Silver Screen (Nov 1939 - May 1940)

Silver Screen for May 1940 79 Pictures on the Fire I [Continued from page 55] And then he calls her for a scene. A bunch of young folk are gathered around a dining room table. Ann Morriss (who is no slouch hcFself when it comes to looks) is stajiding at the head. "For heaven's sake," she exclaims, "sit down, everyone. We're all starved." But just as they start to sit Jean breezes in. "Hel-lo, everyone," she beams. "Sorry to be late. We started hours ago, but George (Frank Milan) always stops for red lights until they change twice." As she finishes, she catches sight of Bob Cummings (remember him in "Everything Happens At Night?"). "Hello," she says softly, as she pidls out the chair beside him. "Your place is down there next to George," Ati?i cuts i}i sharply. But Jeaji sits herself dowti and angles the girl who was supposed to sit next to Bob down to her own place. Not since Anita Louise played a heavy in "These Glamour Girls" have I seen as lovely a heavy as Jean. * * * BUT I can't stand here gaping all day so I mosey on to the next set where "The Ghost Comes Home" is shooting. I find my old friend (old only in the length of our friendship, that is), Frank Albertson, disporting himself on the set — as is his wont. He has on a very ill-fitting suit and a slight paunch. I tactfully ask if this is a costume picture. He says "no" and then the hght dawns. "Oh, this!" he exclaims. "I'll have you know this is a pad I'm wearing AND a toupee," he adds grandly. Maxine Thomas, who is piloting me around the lot and who doesn't know Frank as well as I, leaps at the bait. "What for?" she inquires. "Oh," Frank brushes her query aside lightly, "just to give it that Mook touch." After all, one can't ignore everything so I say, "/ beg your pardon," open my coat and throw out my chest {the hair I can do nothing about). "Look!" Frank howls. "Look at him suck in his gut until his buttons pop off and his eyes pop out!" Luckily for him, before I can think of a retort, the director calls him for a take. But his stand-in takes care of things for me. As the stand-in comes off the set he glances carelessly at Frank: "Get in there and read your jokes now," he says. Well, Frank and Nat Pendleton are insurance men. They have collected on a policy on Frank Morgan, but Frank turns up ahve. They know if Frank is discovered they'll have to refund so they're trying to hide him. And then Frank gets wise and starts telling them a few things. "You gone crazy — yelling like that?" Nat demands. Mr. Morgan looks him up and down. "Sweep the floor!" he roars. And then, as Nat looks at him horrified, "I want tlie place spick and span when I get back." "Wh-wJiere you gain', Vern?" Nat asks. "Oh-h, no place in particular," Frank replies. "Just a little stroll down Main Street — for some soup." "Go on, Roscoe," Frank puts in hurriedly to Nat, "sweep the floor." Nat exits and Frank turns to Mr. Morgan. "Now, Vern — maybe we have been a little inconsiderate at times — but — " "Get a pail!" Morgan shouts, cutting him short. "With some soap suds in it," he adds as Frank starts to protest. Frank swallows — 'but hard. "Ok, Vern, he answers, "I'll — I'll get a pail." His voice trails off as he hurriedly exits after the aforesaid article. In all the years I've known him, Frank has always been just too cocky and I haven't the heart to be there when he comes off the set, even though I know his new-found humility is only acting. So I go on to the next set, which turns out to be — FORTY Little Mothers," starring Eddie Cantor. Mr. C. never has been one of my favorites, but I will say for him he has never refused to play a benefit and he's kind to his family, so I'll suppress the cracks. Anyhow, he's not working in this scene. Nydia Westman, who is seen all too seldom on the screen these days, is the featured player in this "take." It isn't a particularly important scene. Nydia, one of the teachers, is giving the girl students a talking to because they have been responsible for one of the professors {the man Eddie succeeds) being fired. But she does a swell job of it. Among "the girls" are Bonita Granville {wlio needs no ijitroduction) and Diana Lewis {whom you may have met in the public prints as the new Mrs. Willia?n Powell), but it is Nydia who dominates the scene. THERE are still two pictures left on this lot. One is "The Mortal Storm," adapted from the famous best seller, but that one is just starting so we'll let it go until next month. The other is the fourth "Dr. Kildare" story, starring Lionel Barrymore and Lew Ayres. Mr. B. isn't working today, but Mr. A. is, so I barge onto the set. The scene is the roof of a New York hospital where a lot of httle crippled children are taking the air, so to speak. Lew is in a dilemma, but he runs into his mother '{E?nma Dunn), who is in town visiting for the day and she sets him on the right track with just a few words, which only goes to show you how wonderful mother love is, and I'm not kidding. The scene isn't important, so there's no use giving you the dialogue. After it's finished Lew and I get together and cut up some old papers {which is Hollywood jargon for reminiscing about old times). I accidentally glance at my watch and suddenly realize time is fleeting and I still have umpsteen other studios to cover. So I leave him and head for — WANT TO EQUIP MY CHILD FOR SCHOOL... AND FOR LIFE, TOO! Help yoMr children to learn typing! Educators, business men call it an asset . . . through school, through life ... an aid to clear thought and expression. Easily, quickly learned on Corona. 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