Photoplay (Jul - Dec 1936)

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PHOTOPLAY MAGAZINE FOR DECEMBER, 1936 91 and who had refused to believe her pleas of innocence. (Perhaps you remember such a case in the newspapers, a few months ago.) The scene that we watch is the one that motivates the beating and the killing. Into the scene, Isabel and Eric must put all the inarticulate moodiness, the wistful idealism, of young love. There is no joking before this scene, as before many a movie love scene. They both are serious, both intent on their sensitive lines. /^N the sidelines, watching, is Charles Mid^aleton, unshaven and unkempt, who plays Isabel's father. For the love that she is making today, Middleton "beat" her yesterday. (That's how things happen in Hollywood.) \nd he is in far worse shape than she is. "Here I am, 160 pounds, and she weighs about 94 — and I'm the one who had to go to the doctor this morning. I couldn't raise my arm above my shoulder. You know, whipping a strap through the air and not really hitting anything is like missing punch after punch as a boxer. Your muscles don't take to that kind of treatment. Any more than folks will probably take to me, when they see how downright brutal this character is. But," he adds, philosophically, "hisses are like love letters, to heavies." At WarnersFirst National, we make a surprising discovery. The same dramatic situation is the climax of a big picture in the making there, called "Mountain Justice." Which was bound to happen, sooner or later, with studios looking to newspaper headlines for story inspirations. It will be interesting treatments given to the same basic idea by two different studios. Warners are wrapping the whole story around the girl who kills her father — Josephine Hutchinson, in this picture. Robert Barrat plays the father — "and I never had a role as mean as this one," he says, with a wry grin. George Brent is the man in the case. And in this version the seeds of scandal are first sown by Josephine's presence at a carnival with George. An amazing set, this. An entire carnival, discovered in some Los Angeles suburb, has been moved bodily into the huge sound stage. A merry-go-round, a ferris wheel, side shows, games-of-chance, popcorn stands — all are here. So are authentic carnival characters, from barkers to "Hawaiian hula girls." And further realism is added by dirt underfoot, to a depth of three or four inches. It is night. Josephine and George buy tickets for the merry-go-round, and clamber aboard smiling, while two vicious gossips comment on their being together. A short scene, but Director Michael Curtiz — "One-MoreRehearsal" Curtiz — spends hours on it. It is important. After Curtiz is at last satisfied with rehearsals, then with the actual filming, Josephine comes off the set, fanning herself with her large straw hat. We wonder if she is looking forward to her "beating" by Barrat. " I'm used to beatings," she says, with a smile. "I take one every time I stand under those lights." CAMUEL GOLDWYN seldom makes a pic^ture in a hurry — he takes time to make it good. But he is rushing Merle Oberon's scenes in "Beloved Enemy." She is supposed to be in England in ten days, to start work with Charles (onceAero) Laugh ton, in "I, Claudius." This afternoon she is making her first love NOSE PORES Largest Pores on Your Body— A Test of Your Cleansing Methods! *~/^CUAAI (ZdtAtA. The pores on the nose are the largest on your body. For this reason, if allowed to become clogged with waxy excretions, they will become j conspicuously large and noticeable. 'fe\ The pores on your nose, therefore, are a good test of your skincleansing methods. If the pores are plugged with waste matter and gaping largr. it's a -ign \niir ni'llimU an* insufficient. 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