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Alan Marshal, Loretta Young and Melvyn Douglas in the decidedly gay "He Stayed For Breakfast."
hea, " he vouchsafes.
Well, naturally. It's a song he's written ihe music for and for which Mary has written the words. He wants to see how it goes.
"Oh, I just love that composer," Mary sighs.
"Isn't he a little old for you?" Bmg inquires skeptically.
"Cut!" calls the director.
Mary is done up in a white outfit like a hybrid Eskimo-Finn. Just why I can't find out. But she looks radiant.
"Mr. C," I say to Bing in a complaining voice, but he cuts me off.
"Now, don't tell me you've been losing on my horses," he admonishes me. "because'l'm not going to change trainers."
"It isn't the trainer that bothers me," it's my turn to confess. "I must admit I have lost money on them, but it isn't the trainer I object to. I think instead of a vet you ought to call in a hay-fever specialist. As far as I can figure out, your horses are allergic to money."
"Get out of here!" Bing bawls.
You may well imagine I'm not going to linger in the face of such a pressing invitation so I git.
^ * ^
AND when I stop "gitting" I find my1 self on a stage where a picture called "Victory" is shooting. Years ago, Richard Arlen and Nancy Carroll (remember her?) made this opus, but this time we have Fredric March and Betty Field playing the leads.
It's about a beachcomber in the South Seas who falls in love with a dance hall girl. But there's an insurrection — or something.
"I'm sorry about this," Freddie says to Betty.
"I'm not afraid — for myself," she returns hesitantly.
Freddie looks at her amazedly. And then a great light dawns. She's afraid for him !
"D'ya know," he replies slowly, "for the first time in my life I'm afraid of something — and it's not for myself."
And Freddie clasps her hands in his.
John Barrymore, appearing as himself, with Mary Beth Hughes, "The Great Profile."
Heaven knows it seems a simple enough scene but the director, John Cromwell, isn't satisfied with the "take." They do it over and over and with each take the tension on the set grows. Once Freddie catches sight of me. "Hello— er— Dick," he mutters, but at a time like this anyone can be excused for forgetting a familiar face.
"Let's get out of here," I whisper to Kathleen Coghlan, who is making the rounds with me. "There'll never be any
laughs here."
\ * * *
SO WE mosey on to what is called "The New York Street." That is what is known as a "permanent set." All studios have them. This one is a replica or reproduction of a New York street. Scripts frequently call for such a setting so the studio has erected one and it stands permanently. And, curiously, the picture that is shooting here today is called "The New Yorkers," starring Dick Powell and Ellen Drew. Neither of them are in the scene that is being shot. It is simply [Continued on page 75]
A love scene between Fredric March and Betty Field for "Victory," go
which didn't
over
Edward McWade and Edward G. Robinson in an important scene from "The Man From Fleet Street."
for September 1940
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