Boy's Cinema (1939-40)

Every Tuesday rent tlio air with clcadly projootilcs. Withennpr atoniis of .siuH riliped amidst, tlic Texaiis, biinn- inH thorn douii by tho scoie. IJiiistiiif,' sheila plouKlu'd lip tho ground over which they ciiarged, inanghiig Baddlc-ponios mid theit rideiM, sIiattcrinR many a wa^on and its tc'am:-itor and tinfo-horse?. JJiit the hving .surged on to uvonge the fallen, and, fording tho San Jacinto's sliallows dashed upon Santa Anna's legions with an impact that l)roke the Mexican ranks. 'i'hroivn into disorder by the Texuns' onset, Santa Anna's men stiove to rally and beat , ba<^l; their foes. Yet with the memory of the ' Alamo inspiring them, Sam Houston and his , followers pressed home their attack with a, fury ' that cancelled out the Mexicans' numerical; advantage. TIic forces of Santa Anna at last gave way ' completely, and, )outed, left hundreds of dead and dying comrades in the \nike of their flight ' —hundreds of abject prisoners, too—among them the tyrant who had commanded them, for Santa Anna was seized as ho was making an ignominious attempt to show his heels. Tluis ended tho battle of San Jacinto—a battle that won Texas her independence, though at dear purchase—a battle whose roll of honour included faithful Lannie Upchurch, shot by a retreating infantryman as ho was riinning up the banner of \ the Lone Star State in place of a Mexican ensign that had flown from a flagstaff near ' Santa Anna's tent. Nor did Sam Houston go unscathed. A, pistol-bullet brought him low amidst a heap of ' tumbled adversaries whom he had hewn down - with a sabre he had wielded. But, unlike liaiHiie, he was to survive his wound—was to; see .Texas freed for ever from tlje yoke of Mexico, and in due course a bulwark of the United Slates. In a dimly lit bed-room at the White House a man lay dead. He was Andrew Jackson, lato President of the U.S., and from an open doorway three people gazed upon his pallid, motionless countenance. The trio in the doorway were Sam Houston, his wife Maigaret—for Margaret Lea had married him shoitly after the close of the war with Mexico—and a small, wide-eyed boy who was their son. For a long time Sam Houston looked upon the face of his old friend and patron in silence. It was the face of a man who had passed away peacefully, and the serenity of its expres.-iioii told Sam that ere he had died he had learned of the realisation of a dream he had always cherished—tho dream that Texas would some dav become a teriitory within the LJ^nited States. Years had gone by since Texas had gained its liberty from Mexico, and it had taken years to impress upon the people of the young Lone Star republic the advisability of enter- ing the U.S. Sam had worked ceaselessly towards that end, and had been supported" by Steve Austin. But now the long-desired goal had been reached—by the will of an overwhelming majority of Texans. And now it was as governor of the United States' latest acquisi- tion of tei-ritory that Sam Houston, Man of Conquest, had come to the Federal capital. Affectionately he continued to regard the still features of the friend who lay dead in that dimly lit room of the White House. "Then at last he turned to the boy who was by his side with Margaret in the doorway. "My son," he said, placing an arm about the lad's shoulders—" my son, never forget in tlie years to come that you have stood in the presence of a great American — Andrew Jackson." BOY'S CINEMA By permission of Corporation, Ltd., bas Conquest," which has Richard Dix Edward Ellis Gail Patrick Victor Jory Robert Barrat George Hayes Ralph Morgan Robert Armstrong Max Terhune 0. Henry Gordon ROBERT MONTGOMERY WROTE DIALOGUE FOR EDWARD ARNOLD Uol)ert Moiilgomcry as Silky Kilmount, C'hicago gangster, and Kdwajd Arnold as Doc Ilammiy, a lawyer just out of prison, were playing a long scene for Mcho-Goldwyn- Mayer'.s "Tho ICarl of (Jhigaco." Arnold complaiiu'd to Director Richard Thorpe that he never had seen such tonguo- twisting dialogue, with words like sybarite, aesthetic and M«chiavellian, and that tho scenarist shoidd bo shot. Tho more Arnold spluttered, tho louder Montgomery laughed. " What are you grinning about?" Arnold demanded. "You have all the simple words and I have all I ho tough ones." "Sure," Moni'goinery said, "I wrote that dialogMO." 