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Looking 'em Over
WITH
GAIL GARDNER
Five Star Motion Picture Editor
IF YOU like your romance sweetly scented and
you do, you rascals then accompany your tall,
dark and handsome or your blond heart's desire,
which ever the case may be, and hie forth to a
darkened neighborhood theater. There nestle in a
secluded spot, or as near socluded as is possible
with hundreds of others sitting nearby, and watch
the light opera, "Rose Marie" unfold.
Ah, the magic spell, the full beauty of that song
of songs, "The Indian Love Call." As sung by
Jeanette MacDonald and Nelson Eddy it will
bring back to you, as you sit
there, all the old memories of lost
loves, loves you wish to forget
but hope, by gosh, you'll live to
remember. And when the tender,
passionate notes of "Rose Mario,
I Love You" comes swelling out
over the darkened expanse, so
compelling is its appeal, that the
poor, little wizened prune who is
holding your hand or that dirzy,
scatter-brain blond who is lean
ing on your shoulder (Oh, excuse
me, the other guy's shoulder), Jantu
will take on the proportions of a MoDonid
Northwest Mountie or the glamour of a Joan
Crawford. What I mean is it gets you.
Filmed almost 'entirely out-of-doors in the
mountain lake country of the Sierra Nevadas, the
production is a pictorial sensation.
Glimmering lakes, towering peaks, dangerous
' passes all the beauty of nature serves as a back
ground for this romantic saga of the great north
west. It is in this setting that the Totem Pole
dance, the spectacular sequence of the whole pic
ture, is staged. One thousand dancers, lavishly
costumed, dance to music thrillingly beautiful.
Miss MacDonald, of course, is "Rose Marie," the
Canadian grand opera singer who travels incognito
into the backwoods region in search of hor brother,
a fugitive from justice.
Also searching for the brother is Sergeant Bruce
(Nelson Eddy) of the Royal Mounted. They meet,
fall in love, until she realizes the mission of the
other. The crashing climax and the poignant end
ing will bo remembered long aftei' well until you
get home anyway.
THAT madcap Broadway musical hit, "Anything
Goes," which wowed New Yorkers out of their
seals, is now to be seen on the Paramount screen.
Hero wo find Btng Crosby
clowning and crooning with that
unusual rhythm girl, Ethol Mer
man, who sang In the original
Now York production. The big
song hit, "You're the Top," has
boon revised and new lyrics sup
plied by Cole Porter, the author,
himself. The new versions arc
k Titsy jusi as nonsensical ana juhi as
5; "hot" as tho originals. Other fa
miliar hits featured by the pair
are "I Get a Kick Out of You,"
"There'll Always Be a Lady Fair"
and "Anything Goes."
Ida Lupino has been entrusted with the feminine
heart load oKnito tho crooner; Charles Uuggles
is seen as the nut gangster who believes himself
to bo Public Enemy No. 13; Graco Bradley makes
a pretty gun moll; Robert MeWade is Ming's
broker-boss, and Arthur Treacher portrays a vacuum-brained
Britisher.
A light, whimsical note bus been maintained
throughout the picture, which largely concerns
itself with the efforts of Hing and Rugglcs to avoid
arrest on an ocean-going liner. They romp through
a series of hilarious escapades before the ship
docks in Liverpool. Everything is ironed out nnd
Bing wins the hand of his lady fair. First-rate
entertainment.
