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THE SEVEN DEADLY SINS OF HOLLYWOOD
sohn's. In the film Wagner will also get married to the strains of his own 'Wedding March', though, strictly speaking, he hadn't written it at the time of his wedding. Still, we couldn't have married him to Mendelssohn's 'Wedding March', could we?"
Said Dieterle, whose ambition it had been for twenty years to make this film, "What counts is the story of Wagner and the struggle against the forces of his times. . . ."
The lips said to be "like morning dew on poppies" were closed over a stick of chewing gum. Ava Gardner, the Aphrodite of the atom-age, the bullfighters' moment of truth, chewed steadily as she listened to the voice coming over the loudspeaker.
"Casualties and corpses," it said, "when you break for lunch do NOT take off your wounds, blood or bandages, or you'll only have to put them back on again."
A "mangled corpse" propped himself up on one elbow and said, "Lunch? Did I hear someone say lunch?"
A mortally injured stretcher case retorted, "Wait for it. We're doing the panic first."
Miss Gardner said, "Have some gum."
I said, "No, thank you."
Over on our right at the bottom of an embankment five railway coaches were kaleidoscoped together in a most realistic reconstruction of a train crash.
"Took the art department two weeks to do," said an assistant director. "It's a marvellous wreck, isn't it?"
Up on the embankment another train — the Ava Gardner Special — moved "into shot". Two hundred extras, representing the victims of the train crash, lay on the ground.
"This is nothing," said the publicity man. "We had thousands of extras for the riot scenes we did in Pakistan."
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