Honeymoon for Three (Warner Bros.) (1941)

OPENING DAY PUBLICITY Still HF 65; Mat 210—30c HONEYMOON FOR THREE and what a honeymoon, w'th Ann Sheridan springing one surprise after another on George Brent. "Honeymoon For Three" is the riotous film comedy opening today at the Strand. \ Honeymoon For 3 Starts Local Run at Strand Today A filmful of fun fresh from Hollywood will make its local debut today at the Strand Theatre where Warner Bros.’ sparkling comedy, “Honeymoon For Three” starts its run. The story tells of one of those long forgotten college romances that pops up at the most inopportune time. Just when Ann Sheridan, in the role of a famous author’s secretary, has convinced her employer, an _ energetic writer played by George Brent, who likes his women as much as his typewriter (maybe more so), that he ought to marry her, along comes a_ very pretty young matron, played by Osa Massen, who claims him as the only man suited for her despite the fact that she already has a husband. He is an easy-going sort of fellow, very aptly portrayed by Charles Ruggles. ‘Honeymoon For Three” has all the qualities necessary for a hit comedy; sprightly dialogue, ticklish situations and _ performers who are completely at home in their roles as comedians. Brent is determined to straighten things out between his college sweetheart and his practical secretary but the more he tries the worse it becomes. When he assembles everyone at a cozy roadside restaurant for a final showdown, it results in one of the most hilarious scenes in this year’s crop of comedies. William Orr plays the role of a very determined young lawyer, who is more serious than capable in his efforts to get Ruggles as his client. He is encouraged in this futile act by perky little Jane Wyman. Lee Patrick supplies plenty of laughs as a mother who insists on honoring Brent with the dubious pleasure of christening her child. “Honeymoon For Three” was directed by one of Warners’ top notch directors, Lloyd Bacon. The screen play was written by Bill Orr Grows Up To Film Mustache Until he made the mistake of asking Ann Sheridan what she thought of it, William Orr was proud of the jaunty makeup department mustache he was wearing in Warner Bros. “Honeymoon For Three.” “Well Bill,’ Ann answered the hopeful question with a gleam in her eye, “I guess it will do until the real thing comes along.” Earl Baldwin. Julius J. and Philip G. Epstein are responsible for some of the film’s effervescent dialogue. The story was adapted from a play by Allan Scott and George Haight. Osa Massen, Daring Film Flirt, Really Demure Danish Miss In her current movie role at Warner Bros. studio, tawny haired Osa Massen plays a girl who believes she has two selves. It was a bit confusing at first, but after a few weeks of it, Miss Massen is coming to the conclusion there must be something to that dual personality business. Certainly the brazen hussy who chases George Brent around an assortment of film sets in the picture “Honeymoon For Three” at the Strand, kissing him without invitation or reciprocation, isn’t the Osa Massen she’s known all her life. The real Miss Massen is modestly demure, almost to the point of shyness. Born and reared in Copenhagen, Denmark, she has a wholesome regard for straight laced Scandinavian conventions. Consequently, when she saw the preview of “Honeymoon For Three,” along with Ann Sheridan and Brent, the co-stars, and saw what that little vixen, the movie Osa Massen was doing, she scarcely knows whether to be horrified, or amused at the ludicrous impossibility of it all. Any way she looks at the situation, she simply can’t believe that girl on the screen is herself. To make the matter the more complex, Miss Massen appeared in just one other American picture before she was cast as Miss Sheridan’s love rival. That was “Honeymoon in Bali” — _ she seems to be associated with honeymoons — and in it, she chased, kissed, and eventually lost, Fred MacMurray. In the current “Honeymoon For Three,” Miss Masen has some justification for her forward tactics with Brent. She plays his old college sweetheart. Then there’s her belief about two selves. One self forgot Brent after college and married Charlie Ruggles. The other self remained true to the first love. ‘Honeymoon For 3’ Year’s Versatility Is Key Happiest New Film Hit CAST: Anne Rogers ooicccceccccscecnee Ann Sheridan Kenneth: Bixby sistance George Brent Charlie Ruggles wu -Osa Massen . . Jane Wyman William T.. Orr ee Lee Patrick Arthur Westlake .. Mrs. Pettijohn. ....... Wraltetioncisnccsek wie. .. Walter Catlett Floyd T. Ingram ............... Herbert Anderson Chester T. Farrington, III ...... Johnny Downs PRODUCTION: Directed by Lloyd Bacon Screen Play by Earl Baldwin; Additional Dialogue by Julius J. and Philip G. Epstein; From a Play by Alan Scott and George Haight; Director of Photography, Ernie Haller, A.S.C.; Art Director, Max Parker; Dialogue Director, Hugh Cummings; Film Editor, Rudi Fehr; Gowns by Orry-Kelly; Music by Heinz Roemheld; Sound by Oliver S. Garretson; Makeup Artist, Perc Westmore; Musical Director, Leo F. Forbstein; Orchestral Arrangements, Ray Heindorf. A new, light-hearted, rollicking comedy called “Honeymoon For Three” opened last night at the Strand Theatre and judging from the delighted howls of laughter which greeted it, it is the year’s funniest film. Ann Sheridan and George Brent are starred as a couple of people who