The New Movie Magazine (Jan-Sep 1935)

New Movie Forecast for 1935 to hatch. Their quotations begin at zero and very often climb into the Gold-Bond class overnight. Garbo was once a 'new face.' So were Hepburn, Gable, Dietrich and even Mary Pickford. They were the lucky gambles. But there are thousands of new faces that marched in the procession of glory for a few fleeting moments — and are now but Stardust in oblivious space. Hot tips on new faces are useless. One never knows how they are going to turn out until they are actually reproduced in celluloid. A new face can mean anything from an imported foreign star to a Broadway celebrity. Where the foreign star and the Broadway celebrity often fail, an unknown, inexperienced little extra girl will sweep into instantaneous success. It's like horse-racing. Get a hunch, and stick to it. Last year dozens of new faces were introduced to film fans with the unusual fanfare. Some made a few pictures, and were soon dropped into the quicksands of Hollywood. Others were impressive, but still lacked the indefinable qualities that made a lasting screen personality. In this class were GLORIA STUART, PERT KELTON, LANNY ROSS, FRANCES DRAKE, CLAIRE TREVOR, GRACE BRADLEY, IDA LUPINO, BUSTER CRABBE, JOHNNY WEISSMULLER, JOHN LODGE, STEFFI DUNA, TALA BIRELL, JUDITH ALLEN, BRUCE CABOT, ADRIENNE AMES and many others. From Broadway this year come RUTH GORDON, the comedienne who starred in "Church Mouse," HENRY FONDA, ex-husband of Margaret Sullavan, PEGGY CONKLIN, who makes her debut in "The Vanishing President," JAMES BARTON, who succeeded Henry Hull in "Tobacco Road," QUEENIE SMITH, in whom Paramount puts great faith, and FLORENCE RICE, being highly touted at Columbia. From abroad both ROBERT DONAT and CHARLES BOYER are returning to continue their careers in Hollywood, while M-G-M is bringing over the great British actress, CONSTANCE COLLIER. New faces today! Famous names tomorrow! Which of them will click? How many will become stars? In Hollywood, where lives crumble in a day and destinies change in an hour, who can say? Fate sticks her hand into the grab bag, and no one knows what she is going to pull out. COMMON-STOCK DARK HORSES f N every race there is a dark horse. ■*■ He seldom wins — but when he does — it;s NEWS! A dark horse comes unsuspectingly to victory — an undiscovered comet in the firmament of stars shooting like wildfire into the limelight. Dark horses have all the romance of the Cinderella myth being the living symbol of the rags-to-riches fairy tale. In the race to fame they often prove meteors that flame brilliantly for a moment in a crowded sky. Hollywood remembers Ruth Taylor, Betty Bronson and more recently Charlotte Henry, as such. Unheralded, they1 flare into a blaze of glory and go their way to oblivion. But they give zest to the monotonous routine, and are one of the most interesting features of Hollywood's design for living. Here are a few names you may want to remember: Winifred Shaw, Wil liam Henry, James Ellison, Agnes Anderson, Gwen Gilly, Julie Hayden, June Clayworth, Iris Adrian, Phil Regan, Hugh Enfield, Marian Mansfield, Fred Keating, Diana Lewis, Erik Blore, Cesar Romero, Helen Westley. Cesar Romero has been given a lead opposite Dietrich; and Katherine DeMille, Elizabeth Allan and Toby Wing are already fairly well known for supporting roles. It is necessary to put them among the dark horses because their own sponsors do not seem to realize their possibilities. The DeMille girl is a younger 1935 edition of Nita Naldi, who with the right role will prove a revelation. Miss Allan has given evidence of her dramatic powers as the nurse in "Men in White." PRODUCTION PLANS FOR 1935 THE three greatest box-office successes of the year just ended were "It Happened One Night," "The Thin Man," and "One Night of Love," with "Little Women" close in the lead. Most of the major producers are taking their cue from these screenplays in gauging audience-appetite for the 1935 programs. You may expect to see many films patterned after the treatments of these outstanding productions. Human comedy tempered with inoffensive sex situations will be the keynote. In addition, every literary classic with screen possibilities will be perused for screening, while several musical pictures are planned to duplicate the popular appeal of "One Night Of Love," in which for the first time, Grand Opera, stripped of its high-brow tendencies, was served to a fnusic-hungry public in popular form. Never, in any one year, since the invention of the motion picture machine by Thomas A. Edison, have so many classical dramas been announced. At least six stories by Charles Dickens are promised, three by Kipling, three by Sir James Barrie, and at least one apiece from the pens of other illustrious names in literature. There will be many costume pictures. At least a half dozen productions in color are announced; among these, "Vanity Fair" with Miriam Hopkins in the role of Becky Sharpe, Dumas' "Three Musketeers" in which Francis Lederer will impersonate DArtagnan, "Peacock's Feather," a classical Greek drama with Ann Harding, "The Last Days of Pompeii," at least a portion of "The Good Earth," and the Walt Disney feature "Snow White." Gangster and underworld dramas will be conspicuous by their absence, except in cases where the subject is made farcical as in "The Gay Bride," in which Carole Lombard and Chester Morris are co-starred, and "Public Enemy Number Two," which will feature Charles Butterworth in a hilarious burlesque of fare that the screen up to now has taken seriously. TRENDS AND CYCLES RURAL settings will predominate in many pictures, and domestic comedy will be stressed. Children will abound on every program, and will sprout like mushrooms into overnight stars. Biographical dramas announced for last season, and abandoned, will no doubt reach fulfillment this year, with every major studio planning at least two such historical portraits. There will be mystery pictures galore; many given a light treatment along the lines {Please turn to page 72) DOES WttUOOK LIKE siMiliis? IT'S THAT HARD-TO-GET-AT SECOND LAYER" OF DIRT THAT MAKES // YOUR SKIN COARSE AND GRAY A black slip under a white dress will make the white dress look dark — grayish! The same holds true for dirt buried in your skin. It will make your skin look dark — give it a grayish cast. It will also clog your pores and make your skin large-pored and coarse. It's safe to say that 7 out of 10 women do not have as clearly white and radiant and fine a skin as they might, simply on account of that unsuspected, hidden "second layer" of dirt. There is only one way to remove that underneath dirt and that is to use a cream that penetrates the pores to the bottom. 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