The Go Getter (Warner Bros.) (1937)

PUBLICITY FEATURES ON STARS & ON PRODUCTION Success Before 21 Was Screen Star’s Karly Aim Anita Louise, Feminine Lead In “The Go Getter” Has Now Achieved Her Goal Nearly four years ago, on June 21, 1933, to be exact, a lovely blonde girl, hardly more than a child, sat down in an executive office of a motion picture studio and watched her mother and guardian affix their names to a contract ealling for the girl’s exclusive services for a term of seven years. Then, following the usual routine in such matters, the young woman, who was then only sixteen and one-half years old, accompanied by her mother, went to the studio publicity department, where she was handed a questionnaire to fill out. She ran through the questions rapidly until she came to one on the fourth page of the typewritten document. There she _ hesitated, but not for long. She read the question in a voice audible to others in the room. “What is your present ambition?” ' The girl dropped her pencil om.the paper again and wrote: “To become a success in pictuxes before I am twenty-one.” Today her’s is an ambition achieved, for Anita Louise, the blonde youngster who filled out that questionnaire, is leading lady in the Cosmopolitan picturization of the Peter B. Kyne story, “The Go Getter,” which comes to the Theatre on And Miss Louise has until next January before reaching 21. Not only did she fulfill that old ambition—but she fulfilled it with a wide margin of time to spare. For her role in “The Go Getter” is only one of the many leading ones she has had in the past year. And the “success” clause is amply proven by the fact that she was in three of the four Warner Bros. productions generally selected by critics, women’s clubs and other organizations as among the ten best for 1936. She was in “A Midsummer Night’s Dream,” “The Story of Louis Pasteur” and she played Anthony’s mother in “Anthony Adverse.” It was the last-named picture, incidentally, that Miss Louise believes proved to be the turning point of her career. In it she proved, once and for all time, that she was an outstanding actress; that she had a wealth of ability as well as fragile beauty. Miss Louise’s climb to success has not been particularly speetacular.: Rather, it has been extraordinarily quiet, unattended by any of the excitement and fanfare that usually follows the “discovery” of a new screen personality. Nevertheless, she has progressed steadily, never slipping backward. “T have had my share of success, I suppose,” she says. “But I am still very young and there is much to be accomplished.” _ “The Go Getter” is a comedydrama made from one of those delightful Peter B. Kyne stories involving that lovable old character Cappy Ricks, owner of steamships, George Brent and Miss Louise carry the romantic interest, while Charles Winninger plays Cappy. Other notables in the cast include John Eldredge, Henry O’Neill, Gordon Oliver and Helen Valkis. Busby Berkeley directed, from Delmer. Daves’ screen play. © $0 vase Atanas, Page Ten Now We Know It’s Spring ‘Cappy’ Trouper Of Long Standing HARLES WINNINGER, who plays Cappy Ricks in Warner Bros.—Cosmopolitan’s picturization of Peter B. Kyne’s novel, “The Go Getter,” now on view at the Theatre, began his theatrical career in 1893 at the Chicago World’s Fair as a member of the Winninger family, a traveling show headed by his father and including all eight members of the Winninger clan. It would be a pretty mean fish who wouldn’t let Anita Louise catch him. Anita is the beautiful 19 year old star who is coming to the cee eee reer Theatre on .. eee ee eee with George Brent in “The Go Getter,” a Cosmopolitan production based on a Peter B. Kyne famous “Cappy Ricks” novel. Charles Winninger is “Cappy.” And incidentally, the above picture was snapped when Miss Louise was picnicking far from the Warner Bros. lot. Mat No. 203—20c Cold Water Pursues Anita’s Film Life Anita Louise, blonde movie star, recalls just one incident in connection with the making of her first motion picture. She was only five years old at the time but the memory of that one situation stands out in her mind like the headlights of an automobile on a dark, lonely road. The name of the picture was ‘‘The Sixth Commandment’’ and William Faversham, Charlotte Walker and Neil Hamilton were the stars. It was made in New York. “Tn one scene,’ Miss Louise recalled—between scenes of her current picture, “The Go Getter,” a Cosmopolitan production in which she plays opposite George Brent—“I was supposed to rescue someone from a hole in the ice that covered a lake. I remember rather vaguely that I was placed on a sled to which I was fastened by an invisible wire. The sled, in turn, was anchored to a tree on the shore with another invisible wire which was slowly allowed to play out until I had skidded to the edge of the break in the ice. I found my nose sticking out over that hole on the ice. I couldn’t shake myself of the thought of that fine piano wire which was the only link between myself and the shore. “The wire held, however, and, after going through a few motions which I thought might resemble the actions of someone effecting a rescue, I was