The Real Stars: Profiles and Interviews of Hollywood's Unsung Featured Players 9781511644853

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_ THE REAL ©

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mh PROFILES AND INTERVIEWS OFHOLLY WOOD’S UNSUNG FEATUREDPLAYERS |

EDITED BY

LEONARD

MALTIN

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|

THE

PROFILES ANDINTERVIEWS oF HotLYwooo s UNnsuNGe FEATURED PLAYERS

Editedby LeonardMaltin

Copyright©1969,1970,1971,1972,1973byFilmFanMonthly eBookedition©2015byLeonardMaltin BessFlowers:Queenofthe HollywoodExtrascopyright©1970byWarrenG.Harris ISBN-13:9781511644853

ORIGINALLY PUBLISHED BYCURTISBOOKSASPARTOFTHE*CURTIS FILM SERLES,” EDITEDBYLEONARD MALIN

Photograph creditsandacknowledgments: FilmFanMonthly, Movie StarNews, JoyceCompton, Dorothy Granger, Mrs.BillyGilbert, HopeSummers, Dion McGregor,DougMcClelland, EricSpilker,JohnBrunas,JohnCocchi,Richard

Trupp,Metro-Goldwyn-Mayer, 20thCentury-Fox, WarnerBrothers, Universal

Pictures,RKO,ColumbiaPictures,ParamountPictures,RepublicPictures,ABC Television,HalRoachStudios,UnitedArtists

KEY TO FILMOGRAP Inallcases,thedirector’s namefollows year.Thefollowing abbreviations aremadeforthestudiosorreleasingcompanies: AA—Allied Artists

AIP—American InternationalPictures BIP—British International Pictures BV—Buena Vista

Col—Columbia Pictures EL—Eagle-Lion Fox—Fox Films ist Nat—First National GB—Gaumont-British Lip—Lippert Productions MGM—Metro-Goldwyn-Mayer Mono—Monogram Pictures Para—ParamountPictures

RKO—RKO RadioPictures 20th—20th Century-Fox Univ—Universal Pictures UI—Universal-International WB—Warner Brothers Otherstudios’namesarespelledinfullintheflmographies.

CONTENTS INTRODUCTION TO2015EDITION SARAALLGOOD EDGARBUCHANAN JOYCECOMPTON HANSCONRIED BESSFLOWERS: QUEENOFTHEHOLLYWOOD EXTRAS. GLADYS GEORGE BILLY GILBERT DOROTHYGRANGER REXINGRAM ROSALIND IVAN PATSYKELLY UNAMERKEL MABELPAIGE GALESONDERGAARD HOPESUMMERS GRADYSUTTON BLANCHE YURKA

Vil 1 ae 38 57 81 88 103 {22 145 158 166 187 218 230 247 256 278

INTRODUCTION TO 2015 EDITION.

Timing,theysay,iseverything, and!amlivingproofofthat.Ideveloped a passionforthegoldenageofHollywood whenit wasstillpossibleto meet,andgetto know,peoplewhowerepartofit.Someofthemlived andworkedinNewYorkCity,whichwasashortbusridefrommyhome inTeaneck,NewJersey.Doorsopenedmuchwiderwhen,asateenager, I mademyfrst pilgrimagestoHollywood inthelate1960s. Icouldhaveaimedforthestars—quite literally—but asanindividualist(oroddball,dependingonyourpointofview),Isoughtoutcharacter actors,comedians,andsupportingplayersinstead.I neverregretted mychoice. ThefirstpersonI soughtoutwasthat delightfulcomedianBilly Gilbert,andHollywood correspondent andbiographer BobThomaswas kindenoughto givemehisaddressin NorthHollywood. Heandhis wifeLollycouldn’thavebeenmorewelcoming, andwhileBilly’s stroke hadaffectedhismemorysomewhat, hiswifeknewallthe storieshe’d forgotten.Itwasan unforgettable afternoon,whichwasfollowedbya seriesofwondertulletters.Billyevenagreedtowritea foreword tomy bookMovieComedyTeams—which wasappropriate, sinceheworked withvirtuallyallofthem. I developedan evendeeper,long-lasting friendshipwithDorothy Granger,a delightfully unpretentious womanwhowasaninterviewer's dream:shehadacrystal-clear memory, andcopiousscrapbooks toback upherstories.Herwallswerelinedwithframed8x10photos,including oneofheronadatewithClarkGable(whenhewasbetweenmarriages) andamorerecentoneofRobertMitchum. Afterseeingherselfwithhim onTVonenight,ina scenefromOneMinutetoZero,shewrotehima

LEONARD MALTIN noteandaskedifhewouldsendan autographedpicture.Hedid,with theinscription: “Igrievethatyoudeniedmeyourbody.” Iwas18andunworldly whenwefirstmet,soDorothy wascircumspect whenwespoke;lateron,shefeltcomfortable enoughtobemorecandid withme,aswhensheletonthatCharleyChaseandThelmaToddwere havinga flingatthetimesheworkedwiththem. When I returnedtoL.A.severalyearslaterwithmywiteAlice,Dorothy andherhusbandJackinsistedontakingusto dinnerat theirfavorite spot,TraderVic’s(nowgone).TheynoticedBurtReynoldsat another tableandpointedhimout,butAliceandI weremuchmoreexcitedto spotGeorgeJesselwithayoung,blondecompanion. Wesharedmany mealsandmuchlaughter. UnaMerkelcouldn'thavebeensweeter,althoughshethrewmea curveI’dneverhadto dealwithbefore.Inthosepre-IMDB daysI had laboriously compileda listofherfilms,yearbyyear,andI askedabout herlifeandcareerinchronological order.Shehada goodmemoryand toldsomecharmingstories.ButwhenI askedherwhatit wasliketo workwithHarryLangdonintheColumbiatwo-reelcomedyToHeiris Human(1944)she gavemea curiouslookand toldmeshe’dnevermade

sucha film.I knewshewaswrong—because I’dscreeneda printofthe two-reelerandevenhadan 8x10stillfromit.Shethenadded,sweetly but firmly,“Iwasa greatadmirerofHarryLangdon,so I'd certainly rememberifI’deverworkedwithhim.” Whatcould I possiblysaytothat?Idroppedthesubjectanddecided thatitwasn’tprudenttocontradictaninterviewee, especially oneasnice asMissMerkel—even ifshewaswrong. Thinkingaboutitafterward,Irealizedthatforsomereasonwhich I’veneverascertained,Merkel’s careerhadhita snagatthistime.She hadbeena majorplayeratMGMinthe1930s,earningthesecondlead inmanyfirst-class flms.Somethingwentawryatthebeginningofthe nextdecade,andafterappearinginTheBankDickandRoadtoZanzibar shehadtroublefindingsteadyworkinworthwhile pictures.Atthetime she headlineda pair oftwo-reelcomediesforColumbiain 1943-44she

wasatalowpointandpossiblywipedtheexperiencefromhermemory. gaae

THE REAL STARS

Thosefilmstooklessthanaweektofilmandwerebarelya footnotein her long career,whichhappilyrebounded in the 1950sand 60s.

(P.S.Ashorttimelater,oneofmyregularcontributors toFilmFan MonthlyaskedifI’dbeinterestedinaninterviewwithvivaciousentertainerFi D’Orsay, whowasenjoyingsomethingofa comebackinthe originalcastofStephenSondheim’s musicalplayFollies.“OfcourseI would,” Ireplied,“butbesureandaskherabouttheshortshemadewith HarryLangdon.” Youcanalreadyguessthe punchline.Shesaidshe neverworkedwithhim.Andthatwasthat.) Anothermemorable encountertookplacemuchclosertomyhome, whenHansConriedappearedatThePlayhouse ontheMallinParamus, NewJersey.Acouplewhohandledpublicityforthistheateronthestrawhatcircuithadofferedtohelpmesecureinterviews withsomeofthestars passingthrough,butitturnedouttheywereonlybeingpoliteandnever camethrough.Thena friendtoldmethatitwaseasytowalkbackstage, as therewasnosecurity.Soonenight,afterwatchinga performance otSpofford, I didjustthatandknockedonthestardressing-room door. WhenMr.Conriedanswered,I babbleda quickintroduction, handed himsomecopiesofmymagazine, FilmFanMonthly, andsaidhowmuch itwouldmeanif] couldinterviewhimabouthisfilmcareer.Thumbing throughan issue,hesaid,“Wecannotpresumeto deludesomeoneas youngasyourselfthatI everhadanythingamountingtoa Almcareer.” IassuredhimthatIwasindeedinterested,andhetoldmetocomeback thenextnightanhourbeforecurtaintime. I didas he requested,andhe proceededto regalemewithgreat stories,oneafteranother.Whenweranoutoftimehesaid,“Whydon’t youcomebacktomorrownight?”I did,andthendidagainfora third session;Ican’trecallanotherinterview thatwassothoroughly enjoyable. I nevergottoseehimagain,butmanymonthslaterhecalledmefrom the road,whenhe wastouring in a productionofCan-Can,and toldme

howpleasedhewaswiththepublishedpiece. Aseditorandpublisherofmyownfanzine,Ihadcompletefreedom to printwhateverI liked.Whenwould-becontributorsaskedif I’dbe willingtopublishtheirarticlesaboutcharacteractorswhodidn’thave lias

MALTIN LEONARD marqueevalue,I respondedwithanenthusiastic “yes.” Itwasfunforme tolearnaboutthelikesofGladysGeorge,RosalindIvan,andBlanche Yurka.Fortunately, ourreadersfeltthesameway. Buttherewasalwayssomethingspecialabouta personalencounter. WhenIthinkaboutallthepeopleI gottointerviewIshakemyheadin wonderment. AyoungpersonwhogetshookedonOldHollywood today, watchingTurnerClassicMovies,can’tduplicatemyexperiences. But| hopethatbysharingthem,I cangivefilmbuffsofallagesthevicarious pleasureofmeetingsomewonderfulperformers. LEONARDMALTIN

ByTonySlide June, 1970

SaraAllgoodwasa great—a verygreat—stage actress,whomanagedto transformmanypoorfeaturefilmsinwhichsheappearedintoworksof art.Thisarticlechroniclesherfilmcareeronly;a glowingaccountofher stagecareerisgivenbyElizabeth Coxhead inherbookDaughters ofErin. Bornintoaworking-class DublinfamilyonOctober31,1893,Sally Allgood,as shewasaffectionately knownby all,waseducatedat the Marlborough StreetTrainingCollege.Intheearlyyearsofthiscentury, SallyjoinedtheIrishNationalTheatreSociety(runbyWilliamFay,and latertomergewithYeats’andLadyGregory’s IrishLiteraryTheatreand becometheAbbeyTheatre). In1903shehadasmallspeakingpartinW. B.Yeats’sTheKing’sThreshold, anditissaidthatafterherperformance YeatsturnedtoFayandsaid,“Youhaveanactressthere.” Intheyearstocome,SaraAllgoodwasto morethanfulfilltheexpectationsofYeats.Shebecameundoubtedly Ireland’sgreatestactress. MargotAsquithcalledhertheIrishDuse. SallyAllgoodmadeherfirstfilmappearancein1918, whiletouring AustraliawithherhusbandGeraldHenson,intheplayPego’myHeart. Theflm wasJUSTPEGGY, directedbyJoe LipmanforMiaFilms.A reporterintheSydneyDailyTelegraph wrote,“Sara,fora salaryof100 poundsa weekforsixweeks,spentherfreetimeonanopenairmovie stageontheheightsaboveMiddleHarbour.Herpuckeringherbrow againsttheAustraliansun,shestarredinJUSTPEGGY, a dramaoftwo generations, involvinga runawaychild.”Sallysaidofherfirstscreenappearance,“Itseemedtome,whilepeepingatthesilentcameraperched onitstripod,thatfromthelensaperturethewholeworldwaslooking

LEONARD MALTIN atme.Myfirstdayinfrontofa camerawasa farworseordealthanany firstnightcouldeverbe.”

StudioPromoShot- SaraAllgood

Sallywasnottomakeanotherfilmappearance untilAlfredHitchcock’s BLACKMAIL wasproducedin1929.HerpartasAnnyOndra’smother wasa smallandunimportantone—indeed, shedidnothavemorethan a dozenwordsto speak.Sallyremarkedaboutherfirsttalkierole,“I wasscaredstiff.1wassoscaredI didn’tknowwhatto do.Myfirstline in BLACKMAIL was‘Alice, wakeup, anddoyouthinkI couldsayit?

THE REAL STARS

I couldn’tdoituntilPhilMonkmansuggestedthatI singit.Youknow likethis:‘A-a-a-a-lice, w-a-akeu-u-p.” In 1930came SaraAlgood’smost important film;the directorwas

againAlfredHitchcockand his subjectwasSeanO’Casey’s JUNO ANDTHEPAYCOCK. Sallyplayedthe roleofJuno,a partthat she had created at the Abbeyin 1924,and on the Londonstage in 1925.W.

B.YeatssaidthatherspeakingofJuno’sfinalprayer,“MotherofJesus, putawayfromusthismurderoushatredandgiveusthineowneternal love,”transcendedfolkart andtheDublinslumsandevenIreland. I havenogreatlikingforHitchcock’s work;I havealwaysconsideredhima cheap,second-rate director.This“cheapness” isinevidence throughout JUNOANDTHEPAYCOCK. Themovingfinalsoliloquy of JunoisruinedbyHitchcock’s continualcuttingawayfromSally’sface tooneobjectoranother—a windowora statueoftheVirginMary—and bytheintroductionofsicklysweetmusicinthebackground. Theonly reasonto be gratefulto thefilmis thatit doesleaveuswitha lasting recordof Sally’sgreateststagesuccess.Incidentally,SeanO’Casey dislikedthefilmintensely,anduptothetimeofhisdeath,asownerof thefilm’scopyright,forbadethescreeningoftheproduction(although somedisregardedhiswishes).OtherplayersinthisBritishInternational

Pictures production wereSally’s sister,MaireO’Neill (asMrs.Madigan), EdwardChapman(asCaptainBoyle), SidneyMorgan,JohnLaurie,and KathleenO’Regan.Hitchcock’s wife,AlmaReville,adaptedO’Casey playforthescreen. Fortheremainingyearsofthe1930s,SaraAllgoodplayed a seriesof minorrolesina numberofequallyminorBritishfilms.Theseincluded IT’SLOVEAGAIN(KineWeekly noted,“SaraAllgoodisofinestimable valueinsupport”) andTHESKY’S THELIMIT(FilmWeekly commented that“SaraAllgoodisoneofthemostreliableplayersinthiscountry.”). In1938shestarredina quotaquickie,LONDONDERRY AIR,directed byAlexBrycefor20thCentury-Fox British.Sally’s roleasadomineering andnaggingwidow,whosedaughterelopedwitha peddler,gavelittle chanceforhertalenttoshinethrough.

LEONARDMALTIN

Inoneofhermostmemorableroles,withDonaldCrispandRoddy McDowallin HOW GREENWASMYVALLEY(1941)

Theyear1940sawSallyin NewYork,playingJunoonBroadway. Hollywood seemedtobebeckoning, andSallydecidedtodiscoverwhat thefutureheldforherthere.Shewasto spendtheremainingyearsof herlifeintheStates,andin 1945shebecamea naturalizedAmerican citizen.OneofSally’sfirstHollywood filmswastobe a majortriumph forher.Tomany,manyfilmgoers, shewillalwaysberemembered asthe motherinJohnFord’sHOWGREENWASMYVALLEY, producedby DarrylF.Zanuckfor20thCentury-Fox. Abeautifulfilmin everyway, HOWGREEN WASMYVALLEY, despiteitsWelshsetting(Gt isadapted fromthefamousnovelbyRichardLlewellyn) hasalwaysseemedtome tobe pureIrish,witha castincludingMaureenO’Hara,SaraAllgood, andBarryFitzgerald, anda directoras proudofhisIrishbackground asJohnFord.Theproduction wonsixAcademyAwards,includingbest production, direction, supportingactor(DonaldCrisp),andartdirection. Theastonishingthingis thatSaraAllgooddidnotreceivetheaward

THE REAL STARS

torBestSupportingActress;itwentinsteadtoMaryAstorforherrole it [THEGREATLie.

JohnBarclay,SpencerTracy,SaraAllgood,andBartonMacLaneinDR. JEKYLLANDMR.HYDE(1941)

UnhappilySally’slatercareerin Hollywood didnotliveupto her earlierexpectations.Herniece,Mrs.PaulineHague,recalledforme: “Sallywentto Hollywood withhighhopes.Beingthe greatartistshe wasitwasashocktoher,tosaytheleast,tobetreatedinahigh-handed manner.I'llneverforgetonethingshesaidto mewhenI wasin her beautifulSpanishhomeinBeverlyHills.Shehadn'tbeengettingmuch workandMr.Bernie(heragent)wasurginghertogiveabigpartyand inviteimportantpeopletoit.Sallywasdreadfullydepressedandlater saidto me,‘Icouldneverdoa thinglikethat.] couldneverprostitute myart. Anotherthingshesaid,‘Whenyougobacktoyourhomeand yourfamilyyoucanthinkofmesittingalone—afraid togooutforfear I shouldmissa calltowork,” Thiswassheertragedy.”

LEONARDMALTIN

WithCharles BoyerinCLUNY BROWN (1946) Shedidgainsmallpartsin severalproductions,usuallyfor20th Century-Fox, but they nevergaveher scopeforher actingability. Occasionally, asinthe1942ITHAPPENED INFLATBUSH, inwhich SallyplaysaneccentricladywhorunstheBrooklyn baseballclub,and ErnstLubitsch’s CLUNYBROWN(1946), as theprotocol-bound head servantofReginaldOwen’sestate,shedidgettheopportunitythatshe neededtoshine.HerlastfilmwasCHEAPER BYTHEDOZEN, a1950 20thCentury-Fox production. “Thesalaryiscuttothebone,butnomatter,it’sactivity,andthat’sthemainthing,”shewrotetoGabrielFallon. SaraAllgooddevelopedBright’sdisease,anddiedin Hollywood aftera heartattackon September13,1950.Herestatewasvaluedat fiftythousanddollars.Sally’ssister,MaireO’Neill, diedtwoyearslater on November2,1952.

YetstarsasgreatasSaraAllgooddonotdie.AsRoddyMcDowali says inHOWGREEN WASMYVALLEY, “Theyliveonforeverinourmemory.”

=

THE REAL STARS

THEFILMSOFSARAALLGOOD (Director’s namefollows year)

JUSTPEGGY—1918—made inAustralia. BLACKMAIL-—BIP ‘29—Alfred Hitchcock—Anny Ondra,John Longden,DonaldCalthrop,CyrilRitchard,CharlesPaton,Hannah Jones,HarveyBraban,PhyllisMonkman, JohnnyButt.79min. JUNOANDTHEPAYCOCK-—BIP ‘30—Alfred Hitchcock—Edward Chapman,John Longden,KathleenO’Regan,MaireO’Neill,Sydney Morgan,John Laurie,DennisWyndham. 96 min. THE WORLD, THE FLESH AND THE DEVIL—Realart‘32—George

Cooper—Harold Huth,IslaBevan,James Raglan,FelixAylmer, S.VictorStanley,FredGroves.54min. THE FORTUNATEFOOL—Eppel‘33—NormanWalker—Hugh

Wakefeld,JohnWyndham,ArthurChesney,BobbieComber,Jack Raine,ElizabethJenns. 73min.

LILYOFKILLARNEY—Twickenham ‘34—Maurice Elvey—John Garfick,Gina Malo,StanleyHolloway,LesliePerrins,PamelaMay,

DennisHoey,D.J.Williams.86min. IRISHHEARTS—Clifton-Hurst ‘34—Brian DesmondHurst—Lester

Matthews,MollyLamont,NancyBurne,PatricKnowles. U.S.Title:

Ls

NORAHO’NEALE.67min. PEGOF OLDDRURY-—British &Dominions‘35—Herbert Wilcox— Anna Neagle,CedricHardwicke,Jack Hawkins,MargarettaScott, MaireO’Neill,Hay Petrie,RobertAtkins,Arthur Sinclair.75min. RIDERSTOTHESEA—Flanagan-Hurst ‘35—Brian DesmondHurst— DenisJohnstone, KevinGuthrie,RiaMooney.40 min. LAZYBONES—Realart ‘35—Michael Powell—Ian Hunter,ClaireLuce,

HaroldWarrender, BernardNedell,MichaelShepley. 61min. Lis

THEPASSINGOF THETHIRDFLOORBACK—GB ‘35—Berthold

Viertel—Conrad Veidt,FrankCellier, ReneRay,AnnaLee,MaryClare, Cathleen Nesbitt,BeatrixLehmann, RonaldWard,John Turnbull,

JackLivesey. 90min.

LEONARDMALTIN

1a.

POTLUCK—Gainsborough ‘36~—Tom Walls—Tom Walls,RalphLynn, Robertson Hare,DianaChurchill, GordonJames,MartitaHunt.71min.

1s:

IT’SLOVEAGAIN—GB ‘36—Victor Saville—Jessie Matthews,Robert

iA.

Young,SonnieHale,ErnestMilton,RobbWilton,WarrenJenkins, AtheneSeyler,CyrilRaymond, GlennisLorrimer. 83min. SOUTHERN ROSES—Graftton ‘36—Fred Zelnik—George Robey, Neil Hamilton, GinaMalo,ChiliBouchier, VeraPearce,RichardDolman, AtheneSeyler.78min.

LS

KATHLEENMAVOURNEEN-—John Argyle ‘37—NormanLee—

ThomasBurke,SallyO’Neil, JackDaly,ArthurLucan,KittyMcShane, TalbotO’Farrell, DennisO’Neill.77min. 16, STORMIN A TEACUP—Victor Saville‘37—Victor Saville,Ian Dalrymple—Rex Harrison,VivienLeigh,CecilParker,UrsulaJeans, GusMcNaughton,EdgarK.Bruce,RobertHale,QuintonMacPherson,

ArthurWontner.Color—103 min. 17. THE SKY’STHE LIMIT—Buchanan ‘37—Jack Buchanan,Lee Garmes—Jack Buchanan,MaraLosseff,WilliamKendall,David Hutcheson,H.F.Maltby,AtheneSeyler,AnthonyHolies,David Burns. 79 Min.

18. THELONDONDERRY AIR—Fox ‘38—Alex Bryce—Jimmy Mageean, PhyllisRyan,LiamGaffney,MaureenMoore,GrenvilleDarling.47min. 19. ON THENIGHTOF THEFIRE—G&S ‘39—Brian PesmondHurst— RalphRichardson,DianaWynvard,RomneyBrent,MaryClare,Henry a,

Ze

2A

Oscar,DaveCrowley, GlynisJohns.U.S.title:THEFUGITIVE. 94min. LADYHAMILTON-—UA ‘41—Alexander Korda—Vivien Leigh, LaurenceClivier,AlanMowbray, GladysCooper,HenryWilcoxon, HeatherAngel,Halliwell Hobbes,GilbertEmery, MilesMander.U.S. title:THATHAMILTON WOMAN. 128min. DR.JEKYLL ANDMR.HYDE—MGM ‘41—Victor Fleming—Spencer Tracy,IngridBergman, LanaTurner,DonaldCrisp,BartonMacLane, C.AubreySmith.127min. LYDIA—UA ‘“41—Julien Duvivier—Merle Oberon,Edna MayOliver,

AlanMarshal,JosephCotten,HansYaray,GeorgeReeves,John Halliday.144min.

THE REAL STARS

HOWGREENWASMYVALLEY—2oth 41—JohnFord—Walter Pidgeon, Maureen O’Hara, DonaldCrisp,AnnaLee,RoddyMcDowall, JohnLoder,BarryFitzgerald, PatricKnowles. 118min. aa, ROXIEHART—2oth 42—William A.Wellman—Ginger Rogers, Adolphe Menjou, GeorgeMontgomery, LynneOverman, NigelBruce, PhilSilvers,WilliamFrawley, SpringByington.75min. a5. THISABOVE ALL—2oth 42—Anatole Litvak—Tyrone Power,Joan Fontaine, ThomasMitchell, HenryStephenson, NigelBruce,Gladys Cooper,PhilipMerivale, AlexanderKnox.110min. a0. IT HAPPENED IN FLATBUSH—2o0th 42—Ray McCarey—Lloyd Nolan,CaroleLandis,WilliamFrawley, RobertArmstrong,Jane Darwell,GeorgeHolmes,ScottyBeckett.80min. Ae

Zils THE

WAR AGAINST MRS. HADLEY—MGM‘%42—Harold S.

Bucquet—Edward Arnold,FayBainter,RichardNey,JeanRogers, SpringByington,VanJohnson,IsobelElsom,FrancesRafferty. 86 Ltt,

JoanFontaineandSaraAllgoodtendto

AgnesMoorehead inJANEEYRE (944)

MALTIN LEONARDO

28. LIFEBEGINSAT 8:30—20th42—IrvingPichel—MontyWoolley,

IdaLupino,CornelWilde,MelvilleCooper,J. EdwardBromberg, WilliamDemarest.85min. 29. CITY WITHOUT MEN—Columbia43—SidneySalkow—Linda

Darnell,Edgar Buchanan, Michael Duane, Glenda Farrell,Leslie

Brooks,DorisDudley,MargaretHamilton.75min. 30. THELODGER—2oth 44—JohnBrahm—Merle Oberon,George Sanders,LairdCregar,CedricHardwicke, AubreyMather,Queenie Leonard.84min. aks JANEEYRE—20th 44—Robert Stevenson—Orson Welles,Joan Fontaine,MargaretO’Brien,PeggyAnn Garner,John Sutton,Henry

Daniell,AgnesMoorehead. 96min. 8avaBETWEEN TWOWORLDS—WB 44—Edward A.Blatt—John Garheld,

PaulHenreid,SydneyGreenstreet, EleanorParker,EdmundGwenn, GeorgeTobias,GeorgeCoulouris, FayeEmerson.112min. KEYS O FTHEKINGDOM—2oth 45—John M.Stahl—Gregory Peck, 33. ThomasMitchell,VincentPrice,RosaStradner,RoddyMcDowall, EdmundGwenn,CedricHardwicke, PeggyAnnGarner,JaneBall, JamesGleason,AnneRevere.137min. ‘45—Robert 34. THE STRANGEAFFAIROF UNCLEHARRY—Univ

Siodmak—George Sanders,GeraldineFitzgerald, EllaRaines,Moyna MacGill,SamuelS.Hinds, Harry VonZell,EthelGrifhes.80 min.

‘45—Mitchell Leisen—Paulette Goddard,RayMilland, 35: KITTY—Para PatricKnowles, ReginaldOwen,CecilKellaway, ConstanceCollier, DennisHoey,EricBlore.104min. 36. THESPIRAL STAIRCASE—RKO ‘46—Robert Siodmak—Dorothy McGuire,GeorgeBrent,EthelBarrymore,KentSmith,Rhonda Fleming,GordonOliver,ElsaLanchester. 83min. CLUNY BROW N—20th 4 6—Ernst Lubitsch—Charles Boyer, Jennifer Ave Jones, Peter Lawford,Helen Walker,Reginald Gardiner,Reginald

Owen,C.AubreySmith,RichardHaydn.100min. DORSEYS—UA ‘47—Alfred Green—Tommy and 38. THEFABULOUS JimmyDorsey,Janet Blair,PaulWhiteman,WilliamLundigan, ArthurShields,JamesFlavin.88min. n°.

THE REAL STARS

39. IVY—UI47—SamWood—JoanFontaine,Patric Knowles,Herbert

Marshall,RichardNey,CedricHardwicke, LucileWatson,Henry Stephenson,RosalindIvan.99 min.

40.MOTHER WORETIGHTS—2oth 47—Walter Lang—Betty Grable, DanDailey,MonaFreeman,ConnieMarshall,VanessaBrown,Robert

Arthur,WilliamFrawley. Color—107 min. 41. MOURNINGBECOMESELECTRA—RKO ‘47—Dudley Nichols—

RosalindRussell,MichaelRedgrave,RaymondMassey,Katina Paxinou,LeoGenn,KirkDouglas,NancyColeman,HenryHull. 173tii.

VedaAnnBorg,BettyGrable,andSaraAllgoodin

MOTHER WORE TIGHTS (1947) 42.MYWILDIRISHROSE—WB ‘47—David Butler—Dennis Morgan, Andrea King,Arlene Dahl, Alan Hale, George Tobias,Ben Blue,

WilliamFrawley. Color—101 min.