fall in love with one another but try to convince themselves that it is more a matter of convenience than romance. When an over-amorous ex-college student, played by Osa Massen, claims Brent as the man she adores, romance climbs out of the back seat and takes over the driver’s wheel. Ann comes through with her finest performance to date as a girl who has to enter a battle of wits (armed with some very snappy dialogue) to keep her man from surrendering to an eight year old romance. Brent shows how excellently he can play a comedy role when he comes in for laugh after laugh as a popular author who has more trouble with his women than with his writing. Miss Massen was perfectly cast as the young matron who could not forget a certain summer’s evening during her college career but who could easily forget that she was married to a very patient man, played by Charles Ruggles. “Honeymoon For Three” is a perfect combination of sophisticated and slapstick humor. Both the dialogue and the situations provide plenty of laughter. One of Warners top notch directors, Lloyd Bacon, gave the picture a breezy pace that is in keeping with its humorous story. One will never forget the scene where Brent is forced to keep up a running chase between two sections of a roadside restaurant. The supporting cast is made up of a group of screen favorites who all give fine performances. There’s William Orr as a young lawyer who is more capable in trying to get a case than he is in winning one. He is aided and abetted in his pursuits by the very expressive little Jane Wyman. Lee Patrick is a riot as a mother who wants Brent to christen her child. The fast-moving scenario was written by Earl Baldwin from a play by Allan Scott and George Haight. The Epstein boys, Julius J. and Philip G., wrote some of their famous rapid-fire dialogue for the comedy film. Rhumba Expert Sheridan Gets Lesson-Inthe Rhumba Ann Sheridan, rhumba dancer extraordinary, was receiving a lesson in her own pet specialty. No smooth gliding Latin caballero was her teacher. By an amusing twist of movie fate, that role fell to agile witted but blunder-footed Charlie Ruggles. Ruggles is the first to admit he’s no rhumba expert. mitted it, quite needlessly, while Ann herself coached him before they reversed roles for the scene in Warner Bros.’ “Honeymoon For Three.” And he admitted it, for the benefit of the future audiences, in the scene. “Do you know how to rhumba?” he asked Ann. “American dances are good enough for me,” replied Ann, shaking her red head much more demurely than she had _ been wiggling her hips a moment before. “My wife,” said Ruggles, “is no patriot. She made me take lessons. I can teach you the steps. Of course, I can’t do them.” Ann was willing. They assumed the rhumba stance. “You hold your arms _ like this,” explained Ruggles, with gestures. “You know, sort of protect yourself in the clinches.” He then dropped his right hand to a hold on Ann’s slender waist. He got a withering look. “The hand,” he explained with dignity, “belongs there. Now just follow me. One, two, one-two.” “One two, one two,” dutifully repeated Ann, as they struggled across the room “That’s fine,’ complimented Ruggles. ““Now-—you throw your hip in the general direction of the ceiling. Like this! When you dislocate it, you’re an expert.” The demonstration was amusing, if not successful. It must also have been painful. The scene ended, and Ruggles staggered to the nearest chair. “By my own definition,” he groaned, “I’m an expert. I think I’ve dislocated my hip.” He ad To Lloyd Bacon’s Success as Director Lloyd Bacon looks like most folks think a motion picture director should look. He’s tall, tanned, and distinguished appearing. His air of quiet auihority is given just the right crowning touch by his iron gray hair. Bacon also dresses like most folks think motion picture directors dress. That’s not to say he wears plus four knickers or riding breeches. Those oddities went out with the silent films and the megaphone, and the upwith-the-times picture fans know it. Bacon wears flannels or slacks and impeccably tailored, vividly hued, sports coats. Beyond those points, Bacon makes no concessions to conventional opinion. He does not act like motion picture directors are popularly supposed to act. He doesn’t go in for arm waving, shouting, elaborate personal demonstrations of how to play scenes, or showmanship mannerisms. Actors, Bacon maintains, are paid to act, directors are not. Directors are paid to guide and co-ordinate the efforts of the actors and to keep a production in proper mood. Bacon would know what he’s talking about. He has been directing pictures ever since the World War. In his two decades of movie making, Bacon has_ directed everything from slapstick comedy to roaring melodrama and heart tugging drama, with hit musicals such as “42nd Street” thrown in for good measure. His latest picture is “Honeymoon For Three,” a racy farce comedy co-starring Ann Sheridan and George Brent, and opening today at the Strand. His last before that was “Knute Rockne— All American,” drama of real life starring Pat O’Brien as the great Notre Dame football coach. Which gives adequate example of his competent versatility Still AF 315; Mat 208—30c 6 LESSONS FROM MONSIEUR LA RUGGLES—Ann Sheridan has the tables turned on her as she gets a lesson in the rhumba from Charlie Ruggles in the Strand's new laugh hit, “Honeymoon For Three." a