Modern Screen (Dec 1935 - Nov 1936)

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MODERN SCREEN Reviews {Continued front page 25) Madden, a newcomer, to step into the star role and score, as every movie understudy does, a sensational success. The virtues of "Stage Struck" are the fact that it refuses to take itself seriously and the fact that Joan Blondell turns in a comedy performance which will surprise even the loyal Blondell followers. Dick Powell is his customary self as the dance director, and a first-rate supporting cast is headed by Frank McHugh, Hobart Cavanaugh, Craig Reynolds, Carol Hughes and Warren William. Preview Postscript Joan Blondell went temperamental with a bong for this role. The least temperamental of any actress on the lot, she's been waiting for a chance to get a crack at the other temperamental gals in town. Her characterization isn't based on any one of them in particular, but is a composite portrait of all the choice ones, according to Joan. Some of her off-screen portrayals were much better, we hear . . . This is Jeanne Madden's first professional appearance, never having been on the stage or screen before. Jeanne's from Scranton, Pennsylvania. She had opera leanings all through high school and upon graduation secured enough money for lessons from a New York teacher of note who brought her to the notice of studio talent scouts. She was given a screen test and a contract — but just on the Madden looks. The studio didn't know or core much about a voice to go with it. She proceeded to rest for three months while the studio forgot about her. Then news come that the Met would like to give Miss Madden a try. What, asked the studio, take away their songbird? As a result, she was given this role, and Miss Madden's headed for higher pay . . . The set of the New York Aquarium was one of the most interesting ever built on the lot. Experts studied the original so closely before attempting this set, that it is practically identical. In fact, some New York visitors happened on the set one day and claimed they recognized the fish . . . The Yacht Club Boys have one of the nicest set-ups invented. They are in frequent demand for moving pictures, but have declined any form of contract. So they do considerable cross-country travelling, and manage to hit both California and New York during the best seasons. **** Swing Time (RKO-Radio) This is the new Fred Astaire-Ginger Rogers musical opus — and that's all any reviewer need tell his readers. It has the standard Astaire-Rogers story, it has music by Jerome Kern and Dorothy Fields, and it has dancing. Most of the entertainment, as may well be expected, is confined to the dancing department. Miss Rogers' stepping becomes more and more expert with each new picture, and Mr. Astaire's fancy hoofing needs no recommendation whatever. He's still the tops, and anyone who doubts that has but to witness his "Bojangles of Harlem" number in which he dons blackface and turns out the fanciest stepping ever to appear on a screen. The story, sketchy and unimportant, has Ginger as an instructor in a "Learn to Dance" academy and Fred an unemployed hoofer. They form a dance team^ fall in love, and you know the rest. Two of the songs are especially good — "This is a Fine Romance" and "Never Gonna Dance." "Waltz in Swing Time" is highly efifective as danced by the two principals, and As EVERY NIGHT SHE CRIED HERSELF TO SLEEP "then she learned how thousands have gained 10 to 25 lbs. QUICK! Now there's no longer any excuse for thousands to remain skinny, laughed at and friendless. For hosts of people who thought they were "born to be skinny," and who never could gain an ounce before, have put on 10 to 25 pounds of solid, naturally attractive flesh with this new, easy treatment — in just a few weeks! 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