PAGE FOUR
Bing Crotby
Hollywood produced are gambling thousand on the screen career of these oharmlng young ladles, tops in the
new crop of players whloh some day may get star billing. Left to right: Cecilia Parker, of Metro-Goldwyn-Mayer;
Anne Shirley, a promising 17-year-old, who took the spotlight In "Anne of Green Gables"; Eleanor Whitney," Para
mount's danoing starlet) Ida Lupino, from the same studio, and Olivia de Havllland, whose work in "Midsummer
Night's Dream" won her two leads In a row. -
Boom Year For Young Screen Hopefuls;
Studios Plunging to Boost New "Finds"
Film Executives Say There Is No Commodity So "Perishable" as Careers of Juveniles, But
Risk Must Be Taken 1 936 Will Be "Kids' Year"
By Donna Risher
Donna Risher
WITH the passing of the Wampas "Baby Stars"
that organization of studio publicity men
who made a specialty the last ten years of boost
ing young screen hopefuls into
stardom this year of all others
is known as the kids' year in Hol
lywood. Without the aid of this special
press agents' association, which
died for lack of interest among
its members, there are more
promising young players in the
cinema capital today than ever
before, and the studios are put
ting out more money to build
them up, to groom them for star
dom, than at any time in the his
tory of films.
Gambles are taken on these children of school
age, to be sure, and many times good money is
wasted. Any studio executive can tell you that
there Is no commodity on the market today as
"perishablo" or as uncertain of success as a sweet
young thing between the ages of 16 and 21.
Anything can happen, they point out and often
does to wreck careers of the young and imma
ture. And since these producers must run the risk
of investing their money in these juveniles, they
are forever hopeful that the money spent will come
home to roost in the box office.
OLIVIA DE HAVILLAND stands out from the
Warner- Brothers group. After her work in
"Midsummer Night's Dream" Bhe received instant
recognition, and was placed in the lead in "Captain
Blood" and "Anthony Adverse."
This same studio also asks you to keep an eye
on James Melton, a very good singer who came
to the films by radio. James is a handsome young
ster, and will next be heard from in "The Desert
Song."
Motro Is tolling the world through its press de
partment about Cecilia Parker, whose work in
"Ah, Wildorness" has strengthened the studio's be
lief that Miss Parker Is worthy of their trust. Jean
Chatburn, Allan Jones and Bill Henry are three
others the studio is willing to spend money on
while they grow into stardom if they do.
At Radio they are betting heavily on Margaret
Callahan and Harriet Hilliard. The latter started
her career with the third biggest part in "Follow
Bette Davis is about the only actress in Holly
wood who will play a part that remains unsympa
thetic to the end. The blond star takes the risk in
her latest, "Dangerous," and just as she did in
"Of Human Bondage" she again delivers a per
formance that lingers In the memory.
In this, her latest vehicle, Betto assumes the role
of Joyce Heath, an actress who has fallen from the
top to Broadway's gutter level. A jinx was on her.
Broadway said. Everything she did came to mis
fortune. Finally, the hero, an architect, determines
to reform her he did.
Kranchot Tone gives a clean-cut ortrayal as the
reformer. Margaret Lindsay and Alison Skipworth
hold up their end of the support, while Miss Davis
herself is human and believable.
"Dangerous" makes concessions to the censors.
the Fleet," and her work in that picture indicates
that she, too, has justified the faith placed in her.
Jane Wyatt, piquant little star from the New
York stage, who played opposite Preston Foster
in "We're Only Human," is another bet of RKO.
While Jane loves the stage, it is likely she will
eventually land safely and satisfactorily in the
movies.
In the case of 17-year-old Anne Shirley, it was
a director who gave her her chance because he
had seen her work in the cutting room when he
was a film editor, and he never forgot her.
When he was assigned to direct "Anne of Green
Gables," he sent for her, tested her for the role
and cast her in the part. Her success and rise
strengthened Nicoll's faith in her. Her current
picture, "Chatterbox," has added further to her
laurels. '
DARRYL ZANUCK over at Twentieth Century
Fox expects great things from three hopefuls.
They are June Lange, the little studio stock girl
who has so far copped three leading roles in as
many pictures; Michael Whalen, a young Irish lad,
found in a Hollywood theater, and dancing Dixie.
Dunbar, who in "King of Burlesque" has already
demonstrated she has the stuff that it takes.
Paramount is pinning its hope on clever Elea
nore Whitney, the sensational dancer who has been
groomed by Bill Robinson to go through her tap
routines.
