FILMS AND STARS

Waipawa Mail, Volume LXVI, Issue 69, 28 February 1938, Page 1

FILMS AND STARS

The first screening of Warner | Bros. ’ comedy, ‘ 1 The Perfect Specimen, ” at the Hollywood Theatre, in Bollywood, California, recently | brought uproarious applause from the | audience and warm praise from the 1 leading critics and. film correspondents. One critic remarked, “If it please the rest of the world half so well as it pleased those present on this occasion, it will take high place among the season’s comedies.” Errol Flynn, Joan Blondell, Edward Everett Horton, Dick Foran, Hugh Herbert, and numerous other favorites appear in the film, which is based on a novel by Samuel Hopkins Adams. “Mr Flynn’s portrayal of the perfect specimen of the title is a most unusual and convincing performance, ” said the “Motion Picture Herald.” Miriam Hopkins’ naturally curly hair had to be straightened with a special preparation evolved by Mel Berns, head of the BKO-Eadio makeup department, for the Greenwich Village sequences in “Wise Girl.” The scenes called for Miss Hopkins to transform herself from a well-bred society girl to a Bohemian resident of Greenwich Village who is hired ns

“atmosphere” in an Italian restaurant, A long, straight bob was part of the make-up devised, as Miss Hopkins did not want to wear a wig. Other features of the make-up which completely changed the blonde star’s personality were a heavily made-up mouth, exaggerated eye lashes, and narrow, heavy eyebrows. A bizarre costume, with many bracelets and an elongated cigarette holder, completed the transformation.

For the first time in films, a newspaper sot was put to practical use during the filming of the Selznick International Technicolor picture, “Nothing Sacred,” co-starring Carole Lombard and Fredric March. Scenes which showed the New York

“Morning' Star” offices, with its editorial force running full blast, were filled with real action. Actors who were sitting around the copy desk “rim” happened to he former newspapermen. Wellman put them to work laying out newspaper inserts which will be seen in the picture, and the desk men, including Baxter Newton, veteran of tile “Pittsburgh Dispatch,” “Minneapolis Journal,” and others, proved they hadn’t lost the headline touch. “Nothing Sacred” is relascd through United Artists.

Passers hv thought Hollywood had really gone Hollywood when Walter Wangov finished turning the ultramovie fan’s dream of what film plant looks like for “Stand-in,” his eomedv cinemaland. which stars Leslie Howard and Joan Blondell.* The plain 'iron gate was replaced with a twostorey, gingerhreadish affair with the words “Colossal Studios” done in six-foot-high gold and silver grillwork letters. While scenes were being filmed, only the costliest motor ears, driven by liveried chauffeurs with footmen beside them, purred in and out of the film plant. Regular studio traffic was diverted to another gate. “ Stand-in ’’ is released through United Artists.

One of the most popular characters in modern fiction is brought to the screen again in “The Return of the Scarlet Pimpernel,” a new London film. Twenty years ago Baroness Orczy was asked by a famous publishing house to supply a thrilling serial story in rather a hurry. Since its first publication the story has been a best-seller in almost feverv language. Thjee or four years ago Alexander Korda made a film of it, with Leslie Howard as the central ‘character. It was a. big success, in fact one of the biggest box-office successes ever made in this country. “The Return of the Scarlet Pimpernel” is the sequel, interesting not merely because of the subject but because it serves to introduce to the public a brilliant young British actor, Barry K. Barnes. Acclaimed by the critics as the most promising star discovery of recent years, Barnes is now under contract to London Films. Mr Korda, who has discovered and groomed more stars than any other British producer, is confident that Barnes' will develop into, a star of the highest magnitude. 1 ‘The Return of the Scarlet Pimpernel” also marks another upward step in the career of Sophie Stewart, one of Scotland’s most beautiful contributions to the

Cinesound is now pretty well under way with the filming of “ Lei George Do It,” starring George Wallace and Gwen Munro. But things did not go too well at the commencement of production owing to an accident which occurred when director’Ken. G. Hall was .filming a boat race sequence in Double Bay, Sydney. A speed boat was supposed to be pursuing a racing eight, and at the last moment the driver was supposed to steer clear. But something went wrong. The speed boat got out of control, and crashed into the racing eight, smashing right through her bow. All were thrown into the water, and several of the rowers suffered slight injuries. Speed boats rushed to the scene, which was nearly half a mile from the shore, and the oarsmen were quickly hauled on board, while the smashed eight was towed to land. Incidentally the cost of replacing the University practice eight, the Edric Scott, will be £l2O. An hour later Mr Hall attempted to film a certain scene with an eight which had been damaged before, and everything was all set to be filmed when the boat sank about 200 yards from the shore, and once more the crew had to be rescued. However, after that unfortunate day

things have gone quite smoothly with the production of “Let George Do It,” and Mr Hall anticipates that it will be finished to schedule. Playing the juvenile lead opposite Gwen | Munro in this attraction is Neil CarlI ton, an Australian who has made | several pictures in England. Carl- ' ton is very happy to be back in his native country and is very pleased to have Gwen Munro for his leading lady. Cecil B. De Mille has thought it time to give a sea-robber his due. From the strict moral standpoint, of course, the pirate is a reprehensible fellow. For all his glamor, sashes, plumes, and taste in fine silks and wines, he was no more than a gangster. At the other end of the scale were those who, given letters by their Governments, like Sir Francis Drake, Sir Walter Raleigh, John Paul Jones, and others, operated as privateers and kept within the law. Between, were gentlemen of the gory hue like Sir Henry Morgan and Jean ’La Fitte, who escaped the gallows only because they were clever. De Mille had once considered Morgan, then let the idea drop, and now is embarked on a film biography of La Fitte, who is still a great figure in the history of Louisiana. To that picture, Paramount has given the title of “The Buccaneer,” with Fredric March playing the exceptional character lead. La Fitte belongs in Louisiana’s gallery of immortals, because he manned the guns and helped General Andrew Jackson to win the Battle of New Orleans. Thereby he earned for himself a niche in the American Hall of Fame.

Much has been said and written in Hollywood about Harry Sherman’s long and sometimes despairing dream of producing Rex Beach’s “The Barrier” for Paramount. It is part of this seven-year-old legend that when, at long last, he got his chance, players and technicians shared the job with him as a mutual labor of love. This kind of publicity is highly suspect in a sometimes unsentimental industry. Blit the picture that Sherman and his fellow-toilers have turned out is fine enough to suggest that this was not publicity at all, but a plain recital of circumstances. In common with all Beach stories this one is unrestricted as to appeal. The picture is equally suitable for the largest and the smallest theatre in the greatest and smallest communities. Acting honors go to Leo Carrillo for a rousing performance of the French-Canadian trapper, to Jean Parker for a fine portrayal of the supposed half-breed heroine, to Robert. Barratt for a powerful delineation of her hunter foster-parent, and to Otto Kruger as a polished Klondyke gambler.