Showmen's Trade Review (Apr-Jun 1944)

58 SHOWMEN'S TRADE REVIEW June 24, 1944 STR West Coast Offices 6777 Hollywood Blvd. Hollywood 28, Calif. Telephone, Hollywood 2055 PRODUCTION NOTES FROM THE STUDIOS Katharine Cornell May Bring Her Stage Hit to the Screen/ Vera Ralston in Lake Placid'/ RKO Signs Richard Berger ►One of the most unusual screen story purchases in Hollywood history was completed when MGM purchased film rights to "Copper Camp." The story, written by the WPA Writers Project while it was still functioning in Montana, is a lusty and dramatic story of Butte, City of Copper. ►Three important Monogram productions scheduled for 1944-45 and one included in the current season's product were screened for delegates attending the current convention. Films shown were "A Wave, a Wac & a Marine," "Alaska," "I Married a Stranger" and "The Girl Next Door." ►Percy Kilbride, Mikhail Rasumny and Sara Algood were names added to Paramount's cast of "Kitty," the Mitchell Leisen picturization of the Rosamond Marshall novel, which co-stars Paulette Goddard and Ray Milland. Karl Tunberg is producing the picture. ►Vera Hrqba Ralston will return to her international champion's ice skates for certain scenes in Republic's "Lake Placid Serenade," a romantic drama of America's famous winter resort. The new film is scheduled to enter production in late July with Harry Grey producing. ►Richard H. Berger, noted stage producer, has been signed to a producing contract by RKO and assigned to Executive Producer Jack Gross, under whom he will immediately start preparations on "The Fabulous Invalid." Berger comes from MGM. ►Cued over enthusiasm over Clifton Webb's work in "Laura" with Gene Tierney and Dana Andrews, 20th Century-Fox is trying to induce the Broadway star to do a second picture this summer, preferably in one of the musical vehicles awaiting the return of Betty Grable and Alice Faye. ►Katharine Cornell, who has resisted many attractive offers from virtually every studio, may make the break to bring her current stage hit, "Friends and Lovers," to pictures. Harry Joe Brown has been negotiating with Dodie Smith, the playwright, for picture rights. Sig Schlager, PCA president, has left to confer with Miss Cornell and her husband and co-producer, Guthrie McClintic. ►Arlene Harris, fast-talking radio comedienne, has been signed by Universal's associate producer, Dick Irving Hyland, for "Be It Ever So Humble." The comedy co-stars Martha O'Driscoll and Noah Beery, Jr., under direction of Leslie Goodwins. ►"The Frontiersman," an original story by Thomas Williamson, has been bought by Warners for their 1944-45 schedule. Story of sixshooting salesman will star Zachary Scott, who made a striking debut in "The Mask of Dimitrios." ►Al Jolson, Columbia producer, has returned after lining up talent for his initial picture on the lot, "Burlesque," which is being scripted by Erwin Gelsey. While driving to the Coast, Jolson played numerous Army camps and hospitals. ►PRC's "When the Lights Go On Again" is planned as the first drama concerning the mental ills Oif discharged, shell-shocked World War II veterans, and Jimmy Lydon has been cast for his first serious screen role as a discharged Marine in the picture. The story is from an original by Frank Craven, who with Milton Lazarus wrote the screenplay. William K. Howard is directing. ►Closing two important deals. Bill Pine and Bill Thomas purchased the screen rights of the NBC show, "People Are Funny," and signed Jack Haley to star in it as the first of a new two-picture pact. Show is among the three top audience-participation shows, where it has been for two years. Art Linkletter is master of ceremonies, and John Guedel is owner and producer. ►Cast has been completed for Don Barry's initial straight dramatic picture, "My Buddy," and picture has gone into actual production with Ruth Terry, Lynne Roberts, Alexander Granach, John Litel, George E. Stone, Emma Dunn and Jonathan Hale. Steve Sekely is directing and Eddy White serves as associate producer. ►Sam Goldwyn has assigned Karl Struss as cinematographer on "The Wonder Man," Technicolor comedy starring Danny Kaye and directed by Bruce Humberstone. Already set for leading roles are Virginia Mayo and Vera Allen. ►Shooting on "Irish Eyes Are Smiling" has finished and the 20th Century-Fox Technicolor musical will go into the dubbing and editing stages. The Damon Runyon production, which was directed by Gregory Ratoff, stars Monty Woolley, Dick Haymes and June Haver, with a featured cast in support. ►With a top layer comedy lineup, Sol Lesser's "Three Is a Family," which will be released by United Artists, has started shooting under direction of Edward Ludwig. Leads will be in the hands of Marjorie Reynolds, Charles Ruggles, Fred Brady, Fay Bainter, Arthur Lake, Hattie McDaniel, and JefiE Donnell. ►Arthur Treacher, Thomas Gomez, Nella Walker and Thurston Hall have been signed by Co-Producers John Grant and Edmund Hartmann for feature roles in Abbott and Costello's current Universal comedy, "In Society," now in production with Jean Yarbrough directing. ►Director Irving Rapper assembled the complete cast of the Bette Davis starrer, "The Corn Is Green," for two full days' rehearsal before the film actually went before the cameras. Jack Chertok is producer of the Warner filmization. ►Robert Wilmot, once a noted Continental director, has been signed by Columbia to direct "The Unknown," which has Tom Neal, Ann Savage and Howard Freeman. Bing Crosby and Bob Hope pose between scenes of Paramount's "Road to Utopia," in which they are again united with Dorothy Lamour, with an assortment of golf trophies which have been presented to Hope. Hal Walker directs the film. Studio. Stiallinff Dear Mr. Exhibitor's Wife: The Kay Kyser picture, "Battleship Blues," is in work at Columbia, so let's go there today and see what's going on. In it with Kyser are Ann Miller and Victor Moore, with Moore playing six different parts. He is his own three brothers, himself, his aunt and his sister and in one scene they all appear together in a theatre box: one of those tricky things they do so well in the movies. The set we enter is a factual duplication of Kyser's own home in North Carolina. The living room is particularly interesting with its color combination of reds with walnut furniture. A wing chair is in red leather, the davenport in red damask and the chair behind a huge desk in a red-striped material. There's an exquisite break-front and many other lovely pieces, including a large piano. The camera is facing the doorway, for the next scene starts with Kyser ushering Ann Miller and Moore into the room. As he leads them in, he suggests a drink ... a lemonade, perhaps? But Mbore wants a Mint Julep, so Kyser goes out to get it. (He's not in the scene being shot.) This is a rehearsal; Moore and Miss Miller go through their lines under the supervision of Director Lee Jason. After a few shifts of scenery and a general checking on position and sound, Jason gives the okay for a "take." It is then we go up close enough to see whether our eyes have deceived us in regard to Miss Miller's gloves, and we find they haven't. For though they're made of brown doeskin, the gauntlets are really made of seed pearls, as we thought . . . very novel and very attractive. These are worn with a suit that consists of a fawn-colored skirt and a rose top with seed-pearl pockets. Casually thrown over her shoulders is a finger-tip length mink jacket whose tuxedo front is finished with the skirt material. A rose-colored beanie, brown purse and bag complete the costume. We meet the stars and at the same time are shovra pictures of what Moore looks like in the different characters he portrays. With Kyser we talk about his work at the Hollywood Canteen, where he and his band entertain the boys every Saturday night. They haven't missed once. When work on the set is resumed, we make our exit. Until next week. . t Ann Lewis