to break into the movies, he gave up his music, even though he went hungry as a result. • • « • GALSWORTHY’S FIRST TALKIE.

The outstanding play of one of the o-reatest English authors came to the screen when John Galsworthy’s “Escape was produced. It is the first of his works to reach the talking screen. A-d--mirably suited to film adaptation, the picture has a wide range of appeal. Galsworthy’s observations on prison conditions, combined with his incomparable dialogue, brilliant characterisations and thrilling climax mark “Escape” as a real event in the history of the audible screen. The film, produced by Basil Dean, boasts an all-star cast headed by a number of favourites of the English and American legitimate stage and screen.

» # « • THE CREATOR OF “DRACULA.”

It is a singular fact that Bela Lugosi, who plays the. title role in “Dracula,” was born in the very neighbourhood where the opening scenes of this .weird story are laid. Lugosi is a native of Lugos, Hungary, a city which was originally named after his family. Making his stage debut at the age of .20 as “Romeo” in a Hungarian production of “Romeo and Juliet,” Lugosi subsequently appeared in Shakespearean and other classics, finally becoming leading man at the Royal National Theatre in Budapest. Here he attained such popularity that he. remained at the head of the company for ten years. Going to America at the close of the war, Lugosi organised a travelling Hungarian diamatic company, serving for four years as producer, director and star. His first appearance in English, was in 4 The Red Poppy,” and this was followed by a number of other plays. Finally, in 192.7, he created the role of Count Dracula in the stage play, and was starred in the, play for more’ than years. A LITERARY RESURRECTION.

Many unproduced plays to-day lie at the bottom of trunks, forgotten and beyond all hope of ever being glimpsed across the footlights.. Few are the occasions where such pieces of work are du" out after a number of years to become sensational successes. The case of Lajos Zilahy’s play, “The General,” which has been made into a talking feature under the title of “The Virtuous Sin,” is an example of one of those rare resurrections. Last season, ten years after it was first written, the author pulled the play from its dusty storage place, rewrote, parts of it, and was delighted on hearing it acclaimed a masterpiece of modern playwriting, after its presentation in Budapest. Zilahy began writing as a result of a serious wound sustained in the World War. His first attempt was a book of poems, which was published? He followed these with his work on “The General.” No producer could be found so he laid the work aside and turned to hi sseeond play. Ten years passed while he was turning out nine plays, five novels and 100 poems before his first play was discovered.

BRITISH PRODUCTION IN SPAIN.

BULL-FIGHTER AIDS DIRECTOR.

After a fortnight’s intensive production operations in Spain, Cecil Lewis, who is directing the British. International Picture, “Carmen,” has returned with his company and a load of local trophies to Elstree Studios, where the film will be completed. Lewis is enthusiastic about the courtesy and helpful assistance rendered bythe* Spanish authorities throughout his visit. The base of the production unit was at Ronda, near Seville, where the Mayor, who had recently spent two years in this country, proved an invaluable ally. Lewis’ chief aim was to secure some smuggling scenes in the mountains and a perfect location for this was discovered in a gorge 60 miles the company worked in a temperatui e from Ronda*. Here in complete solitude of 105 degrees in the shade, oim-c* the highest the local inhabitants could recall. The discomfort of the heat was not the least obstacle to be overcome, for all film stock had to be kept in the shade and make-up renewed between each shot. • The securing of scenes of a bull-fight in progress was a vital necessity to ‘‘Carmen,” and proved a most difficult task. Lewis was anxious to film the famous Roman Ring at Ronda, but the audience offered vociferous opposition. However, through the friendly help of Mariano Rodriguez, the 25 year old matador hero of the moment, Lewis was able to stand his camera at the arena barrier, and Rodriguez further placed his exceptional talent at the film's disposal by executing the kill on a spot marked within camera range by the director. So skilful was the matador that the bull died instantaneously with its forefeet on the small piece of wood placed on the required spot by Lewis, thus providing for the camera the most unique picture in close-up ever secured of a bull-fight. The inhabitants of Ronda were pressplayed their parts in the production, ed into service, and enthusiastically A small goat was co-opted for a share in the comic relief and will be responsible for one of the most enchanting scenes, in the film. Within three hours of filming the bull-fight, Lewis and his accompanying artistes, Marguerite Namara, Tom Burke and E. Hay Petrie, were aboard an express and homeward bound.

