Modern Screen (Jul-Dec 1945)

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She and her experts advise you on FaceFigure Groom in g-Vo icePersonality. The Powers formula for charm and magnetism really works! Clip the Coupon NOW! Write John r" Robert Powers \ Send for 18 today for free confidential questionnaire, illustrated booklet "The Powers Way", and details of Powers Training. 1 Booklet John Robert Powers Home Course 247 Park Ave., Suite K205,NewYorkl 7, N.Y. Dear Mr. Powers: Yes, I'm really interested. Please send me details of your Home Course. Name. (PLEASE PRINT) Street City & Zone. -State {Continued from page 14.) door" beer hall, art director William Flannery created a classic set guaranteed to stir up a maudlin tear or two. . . . The original screen play was done by Melvin Frank and Norman Panama, who in their pre-Hollywood days did many of the Duffy shows. This gave the needed experience to transport the full flavor of Duffy's from radio to screen. . . . For music lovers — and aren't we all — there's everything in this one from a whirlwind, knock-her self -out Betty Hutton number to the dreamy lyrics of the Groaner. . . . Associate producer Danny Dare was promoted to full-fledged producership after this one. Before succumbing to the lure of the silver screen, Danny was a well known dance director and stage producer— he did the successful "Meet The People." . . . And in case you're one of those who've always wondered about it yourself, Victor Moore and Ed Gardner become involved in that classic argument— "Does the light in the ice box really go out when the door is shut?" THE HOUSE ONT 92ND STREET That old gag about truth being stranger than fiction proves itself all over again in this fascinating study of FBI wartime activities. The whole thing is based on actual fact, with William Eythe and Lloyd Nolan representing the forces of law and order, as opposed to Signe Hasso, Leo G. Carroll and Harro Meller as German agents. The house may not actually have been on 92nd Street, but somewhere in Manhattan just before our entry into the war, there was a house like this one. In the picture, it is owned by Elsa Gebhart (Signe Hasso), who runs a smart dress shop on the second floor. This shop is the first place William Dietrich comes to when he arrives in New York. Dietrich (Bill Eythe) has just come back from Hamburg, where he took an intensive course at the German school for saboteurs and spies. The Germans, however, don't know that when they first contacted young Dietrich, he went direct to the FBI who, of course, told him to play along with the Germans, attend the school, and then work with the FBI when he got back to America. Already, before he gets to Elsa's place, his instructions from his German superior, which are written on microfilm, have been changed by the FBI in an undetectable manner. They now read "Dietrich is to contact all other German agents." Actually, the original instructions read "contact with other agents is forbidden." Armed with his credentials and a confident, easy manner, Dietrich strolls into the dress shop. Elsa accepts him, and introduces him to three other agents. They distrust his instructions, but his credentials are in perfect order, and he has the money to pay them for work they have done. Dietrich's main objective, as directed by Inspector Briggs (Lloyd Nolan), is to find out the identity of "Mr. Christopher," head of the German agents in New York. This turns out to be the most dangerous mission he could possibly embark upon. There is more excitement per reel in this factual account than in any fictional spy thriller ever concocted. See it, definitely.— 20th-Fox P. S. "House" is really a unique experiment — the story is true and it was filmed right in the very spots where it happened. Taken straight from the FBI files, it's the story of the Bureau's wartime fight against Fifth Column activities. . . . Producer Louis DeRochemont's first job was to visit J. Edgar Hoover and convince him the picture should be filmed. So conclusive were DeRochemont's arguments thai besides giving the necessary data, Hoover offered the entire facilities of the Bureau as well. Laboratories, offices, and file rooms were used as settings— FBI scientists and agents played minor roles to impart added realism. . . . The case with which "House" is concerned occurred in New York, so instead of building complicated sets, the whole company packed up and went East for the shooting. Bill Eythe got a kick out of living in a penthouse only a few blocks from the dingy room he had in former days. . . . Before it started, Bill and._Lloyd Nolan, who plays an FBI man, went to Quantico, Virginia, for a week at the Bureau's academy. Spew their time attending classes with the regular agents, shooting on the rifie and pistol ranges, and getting a sample of some of the FBI basic training. . . . Some oj the scenes took place in the street — always difficult because of gathering crowds — sc the FBI solved the problem by loaning 20th special cars for secret photography. The camera crew, safely hidden from sight, could point their "eyes" in any direction without being spotted by curious spectators. . . . Leo G. Carroll was starring in the Broadway success "The Late George Apley" at the same time he was working on the picture. His working hours had to be arranged to take care of the matinees and play rehearsals. . . . Lloyd's an actor (Continued on page 20) I SAW IT HAPPEN When our Eighth Victory Loan got under way, Calgary had the grand surprise of having Claire Trevor and George Murphy here on behalf of A V^^^^^fc bond sales. On r/ie »jj/mjt J4m I evening of their ■■■6 AWK^m first appearance 12,000 Calgarians turned out to welcome them. Since the weather had been beautiful all day, the show took place in our openair stadium. Everything was going fine until the first appearance of George Murphy, at which time a dark, rolling cloud appeared in the sky. It traveled so fast that some of the croicd got scared and began to leave. Proving what he was made of, George stood out there and said that if the crowd would hold out, so would he. Suddenly the storm struck, with a force I have never seen before. Huge masses of dust descended from the sky, and in an instant the whole place was enveloped in a blanket of darkness. The crowd became hysterical, but in the midst of the shrieking and whistling of the wind, George Murphy remained on that platform without any protection from the gusts which were crashing chairs and knocking down planks. He stood there and succeeded in calming the crowd by singing such songs as "Stormy Weather" and "Good Old Summertime." Frovi the back of the stage a woman gazed at the star, her eyes filled with proud tears. "Good going, Murph. Give them all you've got," she said. It was his mother. Mrs. George Murphy. We'll never forget the courage shown by these people. Pat Bowe Calgary, Alberta