Indianapolis Times, Indianapolis, Marion County, 21 July 1937 — Page 8

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THE INDIANAPOLIS TIMES

WEDNESDAY, JULY 21, 1937

KAUFMAN CLAIMS THEATRICAL TRENDS ARE LARGELY FABLES

Drm cn. we

Want to Smell a Movie? Film Braintrusters Back Idea of Scenting Picfures

Critics Held

Responsible For Cycles’

"You Can't t Take It With You' Started All The Talk.

By JAMES THRASHER As far as George S. man is concerned, the theatrical “trend” can join the unicorn in the limbo of nonexistent things. The playwright

Kauf- |

JEAN HARLOW SHOWN IN 'SARATOGA,' HER LAST PICTURE

as a lot of money. Among |

When a play joins the “year’s | best” ranks, there always is con- | siderable explanation and imterpre- | tation. Especially so in the case of | “You Can't Take It With You,” for | the subject didn't seem to be down the Hart-Kauiman barb-lined alley. Anyone who saw the play at English's last winter will remember it as a rollicking picture of some of | the most muddled members of the great American middle class. But | it took few cracks at anyone—the | gentle and uninhibited Grandpa | Vanderhof preached a Philosophy | of composure midst Essie’s dancing lessons and the rocket's red glare | from the Sycamore basement.

Interpreters Went to Work

So the critics and prize distributors started interpreting, They not-

ed the absence of stark realism, although visitors always are welcome at approximately $4.40 0 per ' peek.

cynicism and class struggle in the | season's hit. Savoring the milk, | honey and loco weed of the Harte | Kaufman opus, they turned to “To- | varich,” “Yes, My Darling Daugh- | ter” and others, and found there | some other bland emulsions. The conclusion was that the theatergoing public was fed up with biting satire and berserk emotions. Some found a national desire to “escape from reality in laughter,” while others detected a yen for simple living. Now comes Mr. Kaufinan: doubtful about trends,” he says. “I always have been. A play of a certain type is fortunate enough to become established as a hit and to get talked about. Another play of a similar type is produced and that gets over. Writers immediate ly begin to write learnedly about a ‘trend,’ about some mysterious something or other, some inner urge that has taken over the national consciousness. A better play may Pop up next week with a completely reversed viewpoint, it may attract the same sort of attention and lo, a new ‘trend’ is established. The idea is largely moonshine,

‘Aren’t Any Trends’

“I'm

“In other words, there aren't any ‘trends’ and there aren't any ‘cycles.’ Oh, I know that because I have happened to get away from satire in ‘You Can't Take It With You’ and because I helped write a thoroughly good-natured play that there is an opinion abroad in the land that its success is due to that very fact that the great American

Prdlie has turned its back on saire

All of which seems to stir up again the ancient question of which comes first—the chicken of public demand or the egg of creative effort. And it's a question Which, for all its antiquity, hasn't been settled definitely. It has been called upon in such diverse cases as the effect of the Napoleonic wars on Beethoven's music, and the relation of “Abies Irish Rose” to the Harding-Coolidge era.

Preference Has Effect

This matter of public preference, however, is a queer one. It can’t be denied that it is the deciding factor in our familiar motion picture “cycles” of historical produce tions, “sophisticated” comedies, action stories and the like. And it does seem to have a hand in shaping the theatrical course, in a lesser and more subtle way. An old-time theatrical agent; who was “counting the house” when Mr. Kaufman was still in short trousers, told me recently that the public seems to prefer realism of the acrid sort in times of stress or emotional depression, while comedy is tops when times are good. This statement was based on many years of observation, and seems to scotch the “escapist” theory of getting away from it all. At any rate, Mr. Kaufman says, “I'm afraid Moss and I will have to end one of these ‘trends’ in our next effort—the trend of opinion which describes us both as hav= ing permanently abandoned satire and the attempt to devastate pomp, circumstance and stupidity.”

