Radio and television mirror (July-Dec 1951)

Record Details:

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These Fascinating People (Continued -from page 33) Betty laughed. The audience roared. And I sighed with relief and gratitude. Nobody had doubted for a moment that my lapse of memory was part of the act. In thirteen rewarding — and often rollicking— seasons as producer of The Screen Guild Theatre, I have had an incredible succession of wonderful experiences with the stars of the motion picture world. Not only are these people better than ever. They just couldn't be bettered. The highest salaried and the most honored figures in the history of movies have come forth in an unprecedented procession of talent to do — without a penny for their trouble — their bit for the Motion Picture Relief Fund which sponsors the hour-long Screen Guild program every Thursday night over the ABC network. Revenue realized from the Screen Guild Players paid for the Fund's fabulous, sprawling Motion Picture Country House in San Fernando Valley. In this idyllic retreat, the movie folk of other eras spend their reclining years in comfort, even luxury, and most important of all, in dignity. And it was The Screen Guild Theatre — with the talent donated by the stars, and the screenplays donated by the studios — that enabled the Fund to erect recently the $1,275,000 forty-bed Motion Picture Country House Hospital. It stands as proud fact that it is the most modern and best-equipped institution of its kind in the United States. Not once have I encountered a single movie star who regarded a Screen Guild Players performance either as a chore or an imposition. From the beginning, for every star it has been a labor of love. And often of laughter, whimsy and excitement. I have seen the real heart of Hollywood. I have witnessed behind scenes of The Screen Guild Theatre how the incentive of contribution has been as great a spur as that other indisputable lure, the dollar bill, to the hallowed legend that the show must go on. I have seen Rosalind Russell take three weeks of coaching at her own exDense to master a Russian accent for her role in the Screen Guild" Players presentation of "Ninotchka." I have seen a motorcycle police escort speed Red Skelton from movie location at Wrigley Field to the radio studio in time for a Screen Guild broadcast. I have seen Peter Lawford also arrive breathlessly from location for a Screen Guild performance, a scant twenty-five minutes before airtime. I have seen Jack Carson substitute for Van Johnson on twenty-four hours' notice, Barbara Britton pinch-hit overnight for Ann Baxter when Ann was stricken with appendicitis. And I have seen the same Ann Baxter take over for Loretta Young on two hours' notice when Loretta was rendered non compos r?dio by laryngitis in the Screen Guild adaptation of "Ramona." And I have seen the incomparable Katharine Hepburn so pressed for time that she couldn't change from slacks to more formal attire when The Screen Guild Theatre did "The Philadelphia Story." We still chuckle at the byplay the night Miss Hepburn performed in those trousers. Cary Grant and Jimmy Stewart, her co-stars, had ideas of their own. They gave a script girl whispered instructions, and sent her scurrying to a Hollywood Boulevard women's shop. If Hepburn was determined to wear the pants on the show, they intended to reply in kind. The curtain rose to find Katie at her microphone in slacks, and Grant and Stewart at their microphone resplendent in the skirts which the script girl had purchased for them! More than once the Screen Guild Players show has gone on in unorthodox fashion. Take the time that Alice Faye, despite her illness, insisted upon performing in "This Thing Called Love," with George Brent. Alice no more than uttered her last line before she fell backwards in a dead faint. Brent reached out to catch her, and carried her off stage. The doctor who arrived at Alice's dressing room assured me that there was no cause for concern. Alice was going to become a mother. It was thanks to a technical rather than a romantic miracle that the show went on when The Screen Guild Theatre offered MGM's "Command Decision" with the same all-star cast that performed in the great motion picture. I've never seen anything more fascinating. Clark Gable had to leave town on location, so for the first time in the history of the show we resorted to tape recording. Gable read his own lines, and well-known radio actor Elliot Lewis read all the other parts. A week later, the second phase of this remarkable operation was taped. We assembled the other members of the "Command Decision" cast — Walter Pidgeon, Brian Donlevy, John Hodiak and Van Johnson. And who should be reading the part of the absentee Gable but the same Elliot Lewis? Gable's recording was dubbed in with the other, and not a person was any the wiser. The flawless performance heard on the air was a tribute to the magnificent editing job by tireless and talented Bill Lawrence, who had directed The Screen Guild Theatre since 1942. There was not, to be sure, a single peep out of Elliot Lewis. Sometime afterward, I saw Walter Pidgeon again. "You know, Huntly," he confided. "I was afraid to listen to it, but it came out wonderfully." Time and again Screen Guild Theatre performances have come out just as wonderfully when the fates had intended less happy results. A memorable instance was the time Gary Cooper recreated Hemingway's "Farewell to Arms" for us. 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