Nothing Sacred (United Artists) (1937)

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“Nothing Scores Sacred” Newspaper Farce Sensational Comedy Scoop FREDRIC MARCH Fredric March in “Nothing Sacred”, David O. Selznick’s Technicolor Comedy Sensation, released thru United Artists. 10-A — One Col. Star Head (Mat .15; Cut .25) | SHORTS No. set in Hollywood was filled with more hilarity and “ribbing” then the technicolor picture, “Noth¬ ing Sacred,” at Selznick Interna¬ tional. Carole Lombard had four days off, but showed up at the stu¬ dio every day to watch and hear Fredric March, Director William A. Wellman, Walter Connolly and Charles Winninger between scenes. “I wouldn’t miss it,” she said. “They should turn the camera around and shoot the other way.” ‘Nothing Sacred” comes to the . theatre on . * « « Clark Gable made personal ap¬ pearances — at Selznick Interna¬ tional Studio, a mile and a half from his home lot M-G-M, while Carole Lombard was at David O. Selznick’s plant, co-starring with Fredric March in the technicolor film, “Nothing Sacred,” which is now attracting the crowds at the .I............ theatre. * # * Charles Winninger, the Dr. Enoch Downer” of David 0. Selznick’s technicolor picture, “Nothing Sa¬ cred,” now at the theatre, which co-stars Carole Lombard and Fredric March, goes back on the radio on a contract calling for his services for two years. He returns as “Cap’n Henry” on “Show Boat.” * « « You should see the editorial of¬ fice of the New York “Morning Star” in Selznick International’s technicolor picture, “Nothing Sa¬ cred,” note playing at the . theatre. It’s decorated in gunmetal, dark green and chrome, with tu¬ bular steel chairs, noiseless type¬ writers and French phones decorat¬ ing stream-lined desks. The reporters, probably, call for “Mr. Copy Boy.” Newest of the colored motion pic¬ ture “finds” is Troy Brown, 310 pounds of darky. He plays the pseudo-sultan in “Nothing Sacred,” current attraction at the . theatre. A dancer and singer, as well as an actor, the big fellow can do the splits, and, if Director Wil¬ liam A. Wellman can find a spot in the script, will try it on the screen. « « » “ Crack-Shot” Lombard might be a good cognomen for Carole, who is becoming an expert rifle shot. On location for the technicolor produc¬ tion, “Nothing Sacred,” now at the . theatre, co-starring Miss Lombard and Fredric March she picked up an army-type Spring- field, hit a rock 200 yards away six times out of six. She’d like to go big game hunt¬ ing, she says. Carole Lombard and Fredric March Hit Heights of Hilarity in New Selznick Technicolor Triumph (REVIEW) David O. Selznick’s New Technicolor comedy sensation “Nothing Sacred” co-starring Carole Lombard and Fredric March literally roared on to the screen of the. theatre last night. The laughs started from the first flash of the original and satirical maintitle by Ben Hecht which describes New York as ... . “Sky- - scraper Champion of the World. . . With a Silk Hat for a Soul and a Mammy Song for a Heart . . . Bag¬ dad, Babylon and Podunk in a Cake- Walk between two River Banks. From then on the hilarity gathers momentum as the action of the pic¬ ture unfolds. For sheer en¬ tertainment that will make you forget your inhi¬ bition and ex¬ plode in raucus guffaws of mirth, “Nothing Sacred” is just what the Carole Lombard in doctor ordered, David O. Selz- and the doctor in nick > Nothing the picture is Dr. Sacred” Enoch Downer 16-A —Thumbnail portrayed by (Mat .15; Cut .25) Charles Winninger who comes to the big city just for the ride and aids and abets Carole Lombard as Hazel Flagg, the small town gal in perpetrating a colossal hoax that turns New York inside out. Fredric March is the ace reporter of the “Morning Star” who concocts the “story of the century” with Carole as the central figure. . .