LEONARDMALTIN

48—Alfred E.Green—Dorothy 43.THEGIRLFROMMANHATTAN-—UA

Lamour, GeorgeMontgomery, CharlesLaughton, ErnestTruex,Hugh

Herbert,Constance Collier,WilliamFrawley,Frank Orth. 81min. 48—William A.Seiter—Ava Gardner, 44. ONETOUCHOFVENUS—UI

RobertWalker,DickHaymes,EveArden,OlgaSanJuan,Tom Conway, JamesFlavin.81min. TEXAS—EL 48—Leigh Jason—James Craig,Lynn 45. THEMANFROM Bari,JohnnieJohnston,UnaMerkel, WallaceFord,HarryDavenport. ol Si, 46.

THEACCUSED—Para ‘48—William Dieterle—Loretta Young,Robert

Cummings, Wendell Corey, SamJafte,Douglas Dick,SuzanneDalbert. 101Te,

TOLASSIE—MGM ‘49—Richard Thorpe—Edmund 47. CHALLENGE Gwenn,DonaldMacBride, GeraldineBrooks,ReginaldOwen,Alan Webb,HenryStephenson, AlanNapier.Color—76 min. SIERRA—UI ‘50—Alfred E.Green—Audie Murphy, Wanda Hendrix, 48. DeanJagger,BurlIves,RichardRober,AnthonyCurtis,Housely Stevenson, ElliottReid.Color—83 min. ‘50—Walter Lang—Clifton Webb, 49. CHEAPERBYTHEDOZEN—20th

JeanneCrain,MyrnaLoy,BettyLynn,EdgarBuchanan,Barbara Bates,MildredNatwick.Color—85 min.

RBUCHAN ByLeonardMaltin

June, 1971

What constitutes “acting”?Acting is, essentially,playing a role. But

somehow, peopletendtothinkofactingasgoingthroughelaboratehistrionics,playingShakespeare, affectinganaccent.Characteractorswho playunremarkable supporting roles,lacedwithnaturalandspontaneoussoundinghumor,areseldompraisedfortheiracting.Instead,people saytheyareplaying“themselves.” EdgarBuchananhasbeenplaying delightfulsupportingrolesin moviesforthirtyyears,butbecausehe alwaysseemssonatural,soright,peopletakehimforgranted.Indeed, thatcasualfeelingwasachievedthroughyearsofhardworkandseriousstudyas an actor.Buchanantakeshisworkveryseriously... and he loveswhathe is doing.Thosetwoelementsareresponsibleforhis long-lastingsuccessin moviesandtelevision,andit is a pleasurefor us to putthe spotlightonhimnow,forallthe fineworkhe has done. Mr.Buchananwasanenthusiasticsubjectforourinterview, whichtook placeinhisCaliforniahomelastyear. FFM:Howdidyougetintomoviesinthefirstplace? BUCHANAN: Ifrst becameinterestedinactingwhenIwasincollege. Iwasmajoringin medicine—my fatherwasa dentist,or1neverwould havethoughtofthat—and I didn’tknowwhatIwantedtodo.Mygrades gotsobad,I hadtofinda pipecourse,somethingtoraisemyaverage. Ihadasisterthere,andshetoldmeabouta classinplayinterpretation. Shesaid,“Allwedoissitaroundandreadplays,everybodygetsa good grade,andit’sa three-hourcourse.”Sothe oldinstructor,whoalsodirected

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thelittletheaterincollege,letmesitthereandlistentohim,whilethey werereadingShakespeare’s TwoGentlemen of Verona.Iwasparticularly intriguedwithShakespeare’s fools,andabouta weeklaterhe‘putOld Gobboinmyhands,andI hadtheclassonthefloor.TwoweekslaterI wasplayingwiththeregularcompanyonthestage,carrying a stickof Stein’sMake-Uparoundtokeepinthemood.I wasreallystagestruck. Ittookabouttenyearstorealizethatpeoplewerelaughingwithmeand not at me. I thought I was God’sgift to the worldas a dramatic heavy,

butthemoresincereI'dplayaheavy,thelouderthey’dlaugh.Soittook quitea whileto reallyconvincemyselfthattheaudiencewassincere. Youknow,youcan’treallydependon little-theateraudiences;you’re always“wonderful,” “grand,”“justmarvelous.” Butyoucan’tdependon that;you'vegottofeelitwithinyourself,thatyou'recapableofmaking a livingacting,whichisprettyhardto decide.Somanyyoungpeople comeouthere,andtheywanttobeactorsandactresses,buttheydon’t wanttolearntoact.Youjustcan'tdoit. ”

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FFM:Didyougooutwitha touringcompany? BUCHANAN: No,!wenttodentalschool.Myfathertookmeoutofcollege,and Iwentto Portland,Oregon,to dental school,and immediately

afhliatedmyselfwithnotonebutthreelittletheatersontheoutside,so I’dkeepbusy.I wenton... it tookmesixyearsto getthroughdental school;the lasttwoyearsI wasplayingprofessionalstockwiththe HenryDuffyStockCompany. That’sthewayitallstarted.|havemany wonderful friendsintheNorthwest Iowea lotto.1graduatedtromdental schoolaroundthe sametimethatthe GreatDepressionstarted,back in 1929.Ittookmeeightyearsto earnenoughmoneyto paybackmy debts.I practicedforabouttenyears.Then’'dcomedownhereduring thewintertothePasadenaPlayhouse, gobackupandpracticeduring thesummertimein mydentaloffice.I lefta mantheretoworkforme. That’sanotherthing—Ihadsomethingbehindme,so I couldtakea chance.Mostyoungpeoplecomeouthere,andtheydon’thavea thing tofallbackon,whichisreallysad.It’sreallya pitifulsituationthatthe

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youngpeoplehavetodaytotrytolearntoact;thereareveryfewgood places.Aboutthe onlything you can tellthem is to get into allthe little

theatersyoucan,andteachyourself. Yourunacrosssomegooddirectors inlittletheatergroups,too.ButI’vealwayshada feeling—and George Stevenstoldmethissamething—that you'vegottobebornwithcertain qualifications.You'vegotto haveimagination,and a great desire;you’ve

gotto havea certainamountofcoordination, and a sortofknowing what’srightandwhat’swrong.Mainly,theimaginationandthedesire.

EdgarBuchananinhisfavoritefilm, TEXAS(1941) withWilliamHolden

FFM:Whatkindofpartswereyouplayingatthistime? BUCHANAN: Heavies,andoldmen.I wasplayingoldmenwhenIwas inmytwenties,whenI started,althougheverypartI playedforHenry Duftywasineveningclothes.Butyoulearnnomatterwhatyoudo,no matterwhatpartsyouplay.Myvoiceputmeinthecharacterclass;I’ve alwayshadthatvoice.AthinghappenedinPasadena.Wehada British womanteachingvoice.Shecalledmein onedayandsaid“I’msorry,

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Edgar,butyou’renotforthetheater.Youhaveglottalshock,andnoear forsound.”TwoweekslaterI hada seven-yearcontractinpicturesbecauseofmyvoice.Ofcourse,picturesisnotthetheater;I doubtifIcould havemadeitinthetheater,althoughI couldhavedonecertainparts. FEM:Howdid the contractcome about?

BUCHANAN: WarnerBrothers made a screentestofme.Theydidn’tpick uptheoption.ButImadeonepicturetherecalledTEARGASSQUAD, about a policeschool.The criticssaid it hit a newlowfora C-picture.It

wasthe firsttimeI’deverseena moviecamera,otherthanthetime| madethetest.Therewasabigtallguystandingnexttome,andDenny Morganwassingingan Irishsong.Thisguywhispered,“Idon’tknow whythey don’tever give me singing parts.”It was John Payne.

FFM:Didtheygiveyouanyspecialconsideration, sinceit wasyour firstpicture? BUCHANAN: You're supposed toknowwhatyouredoinginthisbusiness. You'rea prowhenyougetintopictures.Theseconddaywewereshootingonthisveryfirstpicture,thedirectorcametomeandsaid“Would youliketoseetherushes?”andIsaid“What’s that?”Hesaid“That’s the workwe shotyesterday.”I went in and sawit,and] sawmyself... 1]saw

whatwaswrong.I wasprojecting,playingforthebackrow,andI was mugging.Iwenthome,I wasabouttobawl.Itoldmywite“Ijustsawthe mostGod-awful thingI’veeverseen.”Well,theyhadtendaystotake upmyoption,andthatwasthetenthday.Thenextday,about11:00,a mancalledmeoffthe set.Wewentupto a room;thereweresixguys sittingthere,andthe agentI hadat thetime.Theysaid“Edgar,we've seentherushesandwethinkyoureterrific.Wewanttoputyouunder contract.” Myagentsaid“Thesameterms?”Ikickedhimunderthetable. Theysaid“Ohyes.”Hestuckoutfortentimeswhattheywereoffering. Warnerswouldn'tdoit forthatmoney,butwegota prettygooddeal fromColumbia. WesleyRugglesandI gottobe prettyfriendly;that’s

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oneofthereasonsIgotintohispictureTOOMANYHUSBANDS. He’s hadmeineverypicturehe’smadesince,includingARIZONA, inwhich I playedan oldbearded judge,alwaysdrunk, whichgot oververy well.

JoelMcCreawithEdgarBuchananin BUFFALO BILL(1944)

FFM:DoyouremembersomethingcalledMYSONISGUILTY? BUCHANAN: IcameonthesetandtheonlyoneIrecognized wasHarry Carey:Iwasvisitingwithhim,tryingtogetacquainted. Theyhada street scenewherea widowisrun,over,andhersonissittingonthestep.So thisboyisveryshy,he’ssittingrighttherewheretheyweregoingtodo hisscene.I toldHarry,“Seethatkidoverthere?He’sgoingtobeanactor someday.He’sbeenthereallmorning, wherethey’re goingtodohisscene.” AnditwasGlennFord.GlennandI]weresittingonthebenchthesame morningwhenwebothsignedourcontracts withHarryCohnatColumbia. Irememberanotherthingthathappened.Iwasplayingabartender,and I hadaboutoneline.LittleCharlieBarton,whowasdirectingit—one of thegreatestlittleguysinthebusiness,hadbeeninitforyears—he came

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overtomeandsaid“Youdon'thavetoscrewupyourfacelikethat.Just readthe lineand be yourself.”It embarrassedmeterribly.A whilelater,I

wasundercontracttoColumbia, theywerestarringmeina picturewith FrankCravenplayingtwooldmen.We'redoinga sceneat a table,and CharlieBarton,thesamedirector,comesup,dropsononeknee,putsone handonmykneeandsays“Leavethoseexpressions in... they’reoutof thisworld.” Isaid“Youlittleso-and-so, yourememberyoutoldmenotto screwmyfaceup?”Hesaid“You're a starnow.Youvea star!” FFM:Didyou have any dealingswith Harry Cohn?

BUCHANAN: Onlyin a wranglingsortofway.I gotalongwithhim. Hedidn’tlikeyes-men,soI usedtokidhim.]wouldn’t seehimfortwo orthreemonths,thenI’drunintohimonthelot,andI’dsay“Areyou stillworkingforthiscrummyoutfit?”Helovedthatsortofthing.Harry wasverygoodtome. FFM:DidyouenjoydoingPENNYSERENADE? BUCHANAN: Thatwasa bigthrillforme,a bigthrill.] learnedalotonthat picture.GeorgeStevens,in myopinion,isthe greatestdirectorwe'veever

had.He’sawonderfuldirectorforanactor.HewontheThalbergAward whilewewereinJacksonHole,Wyoming, makingSHANE,andIasked him,“George, whatdoyoucredityoursuccessto?Isityourknowledge of thecamera?Iknowyouusedtobeacameraman.” Hesaid“It’stwothings. Thecameraisoneofthem...IknowwhatI candowithacamera.Theother oneisthatI’vealwayswantedtobeanactor.I comefromanactingfamily, butI nevercouldmakeit.AndIthinkI knowwhatactorswant.”Andhe reallydoes.You'llhaveascenetodotwoweekslater,andhe’llcomeand betalkingtoyouaboutsomething, justgettingyouinthemood,making youthinkcorrectly forthatparticularscene.Youdon’tcatchonforawhile, butthat’shistechnique. Awonderful guy...helistens,doesn’tdoa lotof talking.Hissetsareveryquiet.He’sa greattechnician.Ofcourse,he’ll spendthreeweekstogeta scene,ifhehasto.YourememberSHANE?

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Youremember thegraveyard scenewhereweburiedElishaCookJr.?We spentthreeweeksburyingoldCook.TheKingofEnglanddiedwhile wewereshootingit,andsomewagmadethecrackthattheyspentmore moneyburyingCookthantheydidtheKingofEngland. FFM:Wouldyouimprovisedifferentthingsinsucha situation? BUCHANAN: Mostdirectorswillallowthat...butdon’ttellthemyou've discovered something, oryoushoulddothis.Goaheadanddoit,letthem seeit,thenthey’llcomeandtellyoutodoit.Thenthey’vethoughtofit. FFM:Whatareyourrecollections ofTEXAS? BUCHANAN: Iwona magazineawardforthat,itdidmoreformethan anypictureI evermade.I playeda dentistinit.Itturnedoutverywell. GeorgeMarshallisthegreatestcomedydirectorinpictures,hasbeenfor halta century.Thewholepicturewasveryfunny,thefunniestWestern I’veeverseen.GlennFordandBillHoldenweren’tdrybehindtheears yetwhenwemadethat. FFM:Wasthereanadvantagetoworkingsooftenwiththesamedirector,asyoudidwithWesleyRuggles? BUCHANAN: Yougeta lotfromit,butI thinkafterthreeorfourpictures,you'vejustabouthadit.I1thinkyoushouldchangedirectors.We dothatona TVseries;wemayhavethreeorfourdirectorsduringthe year,togivea differentfeeltoit.Ithinkitstimulatesyou.Infact,I have tohavea gooddirector,or1gooverboard. FFM:It’sbeensaidthatthecharacteractordoesn’tgetdirectedasmuch asthelead. BUCHANAN: Well,asa rule,he’shadmoreexperiencethanthelead, and doesn’tneedthe direction.Theyhesitateto tellhimwhatto do:

LEONARDO MALTIN he’sprobablybeenonthe stage,or onthe screenforhityyears’and ifhe doesn’tknowitbynow,he’llneverknowit.Buttheycanalways suggest,believeme.I thinkthe directorshouldwatcheveryactor.It wasa greatthrillworkingin PETTICOAT JUNCTIONwithallthese youngpeople;theywereabsolutelywonderful.Theyalllookedup to me;theydidn’tknowit,butI waslookingupto them,andlearninga lotfromthesekids.

mh

"I ThaxterinSEAOFGRASS(947)

FFM:Howmanyyearsdidthatrun? BUCHANAN: Seven. FFM:Didyoufindyourselfgettingstaleatall? BUCHANAN: Yes,youdo.Youhavetowatchitconstantly. Youbecome careless,yourworkbecomesa bitslovenly. Somedaysyoudon’tfeelup

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toit.It’sthesamecharacteryearafteryear,dayafterday.It’snotgood, it’snothealthy.You’re apttodevelopa lotofbadhabits. FFM:Whatdoyoudotoavoidit? BUCHANAN: Justkeepalert,ifyoucan.Bealert,andwhenyoustart outtodoascene,bethinkingaboutit... thinkaboutitbeforeyougetout there,notwhenyour'ethere.Ofcourse,youpickupthingswhenyou're doingit,butthat’sthethrilltome,ofworkinginthetheater,isworking outnewthings.I don’tmeanscene-stealing things,buta goodsincere interpretation ofyourpart.Theminuteyourenotsincere,you'relicked. Andifyoudon’tenjoydoingit,theaudiencewon'tenjoywatchingit. FFM:Didyoueverhaveanyproblemswithbeingassigned a roleyou didn’twant? BUCHANAN: Yes.I waswithBerg-Allenberg, theywerethetopagents, andtheytoldme,“Anytimetheygiveyoua pictureyoudon’twantto do,justcallus,andthat’llbe allthereistoit.”Theybroughta playout fromNewYorkcalledNineGirls;nomenin the cast.Theywrotein a detectiveandhisassistant.I’djustdonethreeB-pictures inarow.1was awtullytired,andI’dgonetoarehearsal...therewasEvelynKeyes,Jinx Falkenburg, I sawthesegalssittingaroundlookingat eachotherout ofthecorneroftheireye,lookingtheclothesover,andI thought“Boy, thisis noplaceforme.”SoIwantedoutofit.HarryCohncalledmeup to his office,andhada ft. Wewentaroundandaroundandhe finally letmeoutofit.BillDemaresttookthepartandwasreallygreatinit,so I shutmymouthafterthat,tookanythingtheygaveme. FFM:Didyoufeelthatyouweretypecast? BUCHANAN: Yes,ina way.I hadquiteavarietyofroles,buttheyprincipallytypedmeas a “lovablerogue.”He’dbe a heavy,buteveryone wouldbe onhisside.AndI thinkthatmoreorlessclassifiedmyparts. PO

LEONARDO MALTIN

FFM:YouwereloanedtoFoxforBUFFALO BILL, weren'tyou? BUCHANAN: Thatwasa beautifulpicture;1enjoyedsomuchdoing it.Wewentoverto Kanab,Utah,onlocation,thefarthestpointfroma railroadin the UnitedStates.WedroveoutPariaCanyon,fiftymiles outofKanab,nothingbutsagebrush,mountains,androcks;wecame arounda bendandhere’sthisperfectoldfort,likeitwouldhavebeen in the Indiandays—not onlyto lookat at a distance,butyou’dwalk inside,andtherewerelittlecobwebsin the stablesandin a feedbox in the manger a hen was sitting on a setting of eggs. And everything

wasphony!Buteverythingwasnewtomeinthosedays,andI gotthe biggestthrilloutofthat.Thatwasa well-produced picture.OldPop Shermanproducedthat. FEM:Thedirector,WilliamWellman,hadquiteawildreputation. BUCHANAN: BillandI hada littletroubleonthepicture;I neverdid workforhimagain.HetriedtogetmeforapicturehemadewithGlenn FordcalledGALLANT JOURNEY, andI toldtheagentsI didn’twant toworkforhimanymore.ButheinsistedthatIdoit-I wassupposedto beaneighty-year-old man,whotalkedtohisdogallthetime.Hecalled mein abouttwoweeksbeforeandtriedto sellanotherpart to me.I said“IunderstoodI wasto dothepartoftheoldman.”Hesaid“Naw, when| wantaneighty-year-old manI’mgoingtogetaneighty-year-old man.”I said“Iwasn'teightyyearsoldwhenI didChipMcGrawforyou in BUFFALO BILL.” Hesaid“Welldammit,I’mdirectingthispicture andyou'lldoasI say.”Isaid“Well,I’llletyouknowlater.”SoItoldthem to takemeoutofit,] wouldn'tdothatpartunderanycircumstances. Theguywhoplayedthe partstolethe picture!I sawit yearslateron television, andBillwastellingmethetruth.I thoughthewastryingto getevenwithme,becauseofthe rowwe’dhad,butthe oldmanhad practicallynothing,andtheparthewantedmetotakedarnnearstole thepicture.SoI learnedtokeepmymouthshut,dowhattheytellyou. "

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WithGlennFordinFRAMED(1947)

FFM:Wastherea familykindoffeelingat Columbia? BUCHANAN: Verymuchso.You’dcomeonthe lotin the morning andeveryonewaslaughing,everyonewouldsayhello.Ofcourse,those werethegoldendaysinthepicturebusiness,withsomethinggoingon allthetime. FFM:WasityourdecisiontoleaveColumbia attheendofyourcontract? BUCHANAN: Itwasmychoice.Theytriedfora monthto getmeto signforthreeyears,withraisesandnooptions,thentwomore,andtwo more,so that wassevenyearsmore.Doyouknowwhatwewerearguing

over?Theywantedhalfofmyradiomoney.Twoyearslateryounever heardofradio—TV camein.1couldhavebeensittingtheresecure... andthenthisBritishtaxcameinonfilmsandtheydroppedeverybody. Sothere’ssomemoresmartthinkingbyan actor.

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FEM:Wastherea differentatmosphereateverystudio,likeMGM? BUCHANAN : Yes,they’realldistinctive. P’l]tellyouaverycornystory, ifyou promisenot to cut it out ofthe interview.When I wasin Portland,

workingwithDuffy’s, JaneDarwellwasourcharacterwoman.I hada grandmother whowasdyingofcancer,anditwasaboutfivemilesover tothishospital.We’drehearseinthemorning,knockoffabout11:30, and comebackat 2:00fora matinee.Soshe’dalwaysgivemea five-dollar bill,say“Gogeta taxiandseeyourgrandma,son.”I’dgoandseemy grandma,waitforataxiandthencomeback.Where| waitedwasanold, emptybrickbuilding,andit usedtobe a Metro-Goldwyn-Mayer film exchange.Therewasa hugepictureofWallyBeeryinthewindow.I’d be standingaroundtherelookingatthat,andI saidoutloudtomyself, “SomedayI’mgoingtoworkforthatoutht.”Youwon'tbelievethis,but Metro-Goldwyn-Mayer wasthelaststudioIworkedat;I’dworkedinallof thembutMGM.IwentovertodoSEAOFGRASS. Iwastryingonsome mustachesoneday,andI’mlookinginthereandthinking“Well,here| am.1saidI’mgoingtoworkforyou,andhereI am.”WallyBeerycame over,puthishandonmyshoulderandsaid“Hi,Edgar,”andwalkedon out.Youjustcan’tbelievethosethings,buttheyhappen.Ihadanoldprot inPhysiology, whowokemeoutofa soundsleeponedaysaying,“You boyscanbeorhaveanythingyouwantintheworld,ifyouwantitbadly enough.” AndIneverforgotthat.Ilovetotellitnowtolittlekids,because it’sthetruth.Ifyoureallywantsomethingbadenough,youcandoit. FFM:HowdidyoulikeworkingwithEliaKazanonSEAOFGRASS? BUCHANAN: Hehadtheagentsallscaredtodeath.Hecalledmeover foran interview; forhalfanhourwewaitedinthecastingdirector’s office.Theyweretellingmehowmeanhewastoactors,howyouhadto watchwhatyou’dsay.Prettysoonthesecretarysaid“Mr.Kazanwillsee younow.”Soweallgoin,andhesaidtotheagents,“Idon’twanttosee you.Thisis the guyI wantto talkto.”BeforeI sat downhe said“You

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mugtoomuch.”I said“Yeah,I haveto havea gooddirector,towatch myself.Youknow,I usedto be a dentist...” Hesaid“Iknow,I know. I’msosickofseeingoldvaudevilleactors,I thoughtmaybeifwehada dentistinherewe’dseesomething alittle different.” I said“Well,I did apartthat’ssimilartothis,withthesamefeeling,andit’scalled...”and he said“PENNYSERENADE. I’vegotit hereand I’mgoingto see it thisafternoon.I'llcallyouandletyouknowifyoucanhaveit ornot.” Sohecalled,andhewaslaughing.Hesaid“Yousonofagun,that’sjust exactlywhatI want.You’ve gotthepart.”Andthatwasgreat,working withTracyandHepburn. FFM:ThenyougotintoTVina bigwayinthe1950s. BUCHANAN:Yes... I]rememberwhenwe frst started, in liveTV,and

therewasnotimeforanything.You'dhavetodoa clotheschangewhile theyweredoinga commercial, andrunlikethedickensto getaround toyourentrance.Itwaslikelegitimatetheaterwitha lotofdrawbacks. Later,everybody wastalkingaboutkinescopes, andifyouknewanything aboutkinescopesyouwereabig-shot.Idida pilotbackthenwithBillie Burkefora televisionseries;shewasverysweet. FFM:DidthespeedofshootingfilmforTVbotheryouthen? BUCHANAN: Yes,itstilldoes.Youdon’thavetime.Youdon’thavetime torehearsea part,tolookit over,getintothecharacter,oranythingof the sort.You'vegotto be in thereandyou'vegotto go rightnow.So there’snotthepleasurein itthatweusedtoget. FFM:ItseemsalmostallofyourrecentpictureshavebeenWesterns. BUCHANAN: Oh,I love‘em.I lovegoingoutonlocation. FFM:OneofmyfavoritesisTHESHEEPMAN.

LEQONARO MALTIN

BUCHANAN: Yeah,thatwasa goodpicture.Wehada ball.I thought ShirleyMacLaine wasjustgreat.

Edgarina familiarrole,withJimColluminTHEROUNDERS (1965)

FFM:AndI loveyoursceneasthedrunken justiceofthepeaceinRIDE THE HIGH COUNTRY.

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BUCHANAN: WhereI marrythe couplein a brothel.Thatwasthe beginningofmakingpicturesrealistically ... itwentovermuchbigger inEuropethanintheUnitedStates. FFM:Butit’stakenonclassicstatusnow,forso manyreasons.I also remembera funnybityoudidasajudgeinMOVEOVER,DARLING. BUCHANAN: I had a cutethinghappenin that.Usually,whenyou doan ad-lib,theydon’tprintit.ButI hadmywifeonthe setthatday. She’sonlyfivefeettall,andweighsabout105pounds.Duringa take, PollyBergencomesuptome(thejudge)andI say“Whoareyou?”She says“Yououghtto know,youmarriedme.”AndI said“No’—this was myad-lib—”I’m marriedtoa littleshortsquattygirlaboutthishigh...” Theyleftitin. FFM:HastheTVseriesdonemuchtochangeyourpublicstatus? BUCHANAN: Ohsure;I cangoanywherein the country—to foreign countries,in fact—andthe kids will holler “Hi,UncleJoe!”It’shard to

conceivehowpeoplecanseeyouinonenight.Morepeoplecanseeyou in onenightthanusedto seeyouina wholecareer.Theonlythingis, theymaygettiredofyou,whichI don’tthinkisgood,I thinkthereare morebadthingsagainstTVthangood,asfarastheactorisconcerned. FFM:Exceptemployment. BUCHANAN: That’strue,althoughifyougetina series,youonlysee the peopleyouworkwithforsevenyears.I don’tknowanybodyin Hollywood anymore. FFM:Doyouhavea favoritefilm? BUCHANAN: Yes,TEXAS.BecauseI knewwhatIwasdoing.I’donly practicedtenyearsforthat part,as a dentist.I neverrealizedbefore a

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howimportantyour“business”is,untilthat picture.I bet I received abouta hundredlettersonthatpicture,someofthemfromdentists. Youknow,thegreatestcompliment youcanget,whensomebodysees youina picture,isforsomebodytosay“Anybody coulddothat.”It’sa greatcompliment whenyou'reportrayinga partsoitlooksnatural.That meansyouredoingwell.

SIS

EdgarBuchanan,ChillWills,andWalterBrennanina made-for-TVmovie,THE OVER-THE-HILL GANG

(Editor’snote: Buchanancontinuedworking,mostlyontelevision, in the years followingthis interview.Hejoineda stellargroupof veteransin the TVmovieTheOver-the-Hill Gangin 1969and The Over-the-Hill GangRidesAgainin1970.Hethencostarredwithhisold friendGlennFordin the short-livedseriesCade’sCountyin 1971-72. Hisfinalscreenappearancewasin Benjiin 1974.Theactordiedin 1979at the age of 76.)

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THEFILMSOFEDGARBUCHANAN (Director’s namefollows year)

Followingare all of EdgarBuchanan’sfeaturefilmappearances. He also appearedin one wartimeshort made at Columbia,MR. SMUG.Thefilmsbeloware listedin orderofrelease;particularly in the firstyear ofMr.Buchanan’scareer,thereis someconfusion dueto variancesin timebetweenthe date a filmwasshotand its theatricalrelease.HeremembersTEARGASSQUADas beinghis tirstmoviejob. 1. MYSONISGUILTY—Col 40—Charles Barton—Bruce Cabot,Harry Carey,Jacqueline Wells,GlennFord,Wynne Gibson,DonBeddoe. 63 min.

2. THREECHEERS FORTHEIRISH—WB 4o—Lloyd Bacon—Thomas Mitchell,DennisMorgan,PriscillaLane,AlanHale,VirginiaGrey, IreneHervey,WilliamLundigan.100 min. 3. TOOMANY HUSBANDS—Col 40—Wesley Ruggles—Jean Arthur, FredMacMurray, MelvynDouglas,HarryDavenport,Dorothy Peterson,MelvilleCooper.84min. 4. THE DOCTORTAKESA WIFE—Col‘40—AlexanderHall—Ray

Milland,LorettaYoung,ReginaldGardiner,GailPatrick,Edmund Gwenn,Frank Sully,GordonJones. 89 min. Ss. TEARGASSQUAD—WB 40—TerryMorse—DennisMorgan,John Payne,GloriaDickson,GeorgeReeves,FrankWilcox,Julie Stevens. 55 min.

