Pictures (June 1946)

JUNE, 1946

• ■

a savage empire

CAMROSE . .
greedy for gold—
and woman

as®

temptress of a
savage wilderness!

Introducing as
"CAROLINE"...
eager for men
to tame!

22

with

HOAGY CARMICHAEL • WARD BOND • ANDY DEVINE • STANLEY RIDGES

LLOYD BRIDGES-FAY HOLDEN VICTOR CUTLER THE DEVINE KIDS, TAD and DENNY

Screenplay by Ernest Pascal • Adapted from the Saturday Evening Post Story "Canyon Passage" by Ernest Haycox
Directed by JACQUES TOURNEUR • Associate Producer Alexander Golitzen • Produced by WALTER WANGER

A UNIVERSAL RELEASE

AN EDITORIAL

3

Getting younger
all the time • • •

• Some companies,
like individuals, get
younger as they mature.
This is a paradox which
contravenes the laws of
nature but which con-

forms to the spirit of show business.

This veteran of two-
finger typing has grown
younger since he has
been pitching words at
Universal. This is quite
natural to our environ-
ment and psychology
and really typifies the progress that
has been made during the last ten
years by Universal’s present adminis-

tration.

Not only has the balance sheet been
important to Universal management,
but that important element of show
business, human resources, has been
equally cultivated and developed.

Each year sees new
talent coming to Uni-
versal. This is what
keeps us young. New
- blood is infused con-
stantly. Universal is
getting younger and
younger every year.

Maurice A. Bergman

ON THE COVER

Merle Oberon and Turhan Bey, star-
ring in Night In Paradise, produced
in Technicolor by Walter Wanger and
directed by Arthur Lubin.

June, 1 946

Vol. 1 , No. 4

Getting younger all the time . . .

by Maurice A. Bergman 3

The MARK Of Distinction

by Toots Shor 4

Blytli Spirit 6

Pictures With A Future 8

Lucille BALL Of Fire 10

Call Me Mister, Sir! 12

Man’s Rest Friend 13

Phyllis Calvert Goes West 14

Fandango 16

Sh-h-li- Sound Men At Work

by Harry Friedman 18

Ann Todd. 20

Around The World In Twenty Years — On Celluloid

by Andy Devine 21

Technicolor Paradise 22

Directing With Comic Strips 24

Dana Andrews 25

Walter Wanger’s Biggest 26

Sportsmen — Far Afield

by Jersey Jones 28

Chewing The Fat In The Commissary

with Norman Rivkin 29

Letters To The Editor 30

PICTURES

Published by the Advertising ond Publicity Department of Universal Pictures Co., Inc.
Editorial Address: 1250 Avenue of the Americas, New York 20, N. Y.

JOHN JOSEPH
Editor-In-Chief

MAURICE A. BERGMAN
Executive Editor

AL HORWITS — HANK LINET PETE DAILEY — DAVID UPTON

Eastern Editors Hollywood Editors

HAROLD GUTMAN • BARBARA C. SAPINSLEY • WALTER J. BARBER
Art Director Managing Editor Production Manager

By

(>. Mlvrnard Shor

ABOUT THE AUTHOR

Toots Shor, whose given name is Ber-
nard, is a prominent restaurateur of New
York whose culinary salon is the mecca
of world wide celebrities in the motion
picture and sports field.

Mr. Hellinger, who has often referred
to Shor as “the classiest bum in town,”
is a close friend of Shor’s and it is hoped
there is nothing in this article to interrupt
this friendship.

(Ed. note: Mr. Shor has convinced us the
pen is mightier than the fork.)

• Now don’t let this monicker fool you.
That’s really my name. It so happens
around New York they call me Toots.
That’s because I own a restaurant (51
West 51st Street) and everybody who
comes into the saloon calls me Toots.

However, when I take to the literary
(Earl Wilson gave me that word), I am
referred to as G. Bernard Shor. Can I
help it if some crumbum with a beard in
England who never hears of Burma Shave
grabs my name and uses it to sell stories
to magazines, newspapers and pictures?
And I hear he gets more for his pieces
than I get for a steak.

The MARK himself, Mrs. Shor, Mrs. Hellinger and
Hellinger is the former Gladys Glad who made a

I know all about this writing racket. Everybody
thinks I learned from Mark Hellinger, but now for
the first time I will reveal that I’m the guy who give
Hellinger his start in the game. If it hadn’t been for
me wising up the crumbum about the soft touch in
this writing business he wouldn’t he grabbing off that
easy dough from Universal so he can afford to eat in
my joint.

