THE SCREEN : ITS PLAYS AND ITS STARS

Timaru Herald, Volume CXL, Issue 20284, 6 December 1935, Page 18

THE SCREEN : ITS PLAYS AND ITS STARS

Deceptive Appearances Screen appearances are deceptive. It would be hard to recognise in the weird and terrible being who is the “bride” in “The Bride of Frankenstein,” the quiet, rather intellectual young woman that Elsa Lanchestep really is. In private life she is the affectionate wife of Charles Laughton. And that, in spite of Henry VIII, and Mr Barrett, and the Javert of "Les Miserables,” is quite the opposite of being a Monster's Bride. In order to startle audiences in “The Bride of Frankenstein," Miss Lanchester was “built up” on stilts to a height of seven feet (she is really only sft 4iin); she was bandaged from head to foot by professional nurses, so tightly and completely that she had to be carried about the studio and fed through a tube. Finally, she was blown up in a truly terrifying explosion which shattered the whole set and, though deliberately carried out, lacked no element of Duality. She spent four days in bandages—sixteen hours continuously on one day—and she lost 71b in weight through the heat. The make-up took two and ahalf hours to put on.

However, Elsa Lanchester is rather proud of that make-up. It was conceived by James Whale, the director, and herself, with suggestions by Earnest Thesiger. As Miss Lanchester recently explained: “My idea of the Bride was that she should be terrible rather than revolting; and ‘ugly’ only in the style of Epstein’s elemental women, if you consider them ugly, which I don’t. I thought of her as a creature born from a thunderstorm, as a wild jungle animal in captivity. I tried to give her a suggestion of pride and dignity. In appearance, you might say, she is a child of Epstein’s Rima and Queen Nefertiti, of Ancient Egypt and the British Museum. In playing the Bride, I bore in mind also that she was a figment of the Imagination of Mary Shelley, with the object of establishing some consistency between the two characters. I don’t know whether I succeeded but it was, at all events, an amusing psychological speculation to consider the 'monster-ess' as a product of Mrs Shelley’s flower-like feminity—the bad dream of a Victorian lady.”

Comedeis Difficult to Produce Motion picture producers for long have realised that good comedy, with its laughs and froth, is more difficult to bring to the screen than serious drama. Cameramen, however, think just the opposite, and correctly so from their own viewpoint. "Comedies offer no opportunity to use our talents,” observed Leon Shamroy, camera expert who photographed Sylvia Sidney and Herbert Marshall in ‘Accent on Youth.’ We can’t take liberties with our cameras as we do on dramas or mystery romances. In these we have to use all our ingenuity: we must think up new angles and light arrangements to conform with the atmosphere of the picture. It is these new ideas and new treatment of lights and shadows that keep us working. A finished job with outstanding camera

work means another job later. But with comedies, we just sort of coast along. A simple, even-running, light and carefree mood must be held throughout the film, which means that sort of light must be used. Frankly, too many comedies would throw us out of work. They’re the most simple to light and photograph." Merle Oberon It is reported that Merle Oberon, who has risen to the front rank of actresses as a result of :r performance in “The Dark Angel”, is going to play in the film version of a successful Broadway play “Children’s Hour.” The play is said to be rather on the lines of the German film “Maedchen in Uniform.” Production on “Children’s Hour” will not start for a month or two. Meanwhile, following the success of “The Dark Angel,” several studios have applied to "borrow” Miss Oberon, but Samuel Goldwyn prefers to keep her for his own pictures. Mae West’s Leading Man “Henry Wilcoxon, fresh from his crusading triumphs at Acre and Jerusalem, has a sterner task ahead,” says the “British Film Weekly,” announcing that the star of “The Crusades” is going to be Mae West’s leading man in “Klondyke Lou.” Paramount is said to have been searching for some time for a suitable modern role for Wilcoxon, as a change from historical characters. This should be it; but his co-starring appearance with Mae West will not start just yet, because Wilcoxon has taken his 14C -foo' yacht Wanderlust and gone for a cruise in the Pacific. “Invitation to the Waltz” One of the most spectacular and ambitious films ever made in a British studio is “Invitation to the Waltz.” This film brings Lilian Harvey back to the screen in the type of part that made her famous. She appears as a little Cockney dancer in the ballet at Drury Lane Theatre. Eventually she rises to such heights that she even dabbles in international politics. The picture is set in the days of the Napoleonic Wars, and the role of Napoleon is taken by Esme Percy. Coleman’s Salary Ronald Colman is returning to United Artists after making "A Tale of Two Cities” for M-G-M. He has been with United Artists for a long time now, first under Samuel Goldwyn and then under Darryl F. Zanuck. As a reward for maintaining his allegiance. United Artists are going to pay Colman the biggest salary any male star is getting to-day: £30,000 a picture, and a share of the profits. Colman being the boxoffice draw that he is, that share is go- ‘ Vig to be worth a good deal to him.