Write Cohan Comedy

Their “effort” is the musical comedy, scheduled for an October opening with George M. Cohan in the principal role. It’s noised about that it will be a satire on the American political scene, though the manner of treatment is shrouded in secrecy. One thing, however, is certain. The new play won’t be billed as a “satire.” Mr. Kaufman doesn’t mind writing it, but he has learned

0] | [VE

“WINTERSET” Palak Beilimcila Lusine

| international consumption,

Clark Gable and the late Jean Harlow (above) their much-discussed picture,

in a scene from

“Saratoga.” which opens Friday at Loew's. was nearly finished at M-G-M studios before

toga”

“Sara=

Miss Harlow’s death. Morgan (right), also in a scene from “Saratoga,” may be discussing horse racing, but Mr, Barrymore seems more concerned with a tired foot.

Lionel Barrymore and Frank

Hollywood Tops Broadway In Glittering F Filmusicals

Times Special

HOLLYWOOD, July 21 —A strange phenomenon has come to pass in

1937,

oi that Hollywood, not Broadway, is now the home of big musical

Millions of Americans are on intimate terms with the silver shadow | product of Hollywood who haven't the slightest idea what Broadway’ =

| flesh and blood presentations look like.

Hollywood's filmusical is a product manufactured for national and |

as well received in hinterland as metropolis,

while Broadway's effort is pretty much an exclusive Manhattan holding,

The film capital simply has taken” the Broad'vay pattern for the musi- | cal revue, given it superlavish settings and presented it to the world at an admission price in the neighborhood of 50 cents per head. Almost every studio in Hollywood today has an annual musical revue production, including even the minor flicker factories. Warner Brothers’ “Gold Diggers” certainly is a wellknown commodity, and Metro-Gold-wyn-Mayer’s “Broadway Melody” is an annual affair of some import. Paramount's “Big Broadcast” always is one of that studio's major presentations and Republic's “Hit Parade” is doing such excellent business that executives have decided to present a successor to this revue annually. Twentieth Century-Fox usually has two musicals each year (“On the Avenue” and “Wake Up and Live,” for example) and Columbia manages to get golden-voiced Grace Moore on the screen in a fil musical each year.

New Series by R-K-0

R-K-O is proud of its lavish offerings, the Fred Astaire-Ginger Rogers musicals, but now that studio comes forward with the announcement that a musical entitled “New Faces of 1937,” released recently, will be an annual affair. Possibly “New Faces of 1937,” which had as its stars Joe Penner, Harriet Hilliard, Milton Berle and Parkyakarkus (all of radio fame), approaches more nearly the Broadway type of revue than anything yet placed on Hollywood's screen. It presented a great number of newcomers to films—"new faces”’— who enacted their roles in the picture as various acts might appear in, say, “The Follies,” or “Scandals” or “Vauities.” When you come to consider the matter, it becomes apparent that Hollywood has accomplished something in the way of a small miracle by bringing the “Scandals,” etec., and even most of the stars of those brilliant revues, to the citizens of America. Perhaps there isn't that “personal touch” in the screen version of a Broadway musical, but as the residents of Podunk, Walla Walla and certainly Oshkosh, will testify, a shadow’s touch is far better than no touch at all.

“Road Show” Has Big Opening

Even a cinema “road show” has been created by the movies for the Hollywood musical comedy. The coming of a great production laden with lilting tunes, dancing girls, comedians and stars, is hailed with much the same glee that the opening of a Broadway revue occasions. Perhaps a great deal of this is due to expert exploitation on the part of Hollywood press agents. Even a casual glance at the roster of Hollywood musical stars discloses that the actors are interchangeable. Look at just a partial list of Broadway musical revue celebrities who have at one time or another appeared in Hollywood’s product. There's Joe Penner, Bert Lahr, Jimmy House, Jimmy Savo, Ed Wynn, Richard Lane, Fannie Brice, Billie Burke, Virginia Bruce, Harriet Hoctor, Leon Errol, Walter Catlett, Clark and the late MucCulloch, Barbara Stanwyck, Frank Fay, Alice Faye, Alice Brady, Victor Moore, Helen Broderick, Benny Rubin, Fred Astaire, Gregory Ratoff and so on.