Because of that big pouch I lug around, no one ac-
cuses me of getting close to anything, including the

1

:

I

I

!

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i

i

Naturally, with me writing the stuff for
him lie’s a big click. And I sell him the
idea he can do it himself. After all, I gotta
eat, too. So 1 leave him on his own and
with the start I give him he can’t miss.

The next thing I know Hellinger is in
Hollywood and pretty soon they realize,
without me, Mark ain’t what lie’s marked
up to he. So they make him a producer.
1 can’t understand it. 1 ain’t around and
still he makes good. L guess it’s the train-
ing I give him.

A nicer guy never lived. He remembers
his friends, I’ll say that for the geezer.
Soon as lie’s a hit he sends for me. He
wants me to write for his pictures. Not
me. I know where my bread is buttered
and even then butter it tough to get. So 1
says no. 1 says get that other Shaw. And
that proves I’m a big guy. After all, why
should I be plugging that Shaw? Why the
crumbum never eats meat and you can’t
make any money selling a guy turnips
every night.

According to past performances (Ja-
maica, of course) Hellinger should have
been in New York now spreading some
lettuce around my joint. Am I surprised
when I learn the guy is working. What’s
more it’s a daily double.

I understand the titles of the pictures
are The Killers and Swell Guy. I had
nothing to do with the first one, but I want
it known that I inspired Sivell Guy.

And speaking of swell guys, I think it’s
time I told the truth. I didn’t teach Hel-
linger to write. He taught me — in fact,
lie’s the first guy who tips me off to sign
checks in all the joints. He’s a sweetheart
- — the nicest guy I ever met and I’ve met
some swell guys in my day. I know them
all; they’re all my pals. But Hellinger —
he’s No. 1 on my list.

And while I’m confessing, I better say
George Bernard Shaw never met me so I
don’t know if he can join the crumbums.

Universal is lucky to get Hellinger and
if their big shots don’t start eating heavier
meals in my joint I’ll get Mark to stop
making pictures for them. May I recom-
mend our roast beef?

G. Bernard (Toots) Shor enjoy a good story. Mrs.
mark of her own in the Ziegfeld Follies on Broadway.

cash till, hut nobody knows Hellinger better than me,
including his wife. Why, I knew Hellinger when he
didn’t have a mark to his name. (Let that guy in Eng-
land write a funnier line.)

I meet the guy quite accidentally. After a few times,
I say to him, “I never met a righter guy.” He misun-
derstands me; he only hears righter and right away
he thinks lie’s a writer and darned if he don’t sell
himself to a newspaper. Well, lie’s in a jam. So I step
in and have to write all his stuff for him.

7

For sun-
shiny days:
checked and
solid cotton
playsuit with
side - button
shorts, button
front skirt.

• There are many adjectives to de-
scribe Ann Blyth, but the one predom-
inating right now is “plucky.” A tobog-
ganing accident resulting in a broken
back bedded her for one long year, but
the pretty little Blyth girl from Mt.
Kisco, N. Y., has real trouper’s blood
in her veins, and today she’s back be-
fore the cameras, playing the feminine
lead in Mark Hellinger’s Swell Guy,
the film adaptation of Gilbert Emery’s
Broadway hit, The Hero, which is
scheduled for Universal release.

Though Ann has been behind foot-
lights and microphones since 1933
when she was five years old, and had
made five pictures before her accident,
she came to the attention of theatre-
goers as Babette in Watch On The

Rhine. Another great triumph was reg-
istered as the sophisticated daughter in
Mildred Pierce, for which Universal
loaned her to Warner Bros. Ann was
nominated for the Academy Award
supporting role.

Ann’s earliest ambition was to be a
dramatic actress. Blessed with a colora-
tura soprano voice, she was cast in sing-
ing parts in her first four pictures, Chip
Off The Old Block, The Merry Mono-
bans. Babes On Swing Street and
Bowery to Broadway, and before com-
ing to Hollywood, sang several times
with the San Carlo Opera Company.
The Mildred Pierce role marked her
first “straight” part and Ann was de-
lighted when Swell Guy presented her
with another.

For romantic summer evenings, Ann
chooses a white lace gown with volumi-
nous frou-frou trim.

Ann spends her lounging hours in a
windbreaker type slack suit of copper
gabardine.

