Silver Screen (Jun-Oct 1940)

Even my agony was a kind of joy. . . . Then came a time when he began to change toward me. I didn't know what was the matter. I was frantic. I made scenes — threw myself at his feet." "Leslie!" Marshall groans, unable to bear it. "Then I heard about that — native woman," she rushes on monotonously. "I couldn't believe it. At last I saw her. I saw her walking in the village with those hideous spangles and that chalky face and eyes like a cobra's. Then I knew how she'd taken him away — how she held him — those eyes." She rises. "I couldn't give him up. You've read the letter. We'd always been so careful about writing, but this time I didn't care. He came and I told him I knew about his marriage. At first he denied it, but I insulted him and cursed him. I was beside myself. At last he turned on me and told me he was sick and tired of me — that it was true about the other woman. He said he was glad I knew because now I'd leave him alone. Then I — / hardly know what happened. I seized the revolver and fired. He gave a cry and I saw I'd hit him. He staggered to the verandah. I ran after him and fired and fired until there were no more cartridges." Through the long recital she never once looks at him — her eyes darting here and there — at the ceiling — out through the window — down to the floor. Only at the last she turns and faces him squarely: "That's what happened. . . . And I have no excuse for myself. I don't deserve to live." It's one of the longest scenes I've ever seen filmed and how she plays it! Every performance of Bette's is a creation of art, but in this one she reaches her peak. * * * NEXT door is a , sort of municipal playground, outside a settlement house. This is for "City For Conquest," the James Cagney-Ann Sheridan starrer. A dance is in progress (and you never saw such jitterbugging in your life) when Cagney and Ann appear. He has just won a fight and is hailed as the future lightweight champion. Ann is his fiancee and she wants him to turn pro. But Cagney has dreams of the future and they're not the dreams of a prizefighter. How the picture will turn out one never knows, but this is the best script Cagney has had in many a moon. He always gives a bang-up performance and no one who saw Ann in "Torrid Zone" can question her ability to act. In addition there are Frank Craven, Donald Crisp, Frank McHugh, Blanche Yurka and a newcomer from New York — Arthur Kennedy. When they were casting the picture someone mentioned Kennedy. "Who's he?" Cagney asked. "Well," he was told, "George M. Cohan says he's the finest young actor on the American stage." "That's enough for me," said Jim. "Bring him out." So-o, meet Mr. Kennedy. He's a pleasant young chap, about five feet ten, reddish blond hair, around Below: Rita Hayworth, Douglas Fairbanks, Jr., Thomas Mitchell, Constance (Worth, Richard Bond and John Qualen in a scene from "Before I Die," written, directed and produced by Ben Hecht. Right: Don Ameche getting a tremendous kick out of Betty Grable's riding habit in "Down Argentine Way," in which Alice Faye was to appear. twenty-five and totally unlike an actor. * * * I WISH Mr. Kennedy luck, say goodbye to Jim and Ann and proceed to the next stage where "Flowing Gold," starring John Garfield and Pat O'Brien, is shooting. Frances Farmer is the girl and, apparently, is making big strides on the comeback trail. This scene is right at the beginning of the picture, where John and Frances meet for the first time. Her car is mired in the mud and the wheel is spinning without finding any traction. She tries to pry it out with a board and falls in the mud. Then she hears a chuckle. She looks up angrily and there is John, grinning at her. "I suppose it's funny!" she snaps. "Well, I'm laughing," he snickers. She ignores him and attempts to wipe the streaks from her face, making it worse. [Continued on page 72] for October 1940