6. WHENTHEDALTONSRODE—Univ 40—GeorgeMarshall— RandolphScott,KayFrancis,BrianDonlevy, GeorgeBancroft, Andy Devine,Broderick Crawitord, StuartErwin,FrankAlbertson. 80min. 7. THESEAHAWK—WB 4o—Michael Curtiz—Errol Flynn,Brenda Marshall, Claude Rains, Donald Crisp, Flora Robson,Alan Hale,

HenryDaniell,UnaO’Connor, JamesStephenson, GilbertRoland. Lo? Aoiy.

LEONAROMALTIN

ARIZONA—Col 40—Wesley Ruggles—Jean Arthur,WilliamHolden, WarrenWilliam,PorterHall,PaulHarvey,GeorgeChandler,Byron Foulger,RegisToomey. 127min. PENNYSERENADE—Col 41—George Stevens—Irene Dunne,Cary Grant, BeulahBondi,Ann Doran,Eva Lee Kuney,LeonardWiley, WallisClark.125min. 1O. ESCAPE TOGLORY—Col 41—John Brahm—Pat O’Brien, Constance

Bennett,John Halliday,MelvilleCooper,AlanBaxter,Marjorie Gateson.Also knownas SUBMARINEZONE.74min. dali HERFIRSTBEAU—Col 41—Theodore Reed—Jane Withers,Jackie

Cooper,EdithFellows,JosephineHutchinson,WilliamTracy,Martha

O’Driscoll, UnaO’Connor. 78min. 1A

ie

RICHESTMANINTOWN-—Col 41—Charles Barton—Frank Craven, EileenO’Hearn,RogerPryor,TomDugan,GeorgeMcKay,Jimmy

Dodd.70min. TEXAS—Col ‘“41-George Marshall—William Holden,GlennFord, Claire Trevor,George Bancroft, Don Beddoe, Andrew Tombes,

AddisonRichards.93min. 14,

YOUBELONGTOME—Col 41—Wesley Ruggles—Barbara Stanwyck,

HenryFonda,RogerClark,RuthDonnelly, MelvilleCooper,Ralph Peters.94 min.

THETOWNTOOTOUGHTO DIE—Para 42— 15. TOMBSTONE, WilliamMcGann—Richard Dix,FrancesGifford,DonCastle,Kent Taylor,RexBell,ClemBevans,VictorJory.79min. 16. THETALK OFTHETOWN—Col 42—George Stevens—Cary Grant, JeanArthur,RonaldColman,GlendaFarrell,CharlesDingle,Emma Dunn,RexIngram,LeonidKinskey. 118min. 17. CITYWITHOUT MEN—Col 43—Sidney Salkow—Linda Darnell, MichaelDuane,SaraAllgood,GlendaFarrell,LeslieBrooks,Doris Dudley,MargaretHamilton.75min. 18.

THEDESPERADOES—Col 43—Charles Vidor—Randolph Scott, GlennFord,ClaireTrevor,EvelynKeyes,Raymond Walburn,Guinn Williams,PorterHall.85min.

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19.

GOOD LUCK,MR.YATES—Col 43—RayEnright—ClaireTrevor,

Jess Barker,TomNeal,AlbertBassermann,TommyCook,Frank Sully.70min. zi, DESTROYER—Col 43—WilliamA. Seiter—EdwardG. Robinson,

Glenn Ford,MargueriteChapman, Leo Gorcey,RegisToomey,Ed fuk

Brophy. 99min. BUFFALO BILL—2oth 44—William A.Wellman—Joel McCrea, MaureenO’Hara,LindaDarnell,ThomasMitchell, AnthonyQuinn, MoroniOlsen,FrankFenton.Color—90min.

PihaBRIDEBYMISTAKE—RKO ‘44—Edward Wallace—Alan Marshal,

LaraineDay,MarshaHunt,AllynJoslyn,MichaelSt.Angel,Mare Cramer.81min. Zs

THEIMPATIENT YEARS—Col 44—Irving Cummings—Jean Arthur, LeeBowman, CharlesCoburn,CharleyGrapewin, PhilBrown, Harry Davenport,Jane Darwell,GrantMitchell.91min.

STRANGE AFFAIR—Col 44—Alired E.Green—Allyn Joslyn,Evelyn Keyes, Marguerite Chapman, NinaFoch,HugoHaas,ShempHoward, FrankJenks.78min. 25. FIGHTING GUARDSMAN—Col 45—Henry Levin—Willard Parker, AnitaLouise,Janis Carter,John Loder,GeorgeMacready, Lloyd Corrigan,ElisabethRisdon,JanWolfe.84min. 2G,ABILENE TOWN-—UA 46—Edwin L.Marin—Randolph Scott,Ann Dvorak,RhondaFleming,LloydBridges,HelenBoice,Howard 24.

Freeman. 89 min. Al

THEBANDIT OFSHERWOOD FOREST—Col 46—George Sherman, HenryLevin—Cornel Wilde,AnitaLouise,JillEsmond,HenryDaniell,

GeorgeMacready, RussellHicks,JohnAbbott.Color—86 min. 28. PERILOUS HOLIDAY—Col 46—Edward H.Griffith—Pat O’Brien,

RuthWarrick, AlanHale,AudreyLong,WillardRobertson, Eduardo Ciannelli,Minna Gombell.89 min. 29.

THEWALLS CAMETUMBLING DOWN—Col 46—Lothar Mendes— LeeBowman, MargueriteChapman,GeorgeMacready, LeePatrick, JonathanHale,J. EdwardBromberg. 82min.

LEONARDMALTIN

ao.

RENEGADES—Col 46—George Sherman—Evelyn Keyes,Willard Parker,LarryParks,Jim Bannon,ForrestTucker,LudwigDonath, FrankSully.Color—88 minutes.

Sls

IF I’MLUCKY—20th“46—Lewis Seiler—Perry Como,VivianBlaine,

HarryJames,CarmenMiranda,PhilSilvers,ReedHadley,Harry Hayden.79min. SA. THESEAOFGRASS—MGM 47—EliaKazan—Katharine Hepburn,

SpencerTracy,MelvynDouglas,PhyllisThaxter,RobertWalker, Harry Carey.131min. FRAMED—Col 47—RichardWallace—GlennFord,Janis Carter, 33.

BarrySullivan,KarenMorley,Jim Bannon,SidTomack,Barbara Woodell.82min. 48—Joseph H.Lewis—Larry Parks,Ellen 34. THESWORDSMAN—Col Drew,GeorgeMacready, RayCollins,MarcPlatt,MichaelDuane, HolmesHerbert.81min. 48—JohnHoffman—Willard 35: WRECKOFTHEHESPERUS—Col Parker,PatriciaWhite,BoydDavis,HolmesHerbert,WiltonGraft. 7) rnd, 36.

ADVENTURES INSILVERADO—Col 48—Phil Karlson—William Bishop,GloriaHenry,ForrestTucker,EdgarBarrier,IrvingBacon, Joseph Crehan.75min.

MANWINS—Col 48—John Sturges—Anna Lee,RobertShayne, 37. BEST GaryGray,HobartCavanaugh,StanleyAndrews,GeorgeLynn.75

ri

CREEK—Col 48—Ray Enright—Randolph Scott,Marguerite 38.CORONER Chapman,GeorgeMacready, SallyEilers,BarbaraRead,Wallace Ford,ForrestTucker.Color—93 min.

4%8—Gordon Douglas—Louis ae. THE BLACK ARROW-—Col Hayward,Janet Blair,GeorgeMacready,RhysWilliams,Walter Kingsford,LowellGilmore,HalliwellHobbes,PaulCavanagh. 76Dun, 40.

THEUNTAMED BREED—Col 48—Charles Lamont—Sonny Tufts, BarbaraBritton,George“Gabby” Hayes,WilliamBishop,GeorgeE. Stone,JoeSawyer.Color—79 min. Cee

THE REAL STARS

4l.

THEMANFROMCOLORADO—Col 48—Henry Levin—Glenn Ford,WilliamHolden,EllenDrew,RayCollins,JeromeCourtland, James Millican,Jim Bannon.Color—99min.

4A, THEWALKING HILLS—Col 49—JohnSturges—Randolph Scott,

EllaRaines,WilliamBishop, ArthurKennedy, JohnIreland,Jerome Courtland.78min. 43. RED CANYON—UI49—GeorgeSherman—AnnBlyth,Howard

Duff,GeorgeBrent,JohnMcelntire, ChillWills,JaneDarwell,Lloyd Bridges.Color—82 min. 49S. 44.LUSTFORGOLD—Col

SylvanSimon—Ida Lupino,GlennFord,

GigYoung,WilliamPrince,WillGeer,PaulFord,Jay Silverheels.

90 min.

49—MervynLeRoy—Clark 49. ANY NUMBERCAN PLAY—MGM

Gable,AlexisSmith,WendellCorey,AudreyTotter,FrankMorgan, MaryAstor,LewisStone,BarrySullivan,MarjorieRambeau,Leon Ames.112min. 46. CHEAPER BYTHEDOZEN—2oth ‘50—Walter Lang—Clifton Webb,

JeanneCrain,MyrnaLoy,BettyLynn,BarbaraBates,MildredNatwick, SaraAllgood.Color—85 min. ‘so—EarlMcEvoy—Broderick 47. CARGOTO CAPETOWN-—Col Crawtord, JohnIreland,EllenDrew,TeddeCorsia,RobertEspinoza, LeonardStrong.80min. 48. THEBIGHANGOVER—MGM ‘50—Norman Krasna—Van Johnson,

ElizabethTaylor,PereyWaram,FayHolden,LeonAmes,Selena Royle,GeneLockhart,RosemaryDeCamp.82min. ‘50—AnthonyMann—RobertTaylor, 49. DEVILSDOORWAY—MGM LouisCalhern,PaulaRaymond,MarshallThompson,James Mitchell, 50.

RhysWilliams,SpringByington.84min. THEGREAT MISSOURI RAID—Para ‘50—Gordon Douglas—Wendell Corey,MacdonaldCarey,EllenDrew,WardBond,BruceBennett, BillWilliams,Anne Revere.83min.

al. RAWHIDE—Para‘51—HenryHathaway—TyronePower, Susan Hayward,HughMarlowe, DeanJagger,JackElam,GeorgeTobias, JeffCorey.86min.

LEONARDO MALTIN

52.

CAVEOFOUTLAWS-—UI‘51—William Castle—Macdonald Carey, AlexisSmith,VictorJory,HughO’Brian, HouselyStevenson, Charles

Horvath.Color—75 min. CITY—Para ‘51-ByronHaskins—Edmond O’Brien,YvonneDe Da SILVER

Carlo,RichardArlen,BarryFitzgerald, GladysGeorge. Color—90 min. FLAMING FEATHER—Para ‘51—Ray Enright—Sterling Hayden, 54. ForrestTucker,BarbaraRush,ArleenWhelan,CarolThurston,Victor

Jory,RichardArlen.Color—77 min. T HEBIGTREES—WB ‘52—Felix Feist—Kirk Douglas,EveMiller, DO: PatriceWymore,John Archer,Allan Hale Jr. Roy Roberts. Color—89minutes.

‘52—Lewis D.Collins—Ben Johnson, 56.WILDSTALLION—Mono MarthaHyer,HaydenRorke, HughBeaumont, OrleyLindgren. Color— 7OTHLE. af. TOUGHESTMAN IN ARIZONA—Rep‘52—R.G. Springsteen—

VaughnMonroe, JoanLeslie, VictorJory,JeanParker,HarryMorgan. Color—90min. ‘53—Joseph Pevney—Loretta 58. ITHAPPENSEVERYTHURSDAY—Univ

Young,JohnForsythe,FrankMcHugh,JimmyConlin,PalmerLee, HarveyGrant,Jane Darwell,WillardWaterman,GladysGeorge. 8Omin. SHANE—Para ‘53—George Stevens—AlanLadd,Jean Arthur,Van Og.

Heflin,BrandondeWilde,JackPalance,BenJohnson,EmileMeyer, ElishaCookJr.Color—118 min. 60. SHECOULDN'T SAYNO—RKO ‘54—Lloyd Bacon—Robert Mitchum, JeanSimmons, ArthurHunnicutt, WallaceFord,Raymond Walburn. GGHin.

‘54—William A.Seiter—Dorothy 61. MAKEHASTETO LIVE—Rep McGuire, StephenMcNally, MaryMurphy, JohnHoward, RonHagerty. OO0 TmHif. 62,

DAWN ATSOCORRO—Univ ‘54—George Sherman—Rory Calhoun, PiperLaurie,DavidBrian,KathleenHughes,AlexNicol,MaraCorday,

SkipHomeier,RoyRoberts,LeeVanCleef.Color—80% min.

THE REAL STARS

63. HUMANDESIRE—Col ‘54—Fritz Lang—Glenn Ford,GloriaGrahame,

BroderickCrawford, KathleenCase,PeggyMaley,DianeDeLaire. 90 min, 64. DESTRY—Univ ‘54—George Marshall—Audie Murphy,MariBlanchard,

LyleBettger,LoriNelson,ThomasMitchell,WallaceFord,Mary Wickes,Alan Hale Jr. Color—95min.

RAGEATDAWN—RKO ‘55—Tim Whelan—Randolph Scott,Forrest Tucker, MalaPowers, J.CarrolNaish,KennethTobey,HowardPetrie, MyronHealey.Color—87 min. 66. WICHITA—AA ‘55—Jacques Tourneur—Joel McCrea,VeraMiles, LloydBridges, WallaceFord,PeterGraves,KeithLarsen,CarlBenton Reid.Color—81 min. 67. COMENEXTSPRING—Rep ‘56—R. G.Springsteen—Ann Sheridan, SteveCochran, WalterBrennan, SherryJackson,RichardEyer,Sonny 65.

Tufts.Color—92min. 68. SPOILERSOF THE FOREST—Rep ‘57—JoeKane—RodCameron,

VeraRalston,RayCollins,HillaryBrooke,CarlBentonReid,Sheila Bromley. Color—68 min. 69. DAYOFTHEBADMAN—Univ ‘58—Harry Keller—Fred MacMurray, Joan Weldon,John Ericson, Robert Middleton, Marie Windsor,

EduardFranz.Color—81 min. reer THESHEEPMAN—MGM ‘58—George Marshall—Glenn Ford,Shirley MacLaine,LeslieNielsen,MickeyShaughnessy, WillisBouchey, Fin

PernellRoberts,SlimPickens.Color—85 min. KINGOF THE WILD STALLIONS—AA ‘59—R. G. Springsteen—

GeorgeMontgomery, DianeBrewster, EmileMeyer,JerryHartleben, ByronFoulger.Color—75¥% min. JAxIT STARTEDWITH A KISS—MGM ‘59—George Marshall—Glenn

Ford,DebbieReynolds, EvaGabor,GustavoRojo,FredClark,Harry Morgan,RobertWarwick.Color—104 min. ‘59—Don Siegel—Fabian, CarolLynley, 73: HOUNDDOGMAN-—2oth StuartWhitman,ArthurO’Connell,DodieStevens,BettyField, RoyalDano.Color—87 min.

LEONAROMALTIN

Y—Col‘59—Don Siegel—Cornel Wilde,Victoria 74. EDGEOFETERNIT

Shaw,MickeyShaughnessy, RianGarrick,JackElam,Alexander Lockwood. Color—80 min. J. Hole Jr—James Craig, ID- FOURFASTGUNS—Univ‘60—William

MarthaVickers,BrettHalsey,PaulRichards, RichardMartin.72min. 76. STUMPRUN—RonaldAshcroft‘60—EdwardDew—SlimPickens,

KayeElhardt,RandBrooks,NadaZawadny,HelenJones(EBgot starbilling).78min. ‘60—William “Red”Reynolds— es CHARTROOSECAROOSE—Univ MollyBee,Ben Cooper,Mike McGreevey,O. Z. Whitehead, Slim Pickens.Color—75 min.

‘6o—Anthony Mann—GlennFord,Maria 78. CIMARRON—MGM Schell,AnneBaxter,ArthurO’Connell, RussTamblyn,Mercedes McCambridge, VicMorrow. Color—147 min. THEDEVIL'S P ARTNER—Filmgroup ‘61—Charles R.Rondeau— vis EdwinNelson,JeanAllison,RichardCrane,SpencerCarlisle,Byron Foulger,ClaireCarleton.61min. BO.TAMMY TELLMETRUE—Univ ‘61—Harry Keller—Sandra Dee,John Gavin,Charles Drake,Virginia Grey,Julia Meade,Beulah Bondi,

CecilKellaway. Color—97 min. ‘61—Michael Curtiz—JohnWayne, 81. THECOMMANCHEROS—20th

StuartWhitman,InaBalin,NehemiahPersoff,LeeMarvin,Michael Ansara,PatWayne,BruceCabot.Color—107 min. oe. RIDETHEHIGHCOUNTRY—MGM ‘62—Sam Peckinpah—Randolph Scott,Joel McCrea,MarietteHartley,RonaldStarr,R.G.Armstrong, John Anderson,L.Q.Jones, Warren Oates.Color—94min. 83. A TICKLISH AFFAIR-MGM ‘63—George Sidney—Shirley Jones,

GigYoung,RedButtons,CarolynJones,PeterRobbins,BillyMumy. Color—89min. ‘63—Andrew V.McLaglen—John Wayne,Maureen 4. McLINTOCK'!—UA O’Hara,Yvonne DeCarlo,Patrick Wayne, Stefanie Powers,Jack

Kruschen,ChillWills,JerryVanDyke,BruceCabot.Color—127 min.

THE REAL STARS

85. MOVEOVER,DARLING—2cth ‘63—Michael Gordon—DorisDay,

JamesGarner,PollyBergen,ThelmaRitter,FredClark,DonKnotts, ElliotReid.Color—103 min. 86. THEROUNDERS—MGM ‘65—Burt Kennedy—Glenn Ford,Henry Fonda,SueAne Langdon,HopeHoliday,ChillWills,Kathleen Freeman,Joan Freeman,DenverPyle,BartonMacLane.Color—85 min. 87. GUNPOINT—Univ ‘66—Earl Bellamy—Audie Murphy,JoanStaley,

WarrenStevens,DenverPyle,RobertPine,MorganWoodward. Color—86 min. 88. WELCOMETO HARDTIMES—MGM’67—Burt Kennedy—Henry Fonda,Janice Rule,Keenan Wynn, Janis Paige,John Anderson,

WarrenOates,FaySpain,AldoRay.Color—105 min. 89. ANGELIN MYPOCKET—Univ ‘69—AlanRafkin—AndyGriffith,

JerryVanDyke,KayMediord,GaryCollins,LeeMeriwether, Henry Jones. Color—105 min.

JOYCECOMPTON ByLeonardMaltin

December,1969

Filmsofthe 1930sand 40swerefilledwithmarvelous,colorfulcharacters:

fast-talking reporters,B-girlswithheartsofgold,snootydowagers, nosy housedetectives,etc.AndwherewouldHollywood havebeenwithout thedumbblonde?FortwentyyearsHollywood ’sbestdumbblondewas JoyceCompton,a delightful, vivaciousactresswhoaddedmemorable momentstomanyfilmsfromthesilentdaysthroughthe1950s. BorninLexington,Kentucky, Joycetraveledwithherparentsand received her education in Dallas, Texas,Tulsa, Oklahoma, Toronto,

Canada,and KansasCity.Whilein her teens,she set her sightson Hollywood, andjourneyedtotheWestCoastwithherparentsintow. TheymadetheroundsandlandedJoycea contractwithFirstNational Pictures.HerfirstfilmwasWHATFOOLSMEN,andwhilesheonly madea handfulofflms duringhersilentyearsin Hollywood, Joyce waskeptbusyinpublicitystillsandinthepromotion thataccompanied selectionas a WampasBabyStarin 1926.TheFilmDailyexplained thisquaintritual:“Thethirteenmostpromisingactressesinthevast armyofplayersareselectedeachyearbytheWesternAssociationotf MotionPictureAdvertisers.Thecustomwasstarted in 1922.The‘Baby

Stars,’astheyarecalled,arenamedbyvoteoftheentireorganization.” AlongwithJoyce,the 1926BabyStarswereMaryAstor,MaryBrian, DoloresCostello,Joan Crawford,MarcelineDay,DoloresDelRio, JanetGaynor,SallyLong,EdnaMarion,SallyO’Neil,VeraReynolds, and FayWray—as “promising” a groupofgirlsas the Wampastribe everpicked.

THE REAL STARS

JoyceComptonandFrankAlbertsoninoneof their Mack Sennett two-reelers

Withtheadventoftalkies,Joycefoundherselfmoreregularlyemployedon-screen, ina varietyofmovieswhichusuallyfeaturedheras a good-time-girl, completewithinfectiousSoutherndrawl.Suchfilms includedTHEWILDPARTY andDANGEROUS CURVES withClara Bow,SALUTE withGeorgeO’Brien, andWOMENOFALLNATIONS withEdmundLoweandVictorMcLaglen. Agirlwitha naturalflairfor comedy,JoycewashiredbyMackSennettin 1933as ingenueforhis 2-reelcomedies, thenbeingreleasedbyParamount. Sheco-starredwith WalterCatlett,FranklinPangborn,GradySutton,BenAlexander, and MarjorieBeebeinsuchshortsubjectsasDREAM STUFF,CALIENTE LOVE, DADDY KNOWS BEST, KNOCKOUT KISSES, THEPLUMBER ANDTHELADY, andROADHOUSE QUEENduringthenextyear.Of thisperiod,Joycesaystoday,“Myimpressions andmemoriesaremuch hardwork,longtiringhours—days andnights.I wasfrailandthecareer washardonme;ittookallmystrengthandmyparents’constantcare tokeepmegoing.Sennett’swashaphazardandnotveryorganized.”

LEONARDMALTIN

TheyearwithSennettestablished Joyceasacomedyplayer,however, andthefollowing yearshewascalledseveraltimesto appearin RKO comedies, amongthemEVERYTHING’S DUCKY, withBobbyClarkand PaulMcCullough. Shecontinued toworkinfeatures, butthefollowing year itwasbacktoshortsubjects,thistimeasleadingladyoppositeCharley Chase.Joycemade a livelyandcharmingfoilinsuch2-reelers as LIFE HESITATES AT40,PUBLICGHOSTNO.1,andMANHATTAN MONKEY

BUSINESS. Thelatterincludesa sceneinwhichCharleymeetsJoyceat aneliteFrenchrestaurant, andinsometo-dostickshishandintoadishof gooeyWelshrarebit.Dancingwithherafterward, Charleyhashishand aroundJoyce’s waist,anddiscovers toolatethatitisstickingtoherdress. Whenhetwirlsheraroundthedressripsoff!Joycerecallshertenurewith Chasewithsomewhat morepleasure thantheSennettperiod.“Theworking atmosphere wasbetter,” sheexplains, adding,“Charley wasagentleman.”

MarleneDietrichglowersatEveArden, BartonMacLane,andJoyceComptonin MANPOWER (1941)

TheparadoxofJoyceCompton’s comedyshort-subjects isthatinthem, shewasrarelyrequiredtodisplayhercomictalent.Sheappearedmoreor lessasa prettypropforthestarringcomedians, anditwasnotuntilshe startedfreelancing againinfeaturefilmsthathercareer,andreputation, reallytookoff.Inthe late1930s,Joycemadehermarkin Hollywoodasthe 40

THE REAL STARS

screen’sarchetypical dumbSouthernbelle,inahostoffirst-rate films.In LOVEBEFORE BREAKFAST, CaroleLombardpawnsoffanunwanted companiononJoyceata party,tellingeachofthecouplethattheother ishardofhearing.THEAWFULTRUTHfeaturesJoyceasDixieBelle Lee,whomCaryGranthasbeenseeingto erasethememoryofhisexwife,Irene Dunne.Cary is put in an embarrassingpositionwhen Irene

andhernewhancé(RalphBellamy) cometothenightclubwhereJoyce isperforming, justintimetoseeherdoa numbercalled“Gonewiththe Wind,”in whichher skirt is blownin the air on everychorus.

Othermemorable roles:RoscoeKarns’girlfriend inTHEYDRIVEBY NIGHT: AnthonyQuinn’sdancepartnerinCITYFORCONQUEST: a drunken

girlinKIDGALAHAD, anurseinMAGNIFICENT OBSESSION; another Southern belleinTHETOAST OFNEWYORK; oneofJackBenny’s vaudeville troupeinARTISTS ANDMODELS ABROAD; a caféhostessinMANPOWER:

JoeSawyer's girlfriendinLET’S FACE IT:awaitress inMILDRED PIERCE; achorusgirlinNIGHTANDDAY;a prissygirlinROUGHLY SPEAKING; a girlseenverybriefly inSORRY, WRONG NUMBER; AliceinMIGHTY JOE YOUNG; and a brunettebellewhoenticesRedSkeltoninASOUTHERN YANKEE. JoycealsoactedasleadingladytosuchWesternstarsasTim McCoy, RoyRogers, andJohnnyMackBrownovertheyears.

ca

EdgarDearingadmonishesAnnMorriss,LewAyres,BurgessMeredith,and JoyceComptonin SPRINGMADNESS (1938)

LEONARDMALTIN

MissCompton’s ownfavoritefilmsare THEWHITEPARADE, a hospitaldramawithLorettaYoung;SPRINGMADNESS, inwhichshe playedoneofMaureenO’Sullivan’s matchmakingsororitysisters;and SKYMURDER, whichgaveheroneofherall-rimebestrolesasafemale detectivenamedChristine(Chris)Cross,whoenticessuper-sleuth Nick Carter(WalterPidgeon). Asthe 1940swaned,Joycedevotedmoretimeto offscreenactivities:painting,whichshehasalwaysloved;designingclothes,including allofherownwardrobe;andnursing,whichshedoestothisday.Sheis particularlyproudofherTudorhomein Californiaforwhichshedrew uptheplansandcompletely designedwithherparents.TheComptons remaineda veryclose-knitfamilythroughJoyce’smother’sdeathin 1953,andherfather’sin 1965.Shemarriedonce,in 1956,buttheunion lastedonlythreemonths.

Joyceinoneofherfavoriteroles,oppositeWalterPidgeonas NickCarterin SKYMURDER (1940)

THE REAL STARS

Joycewaslargelyinactivein filmsafter1950,doingonlya handful of features Gncluding Von Sternberg’s JET PILOT with John

Wayne)andoccasionalTVshows(includinga walk-onin anAbbott

andCostello show). Shehasnotworkedinfilmsinovertenyears,but Joyceis farfromretired.Maintainingherlovelyhome,workingas a part-timenurse,and preparingher firstone-womanart show,keep heronhertoes.“Idon’tliveinthepast,”shesays.“Thereistoomuch doingnow.”Stillveryattractive,JoyceComptonrecallsher thirtyyearmoviecareerwithhumorandaloofness.Ofhertypecastingas a bird-brainedblonde,she says,“Sometimesonehas to be smartto play dumb!”

(Editor’snote:JoyceComptondiedin1997attheageof90.Towardthe endofherlifeshedecidedtowritea memoir,TheRealJoyceCompton, whichwas publishedposthumouslyin 2009.)

THEFEATURE FILMSOFJOYCECOMPTON (Director’s namefollows year)

JoyceComptonworkedininnumerable shortsubjectsinthe1930’s, for MackSennett,HalRoach,RKO,andotherstudios,laterappearinginan MGMone-reeler withRobertBenchley. Following isascomplete alist ofherfeaturefilmsascanbe determined; sheoftenappearedunbilled. 1. WHATFOOLSMEN—ist Nat‘25—George Archainbaud—Lewis Stone,

ShirleyMason,EthelGreyTerry,BarbaraBedford,JohnPatrick.8 reels 2. BROADWAY LADY—FBO ‘25—Wesley Ruggles—Evelyn Brent, MarjorieBonner,TheodorevonEltz,ClarissaSelwynne,Ernest Hilliard.6reels 3. SYNCOPATING SUE-—1st Nat‘26—Richard Wallace—Corinne Griffith,

TomMoore,Rockliffe Fellowes, LeeMoran,SunshineHart,Marjorie Rambeau.7 reels

LEONARDMALTIN

ANKLESPREFERRED—Fox ‘27—John G.Blystone—Madge Bellamy,

Lawrence Gray,BarryNorton,AllanForrest,Marjorie Beebe,J.Farrell MacDonald. 6 reels BORDER CAVALIER—Univ ‘27—William Wyler—Fred Humes,Evelyn Pierce,C.E.“Captain” Anderson,BorisBullock, DickLaReno, Dick LEstrange.5 reels

SOFTLIVING—Fox ‘28—James Tinling—John MackBrown, Madge Bellamy, MaryDuncan,ThomasJefferson, HenryKolker, OliveTel]; MaineGeary.6 reels WILDPARTY—Para ‘29—Dorothy Arzner—Clara Bow,FredricMarch, ShirleyO’Hara,MarcelineDay,AdrienneDore,VirginiaThomas.7

reels,soundandsilent DANGEROUSCURVES—Para‘29—LotharMendes—ClaraBow,

RichardArlen,KayFrancis,DavidNewell,AndersRandolph,May Boley,T.RoyBarnes,Charles D.Brown,Stuart Erwin,Jack Luden.

