Indianapolis Times, Indianapolis, Marion County, 14 August 1936 — Page 15

Loew's Books| Latest Film of Actress

‘Trapped by Television’ Due “for Showing Here Week of Aug. 21.

BY JOHN W. THOMPSON

There has been no end of comment as to what Mary Astor's trial would have to do with her future film reputation.

Well, as far as Loew’s is concerned the trial should stir up interest in the lovely little red- . head, so they've booked her latest film, “Trapped By Television” for a week starting Aug. 21. : In the cast with Miss Astor will ~ be Lyle Talbot, Nat Pendleton, Joyce Compton and Henry Molligon. Strangely enough, the film, coming at a time when Mapy’s friends are standing by her, features Miss ~ Astor as a heroine who pawns her fur coat to aid her friends. The story has to do with Fred Dennis an ambitious scientist, who wants to perfect his television invention. He meets a rough-and-tumble bill collector, who joins up with him. Then they both try to collect a bill from Miss Astor.

Invention, Love Rewarded ¥

She gets the money from a friend of hers in the broadcasting business. Thugs and rivals complete the picture by tearing up the equipment several times just as experimental broadcasts are to be made. As usual, the hero is winner in the ‘end, with complete vindication by the company which proposed to buy his ‘equipment and solace in the heroine's arms. Miss Astor, one of the veterans of screendom; was born Lucille Langhanke in Quincy, Ill. At an early age she decided on a stage and screen career. Winning a local beauty contest brought her a film contract. Her first picture was with Richard Barthelmess in “The Bright Shawl.” Others she has made which stand out in memory are “The World Changes,” “Dinky,” “Page Miss Glory,” “And So They Were Married.”

WARRIOR'S KIN IN MOVIES

Little Coyote and Medicine Bird, nephews of the Cheyenne war chief, Roman Nose, who was killed leading the red men against a cavalry troop at Beecher’s Island in ‘1868, are working in a screen re-enact-ment of the same battle in “The Plainsman,” starring Gary Cooper and Jean Arthur,

POETRY AND PLOWS

BY ANNETTE TAYLOR Daily Short Story

OMMY,” said Effie Dains to : her cat, “you're a great com- " fort. You listen when I talk, but I

know you can’t go behind my back |

and tell what you heard.” Tommy's purr ,showed he approved of this flattery. “I took care of Ma for 15 years,” ~ Iffie continued, patting biscuit dough with expert fingers, “and now T'm on the uncomfortable side of 40. Tommy, it don’t seem right, somehow, to be livin’ alone. I've turned the question over in my mind, and I think I'd like to—to get® married. “You'll like Ellwood Fairfeather,” she continued. “He’s a refined man —and learned. He can quote off poetry as easy as—as May Stern down to the hotel can say off the list of pies. He's been hintin’, almost ever since he settled here a month ago, that he'd like to keep company with me. I've turned it over in my mind, and the thing that “weighs the scales: down in his favor is—culture. He don’t ‘talk crops all the time, Mke John Stevens.” Tommy stretched a tentative paw toward a red ball on the floor. “Yes, I know John brought you that ball. And I know John is as good as gold, but he's dull. Why, that man thinks of nothin’ but rotatin’ crops — except when he’s thinkin’ about food! Now, I pride myself on bein’ a good cook, but lank sakes,” theres more to livin’ than just eatin’! “John's been askin’ me to marry him since long ‘fore ma died—and I admit, Tommy, that I like him a powerful lot. There's been times when he was—well, just so plumb nice that I've felt ‘my better reasonin’ slippin’. . “But my mind's made up at last. I'm askin’ Ellwood Fairfeather to . supper tonight. After all the hintin’ around he's done, the times I've seen him to church, I know he'll be glad I'm willin’ he should begin gourtin’.” Effie glanced through the window ward the farmhouse next door. There goes John now,” she said edly. “If I asked, he'd be

willin’ to stop at the depot and bring |’

back the berries I ordered special from the city. Extravagant as all

the occasion warrants

Times NEW YORK, Aug. 14 Diana Gaylen is a sturdy lass, a sunkist gal’

‘whose hoofage is a natural for . Not in one curving inch does

shorts.

she show the five long years she’s been

through 1h Hollywood as a singing. dun for Garbo, Sais O'Neill, Claire

Windsor, Laura La Plante and the songs the script called for motions, but the singing voice a double orange juice. No nerv

“It wasn’t so bad,” said Diana, Studios in Broadway, to make a few platters

Norma

Diana’d teach ’em

cut loose from the ‘phantom nightingale’ stuff and am out on my own

now.” (She's out at Jones Beach”

Just tells 'em where to go.

