Photoplay (Jul - Dec 1939)

Record Details:

Title:
Photoplay
Date:
Jul - Dec 1939
Publisher:
Chicago, Photoplay Magazine Publishing Company
Volume:
Photoplay (Jul - Dec 1939)
Leaf #:
00071
Language:
English
Subjects:
Motion Pictures, Film Industry Fan Magazine",nyarc-museumofmodernar
Collection:
Early Cinema, Fan Magazines, and Hollywood Studio System
Format:
Periodicals
Contributor:
The Museum of Modern Art Library, New York
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
The leading Hollywood fan magazine of the 1920s and 1930s. Photoplay offered readers portraits of their favorite movie stars and stories about their personal lives. The magazine played an important promotional function for the Hollywood industry, but its editors and reviewers could also be highly critical of Hollywood. Beginning in 1921, Photoplay bestowed its annual 'Medal of Honor' for the film readers voted as the best of the year. -- Eric Hoyt, 2011.
Date Added:
March 28, 2024
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Melvyn Douglas, Director Alexander Hall and Cameraman Henry Freulich watch Joan Blondell rehearse for a scene in "Good Girls Go To Paris'" her in the headlines. He builds a phony romance between great screen lover Rudy Vallee and Sonja, showers her with orchids, mash notes and what not — in Rudy's name — all the time being a lovelorn John Alden chap. In the end, of course, he speaks for himself, John. Sonja glides only briefly on her silver runners in "Second Fiddle," with no big ice production numbers, which is almost as startling to us as the news that Rudy Vallee appears without his band. All of them go to town in their dance numbers, though — even Edna May Oliver is shaking and breaking it as Director Sidney Lanfield shoots the "Back to Back" dance number. Sonja's a knockout in a sleek black velvet dress, fourteen pounds slimmer since her exhibition tour, although Ty Power still calls her "Chubby." She's teamed with Rudy, blushing and grinning as usual, in a tuxedo and red (Continued on page 74) "On Borrowed Time, "that dramatic stage commentary on death, is a natural for Lionel Barrymore and oung Bobs Watson, with Director arold Bucquet (center), set boss R