The New Movie Magazine (Jan-Sep 1935)

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Ca>h uilk aer. Name . City. □ Check here if you prefer On-the-Set Reviews {Continued from page 29) PRIVATE V> OREDS • WANWER Another one of the Jen Best, this Phyllis Bottome story has to do with a trio of extremely personable psychiatrists who, in their zeal to bring order out of mental chaos, quite over-look the fact that they're a "leetle teched in the haid" themselves! But . . . aren't we all? Claudette Colbert, Joel McCrea's capable assistant, due to the tragic death of her sweetheart in the World War, closes the "iron door" on her love life, and, not until Charles Boyer comes to take charge of the place, does she realize what she's been missing. Boyer labors under a great mental strain because of his hare-brained sister who has recently been acquitted of murder. He is filled with complexes and defenses, and is a veritable womanhater without quite knowing why. To get even with the man who has taken the post he expected to occupy, Joel (married to Joan Bennett) thinks to get even with Boyer by plunging into a protracted amour with his (Boyer's) sister, Helen Vinson. And, there you are . As fine a dish of squirrel food as you ever set a tooth into! On the set, Claudette and Boyer were going through a scene. They were speaking of his sister's murder trial. "I remember the case," Claudette said. "You were her only witness?" Boyer turns away. "It was the least I could do," he said. "She . . . she's my sister . . ." "But — she was acquitted!" "Yes . . . the jury acquitted her." He faced her. "It hasn't been easy . . . the papers . . . everyone talking. And now — this — " Claudette approaches him sympathetically. "I wouldn't feel that way about it," she said. "Of course, the matron's explosive, but . . . she doesn't mean anything by it. Suppose she did spread all over the hospital that you'd jeopardized your career . . . risked everything ... to stand by your sister? Can anyone think any the less of you for it? Personally, I like you better." Boyer, a bit eagerly, "You do?" She nods. "You know, I was a little worried about you at first. It's a relief to know that you're . . . human . . ." And, with that, she leaves the room. "O.K.!" Director Gregory LaCava calls approvingly. And at that, Claudette smiles and steps out to get her nose powdered. Previous to the final take, Claudette's lines rolled merrily along right up to the "personally, I like you better" speech. And right there, she just couldn't remember. Sensing her predicament, Boyer looked down at her, smiled mischievously and said: "Personally, don't you like me better?" Which was good for a relieved giggle all around. HOLD 'EM YALE ! • PARAMOUNT Damon Runyon may usually be depended upon for a cracking good yarn, and if this one holds up to the laugh sequence we watched them shoot, then you'd better go out and get yourselves fitted for a set of hysterics, r-rr-right now! Seated around a table in the back room of a saloon, Warren Hymer, Andy Devine and William Frawley ad libbed until even director Sidney Lanfield rolled on the floor and howled with the rest of us! Hymer has just finished telephoning. Putting up the receiver, he tells Frawley: "I've called every hotel in town and he ain't in none of 'em!" "Humpf !" says Frawley. "That ain't the way to find that guy. You gotta call every dame in Philadelphia!" "But . . . Hymer protests, "I don't know every dame in Philadelphia!" Devine is diving into a plate of spaghetti (with sound effects!) when the door bursts open and Georgie Stone rushes in. "Listen!" he says excitedly. "Them guys are gettin' tough! They want the ducats, right now, or else we gotta give 'em their dough back!" "But we ain't got the ducats . . ." Frawley says. Andy slurps up a forkful of spaghetti. Frawley glares at him. "Why don't you try eatin' in the key of G for a while?" he growls. "This ain't no time for wise-cracks!" Georgie howls. "What're we gonna do?" "Well," Frawley says calmly, "I don't know what you guys are gonna do, but I got an aunt in China who's awfully fond of me." 'And with a little more practice," Hymer chips in, "I kin work the boats!" After the take, Frawley suggests that he has a better line to substitute for the "key of G" gag. "O.K.., honeybunch," Lanfield agrees, "but I'd better tell you there are ladies on the set, so you won't run me into anything!" So they go through it again, and when Andy slurps the spaghetti, Bill glares and snorts: "Why don't you get a nose bag?" To get a shot of the action through the open door, Lanfield calls: "You . . . with the gray hat! Move over to the right. Your elbow is covering four women!" "Lucky fella!" murmurs Devine. And then, mournfully regarding his fourth plate of spaghetti: "Gosh — this sure is a break for the people who invited me to dinner tonight!" The story has to do with a gang of dim-wit ticket scalpers, whose gigolo pal, Caesar Romero, makes a neat living off the society dames who fall right and left for his particular line of romantic chatter. When Patricia Ellis, a society deb, runs away from home and moves in with the lads, just so she can be near her Big Moment, the boys are scared to death because it looks like they're on the spot for kidnaping. Beating the law to the punch, they go to Pat's papa, explain the situation, and the old man is so tickled about it that he promises to pay them off if they'll fix up a busted romance between his daughter and Larry Crabbe, a not so hot football player. Of course, the muggs go to town in their own inimitable fashion, gathering orange blossoms for Pat and Larry, and some much-needed mazuma for themselves. THE RRIDE OF UNIVERSAL And now that you're all FRANKENSTEIN warmed up,give a look toward yon burning mill and scream your head off! It's old maestro Karloff, himself! A bit singed, here and there, but still, really none the worse for the wear and ready to promote a brand new flock of first class ducky-bumps ! John Balderston, picking up the original story from where it left off, carries 58 The Neiv Movie Magazine, May, 1935