Indianapolis Times, Indianapolis, Marion County, 4 April 1939 — Page 8
ral ; 8
Film Made
‘In Reverse’ By Goldwyn
t's All Done So He Won't Lose $50,000 in Canned Heifetz Music.
HOLLYWOOD, April 4 (U. P)— Movie-making sometimes gets a little complicated, but all's well that ends well—and Sam Goldwyn has] the highest hopes for the success
WITH THESE 'DARING' STEPS
| &
of a motion picture he's making in
reverse,
So if this story about the resourceful Goldwyn sounds incredi-
ble, remember merely that it hap-| i
pened in Hollywood and worry no more about its truth: i Mr. Goldwyn announced nearly a| year ago that he was going to make | a movie entitled “The EXiles,”| starring the famous violinist, Jascha Heifetz, and telling the story of a Jewish musician exiled from Nazi Germany, A week later Mr. Goldwyn announced he would not make “The Exiles.” He decided that international politics had no place in the pictures, But he still had Mr. Heifetz under contract. Since the latter gets $6000 a night for his fiddling, you can imagine what Kind of a contract it was. Mr. Heifetz, meantime, said he was no actor. All he could do was play the violin. So Mr. Goldwyn
hired a symphony orchestra, put his violinist in a dress suit, and had him play some $50,000 worth,
Playing Recorded
MUSIC
By JAMES THRASHER
All this was recorded on sound track and film, until there were four standard movie reels of closeups and long shots of Mr, Heifetz and the orchestra playing eight tunes, ranging from the classical to the semipopular. Mr. Heifetz collected his money and left Hollywood, shaking his head Mr. Goldwyn, who had $50,000 worth of recorded music in the can, let it be known then that what he needed was a story to fit. Some of the movies’ best writers tried their hand. Mr. Goldwyn was about to give up, when he received a script by Miss Irmgarde Von Cube. Her story was about a music school, which was about to fold— thereby returning its pupils to the slums. But by a series of happy events the great Heifetz played at the annual concert. That brought on the sale of so many tickets and caused so much publicity that the school was returned to its financial feet and everybody was happy, including the creditors. So the experts went to work Archie Mayo became the director. Miss Margot Stephenson, Joel MecCrae and Walter Brennan were set as the proprietors of the music school and the casting office began to worry about pupils. These had to be musicians and no faking was possible, More Good Luck
It was here that Mr. Goldwyn had another stroke of luck. He discovered Peter Meremblum, professor of music at the University of Southern California, spent every Saturday afternoon rehearsing 85 child musicians in a juvenile symphony orchestra. Prof. Meremblum did this for the fun of it and he wasn't much interested in money, until the Goldwyn emissaries pointed out that movie gold would buy the orchestra members some real instruments. One of the professor's biggest woes was the fact that his first violinists violin cost $3 and was inclined to squeak. So the deal was made. Prof. Meremblum brought 45 of his finest students, who ranged in age from eight to 17, to United Artists’ studios. There they played the classics under the baton of Alfred Newman as the classics seldom have been played before. “Many a symphony orchestra in this country would be proud to do as well,” Mr. Newman said, while the professor beamed, On one stage Mr, Mayo shot the dramatic parts of the story, while on another Mr. Newman recorded the music of the child orchestra. Eventually the whole thing will be fitted together and Goldwyn will have a motion picture ready for your pleasure,
N. Y. U. SENIORS HONOR DE MILLE
HOLLYWOOD, April 4 (U. P). —Cecil B. De Mille, the famous film director and producer, was notified today of his selection by the senior class of New York University as the “most popular radio personality in America.” At the seniors’ request, he will judge a beauty contest conducted by the class yearbook, The Violet.