The Runaround. Elia

Raines listens to Rod Cameron pro-
fess friendship and a desire to help
her in this drama-romance which
marks Brod Crawford’s post-Army
screen comeback. Frank McHugh and
Samuel S. Hinds play supporting parts.

She Wrote The Rook.

with raucous Joan Davis gone glamorous, ably abetted
by Jack Oakie. Kirby Grant supplies the spanking to
Miss Davis in this scene. Jacqueline De Wit, Mischa
Auer and Gloria Stuart add to the merry-making.

i

Inside Job. Romance, com-
edy and shady doings inside a de-
partment store. Ann Rutherford and
Alan Curtis create suspicions in this
scene; Joe Sawyer is the temporarily-
out-of-commission cop. Preston Foster
is in the picture, acting sinister too.

The Ghost Steps Out. Bud Abbott and Lou Costello are back again
with their own special brand of unpredictable humor. As two ghosts, they “dis-
appear and materialize" with the assistance of Marjorie Reynolds, Binnie Barnes,
Gale Sondergaard and Jess Barker.

16

OF FiRE

• t li- III..V t. woie r lullf

W Iifii ( 1 1 ■ ■ > -pott.-d till' I itiiin-
li.im i! iinnlcl who. a- Iln-Clu -v-
!n (,tfi 11,1.' ■ <" onng the

niimin m !i, u -ji, - and
magazines, they snagged
\h<I f i idai i.in ilic Bail i- mu' ot
Moll\ 111)11(1'- prized "tar-

eolorful and. Li^l In

not le;i'I. a emiMiminale a

During her Jir>t few \oar-
I lit' eoa.-t. I .i ie 1 1 !•■ pia) ed m
parts m Roberta. Staye
and _* i otlu r !i int>, mi l
of all filing", a we.-iern.

Melr.. - i , oi.lv, _\ n • VI a) or sign
her up. "tarred her in
H «> I I.mly. Meet I he I'enftle
and Ziegfeld

Current!) Lucille has scaled
another summit, .'she is paving
a l hespian visit to another
Itudio l niversal -where "he

i- e. e-la r rod with \ ora Zorina
and (Jen rite Brent in llio lorlh-
oiuiiiiia "Oini 1 1 lat ing oomoilv.

Lover Come Back , written and
prod in <■<( liv \ I toll ao I !•.— dor

and Ernest Pagano and directed

hv \\ iili.rni V. Soilor.

il

I

“Lover, come back,” pleads Lucille Ball
in an important phone call in the picture.

George Brent and Vera
Zorina shamelessly eaves-
drop on a tete-a-tete be-
tween Lucille, Brent’s wife
(in the picture, of course)
and Carl Esmond.

Brent is startled at evi-
dence of a nocturnal
visitor (not he) when he
comes home at midnight.
Lucille “can’t imagine what
he means.”

• They’re back from the wars — back on
the Universal lot — and rarin’ to go! Ex-
sgt. Broderick Crawford is already at
work in The Runaround with Ella Raines
and Rod Cameron, and ex-pfc. Edmund
O’Brien is ready- and-waiting.

Both were in uniform three years.
Brod was in Germany witli General
Hodges’ First Army, suffered a leg wound
and received the Purple Heart. Ed served
with the Air Corps in Winged Victory as
well as in combat crews.

Both made their film entries via the
stage, but Brod had a tougher row to
hoe. He had to convince his acting parents
— Helen Broderick and Lester Crawford
— plus the critics that he had what it
takes.

Though Brod picked up pennies in
bit parts and took a fling at the flickers,
it was the role of Lennie in John Stein-
beck’s Of Mice and Men which consoli-
dated his acting career. Since then he
has appeared in Butch Minds The Baby,
Broadway, South of Tahiti and several
gun-blazing westerns.

Ed made his dramatic mark as the sec-
ond grave-digger in Guthrie McClintic’s
production of Hamlet. A tour with Par-
nell, parts in Family Portrait and Henry
IV, then Ed made a foray to Hollywood
for the remake of The Hunchback of
Notre Dame, returned to Broadway as
Mercutio in Laurence Olivier’s Romeo
and Jnliet, migrated to California for
good. Three pictures and the male
lead opposite Deanna Durbin in
The Amazing Mrs. Holliday
preceded Ed’s Army stretch.

The Army is very broad-
ening — Brod Crawford
finds when he tries to fit
into his pre-war clothes.