8reels,silentandsound SALUTE—Fox ‘29—David Butler,John Ford—George O’Brien,Helen

Chandler,StepinFetchit,WilliamJanney,FrankAlbertson,Clifford Dempsey,LumsdenHare,DavidButler,RexBell.9 reels

‘29—John Blystone—John Garrick,Helen LO.THESKYHAWK-—Fox Chandler,GilbertEmery,LennoxPawle,LumsdenHare,BillyBevan,

DaphnePollard. 7 reels a.

HIGH SOCIETYBLUES—Fox ‘30—DavidButler—JanetGaynor,

CharlesFarrell,WilliamCollierJr, HeddaHopper,LucienLittlefeld, LouiseFazenda.102min. 12.

THREE SISTERS—Fox‘30—PaulSloane—LouiseDresser, Tom

Patricola, KennethMacKenna, JuneCollyer, AddieMcPhail, Cliftord Saum.77min. ‘30—Leo McCarey—Frank Albertson,H.B. LS. WILDCOMPANY—Fox

Warner,SharonLynn,ClaireMcDowell, MildredVanDorn,Richard Keene.71min. ‘30—HenryKing—WillRogers,LouiseDresser, LAs LIGHTNIN’—Fox

JoelMcCrea,HelenCohan,JasonRobards,FrankCampeau,J. M. Kerrigan.85min.

THEREALSTARS NOTEXACTLY GENTLEMEN—Fox ‘31—Benjamin Stoloff—Victor McLaglen, FayWray,LewCody,RobertWarwick,EdwardGribbon, DavidWorth.70min. 16. THREEGIRLSLOST—Fox ‘31—Sidney Lanfield—Loretta Young, JohnWayne,LewCody,Joan Marsh,CatherineClairWard,Paul 15;

Fix,$0 min, 17. UP POPS THE DEVIL—Para‘31—A. Edward Sutherland—Skeets

Gallagher, StuartErwin,CaroleLombard, LilyanTashman,Norman Foster,EdwardJ. Nugent,TheodorevonEltz.85min. le. WOMENOFALLNATIONS—Fox ‘31—Raoul Walsh—Victor McLaglen,

EdmundLowe,GretaNissen,ElBrendel, Fi D’Orsay, Marjorie White, T.RoyBarnes,BelaLugosi,HumphreyBogart.72min. 19.

ANNABELLE’S AFFAIRS—Fox ‘31—Altred Werker—Victor McLaglen, JeanetteMacDonald, RolandYoung,SamHardy,WilliamCollier Sr.,RuthWarren,SallyBlane.76min.

Als GOODSPORT—Fox ‘31—Kenneth MacKenna—Linda Watkins,John

Boles,GretaNissen,MinnaGombell, HeddaHopper,AlanDinehart. Zl

oymii, UNDEREIGHTEEN—WB ‘32—Archie Mayo—Marian Marsh,Regis

Toomey,WarrenWilliam,Anita Page,Emma Dunn,J. Farrell MacDonald. 80min. 2a LENARIVERS—Tit ‘32—Phil Rosen—Charlotte Henry,BerylMercer,

JamesKirkwood,MorganGalloway, BettyBlythe,John St.Polis. el iii, tn WESTWARDPASSAGE—RKO ‘32—Robert Milton—AnnHarding,

LaurenceOlivier,IrvingPichel,JulietteCompton,ZaSuPitts,Irene Purcell,FlorenceRoberts,EmmettKing,EthelGrifhes,Bonita Granville.75min. Ake,BEAUTYPARLOR—Chesterfheld ‘32—RichardThorpe—Barbara Kent,John Harron,DorothyRevier,AlbertGran,WheelerOakman, 25,

MischaAuer.64min. LADYANDGENT—Para ‘32—Stephen Roberts—George Bancroft, WynneGibson,CharlesStarrett,James Gleason,John Wayne, MorganWallace.80min.

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LOVE—Hollywood ‘32—Albert Ray—H. B.Warner,LilaLee, 26. UNHOLY BerylMercer,LyleTalbot,IvanLebedeff,JasonRobards,Kathlyn Williams.77min. Wide‘32—Lowell Sherman—Lowell Sherman, Zs FALSEFACES—World

PeggyShannon,LilaLee,BertonChurchill,DavidLandau,Harold Waldridge,GenevaMitchell.83min. ROMANCE-—Allied ‘32—Chester M.Franklin—Lew Cody, 28. APARISIAN

MarionShilling,GilbertRoland,YolaD’Avril, NicholasSoussanin. (gspoakien 29.

AFRAIDTOTALK—Univ ‘32—Edward L.Cahn—EricLinden,Sidney Fox,TullyMarshall,LouisCalhern,RobertWarwick,BertonChurchill,

EdwardArnold,GeorgeMeeker,MayoMethot.77min. McCoy, ao. FIGHTING FOR JUSTICE—Col‘33—OttoBrower—Tim

aks

32.

HooperAtchley, WilliamN.Bailey,LafeMcKee,HarryTodd,Harry Cording.60min. SINGSINNERSING—Majestic ‘33—Howard Christy—Paul Lukas, LeilaHyams,DonaldDillaway, RuthDonnelly, GeorgeE.Stone,Jill Bennett.Alsoknownas CLIPJOINT.74min. ONLYYESTERDAY—Univ ‘33—John M.Stahl—Margaret Sullavan, JohnBoles,BillieBurke,ReginaldDenny,JimmyButler,EdnaMay Oliver.108min.

‘34—Stephen Roberts—George Rait, So: THETRUMPETBLOWS—Para AdolpheMenjou,FrancesDrake,SidneyToler,EdwardEllis,Nydia Westman.72min. OFA GENTLEMAN-—Univ ‘34—Edwin L.Marin—Paul 34. AFFAIRS Lukas,Leila Hyams, Patricia Ellis,Philip Reed, Onslow Stevens,

DorothyBurgess.66min. OFTHEU.S.A.—Mono ‘34—Leonard Fields—Guy 35. KINGKELLY Robertson, IreneWare,FranklinPangborn, EdgarKennedy, Ferdinard Gottschalk.66min. DOLLAR RANSOM—wUniv ‘34—Murray Roth—Phillips 36. MILLION Holmes,EdwardArnold,Mary Carlisle,Wini Shaw,Andy Devine,

RobertGleckler.78min.

THE REAL STARS

‘34—Irving Cummings—John Boles, 37. THEWHITEPARADE—Fox LorettaYoung,JaneDarwell,SaraHaden,AstridAllwyn,Dorothy Wilson.90 min. 38.

IMITATION OFLIFE—Univ. ‘34—John M.Stahl—Claudette Colbert, WarrenWilliam,RochelleHudson,Ned Sparks,Alan Hale,Henry Kolker,HenryArmetta,WyndhamStanding,LouiseBeavers.106min.

OFREDDOG—Univ ‘35—Louis Friedlander—Johnny 39. RUSTLERS A

MackBrown, WalterMiller, Raymond Hatton,HarryWoods,Frederick MacKaye, CharlesK.French,LafeMcKee.12-chapter serial GOINTOYOURDANCE—WB’‘35—Archie Mayo—Al Jolson,Ruby Keeler,GlendaFarrell,BennyRubin,Phil Regan,BartonMacLane,

#1.

SharonLynne, WilliamDavidson, AkimTamiroff, PatsyKelly. 89min. LET‘EMHAVEIT—UA ‘35—Sam Wood—Richard Arlen,Virginia Bruce,AliceBrady,BruceCabot,HarveyStephens,EricLinden, GordonJones. 90 min.

AY. MR.DYNAMITE—Univ ‘35—Alan Crosland—Edmund Lowe,Jean

Dixon,EstherRalston,VictorVarconi,VernaHillie,MinorWatson. 60 min. 43. COLLEGESCANDAL—Para‘35—ElliottNugent—ArlineJudge,

KentTaylor, WendyBarrie,WilliamFrawley, BennyBaker,William Benedict.76min.

44.MAGNIFICENT OBSESSION—Univ‘35—JohnM. Stahl—Irene Dunne,RobertTaylor,CharlesButterworth,BettyFurness,Sara Haden,RalphMorgan,HenryArmetta,GilbertEmery.112min.

‘36—Robert N.Bradbury— 45.VALLEYOF THE LAWLESS—Supreme

JohnnyMackBrown, GeorgeHayes,FrankHagney, DennyMeadows, BobbyNelson.60min.

46. LOVE BEFOREBREAKFAST—Univ ‘36—WalterLang—Carole Lombard,PrestonFoster,CesarRomero,Janet Beecher,BettyLawford,

DouglasBlackley. 70min. ‘36—Joseph Santley—Alice Brady,Russell 4/. THEHARVESTER—Rep Hardie, Ann Rutherford,Frank Craven, Cora Sue Collins,Emma [umn 65min.

LEONARO MALTIN YOUR SPELL—2oth ‘36—Otto Preminger—Lawrence Tibbett, 48. UNDER WendyBarrie,GregoryRatoff, ArthurTreacher, GregoryGaye,Berton Churchill,Jed Prouty.62min. ‘36—DelLord—Mary Astor,Lyle 49.TRAPPEDBYTELEVISION—Col

Talbot,NatPendleton, ThurstonHall,HenryMollison, WyrleyBirch. 63 min.

50,

ELLISISLAND—Invincible/Chesterfield ‘36—Phil Rosen—Donald Cook,PeggyShannon,JackLaRue,JohnnyArthur,MauriceBlack, MattyFain.66 min.

STARFORA NIGHT—20th ‘36—Lewis Seiler—Claire Trevor,Jane Darwell,EvelynVenable, ArlineJudge,J.EdwardBromberg, Frank Reicher, AstridAllwyn,DeanJagger.76min. ‘36—Ralph Staub—Roger Pryor, 2s SITTINGONTHEMOON-—Rep GraceBradley, WilliamNewell,PertKelton,HenryKolker,Henry Wadsworth. 76min. GENTLEMEN—Rep ‘36—Ralph Staub—Ole Olsen,Chic she COUNTRY Johnson,LilaLee,PierreWatkin,DonaldKirke,RayCorrigan, Sammy

SL.

McKim.60 min. ‘36—Charles Barton—Lew Ayres, O4.MURDERWITHPICTURES—Para

GailPatrick,PaulKelly,OnslowStevens,ErnestCossart,Anthony Nace.70min. ‘37—Edward Killy—Constance Worth, DD:CHINAPASSAGE—RKO

VintonHaworth,LeslieFenton,GordonJones,AlecCraig,Dick Elliott,FrankM.Thomas.65min. ‘37—Alfred L.Werker—Sally 56. WEHAVEOURMOMENTS~—Univ Eilers,James Dunn, Mischa Auer, Thurston Hall, David Niven, Warren Hymer,MarjorieGateson,GradySutton.85min.

‘37—Ralph Murphy—Doris Nolan,George iy TOPOFTHETOWN-—Univ Murphy, HughHerbert,GregoryRatoff, EllaLogan,GertrudeNiesen, MischaAuer.86min. ‘37—Edward Sedgwick—Patsy Kelly, 58. PICKA STAR—MGM-Roach JackHaley,RosinaLawrence, MischaAuer,LydaRoberti,.Laurel andHardy,70min.

THE REAL STARS

‘37—H. C.Potter—Wendy Barrie, a0: WINGSOVERHONOLULU-—Univ RayMilland,WilliamGargan,KentTaylor,PollyRowles,SamuelS. Hines.'78min. 6O. KID GALAHAD—WB ‘37—Michael Curtiz—EdwardG. Robinson,

Bette Davis,HumphreyBogart,WayneMorris,Jane Bryan,Harry Carey.100min. Ol, RHYTHMIN THECLOUDS—Rep ‘37—John H.Auer—Patricia Ellis,

WarrenHull,WilliamNewell,RichardCarle,ZefheTilbury,Charles Judels.62min. OB.BORNRECKLESS—20th ‘37—Malcolm St.Clair—Rochelle Hudson,

BrianDonlevy, BartonMacLane, RobertKent,HarryCarey,Pauline Moore.78min. 63.

THETOASTOFNEWYORK—RKO ‘37—Rowland V.Lee—Edward Arnold, Cary Grant, Frances Farmer,Jack Oakie, Donald Meek, ThelmaLeeds,ClarenceKolb,BillyGilbert.109min.

64.

SMALL TOWNBOY—Grand Nat‘37—Glenn Tryon—Stuart Erwin, JedProuty,ClaraBlandick, JamesBlakely, Dorothy Appleby, Clarence Wilson.63min.

65. SEARACKETEERS—Rep ‘37—Hamilton McFadden—Weldon Heyburn,

JeanneMadden,WarrenHymer,DorothyMcNulty, J. CarrolNaish, CharlesTrowbridge, SydSaylor.63min. 66. SHEASKEDFORIT—Para‘37—Erle C. Kenton—WilliamGargan,

OrienHeyward,VivienneOsborne,RichardCarle,RolandDrew, Harry Beresford.69 min. 67. THEAWFUL TRUTH—Col ‘37—Leo McCarey—Irene Dunne,Cary

Grant,RalphBellamy, AlexanderD’Arcy, CecilCunningham, Molly Larnerit,92rin. 68. YOUANDME-—Para ‘38—Fritz Lang—Sylvia Sidney,GeorgeRaft, Robert Cummings,RoscoeKarns,Barton MacLane,Harry Carey, GeorgeE.Stone.90 min. 69.

MANPROOF—MGM ‘38—Richard Thorpe—Myrna Loy,Franchot Tone,RosalindRussell,WalterPidgeon,NanaBryant,RitaJohnson, RuthHussey.74min.

LEONARD MALTIN

70.

LOVEONABUDGET-—20th ‘38—Bert I.Leeds—Jed Prouty,Shirley Deane,SpringByington,RussellGleason,KennethHowell,George

Ernest.60 min. Pk: SPRING MADNESS—MGM‘38—S.Sylvan Simon—Maureen

O’Sullivan, LewAyres,RuthHussey,BurgessMeredith, AnnMorriss, JacquelineWells,FrankAlbertson.80min. ‘38—Al Rogell—Preston Foster,Frank fer THELASTWARNING—Univ Jenks,KayLinaker,E.E.Clive,FrancesRobinson,RayParker,Robert Paige.62min. ‘38—Tay Garnett—Fredric March,Joan Bennett, PedTRADEWINDS—UA

RalphBellamy, AnnSothern,SidneyBlackmer, ThomasMitchell, RobertElliott.90min. ‘38—Mitchell Leisen—Jack 74. ARTISTSANDMODELSABROAD—Para

Benny,JoanBennett,MaryBoland,CharleyCrapewin,YachtClub Boys,FritzFeld.90min. ‘38—Ray Enright—Dick Powell, AnitaLouise, To: GOINGPLACES—WB AllenJenkins,RonaldReagan,WalterCatlett,HaroldHuber,Larry Williams.85min. ‘39—Leigh Jason—Douglas Corrigan, 7. THEFLYINGIRISHMAN—RKO

PaulKelly,RobertArmstrong,GeneReynolds,DonaldMacBride, EddieQuillan,DorothyAppleby.72min. SQUARE=—20th ‘39—Gregory Ratoff— Pie ROSEOFWASHINGTON TyronePower,AliceFaye,Al Jolson,WilliamFrawley,Hobart Cavanaugh,MoroniOlsen,E.E.Clive,LouisPrima.86min. ‘39—Gregory Ratoff—Linda Darnell, 7o. HOTELFORWOMEN=—20th JamesEllison,ElsaMaxwell,AnnSothern,John Halliday,Alan Dinehart,LynnBari,Jean Rogers,June Gale.83min. 7a RENO—RKO‘39—JohnFarrow—RichardDix,Gail Patrick,Anita

Louise,PaulCavanagh, LauraHopeCrews,LouisJeanHeydt,Hobart Cavanaugh.73min. 80.

BALALAIKA—MGM ‘39—Reinhold Schunzel—Nelson Eddy,Ilona Massey,CharlesRuggles,FrankMorgan,WalterWoolfKing,Lionel Atwill,C.AubreySmith.102min.

5O

THE REAL STARS

81. I TAKETHISWOMAN—MGM 40—W.S.VanDyke—Spencer Tracy,

HedyLamarr,VerreeTeasdale,KentTaylor,LaraineDay,Mona Barrie,Jack Carson,07min. 82. HONEYMOON DEFERRED—Univ 40—Lew Landers—Edmund Lowe,Margaret Lindsay,ElisabethRisdon,Chick Chandler,Anne 83.

Gwynne,JerryMarlowe. 59min. TURNABOUT—UA-Roach 40—Hal Roach—Adolphe Menjou, Carole Landis,John Hubbard,WilliamGargan,VerreeTeasdale,Mary Astor,DonaldMeek,InezCourtney,FranklinPangborn,Marjorie Main,82tin.

84. CITYFORCONQUEST—WB 4o—AnatoleLitvak—JamesCagney,

AnnSheridan,FrankCraven,ArthurKennedy, DonaldCrisp,Frank McHugh, GeorgeTobias, EliaKazan,AnthonyQuinn,JeromeCowan, LeePatrick.101min. 85. SKYMURDER-MGM 40—George B.Seitz—Walter Pidgeon,Donald Meek,KaarenVerne,EdwardAshley,TomConway, GeorgeLessey, DorothyTree.72min. 86. THEVILLAIN STILLPURSUED HER—RKO 40—Edward F.Cline— HughHerbert,AnitaLouise,AlanMowbray, BusterKeaton,Richard Cromwell,BillyGilbert,MargaretHamilton.65min. 87, WHOKILLED AUNTMAGGIE?—Rep 40—ArthurLubin—John

Hubbard, WendyBarrie,EdgarKennedy, Elizabeth Patterson, Onslow Stevens,WalterAbel,MonaBarrie.70min. 88. LETSMAKE MUSIC—RKO 40—Leslie Goodwins—Bob Crosby, Jean Rogers,ElisabethRisdon,JosephBuloff, BennieBartlett,LouisJean Heydt,BillGoodwin.84min. 89. MANPOWER—WB 41—Raoul Walsh—Edward G.Robinson, Marlene Dietrich,GeorgeRaft,AlanHale,WalterCatlett,FrankMcHugh, EgonBrecher,WardBond,EveArden,LuciaCarroll,AnthonyQuinn,

BarbaraPepper.105min. 9O. SCATTERGOOD MEETSBROADWAY—RKO 41—Christy Cabanne—

Guy Kibbee,Mildred Coles,William Henry,Emma Dunn, Frank

Jenks,BradleyPage.ReissuedasBLONDE MENACE. 68min.

LEONARDMALTIN

Ql.

MOONOVERHERSHOULDER—20th ‘41—Alfred Werker—Lynn Bari,JohnSutton,DanDailey,AlanMowbray, LeonardCarey,Irving

Bacon.68min. “‘41—Anatole Litvak—PriscillaLane, Q2. BLUESIN THE NIGHT—WB RichardWhorf,BettyField,LloydNolan,Jack Carson,EliaKazan,

WallaceFord.88min. STORY—Col 41—Alexander Hall—Fredric March,Loretta 93. BEDTIME Young,RobertBenchley, AllynJoslyn,EveArden,HelenWestley. 85 min.

‘42—Bernard B.Ray—NeilHamilton, 94. TOO MANYWOMEN-—PRC June Lang, Barbara Read, Fred Sherman, Mario Dwyer, Kate MacKenna,MauriceCass.63min. 43—Leslie Goodwins—Kenny Baker,Patricia oo SILVERSKATES—Mono

Morison,Belita,FrickandFrack,IreneDare,DannyShaw,Eugene Turner. 75 min.

SPURS—Rep 43—JosephKane—Roy Rogers,SmileyBurnette, 96. SILVER

JohnCarradine,PhyllisBrooks,JeromeCowan,DickWessel,Hal Taliaferro.68 min.

DennisMorgan,JoyceCompton,andFrankJenks

inCHRISTMAS INCONNECTICUT (1945)

THE REAL STARS

OT: LET’S FACEIT—Para ‘43—Sidney Lanfield—Bob Hope,BettyHutton,

ZaSuPitts,PhyllisPovah,DaveWillock,EveArden,CullyRichards, MarjorieWeaver,DonaDrake,RaymondWalburn.76min. 98. SWINGOUT THE BLUES—Col ‘43—Mal St. Clair—BobHaymes,

LynnMerrick,TheVagabonds, JanisCarter,TimRyan,ArthurQ. Bryan,KathleenHoward.70min. SPEAKING—WB 45—Michael Curtiz—Rosalind Russell, 99. ROUGHLY Jack Carson, Robert Hutton, Jean Sullivan,Alan Hale, Donald

Woods,AndreaKing,RayCollins.117min. 100. PILLOW TOPOST—WB 45—Vincent Sherman—Ida Lupino, Sydney

Greenstreet,WilliamPrince,StuartErwin,JohnnyMitchell,Ruth Donnelly. 92min. LOL,CHRISTMAS INCONNECTICUT—WB 45—Peter Godfrey—Barbara Stanwyck, DennisMorgan,SydneyGreenstreet, ReginaldGardiner, S.Z.Sakall,RobertShayne,UnaO’Connor. 101min. Lh MILDRED PIERCE—WB 45—Michael Curtiz—Joan Crawford, Jack Carson,ZacharyScott,EveArden,BruceBennett,AnnBlyth,Jo AnnMarlowe. 111min. LOS:DANGER SIGNAL—WB 45—Robert Florey—Faye Emerson, Zachary Scott, Dick Erdman, Rosemary DeCamp, Bruce Bennett, Mona

Freeman,JohnRidgely. 78min. 1O4.DARKALIBI—Mono 46—PhilKarlson—Sidney Toler,Mantan

Moreland,BenCarter,BensonFong,TealaLoring,GeorgeHolmes,

JohnEldredge,RussellHicks,TimRyan.61min. LOS.BEHIND THEMASK—Mono 46—Phil Karlson—Kane Richmond, BarbaraRead,GeorgeChandler, JoeCrehan,PierreWatkin, Dorothea Kent.67min. 106. RENDEZVOUS WITHANNIE—Rep 46—Allan Dwan—Eddie Albert,

FayeMarlowe, GailPatrick,PhilipReed,C.AubreySmith,Raymond Walburn,WilliamFrawley.89 min. Lie

NIGHTANDDAY—WB ‘“46—Michael Curtiz—Cary Grant,Alexis Smith,MontyWoolley,GinnySimms,Jane Wyman,EveArden, MaryMartin,VictorFrancen,AlanHale,DorothyMalone,Tom D’Andrea, SelenaRoyle.Color—128 min. S56

LEONARDO MALTIN

108.THEBESTYEARSOFOURLIVES—RKO-Goldwyn 46—William Wyler—Fredric March,MyrnaLoy,TeresaWright,DanaAndrews, VirginiaMayo,CathyO’Donnell, HoagyCarmichael, HaroldRussell, GladysGeorge.172min. 109.SCAREDTO DEATH~—Screen Guild‘47—Walt Mattox—Bela Lugosi,

DouglasFowley, GeorgeZucco,NatPendleton, RolandVarno,Molly Lamont.Color—64 min. 110.EXPOSED—Rep47—GeorgeBlair—AdeleMara, Robert Scott,

AdrianBooth,RobertArmstrong, WilliamHaade,BobSteele,Harry Shannon.59min.

AbrunetteJoyceComptonflirtswithRedSkeltonin A SOUTHERNYANKEE(1948) 54

THE REAL STARS

111.LINDABEGOOD-—EL 47—FrankMacDonald—Elyse Knox,Marie

Wilson, JohnHubbard, GordonRichards, JackNorton,RalphSanford. o7Hin,

AJoyceComptonpromoshotfromthelate‘60s

112.ASOUTHERN YANKEE—MGM 48—Edward Sedgwick—Red Skelton, BrianDonlevy, ArleneDahl,GeorgeCoulouris, LloydGough,John Ireland,MinorWatson,CharlesDingle.90min. 113.SORRY,WRONG NUMBER—Para 48—AnatoleLitvak—Barbara

Stanwyck,BurtLancaster,AnnRichards,WendellCorey,Harold Vermilyea, EdBegley.89min. 114.INCIDENT—Mono 48—William Beaudine—Jane Frazee,Warren Douglas,RobertOsterloh,AnthonyCaruso,HarryLauter,Eddie Dunn, 63 min.

MALTIN LEONARD

‘49—Ernest B.Schoedsack—Terry 115.MIGHTYJOEYOUNG—RKO Moore,BenJohnson,RobertArmstrong,Mr.JosephYoung,Frank McHugh,DouglasFowley. 94min. Guild49—PaulLandres—Richard Arlen, 116. GRANDCANYON-—Screen

MaryBethHughes,ReedHadley,JamesMillican,OlinHowlin, GradySutton.Color—65 min. LL.

THE PERSUADER—AA ‘57—Dick Ross—WilliamTalman,James

Craig,KristineMiller,DarrylHickman,AlvyMoore,GeorgiaLee. 72 min.

JET PILOT—Univ ‘57—Josef vonSternberg—John Wayne,Janet Leigh,Jay C.Flippen,PaulFix,RichardRober,RolandWinters, HansConried.Color—112 min. GIRLINTHEWOODS—Rep ‘58—Tom Gries—Forrest Tucker,Maggie (1G),

118.

Hayes,BartonMacLane,DianaFrancis,MurvynVye,PaulLangton. 7 (a i,

NSCONRIED

Hl,

ByLeonardMaltin

May,1970

WhenweapproachedHansConried,oneofourfavoritecharacteractors,foran interview,he acceptedgraciously, butnotwithouta touch ofbewilderment. Hisconversation wasfilledwithsuchinterjections as “Areyoureallygoingtoprintallofthis?Youmustbe scrapingthebottomofthebarrel.”Farfromit,Mr.Conried’sinterviewprovidessome ofthemostcandidandwittyobservationsofHollywood anditspeople wehaveeverprinted.Whenwespoketohim,theactorwasappearing withthenationalcompanyofHermanShumlin’s playSpofford. FFM:HowdidyoucometobeinDRAMATIC SCHOOL, yourfirstfilm? CONRIED:It was 1938.I had been working as a radio actor already

forthreeyearsin Hollywood. Therewerean awfullotofus;theyhad abouttwentyyoungpersonsinthatflm:AlanHale,Jr.,DickHaymes, LanaTurner—who stillhada schoolteacher ontheset,anunbelievably beautifulyounglady—some verypromisingyoungpeople.Itwasastory withas muchrealityaswasrequiredin thosedays,eachagefeeling thatitssubsequenttheateristhemostrealistic.Wethoughtittouched ontheveryheartofmatters;indeedit wasjusttinselandpuffery,as weremostofthethingsthen,andas ourchildrenwillfeelaboutmost ofthe pictureswemakenow.Itwasabouta dramaticlittlegirl—you mightwantto makenotesofthis story,ifyoulike,if it’ssufficiently originalto remake—Luise Rainerwiththis markedVienneseaccent wasa Parisiangaminwhoworkedina gas-meterfactoryatnight,and apprenticedherselftothetheater,inwhichbeforeourmoviewasover sheestablishedherselfasa famousstar.Andtheyrequiredsomeother

LEONARD MALTIN youngpeopleto surroundher.Whenonethinksback—you know,the best effortstoday,the most dramatic efforts hardly entail more than

twoorthreeleadingactors,andthenthe otherpeoplearelittlemore thanatmosphere...peopleapprehendedonthestreet,rollingdrunks orstrippingcars.Here,I cannottellyouhowmanyexquisitelydressed andhandsomelypresentablepersons,whoindeedinprivatelifewere probablyunfrockedRussiangrand dukes,as extraswerein those days,werestandingaroundineveningclothesdoingthesemarvelous scenes—thatwas typical of that era. Mybeginning salary,as I recall,

was$100aweek,whichwasratherlessthana manwouldgetwhowas

sweptoffthestage,butweallfeltwewerepartofmotionpictures—my firstmoviejob,whichwasprettyexciting.InthatpictureRandBrooks wasoneofthekids,VirginiaGrey...Therewasa largenumberofus, and wewereall madlyin lovewithoneanother,but primarilywith ourselves,I fancy,asyoungactorsare. FFM:Didtheyputyouundercontractatthattime? CONRIED: Ohno,but1wasa bitplayeratMetroforseveralyearsafter. 1wasneverinvitedtojoinanysortofstable,althoughtherealwayswas a groupofyoungpeoplebeinggroomedforstardom,butmypromise wascertainlynotinthedirectionofbeingaleadingman,andIprobably wouldhavehadtowaitanothertwenty-five yearsbeforebeingadmitted—if Ihadpossiblyattainedthatexcellence—to thecircleofcharacter actors.AtthattimeMetrohad,asyouknow,a numberofsplendidactorswhowereidentifiable tothefamilyaudiencewhoattendedmotion pictures several times a week at that time ... Douglass Dumbrille,

ReginaldOwen,LionelBarrymore,LewisStone... Thesegentlemen hadlifecontracts,andiftheworldhadnotturnedupsidedown,ifthere werestillmotionpicturesin Hollywood, I wouldhopethatI wouldbe amongthatfortunatefew.Thatworldispast,ofcourse. FFM:Buttheykeptyouoncallquiteoften.

