Indianapolis Times, Indianapolis, Marion County, 4 October 1937 — Page 4

bAce 12

wil Hays Predicts Films Due to Reach New Artistic Maturity During Season

‘Mass' Entertainment Standard to Be Higher, He

Forsees, as Stage,

Increase Contributions.

History and Music

By JAMES THRASHER : Just as the topic, “Whither America?”’, has been the favorite of high school commencement orators for generations, so is a discussion of “Whither the Cinema?” the joy of most pérsons who look at movies for a living. These reviewers will trace a trend at the drop of the hat, especially when copy is scarce. But a prognostication of a

different sort has just come®

along, the gist of which is about to be passed on to the

reader. It is the annual utter-

ance of Will H. Hays, fondly known as the movie's tsar, on the state of the movie-making portion of the nation, with predictions for the coming year. At the outset, Mr. Hays (who is really president of the Motion Picture Producers and Distributors of America) promises that 1937-38 will give us “an unprecedented number of truly distinguished entertainment films.” Then he clarifies his, and doubtless the industry’s position in this controversial matter of the scréen’s true artistic and social function: “The province of the entertainment screen is to entertain. But what entertains may also inform and instruct, move and uplift. The industry is beginning to reap what has been sowed by years of educational effort, by the production of pathfinding pictures, and by constantly adding to the variety of entertainment themes. A sense of the highest showmanship marks many of the outstanding films of the new + season.” : : Cites Film Maturity

Artistic maturity is becoming & fact, Mr. Hays believes, and what has been called “class” entertainment is helping to raise the stan- * dard of “mass” entertainment. Further, the movies’ head man mentions some picturés to prove his point. He cites “The Life of Emil Zola,” “Dead End,” “100 Men and a Girl,” for its fusion of music and story; “The Prisoner of Zenda,” for its technical and artistic advances, and “Stage Door” as proofs of Hollywood's coming of age. In the films mentioned in the Hays report, 10 deal with the American scene; 10 are based on novels

or short stories; seven are of biographical theme, and five are based on stage successes of recent seasons. There are some duplications, of course, such as the inclusion of “Gone With the Wind” in the American “epic” and book adaptation lists.

Winter Looks Promising

Historical characters whose lives will be dramati clude, besides Zola, Madame Curie, Marie Antoinette, Napoleon, David Garrick, Marco Polo and the Wright Brothers. And the Broadway hits coming to the screen, or already there, ate “Stage Door,” “Room Service,” “You Can't Take It With You,” “Having Wonderful Time,” “Idiot’s Delight” and “Tovarich,” which will be called “Tonight Is Ours” or something of the sort. And so the list goes, adding up to a. sum of promising entertainment for the cold months ahead. One has only to glance at the coming products to realize that in subject matter, at least, the screen is continuing -its upward progress. How this has come about through the years is fairly obvious. From the beginning picture makers have attempted pretentious productions, whose artistic stature increased with technical progress and the influx of experienced, artistic performers and directors into the industry. There were enough vulgar and obvious pictures, however, to give rise to our various film-éndorse-ment societies. That these sociéties (they are mainly women’s organizations) have endorsed as well as condemned is greatly to their credit. Without a. positive support, it is doubtful if we should have the producers’ initiative and public response of today. And now if we could only get rid of the double-feature and its weak sister, the “Class B” picture!

Injured Finger Fixed Fate Of ‘Darling Daughter’ Star

“Yes, My Darling Daughtér,” which comes to English’s Oct. ‘a,

has passed its 275th New York performance, and seems sécure on.

Broadway until the New Year at least. Meanwhile its younger edition opens a week in Detroit tonight. After stop-offs in Columbus, Cincinnati and Indianapolis, the troupé will move into Chicago for an in-

definite stay. &

The original cast, headed by Lucile Watson, Violet Heming and Nicholas Joy, is continuing on in New York, while Florence Reed plays Miss Watson's part in the road company. It is Miss Reed’s fate to be remembered generally for her role of Mother Goddam in “The Shanghai Gesture.” Despite this vivid portrayal, Miss Reed points with more pride to her engagements as Lady Macbeth and as the Nurse in Katharine Cornell’s “Romeo and Juliet.”

