Hollywood (1938)

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Soon the corn comes back bigger, uglier— more painful — than ever. That's why millions of people are using the new Blue-Jay double-action method. Pain relieved by removing the pressure. Then the entire corn lifts out Root and All. Get Blue-Jay Corn Plasters today. 2 5i for a package of 6. Same price in Canada. BAUER & BLACK BLUNAY CORN PLASTERS You Can't Take It With You [Continued from page 29] REMOVE CORNS ROOT AND ALL * A plug of dead cells root-like in form and position. If left may serve as focal point for renewed development. Jack Benny air show, was having the time of his life truckin' to the music of Lionel's harmonica and Donald Meek, who was also in the cooler by this time, got all hot and bothered and after pushing us bums around, cleared a little space and tried to show Eddie a few jig steps of his own. I'll say this for a little guy who is getting somewhat stiff in the joints (and I don't mean nightclubs, Miss Editor) Donald certainly showed Eddie a number of heeland-toe routines that would grade an A-plus in any hoofer's league. All this time I was wondering what had become of Director Capra. Once in a while I'd steal a glance toward the cameras to see how he was taking it, but he was nowhere in sight. It was only when somebody rang the bell and the cameras stopped grinding that L managed to get a peek at him. He'd come onto the set, then, and in his soft, quiet voice explain what he wanted done on the next 'take.' Not a sign, though, of the bullying, excited, loud-mouthed and nervous directions uttered by so many other big-time directors when the shooting went off on the bias. He was always patient, always kind and gentle — but don't think for one single minute that he didn't know what was going on, what he wanted done, and that we didn't try to do what he asked. And that goes for Edward Arnold, Jimmy Stewart, Lionel Barrymore, Donald Meek and the rest of the high-priced cast — all of whom seemed to be mighty well pleased to be working for him. I even heard them say 'yessir' to him — and that's something an actor rarely says to a director. | Well, as I say, the bell kept ringing, Art Black kept shouting "quiet," and we kept on doing this sequence over and over with Capra never once flicking an eyelash in excitement, never once speaking sharply; and the funny thing about it all was that nobody seemed to get tired. Not even Lionel Barrymore who was a pretty sick man in real life as this reel was being shot. Lionel had the misery in his right leg and he was suffering ninety-nine per cent of the so-called tortures of the damned, but the old trouper found plenty of time between takes to spring his favorite jokes. It was Barrymore who sprung the surprise birthday party in honor of Director Capra during the luncheon hour that day. When the director came back on the set to resume the shooting he was greeted by a chorus of "Happy Birthday to You" and leading the chorus was none other than Lionel. It was Lionel, too, who led Capra to a table in the center of the set and uncovered a monster birthday cake, decorated with one lone candle and an inscription "Happy Birthday from the Capra Troupe." It was Lionel, too, who made the speech of the occasion. "We weren't sure, Frank, about the candles," he grinned broadly, "except that you rated a lot less than my cake held when you gave me my birthday party last week. So we only used one." That was the only time I saw the director flustered. But flustered or not, he authored a neat little impromptu speech in return when he said: "Let's cut the cake, Lionel, because You Can't Take It With You." H After we'd had our cake — and eaten it, too — Jean Arthur, who plays the feminine lead in the picture, introduced her new game of "couplets." Here's the way it goes just in case you want a good substitute for charades, quizzes, and anagrams. First Jean wrote various words or phrases on several slips of paper. These referred in each case, to some phase of the picture. The slips were then tossed into a hat and everybody on the set came up and drew out one. Each of us was then required to write a couplet in which the word or phrase was rhymed. Jimmy Stewart, in the opening clash, drew a slip bearing the words "Academy Award" and was declared the inter-cast winner with the following championship verse: Frankly, Mr. Capra, ain't you getting kind of bored, Always winning, or presenting, the Academy Award? Halliwell Hobbes and Donald Meek protested Jimmy's versified victory on the grounds of professionalism. They called attention to the well-known fact that Jim, while at Princeton, studied poetry under Alfred Noyes, professor of English verse, but Jean stuck to her selection and declared Jim the winnah. Ann Miller, whose role in the picture caused her to be on her toes eight hours a day in ballet slippers, drew the word "Capra" and Jean awarded her second money with this couplet: Working for Capra Is not any snapra! The name "Robert Riskin," author of the screen play, appeared on the slip drawn by Spring Byington. Spring, who plays the playwriting part of Penny, leaped to her property typewriter and in less time than Lionel Barrymore could play Turkey in the Straw on his harmonica she had pounded out the following couplet to win third place: Through these funny scenes we're friskin', Thanks to Mister Robert Riskin. Other verses, mine included which ran its ragged meter something like this: Us extras can't act like Auer Mischa and Hobbes, But we sure can eat cake — just gobs and gobs! were listed among the "also rans" in the jingling handicap and maybe the less said about them from now on the better. Away from a set, and at a home party, Miss Arthur explained, her new game of "couplets" should prove fun. Where there is a guest of honor, for example, all the 52 MOTION PICTURES ARE YOUR BEST ENTERTAINMENT