Modern Screen (Dec 1935 - Nov 1936)

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Rush name for free book of Profit Facts — today I LONG-EAKINS COMPANY 1130-S High Street Springfield, Ohio MAKE $25-$35 A WEEK Tod can learn at home in spare time. Course endorsed by physicians. Thousands of graduates. Est. 37 years. One graduate has charge of 10-bed hospital. Another saved J 400 while learning. Equipment Included. Men and women 18 to 60. High School not reQUlred. Easy tuition payments. Write us now. CHICAGO SCHOOL OF NURSING Dept. 238, 100 East Oliio Street, Chicago, III. Please send free booklet and 32 sample lesson pages. Name City State Age 96 MODERN SCREEN body but Louise Latimer. Owen Davis, Jr., wasn't accustomed to spanking blonde young ladies, so the scene took practically a whole day to perfect to the director's satisfaction. . . . Owen Davis, Jr., boarded a plane for three-weeks' vacation in the East on completion of his role in this film, hie rushed to Skowhegan, Maine, where he will oppear for opening week in Owen Davis, Sr's., play, "Icebound." While in New York he belonged to a club of six young men who met each week for lunch. The member who hod received the best "break," theatrically specking, that week treated. There were many weeks when all six bought their own lunches. The other five were Henry Fonda, Ross Alexander, James Stewart, Brian Donlevy and Elisha Cooke, Jr. ** Bullets or Ballots (First National) It's a cops-and-robbers affair, with Eddie Robinson, as New York's toughest detective, playing gangster to fool the racketeers and break up the town's biggest crime syndicate. The Robinson role is ■ no doubt patterned after the career of Johnny Broderick, hard-fisted Manhattan detective, who always regarded a poke in the nose more effective than a subpoena. At any rate, Eddie has most of the mobmen tipping their fedoras to him, so when he's publicly fired from the police department the boys are only too glad to hire his services for their own needs. Little reck they with the law, as the saying goes, for the whole thing is a ruse on the part of the coppers, and Eddie uses his new position to help clamp the lid on the city's vice rings. If you like gangster pictures full of monosyllabic mugs and guarded references to "the big bosses," you will undoubtedly enjoy the familiar routines of Mr. Robinson and his supporting cast, which includes Humphrey Bogart, Joan Blondell, Barton MacLane, and Frank McHugh. Preview Postscript The stuntmon gong is no secret to movie fans — that gang of boys and men v/ho risk their necks to save the star for the fade-out embrace. But few of them know the pugugly gong. The pug-uglies are a froternity of thespions whose faces ore so out of kilter that they look mean enough to push an alligator in the face. Most of the brothers are ex-prizefighters or circus performers and a football player or two, who have either fallen on their heads at various times or been smacked in the face with a baseball bat. They're just plain ugly. But those bashed noses, scarred cheeks, cauliflower ears and punch-drunk eyes are beautiful for gangster films, and what's more, mean real money to their owners. There are about twenty-five working on this film who were seen In "GMen," "Little Caesar" and "Public Enemy." ... A pistol expert was summoned to First National for this picture. Real bullets had to be shot of Barton MacLane, hlumphrey Bogart and Edward G. Robinson in order to show the wood splintering above their heads for one scene. The three gentlemen were fussy and insisted on a professional. * The Golden Arrow (Warners) There should be a law against Bette Davis lending her talents to anything less than Grade A Certified stories. We're not fussy enough to expect an "Of Human Bondage" too often, but "The Golden Arrow" definitely got us down. Looking at Bette is never time wasted and George Brent's profile is still far from depressing, but neither fact can compensate for the plot. It has to do with another of these richest girls in the world, whose life is cluttered up with yachts and polo ponies and foreign princes. Your heart will be wrung with the pity of it all. So is George Brent's, to such an extent that he tells the poor little rich Bette that he will give up the honorable profession of reporting in order to marry her and protect her from her princes. For the rest of the picture your sympathies are supposed to be with poor Mr. Brent, restless in the lap of luxury. The fade-out was really refreshing, though. In place of embraces, Mr. Brent and Miss Davis exchange black eyes. Preview Postscript Bill Guthrie is the man at Warners whose job it is to find locations, no matter how impossible, of a moment's notice. Luck was with him for once when he was told to locate a yacht that would be scrumptious enough to belong to the richest girl in the world, nee Bette Davis, in this opus. The E. L. Cord yacht, "Virginia," wos In Long Beach harbor and Bill obtoined permission to use it. It only costs $1250 per day to keep this "rowboot" afloat. . . . One of the most impressive sets ever to go up on the studio lot was the night club set. The room was 120 by 145 feet, hexagonal In shape. The walls were panelled for huge murals in blue and silver ond 40-foot drapes of white crepe velvet extended across arches. The orchestra platform ond furnishings of the dining-room were in chromium and Ivory. . . . Eugene Pollette hos appeared in more than 967 pictures and could have been in a lot more, but won't sign a contract with any studio but Warners. The reason being that they understand about ducks. And ducks are the main thing In Mr. Pallette's life. He never works a minute during the duck-shooting season and never works any week-end during fishing season. He's been In the movies ever since silent days ond, next to ducks, thinks they're the finest Institution In the world. ** The Princess Comes Across (Paramount) The shipboard romance of a concertina player and a Brooklyn gal masquerading as a Swedish princes is the story here, and with Carole Lombard doing a swell impersonation of Garbo one might well expect a pleasant and amusing comedy. Lhifortunately, before the boat is many miles at sea, the whole thing turns into a murder mystery of little more than mild interest. Carole, it seems, is a chorus girl stranded in Europe, far from her beloved Brooklyn. With Alison Skipworth, a Flatbush friend, she conceives the princess idea, lands a Hollywood film contract and sets sail for America. Aboard also is Fred MacMurray, band leader and confessed concertina manipulator. He falls in love with the royal lady from Brooklyn, but their romance is impeded by the presence of several surly and suspicious characters, one of whom seems to have something on almost the entire passenger list. When the murder mystery takes over the picture, the fine Lombard comedy is tossed into the background. However, the film may be worth seeing for the Lombard moments and for her amazing resemblance, in some scenes, to The Great One. Siegfried Rumann and Porter Hall are excellent in supporting roles. Preview Postscript On a Lombard set you will always find the gifts flying high, wide and handsome. First of all, every day Carole orders coses of coca cola delivered on the set for everyone to consume; then on the slightest provocotlon she bestows gifts on one and all, from the prop boys up, and on the picture's com