Frank McHugh thinks
“Abercrombie terriers”
are a bit of all right. In
his left hand is Pom Pom
and in his right hand,
another sample of this
special breed which
trainer Henry East is de-
veloping especially for
motion picture use.

• Man’s best friend, the canine, is often
motion picture’s pal, too. Dogs play im-
portant parts in pictures, add comedy to
others, sometimes are just window dress-
ing — but dogs are definitely among those
present.

Among the more famous cinematic dogs
are Rin-Tin-Tin; Asta, the perky wire-
haired in the Thin Man series; and re-
cently the scottie in So Goes My Love.

About to make their movie debuts are
Corky, a pseudo- Welch terrier in Inside
Job and Pom Pom, an “Abercrombie
terrier,” in Little Miss Big.

Beverly Simmons
wishes Pom Pom be-
longed to her. She
appears with the
dog, Fay Holden,
Frank McHugh, Dor-
othy Morris and Fred
Brady in the forth-
coming Little Miss

charming British star who
is coming to Hollywood
soon to play a starring role
in "Time Out Of Mind,"
the film version of Rachel
Field's famous novel.

15

PHYLLIS CALVERT COES WEST

• Latest of the British motion picture
stars to hit the westbound trail is charm-
ing and talented Phyllis Calvert, one of
the most brilliant of the J. Arthur Rank
feminine stars.

By the time Miss Calvert arrives, she
will be a familiar face to American film
audiences who will have seen her stellar
performances in the J. Arthur Rank pro-
ductions, Madonna of the Seven Moons,
an enthralling psychological melodrama
with Stewart Granger and Patricia Roc,
and The Man In Grey, a dramatic his-
torical romance with James Mason, Mar-
garet Lockwood and Stewart Granger.

For her first Hollywood camera ap-
pearance, Universal has selected one of
its most ambitious 1946 productions,
Rachel Field’s Time Out Of Mind which
Jane Murfin, who wrote the screen plays
for Smiling Through and Dragon Seed,
will produce and Robert Siodmak, of
The Suspect and Spiral Staircase fame,
will direct.

Lord Rohan (James Mason) pays his wife (Phyllis Calvert) a
formal visit at the breakfast table during the early days of their
socially convenient marriage in The Man In Grey.

As the peasant Rosanna, one of her dual personalties,
Miss Calvert is provoked to violence by her lawless gypsy
lover, Stewart Granger in Madonna of the Seven Moons.

Maddalena (Miss Calvert) has a frightening premonition
that one of her personality shifts is approaching. Her hus-
band (John Stuart) and daughter (Patricia Roc) are alarmed
in another scene from Madonna of the Seven Moons.

•

A slow-motion preview of Yvonne De Carlo, twisting and turning through
the steps of her Fandango dance, to the lilting music of Rimsky-Korsakov.

17

• If practice makes perfect, then Yvonne De Carlo
is honiul to reach Utopia. She is a perfectionist and
toils just as hard off-stage, practicing each pirouette
and pas de deux, as she does before the cameras.

Under the tutelage of famed dancing mistress Tillie
Losch, she is working harder than ever on the dance
sequences in the Technicolor Fandango, the story of
Rimsky-Korsakov, and hopes to outdo her (lawless
choreographic performance in her first starring vehi-
cle, the Technicolor Salome, Where She Danced.
And though her second picture, Frontier Gal, also
in Technicolor, required no dancing of her, she set
just as high a standard for her dramatic performance.

: »

.

■ - . . . . ... ■;

• The proverbially gay night life of the film capital is
an untasted drink to the average hard-working sound
man. He has no time to burn the candle at one end —
let alone both.

Sound men are the bookworms of the studio. They
average two nights a week attending classes, on their
own time, to keep up with the rapid advances war and
television have made in this, the infant of film tech-
nical fields; and homework keeps their noses buried
in text books instead of racing forms and menus.

Sound, when it was developed in 1928, gave the
film industry its most spectacular lift. Now it is as im-
portant to the finished picture as dialogue. An audi-
ence squirms sooner at poor sound than at a poor
story ; it is up to the sound man to see that voices are
properly accentuated and the sound effects realis-
tically suited to the story.

One of the men who worked on the first talkies —
Sonny Boy, Lights of New York, Mammy — is Bernard
B. Brown, head of Universal’s sound department.
Formerly a violinist with the Los Angeles Philhar-
monic Orchestra, he was a radio “ham” in his spare
time. When the great experiment in talkies started,
he was in charge of Warner Bros, music department
which automatically brought him into the sound field.