"Broadway Condolin'” “Broadway Gondolier,” Warner Bros.’ sensational new musical comedy is heralded as one of the most humorous, as well as romantic productions of the year. It is based on a story by Sig Herzig, E. Y. Harburg and Hans Kraly. In the all star cast besides Dick Powell and Joan Blondell, are Adolphe Menjou, Louise Fazenda, William Gargan, George Barbier and Grant Mitchell. The story. concerns the romance of a New York taxicab driver, who aspires to be a singer, and the secretary of a big broadcasting concern, who falls in love with him and arranges an audition.

A series of mix-ups prevents his appearance, and his teacher, a former singer and impoverished Italian aristocrat, sings for him but his voice has gone sour and the taxi driver loses out. It is not until he gets to Venice that he makes good, first as a singing gondolier, and later in opera. He returns to New York and success in one of the most unusual climaxes imaginable. Dick Powell, in the role of the sing-

ing gondolier, renders several songs in the production. Joan Blondell, as the secretary of the radio magnate, sings a comedy song in the picture. Adolphe Menjou has the role of Dick’s teacher, and the actor said to be the best dressed man of the screen appears in the worst clothes he has ever worn. Louise Fazenda has a strong comedy role and Grant Mitchell is the radio manager. There are many novelty features in the picture. One is a complete broadcasting station in which Powell, Blondell and Menjou sing. The Four Mills Brothers also do their act and Ted Frio Rito and his famous orchestra play. “Richard the Lion Heart and Mae West would have been the best of friends if they could have but met. They have the same streak of pleasant vulgarity. Mae West is very honest, very sincere and very democratic—so was Richard,” says Henry Wilcoxon, the actor who played the role of Richard in “Tire Crusades”.

“The Raven” Bela Lugosi, who created the role of “Dracula” on stage and screen, and has since appeared in several similar stories, including “The Raven,” really likes playing “horror” parts. In fact, he actually prefers them to all others. That rather surprising admission was made by Lugosi himself in a recent interview in a London magazine. It is surprising because there are probably few people who enjoy deliberately frightening people; but Lugosi has some very good reasons for what he is doing. “There is a popular idea that portraying a fiendish monster of the Dracula type requires grotesque makeup but no acting ability. That is wrong,” he says. “A monster, to be convincing, must have a character and a brain. The screen monster produced by mere tricks of make-up and lighting will never thrill an audience. It will make them laugh. We are all more afraid of cunning than of brute force. Therefore the monster, to be convincing, must have cunning to trap his victims. Such a monster is able to thrill the audience. It can plot against the hero and heroine; it is a menace which must be combated by brains.