Never willing to be typed, Miss Reed has scored in such divergent roles as the neurotic Christine in “Mourning Becomes Electra”; the majestic heroine of Maxwell Anderson’s “Elizabeth the Queen”; the smart lady of fashion in “Thoroughbred,” and the jealous mother in “Criminal at Large,” all within the past few seasons. Now, as Ann Whitman Murray, the emancipated feminist of “Yes, My Darling Daughter,” she has a role calling for both tenderness and high comedy. Thé plot evolves about the woman’s struggle between her earlier philosophy of free love and her maternal instinct of protection. Miss Reed’s original intention was to be a pianjst, but an injured finger turnéd her to the theater. As the granddaughter of a Philadelphia actor-manager, and the daughter of a noted comedian, Roland Reed, the actress received a thorough disciplinary training in stock. When she finally landed a real part, it was with E. H. Sothern’s repertory company. It was here that she was introduced to the rigors of traveling—or trouping, as the profession insists. Since DB early days, Miss Reed has carried many succesful play across the country. Now she is off on another junket which, after its Chicago run, will continue on to the West Coast.

DRATHER SIGNED TO WRITE SCRIPT

HOLLYWOOD, Oct. 4 (VU. Pr Jay Drather, author of a recent best seller, “Manhattan Side Street,” has been signed to a movie writing contra-: by Metro-Goldwyn-Mayer.

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Clara Bow Sued In Cattle Deal

HOLLYWOOD, Oct. 4 (U, P).— Clara Bow, former “it” girl of the screen, and her cowboy husband, Rex Bell, today were sued for $7, 607 for assertedly failing to live up to Terma of an agreement in a cattle ea

The suit was filed by Brodie Bros., Nevada cattle dealers, who said they placed 185 head of cattle on the Bell ranch in Nevada and were to receive half the proceeds from calves produced while the cattle. were pastured on the ranch.

ICE CUTS MARCH; BIKE, DOG DO TOO

Times Special HOLLYWOOD, . Oct. 4, — In a single day of shooting on the Selznick technicolor comedy, “Nothing Sacred,” in which he co-stars with Carole Lombard, Fredric March was cut on the nose by a sliver of thrown ice, was poked in the stomach by a passing bicycle and had his trouser leg ripped by a trained dog. ‘No wonder he couldn’t figure out whether he was in the midst of a movie or a dose of mayhem.

BARTHOLOMEW CASE DELAYED

HOLLYWOOD, Oct. 4 (U. P.) — A hearing on the petition of Freddie Bartholomew’s parents to set aside his, adoption by his aunt, Myllicent Bartholomew, was postponed until Nov. 1. The continuance was agreed upon by counsel for both sides. It was believed that the young actor’s parents, Mr. and Mrs. Cecil Llewéllyn Bartholomew, would arrive here before the date for the hearing.

Claudette Colbert ror Met Him in Paris” 1] e «" a Ls! Jean Muir. wmre,

AL 4B x

WEDNESDAY ONLY :

VINCENT LOPEZ

and his Orchestra 18—ARTISTS—18

Tickets Now on Sale Indiana Theatré Néws Shop

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DANCE TOMORROW

PAUL COLLINS

and his Orchestra

ROLE

If your taste runs to Shirley Temple or to new gadgets in Holly-

wood’s technical departments, this

picture_should be of interest. For

the Temple fans, here is a shot from her next picture, “Heidi,” based

cn Johanna Spyri's famous story.

Twentieth Century-Fox has kept

IN NEW YORK— GEORGE 088

Tea Sipping British Actors Who Quit for Day at

4 P. M. Bring Anguish to Producers.

EW YORK, Oct. 4—Manhattan Miscellany: The first celebrities to have disturbed the peace along Broadway this season are Mary

Pickford and “Buddy” Rogers—“Just Married.”

When they made their

debut in the audience at a redent first night, a few bystanders noticed

them come in.

When they departed, the few bystanders had grown

to mob size. the mob would do the same for Douglas Fairbanks. The invasion of British actors with a rare vengeance this season has given rise to a threateningly menacing custom—afternoon tea. It seems they can’t evenl rehearse without their daily potion of brewed and nonalcoholic tonic with little sandwiches that make hardly a swallow. Their work ceases at 4 p. m., to the chagrin of directors and producers alike,, when a man rolls in a tea table and serves. Evelyn Laye, Frank Lawton, Irene Browne and Jack Buchanan aré among the current tea-timers.