In 1936 Universal invited Brown to direct its music

Mixer Joe Lapis records the voices of players in the
Technicolor musical, Fandango.

and recording, soon boosted him to head its sound
department. Because of his musically trained ear, he
still handles recording of musical scenes and shots of
orchestra performances.

Brown has a staff of 60, most of whom developed
their individual skills at Universal. The mixers,
though, headmen on each four-man sound crew, are
usually graduates of the electrical field.

Duties of the Sound Crew

It is the mixer’s job to keep the dialogue within the
proper range so voices are neither too loud and dis-
torted nor too soft, allowing noises from the elec-
trical circuit to be recorded. He also sees that the
speech is clear, calling for another “take” if it isn’t.

The mixer sits at a small box with three to five
dials, one for each mike used, and a master dial to con-
trol them all. He increases volume on whichever one
is in use at the moment. Keys on the box enable him
to cut frequency up or down to control sharpness.
Recording a big orchestra, he might have a mike and
its connecting dial for each instrument section.

The boom man, second to the mixer, keeps voices
in “focus” by turning the mike (attached to a tele-
scopic pole or boom) to favor the actor speaking.

The recorder works in the sound truck in charge of

Boom man Jack Bolger listens through an ear plug to
the dialogue passing through the microphone.

19

Hard work and little public notice is their lot —

but where tvould the stars and directors be without them?

the roll of film on which the sound track is recorded;
he is also engineer for all equipment on the circuit.
Watching the all-important light valve (which regu-
lates the sound as it is photographed on the film) for
proper timing, and adjusting the recording lamp are
among his duties. He also sends the film to the labo-
ratory for processing and redubbing on the film strip
of the scene.

The fourth man on the team, the cable operator,
sets up the equipment and guards the many feet of
cable running from the sound box through the stage
wall to the sound truck outside.

The team work of these men won Universal the
Academy Award for the best sound recording of 1940
in When Tomorrow Comes.

Mixers Are Specialists

Universal has about half a dozen ace mixers who,
among them, know the sound qualities of the voices
of every player working regularly on the lot.

Joe Lapis is the Deanna Durbin expert. She checks
with him after each “take” to see how her voice re-
corded. Glenn Anderson excels in trick sound effects,
special effects scenes which need additional sound
dubbed in.

Jess Moulin’s specialty is serial, western and out-
door action pictures which are allotted only two or
three “takes” per scene. He is a past master at shutting
out extraneous outdoor noises and rigging a “wind
bag” or silk cage over the mike to prevent the wind
from striking its delicate diaphragm. Robert Pritchard
is another top-notcher in the quick shooting field.

Bill Hedgecock specializes in getting good sound
under unpremeditated conditions such as last minute
dialogue changes or adlibbing (an habitual event in
Abbott - Costello productions). Charles Carroll, the
patient type, works on big productions in which many
“takes” are made, assuring the best recording results.

Besides his staff, Brown has three assistants: Leslie
Carey, personnel supervisor; Tom Ashton, who works
with Brown on music recording jobs; and Ronald
Pierce, ace dubber, who combines multiple sound
effects (e.g., rain, gun shots, horses’ hoofs and train
whistles) with dialogue, all on one sound track.

Despite their arduous work, sound men have one
edge on most studio workers. If they get bored with
the conversation around them, they can retreat to
their instrument boxes, insert their ear plugs and
enjoy the silence.

Recorder John Kemp sits in a portable sound truck out-
side the stage listening to the cast’s voices and super-
vising the photographing of sound on the film.

Cable operator Harry Moran handles the hundreds of
feet of cable in the Fandango stage’s sound circuit.

Ann Todd 3 the lovely star of the current hit, The Seventh Veil, has inspired hundreds of fan
letters suggesting that Universal bring Miss Todd to Hollywood. We hope to — in the near future.

21

AROUND THE WORLD IN TWENTY YEARS -ON CELLULOID

by Andy Devine

• For twenty years I’ve been giving my all for
Universal — and anyone who lias seen me lately
will admit my all’s an awful lot. It wasn’t always
that way.

I was a stalwart lifeguard with a stomach as flat
as an ironing board and muscles like its accessory,
the iron, when a talent scout from Universal asked
me to play one of the football players in The Spirit
of Notre Dome. That would be my first — and
probably last, I thought — opportunity to see a
studio from the inside, so I took a dive at the
chance.

