THE SCREEN : ITS PLAYS AND ITS STARS

Timaru Herald, Volume CXL, Issue 20217, 19 September 1935, Page 14

THE SCREEN : ITS PLAYS AND ITS STARS

INTERESTING TOPICS ON FILM ARTISTS AND CINEMA ATTRACTIONS

“Man Who Worked Miracles” There are many possibilities for trick effects and unusual stunts in H. G. Wells’s story, “The Man Who Worked Miracles,” and London Film Productions are evidently going to make the most of them. The action passes in the little village where the miracle man (Roland Young) lives. He finds that he has the power to will things to happen, and they do happen. Lions and tigers appear in the village street, and Joan Gardner is converted from a charming young lady of to-day into a very undressed Cleopatra of two thousand years ago. But Ralph Richardson, very much disguised behind the grey mustachios of a former Indian Colonel, defied the miracles of Roland Young. It is a losing battle, however. Like all of Wells’s work, the story has an inner meaning and sociological implications. Messrs Young and Richardson are the protagonists in the old battle between die-hard and progressive. “Sanders of the River” Early in 1932, when he was organising Loncion Film Productions with the declared intention of putting English customs, scenery, history and habits on the screen, Alexander Korda said: “As a Hungarian who has travelled in many lands, I can assure you that the British characteristic which most completely compels the admiration of the world is the genius of Britishmen for governing native races of all creeds and colours. Some day I shall make a film about it.” He did. He produced that sensationally successful film of life in Central Africa, “Sanders of the River.” In 1933, Alexander Korda assigned his brother Zoltan to direct the film, and sent him- to Africa, where he travelled thousands of miles and secured 20,000 feet of film, mostly of people and places never before seen on the screen. These facts refute any suggestion that “Sanders of the River” was filmed in a studio. No previous film of life in Africa has been made on such a spectacular scale. Over 20,000 natives appear in some of the scenes. The Sanders stories are generally regarded as the best of all the writings of the late Edgar Wallace. He put into them far more time and trouble than into his countless detective thrillers. The characters of Commissioner Sanders, Bosambo and “Bones” rank with some of the finest in all fiction. The title part of the film is played by Leslie Banks, who gives an inspiring portrayal of a white man ruljng millions of untamed blacks by sheer force of personality. Of exceptional interest is the appearance of Paul Robeson as Bosambo, and his magnificent singing is one of the features of a brilliant production.

Horse Race in Mae West Film One of the most exciting sequences ever introduced into any modern film is the horse race which is featured in Mae West’s new Paramount picture, “Now I’m A Lady.” The race takes

hardly be in good taste to "cash in” ] on the news angle represented by the j passing of such a famous and respected | man. There is wonderful material in j a film of Lawrence’s life. One can be certain, therefore, that the picture will be made as soon as good taste permits, and that it will be a fitting memorial to one of the most remarkable personalities of modern times. Korda is said to have Leslie Howard in mind for the role of Lawrence. It is difficult, if not impossible, to think of an actor who is more likely to do justice to the role. And Howard’s superb performance in “The Scarlet Pimpernel” is proof that he and Korda can work exceedingly well together.

Former Screen Star Returns Nineteen years ago, Clara Kimbell Young, the box-office champion of the movies, had an annual income of £50,000. But the hand of ill-fortune has taken away her wealth, some of her one-time tremendous popularity and relegated her to the ranks of an extra. To-day, the former star is cast in an atmosphere role in Cecil B. De Mine’s Paramount production, “The Crusades,” which stars Henry Wilcoxon as Richard the Lion-Heart and Loretta Young as Berengaria, and does her part happily with the other 350 extra payers on the set. Miss Young rose rapidly to great heights in films and, according to records, was the first screen player in the world to be starred and the first to own her own producing company. When Miss Young was enjoying her greatest popularity, she received as many as 10,000 "fan” letters a day, and ever since she has been cast into obscurity she has received hundreds of requests for her return to the screen in the roles that made her famous. Miss Young has philosophically accepted the decided change in her life. During her motion picture career, Miss Young gave a start to many of the screen celebrities of to-day. The list includes A 1 Green, the late Milton Sills, Conway Tearle and Edmund Lowe.

