Modern Screen (Dec 1941 - Nov 1942)

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HOLLYWOOD FILM STUDIOS 7021 Santa Monica Blvd., Dept. 222 Hollywood, Calif. DOMT TWIST < BABY'S BONES The X-Ray shows how outgrown shoes injure baby feet. Better buy the correct but inexpensive WEE WALKERS and get alarger size often. Ask your baby doctor. Sold in the Infants' Department of these loiv-projit stores. W. T. Grant Co. S. S. Kresge Co. R, L. Greene Co,, Inc. Metropolitan Chain Stores, Inc. McCrory Stores G. Ft. Kinney Company J. J. Newberry Co. I. Silver & Bros. F. & W. Grand Schulte-United WiciY/AiktR. FREE: Baby foot measuring scale in pamphlet on fitting. Moran ShoeCo..Dept.M, Carlyle, 111. MOVIE REVIEWS (Continued from page 105) Sam is mentally sizing up baseball bats and wondering whether he ought to call the kid Butch or Mike when Tess introduces the "son" — a young Greek refugee boy named Chris. They quarrel about Chris, for Tess gives up nothing; she is still caught up in the whirl of world events, revolutionary predictions and the solution of the international monetary situation. The boy is secondary, a fifth wheel, one of Tess' gestures — tossed off and forgotten. Tess goes her high-handed way, straight to the award of being voted America's Outstanding Woman Of The Year. The award comes complete with banquet, speeches, presentations and compliments. But Sam doesn't go along with her. He stays home with the young Greek boy and that same night takes the boy back to the Greek Child Home where, at least, he will get attention and companionship. Back home, Tess is in triumph, being photographed and applauded. She decides to have her picture taken with Chris and discovers then that Sam has left — and that Chris, too, is gone. She returns to the applause and the photographs— The Woman Of The Year. How it comes out is the picture's secret, and you'll enjoy the Hollywood photo-finish. But the problem it poses is a pertinent one today, and despite the usual foreword (any similarity ... is coincidental) it's slightly impertinent, too. You'll draw your own parallels. At any rate it's good to have Katharine Hepburn back on the screen, mannerisms and all; she has a sharp incisive style and the role was tailor-made for her. And of course it's good to have Spencer Tracy playing that slightly tired, sympathetic character again. Spencer Tracy should never make faces. — M-G-M. ROXIE HART In the garish and innocent days of 1927 a single murder was enough to catch the interest of the nation. That was the heyday of the tabloids when every trial was a circus, and the accused, if acquitted, was assured of 50 or so full weeks of vaudeville bookings. Fortunes were made on the basis of a single wellaimed shot or well-placed knife. A proper dose of poison might even do the trick. "Roxie Hart" sets out to capture the flavor of those high-spirited times, and naturally enough the locale is Chicago. Roxie Hart (Ginger Rogers) is involved in the murder of Fred Casely, a seedy, down-at-the-heels theatrical agent. Being Roxie Hart (and Ginger Rogers, to boot) she's lovely, appealing and has as pretty a set of legs as Chicago has seen since Mrs. O'Leary's cow made them start all over again. Jake Callahan (Lynne Overman), a cynical reporter, pleads with Roxie to confess; it will make her famous, he says, and anyway they'll never convict her. She is promised a vaudeville tour, her name in lights, fame — if only she'll confess. Of course she's innocent of the crime, but says Roxie: "Naturally I want to do everything, everything I can for my career." And so she confesses. Then the picture really goes 1927. Roxie's legs are featured on the front pages of every paper; sob sisters write her story from inner, outer and upward angles. Walter Howard (George Mont gomery), a sentimental reporter in love with Roxie, wants to prove her innocence, but Roxie isn't having any. Innocent, she'll fall back into obscurity. Roxie Hart, the glamorous murderess, is famous. She fights to stay on the front page. She claws off the competition of a couple of other lady murderers. When TwoGun Gertie Baxter comes along and threatens to take the play away from her, Roxie promptly announces that she's going to have a baby. The baby and Roxie's legs win back all her straying fans. No one is going to take the front page away from Roxie Hart. Not while she has something to say about it. M The trial is a gala event. They sell souvenirs on the courthouse steps; an official "Life And Loves of Roxie Hart" is published. The trial is broadcast play by play. Roxie acts her part to the hilt. The jury, filled with sob-sister stories and watching Roxie's silk clad leg delicately swing as she sits on the witness stand, acquits her with honor. Little Roxie makes good in the big town. That's the substance of "Roxie Hart," but the picture is tricked out as a story within a story, and it would spoil the fun to tell the beginning and the end. It's a variant on the trick Preston Sturges used in "The Great McGinty," and it goes all the way back to O. Henry and the surprise ending. It's still good. But mainly the picture is concerned with 1927. It was a lively era, if you remember; and, despite all its sins, a remarkably innocent one. Ah! for the days when a girl might make her fortune with a judicious murder or two. Ah! for the days before a house painter in Europe made the tommy-gun seem like a harmless child's toy. — RKO. P. S. Ginger Rogers lets her knees weave through a slightly modified version of the Charleston in the dancing scenes; the real thing looked too corny . . . Ginger's all-out battle with Helene Reynolds cost $48,800 to film, not counting the money spent by the gals personally for iodine, liniment, etc. ... It was just a preliminary battle for Ginger. Later on she spent two entire days scrapping with Lynne Overman, and completely ruined his watch when she butted him in the vest region with her head during the brawl . . . During one of the court room scenes, Adolphe Menjou is supposed to pick up Ginger, who has fainted, and hold her in his arms while he makes an impassioned plea to the jury. After the fourth rehearsal, Adolphe was staggering a bit under his glamorous, but, by then, weighty burden. George Montgomery politely, nay eagerly, stepped up, offered 106 MODERN SCREEN