The Motion Picture Studio Insider (1935)

April, 1-137 kV-'iiON Picture Studio Iinsidep 53 reel showing he’ -ailing be*c.e the wind, so that they will have a graphic, lasting recaid of how she looked under canvas before the unavengable i.isult of steam. It isn’t difficult to believe that a gal¬ lant ship with a lifetime of memories can give a seaworthy cinematic per¬ formance in her last appearance, be¬ fore she sleeps in harbor forever. It isn’t even hard to believe that both of these ships, the “Lottie” and the “Fin¬ land,” each with newly scrubbed decks, creaking sails and well polished metal, rose and fell to the rhythm of the sea in a new pleasure at their briefly reviv¬ ed lives. There is a thrill to lifting decks and swaying canvas that no other method of sea travel can equal. The actors on board the two ships felt the surge of adventure as much as the ships felt renewed thrills in the foaming ocean. One ship’s carpenter who had turned studio carpenter spoke feelingly of that, trip out from the harbor: “There’s no sentiment like the senti¬ ment you feel for the sea.” We looked at the studio tank and the sinking ship half submerged in twenty feet of concrete prisoned water. “No,” we agreed, dreamily, “the ocean casts a spell.” Our reverie was broken rudely. “Did you know that when we had the indoor cabin scene and a storm was supposed to be in progress, everyone got sick?” It was George Raft, breaking into our little journey on tall ships with tall sails. We were quite disgusted. Imag¬ ine. talking about cabin sets when we’re miles out in the blue, headed for sunny islands. We caught the Raft eye for a moment, and saw an unmistakable twinkle. So we grinned rather shame¬ facedly and traveled back to Hollywood — to Paramount studios — to George Raft on our left and Gary Cooper on our right; to Henry Hathaway in front of us, directing men on an overhead boom who were adjusting the camera for a bird’s eye “take”; to a ship sink¬ ing in a tank full of water, and to the realization that the Pacific Ocean was twenty-five miles away. Oh well. “We’d like to take a long ocean voy¬ age,” we murmured to Gary. “So would I. South America.” He grinned, huddling in his blanket. It was still icy on the sound stage. George Raft sipped a Coca-cola and grinned back. His mind was dancing in a night-club, not sailing a lonely sea. So we left the souls at sea and the sinking ship, which was about to go down for the seventh time. It was a very wet ship, by this time, peopled b) a very wet and shivering crew. f PHILHARMONIC AUDITORIUM 5th and Olive L. E. Behymer presents LOTTE LEHMANN Dramatic Soprano TUES. EVE., MAR. 30 55c, 85c, #1.10, #1.65, #2.20, #2.75, #3.30, inc. tax. Lehmann TED SHAWN AND HIS MALE DANCERS Two New Programs SAT. MAT. & EVE., APR. 3 Mat. 55c to #2.20; Eve. 55c to #2.75, inc. tax. TIBBETT TUES. EVE. APR. 13 T ibhett MARTINI TUES. EVE. APR. 27 Either Concert, 55c to #3.30, inc. tax M a rtini PHILADELPHIA SYMPHONY ORCHESTRA JOSE ITU RBI, Conductor (Shrine Auditorium) FRI. EVE., APR. 30; SAT. EVE., MAY 1 50c, 75c, #1, #1.50, #2, #2.50, #3. No tax. Iturbi // WEST Boxoffice, MU. 1983; So. California Music Co., 73 7 S. Hill, TU. 1144; The Music Shop, 6634 Hollywood Blvd., GL. 1012. REMEMBER THESE DATES //