Silver Screen (Nov 1938-Apr 1939)

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Trained Artists a:e capable of earning $30, $50, $T3 weekly. FREE BOOK "Art for Pleasure and Profit" explains our proven method and describes TWO ARTISTS' OUTFITS given students. Mail pOotcard now. State age. STUDIO 173M, WASHINGTON SCHOOL OF ART 1115— 15TH St., N. W. WASHINGTON, D. C. graph for hours if they want me to. What if they do tear at my mink, coat the way they did at Connie Bennett's the other night. I'll say, 'Help yourself to the mink, it's something to remember me by.' And now I'm going to sing. Hey, wait a minute, don't go. It's not as bad as all that. Look at those people walking out. I'm no Grace Moore to be sure, but . I'm better than a lot of other stars I could mention. Good heavens, is that my voice. Something's the matter with the sound track. Oh, it's terrible. Please dear God, just let me die now, quietly." The preview is over. The audience is jamming around Claudette. People who know her and people who don't. Several critics are actually smiling. Everybody is trying to talk at once. "Darling, you were wonderful." "Claudette, you're a cinch for the Academy Award next year." "Never have I seen such a superb performance." "David Selznick is a fool if he doesn't ask you to play Scarlett." "Your clothes were lovely, and those close-ups, breathless, simply breathless." "A grand performance, Claudette." "Darling, you were absolutely terrific." "That's one of the nicest previews I ever had," Claudette says to Jack in the car going home. "The audience was so warm and responsive. I wasn't a bit nervous. The song went over very well, didn't it. And did you hear what Mrs. X. said about my new dress? She simply raved about it. It is a lovely dress, isn't it? I'm so glad I bought it. Let's go to the Trocadero — and see people." Remarks From Hollywood {Continued from page 53] table. They enter the plot proper when they drag the three Musketeers upstairs to bed, try on their colorful uniforms to amuse themselves and upon returning downstairs are mistaken for Musketeers. The general thread of the Dumas story, of course, is followed (with variations) with the Ritzes — always trying to explain they are NOT Musketeers — aiding Don Ameche, as D'Artagnan, in the recovery of the French Queen's brooch, the one she presented Buckingham. They engage the Cardinal's Guardsmen repeatedly, always with cheese or some other such deadly weapon — no rapiers for them, by Louis! — they brawl as raucously as any of the King's Musketeers, and finally, after saving the honor of their Queen, return to their kitchen! All the color and pomp and fanfare of this period in France have been reproduced for the Ritzes to put on their show. And right zanily they do, too, assisted in straight roles by Miles Mander, who played Disraeli in "Suez," as Richelieu. Joseph Schildkraut (remember him as the French radical, de Lesseps' friend?) enacting Louis XIII, Gloria Stuart, Binnie Barnes, Amanda Duff, Lionel Atwill and a large group of principals. When "The Three Musketeers" reaches you, it should be a revelation. At any rate there will be no complaint that it is tragic, although fans who adored "The Three Musketeers" in book form may be disappointed in this. Comedy again asserts itself in "Wife, Husband and Friend," co-starring Loretta Young and Warner Baxter. Here is a story of amusing complications and endless possibilities, another husband-andwife a la "The Thin Man" picturization which should find wide appeal. It's the tale of a gal who thinks she can sing, and can't . . . and a man who doesn't think he can sing, and can. When you bring in a background of the concert stage, and a wife who, after a song recital, claims she belongs "not to my husband, but to America," you may gather there will be rare moments of humor. Which should satisfy all those who dislike unhappy stories. "Tail Spin" reverts to the dramatic. Its action centering around the Cleveland air races, with the annual "Powder Puff" derby serving as the joisting ground for the girl flyers around whom the picture revolves. Alice Faye, Constance Bennett, Nancy Kelly, Joan Davis and Jane Wyman are the ladies who take over the major portion of the acting duties. Charles Farrell, Kane Richmond and Edward Norris appear, as well, but their roles are minimized in favor of the girls. Alice is a warm-hearted, reckless but expert flyer, who hopes to make a name for herself in the races so she will get a contract flying for an oil company. Constance is the cool, superior, wealthy society girl who aligns herself against Alice and her plans. Nancy Kelly took up flying for love of her pilot-husband and Jane Wyman portrays the hot-tempered flying gal from the South. Unscramble the action which gets pretty hot at times, and you have "Tail Spin." No critic can belittle this one because it is so real. Women have proved themselves to be good flyers, you know. Shirley Temple receives her outstanding dramatic opportunity in the title role of "The Little Princess." Give Shirley half a chance and she delivers handsomely . . . give her "The Little Princess." and the studio adds an extra three hundred thousand dollars to the picture's budget, originally set at $1,200,000. And that, in any language is plenty of mazuma. The picturization of this childhood classic, written by Frances Hodgson Burnett, who also gave "us "Little Lord Fauntleroy." will afford an initial view of Shirley in color. The entire production has been photographed in this medium, and there is a dream sequence which will be one of the most exquisite pictorial treats ever offered screen audiences. Shirley's own coloring is so perfect as to make her the ideal Technicolor subject. This, added to the fact that the acting demands of her role surpass anything she has done in any of her previous eighteen starring pictures, leads to the conclusion that the film will be an event. Of one thing, you can be assumed, there should be no tap dancing in this one. However, one can never tell. . . . It is interesting to note that 20th Century-Fox produced the various pictures outlined in this somewhat lengthy reply to Bucky Keyser's criticism of "Suez," a brief summary of which will convince all of you that variety is not only the spice of life, it is the downright necessary ingredient of a successful film producer's vearlv schedule.