New York may be the “heart” of

America in all things, including the theater, but residents of most ot the United States never will agree to that theory as long as Broadway-— via the silver screen—comes to them.

that it smells sweeter by any other name—at least at the box-office. “Satire,” Mr. Kaufman once quipped, “is something that closes on Saturday night.”

SWIM-DANCE

WESTLAKE

PAUL COLLINS' ORCHESTRA Featuring Jennifer Sheffer Rvery evening except Monday

Swears Off Worrying

Director Takes Pledge After Anxiety Proves Futile.

Times Special HOLLYWOOD, July 21.—Lloyd | Bacon, who has been identified with |

stage and screen since boyhood | R

first as a player and now as a director, finally has sworn off worrying about actors. The director took the pledge this past week far out on the Pacific Ocean off San Diego, after worrying and fretting for half an hour about Pat O’Brien.

O’Brien, who with George Brent, Frank McHugh, Wayne Morris, Gloria Dickson, Ronald Reagan, Henry O'Neill and other players, is making the picture “Submarine D-1” on location, was supposedly aboard the U, S. S. Submarine D-1 which was doing several dives beneath the surface while Bacon perspired and worried over the responsibility of taking a star's life in his hands by ordering him aboard a subsea craft.

Too Much Responsibility

“Doggone it,” Bacon muttered, as he mopped his brow, “it’s too much responsibility to place on a director. Suppose something happened to the submarine? Suppose instead of a simulated wreck, it really was damaged and couldn't rise to the surface? What would I say to Mrs. O’Brien and the children? For that matter, what would I say to the studio? It's just too much.”

Finally Arthur Edeson, chief cameraman, who was with Bacon and others of the company aboard a naval rescue ship which was following the D-1, said that he had i shots of the submarine divng. With a sigh of relief, Bacon signaled the submarine to place O’Brien and others of his cast aboard a launch and send them back to the rescue boat. Then he went into the wardroom to relax and get a cup of coffee to steady his nerves.

Finds O’Brien Asleep

Adjoining the wardroom is a small stateroom with two bunks where officers sleep when off watch. There very apparently was someone asleep in one of the bunks, and Director Bacon curiously thrust the curtain aside and peered in. The shock was terrific. The sleeping man was Pat O’Brien. Bacon shook him awake to bawl him out for having caused him an hour of worry. O’Brien was bewildered. He didn’t know what his director was talking about. When the troupe arrived from the submarine, the mystery was explained. O’Brien’s stand-in who had been sent to tell him to board the submarine had found Pat asleep, and as the diving shots wouldn't show the star's face anyway, decided to do a good deed and act for Pat himself. “That cures me,” Bacon sighed. “I'll never worry about another actor as long as I live. They always manage to take care of themselves in some way, either by accident or

pure luck.” CIRCLE

LAST 2 DAYS!

WHAT, WHEN, WHERE

APOLLO

“Wee Willie Winkie,” +ith Shirley Temple and Victor McLaglen. at 11 1:13, 3:27, 5:47. 7:55 and 10:09.

CIRCLE

“Easy Living,” with Jean Arthur and Edward Arnold, at 12:42, 3:53, 7:04 and 10:15. Also "Last Train From Madrid,” with Dorothy Lamour apd av Ayres, at 11:24, 2:35 5:48 an

LOEW'S

“The Empetor's Candlesticks.” 50, 4:40, %:50

"Bick a Star.> with Jacek Haley ang Pay Kelley, at 12:35, 3:30, 6:20 and

LYRIC

“Ever Since Eve," with Marion Davies and Robert, odont omery, on screen at 11:26, 2:06, 5:06, 6 an 0:36. Also “Stardust Revie: on stage at 1, 3:40,

6:40 and 9:30 OHI10

“Winterset.” with Burgess Mere dith and Naras Also “Let's Get Married,” with Ralph Bellamy and Ida Lupino.

