Silver Screen (Nov 1936-Apr 1937)

54 in her -wedding gown of figured white dimity or gingham and her bridal veil made of a lace curtain. "Well, blow me dou'o," Barbara beams as I come on to the set. "Where you been?" "Oh, up at Lake Louise and then down at Ensenada, Mexico -with Dick Arlen and Joby," I answer. "You dog!" she exclaims. "Here I've been trying for ages to get away for a vacation and Bob (Taylor) is foaming at The Stars At TKeirBcstA.re The Stars At Work. Visit The Sets With S. R. Mod J. W. Kerrigan and Edward Everett Hortom in the comedyi, "Let's Make a Million." J^IRST stop this monl-h is 20th Century-Fox And out here the first set I go on is "Banjo on My Knee" where Barbara Stan■\\'yck, who makes pictures with both hands, on nights and Sundays as well as weekdays these many moons, is starring. Joel McCrea plays opposite her. This is from a novel by Harry Hamilton. Harry used to run a class in drama in New York, and in the summer he came out here to visit Norman Foster and they wrote plays, some of which were produced and some ^veren't. Now they both have contracts at this studio as writers and Harry has a house and a gentleman's gentleman. Isn't life wonderful? This was a grand book, even though he didn't send me an autographed copy, and it ought to rtiake a fine picture. Particularly with the cast they've provided. It's a tale of life as it's li\cd on liic shanty noats that dot the Mississippi Ri\er between Mi'inphis ami New Orleans. y\nd it's an authentic pictine, too. The Mississippi, as it is reproduced on Stage iC of the 20th Cenlury-l'ox lot is just as muddy and smelly as it is in reality and the shanty boats ihey'vc built are just as dirty and rickety. 'I"hey'\e taken a few liijcrtics wiili ihe book. The piciure opens with the wedding of Barbara and Joel. Barbara is .sumpin the mouth ^vith desire to get up to Lake Louise. All yo.u do is travel and have fun." "That's right," I come back at her in an aggrie\'ed tone. "Here you've got the guy every gal in the country is panting for, you make more money than you know what to do with, everyone loves you and you begrudge me the little fun I get out of life." "I don't begrudge it to you," she says. "I only envy you. Hey, doc," she calls to |oel, "how's about a treatment?" So Joel comes o\er and gi\es her a chiiopiaclit adjusliucnt, .snajjping her back nilo place where one of I he \criebrae has slipped out. "AVhal's (he iiialUT willi \()ut batk?" I ask s\nipallicli(alh when 1 he 1 1 eal incnl is o\ 11. "Oh, I wrendied it a fei\ years ago ivhen a horse threw me and then I throw it out every once in a while playing tennis," Barbara says. "How come you let him," jerking my head to-ivards Joel, "fool with it?" "I like that!" Joel expostulates indignantly. "I'm one of the best adjusters in the country. You see," he goes on warming to the subject of his talents, "what I lack in box-office draw I make up in doing little things on the sets for the different studios, like keeping their stars fit, etc." Before we can continue this interesting conversation, the director calls them. The wedding is just over. Old Newt (■Walter Brennan) Joel's father, has just proposed a toast to the St. Louis Blues. 1 he guests lift their tumblers, coffee cups and dippers in an understanding silence and drink. It is Old Newt's favorite piece. "Uncle Newt," Buddy Ebsen says when they've finished drinking, "it looks to me like Judge Tope is just about to fall in the river." Everyone turns and looks. Barbara and Joel lean forward from their place on the railing of the boat. The Judge, loaded with corn likker, is dozing on the edge of the boat. "It does look that way, don't it?" Brennan agrees mildly. It's just my rotten luck that Buddy is not doing his dance today because the way that boy dances is nobody's business. I stand around and jaw a ivhile longer with Barbara and Joel and then I saunter over to the next stage. Claire Trevor and Michael Whalen are making a picture here called "Career