Ralph Rainger, Leo Robin and Richard Whiting, three of the foremost writers of music in America, have just finished writing 12 new songs for Gladys Swarthout, who will make her screen debut in Paramount’s “Rose of the Rancho”?

place in Buenos Aires, famous for its race tracks throughout the sporting world. Prominent jockeys and their flying steeds were hired for the picture, and any lover of the turf will long remember this brililant race, which is shown from start to finish in the picture. Needless to say. Mae’s horse, after overcoming several obstacles, runs in a winner by a very small margin. A set, built for scenes in Paramount’s “Paris in Spring,” featuring Mary Ellis and Tullio Carminati, is 200 feet by 100 feet, the walls of this edifice being made entirely of etched plate glass and copper strips?

Sylvia Sidney Plays Comedy Sylvia Sidney, one of the funniest, wittiest and most, spontaneous off-the-screen comediennes in Hollywood, is bringing her laugh-making talents to the screen in her role in “Accent on Youth,” Paramount’s film version of the Broadway stage success in which she is co-starred with Herbert Marshall. Though only 21 years old, Miss Sidney is a veteran actress with six years experience on stage and screen and virtually all of her roles have been of the semi-tragic variety. In fact she has been so constantly engaged in dramatic roles that she has deliberate-

ly cultivated comedy talents off-stage. “I’ve been having the time of my life in this ‘Accent on Youth’ role,” she recently told 'an interviewer. “It’s a humorous slant on the young-girl-and-older-man-falling-in-love idea and far removed from the heavy dramatic roles I’ve been accustomed to playing. I like comedy and this role has been a sort of working vacation for me. I felt so free from drama that it was difficult to convince myself that I was working.”

Damon Runyon’s “Princess O’Hara,” read by millions of readers of Collier’s Magazine last year, is brought to the screen by Universal. The film opens on Saturday at the Majestic Theatre. A sparkling cast has been assembled for this picture. Jean Parker and Chester Morris co-starred. Miss Parker is seen in the colourful role of “Princess O’Hara,” the spirited little Irish lass who faces the world alone and unflinchingly, and dares to walk where strong men fear to tread. A more thrilling, exciting or absorbing tale has never been told by Runyon, considered or.' of the greatest contemporary raconteurs and sports writers. There are heart throbs and hearty laughs alike in this stirring story of the daughter of an old-fashioned Irish father, who is accidentally killed in a taxi war in which their best friend is involved. Naturally, the Princess, as she is lovably called, blames him for her father’s death. It’s tough on both of them because they are in love with each other and don’t know it. Forced by fate to become both father and mother to her orphaned sisters and brother, the O’Hara girl takes her father’s place, driving an old relic of a hansom cab, in order to make a living. She becomes involved in the theft of a famous racehorse, which is snatched away the night before the race. It looks bad for her until the truth becomes known. How it all ends provides the basis for one of the most novel and interesting climaxes ever told. Runyon’s well known and unusual situations are given full treatment and scope in this humorously human story of real people. The supporting cast is headed by Leon Errol, former Ziegfeld “Follies” star; Vince Barnett, famous Hollywood “ribber”; Ilenry Armetta, popular Italian dialect comedian, and many other stellar names of the screen.

There is a cast of star names in Zane Grey’s Paramount picture, “Wanderer in the Wasteland,” with Henry Hull heading the list. At the same time the Studio solved its problem of finding a new cowboy when Dean Jagger, under contract for a year, drew the assignment. Others in the cast are Gail Patrick, Monte Blue, Anna Q. Nilsson, Trixie Friganza, Raymond Hatton, Pat O’Malley. Larry Crabbe, Charles Waldron and Stanley Andrews. A £25,000 insurance policy covers the singing voice of Frances Langford, who is making her film debut in Paramount’s comedy-drama, “Every Night at Eight”?

Constant Practice Gives Perfection Mary Ellis, Metropolitan grand opera star and dramatic actress who will be seen in Paramount’s “Paris In Spring,” in which she is co-starred with Tullio Carminati, has found that less than one-tenth of her singing is heard publicly. Each morning Miss Ellis devotes half-an-hour to singing and has engaged in- this exercise for years except when suffering from a cold. Only members of her small household in her farm in Sussex, England, or in her temporary Hollywood home hear ler morning singing. The public is lever admitted to stage rehearsals at which she sings many songs over and

over again with only stage hands, musicians and an occasional charwoman as audience. In picture work, Miss Ellis sings at least 10 or 12 minutes to produce one minute of singing on the screen. In the Paramount Studio, while making “Paris in Spring,” Miss Ellis would hear her voice echoed back by a sound apparatus within 20 seconds after she had finished a son,,. Accompanied by an orchestra of 30 musicians, she would complete a number, sit in a chair and wait until the sound-box, which looks like a black piano crate, would begin pouring the song back to her. She was icily critical of her voice, discussing it as though talking of someone else’s singing, and saying there should be a swifter attack, a brighter trill, or more polish to a note. This would be continued, singing a song over and over again, until finally she was convinced that the sound-track had captured her best effort.

