Hollywood Motion Picture Review (1937-1940)

J^une 5, 1937 HOLLYWOOD MOTION PICTURE REVIEW' Page 7 REVIEWS (Continued from Page 5) TALENT SCOUT Warner Bros. DONALD WOODS FINE IN MOVIE STUDIO BACKGROUND FILM. INTERESTING TO MOVIE FANS. SOME SINGING. Producer Bryan Foy. Directed by Louis King. Original story by George R. Bilson. Screenplay by George R. Bilson, Wm. Jacobs, John Pearson and George Bricker. Photography by Tony Gaudlo. Release date August 28, 1937. Running time at preview 62 minutes. THE CAST Steve Stewart DONALD WOODS Mary Brannigan ) JEANNE MADDEN Dons Pierce ) Raymond Crane FRED LAWRENCE Bernice Fox ROSALIND MARQUIS A. J. Lambert JOSEPH CREHAN M. B. Carter CHARLES HALTON Janet MARY TREEN Rating: C. G. I. K. P. a /c The Story: Woods, talent scout for a movie stu dio, discovers Jeanne Madden and brings her to Hollywood and aids her to fame. When Jeanne and Lawrence, screen idol, fall in love, Rosalind Marquis tries to break up the romance. Although in love with Jeanne, Woods wants her to be happy and he arranges an airplane tour for the entire company, and is instrumental in bringing the two together again. The airplane tour turns out to be a honeymoon for the pair. COMMENT:’ Donald Woods does a grand bit of acting and upholds most of the interest in a story which is fast moving and has a lot of entertaining qualities and highlighted comedy bits. While the plot concerns the making of movies, the sets and background which will be fascinating to movie fans, there are some gags and lines, satire on the Hollywood studios, which may not be understood by those outside of the industry. Supporting characters, Joseph Crehan, Charles Halton and Rosalind Marquis, turn in good work. Jeanne Madden doesn’t photograph to advantage and her singing talent was not brought out, due possibly to poor recording and unsuitable songs. Fred Lawrence, while good in some scenes is distinctly amateurish in others. Excellent direction by Louis King. Advertising: Play up the Hollywood movie angle, using lights, etc., making opening night a regular Hollywood premiere. Stress good acting of Donald Woods, the comedy and romantic interest. Title suggests it’s own exploitation idea — that of sending out local talent scout and honor winner, or hold an amateur night. Cooperate with schools to obtain bevy of pretty girls, to ride in bus placarded “Beauty on Wheels” obtained by the (title) now at (blank) theatre. — A. B. FACTS and GOSSIP Extra! Extra! — headlines. Scratch for dandruff and gold dust falls out of the hair! There you have the latest, folks. Make-up men and women of the studios have discovered a use for gold dust and are now giving some of the big stars a going over every now and then. The highly specialized science of making our stars twinkle has uncovered a new wrinkle. Through the use of gold dust sprinkled on the hair and softly powdered on the facial make-up, an added lustre is given to the hair and that healthy, vigorous touch of youth to the lagging features of overworked celebrities. Therefore, the screen John Calaban now need only visit the make-up man the morning following a prolonged visit with the fair Elaine, for an extra dose of gold dust to erase any trace of weariness. Stuart Erwin By JOE PEARSON "Merton of the Movies", which concerned itself with the adventures of a small town grocery clerk who crashes Hollywood thinking he is a great dramatic actor and discovers that he is a wow of a comedian, would make an excellent summary of the life of Stuart Erwin. And if ever a perfect job of casting was done in Hollywood, Paramount certainly did it when they cast Stuart in the starring role of "Merton of the Movies", released under "Make Me A Star". Stuart, "Stu" to his friends, has often been referred to as "another Will Rogers". True, he has many of the late beloved Will Rogers characteristics, homespun philosophy and warm sympathy for humanity that endeared Rogers in the hearts of millions of people; and cou-lcf perhaps come nearer filling the void left by Will Rogers than anyone else. But Stu, like Rogers, has a distinct personality all his own, and is definitely not a take-off or imitation of Will Rogers, or anyone else for that matter. Although up until Stu’s entrance to Hollywood he led rather a normal and uneventful life, his background and early training has nevertheless played an all important part in his later development. Born on a 1200 acre cattle ranch in Squaw Valley, California, his family moved to Del Rey, California, when he was one year old. In this quiet and pleasant little community, Stu lived until he was six years old. Stu's early ambition was to be a writer or newspaperman and he showed a decided literary instinct. And while retiring, he carried an abundant good fellowship and quaint dry humor with him and saw the bright and amusing side of things, plus a clean open mind and a keen insight into the peculiarities of human nature. He was a lover of God's great out-doors, a