The New Movie Magazine (Jan-Sep 1935)

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A 35c trial bottle, at drug stores, proves it — or money back. moment or not at all. I can't permit myself to think of the situation at all or I wouldn't be able to work for laughing. That's the only kind of reaction I've ever had." Cary Grant said: "I can't answer the question. I can only say, 'How would you feel, making love to someone under a battery of lights with thirty people looking on?' " But Jack La Rue, the screen menace, declares that the player who says he is unmoved by screen love is not being completely honest. "To play a love scene properly, the actor must put feeling into a role," La Rue confessed. "In such a case he cannot help taking his emotions into his private life. "I admit that I fall in love with my leading women. They are adorable creatures. On the set I love them. In private life I worship them. But I know when to stop. "Realism is necessary in love scenes. One I had on the stage with Mae West, in 'Diamond Lil,' always drove the audience into hysterics, it was so real. So you know what I think of Mae West." Claudette Colbert declared: "Love scenes do not affect me any differently than any other dramatic scenes in a picture. They are either good or bad. If they are not good my only thought is to perfect them until they are right. In doing this they must be worked up as carefully and thoroughly as any other part of the story. "I am never personally conscious of the fact it is a love scene I am playing. By the time you have read a play or script, the love scenes become just a part of the whole, and your attention is concentrated upon them just as it would be on the other important scenes." Bing Crosby shook his head and final (Continued from page 28) ly admitted: "All I can say is I never did like the idea of kissing in public." Buster Crabbe, the Olympic athlete and "Tarzan" to you, admits he is stirred to the tips of his toes — by embarrassment. Stuart Erwin dreads the return of technicolor. He is afraid his ears will always photograph red. "But I'm inwardly always detached and nonchalant," he said. "You are not!" declared Mrs. Erwin (June Collyer). Karloff, the Baron of Terror, declared: "Unfortunately, in my parts I do very little of it. As much as I've done has proved pleasant." Margaret Sullavan declared: "Kissing in front of the camera is just a job — the quicker over, the better. Some find this hard to explain to anxious husbands, but mine understands. He's a director." Here's an answer that some men won't like. But Dick Arlen ought to get a chuckle out of it after his own reply, for he and Sally Eilers played opposite each other not so long ago. Sally said: "It's all in the day's work— and sometimes, to speak frankly, it is the hardest part of the day's work." Bela (Dracula) Lugosi has this to say: "One may kill a man, as provided by the script, and feel no emotional upset because one knows it is acting; but kissing is such an intimate process it never fails to bring a slight flush above the collar." Donald Cook has a few ideas on the subject, too. He answered: "I've had two hundred leading women during my stage and screen experience. What an emotional wreck I would be if I permitted myself to fall for even a small percentage of them! "I actually had a real distaste for five of these women, and love scenes with them almost made me give up acting. I do believe that the best and most sin cere love scenes are between those who like each other." Carole Lombard denied that screen love affected her. "Love scenes don't affect me emotionally. I have found out, through experience, that technical love scenes register more sincerely on the screen. It is only through experience that one learns anything about the emotions. One finds that in pictures if one plays a scene too realistically it does not suit the character portrayed. "One of the first things an actor or actress learns is that he should consider emotional scenes— whether they be love or dramatic — wholly impersonally, and should play them as they would be lived by the character being portrayed. In other words, love scenes should be acted and not felt any more than any other scenes." And no treatise on screen love would be complete without a word from a heman of the open spaces, a Western star. So here is what Buck Jones said: "That's one part of movie making that always makes me feel a trifle silly. No rugged outdoor man wants to make love before millions of fans — and I doubt that the fans want their heroes and heroines of Western adventure pictures to make love. But a kiss or two is necessary, and I consider such scenes part of a day's work — and I don't mean that, at all, in a way uncomplimentary to my leading ladies!" From the beautiful girls to Buck Jones, in other words, there are as many attitudes toward those screen kisses as there are actors and actresses in Hollywood. Some like 'em hot, some like 'em cold — and to others.they're just so much spinach. But they're kisses — and kisses we must have! Junior Hollywood talk, talk, talk — all at once — ask her questions, let her recite to them — anything— she must get back in the swing — must completely forget all the diction and voice placement instructions the studio had spent eighteen months building up. She had twenty-four hours to learn her part — the role of "The Girl from Texas" in "Red Heads on Parade." Mary does hope that the friends in her home town will at least recognize her — but she's not even sure of that, what with a red wig and all. OETTY FURNESS' favorite story was told around Hollywood right after she left RKO and gets funnier all the time. Betty had been under contract to that studio for twelve months and nothing of importance happened. For some reason when a part came up for a girl Betty's type, the producers always borrowed an actress from another studio — even though they could get Betty who was being paid by the studio anyway. Feeling the urge for a bit of histrionics she decided to do a play at the Hollywood Theater. Executives from M-G-M saw the play and immediately offered Betty a contract. "But I'm signed to RKO." "See if you can get out of it." So Betty asked for her release the next (Continued from page 3s) day and got it. That was a Friday. On Saturday Metro signed her to a long term ticket, and on Monday one of Radio's chief producers decided he'd use Betty Furness in his picture. He called Fred Schussler at the RKO Casting Office. "Freddie, I'm going to use Betty Furness,"— expecting a raise of huzzahs. "But we haven't got her — we just released her." "You mean she isn't under contract to us any more? Well, that's too bad — I've got to have her. She's the one girl for the part. Borrow her." So they borrowed Betty from M-G-M after letting her sit around for a year. As a matter of fact she was so good in the picture that two other producers on the lot borrowed her in rapid succession. And so RKO has made a featured player out of Betty Furness for M-G-M. Johnny Mercer is one of RKO's new finds. It will undoubtedly surprise his many fans to know he is now an actor. Mercer, who was with Paul Whiteman's band for several years and is famed for his song-hits such as "Pardon My Southern Accent," "Here Come the British" and dozens of others, was put under contract to the studio as a writer and lyricist. But for some reason they decided he really should act — so now young Johnny Mercer is a new scieen find. With him in "Old Man Rhythm" the new Buddy Rogers picture, are two young ladies well worth watching. They are Joy Hodges and Evelyn Poe. Joy had been singing with Gus Arnheim's band and later with Jimmy Grier's orchestra here in town for about a year when a motion picture manager finally talked her into considering picture work. The studio feels she will be a new star and you will agree I am sure after seeing the picture. Evelyn Poe, the other newcomer, was discovered in New York by Al Siegal, who is responsible in a great measure for the success of Ethel Mer TN SIGNING off for this month I want to ask the readers of Junior Gossip just what type of things you would like to know about Hollywood's younger stars. I really wish you'd write this department in care of New Movie Magazine, 7046 Hollywood Boulevard, Hollywood, California, and tell me just what type of Junior Star news would be most interesting to you. Instead of answering in the next column or so I will wait until most of the letters arrive and from then on you'll find exactly what you ordered on these pages. 54 The New Movie Magazine, September, 1935