Photoplay (Jul - Dec 1939)

When the sound track with the dialogue, music and effects has been rerecorded, it is sent, together with the picture, to the laboratory. Here girl negative cutters match the negative from the editor's print, frame by frame, each girl working on a separate reel. From this negative are made the two hundred and fifty release prints for theaters all over the country. Another negative is sent to Canada and one to Australia. A duplicating print is sent to England and prints are made for the British Empire. Infinite pains are taken to see that the film is flawless. The laboratory is as spotless as a hospital. Every trace of moisture is removed from the air. The temperature of all solutions are automatically controlled. The film is waxed and polished. Men peer through microscopes to see that the sound track is perfect. Others press little buttons in darkened rooms to give each printed scene the correct light exposure. All this for a single piece of film, which, in the final analysis, is all there is to show for two million dollars and two years' work on the part of hundreds of people. This particular film is valuable not only because of the intelligence and artistry which have gone into its making, but because it marks a trend in Hollywood production — a trend which should be followed by other studios. It presents a problem of vital importance today— the conflict between dictatorship and democracy with the final victory of democracy, a conflict which we cannot escape unless we close our ears and our eyes to what is happening around us. It was a vivid experience to watch "Juarez" being made. If you've shared it with us in the two previous articles of this series, we hope you'll agree. But if you haven't, by all means see it. For the two hours you'll spend watching it, you'll probably have a greater respect for what motion pictures can do. The End Distance Ends Enchantment (Continued jrom page 32) the tendency of the public to think of him as Mr. Lamour, and the impossibility, to Dorothy, of allowing any such setup as that. All the guests knew about the money troubles, too, being Hollywood people — about Dorothy Lamour's big salary, bigger than Herbie Kaye's, and the allowance he gave her until she insisted he cut it off. "Get on with the rest," commanded the listeners, lighting new cigarettes. nELL, it was about that time that Herbie finally managed to get an engagement at the Catalina Casino and the marriage came within an ace of breaking up then and there. Oh, yes. There was that evening between dances, when Herbie and Dorothy sat at a table in the Saint Catherine dining room, and he suggested they give the whole thing up. Dorothy had just told him how miserable she was during the long months of separation and how she missed him. "Just these few days together have made me realize I'd rather be with you than be the biggest star in the industry," she'd told him. His face had been very white and strange for a moment. But when he answered, with sudden despair, her eyes held a terror that made him grab her hand and take back his words. "I must have been crazy. . . ." That was the night the two of them decided Dorothy had better go out a little, with other men. ("Ah," said the guests at the party, settling back in chairs. They knew this portion of the story also, but they wanted to hear it again. It could stand repeating. "Go on," they said.) It had sounded like a great idea. Mainly, Dorothy would go dancing or out to dinner and the theater with fellows who were mutual friends — men Herbie knew, too. Of course, there would be gossip. Bound to be. But each time, if Herbie would promise to wait and believe nothing until she could call him about it — "I'll never lie to you," she vowed solemnly, watching his face. Herbie smiled. "That's the way it'll be, then." And that's the way it was. How well the ladies at the party knew, as they hashed it over now. "Randy Scott!" one girl said, her eyes amused as she looked around the room. "Dozens," added another simply. And that summed it up. In the following silence the ladies all stared into their glasses. "But it might have worked," a woman said finally. "Logically, it might have." "It never works." The girl who answered was blonde and lovely and famous, with a notable Past. She knew whereof she spoke; wherefore the others listened respectfully. "Given a guaranteed status quo of all circumstances, it might just possibly work. But people change and the setup changes. Dorothy's not the same girl who married Herbie Kaye four years ago. Then she was an elevator girl with nothing in her experience but a dirt-poor childhood and a lot of hard luck. She believed in glamour, just as she believed all the magazine stories she read and all the movies she saw. Herb was terrific in her eyes, then. And she hadn't been exposed to the Hollywood virus. She wanted a house and a husband and kids. Maybe she still does — but not as much. You always have to make a choice, in a case like this. Husband or career. Home and anonymity or success, money, fame. The answer's almost always the same." The girl paused, and smiled. It was not entirely a pretty thing to see. "Mine was, as you all remember. And I'm not surprised at Dorothy's." "But last year she told people she'd quit pictures before she'd let anything interfere with her marriage." "That was last year. She was just starting her house, then — the one on the sunny side of a hill. With a nursery in it. But then she still thought she'd take a year off and have a baby. It was before so many things happened. It was before Randy, for instance — or any of that. And it was before she began going around with Charlie Barnet. She likes Charlie, you know. Maybe even enough to marry him. I wouldn't be surprised if she did after Herbie gets his decree . . . Still, Charlie is a band leader, too, and will certainly have to be on the road and away from Hollywood at least as much as Herbie was. So why does she go from the frying pan into the fire? Oh, well — " I HE nods of the ladies were simultaneous and unanimous again. This was clear thinking. There was one thing not yet settled, though, one fact not explained. "But she really loved him!" the woman who thought it might have worked put in. "She still does. And that should have offset everything else." EXCLUSIVE LY IN J A N T Z E N SWIM SUITS • New Glamour Swim Suit Fabrics with festive sparkle have been created by Jantzen — fabrics that have captured the radiance of summer sunshine, Velva-Lure — Satin-Knit — Knit-in -Prints. These rich luxurious fabrics are caressingly soft on the body yet hold vour figure firmly with a new and amazing degree of figure -control. The miracle of Lastex yarn adroitly knitted in — by Jantzen's exclusive method— makes these new tailored Jantzens with Positive Uplift hug to your body with wrinkle-free smoothness whether dripping wet or snugly dry. Gorgeous to look at — delightful to wear! LILLIAN PORTER 20lh CE.VTURY FOX PLAYER "ROSE OF WASHIN6T0N SQUARE" wearing the JANTZEN "COOUE TWOSOME" in a gay new Glamour Fabric "Knit-in-?rint" S4.95. Other Jantzen creations S4.95 to S7.9S. JANTZEN KNITTING MILLS, Dept. 262, Portland, Oregon Send me style folder in color featuring new 1939 models. Women's □ Men's □ Name_ Street_ City. JU-LY, 1939