Screenland (May-Oct 1934)

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DEAFNESS IS MISERY Many people with defective hearing and Head Noises enjoy conversation, go to Theatre and Church because they tise Leonard Invisible Ear Drums which resemble Tiny Megaphones fitting in the Ear entirely out of sight. No wires, batteries or head piece. They are inexpensive. Write for booklet and sworn statement of QfZfjfrj the inventor who was himself deaf. LEONARD, 1nou Suite 984,70 5th Ave., New Yerk Bellamy Isn't Baffled Continued from page 24 A. 0. Cash Payments Advanced Writers of Songs Used and publication secured. Send us any likely mate.nal (Words or Music) for consideration today. Radio Music Guild, 1650 Broadway, New York. likelihood is that the play will he an adaptation of a novel, dramatized by the author of one of the greatest, if not the greatest, popular dramatic successes of recent years, and produced by the man who has given Broadway the biggest stage hits of the past two seasons. That's as far as I can go, in view of the promises made to Ralph Bellamy at the time of this interview. He was reading the play and assured me it was "a honey." However, nothing had been settled about the play's production at that time. I asked him about that bane of every player's career in the films, "typing" as it's called. In the film trade it has been an old and honored custom for the producers to plead that the public, not the producer is responsible. The argument being that fans seeing an actress or actor in a certain type of role which makes strong appeal, demands that personality be brought back again and again in precisely the same type of character. "It's the casting director," Bellamy said. "Naturally the one who casts a picture wants to play as safe as possible, and he has an air-tight argument if he casts an actor for say the role of an engineer if that actor gained favorable notice in a previous picture in which he appeared as an engineer. But from the actor's standpoint 'typing' is a menace to his career. If the public demanded a player to go on indefinitely doing only one type of character, the fan mail would certainly indicate that — and it doesn't, or in my case certainly has not. Fan mail, incidentally, is the surest guide any screen player can follow in seeking to please the public. "I like to play heavy roles because they afford better acting opportunities, but it's risky business doing them more than at widely spaced intervals — causes you to loose out too much with the public." An actor who has been through all of the paces as Bellamy has — more than a year as a contract player, nearly three years free-lancing, playing all kinds of roles in six of the major studios of Hollywood — should know something about the current situation of the actor in the present Hollywood set-up. He takes no argumentative attitude toward any general opinions, but he is at variance with many of the opinions expressed by other actors. For example on the position of the term contract. "Under present conditions," he says, "the term contract is an advantage. The studios buy story material with their own contract players in mind, and there are not the number of choice parts available for the freelance there once was. 1 arranged a cancellation of my contract with Fox the second year I was out there, but that was because at the time there was not enough variety of parts, nor a quality of parts that I thought I needed to establish myself as a motion picture actor." As I sat there looking at him, it seemed strange indeed, that this actor, over six feet in height and weighing a hundred-seventy pounds, more or less, got the part which led to the offers of a screen contract by wearing two sweaters under a somewhat over-size jacket in order to qualify for the leading male role in "Roadside," the Arthur Hopkins stage play which failed. "That part," Bellamy said, "was one of those about which every actor dreams. I had my pick of several offers, but signed with Joseph M. Schenck on the advice of Mr. Hopkins. "I landed in 'Roadside' just when it appeared that I would have to take any kind of job at whatever work I could get. I had completed a season of stock in Buffalo, that's where I met Catherine — (Catherine Willard of the stage, now Mrs. Ralph Bellamy) — and was trying to live without eating, in a room down in Greenwich Village. When I had about given up hope of anything materializing, I got a call from an agent, was sent to see Mr. Hopkins, and by the best of good luck landed the part, which, incidentally had been set for Walter Huston. Wally, however, refused it and after a week out of town and about a week in New York, the show closed and I was on my way to Hollywood. "The contract with Mr. Schenck called for thirty weeks' work, and twenty weeks' layoff, if I was not needed. I plaved in 'The Secret Six' in which Wallace Beery starred, and then came the lay-off which had me in about the same financial situation as when I was in Greenwich Village. But I was 'sold' on pictures, stuck, and then landed the Fox contract." Ralph Bellamy may go back to the stage, but you Bellamy fans can be sure of this much — he'll be back in pictures and will remain in pictures as long as you want him. Personally I think that's fine, for it seems to me Bellamy has done pretty well by the films in a wide variety _ of parts, and the pictures and picture public have been pretty good to Bellamy. But Kitty Carlisle Is! . Continued from page 25 the merchants who had found a basis of mutual advantage with the Paramount publicity department. "I've been looking into camera lenses ever since I got here. That is what I work at in the studios," she laughed. Naturally the first thing I wanted to know about was how she had fared when Paramount gave her her second part in a picture co-starring Bing Crosby and Miriam Hopkins. That's important company for a newcomer to the films. And then Kitty proceeded to bear out the impression that she "takes things in stride." "I was a bit scared, at first," she confessed. "I did not see how my_ singing could be combined successfully with Bing Crosby's, and Miriam Hopkins is such an important acting star, who according to hearsay, was very precise and exacting about the technique of motion picture acting. "But I went to work hoping for the best. And I soon found that this 'best' was even better than I expected. Bing is so sweet, such a considerate chap to work with." Then Kitty proceeded to put the final blast on the legend that was knocked into a cocked-hat in an article in Screenland last month. S. R. Mook told what actually happened when The Hopkins was cast to co-star with Bing Crosby. An event which Hollywood expected to produce a barrage of temperamental explosions threatening to cause "ground noises" on the sound tracks of every camera for miles around, turned out to be as boisterous as a social at the Friends' Meeting House. He quoted Bing, Director Nugent, and Hoppy herself. Now listen to Kitty Carlisle's version.