AMBASSADOR “Kid Gallahad. " with Edward Bobingen. Also “Girl From Scotland yard. ALAMO

“Hell's Angels,” with Jean Harlow, Also “King of Gamblers.”

oving Nurse Hired by Studios

Times Special HOLLYWOOD, July 21-—With four pictures before the cameras, Columbia Studios this week created a new movie position—that of “yan= dering nurse” on the lot as a matter of health insurance for stars, players, directors and mechanical crews. Edna Livingston, graduate regis= tered nurse, was added to the Columbia Studios hospital staff of Dr. Floyd Parks, with the special assignment to roam the sets and check up hourly on the casts and staff of pictures in production. These include “I'll Take Romance,” with Grace Moore and Melvyn Douglas; “It’s All Yours,” with Francis Lederer and Madeleine Carroll; “The Awful Truth,” with Irene Dunne and Cary Grant, and “Life Begins With Love,” with Jean Parker and Douglass Montgomery. Headaches, splinters, sprained ankles, colds and all the minor ills are taken care of by Miss Livingston,

CHANDELIERS FOR FILM ARE IMPORTED

Times Special HOLLYWOOD, July 21.—Three huge crystal chandeliers, valued at $2000 each, and six large crystal brackets costing $600 each, were imported from Czechoslovakia for use in R-K-O’s “The Life of the Party,” in which Harriet Hilliard and Gene Raymond have top spots. In addition, hundreds of yards of crystal fringe were manufactured to trim tables and chairs. Solid crystal tables were created from half cylingers of glass, supported on crystal egs. .

‘HOWDY STRANGER WILL STAR BAKER

Times Special HOLLYWOOD, July 21.—Screen rights to “Howdy Stranger,” the play in which Frank Parker recently appeared on Broadway, have been bought by Mervyn LeRoy. LeRoy intends to use “Howdy Stranger” as a starring vehicle for Kenny Baker, radio singer and comedian, who has just finished his first starring picture, “Mr. Dodd Takes the Air.”

EX-NEWSMEN SELL The writing team of Don Ryan and Kenneth Gamet, both former newspaper men, has sold Warner Bros. a crime thriller called "Miss ing Wilness.”

er Witte a WINKIE § TEMPLE lyf M.LAGLEN 4

IAT] LOD

25¢ jal

It Can't Be Done,’ But She. Became Director Anyhow

Times Special

HOLLYWOOD, July 21.—“It can’t be done.” That's what Dorothy Arzner was told 11 years ago, when she first

| revealed her ambition to become a motion picture director,

Most insistent among those who tried to dissuade Miss Arzner were other women, who pointed to the failures of other feminine directors. With Miss Arzner, the third time was the charm. The third time, plus the faith of four men prominent in the movie industry in her abil-

| ity, and seven years of hard work.

| William de Mille, James Cruez,® | Lawrence Stallings and Jesse Lasky | these were the men who saw pos-

sibilities in Dorothy Arzner and gave her the opportunities to achieve her goal. Today, Hollywood's only woman director, her position is unique in the nation’s third largest business. She is directing “The Bride Wore Red,” her first M-G-M assignment, and one of the most important pice

| tures on the studio schedule. It stars

Joan Crawford, with Franchot Tone and Robert Young in leading roles. Behind Miss Arzner’s success is a story of determination, intelligent application to the job she selected as her life’s work, and a willingness to start at the bottom of the ladder. Born in Oakland, Cal, Miss Arne zer moved to Hollywood as a child when her father became the manager of the old Hoffman cafe, then the rendezvous of film celebrities. Meeting such pioneer screen giants as D. W. Griffith, William S. Hart, Charles Chaplin, Victor Fleming, Frank Lloyd, Wallace Beery, Raymond Griffith and others, inspired Miss Arzner to become a director.