Little did 1 know, walking between those twin
eucalyptus trees in front of the house that Carl
Laemmle built, that Universal would be my bread
and butter for the next twenty years. Me, an up-
and-coming movie star? Not on your life-guard!
The Spirit of Notre Dame was going to be my
favorite story to keep the party going. I had beauti-
ful foam-collared dreams of all the free beers it
would net me.

But the director took a shine to me and here I
am — a Universal “old-timer” who’s circled the
globe on celluloid. Like the studio’s trade-mark,
I go ’round and ’round — to the Sahara desert, the
tropics, all over Europe, in fact almost any place
you can name.

The studio is my second home by now. Every-
one on the lot is my pal; I call most of them by
their first names and I love them all.

’Way back when, believe it or not, I used to
play dramatic leads — in silent pictures, of course.
With the advent of talkies my cinematic romances
were over. Vocally I’m more suited to hog-calling
than love-making. It was touch and go for a while,
and my movie-mates took bets on “the duration”
of my film career.

Then one director decided to forget about De-
vine, the Man and type-cast my voice. No more
clinches, no more chasing women. I emerged from
my pin-up boy cocoon, a full-fledged comedian. It
took, too. The name of Devine has been on a
highly appreciated number of salary checks since
talkies were born.

The Spirit of Universal

The studio has changed considerably since the
day I first gazed with open mouth at the wonders
of the sound stage. New buildings have been
added; administrations changed; new faces have
come and gone. But I’ve noticed one thing about

Universal. No matter what type person enters the
gates, the basic atmosphere on the lot keeps rollin’
along. It’s the same today as it was twenty years
ago. The studio seems to influence the people, not
vice versa.

Right now I’m on vacation, my first in a long,
long time. We’ve finished shooting my latest pic-
ture, Canyon Passage, co-starring Dana Andrews
and Brian Donlevy with Susan Hayward and
Patricia Roc, that charming English lassie who’s
made me a virtual Anglophile. We spent six weeks
in Oregon to make sure our Technicolor version
of Oregon matched the real thing.

Canyon Passage means something more to me
than another good part. My kids, Timothy Andrew
(Tad) and Dennis Patrick (Dennie), are making
their movie debuts in the picture. They were type-
cast for their first parts: they play my sons in the
story and, I say modestly, they were “naturals”,
chips off the old block all right. I hope they do as
well by Universal as it’s done by me.

Sometimes people ask me how many parts I’ve
played, but, gosh, I can’t count them. Naturally
I’ve liked some better than others, but really, it
doesn’t matter so long as I can keep right on pitch-
ing for Universal.

The three Devines: Dennie, Andy and Tad.

The beautiful Princess Delerai of Per-
sia is welcomed with much pomp and
circumstance to the court of her fiance,
the money-mad King Croesus of Lydia
(played by Thomas Gomez).

Cartooning
Offers
M ethod

In

Coaching
S mall stars

• When Prank Ryan, director of the Skirball-
Manning production. So Goes My Love, turned
from cartooning to m.c.ing movies, he never
thought he would use his drawing in the line of
duty again. But, watching eight-year-old Bobby
Driscoll (Percy Maxim in the picture) pore over
comic books between the scenes, Ryan thought up
a new directing wrinkle.

He sat down with the youngster and sketched a
six-scene comic strip version of the sequence he
was preparing to shoot to give Bobby the motiva-
tion for the action — a hair-cut relieving him of
his curls.

Scene No. 1 shows Bobby with his curls, the

butt of neighborhood teasing which invariably
provokes him to fisticuffs. In scene No. 2, his
parents (played by Myrna Loy and Don Ameclie)
discuss his never-ending series of black eyes.
Scene No. 3 pictures his father’s vision of Bobby
as a future heavyweight champion.

In scene No. 4, Bobby’s mother envisions him as
a perfect little gentleman. The fifth scene offers a
solution — a large fruit bowl and a pair of scissors.
And finally, in scene No. 6, action is taken.

The method was so effective and Bobby’s per-
formance so realistic that Ryan is seriously con-
sidering using his cartooning idea with adult per-
formers in his next production.

Director Frank Ryan and moppet Bobby Driscoll study Goodbye curls! Bobby with Myrna Loy and Don Ameche

the cartoon strip. in the actual scene.

Dana Andrews „ . .

one of Hollywood's luminaries who has estab-
lished an enviable thespian reputation for his
fine work in A Walk In The Sun and State Fair
among others. He has just completed still
another outstanding characterization as
Logan Stuart, the rough-'n-ready hero of the
forthcoming Technicolor Canyon Passage.

