Lured (United Artists) (1947)

Special Feature • Shorts • Alan Mowbray Sketch Intimate Notes on the Players — = Personal Column = This Funny World The most surprising things happen in Hol¬ lywood, and most people apparently take them as a matter of course. But not Marjorie Hoshelle, rising young film actress who hasn’t been in the movies long enough to become innured to the unpredictabilities of the fabulous cinema colony. Recently Miss Hoshelle reported to Hunt Stromberg for a part in his production, “Lured,” which co-stars George Sanders, Lu¬ cille Ball and Charles Coburn. Five minutes after Director Douglas Sirk had introduced her to Sanders, she and the actor were in front of the camera locked in each other’s arms, kissing like mad. After three or four rehearsals, the scene was shot to Director Sirk’s satisfaction. Miss Hoshelle had this to say about this streamlined lovemaking: “First I kiss a man I don’t know as though we were soul mates; then we take time out to get acquainted.” “Lured” opens on . at the . Theatre. It is a United Artists release. The First in Town Hollywood thought it was a publicity stunt when Lucille Ball announced that she was buying a helicopter. But, the doubting Thomases had a jolt one day when Lucille received notice that her helicopter had arrived in Los Angeles. Ironically, Lucille won’t be allowed to take lessons for some time yet, since the civil aviation authorities have not yet drawn up regulations permitting civilian operation of the egg-beater type of plane. Meanwhile, Lucille is keeping the ship in its original crates at her Chatsworth, California, ranch, but when the bans are off she’ll be the first Hollywood star to own and operate her own ’copter. Lucille can now be seen in Hunt Strom- berg’s stirring psychological mystery ro¬ mance, “Lured,” which opened on . at the . Theatre through United Artists release. Co-starring with her are George Sanders, Charles Coburn and Boris Karloff. The Stage Pays Off ^ Few people know it, but Boris Karloff is one of the wealthiest actors in Hollywood and, surprisingly enough, his income does not come primarily from the movies. Karloff revealed, while working in Hunt Stromberg’s fascinating mystery-romance, “Lured,” that he is a co-owner with Lindsay and Crouse of such fabulous stage hits as “Arsenic and Old Lace,” “The State of the Union” and “The Hasty Heart.” After several years of play¬ ing to capacity audiences, there are three companies of “The State of the Union” on tour do¬ ing an average total gross of $80,000 a week. Of this, Karloff collects a substantial sum. In addition to the direct revenue from boxoffice admissions, Kar¬ loff also shares in the movie rights to all Lindsey and Crouse productions. In “Lured,” Karloff shares stellar honors with Lucille Ball, George Sanders and Charles Co¬ burn. The film is due to open on.at the.Theatre through United Artists release. Karloff only appears in one se¬ quence, but it is one of the most daring and startling in the pic¬ ture inasmuch as he scares the audience almost as much as he scares the heroine, lovely Lucille Ball. Killing Their Lines The need for action in motion pictures has resulted in a vocabulary of violence that can be heard every day on a Hollywood set. That is the contention of veteran actor Charles Coburn, who can now be seen in the excit¬ ing role of a Scotland Yard inspector in Stromberg’s fast - paced mystery- “Lured,” now holding forth at the . Theatre through United Artists release. “When we finish with a set, we ‘strike it,’ ” Coburn pointed out. “When we want to empha¬ size a line, we say ‘punch it.’ When a scene is finished, the director says ‘cut.’ When we photograph a sequence we speak of ‘shooting’ it. And when the directors want the cameras to start rolling, they say ‘Turn ’em over’.” Coburn, who shares stellar status with George Sanders and Lucille Ball in “Lured,” thinks the terms spring from the neces¬ sity of compressing action into every scene which goes before the cameras. “For instance, if you should walk on a movie set and hear an electrician shout, ‘Kill that baby!’ don’t be alarmed,” Co¬ burn chuckled. “He merely wants an assistant to extinguish a small spotlight!” Still No. LB-GS-7 THEY’RE ENGAGED, THEY’RE IN LOVE! This tender scene between George Sanders and Lucille Ball is taken from Hunt Strom¬ berg’s powerful mystery-drama, “Lured,” at the . Theatre now through United Artists release. Mat (2D) .30 Still No. PC-Post 25 Alan Mowbray Mat (ID) .15 ALAN MOWBRAY IS FEATURED Alan Mowbray, popular char¬ acter player, portrays the role of a suave villain in Hunt Strom¬ berg’s exciting mystery-romance, “Lured,” which opens on . at the . Theatre. Lucille Ball, George Sanders, Boris Karloff and Charles Coburn share stellar honors in this United Art¬ ists release, with Sir Cedric Hard- wicke, Joseph Calleia and George Zucco playing top featured roles with Mowbray. The likeable English actor has a fine background. He played starring roles on the stage both in his native London, and in New York. And he has toured all over the United States with various productions sponsored by the Theatre Guild. His many Hollywood pictures include “That Hamilton Woman,” “A Yank At Eton,” “Holy Matri¬ mony” and the forthcoming “Mer¬ ton of the Movies.” Still No. PC-47 Posing as a maid, vivacious Lucille Ball tries to get Jo¬ seph Calleia to reveal some of his shady plans. The scene is from Hunt Stromberg’s en¬ thralling mys¬ tery, “Lured,” due on .... at the .... Thea¬ tre. It is a Unit¬ ed Artists re¬ lease. Mat (2E) .30 Many Stars Held Odd Jobs While Waiting Film Success Hollywood isn’t the city of quick success and easy riches it often is pictured. Many top stars were forced to swallow their pride and earn a liv¬ ing as best they could until their big break came. A current success story of unique pattern is that of 23 year old Tanis Chandler, who recently finished an important featured role in Hunt Stromberg’s dynamic drama, “Lured,” which opens on . at the . Theatre through United Artists re¬ lease. Lucille Ball, George Sanders, Boris Karloff and Charles Coburn are co-starred in the film, with Sir Cedric Hardwicke and Alan Mowbray lend¬ ing top support. Miss Chandler bridged the gap be¬ tween reaching Hollywood and screen recognition by being a baby sitter. Out of the baby sitting, however, came an ingenious idea. Instead of going to the homes of her employers, she had the mothers bring their infants to her. In that way she multiplied her earnings. Within a year Miss Chandler, while still haunting casting offices, began a nursery school at her home. Before she got her big break with Producer Stromberg, she had attained an enrollment of thirty-five children in the school, which is still in full swing with her mother and three as¬ sistants, one of them a trained nurse, in charge. Miss Chandler is perhaps the only actress in Hollywood who tided her¬ self over the rough spots by being a baby sitter, but there are others who can boast with pride at their willing¬ ness and ability to get out and really work at down-to-earth jobs. Ellen Drew, for example, was once a waitress and soda jerker in a luncheonette next to Grauman’s Chi¬ nese Theatre in Hollywood. Dana Andrews earned a living for a long time in Hollywood by pumping gasoline in a service station. Alan Ladd knocked around the film colony for years before he became established, even working as a grip at Warner Brothers’ studio. George Montgomery was a bartender at the Los Angeles Breakfast Club. Larry Parks, who currently is rid¬ ing high because of “The Jolson Story,” was a carpenter in Hollywood for a brief period. Ironically, one of the jobs he worked on was a bungalow addition to the Beverly Hills Hotel. Later he had the satisfaction of liv¬ ing in this very same bungalow he had helped build. Pape Seventeen