ON THE “SET" WITH “SKIPPY.”

DAY WITH THE JUVENILE STARS. (Written exclusively for Daily News by Joe Krumgold, at the Paramount Hollywood Studios.) A day on the set with “Skippy” at ■the Paramount studios m Hollywood proved one of the i most startling of revelations to the many visitors, in attendance. Among other things, it demonstrated that the technique of directing juvenile stare ns vastly different to handling adults. And it proved, that only a genius-a man who can vividly remember his own childhood-can get the best out of them. Let ua go into been a difficult day on the “Skippy” set. Four “takes” had been complete failures. Five-year-old Robert Cooo-an, dressed in the over-sized habiliments of Sooky, just couldn’t seem to get the scene right. Director Norman Taurog, for once, was at his wits’ end. Then Papa Coogan, always on the stage, took a hand. “Look, Bobbie,” he said to his youngster. “You don’t have to do all that to make this scene. You can act°it with your eyes. Why don’t you remember how your brother Jackie used to work?” . . Young Robert Coogan drew himself up to his full 48 inches and looked his father squarely in the eye. “Father,” he piped, in that amazing childish treble that squeaks right into your heart, “at my age, I’m a far better actor than my brother ever was.” And the next take was perfect. Another time, Jackie jCooper—Skippy himself—juet wouldn’t look sad enough when he peeped through a screen door and saw his pal Sooky crying heartbrokenly over the death of his dog. “Come on, Jackie, give us a real cry now,” begged Taurog again and again. But Jackie, great little actor though he is, is more the boy than the Thespian. He was much more interested in playing with some toys on the sidelines than playing his role. Taurog said: “I’ll fix him!" He called Jackie over. “I’m terribly sorry, Jackie,” he said, and his voice trembled, “but I’m afraid I was wrong. I thought you could do this part —but now I can see you just haven’t got it in you. I’ll have to use Tom over there in your place ...” He raised his voice and yelled across the stage: “Hev, Bill. Get Tom dressed in ‘Skippy's’ clothes and make him up right away. I’m going to sack Jackie Cooper.” Young Cooper’s eyes bulged, his bps and chin began to tremble. Real tears —not make ones —welled in his eyes. He pleaded with Taurog. “Well, I’ll give you one more chance. Try the scene again,” said the director. This time Jackie Cooper’s weeping was perfect for the camera. It was real. Jackie was crying because he thought he was going to lose the part. But those two little incidents are just two of thousands that happened during the filming of “Skippy” to show the methods the grown-ups had to use to

achieve the heights of drama they did with that cast of five, six and seven-year-olds, The grown-ups couldn't work with the youngsters as they worked with adult* actors. Kids don’t think that way, so the grown-ups had to be kids themselves, playing a big game with the child actors. . Probably the most amazing fact ol all remarkable things about the picture is that, outside of Coogan, Senior, not one of the men who had an authoritative part in its making is a father himSe percy Crosby, created the character of “Skippy" in his internationally famous comic cartoon strips, and Sam Mintz, a fattish young non-father on the Paramount writing staff, wrote the original screen story. But tne real geniuses Norman Taurog, the director. He’s a man who loves children so that they love him in return. Three days after little Robert Coogan met him, Robert was calling him “Norm.” Ask Taurog how he did it, and he tells you, modestly, that he merely tried to be a kid with the rest of them. And he adds: “\Ve tried to make them think the whole thing was real—not just makebelieve.” And that, perhaps, is the fundamental secret of the success of the film. Some people will argue that it was heartless to make the kids believe that the dog was killed—but that is what the” did. On the screen the dog is named Penny. In his home life the dog’s name is Kinw Tut —just another of Hollywood's many movie-trained canines. But long before the actual shooting of the picture began, King Tut was introduced to the .child actors as Penny. The children were allowed to play with him. He. was even allowed to go to their homes with them. Robert Coogan and Jackie I Cooper got to love Penny as . only a kid can love a dog. Then, when the big scene in the dogcatcher's office came, every effort was made to convince Jackie and Robert that Penny had actually been killed. Really, the’children know it was makebelieve. But with that. peculiar child psychology—that readiness to slip over into the world of fantasy and believe it real—they were easily convinced tha ; t the.,cruel dog-catcher had actually killed the' dog-actor they had grown to love.

