Movieland. (1950)

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Your employer, relatives and friends will not know you are applying for a loan. Convenient monthly pay¬ ments. Send us your name and address and we will mail application blank and complete details FREE in plain enve¬ lope. There is no obligation. Act now! STATE FINANCE COMPANY 216 Savings & Loan Bldg., Dept.R-7SK4)es Moines 8, Iowa broadcast his own weekly Tuesday night NBC radio show, has appeared at three benefits, has had a guest spot on other radio shows every single night. If that’s a week when you’re “cutting down,” Bob, what’s a real busy week like? The other day, a Hollywood trade paper posed this question: “Why do we use Hollywood as a derogatory adjective? Critics of the town should use the dic¬ tionary. Hollywood is a proper noun.” Critics of the town should remember Bob Hope. There is nothing about Bob Hope anyone can criticize. Bob has received so many citations that another one must seem superfluous. He just doesn’t take himself that seri¬ ously. Nevertheless, MOVIELAND would like to join hands with the honorable groups all over the world who feel that Bob typifies all the best and most heart¬ warming things in Hollywood today. MOVIELAND would like to say, “Here’s a citation, Bob, on paper — just to say we think you are a pretty wonderful guy.” For it’s more than a funny man who does benefit after benefit for those who are less fortunate. It’s a kid who was fifth of a stonemason’s sons in England long ago. It’s a boy who grew up in a tough, poor neighborhood in Cleveland. It’s a young dancer who did a black-face act for a few bucks a week. It’s a young man who opened in New York in “The Sidewalks of New York.” It’s a vaudevillian who wanted to crack radio. He did. At the door, he stopped us to tell us a cute story about Tony, now eight and a half. “Tony did the most wonderful thing the other night in the Brown Derby,” Bob said. “We were sitting there having dinner when a very good friend of mine — not especially blessed with good looks — sat down with us. ‘You don’t mind an ugly man sitting beside you, do you?’ he asked. That’s the kind of leading question that can throw even a seasoned diplomat. I sat there waiting to hear what Tony would say. He smiled, ‘You’re not ugly — you’re nice!’ “If it had been me, I would have said, ‘Never saw you looking worse!’, or some¬ thing like that. I thought Tony was pretty smart . . . and, you know, the kid meant it. He wasn’t being just smooth and polite.” So there the picture was complete: Bob Hope, enthusing about his son just like any other father in the world. Quite clearly, I realized what Christmas in Berlin had cost him. I saw that this tre¬ mendous, all-out, never-ceasing, gargan¬ tuan effort on his part to bring gladness to a world that needs it very much had made him very tired. But I also knew that, despite this tiredness, Bob — his en¬ tire life — would never be able to resist a plea for help. I felt like giving him a medal, or a kiss. Of course, I did neither. I just walked away. I was thinking, “A great guy, Bob Hope. A great guy.” The End BARBARA STANWYCK SAYS . . . I Continued from page 63) kid with any talent is bound to be dis¬ covered! The real thing to ask yourself is: ‘Do you want to be a star or an actress?’ Believe me, there is a differ¬ ence. Of course there’s a demand for various types of appeal: glamorous per¬ sonalities, great voices, special enter¬ tainers, and ability as an actress.” Barbara wanted to be a great actress. She started out, without money or influ¬ ence, as a chorus girl. At seventeen, Ruby Stevens, as she was then, danced when¬ ever she could get a job, and literally starved between engagements. About this time, Ruby, Wanda Mansfield, and Mae Clarke teamed up, called themselves “The Three Musketeers,” and took an earnest young oath that if one was offered work, the others must be included. At that time, Billy LaHiff ran The Tavern, a place frequented by the great, the near-great and hope-to-be-great in theater and sports worlds. A man with a heart, Billy let talented kids who were out of work eat “on the cuff,” and the three girls had been “on the cuff” for some time when, one night, Billy pre¬ sented Ruby to Willard Mack, who had a small part for a chorus girl in his new play, “The Noose.” Offered the role, Ruby amused Mr. Mack, who knew her circumstances, by refusing to work without her friends. “Well, well,” he laughed, “then we’ll make the part for three chorus girls, and give the other kids a line or so.” The sjiow was a hit, and Ruby, who had been given a good role, a sensation. When she came into the wings, after the last curtain, Mr. Mack said: “Ruby Stevens is no name for a star!” Glancing at the old bills hanging on the walls, he saw one that read: “Jane Stanwyck in ‘Barbara Fritchie’.” “Hello, Barbara Stan¬ wyck!” he grinned. And so a star was born. It was the coaching of Willard Mack, continuing throughout the nine months’ run of the play, that gave Barbara her foundation as an actress. One thing he taught her was how to be absolutely quiet. If you must use a gesture to project an emotion, he told her, you are not feeling that emotion. Barbara can sit with hands relaxed on the arms of a chair throughout a tense scene, yet make you feel what she’s feeling. “The way to be really relaxed is to breathe properly,” she told me. “With your diaphragm up and your shoulders down. Lifting the diaphragm isn’t just throwing your shoulders back, it’s lifting the rib cage. That automatically puts the shoulders where they belong. “As an exercise, put your hands over your diaphragm with the tips of the middle fingers touching; breathe from the side, as an animal does, and you’ll feel your fingers pulled apart. Singers who go on tirelessly and without effort have learned to breathe correctly.” Too many gestures distract your audi¬ ence. If you are using your hands too much, begin now to discipline yourself to hold them still while you go through a dramatic scene. It is said that, after a play is well along in rehearsal, Guthrie McClintic likes to sit with eyes covered while his wife, Katharine Cornell, goes through her scenes repeatedly until he can say: “I feel you!” “Whether or not that’s true,” said Barbara, “it’s a good idea. Acting is more than remembering lines and being where you are supposed to be on the stage. “In the theater, you get a paycheck only so long as the show lasts and you are good in your part. That’s one of the reasons I recommend stage training! In pictures, if you’re under contract, you get paid whether or not you work. That sounds swell — but I’m not at all sure it is swell for a person’s progress. “If you have an appealing personality