Movie mirror. (1936)

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Send 3c in stamps to cover cost of packing and postage for free Travel Size Bottle — enough for a week or more’ Qxi^npWnxv Dreskm THE ORIGINAL SKIN INVIGORATOR by the makers of Car pana’s Italian Balm CAMPANA DRESKIN, 6101 Lincoln Highway, Batavia, Ill. Gentlemen : I enclose 3c in i stamps to cover packing and postage. |V Send me FREE a Travel Size Bottle of + j DRESKIN — enough for a week or more * J of skin cleansing treatments. ■ Name _ _ _ _ _ ■ ■ Street _ _ City_ State If you live in Canada, send your request to Campana Corp. , Ltd. . McF-1 Caledonia Road . Toronto. Ontario The Amazing Powell-Loy-Rainer Triangle ( Continued from page 21) played against par. And so close will it be that one of two scenes may spell the answer. One where Luise Rainer as Anna Held tells Bill Powell as Ziegfcld how glad she is that he is married to Billie Burke. It is a poignant picture of a hurt child, fighting back tears, trying to be brave. It will be her strongest bid for sympathy. The other where Myrna Loy as Billie Burke, finding her husband financially des¬ perate, slipping, with his back to the wall, brings her jewels, her securities and puts them in his hands. It epitomizes her loy¬ alty and devotion. The scene may be Myrna’s trump. If there is any possible edge on the natural casting, Rainer has an advantage. She was recognized as the almost perfect Anna Held months ago. She has been preparing in her quiet, terribly earnest way for two months. On the other hand, Myrna Loy was the last principal character named. It was hard even then for some to re¬ concile her to the fluttery Billie Burke character known to the screen today. But few who see that Billie Burke have known her in her other role — as Mrs. Florenz Ziegfeld. Those who know, people like William Anthony McGuire and Fanny Brice, who worked with “Ziggy” and knew him intimately, say Myrna has the same assurance, the same depth on the screen that Flo Ziegfeld’s wife has in real life. Anna Held was then, as Luise Rainer is now, the more seductive, the more atten¬ tion demanding, the more slyly fatal. Billie Burke was then, as Myrna Loy is now, the more real, the more poised, the more stable. Screen prototypes of real people who have lived don’t often line up as accurately as that. Of the two, Myrna Loy was Bill Powell’s first screen love. But Billie Burke was the second big romance in Florenz Ziegfeld’s life. Anna Held walked out on the Great Glorifyer and Billie Burke marched right in. But in the Hollywood version it was Myrna Loy who deserted Bill Powell and it was Luise Rainer who filled the aching void. No man was ever on a more definite and delicate spot between two beautiful but purposeful women. Even subcon¬ sciously he can’t afford to show the slight¬ est preference, by word, act or gesture. One or the other down deep in her heart, would never forgive him. And he’s mad about them both ! The ordinary gent might take to strong drink under the pressure. But somehow, I think Bill Powell is getting a huge bang out of it, without benefit of alcohol. BECAUSE just such a contretemps is a challenge to the suavity, the subtle essence of his personality. It provides a supreme test of the tact, the sophisticated adroitness in affaires du coeur upon which he prides himself. If he can carry it off with the delicacy it demands, he can pat a white carnation in his lapel and twirl his stick with the jaunty assurance that he is the top in discreet maneuvering. Well, that is the show that goes on be¬ hind the glamorous, dramatic show of “The Great Ziegfeld.” It is the game that Hollywood now watches with tingling zest, and which pleas¬ ant, composed Director Robert (“Pop”) Leonard, the only man who could ever handle fractious Connie Bennett, umpires with impartial calm. It looks like a twelve-inning contest, a pitcher’s duel. And it calls for a double-play by Mister William Horatio Powell. Movies, Mountains and Music! ( Continued from page 48) seems sure which — is quite torrid. Originated by Chester Hale, who had his hands full showing the Indians the steps, the dance is done on one of the most beautiful spots imaginable, a level space at the lake’s edge with the moun¬ tains rising behind it, and with immense grotesque totem-poles forming the back¬ ground. A twenty-five-foot, decorated tom¬ tom supplies the rhythm. ONE girl, dressed in corn shucks, stands in the middle of the dancers. The others dance about her, each taking a piece of her dress in passing and handing it to the Medicine Man, who throws it into a fire. The girl is finally left — Hays’ office willing— just as nature, cosmetics and curl¬ ing irons made her. M-G-M has gathered Indians — Washoes, Shoshones, Piutes and Diggers — from all over the West. They live in teepees that will be seen in the picture. Some of these tribes are traditional enemies. The Piutes are the toughies of the lot. But the Sho¬ shones are the best gamblers and are going to end up making the most money out of “Rose Marie.” There are cowboys on the location, too. Most of them will be seen as mounted cops. Fred Gilman, an old Hoot Gibson man, brought up about thirty horses for the picture. Two of these, the ones ridden by Jeanette and Nelson, have regular parts. The others are used for background and for one stupendous number, The Song of the Mounties, in which the police do a riding song. There will be three hundred horses in this spectacle. Somehow, you can’t imagine anything be¬ ing done on a small scale in this setting. 70