Screenland (Nov 1950-Oct 1951)

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New York, since the writing of a play could also be the writing of a movie script, and real money. It would be a way of keeping writers for the legitimate stage in spite of the movies' habit of picking the brains of new writing talent. "And there 'd be fewer actors trekking 'way out to the Coast," said Van. "Given the incentive of a role that would mean both stage and movie work, they'd be happy to stay around home. "If this idea of making a movie of the play you're doing works, it'll not only stir things up in a healthy way, it'll also bring some of the almost-confirmed Hollywoodites back to acting and writing in New York. The theatre has always been a source of talent for the other three mediums — bad business to let the well dry up. "I first thought of the play /movie idea when we were playing 'Philadelphia Story' to capacity houses. A lot of the play's actors, who have since made their mark in films, would have started their film careers sooner; if we'd made the play into a movie, then and there. Consider the value of all those careful 'rehearsals' before tough audiences! The newer movie technique is to rehearse movies before they're shot. Brief rehearsals and without benefit of an exacting audience. It's not hard to visualize the smooth-as-oil performance of a cast that's been living its roles for a year — is it?" THE SKIN NOBODY LOVES! Pimples and Rashes Cancel out Romance! Why neglect an externally-caused pimply, broken-out, blotchy skin that nobody loves to touch? Get Poslam Ointment — apply this wonderful medication tonight — then, examine your skin in the morning! Check the results after just one application. Contains 9 Ingredients! Because Poslam Ointment contains all NINE OF THE INGREDIENTS well known to skin specialists, it works faster, more effectively to help you to a finer, clearer complexion. 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"Mind," says Van, "I have no intention of giving up movie work. I only feel that the two are closer than they realize. The stage could use a few suggestions and movie actors have to rely on the director to be their audience. I know full well that if I stay off the screen too long, I'll lose any draw I ever had — but I feel the need of bucking a critical audience that can boo or applaud. I need that hypo. . . "I suspect that I'm one of those rare guys who really enjoys going on the road with a play. I truly like everything about it, the one-night stands, punk hotels — everything. And if you're at all interested in reactions to lines, the audiences are a joy. Various sections of the country respond differently, a fact that's of great interest to any student of the art of acting or producing. One thing I'm dead certain of — the road showing of the play, 'Philadelphia Story,' helped to sell the film version." Just before he came East, Van finished "The Prowler." a United Artists release. He was enthusiastic about what is obviously an unorthodox film. Said he: "It's very unusual, this movie. People argued against my playing the unscrupulous policeman in it — since the guy is a complete utter heel. But I liked the character because he's someone I could possibly have become, a requirement that almost insures a fairly good performance. "Evelyn Keyes does a honey of a job as the girl in 'The Prowler,' and Joe Losey. the director, is a man with a definite future, believe me. The movie was a work of love — shot in exactly 17 days in spite of some heartbreaking delays. We rehearsed for five days, slightly along the lines of the play /movie idea. "I won't tell you too much about 'The Prowler,' as it's worth saving for your date at the movies. Briefly, however, I play a cop who feels he's been cheated. A guy who expects big things, without working for them and who is achieving just that until the war intervenes and he's eligible only for a police job. Then he meets a girl (Evelyn Keyes), who's married to a rich, middle-aged man. He wants her, so he kills the old boy when he gets a prowl call to their house. From then on, things really happen as they would to a man in such a setup in real life — with none of the strong elements, that flirt with censorship, left out. "It's adult and for those who like life in the raw. It's not for kids and it's about halfway between an art film and the commercial sex dramas. I can honestly say that I enjoyed making this." At this writing, Van was dickering for the Broadway play, turning down fancy film offers with his free hand. He was well aware that if he flopped on Broadway, his salary in films could be materially lessened. Which he knows and which he'll chance — being a young man with a future. Verily, Van isn't standing still. And — ten to one — twenty years from now, Van Heflin will still be standing — as the firstclass actor that he is. . . . 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