Mitzi in “Blossom Time.”

singing “Garbo,” she went on, “was the easiest of all to dub for because she’s smart and won't stand for being mugged as a singer. she can’t sing and she knows the public knows she

She knows can’t sing, so she

“I dubbed for her in ‘Romance,’ but she was not on the screen as I

sang her aria from Gounod’s

“Romeo and Juliet.

Neither was I, for

that matter. Most of the »iuff I did was recorded on platters and then

turned loose to fit the action.

“That's where my job came in—fitting the song, in vowel sounds, lip and hand movement, to the action. They are all swell actresses, but they never know what to do with their hands. And they heave. My,

how they heave.

“I remember one star—and wouldn't I be a sucker if I told you who itywas?—went on the set to do the song her role called for, whooshing her arms all over the joint. The director was furious. ‘What do you

think you are,’ he said, ‘a palm tree?’

He was really so mad he sent

everybody home and we all lost a day’s pay. “The first thing I did when 1 had a song to do for them was fo sing it over and teach it to them until théy learned it by heart. Most of the stars have no voice range, 0 1 usually had to transpose it about

five tones lower.

“Then I'd teach ’em what to do with their hands and then I'd make ‘em stand facing me and we'd sing the song together so that they could get the proper lip movements so that it would fit when they went on the set and my record was played into the mike.” ; This Diana found particularly tough because when they'd come to a word like “love” they'd open up like Joe E. Brown. Or else they'd choke it off sudden like and it would sound like “nuts.” Diana had an awful time correcting them on musical diction and breathing. She says she got the most fun dubbing in the Silly Symphonies.

“These are cleverly done and are most interesting. I speak. French, Italian and German, besides English, so I’ dubbed all their foreign stuff, too. The director gives you the score of the song, you learn it ahd then they photograph you. “These stils are then handed over to the artist-cartoonist, who draws the lips of his figures to resemble my own as I sang the song. It is remarkable how closely the diction of the performer fits the cartoon.” As it happens, dubbing in Hollywood was just an incident in Diana’s career. A Butte (Mont. girl, she took er promising soprano to a teacher for development, and then had it polished off in Italy where she sang at Milan. Coming back to the states she got a break in California (her folks had moved out there), when Ann Roselle, prima donna for Fortune Gallo, became ill and Galo signed her (Diana) for his Canadian tour There she did the lighter operas— “Boheme,” “Butterfly,” “Hansel and Gretel.” He thought she was O. K. Now she’s singing in his Jones Beach company. The Hollywood racket was all right, but she’d rather be heard AND seen.

“John!

”

it.”- She raisdg -her voice; Ch, John—wait a minute . , .

” ” ” ENEATH the table, Effie slid the slipper off her right foot. Her child-like blue eyes, as they rested on the man at the other end of the flower-decked, candlelit table, held a ‘worried. 100k. Something was wrong with this supper party. It wasn't the food. She was positive of that. It couldn't be her guest—pale, bespectacled and scholarly. It must be herself. This queer discontent had settled on her by degrees as she watched the, carefully prepared courses slide by. She found herself comparing John's healthy, hearty~ appetite to this man’s bird-like pecking. And she missed John’s companionable laughter. She shook herself mentally. What nonsense! She wanted culture, Sint she? Well, here it was. If she was too stupid—too countrified to enjoy it first off, she could learn, couldn't she? Presently she slid her foot back into the discarded slipper and suggested the living room. She stifled the thought that perhaps a change of scene would bring a change of topic. She was tired of these longdead poets. The clock in the living room ticked off a half hour—an hour. Effie’'s neck grew tired from nodding at the points in her guest's flowing monologue where she thought nods were required. ” ” = ER thoughts wandered to Tommy, shut up in the pantry. Dear old Tommy! Wicked to a cat like she loved Tommy. She'd give him a whole chicken breast to make up for shuttin’ him out like this. A yawn threatened, and she patted it back. She was jerked suddennly to attention : as Ellwood Fairfeather's

—~GRAHAM'’S OLD INN—

to love

End of Beech Grove Carline |

Dance DENNY DUTTON'S BOYS Friday & Saturday WE SERVE. BRUCK’S BEER on tap exclasive a

smooth-flowing voice faltered. Het eyes followed his. Tommy, tail erect, every undulating muscle bespeaking injured dignity, was stalking toward them.

