Modern Screen (Jul-Dec 1945)

(Continued from page 18) and has a badge to prove it. Filming one sequence at a very secret war plant, Nolan was required to wear a badge reading "Lloyd Nolan— Actor." Now if he meets doubting critics he just has to open his coat and flash it. THAT NIGHT WITH YOU The idea is to dream about what you want, and then make the dream come true. If you are, for instance, a girl like Penny Parker (Susanna Foster), who works in a diner days, then at night you dream you're the star of a big musical show. Next day, you go out and— but wait a minute, let me give you the whole set-up. Here's Penny, planning on a singing career. While Johnny (David Bruce) who owns the diner, plans on her marrying him and having six children. He doesn't take Penny's dreams seriously, which is foolish, because they are very serious indeed. One night Penny dreams that the famous theatrical producer, Paul Reynaud (Franchot Tone) , is going to star her in his new show. Next day she wangles her way backstage, and while she doesn' t get to see Paul, she does find out something which gives her an idea. It seems that Paul was married at an early age to one Blossom Drake. The marriage was annulled, but if a daughter had resulted, she would have been just Penny's age. That's enough for Penny. She shows up at Paul's penthouse, and with an affectionate cry of "Father!" declares herself part of the Reynaud family. Neither Paul nor his charming secretary, Sheila (Louise Ahforitton), really is convinced. But Paul loves pretty girls, and Penny is pretty. He gives her a most un-fatherly kiss, and invites her to move right in. Sheila doesn't care for this development, and phones Blossom, the one-time Mrs. Reynaud, to come to New York immediately. When Blossom arrives, instead of exposing the hoax, she greets Penny as her daughter, which astounds everyone, particularly Paul. Blossom's reason for this move is simple enough. She wants the lead in Paul's new show. This doesn't suit Penny, who wants the lead herself. None of it suits Johnny, who wants Penny to marry him and get started on those six children. It all gets pretty complicated, but my bets are on Johnny, a very determined type. The music is lovely, especially one hit song. Susanna's voice continues to be a delight. Franchot is at his best as the amiable wolf. — Univ. P. S. Half of the charm of "That Night With You" is that it pays no attention to the war and other pressing world problems — goes blissfully on its way ignoring rationing, shortages, reconversion and other such hair -whitening worries. . . . Franchot Tone came into the picture directly from a season on Broadway, where he starred in the play, "Hope For The Best." . . . Art director Martin Obzina felt justifiable pride in the Corn Crib nightclub set he created. It's so different from the run-of-the-mill cabaret that he's already had several requests for commercial rights to its use. The Army thought so well of the little set that U. S. Army Morale officers had Spike Jones use it for a background in a morale short to be sent overseas. . . . Susanna Foster • does her first screen dancing in this one. . . . When Franchot Tone was to entertain in his picture penthouse, the ever-present rationing popped up to shake a warning finger — huge quantities of food were needed. The main course was a sixty-pound roast served buffet style — a mere matter of 750 red points. Aftei much executive brain-wracking, pointi were borrowed from the studio commissary— the roast to be salvaged for servinc in the cafe later. To insure no waste, ar expert carver was cast to work in tht scene, but the head of the commissary hovered within objecting distance just in case. . . . There's one scene thatfll make the watching gals' mouths water. Suzy Foster goes on a shopping spree for the latest in feminine fashions with which tc capture the attentions of Mr. Tone. The resulting wardrobe designed by Vera Wesi just drips with captivating creations. On the men's side of the sartorial picture are two extremes. David Bruce wears the not-too-prepossessing attire of a lunch wagon proprietor, while Tone appears in a collection of suits at which no manabout-town would turn up his nose. GEORGE WHITE'S SCANDALS A new "Scandals" used to be a big event on Broadway. George White's shows always had extraordinarily beautiful girls, good comedians, and at least one song that you whistled the rest of the winter. The movie version contains much the same ingredients, plus a cock-eyed plot. If you're a devotee of the Joan Davis-Jack Haley radio show, you'll be enthusiastic over this same combination in the picture. On the other hand, if you're anti-Davis and Haley, you'll be unhappy, because they are in practically every scene. The plot concerns itself with Joan Mason (Joan Davis) and Jack Williams (Jack Haley) who are not only co-stars of the "Scandals" currently in rehearsal, but are in love. The affair is not progressing so well. Jack's sister, Clarabelle, isn't in favor of his marrying anybody, let alone Joan, whose antics are not exactly dig