Gold Diggers of 1935 (Warner Bros.) (1935)

“«... About Us Gorgeous Gals, a Star, and a Comie” 41 Girls of *“‘Gold Diggers of 1933”? in 1935 Chorus Some Of The Dancers Are Rising To Fame In Motion Picture Work HERE are the gold diggers of yesteryear—1933 for instance ? The answer isn’t easy. The 180 girls who worked in the Berkeley numbers in ‘‘Gold Diggers of 1933,’’ one of the most famous of all beauty ensembles, have scattered far and wide. These are the girls who danced over the rainbow bridge in the ‘Shadow Waltz’’ number, who paraded with Joan Blondell while she sang ‘‘My Forgotten Man,’’ and who swam and skated and rolled snowballs to the tune of ‘¢Pettin? In the Park.’’ A eareful check shows that forty-one of these girls are back with Busby Berkeley working in the choruses of the new produetion, ‘‘Gold Diggers of 1935,’’ Wilich= COMES tO <thO 2-2-2352: PHOALTO “ONS cee These are mostly the key girls of all Berkeley spectacles, girls who are kept permanently on salary by the First National studio because of their great beauty and ability. Thirty-one have married and no longer want to work in pictures. Twelve of these have babies. One married a prospector, a young ge_ologist, and is actually hunting for real gold in Northern California. Three have been married and di Twenty-four of the original group of ‘‘Gold Diggers of 1933’’ are working at other Hollywood studios or for other dance directors. Some of these were with Director Bobby Connolly in the numbers he created for ‘‘ Flirtation Walk’’ and ‘‘Sweet Adeline.’? Sixteen have given up the struggle and have gone back to their homes. Some of these have probably married but their records are incomplete. Highteen have grown too fat. Nine of these girls have moved on to the status of contract players, appearing in pictures in bit roles or minor featured parts. Four are in New York shows or trying to get in them. One is a missionary in Mexico. Two are teaching school. Three are night club entertainers. Four have disappeared entirely. One has ‘‘ gone to Arizona.’? Twenty of the girls have given up dance work and chorus routines and are working at various studios as ‘dress extras.’’ Two are stand-ins and one has been lost in the addition. This is the answer to the frequent question voiced by visitors to the great sets on which the new picture ‘‘Gold Diggers of 1935’? was filmed. ‘‘Where are the gold diggers of other years?’’ They’re here, there and everywhere. You may be talking to one of them any time. “Gold Diggers of 1935’? has one of the most imposing casts of any First National production, including Dick Powell, Adolphe Menjou, Gloria Stuart, Alice Brady, Glenda Farrell, Frank McHugh, Hugh Herbert, Joseph Cawthorn, Grant Mitchell, Dorothy Dare and Winifred Shaw. The music and lyrics are by the famous song team of Harry Warren and Al Dubin, with dances created and staged by Busby Berkeley, who also directed the entire production from the screen play by Manuel Seff and Peter Milne, dramatized from the story by Robert Lord and Milne. Powell Kicked Out Of 19 Boarding Houses Dick Powell, who heads the all star cast in the First National production, ‘‘Gold Diggers of 1935,’’ now showing at the ............ Jun Soe Theatre, admits he has been kicked out of 19 boarding houses because he insisted upon singing, regardless of the hour, during his ‘‘hall-room’’ days. Dick could probably get a very good rate now at the very same houses, however! Alice Brady Only Player Willing To Smash Mirror No Other Player On Set Of “Gold Diggers Of 1935” Would Consent AVE you ever whistled in an actor’s dressing room? If you haven’t, you are advised not to try it. And don’t throw your hat on an actor’s bed, or ever use a round backed trunk on a theatrical tour. There are half a hundred other little ‘‘don’ts’’ to be observed, if you want to retain your peace of mind—or if you don’t want the actor to lose his. For most actors are a superstitious lot, even the more intellectual ones, who claim to have no irrational beliefs. As witness that amusing occurence during the filming of “Gold Diggers of 1935,” the gay new First National musical which womes.. tO tO. so ais ie on ee with a cast headed by Dick Powell, Adolphe Menjou, Gloria Stuart, Alice Brady, Hugh Herbert and Glenda Farrell. The action of one particular seéne called for Alice Brady, portraying an eccentric and fabulously wealthy dowager, to throw a large silver vase at Adolphe Menjou, who had just bilked her out of a lot of money on a theatrical production, and with it break a large plate glass mirror. All the surrounding scene had been filmed before the company, headed by Director Busby Berkeley, faced a sudden impasse. They had asked Alice Brady if she minded breaking the mirror. “Certainly not!” replied that energetic person. “I break mirrors every morning before breakfast, just for the fun of it. I’m the least superstitious person in the American theatre! Just hand me that vase—” But a rehearsal proved that the vase was too heavy for Miss Brady to heave across the room, much less break a heavy mirror with it. So that was out. Alice, somewhat disappointed, left the stage. The “prop” man flatly refused, when timidly approached. He was just a bit vehement about it. “Not even if the big boss himself comes out here and asks me to break that mirror,” he said. “Not even if Busby Berkeley fires me off this picture. “TI know a guy who broke a mirror once, and he got run over two weeks later. Another fella I know broke one and what happens? Why, his wife had twins, that’s what happened.” There was a moment’s silence. Then George Barnes, husband