text: 2 Real Million Dollar Babies—Can You Guess Who They Are?, ?r jh& •. u| ■ ‘' -x. -,. X' Wx*-■■Xjx aalw j| £ BL, |F w ••• * ■ dft a I I > * ■F w ~ V ' EEBte WK;WCM IK b* il E ■ I *w Ji K *® 4uE m W*wk mK IKK MR ™ y? IF OHW • W|>wjj MW : ’KILx S BIS> ; WaaUi w &■■■ ' ; --'■.ftXs'M? ■ ■'■' ks SW^OS3 ? ®®S~L7 X* ■v ; ,jFjV'W I r 3 A' »Vk v h*- Tw * «H t Lirififi " t'Xw •JU \‘-3K Ik 'i '■Br W % A > ttflH alflrll i EmmMmS <T xcWaJggßM ® xJlhb MI ' Kl *Mr aSP I 7 : "''gMh ,- . Jl9M^.— ■■——a- - ■* Jl L J. i — —.aHHHMH . —^mm———— MipgHßMßWiwwit -.--- .x.<^’., .. THESE BABIES are making plenty of money today. Do they look like Hollywood stars? You tell us. First is one of Hollywood's No. 1 ingenues. Second is a lucky fellow who hit in his first big try. Third, a leading man the girls love. Move over to the other side of the page. Pat O’Brien Says: Star of "Slim" Gives Some Interesting Opinions on Hollywood Happenings HOLLYWOOD, July 17. Dear Mr. Kelley: Sorry I missed you in your quick once-over at Burbank. What you said about “Slim” set me to thinking because right on top of it I saw “Kid Galahad” and you’re right to ask the question, “Where are the pretty-boy heroes of yesterday!” Those handsome leading men used to sail in and knock the tar out of whole crowds of ruffians, but no fight ever mussed a collar or necktie. The heroes, themselves, were soft and coddled “prima donnas” without enough muscle to open a screen door. They Really Go for Sport The screen heroes are a different breed. Out here in California everybody plays tennis, polo, badminton, or does a lot of swimming. Leading men are brawny, two-fisted chaps who can really put up a battle in any man’s scrap. Years ago, I was in a little stock company playing a bill called “The Pride of Jennico.” In the big scene the leading man came down a flight of stairs wielding a sword and 10 men fell before the terrible onslaught. The curtain always fell to thunderous applause. The leading man, panting but smiling, took a dozen bows. When he reached the wings, his dresser almost carried him to his dressing room and rubbed his tired wrists with witch hazel. All he had done was wave a sword for two minutes and he was worn out. Today, this man’s son is in pictures, and nobody rubs his wrists after a fight. In fact, I have seen him actually knock three men out in a movie brawl and instead of resting afterward, he wrestled cowboys. Now the sock is real. I remember two cases of actors in the old days being fired because they accidentally hit the star in a stage fight. What a contrast to what I saw the other day when Humphrey Bogart was supposed to be knocked out by Wayne Morris in “Kid Galahad.” Young Morris is a hefty six-footer, strong as an ox and with a right swing that would put a door in a wall. In the middle of a scene, Bogart stopped and scowled. “Hey,” he said to the director. “This will look phony unless Wayne takes a real sock at me. Suppose he does knock me out. I’ll get over it.” “Okay,” said Wayne, and the next time he turned on his steam. Humphrey blinked, looked around and then said: “I bet that looks swell on the screen.” Yes, sir, the dandy has been replaced by heroes who can really do the fighting a hero is supposed to do. Even stage actors have come under the influence of the movies. Missed a Long Shot The other day, Leslie Howard was doing a scene in “It’s Love I’m After,” with Patrie Knowles, the handsome Britisher who once fought an exhibition bout with an English professional. The director showed Knowles how to pull his punches. He didn’t want Leslie Howard bruised. The scene was rehearsed with Knowles being careful about his swings and jabs. Something went wrong and Leslie failed to dodge a left hook. It got him on the chin and he went down. Did he shout? Was he angry? No, indeed! He got up, brushed himself off and turned First to the cameraman. “I hope you got it, Jim.” If the movies haven’t done anything for the great American drama, they have at least killed off milk-and-water heroes. And that’s something! With best regards, and boy, was I sorry to miss you at the opening of Del Mar. Bing would have given you a 5-to-1 sleeper. Cordially, The Phone Girl Admits She's Bit Goofy By HELEN TROY P. B. X. Operator, “General Hospital,” M-G-M. HOLLYWOOD.