Effie glanced through the dining room to the pantry door. It was open a crack. Now, how did that happen?- Tommy, smart as he was, couldn’t open a tightly-shut door. She was startled by a gasp from Ellwood Fairfeather. - He seemed to be trying to shrink into’ his chair. Then he spoke, his voice suddenly harsh and strident. “A cat! Get that thing out of here—get it out! I hate. cats! Scat, you horrid beast!” To her horror, Effie saw a small volume of poetry, hurled, from : Mr. Fairfeather’s h a n d, interrupt Tommy in the middle of an ingratiating - purr... Tommy's dignity deserted him. His circuit of the room was wild—up over: the back of the sofa—across the top of a table—around the chair in which sat the shrinking figure of the man. Then, his eye caught the - lightly latched screen; door. He was out and away. Ellwood Fairfeather mopped a moist brow. “I can’t stand cats—I can’t bear the things!” Hands linked: tightlye together, eyes wide, Effie watched him a moment. Steadying herself, she, spoke only one terse sentence. / “No,” she said, ‘one could might near guess that.” Then, rising, she followed Tommy through the screen door. 2 8 =

ACE uplifted, Effie crooned to the leafy shadows of the big elm in the front yard. “Tommy—be a nice boy now— come down to Mother.” There was a fairl, discreet cough at her side, and a contrite voice spoke. “Miss Effie, I regret this occur-

e Radio Recording eo Cubut I'm glad I've

Diana Gaylen, “ghost nightingale” for movieland’s non-singing “singers.”

Garbo . . . knows she ean’t sing.

rence—I assure you—I had no idea —the cat was yours—"

Effie brought her attention from |:

the top of the elm long enough for for a brief contemplation of ‘the man at her side, then turned away again. Unmoved, she heard his sigh; saw his departure down the path —out through the xate—out of her life. She patted : the: bark. of the elm.

“Stay there a while longer, Tommy,”

she whispered. “I'm going to be busy for a while.”

: # 2 s : HE went around the house to

the bench under the lilac. She sat beside the familiar figure that

she knew: would be’ lounging there. | Her voice was. gentle and apol-|

ogetic. “John,” she said, “I've been an awful fool. Folks can’t make themselves over. time to find out—that I-don’t want to. If you still think—" Effie liked the feel of his arm around her waist; liked having his shoulder to lean on.

1 ought to tell: ySu what I heard at the depot today—reckon ‘I ought

ommy-—" Effie’s hand gently 1

you heard hatin’ cats. Let’s talk about somethin’ int’restin’.” = tle closer.’ “Teil me, John, what do you aim to plant in your—in our south field next

2” (Co! 1936. - b Ini ‘Peatur pyHght, Syadicate, | Inc. et abi

Warner Baxter pg re. Ken Maynard “Briar

It’s taken me a long ;

“Effie,” he said hesitantly, “reckon

to tell you I'm the one who let}

“It' don’t matter,” she said, “what about a certain man].

She moved a lit-|

“slim Wages|

Sid Silvers, No. 1 Man, Geis Load off Chest in Writing Article.

BY'SID SILVERS NEW YORK, Aug. 14—(NEA)—

How do I know? Wasnt I the first stooge? If you ‘have a minute I'll tell you about it. In the year 1922 BS (before

| stooges), I was a song plugger. In

those days, before the radio had caught hold, music publishers had to have singers to go around to

| dance halls, cafes, back yards, bus : stations, or any place there was

| whatever song the publishing com-

pany was trying to make a hit at the time. ; A song plugger in the music business was known as the lowest form wit. As I''was only getting half ofa living salary, 1 was called a half

Just Plugging Along

In the year 1924 BS came the day when Phil Baker burst into my boss’ office demanding a singer— and at once. The tenor who: closed his act singing “Forever After” had come down with laryngitis: he was due on the stage at the Palace Theater at 1 o'clock. Did my boss have a singer? He did. Me. Could he a “Forever After?” He could sing anything. So the boss wiggled the finger at me. “Go along with Mr. Baker,”-he said. “He wants you to stand in a box and sing.” Mr. Baker didn’t say a word. Just turned to leave the office. “I picked up his two accordion cases and followed him out. Right then I became a stooge. You should have seen me standing up there in that box when Baker's

|act began. A- splendid sight in a

! ACTOR IS WRITER David Manners, currently appear-

{ing in “Portrait of a Rebel,” is fin-

ishing a novel that has already been set for early publication by a large publishing house.

black and white checkered suit, and trembling from head to foot. Finally Phil) wound up to the “Forever After” spot, picked up his accordion to play, and the spotlight came onto me. Baker signaled, started the tune, and I started to sing. “Squeek” was what. came out. “Too high,’ »-3 gulped. He tried | again. ° “Croak,” came out. moaned. « “Well, what key do you sing in?” he asked. ‘‘Somiewhere.in

PY 60-LUCKY ST4,

Today! 25c to 6

A grand cast brings P. G ‘Wodehouse's gayest ro:

mantic; Saturdsy’ ‘Evening’ a

Post story to screen! Bob 1s the American éartoon-) ist who puts his sweet-, heart's newly rich family’

‘in the funnies! Eric Blore (the "TOP HAT" butler) is a perfect "Jeeves"! Frank48 : Morgan and Billie Burke; are _a_ scream in love!