of Joan Blondell and comeraman on “Gold Diggers of 1935,” smiled slyly. “Buzz,” he said to the director, “what’s the matter with you breaking the mirror? You aren’t superstitious, are you?” The whole crew grinned. Berkeley scowled. “Who’s the director on this picture, anyway?” he demanded indignantly. “I’m not paid to go around breaking mirrors—” More silence. No one made the slightest move toward the silver vase. The mirror remained unshattered. Adolphe Menjou, sitting on the sidelines with his beautiful bride, Verree Teasdale, stopped and turned to watch the argument. Berkeley turned toward Dick Powell. “Dick, are you superstitious?” “No-o-0-0,” declared Dick, with more than a little hesitation, “but my contract doesn’t say that I have to break mirrors. My contract has a few more years to run, and I want it to run. {eeey “Menjou,” said the harrassed Berkeley, “what about you?” Menjou shuddered delicately. Miss Teasdale placed a graceful hand on his arm. “No you don’t,” she said emphatically. There was more silence, until the walls of the set began to quiver, thus indicating that Miss Alice Brady had returned to the stage and was probably whispering. Miss Brady’s slightest whisper can be heard all over a _ goodsized set. That’s what she gets for playing in Eugene O’Neill tragedies. “Well,” said that lady, cheerily, “what’s the matter? Isn’t the mirror broken yet?” She was informed of the dilemma that confronted the “Gold Diggers” company. “Oh, for merey’s sake,” said Miss Brady, “I told you I’d do it. Now look. If Mr. Barnes will have his camera moved nearer to the mirror, I’ll be able to throw the vase hard enough to break the whole wall. And then you'll have your close-up, and you can take another shot. of me throwing the vase. It’s all very simple, really. I can’t understand—” And that’s how it was done. Miss Brady, who is actually not superstitious, finally heaved the vase a tremendous heave, breaking the mirror into a thousand pieces, under the horrified yet fascinated gazes of Dick Powell, Gloria Stuart, Adolphe Menjou and all the other members of the company. And Alice isn’t at all worried about the seven year’s bad luck. She likes breaking mirrors, thus making her one actress in approximately a million. The picture is a gigantic musical spectacle in which 300 beautiful girls take part in the dances created by Berkeley. The screen play is by Manuel Seff and Peter Milne, dramatized from the story by Robert Lord and Milne. The music and lyries are by the famous song team of Harry Warren and Al Dubin. Smile? Why Not! As the singing star of Warner Bros.’ biggest and most lavish musical to date, “Gold Diggers of 1935,” Dick Powell has something to be happy about. He heads a cast with Gloria Stuart, Adolphe Menjou, Alice Brady, Glenda Farrell, Hugh Herbert, and a string of others including the famous Busby Berkeley girls in the picture, which is now playing at the ....... Sg Re et Theatre. Mat No. 3—20e New Set of Gold Diggers Eat More Than Formerly “Air-Flow” Girls In New Film Must Work But Need Not Diet, Says Director HORUS girls eat more than they used to——at least the girls in Busby Berkeley choruses do, a thing about which the tired business men of America should be warned. Less than two years ago lunching with two of these dazz ling beauties in the First National studio restaurant was a delightful experience and an inexpensive one. They were under orders from Busby Berkeley about their diet and ordered nothing except fruit salads and toasted whole wheat bread. The whole check, including the host’s own generous lunch, didn’t amount to more than two dollars. That was while the picture ‘*Gold Diggers of 1933’’ was being made and long before Director Berkeley had thought of designing an ‘‘aero-dynamie chorus’? of girls who have ‘‘air-flow’’ figures. Now it is very different. Made reckless by his previous experience, a reporter recently invited two members of the new Berkeley ensembles, girls whose pretty faces and shapely figures are featured in ‘Gold Diggers of 1935,’’ now showing at the ................. Theatre, to have luncheon with him in the same studio restaurant. Did they order simple fruit salads and dry toast? They did not. The girls in Busby Berkeley’s new ‘‘aero-dynamic’’ chorus for the new ‘‘Gold Diggers’? aren’t afraid to eat. Berkeley has taken off all restrictions as to diet. *¢Hard work,’’ he says, ‘‘and good food, is what makes an ‘ aerodynamic’ figure.’’ The reporter is almost sure that these girls work hard. But he is absolutely certain that they eat well. His suggestion concerning a fruit salad and a piece of toast received scant attention. ‘‘Half a fried chicken with mushrooms,’’? one of them ordered, sweetly, ‘‘and lettuce with thousand island dressing.’’ The other had difficulty choosing between rack of lamb with fresh vegetables and ham and eggs. Then all had coffee and apple pie. The bill was three dollars and five cents. Showing that it costs at least fifty percent more to feed a ‘‘gold digger’’ of 1935 than it did to feed a ‘‘gold digger’’ of 1933. The picture has one of the most imposing easts of any First National productions, including Dick Powell, Adolphe Menjou, Gloria Stuart, Alice Brady, Glenda Farrell, Frank McHugh, Hugh Herbert, Joseph Cawthorn, Grant Mitchell, Dorothy Dare and Winifred Shaw. The musie and lyries are by the famous song team of Harry Warren and Al Dubin, with dances created and staged by Berkeley, who also directed the entire production from the screen play hy Manuel Seff and Peter Milne, dramatized from the story by Robert Lord and Peter Milne. Page Nineteen