Broadway Musketeers (Warner Bros.) (1938)

Purely Personal MARGARET LINDSAY’S desert hideaway may not be the most exciting one near Hollywood, but it certainly has the most wnique name. Calico Canyon is the place. She hied herself there as soon as she finished her latest Warner Bros. picture, “‘Broadway Musketeers.’’ MARIE WILSON drank two quarts of buttermilk a day during the filming of ‘‘Broadway Musketeers,’’? in an effort to gain. DICK PURCELL, Warner Bros. featured player in ‘‘ Broadway Musketeers,’’ was studying to become a lawyer when he became an actor. He had a girl-friend’ in vaudeville, and when her male partner became ill, Purcell replaced him in the act as an accommodation. He has been on stage and screen ever since. JOHN LITEL, wearing a light blue shirt with a full dress suit so the shirt would photograph whiter in a scene for ‘‘ Broadway Musketeers,’’ said ‘‘I feel as if I had come in from working on my ranch and forgot to change my blue work shirt.’’ ANN SHERIDAN has taken up chicken farming in a big way, but whén she wants chicken for dinner she has to go out and buy it because her negro cook has become so attached to the chickens she won’t hear of them bemg killed. Ann’s latest Warner Bros. picture is ‘Broadway Musketeers.’’ RICHARD BOND, who. makes his screen debut in the Warner Bros. melodrama, ‘‘ Broadway Musketeers,’’ which opens at the Strand Theatre next Friday, changed his name from Wilfred C. Haentzschel with the aid and inspiration of Homer Dickenson and Florence Tempest, known for years on the stage as ‘‘ Tempest and Sunshine.’’ JANET CHAPMAN, Warner Bros.’ new six-year-old starlet, eried during one scene of her own film, ‘‘ Little Miss-Thoroughbred,’’ when she saw it on the screen. Asked why she cried, the tot explained, ‘‘Well, everybody all around me was erying.’’ That was Janet’s first picture; since then she has also worked in ‘‘Broadway Musketeers,’’ the Warner melodrama now at the Strand. Bond Is A Wastrel -But Only In Film For seven years Richard Bond worked and saved, religiously staying within a budget, while he acquired as much acting experience as he could, in preparation for breaking into motion pictures. He was successful in winning a contract with Warner Bros. Studio —and his first role was that of the Broadway playboy, gambler and wastrel with Margaret Lindsay, Ann Sheridan and Marie Wilson in ‘Broadway Musketeers,’’ the Warner Bros. picture now showing at the Strand Theatre. ‘IT know the role is an ironic contrast to the way I manage my personal affairs,’’ he says with a cheerful grin, ‘‘but it has made my wife and me more determined than ever to stick to our program. ‘*Long ago we proved the advisability of following a budget. So much for food, clothing and other necessities, so much for entertainment, and a definite amount into savings. If our income fiuetuated, we made some adjustment in the budget, but our standard of living remained essentially the same and our savings program did not suffer.’ Mat 202—-30¢ IT’S A GAMBLE — Margaret Lindsay visits the roulette tables with Dewey Robinson (left), Richard Bond and Anthony Averill in a scene from “Broadway Musketeers,” the current attraction at the Strand. @ Motion Pictures Are Your Best Entertainment Litel Explains Preference For Quiet, Secluded Life There is no middle course for the actor in Hollywood. In his goldfish bowl existence he must follow one of two courses. He must play the social game or live the life of a recluse. ‘“And ‘you’re bound to be eriticized, regardless of which course you choose,’’ remarked John Litel ruefully one day on the set of his latest Warner Bros. picture, ‘“‘Broadway Musketeers,’’ which is now showing at the Strand Theatre. ““Tf you decide on the social game you Mat 101—15¢ have to leap : in and play it John. Lge! hard,’’ he add ed. ‘‘You can’t touch it lightly and once you start, you’re on a merry-go-round that never stops. ‘*The people who come and _accept your hospitality laugh at you. They call you a climber and accuse you of playing politics; of playing the social game to advance your career in pictures. ‘¢You may be a teetotaler but you acquire a reputation of being a playboy. Instead of helping, extensive social life hurts. Producers see you here and there and when your name is mentioned for a role they shake their heads sadky. ‘He’s YOUR DAILY COLUMN dissipating,’ they say, whether there is any foundation for this remark or not. ‘We ean’t take a chance on anybody who goes out so much. He may get drunk and hold up produetion.’ ‘“There are many who don’t eare for the false gaiety and hectic phases of social life. They prefer to lead a quiet home life, with their entertaining confined to a few selected and proven friends, often people not in motion pictures. ‘“These actors acquire the recluse reputation. Least of the unflattering remarks made about them is that they are snooty; that they feel they are too good to associate with their fellows in the film business. ‘“‘Then the gossip mongers spread more vicious reasons for the retiring life. I know of one famous star who became known as a solitary drinker because of a_ high stone wall around his place and a huge gate which he kept locked. He had never taken a drop to drink in his life and merely had the fence and gate to keep out the prying curious. ‘<Those of us who prefer a quiet modest hfe can’t exactly snap our fingers at the gossipers and say ‘Who cares?’ All we can do is lead our lives as we see fit and hope that the gossipers won’t give us a reputation that will damage us professionally. ’’ (Latest news of forthcoming pictures from the Warner Bros. lot, pointed toward use in daily columns, house organs, programs and fillers.) COMPANY GOES OVER THE JUMPS Picking up on the _ steeplechase race, Dick Powell, Anita Louise, Walter Catlett, Allen Jenkins, Harold Huber and entire cast jump to ranch across river from Warner studio to continue serious business of jumping water hazards, fences, hedges and other items dear to the heart of the huntin’ set. Picture is ‘‘Going Places.’’ GARFIELD ENTERS RING John Garfield, seconded by Dead End Kids, enters ring for bout in Jim Jeffries’ Barn in Burbank. 100 extras work at ringside of exchampion’s present venture, rented by studio for the film. Garfield is fighting to stay in ring at least four rounds, thereby earning $2,000 for Dead End Kids im ‘©They Made Me a Criminal.’’ FROM BIRTHDAY CAKES TO FISH Prop men on the set of ‘‘ Broadway Musketeers,’’ now showing at the Strand, had to supply everything from birthday cakes to fish. The fish were sardines, which were used as bait to make a kitten follow little Janet Chapman around in a seene. The cakes were of the ‘‘fallen-in-the-middle’’ variety for a baking scene with Ann Sheridan and Marie Wilson. FLYNN TURNS OTHER CHEEK David Niven hauls off and slaps Errol Flynn, his superior officer, in argument arising from death of Niven’s brother, characterized by Niven as more than a slight case of murder. Flynn, on whose orders kid brother met death, tries to sooth his pal. The picture is ‘‘Dawn Patrol.’’ KIDS SURROUND GANGSTERS Bonita Granville and Frankie Thomas, Sherlock and Watson, respectively, surround gangster hideout with aid of policeman. Artillery in evidence as cameras grind im ‘‘Nancy Drew, Detective.’’ [10] Stars Uphold Tradition Of Female Marksmanship It was to be a history-making moment at the Warner Bros. Studio, on the set of ‘‘ Broadway Musketeers,’’ the new Warner picture now at the Strand Theatre. The honor of wemanhood was to be upheld; a gross legend was to be shattered. It was to be proven that a woman does throw an object where she is looking. In fact three women were to demonstrate that they could hit a target. There was a buzz of excitement as Ann Sheridan, Marie Wilson and Margaret Lindsay took their places on the set. Jobn Farrow, the director, wore his habitually confident smile; money surreptitiously changed hands behind the camera. The prop man, Dutch Riefsnider, somewhat of a cynical soul by nature, methodically don ned a closely meshed fencing mask, picked up a dust pan and broom and stood at one side of the set. The girls, reunited as. adults after spending their youth in an orphanage, were having a_ little party in a French cafe in New York. They pledged to meet annually in the same place and after drinking a toast, they were to shatter their wime glasses in the fireplace, ‘‘All right, let’s take it,’’ said Farrow, adding a brief, last minute pep talk for the girls. ‘‘Get in there and give your all for the honor of your sex.’’ The scene progressed to the end, and Ann threw her glass unerringly into the fireplace, where it broke in bits. Farrow smiled with satisfaction. So did Riefsnider, though somewhat ‘sardonically. Then Margaret aimed carefully at the fireplace, threw and hit a framed picture on the far side of the room, Before Farrow could eall a halt, Marie set her teeth, threw and Chief Cameraman Lu O’Connell, behind the camera, ducked as the glass sailed over his head to shatter on the floor 20 feet from the fireplace. Mat 102—15c Marie Wilson Prop Man Riefsnider, busy with broom and dustpan, continued to smile knowingly as he indicated a gross of wine glasses he had provided for the scene. ‘«Please, Ann,’’ pleaded Marie. ‘Tell us how you do it.’’ ‘“‘That’s easy,’?’ Ann replied. ‘‘T aim at that chair over there and it lands in the fireplace.’’ She demonstrated. Margaret and Marie tried and hit the mark unerringly this time. The scene was completely successful. @ Motion Pictures Are Your Best: Entertainment. @ More Tease Than Strip In Dance That Ann Does The scene was potent with possibility. According to the seript, ‘‘Fay Reynolds, pretty, even glamorous in the soft spotlight, her facile curves molded into a streamline evening gown, continues singing the number to the accompaniment of the orchestra on the platform behind her.’’ That ‘‘facile curves’’ seemed to be a little bit of all right, for Mat 108—1ic RADIANT RED-HEAD Ann Sheridan is featured in the Strand’s current attraction “Broadway Musketeers.” “(Fay Reynolds’’ was Aun Sheridan. The luscious Ann, who should have inspired the script writer to a more articulate description than ‘pretty, even glamorous,’’ was about to do a dance. Not just any old dance, but—sh! sh!—a strip tease dance for ‘‘Broadway Musketeers,’’ the Warner Bros. picture now playing at the Strand Theatre. Director John Farrow ealled for a take, and as the cameras rolled, Ann began singing ‘‘Has It Ever Oceurred to You?’’ Whether it was the song or something else they were thinking of, the grips and electricians came out of their normal lethargy of indifference. Even the extras, who were being paid to be both interested and entertained in this scene, gave extra value for their money. As Messrs. Don Ryan and Kenneth Gamet, the authors, so aptly specified in their script, Ann ‘‘parades smilingly past the floor tables, with an arch look unfastens the clasp of the jacket which is a part of her evening gown and pauses inquiringly. There is applause. She takes off the jacket and tosses it to a baldheaded customer at the nearest table, who laughs loudly.’’ Later on the camera was to move up to make a close shot of a patron—‘‘A middle-aged man who takes off his glasses, wipes them and quickly pops them back on his nose.’’ The camera wasn’t on him now and the middle-aged man was probably rehearsing as_ he went through his business. Returning to Ann, she ‘‘again walks around the tables, and as she backs toward the orchestra, drops the shoulder straps of her gown, still holding it against her provokingly.’’ Hmmm, The camera turned to a ‘‘redfaced man, who wipes his perspiring face and head.’’ A whistle blew shrilly, police rushed in on a raid, threw a table cloth around Ann, and the scene was over. Everyone breathed easier, especially Ann. ““T was seared to death,’’ Ann confessed, ‘‘that the adhesive tape the wardrobe woman put on to hold up my gown when I dropped the straps, would break. So, just to play safe, I put on a bathing suit under the gown—though nobody knew I did!’’ (ay Song Tells If Ann’s In Ann Sheridan has installed a new door bell with a phonograph attachment at her ranch home. When she’s not at home, she sets the apparatus to play ‘‘ Annie Doesn’t Live Here Any More’’ when the bell button is pressed. When she’s home, the machine plays ‘‘ Hail, Hail, the Gang’s All Here.’’ Amn is one of the three charmers who play the leading feminine roles in ‘‘Broadway Musketeers,’’ the Warner Bros. picture which is now being shown at the Strand Theatre.