The Motion Picture Studio Insider (1935)

52 Ap.il, 193 7 Motion Pic Turk Studio Ir;su"R r-—— — -1 jij '_/// '-Or ve JJJorc THE BEST DEAL IN TOWN On a New Pontiac or A F, ne Used Car Call me personally and make me prove it! □ C. M. PETERSEN Pontiac Direct Factory Dealer 5021 No. Figueroa Los Angeles ALbany 1161 Dependable As the Sunrise Lower your cost by using Dependable papers. A complete stock always on hand. © DEPENDABLE PAPER CO., Inc. 1225 WALL STREET Phone PRospect 0345 0346 0300 “ We Are Dependable ” TV.'O "5 01115 AT SEA" ' Continued at five in the morning and cruised fiLy miles to get rough sea. Then, when we finally found big waves, everybody got seasick. What a trip.” He shivered reminiscently. We could see why he wore the topcoat and muffler. Gary sighed wearily. “I am tired,” lie said. “I’d like to sleep for a week.” “But you like to do this kind of pic¬ ture?” we asked. “Oh yes,” he was enthusiastic. “I like stories with action. Adventure — travel. That sort of thing. I think it’s the best sort of entertainment.” We agreed. Then we asked Gary about his travels. He made a safari in Africa not so long ago. “It was grand fun,” he said. “We flew from Cairo and then trekked into the big game lands. It is a magnificent country.” We asked how he had the heart to shoot the beautiful African jungle ani¬ mals. “Well.” he admitted, “I didn't like to do it, but you have to kill some of them off. They destroy crops and kill na¬ tives. But I went more for the adven¬ ture of the thing than for the purpose of getting so many head of game.” Gary likes to travel. He seemed eager to go again. South America next lime, it would seem. “Now there’s a country I want to see,” he said, and his eyes lighted up happily. All this time George Raft had been doing tricks in mathematics with pencil and paper for the amusement of those around him. We asked if he had a pack of cards. “I can do card tricks, too,” he laugh¬ ed. Then he sighed dolefully. “But I can’t pick the horses at Santa Anita. I’m through trying.” We didn’t say “Oh yeah?” but we wanted to. Because of course George will try again, and lose again — or maybe win again? He loves to take a chance, does George Raft, and he knows it as well as anyone. The two men represent opposite types in tradition, experience and environ¬ ment. Gary Cooper is a man of the outdoors. He is not socially minded, hates crowds, hates big cities, is reticent and self-contained. George Raft is a product of big cities. He kn ows the ins and outs of metropoli¬ tan life. He likes society, the kind that is sophisticated and cosmopolitan. He loves big cities and goes to New York between pictures to see the new plays and feel the tall buildings around him, while Gary hies himself to the hinterlands for a vacation, just as far from people and cities and studios as i 'an "ape II) fie can get. Yet in spite of this differ¬ ence in their inherent tastes, these two men meet on the common ground of friendship, and as they both play men of the sea in “Souls at Sea” they, odd¬ ly enough, look the part, though neith¬ er of them belongs to the ocean at all. With the return of Gary Cooper to the scene and a momentary lull in con¬ versation, we gathered information on “Souls at Sea ’ from many people on the set, and the story of some of the properties used in making this picture is as interesting as the diary of any moving-picture star. For instance, two actresses performed in this picture who will receive no cast credit on the screen, but who form an integral part of the production. The bark “Star of Finland,” once queen of the Alaska fishing trade, and the schooner “Lottie Carson,” with a career almost as rakish as a pirate’s, were chartered for the film. It was down in the script that they were to perform for the camera on the deepsea set, with foam about their cutwaters, men in their rigging, and every stitch of sail in the wind. And perform they did. They were the two “stars” of the production. There were others who were hired for bit parts in the water¬ front scenes, with names on their bows that would draw memories of Pacific adventures from many old seamen in the harbor. The “Lottie Carson” for instance, was a rum-runner during prohibition, and had two or three brushes with the Coast Guard. Then she traded for a while in the South Seas, only to be brought home to Balboa to be charter¬ ed occasionally for film work. Her master, Carl Guntert, says sea life isn’t the same any more. “Lottie” was re¬ rigged for her part in the picture and her green hull was painted black. While being used in “Souls at Sea” the “Lottie” carried a crew of ten, and the “Finland” a crew of thirty, most of them old sailing ship hands, who glar¬ ed disdainfully at passing steamships. With nearly every other commercial vessel on the Pacific Coast tied up by the walkout of the ship workers, the “Star of Finland” and the “Lottie Carson” were sailed out beyond Catalina Island from Los Angeles harbor by full crews of union men and marine loca¬ tion scenes of the picture taken with¬ out any trouble. The “Finland” is to be kept as a sou¬ venir by her proud owners on her com¬ pletion of this picture. It costs money to take a ship like her out to sea; but the studio is giving her owners a film