26

WALTER WANGER'S BIGGEST

!

I

• Canyon Passage, the Walter Wanger Technicolor produc-
tion from one of Ernest Haycox’s most engrossing tales
(serialized in The Saturday Evening Post and published in
book form) combines tender romance, courageous pioneer-
ing and the fight for survival which, though it took more
physically active turns, is essentially the same as today’s drive
toward new moral and economic frontiers.

Filmed in authentic Oregon settings, the picture stars
Dana Andrews and Brian Donlevy with Susan Hayward,
Patricia Roc and a stellar supporting cast headed by Andy
Devine, Hoagy Carmichael and Ward Bond. Jacques Tour-
neur directed. Scenes from the picture are shown on these
two pages.

27

SPORTSMEN-
FAR AFIELD

Strange as it seems, the route
from muscleman to thespian
is neither curved nor difficult,

by Jersey Jones

Ex-footballer
ANDY DEVINE

The yen to appear on the stage or screen
is probably inherent in all of us and very
few football players, baseball tossers, box-
ers, swimmers, et al., find themselves able
to decline an invitation to give vent to the
thespic urge when and if it presents itself.

Many of them, having sampled a taste of
acting and found it palatable, elect to make
it tlieir professions when their athletic
careers are finished.

Not all, of course, go on to stardom; in
fact, not many do. Some never get beyond
the ranks of extras, or bit players. Others
may qualify for featured roles. Then there
are those whose experience in sports makes
them ideal candidates for that anonymous
but hard-working and well-paid class
known as stunt men, stand-ins for the stars
in tricky and sometimes dangerous scenes.

Occasionally a former athlete, forsaking
the actual acting end, moves up to an ex-
ecutive position as did Howard (Red)
Christie, an assistant producer on the Uni-
versal lot. Christie, giant center of the Uni-
versity of California’s eleven, was one of
four All-Americans invited to play roles in
a football film in 1934. That started him
on his brilliant Hollywood career.

From Sports Arena To Sound Stage

One of the best known ex-gridironers in
the film colony is gravel-voiced Andy De-
vine. Back in 1925 Andy, who had starred
in the backfield of the Santa Clara Broncos,
played a bit part in The Spirit of Notre
Dame. Through the years, the genial big
fellow has been one of the busiest and
most popular performers at Universal. He
handles an important role in Walter Wan-

Ex-baseballer
KIRBY GRANT

Rodeo Champ
YVONNE DE CARLO

ger’s forthcoming Technicolor Canyon
Passage.

Maxie Rosenbloom, one-time holder of
the light-heavyweight boxing title, has
made frequent appearances in Universal
films, generally as a slap-happy comedian.

Another former ring champion carving
an impressive reputation for himself in
Hollywood is Freddie Steele, ruler of the
middleweight roost during the late ’30s.
Appearing in a couple of bit roles, Freddie
showed so much natural acting ability that
lie was given his big chance as the sergeant
in Ernie Pyle’s Story of G. I. Joe. That
performance definitely established Steele
in the film capital, and he has been given
another important role in Universal’s
forthcoming The Black Angel starring Dan
Duryea and June Vincent.

One of the finest all-around athletes in
Hollywood is Kirby Grant whose father
had been a professional baseball player in
tfie Pacific Coast League. During his school
days, Kirby followed his father’s baseball
footsteps and also shone in football and
boxing. But he decided against a profes-
sional athletic career, turning first to music,
then radio and finally the screen. Sports,
however, still remains his No. 1 hobby and
he indulges it at every opportunity, finding
athletic activities not only recreational but
excellent training for his many rugged roles
in Universal westerns.

Jess Barker is another Universal favorite
who exchanged a baseball bat for grease
paint. Jess was beginning to attract serious
attention as a baseball player when the
whimsical gods of destiny shifted him off
on his stage and screen career.

Turhan Bey, an expert in wrestling and
skiing, tested racing cars in Europe before
the w<ir.

The Tallies Have Their Day

But athletic backgrounds are not con-
fined exclusively to the masculine of the
Hollywood species. The ladies also can pro-
duce a few capable performers in the sports
field. For one, there is Ella Raines, adept
in swimming, hunting, fishing, skiing, ten-
nis, horseback riding and mountain climb-
ing. Ella, in fact, seemed headed for an
athletic career when she suddenly swung
over to dramatics during her stay at the
University of Washington.