Good Double Programme Richard Arlen, popular leading man, and star of many of the past season’s screen successes, tops the cast of Paramount’s “She Made Her Bed,” which was produced by Charles R. Rogers, and which comes on Friday next to the Theatre Royal. In addition to Arlen, the picture features Sally Eilers, Robert Armstrong, Grace Bradley, Rosco Ates and Charley Grapewin, Another important player is little eight months old Richard Ralston Arlen, Richard Arlen’s brand new son. It’s his first screen appearance, and from all reports he plays his role like a veteran actor. The picture depicts the dramatic romance that develops between Arlen, racehorse trainer, and one-man medicine show, and Sally Eilers, as Lura Gordon, the wife of a brutal animal trainer, who operates an auto tourists’ camp. Grace Bradley as the vamp makes love to Lura’s husband and continually poisons his mind against his wife, until he turns an enraged tiger loose in the house. After a thrilling battle with the tiger, amid a raging fire in which the entire camp is converted to ashes, Arlen and his true love move away into happier surroundings. “The Strange Conspiracy” is a sensational story, visualising the kidnapping of the Ruler of America, and what would happen if such an event occurred. The tale would lose its tremendous wallop, according to the producer, if the personality of the interpreter of the title role intruded into the part. The illusion must be complete. Arthur Byron’s name heads a cast of twenty-two film favourites, including Janet Beecher, Paul Kelly, Peggy Conklin, Charley Grapewin, Robert McWade, Edward Arnold, Osgood Perkins, Edward Ellis, Andy Devine and Irene Franklin.

Oil for the Lamps of China” Mervyn Leßoy who directed the Cosmopolitan Production “Oil for the Lamps of China,” a Warner Bros. First National picture, had to study Chinese in order to direct many of the four hundred Chinese in the picture as many of them did not understand a word of English. Pat O’Brien and Josephine Hutchinson, who with Jean Muir, head an all star cast also tried to master a few words, but their efforts were not very successful. Pat O’Brien’s advice to those who would learn to pronounce the words barked out with ease by Leßoy, is “Don’t try.” Yet anyone who is ambitious enough to direct- a picture with a Chinese locale, might as well start now memorising the following:—Tso jar—action; buyaochang—silence; jin—cut; cact hi —dialogue; mun chun —time; wu fanlunch; ting—hold it; tao yen—director; fu tao yen—assistant director; she ying—cameraman. “Tao yen” Leßoy was tutored by his technical adviser. “Oil for the Lamps of China” is a stirring drama of Americans in the picturesque atmosphere of China. Besides Pat O’Brien and Josephine Hutchinson, the cast includes Jean Muir, John Eldredge, Lyle Talbot, Arthur Byron, Henry O’Neill and Donald Crisp. The screen play is by Laird Doyle, based on the “best seller” novel by Alice Tisdale Hobart.

New Singing Sensation James Miller, young coloured tenor, under contract to Paramount, is predicted to become the music world’s newest sensation. Miller, a boy who has been singing in Los Angeles for several years, reported for an audience with 100 other dusky singers seeking roles in a 40-voice chorus to be featured in Paramount’s comedy-drama, “Every Night At Eight,” starring George Raft. He was immediately selected from the group, placed under contract and assigned a solo appearance in the film.

A New Beauty Secret Now that the warm weather is slowly arriving, with its dual fascination of swimming in brief suits and dancing in filmy evening gowns, it is time to pay more attention to the complexion of the entire body, according to Carol Lombard, Paramount player who is now making “Hands Across the Table” for that company. Because frequent swims, exposure to sun and numerous showers after tennis or golf toughens the skin considerably, it is wise to think of a way of lessening the damage which all this may cause. “I suggest my system of having a large bottle of lavender, pine or verbena cologne handy and giving yourself a brisk rub-down with this refreshing astringent after each period of exercise,” says Miss Lombard. “Use it before your shower and see that your shower is neither extremely hot or terribly cold—and the combination of the rub-down and mild shower will protect your skin and keep it stimulated.”