& s s

DD trends in the show business: In Brooklyn, movie éxhibitors are replacing Bank Night with public weddings onstage. Neighborhood merchants contribute clothing and furniture to the happy swains,

Remember the alleged demise of strip tease? Morton Minsky has just phoned to say that he has hired 8 young lady who does “a strip tease in a new kind of way.” And which he hopes to get by the municipal watchmen of the town’s morals. Sally Rand, who forsook her bubbles and plumes and magnificent salary to be a dramatic actress last summer at $25 a week, still woos the Muse. She wants to act and no fooling. While she travels, showing the countryside her anatomical sights, a hired staff in New York reads play scripts, one of which will serve for the dramatic debut on Broadway. When any of Maxwell Anderson's plays open along the Rialto, he stays at home and violates a standing custom among playwrights. For dramatists are traditionally required, when their brainchildren are being trotted out for the first time, to nervously pace the gentlemens’ lounge, bite their nails, buttonhole anyone who happens to come by, moan despair and end in prostration. Not so with Anderson. He relaxes at home, reads, plays bridge or attends a local movie gnd it requires utmost. persuasion to get

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VOID AFTER OCT. 8—T

But don’t be alarmed; ®

him to read the critics’ opinions the next day. Speaking of first nights, the pageantry of these tumultuous and often cockeyed occasions has been borrowed by the radio magnates. When any outstanding performer makes a microphonic debut these days, letters of invitation go out to a select list of auditors who arrive in ermine and tails. The opening night list for the new Kate Smith ‘sessions seemed to have been culled from Who's Who, the Social Register and the Almanac de Gotha. And a crowd, representative of all three pedigree books, promised to show up. #8 8 UMOR is that James J. Walker may retire from his municipal post with the Transit Commission (now that his pension hopés are gone) and accept a place as arbiter 9 = all legitimate theaters in New ork John D. Rockeféller Jr., manages to look in on his ewn show, ‘Virginia,” at least twice a week.

THREE RESIGNED BY FILM STUDIOS

Times Special - HOLLYWOOD, Oct. 4. — Michael Whalen, featured actor, Nick @astle, dance director, and Lou Silvers, general musical director, have signed renewals of -their long-term contracts with 20th Century-Fox studios. Whalen’s new contract coincided

with the start of production of

“Headline Huntress,” in which he plays opposite Gloria Stuart. Castle directed the dance specialty numbers in the recently completed football’ musical comedy, “Life Begins in College,” starring the Ritz Brothers.

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edy pantomime

SHIRLEY TEMPLE GROWS UP INTO "HEIDI

i

the seript on ice until Shirley grew old enough to play the part.

In

this scene she is receiving a property-room: Christmas package from

Sidney Blackmer.

The gadget is the new movie camera in the fore-

‘ground. One of its new features is a folding top. :

Comedians’ Eyes Are Key To Much of Performance

Times Spécial

HOLLYWOOD, Oc¢t. 4—In “singlé act” comedy, the eyes have it. A single act-comedian, it might be explained, is one who functions essentially and independent of thé other members of the cast, so far as

comedy is concérned, though he is integrated through his role.

Cantor, Harold Lloyd, W. C. Fields,

Eddie the Ritz brothers, Jack Haley and

Herbert Mundin are all sifigle-aci Specialists who have made outstanding

successes oh the screen. Since they function without | stooges, as contrasted with the gag comedians, who get their laughs from smart lines in answer to cues by fellow players, single-act comedians depend largely upon pantomime. A study of Itheir methods indicates that development of ocular control is an irfiportant element. Mr. Mundin and Mr. Haley fall into what might be called one-lidded school of eye workers. Mr. Mufndin’s special technique is to raise each eye so that thé white shows between the iris and the lower lid. Mr. Haley, on the other hand; raises the upper lid so thay the white part of the pupil is exposed over the iris. The first gives an éXpréssion essentially indicative of resignation or despair, while the latter registers amazement or alarm. Eddie Cantor is one of the few successfully to master the ‘twolidded technique. He has trained himself to raise the upper lid while dropping the lower lid, thus showing white all around, and créating the illusion of bulging eyes. Harold Lloyd used & somewhat similar technique, but resortéd to the device of horn-rimmed glass frames— there were no lenses in Mr. Lloyd's spectacles—to accentuate the gesture. Another type of eye work in comis that used by Harry Ritz, the®tenter member of the mad Ritz Brothers trio. He rotates his eves at high speed to indicate puzzlement, a technique not unlike that used in an earlier day by Ben Turpin, except that the Ritz eyes are always pointing in

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the same dizection, ‘while Turpin’s usually got so involved they pointed along diverging lines of sight. The Ritz Brothers are properly classed as single-act comedians—insofar as they may be classified at all—because their mad antics .are almost

invariably done in unison, and none is a stooge to the others.