“Nothing Sacred” dramatizes life in New York as Mr. Selznick’s pre¬ vious hit “A Star Is Born” drama¬ tized life in Hollywood. As the title implies, it pokes fun at people and things, which in this case is New York and some of its foibles. The story is an original by James H. Street and the script is by Ben Hecht who knows more about New York than any man in Manhattan, and he has done one of the best jobs of his writing career in his farcical treatment of “Nothing Sac¬ red.” The cast is an impressive one headed by Carole Lombard and Fred¬ ric March, and they enter into the rollicking spirit of the action which calls for them doing everything from riding on a hook and ladder and jumping off the dock to being the principles in a lavish night club se¬ quence as well as a whirlwind, rough and tumble fight. In addition to Charles Winninger other important featured roles are played by Walter Connolly and Maxie Rosenbloom with a veritable host of others in support. The pic¬ ture is lavishly produced and the marvellous technicolor shots of practically every important point of interest in New York and its env¬ irons is almost breath-taking in its pictorial beauty and dramatic effect. William Wellman has done a su¬ perb directorial job and the photog¬ raphy is flawless. To Carole Lombard and Fredric March however go the high honors for performances that stand out like the Empire State Building on the New York skyline. Miss Lom¬ bard’s flair for comedy has been established in previous hits, but she surpasses anything she has done heretofore. Fredric March makes an ideal team mate for the blonde and beautiful Carole and after their ro¬ mantic merger in “Nothing Sacred” it is predicted the public will clamor to see them together in more pic¬ tures of this same fast-action, roman¬ tic type. “Nothing Sacred” is tops for screen entertainment in a season that has been marked by fine pictures, and is another outstanding release on the United Artists program of hits. Walter Connolly in “Nothing Sacred” Walter Connolly, who landed so thoroughly in the middle in “Libeled Lady,” leaps even deeper into the center of a mad Manhattan mixup in the role for which he was cast by David O. Selznick, that of Oliver Stone, the managing editor, in the technicolor production, “Nothing Sacred,” at the. Theatre. The stage and screen favorite takes over one of the most important parts in the film which co-stars Carole Lombard and Fredric March, under the direction of William A. Wellman. March is his ace reporter, Wallace Cook. Miss Lombard is Hazel Flagg, the small town girl who crashes so¬ phisticated New York, and proceeds to give Stone, Cook, and Father Knickerbocker a large headache. Charles Winninger, of radio, stage and screen fame, is well mixed in the mixup, as Dr. Enoch Downer. He has a hand in the affair that double- crossed a city. The screen play for ‘.Nothing Sac¬ red” has been written by Ben Hecht, and is based on a story by James H. Street. Connolly is one of the screen’s busiest actors, punctuating his film work by trips back to the Broadway stage, where for 15 years he was a favorite, and until 1932 a holdout against Hollywood. “Soak the Rich,” “The Good Earth,” “Libeled Lady,” “It Happened One Night” and other outstanding pictures have found him prominent on the cast list. New Comedy Role For Winninger Charles Winninger, whose colorful screen career has been marked by suc¬ cesses in virtually every kind of role —showboat pilot, a harassed father, industrial leader, captain of merchant marine, to mention only several — now becomes a small town doctor lost in the mad maze of New York. He was signed by David O. Selz- sick for the role of Dr. Enoch Down¬ er, in Selznick International’s techni¬ color production, “Nothing Sacred,” co-starring Carole Lombard and Fred¬ ric March, and directed by William A. Wellman, the current attraction at the .theatre. Miss Lombard is his patient, but, as matters develop, the doctor’s need for treatment is even greater. When Miss Lombard leaves th,e small town for the big city, in the screen play written by Ben Hecht, based on a story by James H. Street, Winninger goes along for the ride. Together they proceed to throw New York into an emotional uproar, as central figures in the “story of the century” concocted by the Morning Star’s ace reporter, Fredric March.’ An actor since boyhood, when he traveled with a family troupe, Win¬ ninger has enjoyed fame on the stage, in vaudeville, stock and musical com¬ edy, and on the screen. Among his recent pictures, are “Three Smart Girls,” “The Go Getter,” and “Cafe Metropole.” CAN CAROLE DISH IT OUT? Yes, it’s a knockout! Carole Lombard, Fredric March and Walter Connolly in scene from “Nothing Sacred,” David O. Selznick’s Technicolor comedy sensation, released thru United Artists. 