Actor Changes Diction After training his voice for 40 years so that when speaking lines on a theatre stage his words could be heard by persons in the last row of the top gallery, Ernest Cossart, whose role in the stage success “Accent on Youth” was one of the outstanding performances on Broadway last season, began work in his first film part and found that he must acquire an entirely new mode of speech. The microphone which records sound for a talking picture is so sensitive that it catches noises which the human ear does not pick up, and when Cossart began working under a microphone tor the first time his voice sounded like the combination of a blast from a steam whistle and the crash of a bass drum. Throughout the production of Paramount’s “ The Scoundrel,” the Noel Coward starring film, Cossart was engaged in a struggle to keep his voice pitched to a low and natural tone. Cossart is an Englishman who has devoted the best part of his life to the stage. He toured England, South Africa and has played in all of the large cities in America. He was taken to America by the late Charles Frohman, has played with Katherine Cornell in “Candida,” in George Bernard Shaw’s “Arms and the Man,” “St. Joan,” “Doctor’s Dilemma,” “The Apple Cart” and “Too True to be Good.”

“Legion of Valour” Seldom does a handsome Hollywood actor consider it a stroke of good fortune when he is called upon to have his features twisted and distorted by synthetic plastic surgery for the sake of dramatic effectiveness. But Bruce Cabot was equal to the ordeal in his portrayal of America’s most notorious public enemy in “The Legion of Valour,” the forthcoming Reliance Film which will be released by United Artists. For ten days during the filming of the picture Cabot’s features were far from handsome. His nose, cheeks and eyes were the victims of an uncannily ingenious make-up artist whose job it was to make Cabot unrecognisable. The scenes in which the disguised Cabot appeared required more than a week’s shooting and the arduous job of make-up absorbed four hours each day. At the conclusion of the picture Cabot heaved a sigh of relief at being able to smile naturally again. The result of this painstaking effort is said to reveal a characterisation that will make him one of the most talked of character actors in the picture industry. Besides Bruce Cabot, “The Legion of Valour” features Richard Arlen, Virginia Bruce, Alice Brady, Harvey Stephens and Gordon Jones.

Film Workers Form League of Nations They could have held an international convention on the set of the Warner Bros, picture, “Front Page Woman,”; Bette Davis and George Brent, the stars, the French, English and Irish, respectively. Mike Curtiz, the dilector, is Hungarian. Tony Gaudie, the cameraman, is Italian. Frank MacDonald and John More, dialogue director and property man, respectively, are Scotch. Homer Van Pelt, the still cameraman, is Dutch. Sally Sage, Bette Davis’ stand-in. is Russian. Vie Johnson, the “gaffer” head electrician, is Norwegian. Roscoe Karns and George Renesrent, two of the cast of supporting players, are Irish and French, In the cast besides George Brent and Bette Davis are Roscoe Kams, Winifred Shaw, Walter Walker. J. Carroll Naish, Gordon Westcott, and Dorothy Dale.

Acting In Bed Is No Easy Task Lionel Atwill has come to the conclusion that the choice situations in life are not always the easiest. It was inevitable that Atwill should have a heavy day in the schedule of Paramount’s new Marlene Dietrich picture, “Carnival in Spain,” which Josef von Sternberg directed. That hard day came rather suddenly. Von Sternberg, on the spur of inspiration, put Atwill in a hospital bed early in the morning and commanded him to stay there until further notice, which seemed easy enough. For 10 hours, however, while von Sternberg swivelled his camera from one spot to another, Lionel Atwill lay silently in bed, at first contentedly, then with growing irritation as the hours wore on and his back ached. Hereafter, Atwill will take his easy assignments with suspicion.

A Magnificent Entertainment Fresh laurels are heaped on the heads of Fredric March and Charles Laughton, co-stars of the stirring production of Victor Hugo’s “Les Miserables” shortly to be released by United Artists. A truly great picture handsomely mounted and flawlessly directed by Richard Boleslawski, the picture follows the eventful life of Jean Valjean, who suffered five years of torture in the galleys of a French prison ship for stealing a loaf of bread and found his whole life darkened by the shadow of the Law, in the person of Javert, a fanatical detective who has dedicated himself to carrying out that Law to the letter. Fredric March does the finest work of his career as the unfortunate Valjean and Laughton is superb as Javert. Sir Cedric Hardwicke, the celebrated British stage and screen star is splendid, making his American screen debut in the role of the kindly Bishop Bienvenu who starts the brutalised ex-convict on the road to a noble and prosperous life. Rochelle Hudson, as Jean Valjean’s ward, Cosette and John Beal, as her sweetheart, Marius, furnish the love interest which offers a counter-plot to Valjean’s desperate adventures in his life-long attempt to evade the relentless Javert. “Les Miserables” is magnificent entertainment, full of the colour and passion of the novel which millions have read and will enjoy the privilege of seeing so brilliantly transcribed to the screen.