“Now, perhaps, you begin to see why I find the playing of fiends interesting. When I am given a new role in a horror film, I have a character to create just as much as if I were playing a straight part. I am not saying that I personally take seriously these vampires and monsters as such. I am saying one must take them seriously when portraying them. In playing Dracula, I have to work myself up into believing that he is real, to ascribe to myself the motives and emotions that such a being might feel if he could exist. For a time, I become Dracula—not merely an actor playing at being a vampire. A good actor can ‘make’ a horror part. He can build up the character until it convinces him and he is carried away by it, and the audience along with him.” There is another more commercial reason why Lugosi does not mind being “typed” in eerie thrillers. As he points out, there are only two types of actors who really matter at the boxoffice —heroes and villains. “Obviously I cannot play a romantic and heroic part—you will not find me competing with Robert Montgomery or Clark Gable!” he says. “Therefore, I have gone to the other extreme. Every year a number of films with fantastic or supernatural characters are made, and will, it seems, continue to be made. I have deliberately specialised in such characters, and I firmly believe that there will be suitable roles for me for a long time to come.” • • • • Tauber’s Next Film According to many English critics, Richard Tauber’s new film “Heart’s Desire” is an even greater success than “Blossom Time.” It gives the famous Austrian tenor plenty of opportunity for introducing a number of operatic arias as well as several of his own compositions. He has been surrounded by a cast of well-known players, among whom is Leonora Corbett as the London society girl who makes him famous. The filming of “Whom the Gods Love,” the story by Margaret Kennedy based on the life of Mozart, has been completed. Sir Thomas Beecham cooperated on the musical side of the film, the leading players of which are Victoria Hopper, Liane Haid, John Loder and Stephen Haggard. Dolly Haas, the little continental actress who was such a success in “Girls Will be Boys” has been selected for the leading role in “Star of the Circus.” The whole of the action of the story is said to take place during a rehearsal and single performance of the circus.

INTERESTING TOPICS ON FILM ARTISTS AND CINEMA ATTRACTIONS

“Death at Broadcast House” The most unusual and entertaining murder mystery story yet to come from a British studio is “Death at Broadcasting House.” Not for a long time has the screen given us such an interesting and baffling problem as that which confronts Inspector Gregory, of Scotland Yard, in this film.

The whole thing takes place at Broadcasting House and many remarkably intimate glimpses are gained of the workings of the great English broadcasting institution. A play written by Rodney Fleming is being broadcast, in which one of the characters is to be strangled. At the rehearsals Julian Caird, the producer, has the greatest difficulty with this character, played by a man named Sydney Parsons, whose representation of being strangled is a very weak one. However, on the night of the actual performance of the play, Parsons, who does his bit in a separate room from the others, does the strangling part magnificently. Caird is delighted as are the other actors, prominent among whom are the Drydens, Leopold and Joan.

They rush into the studio where Parsons was stationed to congratulate him, but their admiration turns to horror when they find Parsons lying on the floor dead. He had actually been strangled when they Imagined he had merely been playing his part! Not in the annals of crime did a more baffling crime confront the officials at the Yard. Half a dozen persons within the great 8.8. C. headquarters were suspect but strong circumstantial evidence seemed to point to Leopold Dryden, who was known to hate Parsons like poison. Inspector Gregory, assigned to the case, thinks otherwise, however, and in the end it is he who fixes the guilt on the right person in a sensational climax.

And all through, although a murder has been broadcast to the world and millions of listeners had heard it, the 8.8. C. routine had been kept going. We are let into many of the secrets of the great place for Val Gielgud, who wrote the book, is employed by the 8.8. C. on the play-writing staff. Several well-known English radio identities, including Eve Becke, wellknown crooner, Elisabeth Welch, dark singer, Gillie Potter, the humourist, Hannen Swaffer, Vernon Bartlett, the Farkington Quintette and Percival Mackney and his Band. The leading parts in the cast are played by lan Hunter, Henry Kendall, Austin Trevor, Mary Newland and Val Gielgud. “So Red the Rose” Hundreds of antiques from the Old South have been assembled for use in the Paramount picture, "So Red the Rose,” the film from-Stark Young’s novel of the South during the war between the States. These antiques include everything from kitchen utensils to field artillery. For the production, King Vidor, the director, recalled the 250 coloured extras who worked for him in the allnegro epic, “Hallelujah.” The negro sequence, in spite of Its importance, is incidental to a vaster sphere of drama centering on Margaret Sullavan, Walter Connolly, Randolph Scott and Janet Beecher, who epitomise ladies and gentlemen of the South, a proud aristocracy against which the darkies form a vivid contrast. Arrifiy equipment, including artillery, arms and harness, was secured from Fort MacArthur and from private firms in San Antonio and other cities in Texas. When “So Red the Rose” is completed , at a cost in excess of £250,000, Paramount will he in a position to equip completely any film laid in the middle of the nineteenth century.

