Modern Screen (Jan-Nov 1944)

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Roy, who pretends to be a cook in the picture, surprised the gang on the set by whipping up some luscious "paprika creamed snitzels" (pop-overs to you dudes) which were mighty good eatin'. . . . Trigger gets a little horsey competition in this from one "Thunder," Bill Elliofs horse. GUEST IN THE HOUSE Anne Baxter has the top role of her career in this story of a beautiful young girl who wrecks the happiness of an entire family. In less skillful hands, the character of Evelyn would be unbelievable. Anne makes her real and understandable but so hateful that you will breathe a sigh of relief at the fate that eventually overtakes her. Evelyn has heart trouble, but she has something else far worse — a mind so evil that it poisons everyone with whom it comes in contact. Young Doctor Dan Proctor (Scott McKay) falls in love with her pretty face and doesn't realize how deep the neuroticism of his patient has gone. Hopefully he sends her to spend the summer with his brother and his wife. Surely in those charming surroundings, she will get well enough so they can be married. Within a week after she arrives, Evelyn has lost all desire ever to marry Dan. Instead, she becomes wildly infatuated with his brother, Douglas (Ralph Bellamy). Douglas is a successful painter, happily in love with his wife (Ruth Warrick). But there are always ways to start trouble in a marriage, and Evelyn wastes no time in beginning. Her first step is to charm the entire household into trusting her. Then she gradually begins her insidious remarks. Before long she has persuaded Douglas that he is doing the wrong kind of painting, because he isn't properly "understood." Then she convinces his wife that he has been having an affair with his model (Miriam Blake). This serves the double purpose of getting rid of the model and causing the wife to change her atti tude of love to one of suspicion. Everything is going fine, and Evelyn is sure that she soon will be able to cause a divorce and get Douglas for herself. As time passes, however, it becomes apparent to everyone that their troubles stem from the guest in the house. In spite of her sweet, sympathetic manner, Evelyn is obviously a wickedly selfish and cruel young woman. But it is Aunt Martha (Aline McMahon) , who has the courage to provide a nerve-shattering climax to this tense, emotional drama. — JJ.A. P. S. Art director, Nikolai Romisoff, was dispatched to Maine to gather material and sketches on Maine homes so the house ( the only set used for the picture) would be authentic in every detail. Rooms were built on rollers so that the house could be "dissected" for easy lighting and camera manipulation. Put together the house is a liveable unit. So liveable, as a matter of fact, that screen-writer Ketti Frings plans to build a post-war home based on the plans. . . . Romisoff came back from his trip to Maine loaded, with bric-a-brac and odds and ends to give the house color and warmth. The wallpaper was discovered in the cellar of a small town country store; Romisoff considers it the real "find" of the trip. . . . The authenticity of the house was just a headache to cameraman Lee Garmes for the Romisoff ceilings are seven feet high and beamed. Garmes claimed it was the most difficult set he's ever worked with. . . . Before actual shooting began on the picture, director Lewis Milestone, Romisoff and Garmes, using "live dummies," walked through the entire script. Accompanying them was a sketch artist, Les Thomas, who drew sketches of scenes and camera positions as Milestone envisioned them. When the sketches were completed, Milestone had a handy reference of the picture with full exposition of camera angles, set-ups and character movement. This is called "pre-production designing," and cuts down shooting time of the picture by solving in advance many lighting and camera problems. . . . Since the picture's musical theme (Liszt's "Liebestraum") contributes much to the psychological "feeling" of the picture, a good deal of the credit should go to musical director, Werner Janssen. CO-ED (Continued from page 6) not?), and you're each to drag a guy. Invite him by phone if you know him pretty well. Just, "Hi, Johnny. We're party-ing at Jen's Saturday night. Want to come?" No apologetic fol-de-rol about, "I know you're probably busy," or "It may not be terribly exciting." If he can make it, say, "O, beautiful! Pick me up at eight," and ring off without further messing. If he can't, don't feel embarrassed or immediately suspect that he's fibbing. Just say airily, "I'm sticking my tongue out at you, mister. Next time I'll get my bid in first." Then without skipping a heart beat, call your second string angel-puss. If you absolutely do not know one boy to ask, don't get yourself all frenzied about it. How about that boy your mother is always trying to stuff down your throat? Every mother in the world has some male she plugs every chance she gets, usually the son of her dearest friend. Okay, call her bluff. Invite him. Or maybe one of the gals in the club has a girl-shy brother. He's never had a date in his life. Invite him and acquire him for your own particular beau. Perhaps there's a flicker of a crush smouldering between you and a boy in school. It's never been put into so many words. He's never even asked you out. But you kind of know it's there. Do you dare ask him? Sure, you do. We think a short note is best for these boys. It's a bit easier to be smooth in writing when you're dealing with an unknown quantity. Just say, "Dear Bob, Our club is party-ing on Saturday night the tenth, and I've been Ibinking what fun it would be if you'd come. Can do? If so, could you call for me about eight? Oh, and please let me know as soon as you can, won't you? Sincerely, Janet." Never, never sound apologetic. Never, never beg him to come. After all, he's a pretty lucky guy getting a Saturday night date for free. More of this next month, and meanwhile, let us know your particular smoothness problems. We'd like to help. CO-ED MAILBOX: I frequently go out on double-dates with (Continued on page 24)