THE REAL STARS

AnnRutherford, HansConried(makinghisfilmdebut),Lana Turner,EricLinden,VirginiaGrey,JeanChatburn,andLuise RainerinDRAMATIC SCHOOL(1938)

CONRIED: IwasusefultoMetro-Goldwyn thenforsometime.Shortly afterthat,the vogueforNazipicturescamein,and mynamebeing Germanicit attractedattention,andI appearedthenforeverystudio, inlesserpicturesveryoften—in everypossibleNaziuniform.I sleptin a turtlenecksweater.

FFM:Youwere in a theater set-upmuch like this one in IT’SA WONRERFULWORLD.

CONRIED: Ohyes,I’dforgottenthat;thatmayhavebeenthesecond filmIdidforMetro.Iwasthestagemanagerinasummertheater,about whichIhadalotofexperiencesinceIhadbeeninsummertheaterjust a S€ason

Or SO before.

FFM:1wastryingtorememberotherfilmsinwhichyouhadappeared unbilled,andI recalledONBORROWED TIME.

LEONARDMALTIN

examinationof my WellI mustsaythatyourmicroscopic CONRIED: otherwisehardlyinterestingcareeris amazingto me.! workedforthe firsttimeinthatwithagentleman forwhomweallhadenormousrespect, CedricHardwicke. AndLionelBarrymore playedthepartthatDudley DiggeshaddoneonBroadway. ButLionelalwaysgotthoseparts.Just a withme, coupleofseasonsagoEdwardEverettHorton,in conversation said,“Hans,youknowwhentheOldBoydied,I thoughtI’dinherithis crownandwheelchair, andgetallthoseparts—and afewmonthslaterthe wholeindustrydied!”SoEdwardEverettfellshortofhisgoal,aswealldid withourprivatedreamsatthattime.Itwasveryoftenlikelythatoneactor wouldsitby,closein age,andassumethathewouldoutlivethegrander actor,andeventuallyinherithisroles.I knowwhenI wasthirtyor forty yearsshortoftheiragesIwouldmarkcertainactorsand stealwhatIcould,

thinkingIwouldgettheirpartswhentheywenttotheActorsHome.InON BORROWED TIME , rightattheverybeginningIwasaconsumptive boy and alift, andhesaid“Notyet”verywisely, whowantedto giveMr.Death theaudience knewimmediately whathemeant,andIcoughedmywayout ofthescene.ThatwasthesortofstellarroleIenjoyed foranumberofyears. FFM:Doyourememberanyothers? CONRIED: Iwouldn'thaveremembered thatifyouhadn’tmentionedit. FEM:Howabout DULCY?

actor character that;therewasawonderful Ohyes,I remember CONRIED: inthat,a splendidgentleman,RolandYoung.BythistimeI hadgained somenotoriety. WhenDULCY camealongIwasalreadya charactercomedian,thoughImusthavebeentwenty-one ortwenty-two. InDULCY I hadnolines,althoughI rememberthewordsaturninewasusedto describe

meinthescript.] wasawriter,andI sattypingina canoe,ina lake,and Duley,inhercomediceffortsatrambunctiousness, tookamotorboat onto thelake,andcreatedenoughofawavetooverturnmyboat.Andthatwas a biglaugh,toseea manofsomedignityandscholarly bentthrownin

THE REAL STARS

thewater.Thatwasabigjoke.Well,inordertogetoutofthepicture,they useditagain;thistimesherunsoutontothelakeagaininherboat,and youseethiswriteragainandsherunsbyandagainIamthrownover,but onthisoccasion1amina kayak,and!turnaroundandcomeupupright, stilltyping.Soalthoughitwasa verysmallpart,peoplelaughedand remembered itasthepicturefadedout.Nowthateffect,1mustconfess toyou,wasdonewiththekayakonanaxle,withwagonwheelsatboth ends;manuallythesewheelswereturnedandIwasbroughtup.Well,it wasacoldmorning,andweshotoutofdoors,andaminoractorisnottoo importantandIwasnoticeably cold,andmyworkhavingbeendone,my unimportanteffortshavingbeennotedonfilm,I wasdismissedpretty muchtromtheattentionofeveryonebutthisgenerouscharacteractor RolandYoung, whoinvitedmeintohisdressingroomtogetwarm,andhe gavemeamarvelous whisky, whichIdidnotappreciateandprobablyto thisdaywouldnotappreciatesinceI amnota drinker,buthisChristian effortswerenotedandremembered bythisyoungactor. FFM:I’veputtogethera listofallthecreditsI couldfindforyou. CONRIED: Letmeseethat—my God,didI reallydothatmanypictures? WEEKENDFORTHREE,norecollectionofthat.WIFETAKESAFLYER,

I rememberthatbecauseI playedforthefirsttimewitha Dutchaccent. FALCON TAKES OVER, I dida coupleofthem—THE GAYFALCON, a titlewecouldn'tevenusetoday;Iwasahotelclerkinone,a spyinanother. UNDERGROUND, Iremember, a Polishaccent.JOURNEY INTOFEAR I sawjustrecently. I playeda magicianwhoisaccidentally murderedina nightclub; theyintendtogetJoeCottenbuttheygettheinnocent magician. I spokeinaDutchaccentandaddressed theaudience inFrench, English, spoke tomyassistantinGermanandTurkish, whichtheywroteonablackboard. FFM:DidWellesdirectyouinthat? CONRIED: No,it wasNormanFoster,who’dbeena leadingmanin pictures,a very sweetguy.THEBIGSTREETgotalot ofattention,and

LEONARDMALTIN

IgotthebestnoticeI’veevergotteninmylife,fromJamesAgee.I hada verysmallpart,a NewYorknightclubheadwaiter, aratherdisreputable, disgusting,repulsiveman.I hadonelinewhereFondacomesupfora jobasabusboy,andIremarked, “Idon’tknow,Iguessyou'lldo,youlook prettysmearytome.”ThatwasoneofmyflightsintoNewYorkaccent thatIhopedIhadlaminatedoverbymyaffectation ofEnglish—I’d been outofNewYorknowforsevenyears.Ageewaskindenoughtosaythat Mr.Conried’scomedymadeeveryoneelse’slookforced.I remember HOSTAGES, withBillBendix;itwasa Czechstory.1wasa pimplyand weak Nazi;I alwaysplayed pimply or weak Nazis,or made Nazis,or

cruelNazis,orvillainousNazis,buttherewasn’ta humanbeingamong them.THELADYTAKESA CHANCE, I wasajuvenileagain,which wasa rarity.1wasoneofthreerebuffedsuitorsofJeanArthur’s—Grant Withers,GradySuttonandImadeupthetrio,butnaturallyJohnWayne walkedoffwiththeleadinglady.CRAZY HOUSE wasa shametulthing...

GradySuttonandHansConriedviefortheaffectionsof Jean Arthur in ALADYTAKESA CHANCE (1943)

FFM:ButyougotGuestStarbillinginit. CONRIED: Well,yousee,I nevermadeitinpictures, butmyconstantemployment inradiomademesufficiently independent tobarteralongwithmy |dls

THE REAL STARS

agent—we werealready inabargaining position. Iftheywantedmeforasmall part,itwasuptometosaywhichdaysIwouldbefreest.Because Iwasalready steadilyemployed inradio;] alwayshadthattofallbackon.HadI nothad that,Iwouldhavebeenjustmorelaboronthemarket. ButIwasinaposition wherethestudioswouldsay,“Well, wecan’tgethim,he’sgotashowthatday. Canyougethimthenextday?”Alsotherewasthefactthattheywerebizarre parts,andIwasyoung; thereweren't thatmanybizarre, eccentric actorsofmy age.Plentyofsplendidolderones,butiftheywantedcrazyyoungerpeople, youhadtobea littletougher. AndI guessI’dalreadyprovedI couldsella coupleoflines,somymoneywas alittle better.Andthenbegan“Special gueststar,” whichwasinlieuofmoney; tothisday,ifyousee“Also starring,” youknowtheactor’s introuble. MRS.PARKINGTON Iremember, because Fortunio Bonanova playedanoperasingerandIwasanoldGerman; Iwasin mytwenties, playinga maninhissixties, whichisn’teasywhenthecamera’s thatclose.ONCEUPONAHONEYMOON Iwasa Frenchtailor,Ithink.In PASSAGE TOMARSEILLES Iwassingledoutasoneofthechiefvillains, andGeorgeTobiasbeatmetodeathwithhisfists.THESENATOR WAS INDISCREET~I hadtouseabroadNewYorkdialect, butwhatI remember mostwasthatIworked withGeorgeS.Kaufman, andIwasterribly impressed.

Hans Conried consoles GloriaDeHaven in a scene from SUMMERSTOCK(1950) 63

LEONARDMALTIN

FEM:Howwas he as a director?

CONRIED: Hewasnota greatsuccessinpictures,butsuchawittyman withsuchan aurain myyoungeyesitwouldbe hardto appraisehim precisely. MYFRIEND IRMAwasa shamefulthinginwhichIonlyreally half-appeared, sincethebestpartofmyperformance, doneinlongshot, wasplayedby FelixBressart.1haddoneMYFRIENDIRMAforfiveor sixyears,whenitwasaverypopularradioshow,andIplayedProtessor Kropotkin,an oldRussianJew.Theywantedmeforthispart,which| had established to the delight of millionsof radio fans.Well I was so

palpablywrong,thathappilyI]hadtheintegrityto say,“Yourecrazy,| can'tplaythiseighty-year-old man.”Itmayhavebeenonlycourtesy—my pridepromptedmetothinkthattheyreallywantedme.Atanyrate,very sensiblytheyemployeda finecharacteractor,FelixBressart,whodied inthemiddleofproduction. Thentheproducer,whowasan oldfriend ofmine,said,“Hans,you'vegottofishusout.”SothenIplayedthepart; theclose-upsareindeedlittleoldme,andverybadlyperformed,Iwas soobviouslymadeup.Thebestpartsofthatperformance arethelongshots,inwhichFelixBressartstillcrossesthecamerafieldofvision.My voicewasusedthroughout. Let’ssee,NANCY GOESTORIO—oh, Louis Calhernwasin that.Yousee,1immediatelyrecognizethe character actorswhosepartsIwaspatientlyawaiting.Iplayeda SouthAmerican waiterinthat.1don’tknowanythingaboutsomeoftheseotherpictures— BEHAVE YOURSELF Iremember; Iplayed a Cockney inthatwithFrancis L.Sullivan.Wheredoyouseeallthesepictures?Mostofthemarenot evenworthreshowing. Thesewereundistinguished pictureswhenthey weremade!] rememberthe firstpicture I made,with Paul Henreid,for

SamKatzman,a terriblefilm,thekindwecalledtits-and-sand, sortof aWesterninburnoose.!thinkintwoweekswehada musicalnumber, theburningofa city,anattack—it wasunbelievable. Nowit’severyday workto getthingsdonesofast.Then,itwassomethingyoudidn’ttell yourfriendsabout,whenyouneededthemoney.YOU’RE NEVER TOO YOUNG, I don’trememberatall...

THE REAL STARS

FFM:ThatwasMartinandLewisagain. CONRIED:Oh really?I mustrememberto stayout ofthose.THE TWONKYwas somethingin whichI wasthe star.1wasthe star in that,

butInevershouldhavemadeit.Weknewwhenwewereshootingitthat itwasimpossible. ]wentupandapologized tothebacker,awealthyman fromwiremanufacturing, andI expressedalreadymyconcern,while wewerein production! Theyrenteda mansiononThirdStreetin Los Angelesfor$50a day;wedidn’tevenshootitina studio.So]expressed myconcerntothebacker,andhesaid,“Don’t worry,Hans,I neededa tax write-off thisyearanyway.” SoalreadywecouldheartheAngelofDeath rustlingherwingswhilewewereshootingthepicture.ArchObolerwas thefirstonetomakemeastar inradio,co-starringwithfamousartists frommotionpictureswhowouldworkinradioplays.Iremember hepicked meto co-starwithBetteDavisinBelovedFriend.Heis an enormously talentedman,butnotverystrongincomedy.THEAFFAIRS OFDOBIE GILLIS I’veneverseen,butIplayedanEnglishprofessor, andI’vehada numberofpeoplecongratulatemeonit.SIRENOFBAGDAD wasthe oneforKatzman.PETERPANIworkedtwo-and-a-half yearson... FFM:Canyoutellmeaboutthat? CONRIED: Well,firstyou'reemployedto dothesoundtrack.Thatwas satisfactory.Then,Disney’sthe onlyonewhohas moneyenoughto makea privatemoviethatnobodyseesexcepttheanimators.Heshoots a movie.That’swhytheearlyDisneyshadpeopleaghast,saying,“How cantheybesorealisticinhiscartoons?” Hehadmoneyenoughtomake apicture,andthenhisanimatorswouldsay“Waita minute,onthatline, whatdoeshedowithhishand?”or“Whathappenstothecape?”Usually theyhadpantomimists and/ordancers,buttheyfeltthatIcouldplaythe part.PETERPANhadbeenthoughtofbyDisneyasearlyas 1935;that wasthedateontheoriginalcartoonshehad,as]remember.Nowwhen IsayIworkedtwoanda halfyears,I don’tsaythatIworkedconstantly,

LEONARD MALTIN butoverthatperiodtheywouldsay“Haveyougottwoweeks?”“Have yougotfourdays?”“Haveyougotaweek?”Iwasincostume,andthey hadanelementalset,andIwouldgothroughthebusinessmakingmy physicalactioncoincidewiththesoundtrack, whichwasalreadyfinished. Usually,indubbing,whichI’vedonea lotofforforeignactors,youhave tomakeyoursoundcoincident withhislatentaction,buthereyoumake yourphysicalactioncoincidentwiththe soundtrack.Thatwaslotsof fun;it’saveryfriendly,familialsurroundingsatDisney,particularlyin thosedays.

NancyOlson,JohnWayne,andHansConriedin BIGJIMMcLAIN(1952)

FFM:WhataboutTHE5000FINGERS OFDR.T? CONRIED: Thatwasthefilmthatmighthavechangedmylife.There isa gentlemanbythenameofTedGeisel.I frst becameawareofhis effortsintheearly1930swhentherewasa campaignfortheinsecticide Flit.He’dhavefunny-looking peopleinexotic-looking costumes,and

THE REAL STARS

one wouldbe shouting, “QuickHenry,the Flit!”He was a cartoonist,

andhis cartoonsweresignedDr.Seuss.Heevolvedto be the great children’sbookwriter.1methimfirstafterthe WarwhenI gotback trom Japan, it must have been 1946or 47.He had a picture to do, a

documentaryofeditedcapturedJapanesefilm.ThefilmwasDESIGN FORDEATH, andheneededtwovoices(he’dwrittenthefilm)tonarratethe film,so he tookKentSmithto dotheAmericanvoice,and I was to do the Japanese voice.Anyway,several years later came THE

5000FINGERS OFDR.T,whichwastobe madeunderthedirection and over-alloppressionofMr.HarryCohn.Thepicturewasto be a bigone,andMr.Geisel,or Dr.Seuss,designedit,wroteit,designed thecostumes,designedthescenery.Agooddealofmoneywasspent: it wasa greatbeautifulpicture.TheAmericanshavenevermadea reallysuccessfulfantasy,althoughofcoursethiswasa comedicone. Thepicturewasbadlycutinfearandanguishofthereappraisalafter itwasmade,evenifitwasevidenttothoseknowledgeable butinartisticheadsofstudiothatit mighthavebeenan artistictriumphrather than a financialone.Butin an attemptto makeit one,theycutover elevenmusicalnumbers,andre-shotforonewholeweek.I hadnever hadanysuchpartbefore,neverhavesince,andprobablyneverwill again.WerehearsedforeightweeksbeforeI wasengagedto shoot toreightweeks,whichwasan extravagancethat1asa bitplayerhad neverknown.Tomakethisverylongandtediousandsomewhatteartulstoryshortforme,thepicturenevermadeitsprintmoneyback.It wascomparableonlytoWILSONas oneofthegreatmoney-losers of all time; it would stop conversation for some years thereafter at any

Hollywoodsocialgathering.Ifyoumentioneditpeoplewouldlaugh, andifyouwereconnectedwithityoumightcoughembarrassedly. At anyrate,it wasa bigfailure,althoughit didwelland gotmarvelous reviewsin Tokyo,Berlin,Paris,andLondon.Ifit hadbeena success, withmyprominentpart in the titlerole,it wouldhavechangedmy lite.Thegeneralpublicthinksofa breakasbeingan opportunity;no. Abreakis an opportunitythatpaysoff.

LEONARDMALTIN

AstheinfamousDr.Terwilliger, withMaryHealy,TommyRettig,andPeter LindHayesinTHE5,000FINGERS OFDR.T @953)

FFM:Canyouthinkofanyotherfilmswe’vemissed? CONRIED: I’mstillworryingaboutthe titlesyou’vegot!Wecannot presumeto sellpersonsasyoungasyouthatI wasevera recognized characteractor.I wasabitplayermostly.I alwayshadthesubstanceof havingthefinancialabilityofearningmybreadasa radioactor,and| hadsomedistinctionthere.THE5000FINGERS OFDR.Twasdonein 1953,whichwasthe yearthat radiodied.Itwassucha gracefultransition,

becauseyoucouldsmelldeathintheair.Television hadbeenencouragedby CBSandNEC,whosawveryclearlythe handwritingonthe wall,andchosesuddenlyto changetheirlineofwork.Theywerestill securefinancially, anditworkedoutverywellforthem,butformanyof us it was difficult.1remember directly after THE 5000 FINGERSOF

DR.T wasfinished,I wentoffto NewYorkto appearonthe stagefor thefirsttimeinnineteenyears.ButalthoughI wasattheheightofmy financialsuccess in radio,I could see that there was no future to it. It

THE REAL STARS

wasboundtoendthatyear,andindeedwithinfourmonthsalltheradio entertainmentto whichAmericahadlistenedendedrightthere.SoI wentoffto playin ColePorter’sCan-Can,whichI didfora yearanda halfin NewYork.I camebackhomeanditwasn’teasy,havingbeena radioactor;wewereallconsideredbadactors,yousee.Andallofthe televisiondirectorswereyoungmen,and!supposetheymayhavebeen waryofmenwhoweremoreveteranthantheyinyears,ifnotinactual knowledge, andwedidnotgeton.Ex-radio actorsdidnotgogracefully intotelevision.Ihavebeenveryluckytohavemadethetransitionand stillbe workingas an actorofsorts.1scratchedaroundanddida few televisionshows,mostlyas a professional wiseguy,notsomuchas an actor,butasapanelist,sinceItalkreadily—not sensibly, butreadily.Then whenJackPaarbegantouseme,thensuddenlyI becamea television personality, whichhas givenmeentreein severaldirections.Nowas a provincialactor,I hndmyselfacceptedallaroundthecountry,ifnot in NewYork. FFM:DOyourememberTHREEFORBEDROOM C? CONRIED: Ohyes,withGloriaSwanson. Thatwasapleasantexperience. Itwasa picturemadeto followup hersuccessin SUNSETBOULEVARD,

whichitdidn’t.Theyhada leadingmanthey’ddiscoveredsomewhere, a verynicefellowwhoI thinkwasa shippingclerk;a verynicefellow whowaslikea stick.Wehada marvelously funnysceneinwhichIwas a dyspepticpublicitymanfromHollywood, andFredClarkwasanactors’agent;wewereinaposttrain,andIwasbeingshavedbya nervous barber,playedby GusSchilling.Itwasthe highlightofthe picture.It wasprettybroad,cheapstuff,butthat’sthekindofstuffI mostenjoy. FFM:WillyouforgivemeifI don’trecallwhatyoudidin BUSSTOP? CONRIED: I won'tforgiveyou,I'llbe verygratefulifyoudon’trecall it.| neversawthe picture.I playedthepart ofEliotElisofon,thephotographer.Itwasa walk-on,thetiniest,mostmodestbit.AtthetimeI

MALTIN LEONARD wasimportantenoughto refusesucha part,but] wasconnedby a very famousmannamedJoshuaLogan.Hesaid,“Mr.Conried,Ithinkyou're andlikea foolI bit.Forlessmoneythan| thefunniestmanin America,” shouldhavegotten,andIshouldn’t havetakensuchalousypartatthat stageinlife,I wentdowntoPhoenixwheretheywereshootingata rodeo. Andofcourseto thisday,Mr.Loganhasnotreiterated,certainlynotin mypresence(probablythat’sbecauseI’veneverbeenin hispresence) that1amthefunniestactorinAmerica.Soyousee,evena matureactor can be most ingenuouson occasion.

FFM:WhataboutBIGJIMMcCLAIN’ CONRIED: JohnWaynewaswonderful;there’salwayssucha warm feelingonhissets.I hadworkedwithhimin a short-lived radioseries calledThreeSheetstotheWind,whichwassignificantinitstitleforthe don’tinclude generaldeportmentofseveralmembersofitscompany—I Mr.Wayne.Helikedme,butlateronwhenhewasproducinghisown pictures,I didn’tfitintotheWayneformulaverywell.ButonBIGJIM hewrotein a characterwithanameveryclosetomyown,and McCLAIN it wasa bizarre,broadcharacter.It wasa smallpart,andhe offeredme a modestsalary;it wasa questionin mymind,andin myagent’smind, whetherit wouldwarrantmygoingto Hawaii,whereit wasbeingshot. onthetelephonemyagentremarked,“Ican’tgethold In conversation ofConried,I justtalkedto hiswifeat home,”andthe castingdirector said,“Tellher she can cometo Hawaiitoo.”So that evening when I got

hall. home,thebagswerealreadypackedandwaitingin thedownstairs Itwasa veryshortjob,buta veryverypleasantjob.Weshotit,andIhad job, andhad a mustacheat thatperiod;whenIcamehomeI hadanother theyreshotthe to removethemustache,andhavea haircut.Ultimately, witha pastedonmustacheto matchit. sceneoveragainin Hollywood ButI rememberthewarmfeelingofcamaraderieonthesetwithDuke inWayne.Heengendersa verywarmloyaltyonthepartofhis fellows; deedit istrulyabandofbrothers.Hispublicfacadeofbeingeasygoing, andmanly,andhearty,isquitefactual.

THE REAL STARS

FFM:Doyouremember anythingaboutworking withJosefvonSternberg? CONRIED:Mr.von Sternberg,ofcourse,wasa greatartist;he was thebossoneverypicture.I workedwithhimoncein JETPILOT,asa Russianofficer, muchasI'dplayedGermanofficersbefore.I madesome demurranceabouttheuniform,whichwasvirtuallyinventedbyMr.von Sternbergforthisoccasion.Thepicturewasincolor,andheredesigned theuniformtobecolorful; itwasamuchmoredashingcostumethanthe RussianArmyreallyhad.And!Imadearather rakishentrancewiththe coatovermyshoulders,thesleeveshangingempty.Hesaid,“Conried, whatareyoutryingtodo,playanofficeroftheAustrianImperialArmy of1914? Putyourarmsinthosesleeves!” Well,thatdashedmyhopesfor thatscene.Thoughitwasa smallscene,withtheopulencethatMr.von Sternbergusuallydemandedtheyhadnotonlydesignedthisuniform butmadeit,asitwere,fromthewholecloth,fromthebootsup,andwhen Iputmyarmsinthesleevesofthetopcoat,theuniform,whichprobably costseveralhundreddollars,couldonlybe seenatthecollar.

LEONARD MALTIN ProfessorConriedis notenthusedbystudentsDebbieReynoldsandBobby Van in THE AFFAIRSOF DOBIEGILLIS(953)

FFM:Andat Disneyagain,youwerein DAVYCROCKETT.

It wasdonein threesegments;I onlyfiguredinthethird. CONRIED: It wasverypopular,ofcourse;andIwassuddenlyrocketedintogreat fameamongthe youngerelementin America.Wewenton a camping trip at that time with a very close friendof mine,not a fellow theatricallyinclined.I wasintroducedto the othersat this camping site,andnooneknewme,whichwasquiteallright.I wasnotknown bytheparents,butthekidsbeganto hangaround.I rememberoverhearingpart ofa conversationsomeof them had withmylittle girl, yourdaddy’sa whowasthen twoorthree.And onekidsaid,“Trilby, moviestar!”Andshe,in all herinnocence,said,“No,Papa’snotthat. Papa’san actor. (Editor’s note: Conried continued acting on stage and television,

and doingvoice-overwork,forthe rest of his life.His remaining feature-flmcredits:ThePhantomTollbooth[1970,voiceonly],The BrothersO’Toole[1973],TheShaggyD.A.[1976],The MagicPony andOh,God!Book voiceonly],TheCatfromOuterSpace[1978], [1977, II [1980].In 2002,Hans Conried:A Biography,Witha Filmography, Stageand VoiceWork,bySuzanne and a ListingofRadio,Television, Gargiulo,waspublishedby McFarland&Co.Hedied in 1982at the ageof64.)

THEFILMSOF HANSCONRIED (Director’s namefollows year) is as completea listascanbe determinedofHansConried’s Following featurefilms.As he oftenwentwithoutbilling,other appearances

THE REAL STARS

mayconsequentlybe discovered.Whileat MGM,he appearedin at leastoneshort,anMGMMiniaturewithEdmundGwenncalledTHE GREATEST GIFT@942). Reportedly,Conriedwasfeaturedin,but cutoutofthe finalreleaseprintof,JUDGMENTATNUREMBERG (1962). ds

DRAMATICSCHOOL—MGM ‘38—Robert B.Sinclair—Luise Rainer, Paulette Goddard, Alan Marshal, Lana Turner,Anthony Allan,

HenryStephenson,GenevieveTobin,GaleSondergaard, Melville Cooper,ErikRhodes,VirginiaGrey,AnnRutherford, RandBrooks. SQTit. IT’SAWONDERFUL WORLD—MGM ‘39—W. S.VanDyke—Claudette Colbert,James Stewart,GuyKibbee,NatPendleton,FrancesDrake,

EdgarKennedy,ErnestTruex.86min. ON BORROWEDTIME—MGM‘39—HaroldS. Bucquet—Lionel

Barrymore,CedricHardwicke,BeulahBondi,UnaMerkel,Bobs Watson,NatPendleton,HenryTravers.99min. DULCY—MGM ‘40-—S. SylvanSimon—Ann Sothern,JanHunter, RolandYoung,ReginaldGardiner,BillieBurke,LynneCarver,Dan Dailey.64min. BITTER SWEET—MGM 40—W.S. VanDyke—Jeanette MacDonald, NelsonEddy,GeorgeSanders,FelixBressart,LynneCarver,Jan Hunter,EdwardAshley,DianaLewis.Color—92 min. MAISIEWASA LADY—MGM ‘441—Edwin L.Marin—Ann Sothern, LewAyres,MaureenO’Sullivan,C.AubreySmith,Joan Perry,Paul

Cavanagh.79min. UNDERGROUND—WB 41—Vincent Sherman—Jeffrey Lynn,Philip Dorn,KaarenVerne,MonaMaris,FrankReicher,MartinKosleck. 95 min.