pulled back to shore. That was one of the happiest moments of my life.” Miss Louise went through an equally harrowing experience during the filming of “The Go Getter.” She and Brent had to spend one entire night on a tiny life raft in the open ocean off the Santa Monica pier for a sequence depicting their rescue after they had supposedly leaped from a China-bound steamship. To add to their hardships Miss Louise and Brent had to be drenched with water before each scene and the temperature never went over the fifty degree mark. ““The Go Getter,” which opens at the Theatre on bigeye ay Oe, sR ; 1s &@ comedy-drama made from one of those delightful Peter B. Kyne stories involving that lovable old character Cappy Ricks, owner of steamships. Macon Disaster Repeated For “Go Getter’”’ Picture Crackup Of Dirigible Is Shown In Movie Made From Kyne Novel By FRANCIS HEACOCK Never having seen an airship plunge into an ocean your correspondent was more than delighted to accompany his guide to Stage 5 at Warner Bros. studios, after being informed that they were cracking up the U. S. S: Macon for a sequence in Getter,’’ which comes to the The Macon, you’ll remember, dived into the Paeifie off Point Sur on the California coast in February, 1935,” the guide recalled. “She got caught in a storm; part of her upper fin tore away and down she went.” Our guide explained that the sequence was in the _ picture simply to eliminate the right leg of George Brent, male star of the production. “Eliminate his right leg?” we inquired, puzzled. “Yes. He’s supposed to injure it in the crash and they have to amputate it later in the hospital. Then Brent is unfit for further service in the navy and he has to go back into civilian life. He gets a job selling lumber for Cappy Ricks, Peter B. Kyne’s famous fiction character, played by Charles Winninger in the picture, and that gives him the opportunity to fall in love with the boss’ daughter, Anita Louise.” We entered the stage. It was heavy with an oily-smelling, foglike smoke and not until they opened the big freight door at the end of the stage and started blasting the fog out with a battery of wind machines that thundered like a thousand pursuit planes in a formation power dive were we able to discern, cradled on top of a framework of two-by-fours, an accurate reproduction of the Macon’s control gondola. One end of the gondola—the stern, we judged—was missing to permit ingress to the blunt snout of the motion picture camera. “That’s Brent standing by the wheel at the side of the gondola,” our guide shouted above the thunder of the wind machines. “The fellow with the commander’s stripes is Henry O’Neill. And there’s the director, Busby Berkeley.” He indicated a seriousfaced individual who stood on the camera platform. The fog had thinned sufficiently to see plainly and Berkeley stuck his fingers in his mouth to give vent to a piercing whistle. He waved his arms wildly and the roar of the wind machines died out, leaving the stage in a startling silence. “O.K. Roll ’em.” yelled the director, and a series of signal buzzes sounded on the microphone boom atop another platform adjoining the camera, indicating, our guide explained, that camera and sound recording apparatus were turhing in synchronization. “Fog!” shouted Berkeley, and a squat machine under the nose of the control cabin began sending up streams of grayish, slowmoving smoke. “Wind!” shouted the director, and a battery of silent, electricdriven fans began blasting the fog against the windows of the cabin. “Action!” commanded Berkeley, and crews of men began manipulating long wooden levers that projected from the base of the framework upon which the the Cosmopolitan production, ‘“The Go «STOR ee A Mensre nO... 25208 big gondola was mounted. The gondola began _ rolling slowly back and forth. Brent clung to the wheel, twisted it slowly backward and _ forward. O’Neill ‘moved about the cabin, watching gauges and dials. “Stand by!” he shouted, then turned to Brent. “Upper fin carried away.” he explained. “Can you get her nose down?” The Irish actor made a grab for the spinning wheel. He stopped it; tried to turn it. “Seems jammed, sir, but it shall be done,” he promised. Under extreme pressure the wheel gave slowly. Then there was a command by O’Neill to “Abandon ship!” and a rush to the windows by the men in the control gondola. “They cut the scene there,” our guide explained. “Tomorrow they’l] move the gondola out on the back lot and suspend it above the lake on eables. Then, with the camera shooting from the outside instead of the inside of the cabin, we’ll see Brent, O’Neill and the others leap into the the water.” “The Go Getter,” which will open next at the Theatre, is a comedydrama made from one of those delightful Peter B. Kyne stories involving that lovable old character Cappy Ricks. Go Getter George Brent was a “go getter” in the lumber trade until he met his boss’ daughter (Anita Louise) and boy, did he get her! All of which is just a part of the Cosmopolitan production “The Go Getter,” a film packed with more excitement in a minute than most men see in a lifetime. It opens at the Theatre on Mat No. 104—10c eee ee ee eee