Joined Ambulance Unit

Educated at the Westlake School for Girls and the University of Southern California in Los Angeles, Miss Arzner left schol in her junior college year to join the Emergency Ambulance Corps when the United States entered the World war. The Armistice found her in New York, preparing to embark with her unit for France. Returning to Hollywood, Miss Arzner visited a studio. She remained on one set the entire day, watching William deMille direct. When the company was dismissed, Miss Arzner asked him for a job. “I'm willing to start anywhere,” she told the director. Taking Miss Arzner at her word, deMille offered her a position typing scripts in the stenographic department. She took it. “I found that no job is too unimportant as a start,” said Miss Arzner. “I learned a great deal about dramatic values typing scripts.”

Script Girl Next

Miss Arzner made it a point never to remain on one job, no matter how great her success, until she became a director. Three months after entering the studio, she became a script girl, and absorbed a great deal more about direction through her intimate contacts on the set with executives, directors and stars. Her next step was to become a film editor. A film editor holds an important position. Miss Arzner soon learned the technique of cutting, and was given the task of cutting Rudolph Valentino's “Blood and Sand.” In this_picture, she introduced a new method of film editing that has been adopted throughout the industry. Among those who saw the Valentino picture was James Cruze. He insisted that Miss Arzner edit “The Covered Wagon,” Jvhich he had completed. In two years, Dorothy Arzner was at the top of her profession as an editor. She refused to be influenced by those who felt that she had achieved the ultimate for a woman in the business of making movies. Miss Arzner decided that writing was the next step in her education toward a directorship. So she quit as a film editor and started writing. Miss Arzner’s progress as a writer was slow and met with no success for months. inally, she wrote “No-

COOL OZONIZED AIR 2 Last Days

ON THE SCREEN

FRANK McHUGH PATSY KELLY « ALLEN JENKINS LOUISE FAZENDA

Gun Man,” a Western picture, which was accepted for “Lefty” Flynn. She did several pictures for Flynn and established herself as a freelance writer, Then one day Cruze came to her office. He was filming “Old Ironsides” and needed her to edit the picture. Feeling that she was indebted to Cruze, Miss Arzner closed her office and went to work. She cut “Old Ironsides” singlehanded, and executed what is considered one of the most nearly perfect. examples of film editing in screen history. While on location with the company, Miss Arzner confided her ambition to direct to Laurence Stallings. Stallings told Cruze. When the picture was ready for release, Cruze and Stallings went to Jesse L. Lasky. “There 1s a woman who can direct pictures if she is given the opportunity,” they told Lasky.

Became Director

Lasky called Miss Arzner to his office, was impressed by her, and she became the third woman in screen history to direct a motion picture. Her first picture was “Fashions for Women,” starring Esther Ralston. It was a success. Miss Arzner next made “Ten Modern Commandments,” also with Miss Ralston, Then came one of Clara Bow's biggest hits, “Get Your Man.” Dorothy Arzner was a success as a director. Since then, she has directed many pictures, two Ruth Chatterton vehicles, “Anybody’s Woman’ and “Sarah and Son,” being considered among the best. Last year, Miss Arzner directed “Craig's Wife,” starring Rosalind Russell, Still learning, Miss Arzner fis firmly established in the front rank of movie directors.

at: idea of perfuming movies.

smell it.

Scenting theaters, that is. men believe that realism and the mood of pictures can be greatly enhanced by appealing to our olfactory sense in order that we not only can see and hear a scene, but actually can

Some Scientists and Showmen Believe Mood of Story May Be Enhanced by Appealing To Olfactory Sense.