“Natacha” There have been dozens of spy stories on the screen in the last 10 years, but nearly all of them have been made on exactly the same lines. Almost invariably the spy has been.a seductive enchantress who has twisted the hero round her little finger and made him betray his country. Sometimes she has gained sympathy by falling in love with her victim and sacrificing herself so that he may escape dishonour. But that has made little difference to the central idea. It has remained for Anthony Asquith, a director of London Films, to do for the spy story what Warner Bros, did for the gangster film In “G-men.” He has done it in “Natacha” and In this British version of the French film “Les Nults Muscovites” will be found a woman spy who “doesn’t look as suspicious as an armament manufacturer at a peace conference.” In this spy drama set in Russia during the Great War, the feminine spy will not be the traditional vamp—she will be a comic figure. The role in the French version of the story has been reconstructed so that she will appear a perfectly ordinary and respectable member of society, though rather silly and laughable. On the surface, she is one of those fussy, ridiculous creatures who are always trying to be what they call "helpful.” When she first approaches the hero, her apparent motive is no more than a kindly maternal solicitude. Her true role is only disclosed later. This changing of type is certainly a good idea, but the master stroke of the man who conceived it really lies in his choice of actress for the role of the spy. The part is being played by Athene Seyler, and remembering her brilliant character acting in “Blossom Time” and “Drake of England” she should make an outstanding success of it.

“The Dubarry” As a play, “The Dubarry” has broken records in almost every city in the world. Grace Moore appeared in the New York version and, in fact, it was this role that made her famous. In London the play had a record run; in Australia, New Zealand and on the Continent it made theatrical history. Now it has been brought to the screen by 8.1. P. under the title of “I Give My Heart.” Two years were spent by 8.1. P. executives seeking an actress sufficiently gifted to play the title role. Finally, Gitta Alpar was chosen; and it is not surprising that she is well suited to the part, because originally the play was specially written for this beautiful Hungarian soprano. Owen Nares has been cast in an entirely new type of part for him, that of King Louis, while Arthur Margetson is seen as the penniless Count Dubarry. Gibb McLaughlin is a crafty, plotting courtier, and Hugh Miller is his accomplice. Patrick Waddington appears as the Dubarry’s impoverished lover and Margaret Bannerman is one of the ladies of the court. Although “The Dubarry” has been retitled “I Give My Heart” for screen purposes, it still retains the most popular musical numbers of the stage play.

It Is reported that Paramount has bought Franz Lehar’s operetta “The Count of Luxembourg” and will star Jan Kiepura In the screen version of it.

Charles Bickford has been signed by Paramount for a featured part with John Boles and Gladys SwarthouWin “Rose of the Rancho,” the colourrul musical romantic dramr. in which the Metropolitan opera star will make her screen debut.

“The Big Broadcast” Except for a bent floor and the sagging of a few concrete pillars, hardly any havoc was created by the 24 elephants that performed in the elephant number of “The Big Broadcast of 1936.” They rang some bells, danced about and performed with marked intelligence as Ethel Merman sang “The Animal in Me.” It was very whimsical, to everybody except the director, Norman Taurog, who was worried about the floor. The only animal he had ever directed before was a large and vicious rainbow trout in an earlier sequence. It had to push its head out of a lake and register applause as Bing Crosby sang a ballad. The rtout, which he directed himself, weighed four pounds. The elephants he relinquished to Le Roy Prinz. “It’s just got to be a good number,” he warned Prinz. “If you fall down on the job, I’m sorry for you. Remember that elephants never forget.”

Satire on Film World If the negotiations for picture rights succeed, Mae West may play the lead in “Personal Appearance,” a film version of the Broadway play. At present £20,000 is being asked, which is considered high. The play is described as a satire on the film world and particularly on its female stars. It should be an excellent part for Mae West. So far, the film companies have been fighting rather shy of the play because It was thought that it struck too near home. Hollywood is rather strange when it comes to laughing at itself. When Howard Hughes suggested filming the Hollywood novel “Peculiar People,” the opposition was such that the project was dropped. Yet such films as “What Price Hollywood” and “Once in a Lifetime” were made, and the film people laughed at them as much as the rest of the world did.

