Photoplay (Jul - Dec 1936)

We Cover the Studios [ CONTINUED FROM PAGE 47 J the highly decorative Marlene Dietrich. Here they are shooting the Robert Hitchens novel in Technicolor under the banner of Selznick International Pictures. The International part is no mere label in this film for the set is a League of Nations. Here you find Dietrich (German), Charles Boyer (French), Basil Rathbone (English), director Richard Boleslawski (Polish), Tilly Losch (Austrian), and Joseph Schildkraut (I don't know what). In the dazzling scene we watch, the lithe Tilly Losch is leading a group of cafe entertainers through a torrid dance routine. This is the interior of an Algerian night-spot and stands behind the camera and holds a piece of lattice in front of a spotlight in order to throw an artistic shadow across Dietrich's face. Then another grip stands in front of a light and waves his arms so that it will seem like the moving shadows of the dancers, whom Dietrich is supposed to be watching. All this preparation takes almost an hour, then cameraman Hal Rosson, one-time Mr. Jean Harlow, beckons to Dietrich. She wears a loose grey gown with a pale green hooded cape. Behind the camera she has placed a large dressing-table mirror so that she can watch herself as she acts. She falls naturally into a graceful posture and the scene begins. Just like any other young couple who are "that way" about each other, blonde Toby Wing and Tom Brown enjoy their pop at the Rollerdrome while all the dancing girls stand about twiddling their turns a fight begins. There is a wild melee, and when the Arabic shouting dies down, it turns out that Henry Brandon has been stabbed. It seems he has been trifling with Tilly's affections. Like all color sets, the lighting here is subdued and comes from yellowish lamps that throw a beam somewhat like sunlight. An odd thing on this set is the smoke pots which are to lend murkiness to this crowded cafe. The smoke is perfumed, heavy and quite oriental. Whin the set is cleared of tin dancing girls, there is a close-up of Dietrich. As much time is taken for this as for the big crowd scene. First, a stand-in takes the place so that the complicated lighting can be arranged. Die trich is to be sitting on a bench next to a grey wall. A painter daubs the wall so that it will pick up no high lights. Then a grip You notice that director Boleslawski is not around, and here's the inside story why he isn't: Dietrich wants to play this scene with stylized restraint, but Boleslawski, considering that there is a killing and some fiery dancing going on, thinks that Marlene should move her head about. Dietrich wants to move only her eyes. So, while the camera is shooting. Rosson says, "Miss Dietrich, if you'll move your head a bit I think I can get a better light on your eyes." She falls for the ruse and moves her head never realizing that this will be used as a react ion. WHILE all this is going on, the quietly con tained Charles Boyer goes amiably about his business on the sidelines. He seems less touched by Hollywood than any other actor. He doesn't even want to be famous as a personality. He wants to be known only through his roles. For all the sensitive con tours of his face, Boyer is a crack all-round athlete. He spent most of his boyhood nursing broken bones received from playing French football SPEAKING of broken bones, Warners had a scene in "The Charge of the Light Brigade" which they were so sure would result in injuries that they held it until the last day of the picture. This is the famous charge where six-hundred cavalry men ride "into the valley of death." It is honestly one of the most exciting spectacles ever set before a camera. To see this, you get up early on a cold California morning and drive some forty miles out in San Fernando valley. Here, in a hidden ranch is the historic setting. It is mined with high explosives over which the horsemen must make their hazardous way. By the time you get to the location, the sun is high, beating down heavily on the sweltering cowboys adorned in full uniform. The six hundred of them are outlined on the horizon a quarter of a mile away. They await the signal to charge from director Michael Curtiz. This scene can be shot only once. It is now or never. A siren blows, a flag waves and the riders, their ribboned lances high in the air, come charging down the slope. A couple of horses fall in the scramble. They are not seriously hurt, but a rider breaks a leg. As the horses thunder along the level stretch, the planted bombs fill the air with roars. There are cameras placed all over the hillsides to get the action in one take. The most interesting camera angle is shot from an automobile that rides parallel to the horses. The car moves in a thousand foot long ditch, making this the longest "dolly" shot on record. After the bedlam of this take, the horses and the men are checked for injuries. Then there is a hurried consultation with the camera and sound. Everyone is relieved when it is found that nothing went wrong. •"PHE other horsey picture of the month is * Paramount's "The Texas Ranger," which eulogizes those G-Men of the frontier days. Just back from a month's location in Texas, the company is finishing up with a few interiors. We watched one with Benny Hart let t, the obstreperous young heckler, Jack Oakie, Fred MacMurray and the newly-married Jean Parker. MacMurray and Oakie. up to the necks in guns and chaps, tell Bartlett to be sure and study his lessons. After this bit of sound, it' unpleasant, advice, they make for the door, but before they get there. Jean wafts into the scene. She is all crinolined out in a bustled outfit. But there is nothing demure about her action, for she throws a fewharsh words at the affable Mr. MacMurray who slams the door as he leaves This is one of the quietest scenes in the wildly woolly Story The gun shooting was all done on location. But even this comparatively peaceful interlude is given interest by Yidor's swift direction. When it is over Jack Oakie sits in front of a mirror and admires the beard which he has grown for the role. This rest period is a big moment for a bit player. He stands self-consciously nervous in front of Yidor, who is sizing him up for a part. A curious thing about the way actors are 104