By PAUL HARRISON

HOLLYWOOD, July 21.—(NEA)-—It's an alarming thing to think about, but the fact must be faced, or sniffed A good deal of serious thought is being given to the

A few scientists and show-

self. As long ago as 1929 it was tried here by Sid Grauman in his glittering Chinese temple of premieres. The feature was one of | the first big musicals, “Broadway Melody of 1929,” and one of the principal numbers was built on the song, “It's Orange Blossom Time.” Grauman armed a crew of men with spray guns full of orangeblossom perfume, and during the appropriate part of the picture they pumped the stuff into the theater's ventilation system. It worked all right. At least the novelty of the stunt appealed strongly to Hollywood, and there is no record of any hay-fever sufferers storming the box office to | get their money back.

Carroll Used Scent

There was the opening of one of Earl Carroll's “Vanities” in New

York. It was the show in which he presented Ravel's ‘Bolero’ in a scene featuring a moving stage, a lot of red lighting, a great deal of noise and some hundreds of exotically unclad slaves and writhing cuties. That's about all many recall, though, because before the composition crashed to a close most of us out front were partly anesthetized by clouds of cloying scent which filled the theater. It was never known just what odor it was that Carroll decided would be appropriate for “The Bolero,” or why. But it was permeating and powerful stuff, and hundreds of husbands had an awful time explaining to their wives that they merely had spent the evening in a respectable theater. After that there were no more experiments in perfume for a while, until last year when “The Trail of the Lonesome Pine” opened in New York. Practically all of that color picture was filmed outdoors, so it seemed consistent to keep the theater filled with crisp scents suggesting pine trees and new-mown hay.

Pine There All Right

We're not sure about the hay, but the pine was there all right. And they may have puffed in a bit of acrid powder smoke during the feudin’ scenes. Out here at Paramount some of

the executives have kept the idea in mind, and recently it was de=cided to refresh players with odors more pleasant than the back-stage smells for which old Jroupers are always professing nostalgia.

Oil of Mint Used

So oil of mint was sprayed “into the air conditioning system for the sets where “Double or Nothing” and “Ebb Tide” were being filmed. There is no connection whatever between these stories and mint— indeed, some eau de fish would be more appropriate for “Ebb Tide’— but the actors agreed that the aroma was agreeable and that it

Tonight's

Presentation at Your

Neighborhood Theaters

WEST SIDE

NAR A Howard & Blaine Clark Gable

H OWA R D Jeanette MacDonald

“SAN FRANCISCO” _ Selected Shorts

= 2702 W. 10th St. S$] T A T E Dlibte Feature “PENROD AND a “THRY WANTED Ro AMRRY”

BELMONT : fortune

‘W. Wash. & Belmont Double Feature Rasalind Ke ith “CRIMINALS OF AIR’ “VENUS MAKES TROUBLE DAISY “2540 W. Mich.

“2315 HOURS LEAVE" “RAINBOW ON THE RIVER”

SOUTH SIDE

7 2203 Shelby St. Errol Flynn

GARFIELD “rrol"Fiimn

“GREEN LIGHT” S. East at Lincoln

Selected Shorts Double Feature

LINCOLN Ruth Chatterton

ODSWO Donald Cook “ELLIS ISLAND”

“FOUNTAIN SQUARE

Our New Coolin System Keeps You Comfortably Cool ayn

Double Feature——S “THEY GAVE “WAY OUT

SANDERS

“WOME

At Fountain Square Double Feature ini) Bruce GREEN LIGHT”

Pros. & Churchman

N Errol Flynn AVALON Douhle Feature Miriam Hopkins “MEN ARE Not. ,GODS” ——— emus) ISIC ela oa S. Meridian ORIENTAL Double Feature THE WOMAN I LOVES __ “GREAT HO HOSPITAL MYSTERY” NORTH SIDE Illinois and 34th R | T Z Double Feature meen Tracy “THEY GAVE HIM A GUN” “WAY OUT WEST” Hollywood 1500 ubte Feature T+ ° oo G J" Karloff “WOMAN GN DISTRESS” Central at Fall Creek ZARING Double Feature ARE UP ANS Eiopernle “AS AfSon AS MARRIED” 16th nA Delaware CINEMA Double Feature Chandeste Colbert “MAID OF SALEM” - “RAINBOW ON THE RIVER Continuous from 1:30 Every Day 42nd & College UPTOWN Double Feature h Morris "THE TT ”"”

