Silver Screen (Nov 1936-Apr 1937)

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Greaseless and stainless— dncs last Stops the most intense itching mstiintly. A Jbc trial bottle, at drug stores, proves it— Or money bacK. D.D.D. PA£A^cAjU>tZa^ 78 pictures as a sailor, and a week later was cast in the stage production of Price Glory, as one of its three memorable corporals. After a long series of Broadway productions, he came to seek his fortune in Hollywood. "I owe my success in pictures to Clark Gable," he said, as we met him at 20th Century-Fox Studio, where he is under contract. "Clark always gives a good, sincere performance, and I admire him very much. Here is how he put me over— by the way, what kind of a fellow is he in real life? I've never met him." We gave him our personal impressions of the great screen lover. We were curious to know how he helped Donlevy, and suspected an Irish gag. But here's the story as Donlevy tells it— "When I came out here, I finally managed to get a job in 'Barbary Coast.' Just a tew lines. The director wanted to see me in costume, so I went down to the wardrobe department to get my outfit. As the others were wearing rather flowery costumes, I ^vanted something very plain, just to be distinctive. I had the part of the killer, 'Knuckles.' The head of the Avardrobe department dug out a black shirt, worn by Gable in 'The Call of the Wild.' That was exactly what I had in mind. I found black boots, a black hat and a black suit. Everything I wore was black. I'm superstitious. I was sure Gable's shirt would bring me good luck. When I finished the picture, I stole it. I have it at home now. I wouldn't part with it for anything in the world. " As Spike, in "Mary Burns, Fugitive," he made Hollywood Donlevy-conscious. Since then he has appeared in four or five pictures, and currently you can see him in "High Tension" and "Crack Up," heading the casts of both. Peter Lorre is co-featured with him in "Crack Up." "I think it's a swell picture," says Donlevy. _ "Lorre, by the way, is a great comedian." Donlevy would work in pictures even if the stage offered him more money. "I like to work hard, I don't care at what. In Hollywood you have to get up at six o'clock in the morning, and that's a mighty good habit to develop after fourteen years on the stage. Here is another reason why I prefer the screen. I was in "What Price Glory' over two years, touring the country. When I got back to New York, people asked me, 'Where in the world have you been?' It took me eleven months to get another job. Today I received a letter from New Zealand, from a fan who has just seen me in 'Barbary Coast.' You finish a picture, take a vacation, and you aren't forgotten. I or months, and even years, people see you in all parts of the world. But frankly, I miss hearing people laugh, comedy being my specialty. I miss it like the dickens." We asked him if he has ever been broke. "Gosh, I've been broke more times than \ou have years in your life! Once I had offers for two plays, but ray agent talked me out of one of them, and put me in the other. It was called 'The Rainbow.' I took a year's lease on a .15250 a moiuh apartment. My salary was $225 a week. ^Ve had a burro in the sho\\'. When we opened in New York, the burro misbehaved on the stage, and held up the show 18 minutes. Instead of being the huge success we anticipated, 'The Rainbow' became a huge Hop. The burro killed it. Most of the audience walked out on the show. I \vent flat broke, ]iad to live on bran and water. One night, with my rent liill in mv pocket, I walked toward the Hudson River. On my wav, I met the agent. I could have killed him. 1 told him' I was going to jump uuo the river. He loaned me $200." I asked him for a humorous experience. "\Vell," he said, "the fminiesi tiling that lias evei' luipiiciud in all my years in the Silver Screen Alice Faye as she will appear in her next picture, "On the Avenue." theatre «as this: We were in the Court Theatre, playing 'The Milky Way.' I was 'Speed McFarland,' a prize fighter and a tough guy. Hugh O'Connell was 'Burleigh Sullivan,' the milkman who became middleweight champion of the world. There was one scene which required that we pidl off his pants to see his biceps. Hugh had forgotten to Avear his drawers, and ^ve didn't know it. So you can imagine his mortification when we pulled olT his pants! ^Ve pulled them off, entirely, definitely. Now, a thing like that can't happen on the screen." The days of bran and water are over for Brian Donlew. 1 odav he lives in a Spanish mansion in Beverly Hills, has two Philippino servants, and ])ilots two shiny, powerful cars. Can you blame him for liking Hollywood? Never Grow Old \C.onlinucd from page 33] Freckles are a part of his stock in trade so, with no schoolgirl complexion to worry about, he Hops down on the beach and lets Natine lake its course. NVhen Tom was a honafide juvenile, only sixteen \cais old, thcv stutk a mouslache under his \ouililuI probo-ii and put him to work as leading, man opposite Joan Blondcll and Sally Filers. Then, \vhen he