Silver Screen (Jun-Oct 1940)

Silver Screen for June 1940 81 Hnking." At the word "sinking," Brenda and Una :ling closer together. The fury of Rains <s impotent against the casual business'ike attitude of the Englishman. Burke (Alan Hale) has pried open a chest and found a case of jewels on top. "Look, Cap'n," he chortles. "Not bad." "Don't you dare touch those jewels!" Una blazes. Hale glances tip at the sound of her voice and his face breaks into an incongruous smile of recognition. "An Englishwoman, by heavens!" he chuckles. "But not very proud of it at the moment," Una squelches him. Of all the character people on the screen I can't think of any I'd rather watch than Una and Alan (unless, perhaps, it's the newly discovered Queenie Vassar in "Primrose Path"), but there are Dther studios to cover so I'll be on my way to — M-G-M THERE'S plenty doing out here again this month. "The Mortal Storm," starring Margaret Sullavan and James Stewart, is shooting. This is the story of the Jewish professor in Germany who was a world famed scientist, universally esteemed, until the Nazi regime got in. It's a sordid, harrowing tale, but engrossly interesting. This scene they're shooting is not terribly important, lit is simply a presentation being made the professor {Frank Morgan) on his 'sixtieth birthday by his classes. The scene simply fixes in the minds of the audience the regard in which the professor is held. Between takes I kid Jimmie Stewart ,about his amours, for that boy certainly gets around. But the poor guy can't even ;take a girl out dancing without being ^reported engaged to her. "What would the columnists do for copy if you ever igot married, Jimmie?" I ask him. "I guess that's one of the reasons I ■ don't," he grins. "I have to help them put. Live and let live, you know." , "That's a snappy little number you're wearing, too," I compliment him, taking in the Norfolk jacket with a belt going all the way around the coat — like I used I to wear when I was in grade school. Bob Young passes by. "Hi, Dick," he says. "When you coming out to the riding academy and take some of that beef off?" "I ride Dick Aden's horses — for nothing," I inform him loftily. "How nice — for you," Bob murmurs sarcastically as he moves on. I, too, move on to the next stage where — if:, sj: ij: SUSAN and God" is shooting. This stars Joan Crawford, but alackaday! Joan isn't working today. However, practically all the rest of the cast is, except Fredric March, who plays Joan's husband. The set is the living room of the Long Island estate of Joan's friend, Rose Hobart. Joan has just returned from Europe, full of a new enthusiasm. She has just discovered God! Moreover, she has a new approach to God, learned through a : Lady Wigstaff ( Constance Collier) . Everybody at Rose's house party is involved, i Rose wants to get rid of her husband, i so she can marry Bruce Cabot. Rita Hay worth wants to get rid of her husband {Nigel Bruce), whom she has but recently married, so she can marry John Carroll. And Ruth Hussey has always been in love with Fredric March, who is married to Joan, who doesn't love him. At the moment, Joan (who isn't working today) is supposed to have Nigel Bruce cornered, talking away sixty-to-theminute about God. "That's been going on since before dinner," Ruth Hussey snickers. "I heard her tell him if he wasn't 'Godconscious' he was nothing but an animal" John Carroll puts in. Then the butler comes in. "Telephone for you, Mr. Rochester," he says to Carroll. "A Mr. Kraus." "Why, that's his agent!" Rita bursts out excitedly. "It's probably to say I'm not the type," Carroll remarks casually, stopping to light a cigarette. "He woiddn't call at this hour of the night for that," Rita exclaims and starts to push him towards the door. "Oh, hurry!" "Say, whose call is this!" Carroll laughs. Just as they're leaving the room Bruce comes in, his arms full of tracts. Jealously, he watches his wife (Rita) and Carroll as they exit. The little group in the room reacts uncomfortably. "Did you finally escape, dear?" Rose Hobart asks solicitously. "Yes," Nigel snaps, starting towards the door. "I know all about the confounded Wiggam movement in Europe, Asia, Africa and the Bronx. And what she didn't tell me, I can read — she thinks," disgustedly indicating the pamphlets. "She's gone down to the kitchen now to hector the help. They'll probably poison her." It's nice to see Rose Hobart again and, if she had looked years ago when she was a potential star at Fox as she looks now, her story in pictures might have been different. But what I can't understand is why M-G-M had to hire her for this part when they have Virginia Grey idle on the lot and why they had to hire Bruce Cabot when they have Alan Curtis. However, I suppose that's more the stockholders' business than mine. As I turn to leave the stage I notice a man whose face is vaguely familiar, but whom I can't place. "Hello, Dick," he says. I look again and almost swoon. It's George Cukor, the director. A few months ago he was as big around as a blimp. Now he has a waistline like a high school kid and his extra chins are all gone. "What in heck has happened to you?" I yelp. "I just got tired of being fat," he explains, ' and I went on a diet. It was an easy diet, too. I took off seventy pounds." "Gimme," I demand. I pocket the copy of his diet he hands me. Some day, perhaps, I'll get around to reducing. "Come on," says Maxine Thomas, who is steering me around. 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