The New Movie Magazine (Jan-Sep 1935)

WHAT is this thingcalled Hollywood love, anyway? 'Is it something that buds under the warm glow of incandescent lights on a motion picture setting, and flowers in the drawing-r o o m s of Hollywood and Beverly Hills? When intense love scenes are made on a motion picture stage, the actor who disclaims any emotional response to the object of his affections is either a piece of unemotional ice or, to put it mildly, somewhat of a prevaricator. That is what some of the players say. Others declare that the actor who allows himself to become bothered about love scenes is hopelessly childish in his reactions, and that a professional actor thinks no more of a love scene than he does of driving an automobile or eating a meal. It's a question of maturity of emotions. "Kissing before the camera is about as arousing as smacking a window pane." That is Richard Aden's opinion. On the other hand, Dick Powell is terribly embarrassed by making love to Joan Blondell — especially when her cameraman husband, George Barnes, is shooting the scene. Then Gary Cooper confesses with charming honesty that he used to fall in love with all of his leading women — but that he has now matured in his approach to the cinematic embrace. LOVE itself is rather a confusing thing, and there are as many ideas about it as there are persons. So why shouldn't Hollywood have plenty of divergent views? It has; and in the interests of really solving this problem, a thorough research into it was made by this inquiring reporter, who nearly had his face slapped several times because of the impertinence of his curiosity! But haven't you noticed that, in many of the marriages between film folk, the man and woman often met when playing opposite each other in a picture? Weddingbells have grown out of the "meaningless" love-making on a set. Sort of "in the middle of a kiss." Now, what effect do screen love scenes have? Here is Gary Cooper's full answer: "Some adroit actors can appear to make passionate love on the screen when, as a matter of fact, they are scarcely touching the lips of their leading women. "I can't do that. The action must be real. It is the mind that must play the scene. When I was more impressionable than I am now, I used to fall for every leading woman. My leads became my girl friends in several instances. I'm a bit wiser now." Now to get back to that Richard Arlen opinion: "Screen kisses are about as arousing as smacking a window pane." Making love before the camera is a problem of how the girl likes to embrace, whether the right hand shall be higher than the left or the other way around. It is a problem of getting a lot of ungainly arms wound up to appear graceful. 28 THOSE CELLULOID KISSES MEAN KISSES By WILLIAM BRYCE "I have no emotional stirring w h e n I kiss my leading woman. I think it is something to be learned by experience. Imagine how complicated life would be, otherwise!" ^ that emotions are aroused by love scenes, but that they are not real. She says, "Making love on the screen is only a part of acting. I feel the emotion at the moment, but it ends with the scene. What emotional reaction there is is attributable to the role and not to the other player." Chester Morris admits that he enjoys love scenes. In a very frank reply he declared: "I always fall in love with my leading ladies — but my wife knows it, so don't go carrying tales. Naturally it is fun to kiss a beautiful woman, whether you're in earnest or merely acting, but it can't compare with kissing the one you love — your wife." Bravely said, my lad! Warren William is very discreet in his love scenes. Dolores Del Rio played opposite him in a recent picture. They were off in a corner of the stage rehearsing, but when they came to the part of the scene where they embraced, William stopped and yelled across the stage for the director to come over and watch them. Before the director, they completed the scene. "Kiss actresses in front of their husbands?" asked William. "I don't mind — so long as it's business and there's someone on hand from the studio to back me up." Love scenes? — Well, here's Dick Powell's answer: "It's just a part of this business of picture making — but a nice part." Dick has not been embarrassed by kissing Ruby Keeler, Ginger .Rogers or Gloria Stuart, because it has been entirely business and he seldom sees any of them except at the studio. But the matter with Joan Blondell is entirely different. Dick is a very close friend of George Barnes and his wife (Joan Blondell in case you've forgotten). They go places with Dick and his girl friend. So when the time comes on the set for a love scene with Joan, Dick is faced by one of the really bothersome problems. Barnes, who shoots the pictures, isn't very helpful, either. He grins and makes faces. "This is the time a feller needs a friend," declared Powell ruefully, "but not in his arms. Joan doesn't believe me when I say, T love you.' She just giggles." Here's a feminine opinion. Ann Sothern replies: "It is very possible to forget where you are for the moment in the carefully shaded lights and shadows, the whispered words of romance and the heavy quiet. The breath of illusion may exist for a moment in your own person, for that is necessary for a good performance. "But the next instant the director shouts, 'Cut!' Someone else calls, 'Strike it!' A dozen workmen are stepping all over you and the entire place is reduced to pandemonium. If you're going to have any reaction, you've got to have it darn quick in that (Please turn to page 54) The New Movie Magazine, September, 1935 t