"Not “since ‘When Ladies’

Meet’ such gay romantic e fun, J

uP. G. WODEHOUSE

"The author of “Thank You Jeeves” oe

~ROBERT

LG NIE TIL 4 * BOB 2114, IRA

NN etre

" Mitineas Love Story

MONTGOMERY

« BILLIE BURKE « MADGE EVANS RETR

FEATURE—— in Thrilling Color f the

“LEGON G> Dance of

i —— ‘Also: MICKEY MOUSE

“Too low,” 1}

BELMONT

RE, WHAT, WHEN |

win Lover sar

1 HR Eh Sim 130 ai

Asking”

t 12 ABI: 1:38 ang

Fag aE

iomcendifly pe with var

ts Che 7:30 "ha 10, To Ale 1

Sa TTS : ¥ a N ta " g SAE i 3 by fem £ He anapolis Star : yy Sas, “under 'd

“Tours_ to os ith

LYRIC Vaudeville, on stage at ] 1 & 52,

Saws rren w ws’. with W. Claire Dodd, armen i 5:21, 8:17 and 10:36.

ALAMO ‘The Unguarded Hour” with Lo-. retta Young. - Also “Litt ‘No=" body”’ with “Jane Withers Miss No AMBASSADOR

OHIO

“pirat Baby” with irley Deane. Also. “One Sunday Afternoon” with Gary Cooper. 5

8:44, Velvet 3:29,

between.” I was miserable, but the audience was in the aisles. After the show 1 was afraid to go back to see Baker, but he met me half way. “Can you remember what you said up there?” he asked, “1 suppose so,” I gulped. “Well, you'd better, /because we're doing it like that from now on.” So I thought I was an actor. From that time on I really was a stooge. : Stooge to Conquer I was thrilled to death about being a comedian, but it began to dawn on me that I was a comedian without any identity except The Man Who Sits in the Box for Phil Baker. The first couple of years I didn’t mind it, but it got so that when I was introduced to people they would say, “You know—Phil Baker's stooge,” or “You know—the man who sits in the box for Phil Baker.” 1 took this for a while until cne day my mother introduced me to a neighbor of hers. “You know— Phil Baker's stooge.” And when your own mother starts to forget your name, it’s time to go out and get one.

HISTORICAL BACKGROUND

History students will appreciate the truthfully aceurate background of “Mary of Scotland,” drama which co-stars. Katharine Hepbur nand Fredric March.

Listen, you peroxide blonde, Georgie’s not your kind! He was born a mug—and he’ll stay one!

Film Actors’

Tennis Tops, Expert Says

Errol Flynn, Greta Garbo Outstanding Players, Shields Reports.

BY FRANCIS X. SHIELDS By United Press - HOLLYWOOD, Aug. 14.—There are a lot of crack tennis players in Hollywood but there are ten men

land ten women who are standouts,

Here's how I've ranked them: Men—Errol Flynn, Gilbert Roland, Johnny Mack Brown, Charles Farrell, Paul Lukas, Charlie Chap lin, Fredric March, Ralph Bellamy, Ronald Colman and Charles Butter worth. Women—Greta Garbo, Carole Lombard, Dixie Lee, Florence Rice, Elizabeth Allen, Virginia Bruce, Marlene Dietrich, Paulette Goddard, Merle Oberon and Frances Farmer. I had to peek through a hedge at the Garbo home to see Greta play a bang-up match with Cedric Gibbons in order to get a line on her ability. She won't play in public any more than she'll talk. But - boy, how that gal can play tennis! ‘This town has gone tennis nutty, Last February I founded the West Side Tennis Club in Cheviot Hills. Today the entire membership is made up of movie people. The idea’ of a tennis club took on like wildfire. Every minute these film folks have away from their studios seems to be spent on the: courts of this club, and a casual visitor will find, at any hour of the day and seven days a week, the biggest names in Hollywood present. We are just completing our first club championship tournament, The finals will be played this week. If you think they're not fighting hard for top honors, you ought to stop in and watch them. And I'm still up in my game. I'd have to be, or they'd be trimming me every day out here.

SWIM—DANCE

WESTLAKE

Dance Tver Fight Monday PAUL CoLLI S ORCH ESTRA

Sister, when I need your

. advice,

: 2 where 1 know I'll. =-behind the eight ball?

//GEORGE RAFT

Delores Costello

SHRM ORE

Vi SIDE : STATE Base x Ta

W. Wash. &

«RE Au PAR

DAISY

“CHARLIE CHAN AT - “THE LAW OF

NORTH SIDE

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2116 E, St. SEIS