Modern Screen (Dec 1942 - May 1943)

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ADDRESS ' CITY STATE 1 □ Check here if you are enclosing $1.00 with order, 1 in which case WE pay the postage. Same Money Back 1 Guarantee, of course. Gal" is only half of the picture. It's the flavor of the period, the songs and the dances that make up the other half of the film. Judy Garland, in one of the best parts of her career, sings and acts her way through a juicy role; some of the songs are old and some of them are new, but they all get the Garland treatment. The little lady has been growing up, and in "For Me And My Gal" she makes her bid for mature stardom. "For Me And My Gal," too, acts to serve up Gene Kelly on a large platter. He's something of a new face in films with a sensational New York stage success behind him. There's George Murphy, of course, of the pleasant Irish face and the nimble feet; and Ben Blue, Keenan Wynn and Marta Eggerth. As they may have said at the Palace: it's a solid bill. Ring up the curtain! — M-G-M. P. S. Judy Garland was the first official "customer" at the new M-G-M Emergency Hospital. She limped in with blisters on her feet from a 3-day dance routine . . . Buzz Berkely, rehearsing Ben Blue for a corny vaudeville dance act, didn't like the way things were going. Ben was supposed to dash onstage just as the curtain fell, run under it, be hit on the head, etc. The timing was wrong, so Berkely said, "Here — I'll show you," and ran under the curtain. It conked him on the head with a bang and he hit the floor! He'd forgotten that Blue wore a heavy rubber pad under his cap for the scene! . . . Keenan Wynn, son of Ed, had a part as a vaudeville star playing the old N. Y. Palace. Funny coincidence is that his Pa was on the opening bill of that famous variety house, as well as in the closing show. A decade later, another Wynn is playing the Palace, even if it's only a picture . . . "Oscar" trophies are losing their prestige, claims the cast of "Me and My Gal." Each time one of them does an extra-good scene, Director Berkely rewards him with a lump of sugar — "The Academy Award of Today" . . . One of the sets was a 1915 restaurant, and among the authentic "props" was a large glass globe on the counter, stocked with sugared doughnuts, a custom in those days. Judy, who loves doughnuts, ate one between each "take," and the property man had to keep replenishing the globe. "Serves me right," he cracked, "for not laying in a supply of rubber ones before they put the ban on tires" . . . George Murphy and Blue had trouble finding jokes so bad that the audience wouldn't laugh. Sample — Ben: "What's that mark on your forehead? A birthmark?" George: "Yeah, I got into the wrong berth." . . . Gene Kelly got the biggest surprise of his life when Marta Eggerth handed him a glass of champagne in a scene. "Holy Cats," he exploded, "it is champagne!" "The holy cats were convincing," observed Buzz, "but why the rest?" "Because it is champagne, taste it!" They did and discovered that an old bottle of champagne lying around in the property department had been unearthed! CASABLANCA We are learning our geography lessons these days in the painful school of war and battle. And it's a tortured geography that does not move in straight lines and set patterns; it skitters over a world made shapeless and horrible by the Nazi shadow. The refugees who seep out of Europe must move a cautious, round about, danger-ridden path to safety: Paris to Marseilles, a dash by night across the Mediterranean, from Oran in Africa to Casablanca in French Morocco, and from there, with luck, to Lisbon, and from Lisbon, for a few, to America and safety. "Casablanca" puts a magnifying glass on this way station in the new Underground Railway. Here in this Moorish city, sweltering under the African sun, the hopeless of Europe gather for the dash to Lisbon; here you might find a haunted Austrian seeking a visa, a Belgian on his way to the Free French forces in the Congo, a Pole hunting passage to England and the RAF, an underground leader on his way back to the death-house of Europe, Gestapo agents and Nazis, thieves and smugglers, women and the men who love them . . . You would find them, most probably, gathered under the bright lights of Rick's Cafe. For Rick's was the center of everything that went on in Casablanca, the good and the bad alike. And Rick himself (Humphrey Bogart) knew all the secrets of Casablanca, all the whispered stories of its back alleys and hideouts. Rick . . . the American who had come from Paris, whose own past was a secret, and who watched life and death in Casablanca with the same cool eyes. "Casablanca" tells a tense and taut story of action here on the rim of Africa. For Rick's own past rises out of the ashes of Europe one night when Usa Lund (Ingrid Bergman) comes into his cafe. Rick had known. Ilsa in Paris, known her as the woman he had loved. But Ilsa is not alone in Casablanca; with her is her husband, Victor Laszlo (Paul Henreid), secretly the head of a vast underground movement in Europe. Events move with a harsh swiftness when the Nazis discover Laszlo's presence. They'll stop at nothing to pre-vent his escape; he is determined to return to Europe. Caught up in this net of intrigue, caught up again in his love for Usa, Rick must move on a dangerous tightrope between the Nazis and safety. Inevitably the action centers in the brightly lit arena of his cafe. There Laszlo comes to plead with Rick for help, there the Gestapo agents come to bargain and threaten, and there Ilsa comes, bringing alive memories Rick had thought long dead. Over the harsh pounding music of Sam, the Negro, at the piano, over the click of the dice and the roulette wheels of the gambling room, over the inane chatter of the bar-room, the drama of "Casablanca" moves to a climax. Warner Brothers has gathered an allstar cast for "Casablanca." Besides the stars you'll find Claude Rains as the French Prefect of Police, Conrad Veidt as the unyielding Nazi, Peter Lorre and Sydney Greenstreet as characters of the (Continued on page 70) 8 MODERN SCREEN