Eleanore hails from Cleveland, Ohio, and got
her first chance in "Millions in the Air." From that
picture she went into a straight dramatic lead in
"Timothy's Quest," and is now working hard in
"Three Cheers for Love."
Johnny Downs, a fine-looking lad, and Robert
Cummings, who played the Southern youngster
in "So Red the Rose," are being watched by the
same studio. Both have ambition and personality.
Ida Lupino, youthful blond who acquitted her
self well in "Paris in Spring," went from that pic
ture to "Anything Goes" with Bing Crosby. Ida, it
seems, is definitely going somewhere in pictures.
And now that they are all on their marks and
have gotten set, the Idea is to watch 'em go.-
iff IV !SfeaJ
Ah seATK . -WW
A cameraman's dream is a pretty girl with a horse.
Here's the dream readied Josephine Hutchinson and
Whitey.
From the Studios and Social Centers ,
of Hollywood
by Jane
Diane Cook
THE daughter of an Alaskan gold miner, Diane
Cook was born in Valdez, the farthest north
ern white settlement, and Is very much surprised
to find herself in Hollywood
where the red poinsettias twine
around the door. Diane was 12
-years old, she says, before she
knew the natural color of the
earth, getting the impression that
the whole world was snow white
. . . well . . . don't let Hollywood
fool you, Diane.
And because we are in a com
municative mood we are going to
spill the beans about that ice
skating sequence you will see in
"Wife vs. Secretarv." wJipto .Tnn
Harlow and Clark Gable do some fancy skating.
Believe it or not, the pair is not skating on the
well-known thin Ice, but "hot" ice. Yes siree!
The rink in the picture is made of "hypo," the
same chemical solution used in the developing of
photographs. It is called hot ice, and after it is
liquefied in huge cauldrons, boiled and melted, it
is poured on the surface of the floor. Then it is
left standing over night to crystallize and harden.
It gives the appearance and strength of real ice.
Since it is not affected by heat or cold,-it makes
an ideal rink under the studio's blistering lights.
Ever since Hollywood awoke to the fact that the
dance team, Fred Astaire and Ginger Rogers, was
a money-making surprise, other producers have
been praying for a similar dance combination.
Now, M-G-M thinks it has the ideal couple
Joan urawford and Clifton Webb.
Joan can wear the clothes, look
glamorous, and execute the rou
tines successfully, and Webb, a
Broadway sophisticate, is a
dancer of the first rating. They
win strut their stuff in "Ele
gance," and if they click, other
producers will start praying all
over again.
Secrets are secrets In the Gay
nor household.
Some weeks ago Janet confided
to her hllflinpRR manaoror etiA
wanted to give her mother an automobile as a
present. A few days later, Janet's mother confided
to the same business manager that she wanted to
give her daughter a car as a present. The business
manager got busy and the cars arrived the same
day. Each was duly and happily surprised. Now
Janet says, gift giving In the Gaynor manse is
more or less a family joke . . . maybe so . . . but
boy WHAT a joke.
Victor Fleming, director, Is searching for the ten
most beautiful Chinese girls on the Pacific coast
They are needed for a tea house sequence in
"The Good Earth," starring Paul Muni. All must
have beautiful voices, dancing grace, and the abil
ity to wear elaborate costumes.
Jean Harlow has a dog that insists upon be
coming a movie actor. He is a seven weeks old
Dachshund pup presented to Jean by Walter Wan
ger. Because lu made such a fuss on the set,
Director Clarence Brown permitted Nosey that's
his name to stand by Jean during rehearsal.
But wlu-n the actual filming began Nosey was
locked in Jean's dressing room.
Jim Thorp, former noted Indian athlete is lead
ing an authentic reproduction of an old-time In
dian attack on a ninnwr u-otrn -;., ;.. .u-
.... . ... , e"" I""" in ino new,
heeler- oolsey film. "The Wild West."
m if
Clifton Webb
T