The Lucky Irish Girl The first two years she was in Hollywood, Maureen O’Sullivan was known as the “lucky Irish girl.” But that appellation has worn off and now Hollywood thinks of her as a native. A few years ago, Frank Borzage the director, was in Ireland searching for a typical Irish colleen to play opposite John McCormack in his first talking picture. Maureen read the story in a Dublin paper and submitted a photograph of herself. At the time, she says, she entertained little hope of getting the job. Luck and fate stepped in when a boy friend invited her to a party. Borzage was there and asked her to make a screen test. After viewing the results of the test, the director knew she was the girl for whom he was looking and so Maureen came to Hollywood, little suspecting that a few years hence she would be playing one of the featured roles with England’s foremost actor, George Arliss, in the Darryl Zanuck production “Cardinal Richelieu” to be released by United Artists.

Harry Baur’s First English Role Anthony Asquith has started work on “Natacha” —originally titled “Moscow Nights,” his first assignment for London Films. The first sequences are being shot at Denham on an exterior location in the grounds of the new studios in course of erection. Harry Baur who plays the lead, gave one of the greatest dramatic performances of the year in the French version now running on the Continent under the

title "Les Nuits Muscovites” with Annabels. The story and dialogue have been entirely rewritten by Eric Siepmann. Harry Baur plays the part of Brioukow, an official in charge of the collection and distribution of grain to the Russian army at the front. Penelope Dudley Ward plays opposite him at Natacha, her first leading role since being signed by London Films on long term contract. Although she has only played in one other film—“ Escape Me Never”—with Elizabeth Bergner, the tests made by Anthony Asquith before she was given the lead in his picture, were remarkably good, and he decided immediately that she was ideal for this long and difficult part. “Natacha” will be released by United Artists.

one of the most novel of ail filmdom's detective yarns. Produced by Metro-Goldwyn-Mayer, it opens at the Regent Theatre on Wednesday next with Ricardo Cortez and Virginia Bruce heading an imposing cast. As in “Penthouse,” by the same author, “Shadow of Doubt” deals with the interesting people of both Broadway and Park Avenue and those more sinister characters who haunt the streets between. Instead of the usual suave and fearless amateur detective, this story deals with a picturesque, elderly woman, possessor of millions, a recluse in America’s biggest city who emerges from obscurity to solve a “perfect crime.” Pitted against the cunning of the city’s best detectives and the power of its police, this remarkable character creates comething entirely new to both the films and fiction. While the actual commission of the crime is not stressed and dramatic and comedy situations predominate, the story deals with the mysterious murder of a Broadway playboy. Under suspicion are the three women in his life—a screen star, a torch singer and a society girl. The sweetheart of the screen star also falls under the accusing finger. Constance Collier, eminent stage star of New York and London, the woman who first brought John and Lionel Barrymore together on the stage in “Peter Ibbetson,” launches her talking screen career in the role of the old woman with the many idiosyncrasies. Not in years has such a part been offered a newcomer to the films. Ricardo Cortez, performs a complete metamorphosis in “Shadow of Doubt.” and emerges in a heroic role as the ardent wooer of th screen star. His sweetheart, the screen star, is portrayed by Virginia Bruc". whose sensational performance in “The Mighty Barnum” is the talk of the film industry. Regis Toomey plays Ryan, the press agent, one of the key figures in the plot. Isabel Jewell, who scored in "Evelyn Prentice,” is seen as the Torch Singer. Others in the cast are Arthur Bvron, Betty Furness, Ivan Simpson, Bradley Page, Edward Brophv. Samuel S. Hinds. Richard Tucker, Bernard Siegel and Paul Hurst. a • a • Le Roy Prinz, dance director at Ihe Paramount Studios, has travelled around the world three times -n order to study dances ol all nations?