SCREEN & STARS

Star (Christchurch), Volume LXVI, Issue 20614, 15 May 1935, Page 13

SCREEN & STARS

r of the famous pals of Holly- J wood have been separated. Hobart 1 Bosworth and Cameo have said a long | good-bye (writes Mollie Merrick).! Cameo, the famous white horse which I the actor rode every day for seventeen j years along the Beveriy Hills bridlepaths, has gone to the last great graz-j mg fields. Bosworth bought Cameo| when the horse was a gay young thing 1 of three years. The friendship be- I tween the man and the horse was an j J amazing thing. In the old days of I j Hollywood, when Beverly Hills was just a stretch of green fields and roll- ! I ing hills, Bosworth used to gallop 1 j madly along on Cameo, practising all j kinds of wild riding stunts. As Bevi erly Hills grew up and the long, windi ing roads became lined with vast estates, a little section of land in the , centre of the highway was left for a | bridle-path. This suited Cameo, who ; was getting more sedate with the passing years, and it suited his master, whose hair had turned silver-white and who now preferred a gentle canter.— I\.A.N.A. Cop> right.

TJX DE R the title of “Star Night At The Cocoanut Grove.” Metro-Goldwyn-Meyer are assembling the greatest cast yet seen in a two-reeler. This, the latest addition to the season’s musical revues, will be photographed in technicolour. Mae West and Bing Crosby will be associated with Mary Pickford, Gary Cooper, Jack Oakie, Lanny Ross. El Brendel, Carl Brisson, Sir Guy Standing and Tom Brown. JTJTIIEL MERMAN will again have the feminine lead opposite Eddie Cantor when “ Dreamland ” is launch- j under the auspices of Samuel Gold- \ wyn. Ethel is now appearing in the ! successful musical comedy. "Anything j , Goes.” on the Xew York stage and I will report to the studio when the run of that show is completed. She and ! Cantor have the leads in ” Kid Mil- , lions.” *;

J HAVE often wondered at the interest tradespeople in Hollywood take in motion pictures, especially the box-office receipts (writes Mollie Merrick from Hollywood). “Is it going to be a financial success?” they invariably ask. or “ Did the critics like so-and-so's performance?” No mere curiosity this, it seems. Grocers, but- , 1 chers, apartment house landlords, all watch production schedules very closej Ty. Among their customers and ten- ! ajits are thousands of smaller actors and “ extra ” talent and studio technicians of all types wfio only work on ! a part-time schedule when activity is I heavy. The larger accounts are wateh- ' ed on the basis of a personal success or on the basis of a producer’s success, which pretty well ensures another role for the people who have participated in it. The furrier knows that a beauty is good for the mink coat she orders with an autocratic tone, if her last preview has received the praise of the critics. When a production like Cecil B. De Mille’s “ The Crusades ” is announced. credit allowances, as far as three months in advance, are given at various markets to hundreds who will work in the picture. In this event the economic status of the “ extra ” is bettered tremendously. Ten thousand people will receive pay envelopes during the making of this epic—so that is why the grocar, of a morning, is poring over the tcade journals.—X.A.N.A Copyright.

COWARD has finished work on his first film part in “ Miracle on 49th Street.” the latest HechtMacArthur production, and is now on a holiday trip to China. Coward is said to be considering making a film in England. He has fallen in love with motion-picture technique, and. at the same time, has become a little disgruntled with the stage. His latest play. “ Point Yalaine.” had to be withdrawn from Broadway after a com ! parativelv short run* Coward says that lie still believes the plav is good —possibly the best—and he 'is willing to prove his assertion by producing it as a picture.