dreamer, a thinker and a constant reader. His evenings were usually spent around the village stores, listening to the cracker-box orators and local celebrities as they discussed affairs of state, the fate of nations, and the price of peaches. He would jot down in his mind and make mental impressions of the characters and all they said. Thus from observation and listening, more than experience, he can portray in his roles the rich variety of characters as completely, and with as much enthusiasm and vivid imagination, as any one who had fully lived the varied parts. Stu's first interest In the stage began with appearances in amateur shows at Porterville High School. When he went to the University of California In 1922, he intended to major in English and journalism. But when he was unable to get the courses he wanted, he decided to use the money to learn how to act, the urge for the stage having grown on him while in college. So he promptly enrolled in a dramatic school. Four months later he was given a chance to substitute in "White Collars" without pay. Following that he played at the Morosco Theatre for $25.00 a week. His third engagement was with Edward Everett Horton in "Beggar on Horseback". He later played 48 weeks in "White Collars" in the feature role of "Cousin Henry". When "White Collars" closed he turned to newspaper work. Later, he secured a job as stage manager and worked in this capacity for "The Butter and Egg Man" with Johnny Arthur, both in Los Angeles and San Francisco; "The Tavern", "Strawberry Blonde", and "Chicago", with Nancy Carroll and Clark Gable, who were both comparatively unknown at the time. While Stu toured up and down the coast In his stage manager capacity with these productions he continually begged the producer to give him a part in some of them, any kind of a part. But either the stage manager thought Stu was a lousy actor, or didn't want to lose a stage manager for he got no nearer the footlights than the backdrop. Finally he got a break when he was observed by Fox Scouts, given a test and the part of a newlywed In "Mother Knows Best", later released as "Sally of My Dreams". This was followed by a Hal Roach Comedy, and several Fox pictures. He was with Fox five months when Paramount borrowed him for a small role in "Sweetie" with Nancy Carroll and Jack Oakie. Paramount was so pleased with his work they immediately signed him to a long term contract. Under their banner Stu played Important roles in such box-office successes as — ^"The Magnificent Lie", with Ruth Chatterton; "Young Eagles", with Buddy Rogers and Jean Arthur; ''Dangerous Dan McGrew", with Helen Kane; "Dude Ranch", with June Collyer; "Playboy of Paris", with Maurice Chevalier and Frances Dee; "The Big Broadcast", with Bing Crosby: "Dangerous Curves'', with Clara Bow; "This Thing Called Love", with Edmund Lowe and Constance Bennett; "International House", with W. C. Fields; "The Crime of the Century", "The Bookworm Turns", and "Under The Tonto Rim". He was made a star for "Make Me A Star". About this time Metro-Goldwyn-Mayer became Erwin conscious, offered him a better deal, and he signed with them. There he was kept even busier than he was while with Fox and Paramount and contributed much toward the box-office successes of such pictures as "Stranger's Return", with Lionel Barrymore; "Going Hollywood", with Marion Davies and Bing Crosby; "Viva Villa", with Wallace Beery; "Joe Palooka", witlj Jimmy Durante; "Chained", "Have a Heart", "The Band Plays On', "Exclusive Story", "Women Are Trouble" and "All American Chump." Recently Stu signed a nice starring contract with the newly organized Grand National Pictures, and under their banner he can do both personal appearances and radio broadcasts. His first starring film with Grand National will be the widely read Cosmopolitan Magazine story, "The Thousand Dollar Bill" which will be released as "Sm_all Town Boy", following which will be the Clarence Budington Kelland American Magazine story "Face the Facts". Prior to signing with Grand National, Stu scored heavily in "Pigskin Parade", made at 20th Century-Fox, and "Dance, Charlie, Dance", at Warner Bros. Stu is happily married to attractive June Collyer, former leading lady and member of New York's four hundred. They have a son, Stuart, Jr., and a daughter, June Dorothea. Their mutual hobbies are candid camera photography and breeding and showing Scottish Terriers and English Bulldogs. They are content to look upon the more glamorous and picturesque life about them rather than share in it. And while the literary world no doubt lost a great writer when Stu decided to be an actor, the screen gained a swell personality, a fine friend and portrayer of plain "down to earth" folks. Editor's Note: Fictionized biographies is a new feature for Hollywood Review. Exhibitor-subscribers are granted permission to use these articles In house organs and in their local newspapers in connection with picture showings. j I