THEGAYFALCON—RKO 41—Irving Reis—George Sanders, Wendy Barrie,AllenJenkins,AnneHunter,GladysCooper,EdwardBrophy, ArthurShields.67min. UNEXPECTED UNCLE—RKO ‘41—Peter Godfrey—Anne Shirley, JamesCraig,CharlesCoburn,ErnestTruex,ReneeHaal,Russell Gleason.67min.

LEONARD MALTIN 41—IrvingReis—DennisO’Keele, 1. WEEKENDFORTHREE—RKO

die

JaneWyatt,PhilipReed,EdwardEverettHorton,ZaSuPitts,Franklin Pangborn,MarionMartin.65min. A DATEWITHTHEFALCON-—RKO 41-—Irving Reis—George Sanders,WendyRarrie,AllenJenkins,JamesGleason, MonaMaris, VictorKilian.63min.

ie

JOANOFPARIS—RKO 42—Robert Stevenson—Michele Morgan, PaulHenreid,ThomasMitchell,LairdCregar,MayRobson,Alex Granach,Alan Ladd.95min.

Le

eb

LE

SABOTEUR—Univ 42—Alfred Hitchcock—Priscilla Lane,Robert Cummings,NormanLloyd,OttoKruger,VaughnGlaser,Murray Alper,DorothyPeterson,AlmaKruger.108min. THEWIFETAKESA FLYER—Col 42—Richard Wallace—Joan Rennett,FranchotTone,AllynJoslyn,CecilCunningham,Roger Clark,LloydCorrigan.86min. ‘42—Irving Reis—George Sanders, THEFALCONTAKESOVER—RKO

LynnRari,JamesGleason, AllenJenkins,HelenGilbert,WardRond, EdwardGargan,Anne Revere.63min. RENDEZVOUS—MGM ‘42—George Sidney—Lee Bowman, Ley,PACIFIC

Vs

Jean Rogers,MonaMaris,CarlEsmond,PaulCavanagh,Blanche Yurka,RussellHicks.76min. BLONDIE’S BLESSED EVENT—Col 42—Frank Strayer—Penny Singleton,Arthur Lake,LarrySimms,Jonathan Hale,Danny Mummert.75min.

INTOFEAR—RKO 42—Norman Foster,OrsonWelles— 12, JOURNEY OrsonWelles,JosephCotten,DoloresDelRio,RuthWarrick,Agnes Moorehead,Jack Durant,EverettSloane.69 min. AGENT—Col 42—Michael Gordon—Rruce Bennett, 19. UNDERGROUND

LeslieBrooks, FrankAlbertson, RhysWilliams, JulianRivero, George McKay.70min. A,

THEBIGSTREET—RKO 42—Irving Reis—Henry Fonda,LucilleBall, BartonMacLane, EugenePallette,AgnesMoorehead, SamLevene, RayCollins,MarionMartin.88min.

THE REAL STARS

Zul

NIGHTMARE—Univ 42—Tim Whelan—Diana Barrymore,Brian Donlevy, GavinMuir,HenryDaniell,ArthurShields,StanleyLogan. $0 min.

Ae, ONCEUPONAHONEYMOON —RKO 42—Leo McCarey—Ginger

Rogers, CaryGrant,WalterSlezak, AlbertDekker, AlbertBassermann, FerikeBoros.117min. AS: HITLER’SCHILDREN—RKO 43—EdwardDmytryck—TimHolt,

BonitaGranville,KentSmith,OttoKruger,H.B.Warner,Lloyd Corrigan.83min. ZH,HOSTAGES—Para 43—FrankTuttle—Luise Rainer,WilliamBendix,

RolandVarno,OscarHomolka, KatinaPaxinou,PaulLukas,Arturo deCordova.88min. 25

A LADYTAKESA CHANCE-—RKO 43—WilliamA. Seiter—Jean

Arthur,JohnWayne,CharlesWinninger,PhilSilvers,MaryField, DonCostello,GradySutton.86min. 26. CRAZY HOUSE—Univ 43—Edward Cline—Ole Olsen,ChicJohnson, MarthaO'Driscoll, PatricKnowles, CassDaley,PercyKilbride, many guest stars. 80 min. Af HISBUTLER’S SISTER—Univ 43—FrankBorzage—Deanna Durbin,

PatO’Brien,FranchotTone,EvelynAnkers,ElsaJansen,Walter Catlett,Akim Tamiroff,Alan Mowbray.94 min. 28. PASSAGETO MARSEILLES—WB 44—MichaelCurtiz—Humphrey

Bogart,MicheleMorgan,ClaudeRains,PhilipDorn,Sydney Greenstreet,PeterLorre,JohnLoder,GeorgeTobias.110min. 29. MRS.PARKINGTON—MGM 44—Tay Garnett—Greer Garson,Walter

Pidgeon,EdwardArnold,AgnesMoorehead, CecilKellaway, Gladys Cooper,FrancesRafferty, TomDrake,PeterLawford, DanDuryea. 124.Shi. a. THESENATORWASINDISCREET—UI 48—GeorgeS.Kaufman—

ols

WilliamPowell,EllaRaines,PeterLindHayes,ArleenWhelan,Ray Collins,AllenJenkins.81min. DESIGN FORDEATH—RKO 48—documentary featurenarratedby ConriedandKentSmith.48min.

LEONARD MALTIN a:

THEBARKLEYS OFBROADWAY—MGM ‘49—Charles Walters—Fred Astaire,GingerRogers,OscarLevant,BillieBurke,GaleRobbins, Jacques Francois.Color—109 min.

IRMA—Para 49—George Marshall—John Lund,Diana ao. MYFRIEND Lynn,MarieWilson,DeanMartin,JerryLewis,KathrynGivney, PercyHelton.103min. ‘49—William D.Russell—Claudette Colbert, 34. BRIDEFORSALE—RKO

RobertYoung,GeorgeBrent,MaxBaer,GusSchilling, CharlesArnt. OFfin. 49—GeneKelly,StanleyDonen—Gene Kelly, 30. ONTHETOWN—MGM FrankSinatra,BettyGarrett,Ann Miller,Jules Munshin,Vera-Ellen, FlorenceBates,AlicePearce.Color—98min. ‘s0—Robert Z.Leonard—Ann Sothern, BO.NANCYGOESTORIO—MGM

JanePowell, BarrySullivan, CarmenMiranda, LouisCalhern, Fortunio Bonanova,Scott Beckett.Color—99minutes. 37. SUMMERSTOCK—MGM‘50—CharlesWalters—JudyGarland,

GeneKelly,EddieBracken,GloriaDeHaven,MarjorieMain,Phil Silvers,RayCollins.Color—109 min. ‘51—Norman Taurog—Jane 38. RICH,YOUNG,AND PRETTY—MGM

Powell,DanielleDarrieux,WendellCorey,VicDamone,Fernando Lamas,MarcelDalio,Una Merkel.Color—95min.

YOURSELF—RKO ‘51—George Beck—Farley Granger, aedBEHAVE ShelleyWinters,WilliamDemarest,FrancisL,Sullivan,Margalo Gillmore, LonChaney.81min. 4O. TEXAS CARNIVAL—MGM ‘51—Charles Walters—Esther Williams, RedSkelton,KeenanWynn,HowardKeel,PaulaRaymond,Tom Tully,AnnMiller.Color—77 min. BilesTOOYOUNG TOKISS—MGM ‘51—Robert Z.Leonard—June Allyson, VanJohnson,GigYoung,PaulaCorday,KathrynGivney,Larry Keating.91min. AZ. THREEFORBEDROOM C—WB ‘52—Milton Bren—Gloria Swanson,

JamesWarren,FredClark,SteveBrodie,JaninePerreau,Margaret Dumont.Color—74 min.

THE REAL STARS

Walsh—GregoryPeck, 43. THEWORLDIN HISARMS—UI‘52—Raoul

Ann Blyth,AnthonyQuinn,John McIntire,AndreaKing,Carl Esmond.Color—104 min. ‘52—Edward Ludwig—John Wayne,Nancy 44.BIGJIMMcCLAIN—WB Olson,JamesArness,AlanNapier,VedaAnnBorg,GayneWhitman, HalBaylor.90min. 45. PETERPAN—RKO-Disney ‘53—Hamilton Luske,ClydeGeronimi, WilfredJackson—Conried’s voicewasfeaturedas wellas those of BobbyDriscoll,KathrynBeaumont,BillThompson,Heather Angel,PaulCollins,TommyLuske,CandyCandido,TomConway. Color—76% min. 46. SIRENOFBAGDAD—Col ‘53—Richard Quine—Pau] Henreid,Patricia

Medina,CharlieLung,LauretteLuez,AnneDore,GeorgeKeymas. Color—77 min. 47. THETWONKY—UA’ 53—Arch Oboler—Billy Lynn,GloriaBlondell, JanetWarren,EdMax,AlJarvis,NormanField,TrilbyConried. 72Toit. AS.THEAFFAIRS OFDOBIEGILLIS—MGM ‘53—Don Weis—Debbie

Reynolds,BobbyVan,BarbaraRuick,BobFosse,HanleyStafford, LureneTuttle.75min.

OFDR.T—Col ‘53—Roy Rowland—Peter Lind 49. THE5,000FINGERS Hayes,MaryHealy,TommyRettig,JohnHeasley,RobertHeasley, NoelCravat,HenryKulky.Color—88 min. 50. DAVYCROCKETT,KING OF THE WILDFRONTIER—BV ‘55—

NormanFoster—Fess Parker,BuddyEbsen,BasilRuysdael, William Bakewell,KennethTobey,Pat Hogan,HeleneStanley.Color— 93 min. G1,

YOU'RENEVERTOOYOUNG—Para ‘55—Norman Taurog—Dean

Martin,JerryLewis,DianaLynn,NinaFoch,RaymondBurr,Mitzi McCall,VedaAnnBorg.Color—102 min. 52. THEBIRDSAND THEBEES—Para ‘56—Norman Taurog—George

Gobel,MitziGaynor,DavidNiven,ReginaldGardiner,FredClark, HarryBellaver. Color—94 min. =

LEONARO MALTIN ‘56—Joshua Logan—Marilyn Monroe,DonMurray, 53: BUSSTOP—2z0th ArthurO’Connell, BettyField,EileenHeckart,RobertBray,Hope Lange.Color—96min. ‘57— o4. THE MONSTERTHATCHALLENGEDTHE WORLD—UA

ArnoldLaven—Tim Holt,AudreyDalton,HarlanWare,CaseyAdams, MimiGibson,GordonJones. 83min. ‘57—Josef vonSternberg—John Wayne,Janet D9:JET PILOT—Univ

Leigh,JayC.Flippen,PaulFix,RichardRober,RolandWinters,Ivan Triesault.Color—112 min. ‘58—Will Cowan—William Reynolds,Andra 56. THE BIGBEAT—Univ Martin,GogiGrant,JeffreyStone,RoseMarie;CharlieBarnet,Fats

Domino, HarryJames,TheMillsBrothers, Freddy Martin,George Shearing.Color—83 min. ROCK-A-BYE BABY—Para ‘58—Frank Tashlin—Jerry Lewis,Marilyn od Maxwell,ConnieStevens,Baccaloni,ReginaldGardiner,IdaMoore,

GaryLewis.Color—103 min. ‘59—Arthur Dreifuss—Jo Morrow, Jack 58.JUKEBOXRHYTHM-—Col Jones,BrianDonlevy, GeorgeJessel,KarinBooth,Marjorie Reynolds, FriedaInescort.81min.

NIGHTS—Col ‘59—Jack Kinney—Conried’s voice De- 1001ARABIAN

wasfeatured alongwiththoseofJimBackus, Kathryn Grant, Dwayne

Hickman,HerschelBernardi, DawsButler,AlanReed.Color—76 min. ‘63—Gower Champion—Debbie Reynolds, 60. MYSIXLOVES—Para CliffRobertson, DavidJanssen,EileenHeckart,MaryMcCarty, John McGiver,Max Showalter,Alice Ghostley,Alice Pearce.Color—101 minutes. ‘64—JerryLewis—JerryLewis,Ina Balin,Everett 61. THEPATSY—Para

Sloane,PhilHarris,KeenanWynn,PeterLorre,JohnCarradine,Phil Foster,RichardDeacon,NeilHamilton.Color—101 min. ‘64—Gordon Douglas— 62. ROBINANDTHESEVENHOODS—WB FrankSinatra,DeanMartin,SammyDavisJr.,PeterFalk,Barbara Rush,VictorBuono,BingCrosby,HankHenry,AllenJenkins,Jack LaRue.Color—103 min.

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63.THEJAYWARDINTERGALACTIC FILMFESTIVAL—Joseph Brenner‘68—a cartooncompilation fromJayWard’stelevisioncartoons,featuringthevoiceofConriedalongwiththoseofBillScott, June Foray,PaulFrees,DawsButler,and EdwardEverettHorton. Color—40min.

LEONARDMALTIN

Bess Flowers

ByWarren G.Harris January, 1972

Sherarelygoesoutin publicwithoutsomeonestoppingherto askfor her autograph.Thatdistinguishedface,that regalbearing,that immaculatelycoiffedsilvergrayhairwinherinstantrecognition, butfew exceptthemostdedicatedfilmbuffswillknowthename—Bess Flowers, theundisputed“QueenoftheHollywood Extras,” whohasappearedin somanyfilmsthatevenshehaslostcountofexactlyhowmany,though sheestimatesthemtobe inthethousands. Ina careerspanningfortyyears,from1922untilherretirementin 1962,MissFlowersworkedat almosteverystudioin the filmcapital, playingleadsandfeaturedroles,“bits”and,forthe mostpart,“walkons,”in whichshe wasoftenso stunninglygownedand groomed that she stolethe spotlightfromthe better knownplayersin the scene. ItMissFlowers’s estimateofthenumberoffilmsshe’smadeisatall correct,then she couldhavebeen in aboutten percentofallthe pictures

madeinHollywood trom1922—62. Inthelasttwentyyearsofhercareer especially, sheworkedinnearlyeverymajorfilmthathadacrowdscene setinatheatrelobbyorauditorium, restaurantornightclub, cocktailparty ordinnerreception,fashionsalonordepartmentstore.Oftenwearing herowngowns,jewelsandfurs,shelookedimportant,dignified, “classy,” andwasn'tthattheimageHollywood wastryingtoprojectduringthat period?

LEONARDO MALTIN

BessandOlafHyttentrytountieOttoFriesas FrancesDrakeandFrancisLederersubduea badguyin THE LONEWOLFIN PARIS(1938)

Herfacestandsoutfromthecrowdona millionTVlateshows,in such memorableflms as ALLABOUT EVE,THE AWFULTRUTH, THE BADAND THE BEAUTIFUL,DOUBLEINDEMNITY,GILDA, IT HAPPENEDONE THEGREATESTSHOWONEARTH,HOLIDAY, NIGHT,LOVEAFFAIR,MEET JOHN DOE,MY MAN GODFREY, NINOTCHKA,REARWINDOW and A STARIS BORN,as well as

NIGHTS,DANGEROUS in suchobviousclinkersas CHINATOWN THEGHOSTTALKS,PAIDTODANCE,SINISTERHANDS, BLONDES, SATAN’SPAYDAYand WOMENIN PRISON.

Downnearthebottomofcastcredits,hernamecanbefoundopposite suchassortedcharactersas “well-wisher,” “womaninbox,”“spectator,” “modiste,” “gossip,” “Joe’sfriend,”“guestintheatrelobby,”“Duchess of ao 66

3

9

66

966

Duke,”“illustrator,”“Norton’ssecretary,”“womanwith poodle,” “ship

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39 66

6

passenger,’ “societymatron,”“countess,” “ladyinrestaurant,” and“third nun,”thelatterinANTHONY ADVERSE. Throughout hercareer, MissFlowers remained oneofthemystery women ofHollywood. Rumorhaditthatshewasasilentstarwhohadbeenunable tomakethetransitiontotalkiesandwasreducedtoplayingwhatever bit partsshecouldgrab.Anotherwasthatshewasthewifeofa Hollywood “bigshot”whousedhisinfluence togetherpartswhereverhecould. As it turns out,thesestoriesdo havesomeslightbasisin truth. MissFlowersdidplaysomeleadingrolesin silentfilmsandshewas marriedto notonebuttwofairlyprominentmenin thebusiness,but itisdoubtfulthateitherofthesefactorsplayeda majorpartinshaping hercareer. WhenthiswritercontactedherrecentlyinHollywood, shewasmost pleasantandco-operative inhelpingtolifttheveilofsecrecythathas surroundedher.WhenthiswritercontactedherrecentlyinHollywood, shewasmostpleasantand co-operativein helpingto liftthe veilof secrecythathassurroundedher. MissFlowersdidexpressconsiderableunhappinessover“stories writtenaboutvariousunderlingsinthepicturebusiness.Theyalways makeoutasif yourelivingonthedirtyfringesandyoucouldn'tpossibly buya pieceoftoast.I’vemadea verygoodlivingandhavecertainly hadsomeofthebestlifehastooffer.” AlthoughshesaysthatLife,Look,TheSaturdayEveningPost,The WallStreetJournaland manyotherpublicationshavewantedto do storiesabouther,shehas alwaysrefusedforfearofbeingheldup to ridiculeandscorn.Anotherreasonthatsheshiedawayfrompublicity wasprobablythatitwouldhavestrippedherofthe anonymitythatis partofbeingan extraorbitplayer. MissFlowers’s lifestoryhasmanyofthe overtonesofthetypical Hollywoodsuccesssaga.Bornin Sherman,Texas,in 1900,she studied

dramaattheCarnegieInstituteofTechnology andintendedtopursue an actingcareer,muchto herfather’sdisapproval.Sheranawayfrom homeforthebrightlightsofBroadway, butenrouteto the railwaystationshesuddenlychangedhermindandboughta tickettoCalifornia.

LEONARD MALTIN Hollywood in 1922wasstillinitsboominginfancyandtherewere somanypicturesbeingmadethattherewasplentyofworkforeveryone.A statuesquegirlwithlovelyblackhairandinvitingdarkbrown eyes,MissFlowersquicklyfoundworkat Metroina nowforgottenfilm withMaeBuschandRichardTucker.ShemovedovertoParamountfor an importantrolein JamesCruze’sHOLLYWOOD andthenplayed a fashionmodeltumblingfromherpodiumin a memorablescenein CharlesChaplin’s AWOMANOFPARISstarringAdolpheMenjouand Edna Purviance.Bythe late twentiesshe was playingleadingladiesin

WesternswithFredThomson,whowassecondin popularityonlyto TomMixduringthatperiod,andin RoyalMountedPolicethrillerswith

one inIRENE, girlfriends Moore’s LeftyFlynn.ShewasoneofColleen

ofthefirstbigmusical-basedoo2osilent flmswitha sequenceincolor.

BessFlowersstrivestomaintainherdignityin a scenefrom TASSELS INTHEAIR(1938)withtheThreeStooges

MissFlowersmighthavegoneonto moreimportantthingshadit notbeenforherheight,whichat 5’8%” in herstockingfeet,madeher toweraboveallbutthetallestofleadingmen.Whenshewasfirststartingoutinfilms,DirectorFrankLloydadvisedher“You'll neverworkas

THE REAL STARS

a leadinglady,you’etootall.You'llhavetowaituntilyouhavea few moreyearsasyourecertainlyattractiveenoughforcharacterparts.” Shesaysthatwhensheoncewenttoauditionforapartasthewifeof OttoKruger,ProducerArthurHornblow blewhistop,remarking“You'd sooverpowerhimthathe’dsinkrightintothebackground.” Thiswasa problemthatplaguedherthroughouthercareer.Whenshewasappearingina scenewithsomeoneasshortasAlanLadd,whowasknownto emotefromthe topofa soapbox,the directorwouldorderherto don balletslipperstocutdownherheight. Butsometimesherheightwasa definiteassetinobtainingrolesin two-reelcomedies, primarilybecauseshemadesucha contrasttosmall, bumblingcomediansliketheThreeStooges. FrankLloyd’sprophesycametrue as MissFlowersmaturedand becameevenmorestatelyanddistinguishedinappearance.Hersilver grayhairphotographedsensationallyin Technicolorand shewasin constantdemandforbitsandextraworkin manyofthebigmusicals filmedatMGM,Fox,Warner’sandParamountthroughoutthe40sand intotheearly‘50s.Shepreferredworkingincontemporary settingssince shecouldusuallywearherownclothes,whichpaidmorethanordinary extrawork.Shefoundworkinperiodpicturesunsatisfyingbecausethe costumeswereusually“bigandunwieldy.”

ArarecloseupofBesswithMoeHowardin TASSELS INTHEAIR(938)

LEONARDO MALTIN

InHollywood’s moreextravagantdays,accordingtoMissFlowers, manyofthestudiosmadeherclothesforherbecauseshehada good figureand showedthem offto advantage.Sherefusedto workat someofthe lessimportantstudioslikeUniversaland FoxWestern becausetheywere“dirtyand tacky”and didn’ttake care of their wardrobes. Miss Flowerssays her favoritefilm was UNDERCURRENT, with Katharine Hepburn and Robert Taylor,which was photographedby the notedKarlFreundand whichshe feelsshowsher offto best advantage.Shealso speaks fondlyof “anice bit”with ClaudetteColbert in PRIVATEWORLDS,directed by Gregory La Cava, whom she describes as “very compassionate and understanding.” Butthosefanaticenoughtobe fansofthisobscurefilmpersonalitytreasuremostherbitinALLABOUTEVE,inwhichsheis seated onthe daisat the SarahSiddonsAwardDinnerandlaterbreaksher usualscreensilencebycongratulating AnneBaxterwith“I’msohappy for you, Eve.”She describes EVE’sdirector, Joseph L. Mankiewicz,

as “oneofthe mostbrilliantin the picturebusinessand a pleasure toworkwith.” MissFlowershas disappearedentirelyfromfilmssinceGOOD NEIGHBOR SAMwithJackLemmon,but sheturnsup occasionally ontelevisionwithRedSkelton,JerryLewis,orDonKnotts,andinautomobileandairlinecommercials. Officially retired,herparticipationin theMotionPicturePensionPlanprohibitsherfromappearingonfilm ofanykind,thoughshecanstillworkin “live”ortapedtelevisionand commercials. Notthat she needsthe money.Her forty-yearcareerwasvery lucrativeand she had twogoodmarriages,firstto CullenB.Tate, a director as well as a long-timeassociate of Cecil B.De Mille, and then to William S. Holman,manager of ColumbiaStudio, both nowdeceased.Her daughterby Mr.Tateis a screen supervisor or script girl, thus continuingthe family’srole in the tilm business.

THE REAL STARS

Besssharesa momentwithCharleyChaseinhis two-reelcomedy THE MIND NEEDER(1938)

(Editor’sNote: BessFlowersdied in 1984at the age of85.)

THEFILMSOFBESSFLOWERS Asacomplete, orevenfractionally complete, listingofBessFlowers’s films wouldbeimpossible, wepresentinsteada listingoffivefilmswhichwe canstatewithsomecertaintydonotcontainMissFlowersintheircasts. 1. THE GREATTRAINROBBERY—Edison 03—EdwinS. Porter—G.

M.“Broncho Billy’Anderson.1reel. 2. STEAMBOATWILLIE—’28—Walt Disney—Mickey Mouse,Minnie

Mouse,PeglegPete.1reel. 3. FRANK BUCK’S BRING ‘EMBACK ALIVE—RKO ‘32—Clyde Elliott. 7OTHM. 4. RASHOMON—’s50—Akira Kurosawa—Toshiro Mifune,MachikoKyo,

MasayukiMori,TakashiShimura,MinoruChiaki.83min. 5. THELIVINGDESERT—RKO ‘53—JamesAlgar.Color—73 min. ome

GLADYSGEORGE ByJohnBrunas

March,1972

One flawthe moviecapitalhas neverbeen ableto erase fromitshistory

istheHollywood casualtylist.Notunlikeadeathtoll,thislistrepresents

atragedyinitself,foritiscomposed ofa startlingarrayoffneactors whowerenevergivena fairchancebyHollywood toexpresstalentto thedegreetheydeserved.Thelistisendless:LeeJ. Cobb,VanHeflin, ArthurKennedy,BarbaraBelGeddes,mostofthemtheaterpeople. Theseperformersandscoreslikethemdisplayedin manya flm an

actingwhichovershadowed many a “star”oftheirday. GladysGeorgewasonesuchHollywood casualty.Castinfilmatter filmasthetypical“tough-blonde-with-the-golden-heart,” sheseldomhad theopportunitytoplaythekindofqualitypartsshefoundonlyonthe stage.Hollywood ultimatelycheateditselfoutoftheservicesofa fine actresswhocouldhaveaddedimmeasurably tothewealthofitshistory. BorninPatten,Maine,onSeptember13,1904,GladysAnnaClare wasthe onlychildofSirArthurEvansClareandAliceHazen.SirArthur,

anOxfordgraduateknightedbyEdwardVII,becamea Shakespearean actorin EnglandandworkedfouryearswithSirHenryIrving,before comingtoAmerica, wherehemarriedthedaughterofawell-to-do Boston jeweler.Theactingcoupleestablishedtheirowntroupe,thePoliStock Company. Itwasjustincidental thatGladyshappenedtobeborninPatten.That wasthetownthetroupewasperforminginwhenAliceClaregavebirth tothisbeautifulblondchild.Fromthatmomenton,Gladyswouldknow onlyoneworld—the stage.ThePoliStockCompanytouredcountless tanktownsthroughout thecountryandCanada.Consequently, Gladys’s

THEREALSTARS

formaleducationneversurpassedthe fourthgrade,andshereceived mostofherinstructionfromherfather Herfirstrealintroductionto actingcameat the ageofthreeat a stopoverinWaterbury, Connecticut, whensheplayedLittleTommyin BackAmongtheOldFolks.Shetookto thestagesonaturallythather parentsputherinmanyofthestockcompany’s juvenileparts.Stranded in Napanee,Ontario,the troupejoined up with The Johnson Brothers’

FamousMedicineShow.GladyswasusedbytheJohnsonsas a child

assistant inamagicact.Herrealfirsttasteof“stardom” cameattheripe ageofeight.Herfatherhadwrittenavaudeville sketchentitledTheDream Doll,andGladyshadtheprincipalpart,whichcalledforacting,singing, anddancing.ThesketchprovedafavoritewithTorontoaudiences,and thetroupewentontourwithit.Thisoccasioncalleduponthelittlegirl totakeona stagename.SheeagerlychoseGladysGeorgeW.Hazen, ater hermother’s belovedfather.Itwasshortenedandthefamilyactwas changedfromTheThreeClarestoLittleGladysGeorge&Company. In 1918,the Clares,nowalmostpenniless,foundthemselvesstranded

in NewYorkCity.Gladys,nowfourteen,succeededin gettingherfirst Broadway part,asJalline,thebeggar’sdaughter,intheWinthropAmes production ofMaeterlinck’s TheBetrothal, starringthelegendaryIsadora Duncan.Thisledtoa tourwiththeCoburnsin TheBetter‘Ole.Gladys finallyreachedLosAngeles.Theyearwas1919,andtheplaywasbeing presentedattheMasonOperaHouse.Afteraperformance, Gladyswas visitedbymotionpictureproducer. ThomasH.Ince.Thefifteen-year-old vaudevilleveteranwasabouttotakeanothergreatstepina fast-rising career,witha picturecontractunderInce.REDHOTDOLLARS, a comedystarringCharlieRay,washerfirstlm. Shecontinuedmaking hlms throughout 1920with Ince.

Thatsameyear,shehadanaccidentthatalmostendedhercareer. Shewasseverelyburnedaboutthefaceandarmsbyburninggreasein acookingmishap,andwaslaidupinthehospitalforsixmonths.When she was released,her silent filmcontractwas gone and she was out of

workagain.Theburningdesireto becomea greatactressstillwithin her,GladysjoinedtheAlcazarPlayersin SanFrancisco,andbecame

MALTIN LEONARDO oneoftheirleadingwomen.TheBlindnessof Virtueprovidedherwith hergreatestsuccess.BenErwayhadthejuvenileleadin theplay.Heand Gladysweremarriedin 1922,andtheyappearedtogetherforthe next fewyearsin stock.Overtheforthcomingsevenyears,Gladysdevoted Shewasa starof the DenhamTheaterin herselfto stockexclusively. Denverforthe seasons 1921-25;shetouredwith PaulineFrederickin As

HusbandsGo;had leadsin TeaforThree,WhyMenLeaveHome,etc., forHenryDuffy,andplayedinMadameX,TheVinegarTree,Church Mouse,and others.In 1929,Gladyssued Erwayfordivorce,on grounds that he beat her.