WHAT, WHEN, WHERE
APOLLO
“Three Smart Girls Grow Up.” with Deanna Durbin, Helen faupsh ang Nab Grey, at 12:49, 3:54 6:5 an “Beauty for the Askin sh le Ball and Fate "&n 41, 2:46, 5:5! and 8:
CIRCLE
John Boles, Joe Rines and orchestra, Re and June Mann, dance and others, on sta 3: x 6:35 ang EL “ Re at 12: So inner ake , with Martin, Gloria Stuart, e That metta and Slim Summerville. on JSen at 11:20, 2:10, 5 7:50 and
with Lu- \ owles, at
HE familiar joke about the virtuoso who made faces because he didn't like music is not so incongruous as it might seem. At least one often feels that some performers, if they do not exactly dislike their art, at least have lost sight of its essential purpose and beauty. So, in a world of virtuosos enmeshed in self-interest, selfesteem, jealousy and its attendant evils, it was a rare privilege to come into the presence of Nadia Boulanger, A good many music lovers availed themselves of this opportunity when Mlle. Boulanger gave a two-piano recital with her gifted pupil, the young French composer, Jean Francaix, Mlle. Boulanger is, of course, an internationally famous teacher, conductor, lecturer, organist and pianist—composer, too, before she modestly ceased this activity in deference to the great talent of her late sister, Lili. It is as a teacher that this gifted musician has achieved her greatest distinction.
No Mannerisms, No Pomposity—Just Full Conviction
HAT Mlle. Boulanger and M. Francaix played last night at Bloomington somehow does not seem too important. But the reason is not the obvious one. For Mlle. Boulanger, in a few prefatory remarks before each work, made one feel that he was not listening to this or that composer, but to music—and almost for the first time. She has no mannerisms and no pomposity. Yet her simple, earnest, witty remarks were illuminated by complete conviction. Here was a tremendously informed musician speaking of music in a heartfelt way that the most unlearned could understand and instantly respond to. In her playing there was nothing which one might label as brilliance or virtuosity. But there was perfect taste and absolute self-effacement. The music spoke through the players and filled the listener with a warm satisfaction that exceeds “thrills.” M. Francaix likewise has this communicative spirit, To drag myself back to straight reporting, it might be noted that the young man was the more brilliant player, and that tonal balance occasionally tipped his way. But that would be to give the wrong impression. The performance was scaled to a delightful intimacy, and the ardent love of music evident in every phrase played was more im=pressive than the grandest fortissimo.
A Rare Artist—A Rewarding Experience
HE program embraced Mozart's D Major Sonata: three pieces by Lennox Berkeley (a Boulanger pupil); a chorale prelude by Bach and a set of Variations in B Minor by Schubert; Stravinsky's Nocturne and “Lun Matin de Printemps” by Lili Boulanger. In conclusion there was a Concertino by M. Francaix, pleasant, humorous, pianistic, artfully constructed and entirely delightful. It must not he concluded from this, of course, that all pianists should try to emulate Mlle. Boulanger in performance. It would be as idle as saying that all composers should write in Mozart's style, or artists paint in Botticelli’s, or all actresses try to emulate Duse. Yet any musician or listener might well try to purge himself of pettiness and try to approach Mlle. Boulanger's conception of the art. Perhaps it is best and safest, however, to put her down as a rare, if not a unique artist, and to remember her appearance hereabouts as a rewarding experience,
Cramer to Play at Shortridge April 12
OMAR CRAMER, Indianapolis pianist, will be presented in recital by the Shortridge High School Baton Club at 2:45 p. m. April 12 at Caleb Mills Hall. Proceeds of the recital will go toward purchasing a piano for the school. Mr. Cramer's program will include the Bach-Tausig Toccata and Fugue in D Minor; three compositions each by Brahms and Chopin, and a concluding group by Blanchet, Bizet-Rachmaninoft, Scriabin, Dohnanyi and Saint-Saens,
Perseverance Brings Soprano Reward
ODAY'S gold star for application and perseverance certainly should go to Annamary Dickey, the 24-year-old soprano from Decatur, Ill, who won a Metropolitan Opera contract, a silver plaque and $1000 as cowinner of the Metropolitan's fourth annual radio audition series. Bach vear Miss Dickey had entered the broadcast competition and each vear got as far as the finals, only to lose out in the home stretch. Between unsuccessful attempts, the young singer continued her studies at the Juilliard School of Music, sang on the air and appeared with the Cincinnati Zoo and St. Louis Municipal Opera companies. Both Miss Dickey and Mack Harrell, baritone, who won a similar award, started out to be violinists. Mr. Harrell got far enough with the fiddle to teach at the University of Oklahoma and to serve as the Oklahoma City Little Symphony's concertmaster.
