Modern Screen (Dec 1935 - Nov 1936)

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Watch for Modern Screen's exciting Fashion Contest in the September issue DEODORANT CREAM or POWDER APPLIED IN A JIFFY — LASTS ALL DAY More Effective for Every Body Odor Chaste instantly destroys perspiration odors. Any deodorant must be used freely to effectively kill body odors, therefore the larger quantity you get for your money makes Chaste the most economical . . . Does not clog pores nor stop perspiration. Odorless, invisible, greaseless, harmless to the most delicate skin and fabric. Only 10c AT 5c & 10c STORES EVERYWHERE want to make a dramatic actor out of me. Nix on that stuff! You won't catch me carrying any plot on my shoulders. I started as the comedy relief and I'll end up the same way." Stander has a great many unconventional notions about Hollywood. Actors are bored, he says, bored because, whether they know it or not, they arc the least important cog in the movie machine. He calls them "inanimate objects" — except for those few moments before the cameras ! ALL they have to have," he barks, "is a physical sense of orientation, like a pilot making a landing — where to stand, so that the camera and lights hit the mark, and how to read lines out loud." He believes pictures should represent the collective efforts of author, director, technicians and players, rather than the dominance of any individual or group. He is violently opposed to censorship, declaring that a writer faces too many taboos today to turn out anything significant. "As a result," he snaps, "pictures are all form and no content.'' He has read only two scripts through, and never memorizes his lines literally. "I don't believe in it on my own time." He gets an idea of the character he's to play, and then talks it over with the director and the other performers. Says it's more spontaneous that way. A phrase-coiner at the drop of a hat, Stander says Hollywood's celluloid "in sulates everybody against reality." Its movies are "contributions to cosmic ennui." A bachelor, he "approves" of women. "I think they're here to stay." Seriously, his romantic interest at present lies quite outside his profession. He's never, he insists, been in love with an actress. But then all women intrigue him, more or less — all except "careerists." His other personal tastes run to sweet cocktails and loud colors in clothes. He has a healthy animal hunger for food, particularly tartar sandwiches. He likes to sneak away for a night on Central Avenue, Los Angeles' Harlem, and is fascinated by all types, black as well as white. He cares nothing for outdoor sports, but likes cards and pool. He is a great reader of economics and world affairs, and can't stand to hear a ticking clock. Under contract to Columbia, he has a wholesome respect for Frank Capra, his director on "Mr. Deeds." "Capra," he observes, "takes a Cinderella story, a romantic escape fairy tale, and tells it in realistic, hard-boiled terms." A kind of Cinderella man in his own ■ right, half-cynic, half-idealist, Stander sprawls between pictures on his hill overlooking Hollywood, croaking delighted defiance and pausing, now and again, to pull out a bright new quarter and flash it in the sun. But that, nowadays, happens less and less often. He's one of the biggies. Cjr Ctt ReuiEUJS— n Tour of Today's Talkies {Continued fi kidnapping case. Rumors spread, and soon a mob, whipped into a frenzy, attacks and burns down the jail. Their supposed victim gets out alive and arranges, through his brothers, to have the mob leaders tried for murder. After a jury returns a verdict of guilty for twentytwo of them, Tracy, smitten by his conscience, walks into the courtroom and proves his identity. Spencer Tracy, with most of the camera's attention, is always compelling, and there are good performances in lesser roles by Frank Albertson, Bruce Cabot and Walter Abel. *** The King Steps Out (Columbia) Grace Moore makes another celluloid comeback in this picture. Miss Moore sings beautifully, as usual, but acts and looks considerably better than usual. The story is a gay and giddy one of a princess who tries to save her sister from marrying a man she doesn't love, even if he is the king and Franchot Tone besides. The princess, Grace Moore, scorns all the court red tape and loves the simple life. Her father, Walter Connolly, also scorns the court goings-on and loves the simple life, but with plenty of beer. They set out to persaude the king that he doesn't want to marry into their family. But King Tone mistakes the helpful princess for a dressmaker and promptly falls in love with her, shocking the court and practically killing his mother, the redoubtable Elizabeth Risdon. By that time the other princess decides the king is pretty nice, too, and has poor Gracie thrown into prison. Everything, as you may have suspected, turns out happily ever after. Walter Connolly almost walks off with the honors with his performance and Elizabeth Risdon is excellent. Franchot Tone in gold braid and ringlets looks a bit silly but don't let that keep you away. om page 25) Preview Postscript Miss Grace Moore was no doubt more upset than ever when this picture was previewed. After complaining to every newspaper in the country that she was through with Hollywood since singing three days straight to a cow, the milking scene was cut out . . . Mr. Von Sternberg has a decided antipathy to color on any set. Whenever possible he eliminates it, as in the garden scenes for this picture. Those posies were all from the studio floral shop, hand-fashioned of cotton and silk fabrics and painted with aluminum paint. All the interior scenes were painted with white enamel . . . For once the extra with extra poundage got a break. On this picture only the ones definitely on the buxom side were considered, since this particular period in history was not partial to grapefruit. *** The Case Against Mrs. Ames (Walter Wanger) An intelligent murder mystery seems to be a rare commodity these days, which is one reason why "The Case Against Mrs. Ames" is a welcome addition to this month's bill of fare. Expertly written and played to the hilt by a cast headed by Madeleine Carroll and George Brent, it is by far the best of the last few months' crop of mystery films. The story concerns the efforts of Madeleine Carroll, as Mrs. Ames, to clear her name of a murder charge. When she's acquitted the prosecuting attorney, George Brent, sets out to prove that the gal is guilty. Instead, he falls in love, and, convinced she is innocent, helps her find the real murderer. The picture moves rapidly all the way and builds up to an exciting and perfectly logical climax, also something rare for the mystery numbers. Madeleine 92 [1