Paramount Studios Busy Fifteen motion pictures, representan aggregate investment in excess of £2,000,000, are in current production or final story stage at Paramount, showing the studio to be one quarter advanced on its £8,000,000 1936 Silver Jubilee schedule.

These productions are: “The Big Broadcast of 1936”, “Peter Ibbetson,” with Gary Cooper and Ann Harding; “Annapolis Farewell,” with Sir Guy Standing; “The Last Outpost," with Cary Grant and Claude Rains; the Bing Crosby picture, “Two for Tonight”; “Here Comes Cookie,” featuring George Burns and Gracie Allen; “Without Regret,” with Elissa Landi; “So Red the Rose,” starring Margaret Sullavan; the Zane Grey picture, “Wanderer of the Wasteland”; the Gladys Swarthout picture, “Rose of the Rancho”; “The Virginian Judge,” with Walter C. Kelly; “Hopalong Cassidy,” with William Boyd, Jimmy Ellison and Paula Stone; the Harold Lloyd picture, “The Milky Way,” and Carole Lombard's new assignment, “Hands Across the Table.”

Seldom before, according to production observers, has the new season feature programme of any major studio been so far advanced.

Charles Boyer, who is co-starred with Loretta Young in “Shanghai,” is said to hold the world’s record for rapidity in learning a play. He was assigned the leading role in a new play, “Life is Beautiful,” at 9 a.m.' and played the part, without rehearsal, at 2 p.m. the same day. For a long time, Joan Bennett, who appears with Bing Crosby in “Two for To-night,” was considered “too beautiful” to attempt any dramatic roles.

Katherine De Mille attends from one to four movie shows a day when she Is not working, claiming that through observation of the work of others she learns more than any dramatic school can offer.

Enter “Mr Dynamite” Since the time when Cain killed Abel history has been full of murder mysteries. The real truth about the Cain and Abel affair was never actually known. To this, day no one knows how or why the murder was committed.

Among contemporary murder mystery authors there is none more prolific than Dashiell Hammett, whose “Thin Man” scored such instantaneous success as a novel and on the screen. Now comes Universal with a brand new Hammett mystery, “Mr Dynamite,” with Edmund Lowe in the starring title role.

The plot of “Mr Dynamite” is so intricately woven and with such clever skill, it will baffle some of the keenest minds. No less than three murders are committed within a fortnight in the city of San Francisco, right under the noses of some of the most famous sleuths in the world. The police are at their wits’ end and admit they can find no solution. Then someone sends

“The Keeper of the Bees” In her own unpretentious way, Gene Stratton-Porter gave to the world several charming romances which, while perhaps not classics in the literary sense, will certainly not be forgotten now that she is dead. Her simple genius for pleasing the average reader who makes no claims to being a highbrow possibly reached its fullest flowering in her last book “The Keeper of the Bees.” This has now been made into a film which is said to retain to the full the delightful “human interest” spirit of the original, and to bring to life some of the most popular characters in contemporary fiction. Here is a romance about ordinary, understandable people living a refreshingly unsophisticated life and indulging in no theatrical heroics. It is the very simplicity of the story and its setting that gives the tale its universal appeal, yet there is plenty in the development of the plot to pique the interest. Gene Stratton-Porter went to nature for the inspiration of most of her stories, and tlfis one is rich in the lore of honey bees, with a magnificent background of flowers, sunshine and ocean scenery. “The Keeper of the Bees” is the tale of a man who thought he had only six months to live, and of how romance and hope came to him in strange fashion. The film appeals fearlessly to all the emotions, mixing pathos with humour and drama, yet it never makes the mistake of “tearing a pasison to tatters.” Neil Hamilton acts naturally and sincerely as Jamie, the wounded returned soldier who finds the will to go on living in the peaceful domain of the Bee Master (Hobart Bosworth). Edith Fellowes is an engaging Little Scout, Emma Dunn reveals strength of character, is refreshingly feminine and lightly strikes the tragic note as Margaret, and Betty Furness is most attractic as blueeyed Molly. Christy Cabanne. who directed “The Girl of the Limb'l’osi.” another Gene Stratton-Porter story, has made an even greater success of “The Keeper of the Bees.” Radio Draws on Screen for Talent Film producers have lured many celebrities from the radio world, and now air officials are launching a counter-attack with an offer in the form of a five-year singing contract to three motion picture actresses, providing they give up all screen work. Alice Faye, Frances Langford and Pafsy Kelly, principals appearing opposite George Raft in “Every Night at Eight,” received the radio proposal from Raymond Paige, Western Musical Director of the Columbia Broadcasting Company. Paige became enthusiastic abcut the singing of the three girls after witnessing a preview of “Every Night at Eight,” in which they appear as a sister singing trio. Miss Langford and Miss Faye, both protegees of Rudy Vallee, were well-known on the air before entering films. Miss Langford has been singing on the Hollywood Hotel Hour radio programme in addition to her picture work. Miss Kelly is the surprise member of the group as she is known to film fans nly as a comedian and not as a singer.