9 adviser on the picture; for J>i<m.h>r Nate Walt. Hesidc>H Ito.vd, (ho cast inclutir^ Uussell JIay- <len, Steffi Diina, Sidney iJl.K-kmer, Sidney Tolor ond I'edro do Cordoba, l^larty Shorinan 1 I ii... r.i... produced the (ilm. FILM STUDIO 'S JUNGLE-BOUND WILLIAM BOYD MASTERS FIGHT- ING TECHNIQUE OF THE PAMPAS Although he never wears a firearm and seldom knows how to use one, tho gaucho of tho Pampas, like his contemporary, the cow- boy of the West, is lightning swift "on tho draw." In a clash between two South American range riders, as depicted in "Law of the Pampas," William Boyd's current Hopalon^ Cassidy feature for Paramount, each will uickly pull his scrape or poncho from his sVioulder, draping it over his aim as a shield, and then whip out his deadly "faconi," a wicked-looking dagger about a foot and a half long, which he always wears at his hip. Then will ensue a tense, almost feline, fencing duel, it sometimes requiring as long as a half-hour before a touc.li is made—but it .seldom ends less than fatally. In addition to learning the ingenuities of "la facom," Boyd was required to master the famous boleadores of the South American vaquero in "Law of the Pampas." He was nstructed bv Geraldo Gomez, technical Paramount holies to gi-l ou( of tlie uooils by Christmas, but tlie mil look in doubtful. Everywhere one looks on (he »tiidio lot the»e days there aro jungles and forests in profusion. Kvery known variety and shape of tree rears its liead. First, there was that jungle scene in the Technicolor thriller, "l)v. (-'yclops." In fact, it is almost all jungle. 'J'lopic flora of all shapes and sizes flourished all over Stage 8. Then there is " Untamed," another Techni- color drama of the Noithwoods with Pay Milland, Patricia Morlson and Akim Tamirofl scampering through the forest primeval. Dorothy Lamour has gone native agiiin—with a lava-lava instead of a sarong—in "Typhoon," with a set that makes a real tropic jungle look like tTie lawn in somebody's back garden. Not to be outdone, " The Farmer's Daughter " has a jungle s<'t in a theatre scene. 1'his is strictly a fake forest and looks it, but, noverthele.ss, it is a foicst .scene. Three more epics have the weary and bedraggled lieroes and heroines trotting through the woods. Director Edward H. Griffith is marching Madeleine Carroll and Douglas Fairbanks, Jr., all over Africa in "Safari." Cecil B. DeMille Is limbering up Techni- color equipment to film "Northwest Mounterl Police," which, of cour.se, will be full of the Canadian Rockies. Just to make it complete, they have even got Allan Jones and Mary ^Martin sitting under a tree for a scene in "The Great Victor Herbert." . When all these pictures are finished, do not be surprised if Paramount temporarily goes into the lumber business. There are several million board feet of seasoned timber available. the British Lion Film > ed on the film " Man of ' the following cast: as Sam Housto.n as Andrew Jackson as Margaret Lea as William Travis as Davy Crockett as Lannie Upchurch as Steve Austin as Jim Bowie as " Deaf " Smith as Santa Anna ^^ B^WARD, Anyone buying BOY'S CINEMA ANNUAL will be handsomely re- warded ! For the small cost of this bumper film book, you get in return hours of thrilling and amus- ing entertainment—grand reading, supported by grand photographs. It's a feature programme 1 It's a gift-book in a big way ! Make it yours now! ■S-^ *^ Contents Stories of Old Bones of the River Trade Winds Suez They Drive by Night DowninArlonsaw I The Frontiersman Crime doesn't Pay The Crooked Way Picture Story of Gunga Din include: Visiting King Kong by Car Full page portraits of Favourite Stars How Talkies are made (in Pictures) Life Stories of Pat O'Brien and Humphrey Bogart Boy Stars of 1940, etc. , cS,j»^ 0YS ONENA ANNUAL Your Newsagent or Bookseller can show or order you a copy! 4'" December 30th, 1936.