AglamorousshotofGladysGeorgefrom1936 a8)

THE REAL STARS

Gladyscontinuedhercareerinstockuntil1932,whenthebusiness hitaslump.SheappearedattheWilburTheaterinBoston,inCounselloratLaw.Onerainynight,she slippedon the pavementandbrokeher

nose,landinginthehospital again.Shewashelpedbymillionaire paper manufacturerofSpringheld,Massachusetts, EdwardH.Fowler.They married in 1933,and his influencehelped her reach Broadwayagain. Gladys’sfirstBroadwaysuccesscamein QueerPeople,in 1934,withHal

Skelly.Theshowlastedtwelveperformances, butshegotgoodnotices. Thatsameyear,shemadea screen-test forParamount. Thestudiowasn’t veryimpressedwithit,andhadnothingtoofferheratthetime.Shenext wentintoTheMilkyWay,withHughO’Connell, asaprize-fight manager's mistress.Broadway producerBrockPembertonsawherperformance andimmediately signedherforhisfutureproduction.

WithFranchotToneinTHEYGAVEHIMAGUN(2937)

Meanwhile, MGMboughtthescreen-test ofGladysfromParamount andputherundercontract.ShewenttoHollywood andco-starredinthe 1934production,STRAIGHTISTHEWAY,starringFranchotTone.The

picturewasthesecondscreenversionoftheplayFourWalls; thefirstone

LEONARDMALTIN

JohnGilbertandJoan wasthe1928MGMfilmofthesamename,featuring Crawford inthepartGladyswastoessay.Inaninterview, Gladysstated“It popularleading bigproduction, story, natural—good a shouldhavebeen man.ThepicturefloppedsobadythatwhenBrockPemberton telegraphed metocomebacktoBroadway, thestudiowasaspleasedasIwas.“ Eagerto leavemotionpicturesandreturnto herreal“home,” the in LawrenceRiley’shitcomedy,Personal actressstarredon Broadway, Appearance.It turnedoutto be her greatesttheatricalsuccess.As blondemoviequeenCaroleArden,Gladyshadtheopportunity toprove herresourcefulness forcomedy.Shestatedlaterthatshebasedherinterpretationofthecharacteron a compositeoftwelvewomenshehad known,mostofthemactresses.MGMreleasedhertemporarilyforthe play’srun,notrealizingitwouldendureeighty-five weeks,almostseven hundredperformances. Gladys’s noticesweresuperlative, andshewas ratedoneofthetopactressesoftheseason,as wellasoneofthehighest

“.. Postcommented oftheNewYorkEvening paid.JohnMasonBrown howhumourousshecanbeas a performerbynever _shedemonstrates overdoinga partwhichaboundsinopportunitiesforoverplaying.”

WarrenWilliamwaitsasa makeupmandoestouchupson George on the set of MADAMEX (937)

THE REAL STARS

Althoughhercareerwasatitspeak,Gladys’s personallifesufferedas a consequence.Dueto theircompletelyoppositecareers,she and Fowler

separated. Thencametheinevitable breathofscandal.Fowler suedGladys tordivorce overmisconduct withactorLeonard Penn,amemberoftheplay’s cast.Sheadmittedthat Pennvisitedheronenightaftera performance,but

onlytohelphernursehersickPersiancat.Whenthisexplanation failedto satisfyFowler, shestartedacountersuit ofdivorceagainsthim,claiming thatshehadevidenceofhisactivities withotherwomen.Thischargewas provenfraudulent whena co-respondent confessedincourtthatGladys hadhiredhertomaketheaccusations againstFowler. Consequently, his divorceagainstherbecamefinalinAugustof1935. Severalweekslater,on September 18,GladysandPennweremarriedinNewHaven,Connecticut. GladysreturnedtoHollywood infall1936.DirectorWesleyRuggles

beggedhertoconsider a scripthewasabouttofilmforParamount. MGM loanedheroutforthepicture,whichwastobecomehermostsuccessfulandingratiatingscreenendeavor,VALIANT ISTHEWORDFOR CARRIE. ThemovietoldthepoignantstoryofCarrieSnyder,a goodhearteddamefromthebayoucountrywhosereputationislookeddown uponbythevillagers.Sheshelterstwolonelychildren,andtherestof thefilmfollows thesethreelivesthroughtheyears,andtheirall-encompassingdevotiontooneanother.Thefilm’sstrengthliesinitsbeautiful andlovingdelineationofearlyAmericana,inthetraditionofNorman Rockwell, whosecanvasesthisfilmremindsoneofstrongly.Thisillusionissustainedthrougha goodhalfofthefilm,afterwhichitbecomes engulfedina seriesofunbelievable contrivances. Gladysgaveherfinestscreenperformance ina rolewhichtestedherversatilityinplaying a dramaticcharacterwithperceptivewitandanunderliningofpathos. Thatyear,shereceived hersoleAcademy Awardnomination intheBest Actresscategory, butlostouttoLuiseRainer(forTHEGREAT ZIEGFELD). Overthenextfewyears,Gladysdevotedhertimealmostexclusively tofilms.Shequicklydevelopedherhard-shelled dameimageinthese formativeyears,andwasneverabletoshedit. AtMetro,shewascastoppositeSpencerTracyandFranchotTonein THEYGAVE HIMAGUN.Thethreestarsgavefineperformances inthis

LEONARDO MALTIN

pretentious andratherfeebleindictment ofmilitaryideals.Following this, the same studio starred her in another remakeofMADAMEX.Again,

sheportrayeda misunderstood womanwhoisunjustlypersecutedfor hersin.Bythistime,however, thefamoussoapoperawaslongpastthe pointofbeingtakenseriously. Metrocontinuedto givehergoodpartsin undistinguished films: MARIEANTOINETTEwas a notable exception.In this extravagant,

butnotwhollysuccessfulfilm,Gladyswasfeaturedinthebriefbutripe partofMadameduBarry,thelegendarybitchofParisianroyalty.Ina memorablescene,shewashumiliatedin the presenceofthe entirecourt

bythebuddingMarie(NormaShearer), aftershespreadviciousgossip

againstthefuturequeenandhermoronhusband (Robert Morley), about thefollyoftheirbarrencradle.

A showdownwith Joan Bennett in THE HOUSEACROSSTHE BAY(4940)

THE REAL STARS

GladysleftMGMto free-lance, withmostlydisappointingresults. Shelentameasureofsophistication toa terriblelittlehillbillycomedyfor Paramount, entitled’MFROM MISSOURI. AtWarners, shereverted totype asabrassy,butgood-hearted, night-club hostesswhoseestablishment isa trontforunderworld activities, inTHEROARING TWENTIES, anaboveaveragegangsterepic.AsPanamaSmith,shewasthoroughly enjoyable asJimmyCagney’s conhdante. Remaining withthestudio,sheportrayed awomanwhohasunwantedtwinsinACHILDISBORN,a dramaabout motherhood, originallyfilmedin 1932as LIFEBEGINS. AtParamount in 1940,GladyswascastasthefaithfulwifedesertedbyAkimTamiroff infavorofblondedrifterMurielAngelusinTHEWAYOFALLFLESH. Laterthat year,Gladysreturnedto Broadwayto star in Ladyin Waiting.BrockPembertonwaitedtwo-and-a-half yearsforherbefore takinghissuccessfulplaytoNewYork.LeonardPennhada partinthe playas oneofhiswife’ssuitors. Gladysstatedinaninterviewshegaveduringtheplay’srehearsals, “Tma fugitivefromplayingthe partofan oldbag!In onlyoneofthe dozenpicturesI’vemadehaveI beenanythingbuta dodderingmommerorharlot.I]wanttoplayyoungpartsfora change,sol cameback...” HeropinionofHollywood wasnotveryflattering,either.Sheestimatedthatshecouldcountthe competentmotionpictureactorsand actressesonthefingersofonehand. Aftertheplay’ssuccessfulrun,Gladysreturnedto films,“likethe rest—for themoney,” shecontended.AtWarnersJohnHustoncasther inoneofhismostmemorable films,THEMALTESE FALCON. Shehad thepartofIvaArcher,two-timing wifeofdetectiveJeromeCowan,with hersightssetonBogart.WhenCowanismurdered,shemakes a playfor thecooldetective, butisturneddowninfavorofthecomplex MaryAstor. InElliottNugent’sTHECRYSTAL BALL, sheplayedMadameZenobia, a pepperyfortunetellerwhobreaksPaulerteGoddardintothe racket. ThefilmwasoneofNugent’sworst,completely lackinginstyleorwit. ForWarners,shehadaninterestingcharacterbitinVincentSherman’s THEHARDWAY, a phony,poorlymademelodramaaboutthefallofan ambitious woman.Gladysdidwellasamartini-soaked ex-stagestarwho

LEONARDMALTIN

istoiledbyIdaLupinointogettinginebriatedbeforea musicalrehearsal sothatLupino’s sisterJoan Leslie)couldtryforthepart

AcharacterportraitfromTHEBESTYEARS OFOURLIVES(4946)

GladysGeorgecommentedonceaboutacting,“Ibelieveinbasing a partoflife—on littlethingsthatyou'veseenpeopledo.Thedramatic schoolsareallrightwhentheytalkaboutdiggingdownintoacharacter andfeelingit.Butevenatthat,ifyoudon’tcopylife,yourperformance hasn'tthepunchthatmakespeoplesay,‘Iknowsomebody just likethat.” In1944,GladysandLeonardPennweredivorced. Hergroundsfordivorcewascruelty. Twoyearslatershemarriedforthefourthandfinaltime, toKennethCarsonBradley, anex-bellhop whowasseveralyearsherjunior. Mostofherfilmrolesoverthe nextfewyearswerestrictlyminor characterparts,noneofthemworthyofhertalent.Shehada featured rolein SamGoldwyn’s highlyacclaimedfilm,THEBESTYEARSOF

THE REAL STARS

OURLIVES, as DanaAndrews’s stepmother. FLAMINGO ROAD (Warners,49)had herplayingthe part ofa sporting-housemadam, whohiresa down-troddenJoan Crawfordas a waitress.Shewaseffectivein herbriefstintin this absurd,seethingmelodramaset in a

violentSouthern town.Gladys wasfeatured inanalmostidentical part inthe 1950WarnerBros,picture,BRIGHTLEAF,whichtoldthestory ofa ruthlesstobaccotycoon(GaryCoopen)inlatenineteenth-century NorthCarolina.Thefilmwasonelong,exasperatingbore,repletewith halt-hearted histrionicsandbadperformances. HerlastfilmforWarners wastheslickTechnicolored musical,THELULLABY OFBROADWAY. DorisDayplayeda girlwhoreturnstohernativeNewYorkexpecting to findhermother(Gladys)a topBroadwaystar,onlyto discoverher singingina cheapclub,nursingapermanenthangover,andmurdering oldstandardslike“Ina ShantyinOldShantyTown,” and“PleaseDon’t TalkAboutMeWhenI’mGone.” In 1950,GladysandBradleydivorced.Thefollowing year,William Wylercastherin a choicecharacterpartin DETECTIVE STORY, starringKirkDouglasandEleanorParker.SheappearedontheHollywood stageinoneotfhergreatesttheatricalsuccesses, Rain,asSadieThompson. In 1953,she completedone moremotionpicture,IT HAPPENSEVERY

THURSDAY, asmall-town comedywithLorettaYoungandJohnForsythe torUniversal, andappearedina television production, beforefailinghealth haltedhercareer. Gladyswashospitalized,sufferingfromcancerofthe throat.She wastreatedsuccessfullyforthedisease,buta liverailmentdeveloped. On theWednesdayafternoonofDecember8,1954,a neighborfound herunconsciousandmoaninginpainonthefloorofheronebedroom LosAngelesapartment.ShewasrushedtoCedarsofLebanonHospital in Hollywood, whereshediedwithouteverregainingconsciousness threehoursafterheradmittance.Herdoctordeclinedtosignthedeath certificateduetothepossibilitythatshemighthavetakenanoverdose ofbarbituratesina stateofdepressionoverherpoorhealth.Thepolice investigated, butnonoteswerefound.Whenanautopsywasperformed, itwasdiscoveredthatshediedofa massivecerebralhemorrhage.

MALTIN LEONARD GladysGeorgewasfiftywhenshedied.Shehadnosurvivorsand leftnot morethan $500in the bank. Her neighborsaid she had become

a recluseandseldomventuredoutexcepttowalkherdog. Gladysexpressedgreathopesforthemotionpicturewhenherfilm careerstartedtoblossominthelate‘30’s. “Theactor’sprojectiononthe stageisbigger,strongerandmoresustained...”sheoncestated.“Butin picturestheshadingsarefiner.Theslightestglance,theleastturnofyour head—and theaudienceknowswhatyouaregoingtodobeforeyougetto it... that’sthenewprojection. It’swonderful—like lightning.That’swhat 2

interestsme.”

ItisashamethatHollywood nevergaveherhalfachancetoexpress her creativeMuseto its considerablelimit.

Georgegamelysmokesa Southernstogiein BRIGHTLEAF(2950)

THE REAL STARS

THEFILMSOFGLADYS GEORGE (Director’s namefollows year)

REDHOTDOLLARS—Assoc. Producers ‘19—Jerome Storm—Charles Ray,CharlesMailes,WillConklin,DouglasMacLean.5reels THE OATH—Famous Players‘19—Irvin Willat—HobartBosworth,

LloydHughes,GeorgeWebb,GraceDarmond. HOMESPUN FOLKS—Assoc. Producers‘20—John GriffithWray— LloydHughes,GeorgeWebb,AlFilson.6 reels THEEASYROAD—Para ‘21-Tom Forman—Thomas Meighan, Grace Goodall, Arthur Carew,Lila Lee,Laura Anson, Violet Daniels. 5

reels CHICKENS—Ince-Para ‘21—-Jack Nelson—Douglas MacLean, Claire McDowell, CharlesMailes,EdithYorke,RaymondCannon,Willis Marks,AlFilson.5 reels THEHOUSETHATJAZZBUILT—Realart ‘21—Penrhyn Stanlaws— WandaHavvley,ForrestStanley,HelenLynch,ClarenceGeldert, HelenDunbar.6 reels STRAIGHTISTHEWAY—MGM ‘34—Paul Sloane—Franchot Tone,

MayRobson,KarenMorley,NatPendleton,JackLaRue,C.Henry Gordon.59min. VALIANT ISTHEWORDFORCARRIE—Para ‘36—Wesley Ruggles— ArlineJudge,John Howard,DudleyDigges,HarryCarey,Isabel Jewell,HattieMcDaniel, WilliamCollierSr.110min. THEYGAVEHIM A GUN—MGM ‘37—W. S.Van Dyke—Spencer

Tracy,FranchotTone,EdgarDearing,MaryLouTreen,CliffEdwards, Le

CharlesTrowbridge.94 min. MADAMEX—MGM ‘37—Sam Wood—JohnBeal,WarrenWilliam,

ReginaldOwen,WilliamHenry,HenryDaniell,CoraWitherspoon, PhilipReed,LynneCarver.71min. ids

LOVEISAHEADACHE—MGM ‘38—Richard Thorpe—Franchot Tone,

MickeyRooney,TedHealy,RalphMorgan,FrankJenks,Virginia Weidler.68min.

MALTIN LEONARD Le.

Le.

MARIE ANTOINETTE—MGM ‘38—W. S.VanDyke—Norma Shearer, TyronePower,JohnBarrymore, RobertMorley, AnitaLouise,Joseph Schildkraut, HenryStephenson. 160min. ’MFROMMISSOURI—Para ‘39—Theodore Reed—Bob Burns,Gene Lockhart, WilliamHenry,GeorgeP.Huntley, JudithBarrett,Patricia Morison.80 min.

14.

Le

HEREIAM ASTRANGER~—20th ‘39—Roy DelRuth—Richard Greene, RichardDix,BrendaJoyce,RolandYoung,KatherineAldridge, RussellGleason.83min. THEROARINGTWENTIES—WB ‘39—Raoul Walsh—James Cagney,

PriscillaLane,Humphrey Bogart,JeffreyLynn,FrankMcHugh, Paul Kelly,ElisabethRisdon,VeraLewis.104min. 4o—Lloyd Bacon—Geraldine Fitzgerald, 16. A CHILDISBORN—WB Jeffrey Lynn,Gale Page, Spring Byington,Johnnie Davis,Henry O’Neill,John Litel.79min. le

THEHOUSEACROSS THEBAY—UA 40—Archie Mayo—George Raft,JoanBennett,WalterPidgeon, LloydNolan,JuneKnight,Peggy

Sharinon.72min. ‘40—Louis King—AkimTamirof,, 18, THEWAYOFALLFLESH—Para William Henry, MurielAngelus, Berton Churchill,Roger Imhof,

JamesSeay.86min. THELADYFROMCHEYENNE-—Univ 41—Frank Lloyd—Loretta Young,RobertPreston,EdwardArnold,FrankCraven,JessieRalph, SamuelS.Hinds.87min. 41—Joe May—Barton MacLane, BillyHalop, 20. HITTHEROAD—Univ HuntzHall,GabrielDell,BernardPunsley,EvelynAnkers.61min. vi. THE MALTESE FALCON—WB 41—JohnHuston—Humphrey

19.

Bogart, Mary Astor, Peter Lorre, Barton MacLane, Lee Patrick,

SydneyGreenstreet,WardBond,JeromeCowan,ElishaCookJr. eg

160min, THE CRYSTALBALL—UA 43—ElliottNugent—PauletteGoddard,

RayMilland,VirginiaField,MaryField,WilliamBendix,Cecil

Kellaway. 81min.

THE REAL STARS

AAsTHEHARDWAY—WB 43—Vincent Sherman—Ida Lupino,Dennis

Morgan,JoanLeslie,JackCarson,FayeEmerson,PaulCavanagh, LeonaMaricle.109min. Atk NOBODY’S DARLING—Rep 43—AnthonyMann—MaryLee,Louis

Calhern,JackieMoran,BennieBartlett,LeePatrick,MarciaMae Jones. 71min. 25. CHRISTMAS HOLIDAY—Univ 44—Robert Siodmak—Deanna Durbin,

GeneKelly,RichardWhori,DeanHarens,GaleSondergaard, David Bruce.92 min. 26. MINSTREL MAN—PRC %44—Joseph Lewis—Benny Fields,Alan Dinehart,RoscoeKarns,Jerome Cowan,Judy Clark,MollyLamont, John Raitt.69 min. Za. STEPPIN’ INSOCIETY—Rep 45—Alexander Esway—Edward Everett

Horton,RuthTerry,JackLa-Rue, LolaLane,IrisAdrian,IsabelJewell. 7 Gril.

28. THEBESTYEARSOFOURLIVES—Goldwyn-RKO 46—William

Wyler—Fredric March, MyrnaLoy, DanaAndrews, Teresa Wright, Virginia Mayo,CathyO’Donnell, HoagyCarmichael, HaroldRussell. 122min. 29. MILLIE’S DAUGHTER—Col 47—Sidney Salkow—Gay Nelson,Paul Campbell, NormaVarden,ArthurSpace,NanaBryant,EthelGriffes, HarryHayden.70min. 30, ALIASA GENTLEMAN—MGM ‘48—HarryBeaumont—Wallace

Beery,TomDrake,DorothyPatrick,LeonAmes,WarnerAnderson, SheldonLeonard,John Qualen.76min. lis FLAMINGO ROAD—WB‘49—MichaelCurtiz—JoanCrawford,

ZacharyScott,SydneyGreenstreet,DavidBrian,VirginiaHuston, Fred Clark,Gertrude Michael,AliceWhite.94 min. ae BRIGHTLEAF—WB ‘50—MichaelCurtiz—GaryCooper, Lauren Bacall,PatriciaNeal,Jack Carson,DonaldCrisp,ElizabethPatterson,

JeffCorey.110min. GIRL—UI ‘50—Joseph Pevney—Alexis Smith,Scott 33. UNDERCOVER Brady,RichardEgan,EdmonRyan,GeraldMohr,RoyalDanp,Harry Landers.83min.

LEONARDMALTIN

OFBROADWAY—WB ‘51—David Butler—Doris 34.THELULLABY Day,GeneNelson,S.Z.Sakall,BillyDeWolfe,FlorenceBates,Anne

Triola.Color—92 min. ‘51—John Berry—John Garfeld,Shelley ndeHERANALLTHEWAY—UA

Winters,WallaceFord,SelenaRoyle,NormanLloyd,BobbyHyatt. 7? Tt,

CITY—Para ‘51-ByronHaskin—Edmond O’Brien,YvonneDe 36. SILVER

Carlo,RichardArlen,BarryFitzgerald, LauraElliott,EdgarBuchanan. Color—90min. STORY—Para ‘51—William Wyler—Kirk Douglas,Eleanor of. DETECTIVE Parker,Horace McMahon,William Bendix,Lee Grant, Craig Hill,

CathyO’Donnell. 103min. ‘53—Joseph Pevney—Loretta 38. IT HAPPENSEVERYTHURSDAY—UI

Young,John Forsythe,FrankMcHugh,EdgarBuchanan,Palmer Lee,Harvey Grant.80 min.

BILLY GILBERT ByLeonardMaltin October,1967 Ona recentsunnyafternoon, afterbeingbombardedwithbadnewson

aradionewscast, Iventured outtothehomeofcomedian BillyGilbert in NorthHollywood. Inthecozyatmosphereofhisattractivelivingroom, talkingandlaughingwithBillyandhislovelywifeElla,itwasimpossible to thinkofanyofthebadthingshappening outside. TheGilbertscreatesucha warmfeelingoflove,devotion, andatrueenjoyment oflifethatitbecomes immediatelycontagious,affectinganyonewhospendsanytimewiththem”

Billysuffereda severestrokeafewyearsbackandwasunabletotalk fortwoyears,excepttosay“Iloveyou”tohiswife,anda briefcurseof frustrationwhenanideawaspresentbutthecapabilityofvoicingitwas not.Sincethattimehehasmaderemarkableprogressandnowspeaks beautifully, althoughhe asserts,“IneverknewI couldtalkthismuch (untilafterI'dsaidit!).”Hehasonlyworkedoncesincethestroke,tina commercial tor4-WayColdTabletsusinghisfamoussneezingroutine. Doingtheone-minute spotwasagreateffortforBilly, andafteritscompletionhe decideditwasnotworthkillinghimselfto earna fewdollars. Fortunately, the Gilbertshaveinvestedwiselyovertheyearsandit is notnecessaryforBillytoexerthimselfinanykindof job.Theoffersstill comein,andonefromtheKleenexcompanyforacommercial voice-over soundedpromisingMrs.Gilberttoldthemitwouldbefineaslongasthe recordingcouldbemadeintheirhome;theKleenexpeoplerepliedthatit wouldhavetobedoneinChicago, andtheyweretoldtofindanotherboy. Meanwhile, theGilbertsgotoquiteafewnewshowsandmovies;Ella says,“Ihaveto draghimto go,butoncewegetthereweusuallyenjoy them.”Amongthe newcomedians,BillyenjoysBuddyHackett,Don

LEONARD MALTIN Adams,and Don Bicklesquite a bit,but bemoans the decline ofvisual

comedyand generallydoesn’tcareforstand-upcomics.Hespendsa greatdealoftimewatchingTV,andstaysuplateeverynighttowatch oldmovies.Thesefrequentlycontainsurprisesforhimwhenhe sees himselfina filmhedoesn’teverremembermaking!Iaskedhimabout hismanyunbilledappearancesandheexplainedthatduringoddmomentsa directororproducermightaskhimtocomeovertohissetand justwalkthrougha scene,ordoa double-take asawaiter,merchant,or passer-by. Thisnotonlymakesforsurprises,butcreatesgreatconfusion foranyonetryingtocompilea completelistofBilly’s films. Of his start in films,Billysays,“Iwas starring in a musicalrevue

calledTemptations of1929inLosAngeles.Itwasabighitandeveryone whowasanyoneinHollywood cametoseeit.OnenightStanLaurelcame backstageandaskedforme.Hewasverycomplimentary aboutmywork butsaidhewasn’tlookingforacomedian—he hadOlliesowhyshouldhe look?HewantedtoknowwhowrotethecomedysketchesandIsaid‘You're lookingathim!’HeaskedmeifI’dbeinterestedinwritingwithhimand forhimandOllie.ThatwasrightatthebeginningoftheDepression and itsoundedgoodtome.I hadneverdoneanymovies.Ihadachievedgreat successasa producerofburlesqueshows(whichwerecleanshows—no strippers.Thecomedianswerethestars.EdWynn,JoeE.Brown,Bobby Clark,BertLahr,allstartedinburlesque). Ihadoneshowstarringmyselt

andanotherstarringBertLahr.1mademyself ahalfamillion dollars by thetimeIwastwenty-five yearsold.Then I lostitallinthecrashof1929. Alsomytypeofburlesquewasoverin about1926.I had switchedto vaudeville andbecomeaheadlinerontheKeith-Orpheum Circuit.Then vaudevillefoldedinmyfaceandI]wasstrandedinLosAngeles. “Klformsofentertainment wereprettydeadexceptthemovies—talking pictureswerejustgettingstartedand]knew1wasintherightplaceatthe righttime.I madetwopictures,NOISYNEIGHBORS andoneotherlittle epicthetitleofwhichIdon’tremember. Theywerebothprettybadbutthat madenodifference... theytalked,nothingelsematteredatthetime.[had grabbedTemptations becauseIknewitwouldbeagoodshowcase forme todisplaymytalents,andsureenoughherewasStanLaurelwithanoffer.” 104

THE RE L. ST RS§

een

soe

ee

Billygetsa bathfromSpankyMcFarland

oo

seTe See

WwW ithFreddieBartholomew in CAPTAINS COURAGEOUS (1937)

LEONARDMALTIN

OnceontheHalRoachlot,Billylearnedthatthestudioatmosphere wasveryinformalandhewaslikelytobe a directoroneday,a writer the next,andan actorin-between.Thegeneralattitudeofthepeople workingforRoachwasthatitwasgreatfun,andthisshowedin their work.SaysBilly,“StanLaurelwasa wonderfulmanandI lovedworking with him,also Babe,but wewerenot reallyclosefriends offthe lot,

althoughI playedbridgesomewithBabe,andattendedoneofStan’s weddings.Asa matteroffactStanandBabewerenotclosefriendsin thosedays;theybothwenttheirseparateways.Itwaslaterwhenthey weretravelingin Europetogetherthat theygrewto loveeachother. Therewasnorivalrybetweenthem.BabewoulddoanythingStansuggested;tohimhewasa God,andhehadthegreatestrespectforStan’s geniusforthinkingupcomicsituations.Heneversatinwithuswhen wewrotethe so-calledscript.It resembledin nowaythe scriptsthat werewritteneventually.Wewouldthink ofa comicsituation—what theboyswouldbe,anda fewgags.Therestwasimprovisation which wasdoneontheset.” Besideswriting,ofcourse,BillyappearedwithStanandOlliemany times,mostmemorably intheirAcademy-Award-winning MUSICBOX and laterin theirfeatureBLOCKHEADS. He stilltreasuresseveral picturesofthe three ofthemtogetherthat he keepsin a scrapbook withotherphotosofco-workers throughtheyears.Hegetssadwhen helooksatthesignedphotoshehasofThelmaToddandZaSuPitts. OfThelmahe sighs,“Shewassolovelyandshedidn’thaveto dieso young... shedidn’thaveto.”HealsolovedZaSuPittsand“waswith herrightuptotheend.I sawher justa daybeforeshedied.”Hewrote and directedmanyoftheirtwo-reelers,appearedin quitea few,and wrotea radioshowthey did togetherwhiletheywereworkingfor HalRoach.SomeyearslaterBillydirectedZaSuPittsin a Broadway show.Amongtheothersinhisscrapbookis CharleyChase,whomhe consideredhis closestfriend,and anotherwhodiedat an earlyage, in 1940.Charleywasbest manat his wedding,and his deathwasa great loss.