for “Mr Dynamite,” an extremely cunning detective, and he begins to unravel the mystery in such a way as will prove astonishing to the audience. Besides Lowe there is an excellent cast in the picture, including Jean Dixon, Esther Raison, Victor Varconi and many others. Gentle Sarcasm “That’s Gratitude,” pokes gentle fun at middle-class American family life, particularly when that life becomes complicated by the presence of a guest or relative who has worn out his welcome. It digs into the entirely wellmeant but misdirected efforts of fond parents to arrange matrimonial matches for their daughters. It displays the near-tragic consequences of such situations and actions in a highly humorous manner, in good clean fun, in a frequently woeful and ridiculous spirit of slyly ribbing ourselves for lack of gratitude. The gentle sarcasm of “That’s Gratitude” is enacted and unfolded with great finesse, subtle sarcasm and superb acting by such veteran troupers as Mr Craven himself.

although she won fame on Broadway as a musical-comedy favourite. “Every Night at Eight” Is a gay romantic comedy with music depicting the rise of three girls as workers in a mint julep factory to world-wide renown as radio stars. An amateur radio hour, the first time to appear in a feature picture, is one of comedy highlights of the film. Walter Gatlett and the Radio Rogues are in the supporting cast, and Raoul Walsh directed.

“Hopalong Cassidy” During the last two years there has been a considerable lull in the making of Westerns by the major studios in America. Paramount, however, has made a bid for the return of these popular outdoor pictures by purchasing the cream of the works by Clarence E. Mulford and Zane Grey. This company has acquired the screen rights to six of Mulford’s and 22 of Zane Grey’s works. The first to reach the screen will be Clarence E. Mulford’s ever-popular, “Hopalong Cassidy,” which will introduce a new personality, William Boyd, in the leading role. This picture has been designed to give plenty of outdoor action and will also feature a new song, “Following the Stars.” • • • • A Gracie Fields Comedy It is announced that Gracie Fields, who was to have made “Up With the Lark,” a broadly farcical film with a rural setting, will instead make the experiment of appearing in a less broad subject. A new story is being written for her. It will be called “Queen of Hearts,” and Gracie’s part will be more on the lines of straight comedy than usual. There will be less burlesque humour. Monty Banks will direct, and although plans are not yet definite, it Is probable that John Loder will be the leading man. “Death Flies East” In “Death Flies East,” a mystery melodrama ol murder on a speeding giant air liner. Conrad Nagel and Florence Rice are featured in the principal roles, with Raymond W alburn and Irene Franklyn in support. The story, by Philip Wylie, concerns the passengers aboard an eastbound plane, one of whom meets a violent death, another being seriously, but not fatally poisoned. Romance is also present, for Conrad Nagel, as a young professor en route to Washington with secret documents, meets and falls in love with the lovely Miss Rice, a fugitive from the parole authorities. The mystery plane is forced to land with its tragic cargo, but Nagel, by an ingeniuos ruse, succeeds in trapping the real culprit before the police authorises take charge.