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Katharine Hepburn with David Manners in " A Bill of Divorcement. o Below : Nova Pilbeam with Matheson Lang and Lydia Sherwood in “ Little Friend." Test Match, was the most entertaining thing in the whole film. One acquaint- ance of mine saw the film three times merely because of their presence in it. And certainly without them the film would have been just another thriller. Shirley Ross's big moment occurred when she sang “ I’m Talking Through my Heart,” in one of Paramount's “ Big Broadcasts." In these films, which are a sort of glorified revue, the entertainment is vested in lavish scenes and sketches strung together by the slenderest thread of a story, and her song had nothing to do with the actual story. John Carradine had been playing small parts, all very villainous, when he was chosen for the role of Rizzio, Mary Stuart’s faithful Italian secretary, in “ Mary of Scotland.” It was his sympathetic portrayal of this role that won him recognition, for his work practically doubled immediately afterwards. George Zucco had appeared in a few British pictures between work on the stage, on which he has been well known for many years, but he was marked down by Hollywood talent scouts when he went to New Shirley Ross York to appear as Disraeli in “ Victoria Regina " on the stage. But his dignified performance apparently did not affect the film-makers. They had their own ideas about what he should do on the screen, and he appeared as the insane villain in “ After the Thin Man,” a role which he has followed with many other villainous and half-mad roles, inter- spersed by a few sympathetic parts. Stanley Ridges made his bow on the screen in the Noel Coward film, “ The Scoundrel,” which was made in New York. He appeared as a blackmailer, one of the most unpleasant of all the unpleasant characters who appeared in the film. And he has played many unpleasant characters in Hollywood since then. It was from the stage that Katharine Hepburn came, to take us by storm in “ A Bill of Divorcement." Her harshness and queer gaunt beauty were utterly different from any other young actress on the screen. You might detest her, you might adore her—but you certainly couldn't remain indifferent to her. And I think that is as true to-day as it was then. Isabel Jewell had done a tremen- dous amount of film work before she appeared in “ A Tale of Two Cities,” but it was her small role as the little seamstress who goes to the guillotine and asks Ronald Colman, as Sydney Carton, to hold her hand to give her strength because she is afraid that she will show her fear, that gave the indi- cation that she had strong dramatic abilities. Right: Stanley Ridges and Noel Coward in “ The Scoundrel.”