Cowboy from Brooklyn (Warner Bros.) (1938)

y | Y | Y | Q | y | Y | Q | Y | Y | / | Q | Y | Y | / | / | Y | Y | Q | Y | Q | Y | Q | j | Y | j | / | Y | Y (Current) Wise Guy On Screen Pat Is Soft Touch In His Real Life Pat O'Brien is a wise guy on the screen but the opposite in real life. “All my life I've had to fight a sucker complex,’ says Pat, who is again a wise guy in his latest picture, “Cowboy from Brooklyn,"” the Warner Bros. musical farce now playing at the Strand Theatre. “With the experience I've had in portraying wise guys on the screen you'd think I'd recognize them off-screen but I never do. Or if I do see through them, | fall anyway.” What O'Brien won't admit but what his intimates know is that his big Irish heart is responsible for this so-called weakness. He can't say “no” if he thinks somebody is going to benefit by his “yes.” Anybody with an idea and a fast line of talk can sell the idea to O'Brien. The extra who tells a heart-rending story of being down on his luck and of an allencompassing desire to go back to the old home and visit his aged and ailing mother will always find O'Brien good for a touch. The fact that Pat discovers the extra intoxicated on Hollywood Boulevard with all thoughts of home and mother gone makes him angry but doesn't cure him. Smooth talking promoters also find a ready listener in Pat and a willing customer, too, if they can manage to get past Eloise, his wife, and to the star. The optimism of the Irish works hand in glove with Pat's generous heart in those cases. “I guess I wouldn't want it any other way,” Pat says goodnaturedly. “‘If I changed and decided to turn a cold shoulder to pleas for aid, | would be afraid I might be passing up some worthy cause. “And besides, I have profited by my experiences with the fasttalking gentry. They provide me with a lot of screen material, for the types I have met always end up sooner or later with their mannerisms and ideas in the characters | portray in pictures. “In other words, I look at them and portray them, and in the final analysis they are the suckers, because I benefit more than they do.” DICK MODEL HUSBAND Instead of a clock to keep time, the company on ‘‘Cowboy from Brooklyn,’ the Warner Bros. musical, timed itself by Dick Powell’s telephone calls to his wife, Joan Blondell. Still the fond husband after two years, Dick called up Joan from the sound stage, or the location spot, every morning before lunch, and every afternoon at 3. BARRIS CLAIMS RECORD Harry Barris, one of the original Rhythm Boys with Paul Whiteman’s band, who appears in ‘“‘Cowboy from Brooklyn,” the Warner Bros. musical farce at the Strand Theatre, once performed the exceptional feat of writing an original song each week for thirteen weeks for a_ national radio program. SSNS NN NNN NNN NNN NNN NN (Fashion) “Cowboy” Fashions Typically American Says Style Expert Hollywood girls go overboard for clothes with a cowboy tang, because in all the fashion parade there is nothing so_ typically American. At first they adopted the idea only for horseback riding or for a dude ranch holiday, but now they wholeheartedly accept adaptations of it for street and dress wear. Milo Anderson, who did the true Western things for Priscilla Lane to wear in Warner Bros. “Cowboy from Brooklyn,” now showing at the Strand Theatre, is also responsible for the every-day versions. Milo recommends a_ beige fringed doeskin bolero, cut on square lines, to be worn with a sheer wool matching skirt, a white silk sports shirt and a green bandanna. Or there's the one-piece dress with pockets shaped exactly like gun-holsters seemingly suspended from a belt which he did for Dennie Moore. This is carried out in caramel-colored wool jersey. Another novel pocket idea he has are those in a slim skirt which come out toward the top to give the effect of chaps. In the Western accessories field there have been noted recently a round black patent leather bag bound with rope and complete with rope handles, a white brocade evening bag bound by a gold stirrup, a vanity case in the shape of a horseshoe, a bronze steer-head scarf clasp to be worn with a splashy cowboy’s bandanna, and supple brown suede gloves detailed with a big green star and fringe on the high gauntlets to complete a simple sports suit. DIRECTOR’S HEYDAY Director Lloyd Bacon, whose talent at sartorial color combinations has stricken many a Hollywoodite to envy, was in his element during the filming of “Cowboy from Brooklyn,”’ the Warner Bros. picture currently showing at the Strand Theatre. He wore a snowy white ten gallon hat crushed to an intriguing rakish degree and various new color combinations of gaudy cowboy kerchiefs, vests and shirts every day. YOU NEVER CAN TELL Ronald Reagan, who has been in Hollywood for nearly a year and appeared in leading roles in half a dozen Warner Bros. pictures, still clings to his lowa license on his car. “Never tell when you're going to need it in this business,’ he explains. His latest picture is the Warner Bros. musical farce, “‘Cowboy from Brooklyn,” at the Strand. LEARNED HIS LESSON Pat O'Brien learned to smoke cigarettes after he lost a lucrative radio contract by lighting a cigar in front of the air program’'s sponsor, a cigarette manufacturer. Pat, whose latest Warner Bros. picture, ““Cowboy from Brooklyn,’ is now showing at the Strand Theatre, still prefers cigars, however. /; SSS SS SSSI SSS p ‘Sj B L | | qc | | T IN VERY GOOD FORM Pretty Priscilla Lane who is currently playing the feminine lead in "Cowboy from Brooklyn" at the Strand chooses printed black satin lastex for her favorite swim suit, Mat 206—30c (Current) Priscilla Lane Finds Life In Hollywood Lots of Fun By PRISCILLA LANE (Who plays the leading feminine role in “Cowboy from Brooklyn,” now being shown at the Strand Theatre) I think Hollywood is fun! One hears a lot about the hard work, the heartbreak and the tragedy behind scenes in Hollywood, but you can find those gloomy things in any city, even Indianola, lowa, whence come all the Mullicans in pictures. (All the Lanes are Mullicans, in case you don’t know.) So I want to forget the gloomy part, for the moment, and tel] you about us —mostly me. It isn’t difficult to tell us apart, once you get to know us as we hope you will. Rosemary and | live together in a big house with mother, out in the San Fernando Valley a mile from Lola's house. Rosemary and Lola look more alike than Rosemary and | do, and more alike than Lola and | look alike. Lola and Rosemary like Hollywood but | think I have more fun. I go around more, stay out later (but not very late at that, because mother is always up to check me in nights) and probably get into more trouble. The family thinks I’m a tomboy but Wayne Morris thinks I'm all right. At least he SAYS he thinks that, and right now that is what matters most. I'm the Lane that has no turning, once my mind is made up —and, unlike my face, it’s almost always made up. I'm the Lane who eats the most because I don’t have to worry about my figure—yet. I’m not the dignified Lane, That’s really mother, although Lola and Rosemary have more dignity, according to mother, than I| have. I’m the Lane who in the past few months has been spanked, hit in the eye, dumped in a watering trough, thrown from a horse and otherwise ruffled for the sake of art and motion pic tures. Even so, | love it. I’m the Lane who paints the family fences—paints them, not mends them — and I’m the one who sings the loudest about the house. I guess if you were to ask me what was the very nicest part of all about Hollywood for me, I'd say it’s the way the major part of the Mullican family is all together. I’m sure half the fun would be spoiled if I were here all alone and the rest of them were still back in lowa. I'd be a pretty lonesome little girl, in spite of all the fun and excitement of working in the movies. But this way, it’s grand. When I'm working in a picture, | usually stay home nights during the week and go to bed early, and those nights I have just about as good a time as | do when Wayne and | get all dressed up and do the night-spots. I'm the baby. I’m the member of the family who reads pulp paper magazines and who takes big hunks of fudge to her room to eat when no one is looking. I work hard and play hard and sleep late when there is no studio call. I’m having fun, heaps and piles of fun, and | hope it all lasts forever! Perhaps you aren't particularly interested in me. But I am, you see. I’m interested in me and in Rosemary and Lola and my other two sisters who aren't in Hollywood. I want to succeed. [| want you to like me. I want you to like me so well that I'll be working in pictures until I’m an old, old woman—or married or something. I want all this because I’m having such fun in Hollywood and because Hollywood has been so swell to the Mullicans! SS a ss.8800E00 SSS ao SSN SS Ss dS SSS SSS SSNS SS ss NNN NN NN NN NNN "NN NN SSS EEE aE SED ADS SSs|2SS