—I think it’s a shame so many telephone operators go crazy. It’s so much nicer to go into the movies. It’s easy, too. All you have to do is be real smart or real crazy and they give you a contract. My mother always said that I’d go crazy, but I think it’s fun. Don’t you? I’m pretty smart for a crazy girl, though. I’m not only a telephone operator but I’m. A lobbyist. Not one of those hotel things. I’m a legislature lobbyist. I’m going to ask my congressman to pass a bill making it unlawful for a telephone operator to handle more than one call at a time. This is a great step forward. Any girl would go nuts trying to listen to eight conversations at once. Many times I have been listening in on a man with the sweetest voice when another with a voice just as sweet would put through a call. I got so excited trying to decide which to listen to I could scream. I’m not curious though. I just like to listen to people talk. That’s how I learn so much. And I'm not just giving myself a plug, ha, ha, ha. Another thing that causes us poor girls to lose our minds is trying to figure out what a fellow looks like from the way he talks. Why is it that men with such nice voices turn out so homely when you fill a blind date? And have you girls noticed how the fellows with harsh voices look like Robert Taylor when another girl dates him? A girl can’t be too careful, though, in choosing her voice friends (get it, ha, ha). Mother warned me once not to have anything to do with a smooth voice I met. I didn’t obey her. The voice had the croup and I caught it. High Water Mark HOLLYWOOD, July 10.—Alice Fay drank three quarts of water while recording the Gordon and Revel song, “Danger—Love at Work,” for “You Can’t Have Everything." THE WASHINGTON TIMES, SATURDAY, JULY 17, 1937 That’s Hollywood By VICTOR MOORE YT OLLY WOOP is glamorous, Hollywood is nice. Hollywood is amorous, Hollywood is ice. Hollywood will pick you if you've got the stuff, Hollywood will kick you till you cry enough. Hearts are big in Hollywood, big heads there are a few, Hearts are light in Hollywood, hearts are heavy, too. • • • 'Rjr*- OLLYWOOD is easy, Hollywood is great, Hollywood is cheesy, if you’re outside the gate. Hollywood leaves a fossil, behind the old eight ball. Hollywood will find you, if you’ve got the crust, Hollywood will grind you back into the dust. Hollywood does remember, Hollywood soon forgets. Here are blackened embers, of sorrowful regrets. • • • JjOLLYWOOD is rich in gold, Hollywood loves a winner, Hollywood is stark and cold, with nothing in for dinner. Hollywood is fine, life begins at seven, You are called at nine, and start to work at eleven,- Hollywood has lovely hair, of blonds there are many, And there is hair there, where there isn’t any. In Hollywood there’s no doubt they drive with speed uncanny, And if you don’t look out, they’ll knock you on your fanny. • • • 'TROLLY WOOD will take you in a part that you adore, Then Hollywood will shake you, and leave you on the cutting-room floor. Hollywood homes are swell, swimming-pools with a few, You can never tell if they have one mortgage or two. Hollywood has high fog either early or late, Hollywood has a dog, or two or three or eight. No thunder to excite You, or cold to cause you pain, No mosquitoes to bite you, but they have “unusual” rain. It’s nice and green in Hollywood, and you can take it from me, From what I’ve seen of Hollywood, it’s a damn nice place to be. Look alike. You will find the answer to how they look today on Page 8. 69,415 Urged Saratoga Be Released HOLLYWOOD, July 17.—“Saratoga,” Jean Harlow’s last picture, will be released generally, July 23. Behind this fact lies one of the most unusual technical tasks ever attempted in a Hollywood studio. When the flood of letters began pouring in, demanding the release of the picture, Director Jack Conway was faced with the problem of devising a means of finishing the few uncompleted scenes without the feminine star. The solution lay in rewriting these sequences, to eliminate, so far as possible, the character she played, re-editing scenes already filmed to conform with the new treatment, and several technical devices. The ballots showed 69,415 favoring the release of “Saratoga,” with 1,453 against. Fortunately, the ending of the picture, with Miss Harlow and Clark Gable, had already been filmed. Miss Harlow was in all scenes up to the next-to-last reel of the production. A double was used in the few rewritten scenes, but her appearances were minimized. In these instances only long shots were made, the double appearing with her back to the camera. In no place is her face seen. Details such as entering doors, or running across lawns, to “tie in” with scenes already made with Miss Harlow, were used. “Saratoga,” a race-track story, from the pen of Anita Loos and Robert Hopkins, deals with a romance between the daughter of A wealthy horse owner and a bookmaker. Much of the action is at the Saratoga race track. The final two reels, dealing with intrigue over a horse race and a bet, were rewritten so that most of the action was in the exterior reproduction of the race track, where long shots with the double could be most easily made. Absolutely HOLLYWOOD, July 17.