Life Underwriters Seek Theme Song
EW poets or composers, probably, have given much thought to the possibility of glorifying life insurance in song. They may give this esthetic matter their attention, however, when they find out a $500 prize has been posted for the composition best fulfilling the requirements. The National Association of Life Underwriters has offered this inducement for an original song as part of its golden anniversary celebration. The announcement has been made hereby Hilbert Rust, president of the association's Indianapolis unit. Competition is open to all, Mr. Rust states. “An entry or original music,” according to the official rules, “should be preferably of the ‘march’ type and should be easily sung by a group of male voices. Words should typify the aims and ideals of life insurance and of the life insurance agent and of the National Association during its 50 years’ service, in a manner designed to inspire enthusiasm for future growth and DE gt
SCARIER IS FAMOUS LIEN
young Spanish gardener |
Some of the dances that set the whole country talking in the preWorld War days are demonstrated here by Fred Astaire and Ginger Rogers, stars of the Indiana's forthcoming “Story of Vernon and Irene Castle.” Left to right above, they show you how the Castles danced the Castle Waits, Texas Tommy and Maxixe, all daring creations of the pre-jitter= bug era.
No Children? Well, Sorry—
May Robson Builds Homes for Couples With Families.
HOLLYWOOD, April 4 (U. P) — May Robson, president of the firm of Robson & Harmer, struck off a balance sheet today and reported with a twinkle in her eye that the enterprise is showing a nice profit. The firm of Robson & Harmer is perhaps the only one of its kind in America. It puts up homes and then rents or sells them to couples with children. If you don't have children, you can't do business with Robson & Harmer, In a city where landlords welcome children with the same degree of warmth they show the tax collector, May Robson and Lillian Harmer stand out like Hedy LaMarr in a three-chair lunchroom. It started six years ago when the kindly old actress, then 69, was driving through Culver City with Miss Harmer, her secretary and long-time companion.
‘Nobody to Play With’
They saw seated on a curb a small boy and a girl, as lonely youngsters as one could find off a movie stage. Miss Robson told the chaffeur to stop. She asked them why they were so sad. “We ain't got nobody to play with,” the little boy piped. “There ain't no other kids living around here.” That night the firm of Robson & Harmer came into being. The two partners decided to build a “real nice place” for $4000 and rent it. Miss Harmer suggested the “grocery man's sister and her husband.” “Do they have a little boy?" asked Miss Robson. They did, so the grocery man's sister moved in as soon as the plaster had dried. Since then, the two partners have continued their unique housebuilding program. They built five small dwellings, rebuilt or reconditioned 11 others, erected one duplex house in Beverly Hills and now are putting the finishing touches to a four-family flat. Some they rent, others they have sold for small down payments.
Denies It's Philanthropy
Now nearing 775, Miss Robson hasn't lost any enthusiasm for the project. She only regrets she doesn't have the money to build more places. Gruffly, she denies she is philanthropic or a Lady Bountiful. “Fiddlesticks!” she snorted. “Before we started building houses, we got about one and one-half per cent on our money from the banks. Now we're in business and we always make a profit. What do people think we are, just a couple of sentimental old women?”
VISITS NAMESAKE
HOLLYWOOD, April 4 —The real reason for the visit of Alexander Woollcott to Hollywood has been revealed. He is here to visit his first namesake, William Woolcott Marx, adopted son of Harpo Marx.