SETTEE TO FIT A CORPSE. “THE MAN AT SIX.” A widespread and scrupulous search had to be undertaken in order to discover a settee to fit a “corpse” for “The Man at Six,” the British International picture now being produced at Elstrec by Harry Hughes. The original problem was whether to get a corpse to fit a settee, or a settee to fit a corpse, but it was discovered that all modern furniture is built so low on the ground that only a living skeleton could impersonate a corpse. The discovery of a murdered man under an innocent-looking settee in a suburban house is one of the most dramatic and thrilling scenes in this exciting picture, therefore the procuring of the necessary sofa became a duty. Several ,settees were secured and the actor impersonating the victim rehearsed the scene, emerging in various states of asphyxiation. At last a venerable couch was discovered which was a clear I'B inches from the floor and it was successfully “made-up” with new upholstery and a deep fringe for its part in the film.

Lester Matthews as an amateur investigator detected the corpse’s presence by the protrusion of its fingertips, and then Anne Grey, John Turnbull and Gerald Rawlinson, who play leading parts in “The Man at Six,’’ started in to excite suspicion. “THE MAN AT .SIX.” ' Two well-known film fighters were matched together in fierce combat for the British International Picture, “The Man at Six,” at Elstree Studios when Gerald Rawlinson and Charles Farrell engaged in a thrilling fight scene. Gerald Rawlinson is well-known in film circles as a first-class boxer, and recently he represented British films in a match against Guy’s Hospital in which he gloriously laid the lightweight champion low in the second round. Charles Farrell can boast of having had a fight in every film in which he has appeared, and they are many. He bears 27 scars received’ in various studios and is an opponent of formidable strength. The fight commenced with Rawlinson leaping a refectory table at one bound in pursuit of Farrell who turned and felled him with a clip on the chin. Rawlinson then launched himself bodily at the departing Farrell and brought him down by the knees in fine Rugby style. In a mix-up on the floor Rawlinson had the worst of it as demanded by the film’s plot, and Farrell commenced to throttle him until an O.K. was given by the director, Harry Hughes. The strict training which,film actors always maintain came to the combatants’’ assistance when repetitions of the scene were made and at the conclusion neither was much the worse for the battle. Rawlinson had only r- .oved all the skin from his forehead and leg through grazing himself along the carpet, and Farrell, who had five stitches in his arm, received in a recent motor crash, was nursing an aching limb.

Naturally, -the dog was kept off the stage aiid set during these scenes, so that his presence would not spoil the childish sad illusion! Moreover, when the child actors were first introduced to Jack Cliflord, the ac'tor who played the dog-catcher, they were told that he was mean' to dogs. That he had actually killed dogs. It was a difficult period for Clifford, because he is fond of kids. And it was no easy task for him to go about under their reproachful gaze until the picture was ended, and they were told that he loved dogs, and, instead of killing them, owned several. Another effective means of getting results from 'the ■ children was by the awarding of prizes. The still cameraman, Gordon Head, is a genius at making toys out of scraps of tin and metal. He was used more than once as a “come-on.”

“Now, Jackie, if you do this scene good I’ll have Gordon* make you a boat,” Taurog would say. And he'd get a perfect shot. Another time, Taurog bought two boat models at a fancy price from some Mexican peddlers because the children in the cast liked them. The boats were held up as prizes for the child who did the best work.

No doubt there were times during the making cf “Skippy” when Taurog der.p*i,ired of tne re,suit. But a patieiiv, determined nature, coupled with a gifted ineight into ramifications of the child mind, enabled him to turn it out an epic of the talking screen.

Nor does Taurog's directorial ability end with the handling of children. He had a number of adult players under his command in “Skippy,” and each turned in a capital performance. Most remarkable, -perhaps is the acting of Enid Bennett, Australian star of silent films who makes .her talkie debut as “Skippy’s” mother, and Willard Robertson as-the father. Under Taurog’s subtle direction they are nothing short of superb. . “Skippy” will not be forgotten in a hurry ■ by either screen audiences or those who make it. Director Norman Taurog, the genius, describes it as the most. difficult, most .gratifying, most amusing production period of his lengthy career. •