Untitled

Timaru Herald, Volume CXXXIX, Issue 20108, 15 May 1935, Page 14

Old Catalogue a Source of Information A dilapidated copy of a 1901 mailorder catalogue played a greater role than Fate had originally intended for it and beclame the most valuable book at the Paramount studio during the filming of “Mrs Wiggs of the Cabbage Uatch,” featuring Pauline Lord. W. C. Fields and Zasu Pitts. Dog-eared and worn, it was the arbiter of the studio’s picture. All questions of clothing and property were decided by the book. In costuming the principal players and the five “Wiggs” children, in addition to the minor members of the cast, the volume described in detail various types of attire. For the erection of the “Cabbage Patch” itself—eight shacks, a general store, gas tank, the railroad yard—the catalogue pictures stoves, irons, washing machines, kitchen utensils and similar paraphernalia. In providing for the interior of Miss Lucy Olcott’s mansion, the book was used to determine style of furniture, window curtains, typical ornaments, bric-a-bric, lighting fixtures and other accessories. Even such minor details as pieces of jewellery, hat pins, watches, tie pins and watch chains for the men, and other purely personal decorations were selected from the studio’s stock rooms only after consultation with the book. Director Norman Taurog carried the catalogue together with his copy of the script, and all differences of opinion on art detail were referred to it. Adapted from the play by Alice Hegan Rice and Anne Crawford Flexner. Paramount’s "Mrs Wiggs of the Cabbage Patch” brings to the screen all the characters of the story loved by two generations of readers and serves as the screen debut of Pauline Lord, noted New York actress. Mickey Mouse in Colour To describe the playing of classical music as being "hot and harmonious” is unusual, to say the least, yet Mickey Mouse’s band, in his first Walt Disney production in Technicolour. “The Band Concert,” renders the familiar William Tell overture in just that manner. Mickey’s organisation of musicians sweep the chords with a lilt and a thrill that will guarantee you a thrill, while Mickey, revealed in his true colours, conducts them with intrepidity and quite a little abandon. United Artists are releasing this first Mickey Mouse in Technicolour. “The Devil is a Woman” In the carnival scene swirling about Marlene Dietrich in “The Devil is a Woman,” her next Paramount picture, not one of the two hundred merrymakers will be recognisable. But you won’t forget their faces. They wear masks. The episode is a saturnalia of masks. They are goats, housewives, Svengalis, big-footed dwarfs, gnomes of side-splitting aspect, devils, chamois and nightmare giants and policemen. The masks came from Mexico, where the trade of fabricating them is a fine art. Some of them are frightful, some comic, some weird—but all are grotesquely funny. One thoroughbred race horse, two lions, two Russian wolf-hounds, six monkeys and fourteen parrots play “parts” in Mae West’s new Paramount picture, “How Am I Doing?”