5], CLAR

NORTH SIDE

TALBOTT Talbott & 22nd

The Only North Side Theater Controlling Both Temperature a and Humid ity, No Draft Double Featu Kar Morley “GIR L FROM § SC OTLAND YARD” “WOMAN IN DISTRESS”

A Cv 30th at Northwestern R L X ids McLaglen “SEA

a Lupino Selected. Shorts

GARRICK 30th and filinois

Double Feature

“BELOVED VAGABOND" “SECRET AGENT”

MECCA Hibs

Cast

“BIG —.__ “Foun DAYS S WONDER” 19th & College Stratford bess reiuus “SHE'S DANGEROUS” “WHITE LEGION" 2361 Station St. D R E A M Double Feature ill Rogers “DOCTOR BULL” “EASY MONEY” EAST SIDE STRAND 1332 E. Wash. St. 5 OM A

Paramount

“234 HOURS omedy-Novelty

114 E. Washington B | J O U Double Feature Noah Beery J “THE MIGHTY TREV “THE LONE RANGER” “Phantom Empire” —No.

RIVOLI 3155 E. 10th

Double LL WTR ALAHAD “GIRL FROM GeoTLA

T ACOM A 2442 E. Wash. St.

“MEN ARE NOT G “COME a FOLKS"

TUXEDO E. New York

pie Feature Bette Davis “MARKED WOMAN” “WITH LOVE AND KISSES”

IRVING 5507 E. Wash. St.

Double Feature “MAN WHO FOUND HIMSELF"

“SOLDIER AND THE LADY”

EMERSON omio £ 10th

ymfortably Cool double Feature Times T

ay | Franchot Tore TAEY GAVE HIM A GUN’

Laurel & Hardy “WAY OUT WEST” First Neighborhood Showing

GOLDEN 6118 E. Wash Si

Double Feature " “Co

Victor McLaglen

The idea is as old as sound it-®

helped perk them up on hot afternoons. Director Theodore Reed, on “Double or Nothing,” later decided to experiment further and had the scents of geranium and oil of sage infused in the cooling system. This was a flop. :

What Smells?

The players hadn't been told about it, and they kept asking each other, “What's that funny smell around here?” However, a trend has been start-

ed, and there's no telling what will happen after this. Technicians are pointing out that in the average large movie theater the air is renewed once every 10 minutes, and this would permit changes of scent with many scenes. Of course they couldn’t go in for olfactory realism in pictures dealing with glue factories or slums or war-time gas attacks, but they might try tangy salt air, or apple orchard aroma, or a suggestion of sensualism (Hays office permitting) in heavy love scenes.

WHITING IS CAST IN BRITISH FILM

Times Speciul HOLLYWOOD, July 21.— Jack Whiting, musical comedy star, sailed for England this week for work on the new Jessie Matthews

film, “Sailing Along,” in which he will be Jessie’s dancing partner. He will be accompanied by Mrs. Whiting, and plans to remain abroad for about three months.

AIR - CONDITIONED — C-0-0-Li

Lu 34

LAST 2 DAYS

WILLIAM

STARTS

FRIDAY Special Engagement of

"SARATOGA"

completed by MGM in re. sponse to thousands of requests.” From Anita Loos’ , exciting story. One! of the season's Youtstanding en. tertainments!’

CLARK

JEAN

HARLOW

| In Metro Sob Mayer's | 2

JADE

Lionel

BARRYMORE FRANK MORGAN

css 1 LO Nero Wolfe Tors ‘“The League of Frightened Men"

l oo)