6-J3 — Two Col. Scene (Mat .30; Cut .50) Hilarious Role in “Nothing Sacred” Recalls Early Comedy Training of Carole Lombard Take a Horatio Alger story and apply it to Hollywood. Make a lovely blonde the heroine in place of the poor-but-honest boy. There you have the tale of Carole Lombard’s rise to star¬ dom. In other words, film directors did not swoon with joy, nor did producers stand in line out¬ side the Lombard threshold, when first she turned her attention to motion pictures. The story of Carole Lombard tells of a girl who started in comedy ranks, rose to bits, became a lead¬ ing woman and then blossomed in¬ to stardom. It was a steady rise to the top, based on a merit which she proved, step by step, until today finds her under three-year contract to David O. Selznick, for whom she made the technicolor picture, “Nothing Sacred,” co-starring Fred¬ ric March directed by William A. Wellman, which is attracting huge crowds at the.theatre. Miss Lombard was born in Fort Wayne. Indiana. When she was sev¬ en years old, her mother and brother accompanied her to Hollywood. The family liked the film capital, and has remained since. In her school career, there was no indication that Carole Lombard was headed for the screen. She at¬ tended private school and then en¬ tered high school. It was not until she took a three-year course in a dramatic school that the thought of a film career entered her head. Sev¬ eral dramatic productions, produced by the students, and occasional parts in plays staged in Los Angeles the¬ atres served to whet her interest. When she went into Mack Sen- nett comedies, however, she had no thought of eventual stardom. She thoroughly enjoyed the custard-pie throwing, the falls into pools, beds of cactus and various other uncom¬ fortable landing places. After a year of this, Fox called upon her for a role in “Me, Gangster.” At this point, Carole became the ingenue, and later she played bits and minor leads at Pathe, where she was placed under contract. Dur¬ ing 18 months at Pathe, Carole graduated to feminine leads. Among her pictures there were “Power,” “Ned McCobb’s Daughter,” “Show Folks” and “High Voltage.” Stardom was just around the corner. The top bracket was reached when Carole was co-starred with Robert Armstrong in “Big News” and “The Racketeer.” Paramount selected her for an important role in the musical, “Safety in Numbers” fol¬ lowed by “Fast and Loose” at the same stulio. The Lombard career still was far from its peak. She climbed still higher as a sophisticated type. Her name appeared alongside William Powell’s in “Man of the World” and “Ladies Man.” Further triumphs were hers in such pictures as “Twen¬ tieth Century,” “We’re Not Dress¬ ing,” "Hands Across the Table,” “My Man Godfrey,” and “Love Be¬ fore Breakfast.” “Nothing Sacred,” her first tech¬ nicolor picture, brings all of the Lom¬ bard talents into play, her ability as a comedienne, a dash of ingenue, a fair share of sophistication, and, of course, a plentiful portion of roman¬ tic reactions. Carole Lombard has always been athletic, though her trim figure, 5 feet 2 inches tall, weighing 112 pounds, belies the fact. In school, she won medals for sprinting and broad¬ jumping, and she was a leader in soccer and tennis. Her favorite di¬ versions now are dancing, tennis, swimming and horseback riding. She is seldom seen in Hollywood night spots, preferring to relax at home* when not acting before the cameras. This blue-eyed, golden-haired star is filled with zest for life and for her work, and is a favorite among di¬ rectors for her complete lack of what has been called “Hollywood tempera¬ ment.” CATCH AS CATCH CAN AT CATCH WEIGHTS Carole Lombard staged a bat¬ tle with two giant wrestlers in filming a scene for the David O. Selznick technicolor picture, “Nothing Sacred,” but when the cameras stopped turning, it was one of the burly “beef trusters” and not the 112 pound star who was stretched out cold. The scene showed “Bad Ben” Morgan, 315 pounds, and Hans “The Terrible” Steinke, diving over the topmost rope of a raised ring into Miss Lombard's and Fredric March’s laps, at ring¬ side. Even the refree, Mickey McMasters, went overboard - into the melee. While the wrestlers squirmed and tossed, continuing their bat¬ tle amid broken chairs and tram¬ pled spectators, Carole was en¬ tirely lost beneath the shambles. The cameras were halted. Miss Lombard rose to her feet. Director William A. Wellman called for the first-aid man, Gil¬ bert Stone. Steinke required restoratives, and Miss Lombard helped the medico administer them. Page Twelve