— The supply department at 20th Cen tury-Fox has to keep a good stock of draughting pencils on hand at all times—they’re the only pencil Production Chief Darryl F. Zan uck will use. r«l«phon« Dlttriet 7000 HERE WE HAVE NO. 4. A sweet girl whom you have seen many times in Warner Brothers movies. No. sis a little girl who rang the bell and is now a favored ingenue of the cinemas. If you want to know how these stars and starlets look today, turn to Page 8. Topsy-Turvy Town Little Things in Movieland Are What Help to Make Great Pictures By BABRETT 0. KIESLING HOLLYWOOD, July 17.—Hollywood is a “topsy-turvy” town indeed. So many, many things about it are absolutely contrary to popular or legendary conceptions. Take “moving pictures” themselves. Question any 10 theatergoers, at random, and on the average you’ll find that eight out of ten of them look at you in amazement when you relate that moving pictures really do not move at all. The film passes through the projection machine on a “stop and go” arrangement. Each individual picture or “frame” halts momentarily. The scientific “law of the persistence of vision” gives an illusion of motion. Blue has for years been considered the color most flattering to women. And yet in motion picture make-up, applied beneath the eyes, or in thin “wrinkle lines” it brings an illusion of age or decadence. Hundreds of blue lines were needed to make Jeanette MacDonald into the old woman of “Maytime.” And blue pigment by the pound was used in the elderly Napoleonic officers of “Madame Walewska.” And in Leo Carroll’s remarkable make-ups for “London by Night” he was literally immersed in a sea of blue grease-paint. Synchronization is King On the screen, sound and sight are absolutely synchronized, but on the film the sound track opposite a specific picture is not that belonging to that picture. It belongs to a scene nearly two feet away. This is because of the difference in the projection machine between the lens aperture for picture projection, and the place where light is forced through the sound track onto the photo-electric cell of the sound-reproducing apparatus. It is doubtful if even stars realize that their destiny hangs upon the proper working of a small contraption of wires and chemicals. This is a special laboratory thermomat controlling the temperature of developing fluid. If it varied as much as a fifth of a degree, it would dangerously impair, let us say, a love scene between Joan Crawford and Franchot Tone in “The Bride Wore Red.” The lovely “back light” on the heroine’s blond hair rarely happens in real life. In the average room, there are seldom spots where such advantage illumination could occur naturally. But if the backlight were omitted from the hair of a Myrna Loy, photoplay addicts would squirm in their seats and say, “Have those Hollywood cameramen gone loony?” The Secret of Romance In the center of a large milling mob, the noise is so great that your neighbor would never be able to understand what you are saying. But in a picture theater, the theater goer is that neighbor and therefore he must hear what is being said, if he is not to lose the thread of the plot. Therefore, in a picture, when the principals are to speak in a crowd scene, the crowd noise dims down so that the voices can be heard. This illusion is so deftly accomplished that audiences are never conscious of it. Think back over crowd scenes in “Fury” and “Parnell,” for examples. It is these differences between fact and screen fiction that make up most of the romantic aura hanging about the making of a modern picture. The Extra Girl Says: “It takes a lot of pluck for a girl to keep her eye brows in shape!” “A man who means well never does anything else well!” “Some men like to make girls happy and others just like to make girls!” “If kisses are the language of love, then give me a man who’ll speak right up!” “Men are just like matches; when they flare up, they lose their heads!” 