Manpower (Warner Bros.) (1941)

"MANPOWER' — PUBLICITY Q'S THE BEST. MAN? Mai Still MP 61; Mat 203—30c ietviek is the bride, and Edward G. Robinson the lucky groom. but George Raft looks as though he may have tee plans of his own about changing "Manpower." The picture’o that situation in this wedding scene from the:Strand Friday. Dietrich and Robinson In Gala Film Wedding The wedding of Marlene Dietrich and Edward G. Robinson was solemnized riotously in the presence of a group of clip joint hostesses, power company linemen and actors. Harry Holman, a justice of the peace whose palm itched for five dollars, officiated. The bride wore a slinky black dress. Their marriage was the outstanding social event of the season on Warner Bros.’ Stage 15, where Raoul Walsh, whose formula is “action and combat,” was directing “Manpower,” a comedy-drama about high power linemen and their women. “Manpower” opens at the Strand Friday. The ceremony got under way when Alan Hale thrust his head in a door and yelled that he wanted a Jaypee to splice a couple of hot wires. Frank McHugh came close behind, demanding to know what happened at weddings. “Well, your father and mother got married, didn’t they?” snorted Hale. “Yes, but I wasn’t there.” Miss Dietrich, Mr. Robinson and their attendants, all hooting gleefully, swarmed in and around the fat little Jaypee in a cornerof the living room. Joyce Compton and Eve Arden, B Girls, wore red dresses and flirted with men. The ceremony itself went off with the eclat of a tobacco auction. Harry Holman, experienced in these matters during a long career of screen marriages, rattled off the ceremony with a minimum of effort. Edward G. Robinson, whose screen name is Hank, was serious and embarrassed throughout the ceremony. “IT now-pronounce-you-manand wife five-dollars -please,”’ said Harry Holman, as if the phrase were one word. George Raft, dour throughout the gay scene, kissed the bride with stony reluctance. Alan Hale ducked. He said his brother once got in trouble kissing a bride. Trouble was, it was two years later. In the midst of chatter, Director Walsh called ‘‘cut.” Marlene Dietrich hurried off to have lunch with George Raft. Edward G. Robinson hurried back to his dressing room to see if that cigar he left there was still burning. This one's especially timely right now—what with the news wires still sizzling. So make certain this story get's in — with pictures! Let's You and Him Fight’ — Film Director's Motto Raoul Walsh Pits Tough Guy Robinson Against Tough Guy Raft in ‘Manpower’ When Raoul Walsh is assigned to direct a picture, the actors start buying liniment. The motto of every Walsh picture is “let’s you and him fight”. Or, if you prefer, ‘“‘fist in war, fist in peace, fist in the hearts of his countrymen”. Ever since he directed “What Price Glory?”, the hardboiled director has been Hollywood’s ace maestro of tough epics. His latest exercise in the game of pitting tough guy against tough guy is ‘Manpower”, which opens at the Strand Friday with Edw. G. Robinson and George Raft as the rivals and Marlene Dietrich as the lovely object of their hectic attentions. There is the usual number of fights, but in addition the range of the entertainment includes songs and assorted decor by Miss Dietrich, comedy by Frank McHugh, Alan Hale and Eve Arden and spectacle via some picturesque scenes of trouble shooting on the high tension power lines. During the making of the picture both Raft and Robinson came down with damaged ribs. That proved “Manpower” was a Walsh picture. “There is no substitute for action,” says the veteran director, who began his screen career twenty-nine years ago and has directed more than 100 productions since then. “The first picture I ever played in, when I was acting, had a big fight scene in it. I got a smash on the nose. I didn’t enjoy it but the audience did. That lesson has been worth $1,000,000 to me.” A moving picture has to move, Walsh claims, and the faster it moves the better. “After all,” he points out, “a Still MP 372; Mat 204—30c According to the news wires, this battle between George Raft and Edward G. Robinson on the set of "Manpower" was one film fracas in which no punches were pulled. moving picture and a prizefight and a football game all have something in common, something that attracts crowds. They all have suspense and action. Walsh, a New Yorker and a graduate of Seton Hall, started out to be a playwright, studying under the late Paul Arm strong. He went on the stage in 1910 and became a movie actor in 1912. His recent pictures for Warner Bros. include “Strawberry Blonde”, “High Sierra” and “The Roaring Twenties”. It can be seen that he knows whereof he speaks in the matter of action and excitement. Wemen's Page Feature Want to Have Manpower? }2\: }y': Tr: Stil MP 35; Mat 102—15c 12 A nude slip plus black chiffon spells siren! At least that’s what Milo Anderson concluded when faced with the pleasant prospect of designing clothes for Marlene Dietrich. Miss Dietrich plays a dusky role in “Manpower” the picture coming to the Strand Friday. Anderson made her look as alluring as possible, which isn’t impossible, as everybody knows. The consummation of his efforts is a wardrobe predominate in black, usually of the sheerest variety. There are also several costumes in blue, Marlene’s favored color, and in white. The nude souffle slip which, despite it’s color name, does not even border on the censorable, follows the full but clinging lines of the lovely black marquisette gown that tops it. The skirt of the frock is swathed to the knees then falls in a wide flounce slit on both sides to the knees to show the merest suggestion of the fleshtoned undergarment as_ she walks. Black sequins are generously sprinkled over the gown and it has the current long, tight sleeves and high neckline. Black with blue, Miss Dietrich’s familiar color combination off the screen, is used for a second dark costume. In fact it’s her wedding gown and so smart we’re wondering if this won't start a vogue for black informal wedding frocks. Styled like a Russian tunic to top of the two piece dress is in satin striped chiffon with black satin buttons. The skirt is black crepe. With it Marlene wears a small Victorian toque of five layers of black veiling accented by two deep blue roses. Her gloves are blue, other accessories black. More blue in a four inch spray of sapphire and diamond bluebells with matching earrings. But this “Manpower” isn’t just a fashion show by any means. You’re going to thoroughly enjoy seeing the erstwhile sinister-moving Miss Die trich whipping up a little snack for George Raft and wearing a house frock and apron and a towel wrapped around her head. This phase of the picture tried Milo Anderson’s soul. “It’s impossible for Marlene to look anything but beautiful,” he groaned. “T’ve used the cheapest, drabbest materials I can find for her ‘apron’ scenes and she still looks too expensive.” Ace director, Raoul Walsh, handled the film. The breezy scenario was written by two of the most brilliant writers in Hollywood, Richard Macaulay and Jerry Wald, who have many hits to their credit.