NEW YORK
By GEORGE ROSS
way. songs of the day. Brill Building in alarming numbers, calling faithfully at each office. Most of them depart with thwarted hopes. For, as in most enterprises, selling the first song is the hardest. Of every 500 songs that are written, either by professionals or amateurs, only 35 are published. And of the 35, but one reaches the distinction of a hit. And the hit usually is a professional’s! ” ” IPS on tables: We dine, when the palate yearns for that Armenian delicacy called shish kebab, at the Golden Horn. The cuisine here, for most occidental tastes, is exotic. Rice Pilaff or rich desserts dubbed Baklawa are unfamiliar to devotees of the American table d’hote. And the apertif labeled Arakel, which these Armenians treasure as their national fire-water, is a sly and subtle head-spinner, These gastronomic Armenians (whoever nicknamed them the “starving Armenians?) wrap their food delicacies in vine leaves. What we didn't know, before serving a novitiate at the Golden Horn, was that the Armenian cuisine is training fodder for tennis stars. Donald Budge eats nowhere else when he's in town and Ellsworth Vines is another steady customer. Alice Marble once had her Armenian meals sent out to her hotel before she engaged in tournaments, and Helen Wills Moody used to drop in often. No one seems to know how the tennis stars found out.
s J ”
ROBABLY the amiable brethren who together preside over the Cafe Richelieu, which nestles in the shadow of Radio City, will resent this notice of them. For, far from pursuing publicity, they prefer to shun it. Their Cafe Richelieu is a mods« est little French-Italian restaurant, sprawling over several rooms and divided by corridors. Their spaghetti is said to be the best in town; but so is the spaghetti of a few hundred other places. Nevertheless, it is very good. But the chiefest claim to fame, besides a superb cuisine, that the two brothers who own the Riche= lieu put forth, is the clientele. For most of the film stars who
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Jeanette Mac PON A L D 1»
BROADWAY SERENADE.
EW YORK, April 4—Tin Pan Alley conveys glamour to the listening world. To tuneful aspirants timidly knocking at its door, it is one of Manhattan's harsher realities. Tin Pan Alley has its capitol in the Brill Building on upper Broad= In this building more than 30 music publishers grind out the Hopeful composers and lyricists troop through the
gravitate toward New York eventually drop in here for an un= interrupted tete-a-tete, a drink or meal. To the proprietors, they are familiar customers, not celebrities to be annoyed or ogled. Idolaters at the other tables are discouraged from wandering over to the tables of the famous guests; and autograph hounds quickly are banished. It is one of the few refuges in town for filmdom's notables.
REFUSES TO LET KING GIVE HONOR
Times Special HOLLYWOOD, April 4. — Gaetano Gaudio, Italian-born citizen of the United States, has declined to accept an honor from Victor Emmanuel IIT, who was once his king. Mr. Gaudio, notified recently that he had been nominated by the King as a Knight of the Crown of Italy for his contributions to the art of motion picture photography, turned down the honor and recognition for his work because it came from a foreign country, although the coun= try was once his homeland. “The honor is one which can be bestowea only by King Victor Emmanuel,” Mr, Gaudio explained. “It has nothing to do with the present form of government in Italy. Neverless, I do not feel that it is right for me, now an American, to accept a foreign order.”
Fonda on Stilts, Presto!—Lincoln
HOLLYWOOD, April 4 U, P.).— A movie technical department produced an authentic Abraham Lincoln today by putting Henry Fonda, the tall Nebraskan, on stilts. Mr. Fonda is 6 feet 1 inch tall. | Lincoln was 6 feet 4 inches. So they hid 3-inch “lifts” inside the boots! Mr. Fonda wears while playing the | title role for the picture “Young a Lincoln.” The makeup department solved] another problem by ruining Mr. | Fonda's profile with an extension of | his nose, to resemble Lincoln dur-| ing his late 20's,
PRODUCER TO FILM BASEBALL JUBILEE
HOLLYWOOD, April 4 (U. By Producer Bryan Foy, who has a! baseball picture scheduled, arranged | today to send a camera crew to the baseball centennial celebration in| Cooperstown, N. Y., on June 12. The crew will “shoot” Ty Cobb, Babe Ruth, Honus Wagner and! other diamond greats at the cere-| monies.
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