Then there is another outdoor gal,
Yvonne De Carlo, who found her rodeo
experiences of no little assistance when she
made her hid for screen recognition.

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30

LETTER

To the Editor:

The new publication, PICTURES,
that your company has just gotten
out, is something that I have been
waiting for for a long time.

I would like to recommend that
PICTURES be sent to all dramatic
critics whenever it is published. I
myself keep it in my publicity
folder and use it as a sort of bible.

Please continue this publication
— it is worth its weight in gold to
any theatre manager or publicity
man.

S. L. Sorkin
RKO Keith’s Theatre
Washington. D. C.

•

To the Editor:

You fellows must have worked
hard and long to get PICTURES out.

I found it very impressive, in fact
it heightened my enthusiasm for
some of your forthcoming product.

Robert Sidman
Senate Theatre Co.
Harrisburg, Pa.

•

To the Editor:

Congratulations on your attractive
publications, PICTURES.

It is breezy, informative and well
edited.

It gives our Publicity Department
and Managers pertinent pointers on
forthcoming Universal attractions
and likewise helps Nate Wise frame
up some interesting advance public-
ity.

Arthur Frudenfeld
RKO Palace Theatre
Cincinnati 2, Ohio

To the Editor:

This book is a credit to us all,
thanks to Universal.

Wallace M. Smith
Cisco, Texas

S TO THE E

To the Editor:

I want you to know that I think
PICTURES is a very fine job. It is
put together in a very interesting
manner and gives us advance infor-
mation that is of value to us.

Dave Levin
RKO Albee Theatre
Providence, R. I.

To the Editor:

It is my opinion that this maga-
zine covers a much needed item in
the business and should he a big
help to theatre managers and pub-
licity men in the first run houses.
There is a wealth of material in this
book.

I suppose that you are seeing that
it gets into the hands of the news-
paper men and broadcasting stations
because there is plenty of stuff that
the different commentators could
pick up out of this book.

George H. Mackenna
Rasil’s Lafayette Theatre
Buffalo 3, N. Y.

TO OUR READERS

The Editors of PICTURES are
grateful for the many letters
of commendation sent them
and trust the current issue
and future efforts will be as
enthusiastically received.
The Editors welcome con-
structive criticism and invite
the readers to send them
along as well as any sug-
gestions they care to offer.
Our address is 1250 Ave-
nue of the Americas, New
York 20, N. Y.

DITOR

To the Editor:

Want you to know that we think
PICTURES is a swell publication.
As a matter of fact it is so attractive
both in layout and copy that it
should be on the newsstands at 10c
per copy instead of gratis proposi-
tion.

Naturally I take this home with
me and our eleven-year-old daugh-
ter, Shirley Lou advised me yester-
day that she has already received
several offers from school chums to
purchase it. What price glory.

Lou Brown

Loew’s Poli New England
Division of Theatres

New Haven, Conn.

To the Editor:

I like the magazine very much.
We put it in the reading room at
our public library.

William Freise
Rivoli Theatre
LaCrosse, Wise.

To the Editor:

I only saw one copy of PIC-
TURES, the March issue, which is
very beautiful, eye-appealing and
packs a lot of interest. Exhibitors
will definitely go through this when
it is received and 1 believe will take
it home with them. It’s done in a
very elaborate and real motion pic-
ture industry style.

It would be a great thing to get
this out in quantity for beauty
shops, doctors’ and lawyers’ offices
or any place where people congre-
gate in waiting rooms. I think it
would do a lot of good in pre-selling
Universal product.

Charles A. Smakwitz
W'arner Bros. Circuit
Albany 7, N. Y.

:

ohe Wrote tke BOOK.

MISCHA AUER • KIRBY GRANT • JACQUELINE de WIT • GLORIA STUART

Original Screenplay by Warren Wilson and Oscar Brodney • Directed by CHARLES LAMONT Produced by WARREN WILSON • Executive Producer: Joe Gershenson jjj

MB

1

wmmm

. . . and how the
public eats it up
as Jo ante tries
to lii/e it down f

fM***

I orange' pineapple orange pineapple

j £*oa«'W«s '*

Painted sign, previewing Night in Paradise, is displayed on the building at Broad-
way and 47th Street, New York City, where thousands of people pass it daily.

it#!®

Scanned from the collection of

Karl Thiede

Coordinated by the

Media History Digital Library
www.mediahistoryproj ect.org