Diva Jepson |s Fancier Of Rabbits

Bunny Raisers Know Her ‘Even if Autograph Fans Do Not.

Some musicians become famous in other lines, thanks to hobbies diligently pursued. Albert Spalding is known in the sports ‘world as a tennis player, and Josef Hofmann’s tinkering with machinery has resulted in several inventions. But Helen Jepson, blond Metropolitan soprano, who opens the Martens Concerts series at English’s Oct. 16, has a néw hobby. She's a rabbit raiser, and a noted one. In fact, her reputation as a bunny fancier spoiled her privacy in Hollywood. Being a movie neophyte, Miss Jepson can get around the film capital without a string of auto-graph-hunters in her wake. But the other day she visited the California Fair, and was recognized and greeted warmly by fellow rabbit raisers. She has won several blue ribbons at New York rabbit shows, and her fame had preceded her to the Coast. Moving on to the goat exhibit, she received another cordial greeting, for her livestock interests don’t stop with rabbits. One of the goats, a prize Toggenburg, became so familiar that he reached over and nipped off a lock of the singer’s hair. But, the report from Hollywood adds, he didn’t ask for an autograph.

GIVES TIPS ON 'IN-LAWS'

Picture fans who have trouble with mother-in-law will + sympathize with and gain valuable advice from the plight of Burgess Méredith in “There Goes the Groom.” The actor feigns amnesia to make his escape from his fiance's mother.

Plus Mystery! Thrills! «BULLDOG a COMES BACK”

With dons Barrymore

, 0

WHAT, WHEN, WHERE

APOLLO

“Ly Spy.” with Dolores Del Rio, Fela: Lorre, Seorge 3 Sanders, at 11:40, 1:44, 3:48. 5:52 and 10.

CIRCLE Wide_and Handsome, with

TR

Drummond Comes Back,” with Som: Rarzymore, at 11:23, 2:34,

5:46 KEITH'S

Vaudeville on jage: with Chick Thomas, Lat 1:40, 6:50 a “Rain, on a Crear and Walter Huston, at 12, 2:30, 5, 7 and 10:10.

LOEW’S “The Prisoner of Zenda, » with

Ronald Coleman, Madeleine Carroll snd [a Fairbanks Jr., at 12:30,

* with Bruce Cabot an Sy. at 11:10, 2:20, 5:2

LYRIC

Vaudeville ‘on Sjage, with oT 5 8 ring a er Ball : 53. 47 and 9:25.

Life 320s at College,’ sfreen, ot the Ritz Brothers, 11:25, , 5:03. 7:47 and 10:25.

OHIO

“I Met Him in Paris,” with Claud ette Colbert. Also “White Bondage.”

AMBASSADOR

“Artists and Models,” wi Jack Benny and I pine, Also “Bring on the Prt with harléy McCarthy.

ALAMO ‘Super Sleuth,” with Jack Oakie. en “Battle of Greed.” with Tom

Mayer Not Sold On Color Films

on at

NEW YORK, Oct.-4 (U. P).— Louis B. Mayer, production head of Metro - Goldwyn - Mayer, disclosed here that he was not- yet ‘sold” on color films. “Color is like dessert,” he said, “put I am sure roast beef is more substantial. Color will be fine when it can be adapted perfectly, and then only in certain pictures. But were not ready for that yet.” Mr. Mayer returned this week from England where he directed the setting up of the British auxiliary to M-G-M. He said that “within a year the headlines ought to be blazing with new stars made across the ocean.” route to Hollywood.

PIPE PREFERRED

Edward G. Robinson, after ordering 1000 cigars—his ‘usual allowance per picture—abruptly switched to a pipe in “The Last Gangster.”

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