THE REAL STARS

BillyGilbertandJackNortontangleintheColumbiatwo-reeler CRAZYLIKEAFOX(941)

LeafingthroughhisscrapbookBillyreminiscedaboutthe many starsheworkedwith.Hesmiledwhenhe cameto CaryGrant,anda stillfromHISGIRLFRIDAY, perhapshis best film.Billyexplained that this wasnotby accident;Grantand HowardHawksdecidedto letBillyhavehisheadinhistwoorthreescenesasJoe Pettibone,the befuddledmessengerwhobargesin ona crookedgovernmentoffice. Thecastwasinstructedto tonethemselvesdownand let Billyhave hisshareofthe footage;withthatassistancehewasabletoturnina trulysuperiorjob.OfShirleyTempleBillysays“Iworkedwithherin fiveorsixshowsasa child,andfiveorsoasa growngirl...1 feellike she’smyowndaughter.Shewasthesweetestthing,andsobright!”Of CharlieChaplin“Theyaccusedhimofbeinga Communist,andsent himoutofthecountry,butwhattheydidn’tknowwaswhatawonderful manhe was.”Workingon THEGREATDICTATOR wasoneof

LEONARDMALTIN

Billy’smostenjoyableassignments,althoughhewasa bitdistressed to see howmuchofhis footagewascut fromthe finalreleaseprint. Anotherco-starofwhomhehasfondmemoriesis EleanorPowell,but hewinceswhenhe thinksaboutherex-husband.* AndwhileBillyis lovedbymostofthe Hollywoodcolony,and is fondofmostofthem in return,he doeshavea fewpointedcommentsto makeaboutat least one ex-friendwhoused to be charmingbut has turned sour overtheyears.

THE REAL STARS

IT askedhimhowhecametodothevoiceofSneezyin SNOWWHITE ANDTHESEVENDWARFS, and he explainedthatWaltDisneyhad takenanad inthetradepaperslistingthenameshisstaffhaddevised torthesevenlittlemen(Grumpy, Bashful,etc.).Whenhesawa characterwasto benamedSneezy,hecalledDisneyandsaidthathethought he wasthemanforthejob.Disneyinvitedhimto thestudio,and Billy woundupandperformedhisstill-hilarious sneezefortheproducer, who smiledand said,“You'vegot it.”He workedforDisneyon and offovera

periodoftwoyears,anddidsomerecordingworkon a MickeyMouse versionofGulliver’s Travelsthatwaslaterincorporatedintothefeature FUNANDFANCYFREE.

GloriaDeHaven dances for native chieftain Gilbert in DOWN AMONG THE SHELTERING PALMS (1953)

TheGilbertsweremarriedthirty-oneyearsonSeptember12,also Billy’s birthday,andhetellseveryoneproudly,“Inallthattimewehave yetto haveourfirstargument. Weneverquarrel.” Hehasa phototakenat their30thAnniversary partywithsomeoftheirclosestfriendsformany years,the KenMurrays,the JimmyDurantes,BobCummings,Gene

MALTIN LEONARD wife,originally Raymond,PrestonFoster,andtheRudyVallees.Billy’s hadquitea moviecareerofherown,starting knownas EllaMacKenzie, inBroncoBillyAndersonWesternsat the ageoftwo.Duringheryouth Jewel shewasquiteplumpandbecamea comedyplayerintheUniversal alongwithsuchotheryounghopefulsasFayWrayandJanet 2-reelers, shebecamean RKOcontractee,herbest Gayncr.Finally,in the 1930’s, rolecomingin ALICEADAMSwithKatharineHepburn.Her father, a legendaryshowman,wasa goodfriendofBilly’s RobertMacKenzie OF beforeheevermetElla,but onedayonthesetofTHEOUTCASTS POKERFLATtheywereintroduced.Billynowrecallsthat he didn't wantanypart ofher,but Ellaexplainsthatshe decidedshewasgoing afterhim and wasn’tgoingto giveupuntilshe’dwon.Shefinallydid winout,andhehasn'tregrettedit fora daysince. It is a marvelousthingtodiscoverthata manwhohasbeeno wonderfulin filmsoverthe yearsisa wonderfulersonin reallifetoo. (Editor’snote:In 1970,Billywaspersuadedtoappearwitha groupof ona1970NBCTVspecialcalledSunCityScandals, veteranentertainers dialogue couldn'thavememorized hostedbyJohnnyCarson.Heprobably o f hisfamous atthatpoint,buthe hadnotroubleperformingvariations hewasterrific.Itwashis finalpublicappearance; comedysneeze—and aftera briefillness,hediedin1971at the ageof77,)

THEFILMSOF BILLYGILBERT (Director's namefollows year)

willeverbecomBillyGilbertis anotherperformerwhosefilmography andfeaturefilms, subjects short popsupunbilledin plete;hecontinually Hisvoiceonlyisheardannouncproductions. smallandlarge-budget ingshipwreckcasualtiesinLaurelandHardy’sfeatureSONSOFTHE althoughhereceivesbillinginanotherHalRoach andironically, DESERT, hisrolewascutbeforefinalrelease.(The THESECOND, feature,KELLY ROB‘EM BillyGilbertcreditedwithbeingin the silentfeature-comedy

THE REAL STARS

GOODisanotherman,wholatereschewedactingforatechnicaljobin thefilmindustry.)Gilbertstarredinshort-subjects forVitaphone, Pathe, HalRoach,Educational, RKO,andColumbia,andappearedin shorts withLaureland Hardy,OurGang,CharleyChase,TheBoyFriends, the Three Stooges, LucilleBall,and many others. In 1941Columbia

devotedanentireSCREEN SNAPSHOTS reeltoa dayinthelifeofBilly Gilbert.Following isascomplete a listofGilbert’s featurefilmsascanbe determined.

1. NOISYNEIGHBORS—Pathe ‘29—Charles Riesner—Eddie Quillan, Alberta Vaughn,Theodore Roberts,Ray Hallor,RussellSimpson,

RobertPerry.6 reels 2. WOMANFROMHELL—Fox ‘29—A. F.Erickson—Mary Astor,Robert

Armstrong,RoyD’Arcy, DeanJagger,MayBoley,JamesBradbury Sr.6reels 3. CHINATOWNAFTERDARK—Action ‘31—Stuart Paton—Rex Lease, BarbaraKent,Edmund Brecse,Carmel Myers,Frank Mayo,Lloyd Whitlock.59min. 4. MILLIONDOLLARLEGS—Para ‘32—Edward F.Cline—JackOakie,

W.C.Fields,SusanFleming,HughHerbert,BenTurpin,George Barbier.64min. 5. BLONDIE OFTHEFOLLIES—MGM ‘32—Edmund Goulding—Marion Davies,RobertMontgomery, BillieDove,JimmyDurante,James Gleason,ZaSuPitts,SidneyToler.90min. 6. PACKUPYOURTROUBLES—Roach-MGM ‘32—George Marshall, RaymondMcCarey—Stan Laurel,OliverHardy,JacquieLyn,Mary Carr,James Finlayson,RichardCramer,CharlesMiddleton,Grady Sutton.68 min. 7. THISDAYANDAGE—Para ‘33—Cecil B.DeMille—Charles Bickford,

JudithAllen,RichardCromwell, HarryGreen,EddieNugent,Ben Alexander.85min..

8. EIGHTGIRLSINA BOAT—Para ‘34—Richard Wallace—Dorothy Wilson,DouglassMontgomery, KayJohnson,WalterConnolly, James Bush,85min.

LEONARD MALTIN COCKEYEDCAVALIERS—RKO ‘34—Mark Sandrich—Bert Wheeler,

iG,

RobertWoolsey, ThelmaTodd,NoahBeery,DorothyLee,Franklin Pangborn.72min. THEMERRY WIDOW—MGM ‘34—Ernst Lubitsch—Maurice Chevalier, JeanetteMacDonald, EdwardEverettHorton,UnaMerkel,George Barbier.99 min.

Wel EVELYNPRENTICE—MGM ‘34—WilliamK. Howard—William

Powell, MyrnaLoy,UnaMerkel,RosalindRussell,HarveyStephens, CoraSueCollins,IsabelJewell.80min. LA. MADLOVE—MGM ‘35—Karl Freund—PeterLorre,FrancesDrake,

ColinClive,TedHealy,SaraHaden,EdwardBrophy, HenryKolker. @9mitt.

‘35—Robert Z.Leonard—William Powell,Luise LS: ESCAPADE—MGM

Rainer,FrankMorgan,VirginiaBruce,ReginaldOwen,Mady Christians.87min. ‘35—Paul Sloane—Ted Lewis, 14. HERECOMESTHEBAND—MGM VirginiaBruce,TedHealy,NatPendleton, SpankyMcFarland, Donald Cook.84min. 15. ANIGHT ATTHEOPERA—MGM ‘35—Sam Wood—Groucho, Harpo, and ChicoMarx,AllanJones,KittyCarlisle,MargaretDumont, WalterWoolfKing,SigfriedRumann.90min. WATERS—uUniv ‘36—Lambert Hillyer—Jack Holt, ihenDANGEROUS RobertArmstrong,GraceBradley,DianeGibson,CharlieMurray, Ed Gargan.56min. Li

HI,GAUCHO—RKO ‘36—Tommy Atkins—Stefh Duna,JohnCarroll, MontaguLove,RodLaRocque,Ann Codee,PaulPorcasi,Tom Ricketts,69 min.

SUTTER’S GOLD—Univ ‘36—James Craze—Edward Arnold,Lee Tracy,BinnieBarnes,KatherineAlexander,JohnMiljan,Montagu Love,HarryCarey.94min. 19. GIVEUSTHISNIGHT—Para ‘36—Alexander Hall—Gladys Swarthout, Jan Kiepura,PhilipMerivale,BennyBaker,SidneyToler,Alan Mowbray. 73min.

18.

THE REAL STARS

20.

THEFIRSTBABY—2oth ‘36—Lewis Seiler—Johnny Downs,Shirley

Deane,Jane Darwell,DixieDunbar,GeneLockhart,TaylorHolmes, Hattie McDaniel.75min. Al, F-MAN-—Para ‘36—Edward F.Cline—JackHaley,William Frawley,

GraceBradley, AdrienneMarden,OnslowStevens,NormanWillis. Js,

‘oypanbhae EARLYTO BED—Para‘36—NormanZ. McLeod—MaryBoland,

CharlesRuggles,GeorgeBarbier,GailPatrick,RobertMcWade, LucienLittlefield. 75min. Zs POORLITTLERICHGIRL—2oth ‘36—IrvingCummings—Shirley

Temple,AliceFaye,GloriaStuart,Jack Haley,MichaelWhalen,Sara

Haden.72min. ZL. PAROLE!—Univ ‘36—Louis Friedlander—Henry Hunter,Ann

Preston,AlanDinehart,AlanBaxter,NoahBeeryJr, GrantMitchell. 2.

67min. THEBRIDEWALKSOUT—RKO ‘36—Leigh Jason—Barbara Stanwyck, GeneRaymond,RobertYoung,Ned Sparks,HelenBroderick,Anita

Colby.75min. THEDEVILDOLL—MGM ‘36—Tod Browning—Lionel Barrymore, MaureenO’Sullivan, FrankLawton,RobertGreig,LucyBeaumont, HenryB.Walthall,RataelaOttiano.79min. af. MYAMERICAN WIFE—Para ‘36—Harold Young—Ann Sothern, AS

Francis Lederer,Fred Stone,BillieBurke,Grant Mitchell,Ernest Cossart,65min. 28. GRAND JURY—RKO‘36—RobertS. Rogell—FredStone,Louise Latimer,OwenDavisJr.,MoroniOlsen,GuinnWilliams,FrankM. 29.

Thomas.61min. THEBIGGAME-—RKO ‘36—George Nicholls Jr.,EdwardKilly—Philip Huston,JamesGleason,June Travis,BruceCabot,AndyDevine. 74Toit.

aidsLOVEONTHERUN—MGM ‘36—W. S.VanDyke—Clark Gable,

JoanCrawtord,FranchotTone,ReginaldOwen,MonaBarrie,Ivan Lebedeff. 80min.

LEONARD MALTIN ‘36—Lew Landers—Margot Grahame, BullsNIGHTWAITRESS—RKO GordonJones,VintonHaworth,MareLawrence, DonaldBarry,Otto Yamaoka.59min. Be

ONTHEAVENUE—20th ‘37—Roy DelRuth—Dick Powell, Madeleine Carroll,AliceFaye,RitzBrothers,GeorgeBarbier,AlanMowbray. 59 min.

ONTHEJURY—RKO ‘37—Ben Holmes—Victor Moore,Helen a3: WE’RE Broderick, PhilipHuston,LouiseLatimer,VintonHaworth,Robert McWade. 71min. ‘37—Ben Stoloff—Victor McLaglen,Preston 34.SEADEVILS—RKO G Foster,IdaLupino,DonaldWoods,HelenFlint, ordonJones,Pierre Watkin.88min. INLOVE—Col ‘37—Robert Riskin—Grace Moore, 35. WHENYOU’RE CaryGrant,AlineMacMahon, ThomasMitchell, CatherineDoucet, HenryStephenson. 104min. ‘37—EdwardKilly—ConstanceWorth, PASSAGE—RKO CHINA 36. VintonHaworth,LeslieFenton,GordonJones,AlecCraig,Dick Elliott.65min. ‘37—Robert Z. Leonard—JeanetteMacDonald, Sf MAYTIME—MGM

HermanBing,TomBrown,Lynne NelsonEddy,John Barrymore, Carver.132min.

‘37—Lew Landers—John 38. THEMANWHOFOUNDHIMSELF—RKO Beal,Joan Fontaine,PhilipHuston,Jane Walsh,GeorgeIrving, JamesConlin.67min. Cabanne—Preston ‘37—Christy FLAT—RKO OFPOKER 39. OUTCASTS Foster,Jean Muir,Van Heflin,Virginia Weidler,Margaret Irving,

FrankM.Thomas.68min. COURAGEOUS—MGM ‘37—Victor Fleming—Freddie 40. CAPTAINS MelvynDouglas, SpencerTracy,LionelBarrymore, Bartholomew, John Carradine.116min. MickeyRooney, CharleyGrapewin, 41 THETOAST OFNEWYORK—RKO ‘37—Rowland V.Lee—Edward Arnold,CaryGrant,FrancesFarmer,Jack Oakie,DonaldMeek, ThelmaLeeds.109min.

THE REAL STARS

AAsBROADWAY MELODY OF1938—MGM ‘37—Roy DelRuth—Robert

Taylor, EleanorPowell, GeorgeMurphy, BinnieBarnes,BuddyEbsen, JudyGarland,SophieTucker.110min. ‘37—William A. Seiter—JoePenner, 43.LIFEOF THE PARTY—RKO

GeneRaymond, Parkyakarkus, HarrietMilliard, VictorMoore,Helen Broderick, AnnMiller.77min.

44,ONE

HUNDRED MEN AND A GIRL—Univ ‘37—HenryKoster—

DeannaDurbin,LeopoldStokowski, AdolpheMenjou,AliceBrady, EugenePallette,MischaAuer.84min. ‘37—John Blystone—Nino Martini, 45.MUSICFORMADAME—RKO JoanFontaine, AlanMowbray, AlanHale,GrantMitchell, ErikRhodes, LeePatrick.81min. 46. LIVELOVEANDLEARN—MGM ‘37—George Fitzmaurice—Robert Montgomery, RosalindRussell,RobertBenchley,HelenVinson, MickeyRooney,MontyWoolley.78min. ‘37-—lien Stoloff—John Boles,Jack 47. FIGHTFORYOURLADY—RKO

Oakie,IdaLupino,MargotGrahame,GordonJones,ErikRhodes, PaulGniltfoyle. 67min. 48. THEFIREFLY—MGM ‘37—Robert Z.Leonard—Jeannette MacDonald,

AllanJones,WarrenWilliam,HenryDaniell,DouglassDumbrille, LeonardPenn.131min. ‘37—W. S.VanDyke—Nelson Eddy,EleanorPowell, 49. ROSALIE—MGM FrankMorgan,EdnaMayOliver,RayBolger, IlonaMassev,Reginald Owen.122min. BO.SNOWWHITE AND THE SEVENDWARFS—RKO ‘37—David

Bl,

52.

Hand—Gilbert didthevoiceofSneezyinthisWaltDisnevanimated feature.Color—83 min. SHE’S GOTEVERY THING—RKO ‘38—Joseph Santley—Ann Sothern, GeneRaymond,VictorMoore,HelenBroderick,Parkyakarkus. 7ASiti. HAPPYLANDING—2oth‘38—RoyDel Ruth—SonjaHenie, Don

Ameche,CesarRomero, EthelMerman, JeanHersholt, WallyVernon, ElBrendel.102min.

LEONARDMALTIN

‘38—Ben Holmes—Joan Fontaine, D3:MAID’SNIGHTOUT—RKO AllanLane,HeddaHopper,GeorgeIrving,WilliamBrisbane,Cecil Kellavvay. 64min. ‘38—Tay Garnett—Irene Dunne,Douglas O4.JOYOFLIVING—RKO FairbanksJr.,AliceBrady,GuyKibbee,Jean Dixon,EricBlore, LucilleBall.90 min. ‘38—George NichollsJr—Madge Evans,Preston D0:ARMYGIRL—Rep Foster,NeilHamilton,RuthDonnelly,H.B.Warner,HeatherAngel,

JamesGleason.80min. ‘38—JohnG.Blystone—Stan Laurel, 56. BLOCKHEADS—Roach-MGM

OliverHardy,PatriciaEllis,MinnaGombell, JamesFinlayson, Harry Woods.55min.

THEICE—RKO ‘38—Edward F.Cline—Bobby Breen, =i BREAKING CharlieRuggles, DoloresCostello, IreneDare,RobertBarrat,Dorothy Peterson.81min. ‘38—Roy Del Ruth—SonjaHenie,Richard 58. MYLUCKYSTAR—20th

Greene,CesarRomero,BuddyEbsen,JoanDavis,ArthurTreacher, LouiseHovicle.84min. ‘38—Leslie Goodwins—Joe Penner, aes MR.DOODLEKICKSOFF—RKO June Travis,Richard Lane, Ben Alexander,Alan Bruce,William Davidson.75min.

WALTZ—MGM ‘38—Julien Duvivier—Luise Rainer, 6O. THEGREAT FernandGravet,MilizaKorjus,HughHerbert,LionelAtwill,Curt Bois.102min.

BADBOYWITHTHECIRCUS—RKO ‘38—Edward F.Cline— 61.PECK’S TommyKelly,AnnGillis,EdgarKennedy,BenitaHume,Spanky McFarland.78min. ‘39—Norman Taurog—Franciska oe THEGIRLDOWNSTAIRS—MGM

Gaal,FranchotTone,WalterConnolly,ReginaldGardiner,Rita Johnson.76min. PASSPORT—Rep ‘39—John H.Auer—Paul Kelly,June 63. FORGED Lang,LyleTalbot,CliffNazarro,MauriceMurphy,ChristianRub, John Hamilton.64 min.

THE REAL STARS

64.

THESTARMAKER—Para ‘39—Roy DelRuth—Bing Crosby,Louise Campbell, LindaWare,NedSparks,LauraHopeCrews,JanetWaldo. O4Tun,

65. THEUNDER-PUP—Univ ‘39—Richard Wallace—Gloria Jean, Robert

Cummings,NanGrey,BeulahBondi,VirginiaWeidler,Margaret Lindsay.88min. 66. RIO—Univ ‘39—John Brahm—Basil Rathbone, VictorMcLaglen, Sigrid Gurie,RobertCummings, LeoCarrillo,MauriceMoscovich. 75min. D7, DESTRY RIDESAGAIN—Univ ‘39—George Marshall—James Stewart,

MarleneDietrich,CharlesWinninger,BrianDonlevy,UnaMerkel,

IreneHervey,JackCarson.94min. ee: HISGIRLFRIDAY—Col 40—Howard Hawks—Cary Grant,Rosalind

Russell,RalphBellamy, GeneLockhart,PorterHall,RoscoeKarns, FrankJenks,RegisToomey, JohnQualen,HelenMack.92min. 69. WOMEN INWAR—Rep 40—John H.Auer—Elsie Janis,WendyBarrio, PatricKnowles, MaeClarke,DennieMoore,DorothyPeterson. 71min. 7a. SANDY ISALADY—Univ 40—Charles Lamont—Baby Sandy,Eugene Pallette,NanGrey,TomBrown,MischaAuer,EdgarKennedy,Fritz Feld.64min. vas SAFARI—Para 40—Edward H.Grifhth—Douglas Fairbanks Jr,Madeleine Carroll,TullioCarminati,LynneOverman,MurielAngelus.80min. Pe: QUEENOF THE MOB—Para‘40—JamesHogan—RalphBellamy,

BlancheYurka,J. CarrolNaish,Jeanne Cagney,WilliamHenry, RichardDenning.61min. ee CROSS-COUNTRY ROMANCE-—RKO ‘40—Frank Woodruff—Gene Raymond, WendyBarrio,HeddaHopper,GeorgeP.Huntley,Berton Churchill.68min. SCATTERBRAIN—Rep 40—Gus Meins—Judy Canova, AlanMowbray, 74. RuthDonnelly,EddieFoyJr.,Joseph Cawthorn,WallaceFord. 74GG,

PLENTY HOT—Rep 40—Lew Landers—Ruth Terry, oe SING,DANCE, JohnnyDowns,BarbaraJo Allen,ClaireCarleton,MaryLee,Elisabeth Risdon.70min.

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DICTATOR—UA 40—Charles Chaplin—Charlie Chaplin, 7G. THEGREAT PailletteGoddard,JackOakie,ReginaldGardiner,HenryDaniell. 126 Tiin., ?i:

A LITTLEBITOFHEAVEN—Univ 40—Andrew Marton—Gloria Jean,RobertStack,HughHerbert,C.AubreySmith,StuartErwin,

Nan Grey.87min. 40—EdwardF.Cline— 78. THEVILLAINSTILLPURSUEDHER—RKO

HughHerbert,AnitaLouise,AlanMowbray, BusterKeaton,Joyce Compton,RichardCromwell.65min. 40—Tay Garnett—Marlene Dietrich, JohnWayne, 79. SEVENSINNERS—Univ

AlbertDekker, Broderick Crawford, AnnaLee,MischaAuer.87min. 40—Walter Lang—Alice Faye,BettyGrable, 80. TINPANALLEY—2zo0th JackOakie,John Payne,EstherRalston,AllenJenkins,Nicholas Brothers.94min. ‘40—Kurt Neumann—Ken 81. A NIGHTAT EARLCARROLLS—Para Murray,RoseHobart,BlancheStewart,ElviaAllman,J. CarrolNaish,

RussellHicks.62min. 82. NO, NO, NANETTE—RKO4o—HerbertWilcox—AnnaNeagle,

Richard Carlson,VictorMature,RolandYoung,Helen Broderick, ZaSuPitts,EveArden.96 min. 83.

MODEL WIFE—Univ 41—Leigh Jason—Joan Blondell, DickPowell, LeeBowman, CharlieRuggles,LucileWatson,RuthDonnelly, John

Qualen.78min. FORTHESUN—Para 41—William A.Wellman—Joel McCrea, 84.REACHING EllenDrew,EddieBracken,AlbertDekker,GeorgeChandler.90 min. ANGELSWITH BROKENWINGS—Rep41—BernardVorhaus— 85.

BinnieBarnes,GilbertRoland,MaryLee,Jane Frazee,Edward Norris,KatharineAlexander. 72min. 41—Edward H. Griffth—Fred 86, ONENIGHTIN LISBON—Para MacMurray, MadeleineCarroll,PatriciaMorison,BillieBurke,John Loder,DameMayWhitty.97min. 41~—Reinhold Schunzel—Ilona Massey,AlanCurtis, 87. NEWWINE-—UA

BinnieBarnes,AlbertBassermann, SterlingHolloway, RichardCarle. oa.HAM,

THE REAL STARS

88. WEEKEND INHAVANA~—2oth 41—Walter Lang—Alice Faye,Carmen

Miranda,John Payne,CesarRomero,CobinaWrightJr. George Barbier.Color—80 min. 89. VALLEY OFTHESUN—RKO 42—George Marshall—Lucille Ball, JamesCraig,CedricHardwicke, DeanJagger,PeterWhitney,Tom Tyler.84min. 90. SONGOFTHEISLANDS—2oth 42—Walter Lang—Betty Grable, VictorMature,JackOakie,ThomasMitchell,GeorgeBarbier,Hilo Hattie.Color—75 min. Ql.

GAL—Rep 42—Albert SLEEPYTIME S.Rogell—Judy Canova,Tom Brown,RuthTerry,ThurstonHall,ElishaCookJr.,JerryLester.80min.

92.

MR.WISEGUY—Mono 42—William Nigh—Leo Gorcey,Bobby Jordan, Huntz Hall, Guinn Williams,Gabriel Dell,Benny Rubin,

DavidGorcey.70min. 23. ARABIANNIGHTS—Univ 42—JohnRawlins—Jon Hall,Maria

Montez,Sabu,LeifErickson,ShempHoward,EdgarBarrier,Turhan Bey.Color—86 min.94. SHANTYTOWN—Rep 43—Joseph Santley—Mary Lee,John Archer,MarjorieLord,HarryDavenport, Anne Revere,J. FrankHamilton,FrankJenks. 65min. ae- STAGE DOORCANTEEN—UA 43—Frank Borzage—Chery] Walker,

WilliamTerry,MarjorieRiordan,LonMcCallister; gueststarsJudith Anderson,TallulahBankhead,RalphBellamy, EdgarBergen,Ray Bolger,Katharine Cornell, Gracie Fields,Lynn Fontanne, Helen

Hayes,KatharineHepburn,GertrudeLawrence, GypsyRoseLee, AltredLunt,Harpo Marx,EthelMerman,PaulMuni,MerleOberon,

GeorgeRaft,manyothers.132min. 96. SPOTLIGHTSCANDALS—Mono “43—William Beaudine—Frank

Fay,BennyBaker,BillyLenhardt,CharlesK.Brown,Butchand Buddy,HarryLangdon.79min. Gi: ALWAYS A BRIDESMAID—Univ 43—ErleC.Kenton—The Andrews Sisters,PatricKnowles,GraceMcDonald,CharlesButterworth,Edith Barrett.61min. 98. CRAZYHOUSE—Univ 43—Edward Cline—Ole Olsen,ChieJohnson,

MarthaO'Driscoll, PatricKnowles, CassDaley,PercyKilbride, Edgar (ae:

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gueststarsAllanJones,LeoCarrillo,AndyDevine,Basil Kennedy; Rathbone,Nigel Bruce,Marion Hutton, Count BasieBand,many

others.80min. Howard, RossLederman—Shemp 44—D. OFAKIND—Mono OY.THREE HelenGilbert,June Lang,BuzzyHenry,Paul MaxieRosenbloom, Phillips.67min. 1O0. EVERSINCEVENUS—Col 44—Arthur Dreifuss—Ina RayHutton R Band,HughHerbert,Ann Savage,GlendaFarrell, ossHunter, Alan Mowbray.75min. LOL.THREE ISAFAMILY—UA 44—Edward Ludwig—Marjorie Reynolds,

ArthurLake,Hattie CharlieRuggles,FayBainter,HelenBroderick, McDaniel. 81min. Howard, Beaudine—Shemp 44—William LOZ.CRAZYKNIGHTS—Mono

TimRyan,JayneHazard,BernieSell,TayDunn. MaxieRosenbloom, ‘a peokpar Sinatra, Sidney—Frank 45—George LOS,ANCHORS AWEIGH—MGM

Pamela KathrynGrayson,GeneKelly,JoseIturbi,DeanStockwell, Britton,RagsRagland.Color—140 min. Morgan(liveaction)— 104. FUNANDFANCY 47—William FREE—RKO Gilbertsupplied Shore. EdgarBergen,LuanaPatten,voiceofDinah segmentwith thevoiceoftheGiantin the“JackandtheBeanstalk” MickeyMouse,DonaldDuck,and Goofyin this Disneyfeature. Color—72 min. 125.

48—PeterStewart—JohnSutton, THE COUNTERFEITERS—20th

DorisMerrick,HughBeaumont,LonChaney,GeorgeO’Hanlon, DouglasBlackley. 73min. Sinatra, Benedek—Frank 48—Laszlo 106. THEKISSING BANDIT—MGM M ikhail Natwiek, Kathryn Grayson,J. CarrolNaish,Mildred Rasumny.Color—102 min. 49—MitchellLeisen—JohnLund, LO].BRIDEOF VENGEANCE—Para Paulette Goddard, MacDonald Carey, Raymond Burr, Donald

Randolph.91min.

THE REAL STARS

108.DOWNAMONGTHESHELTERINGPALMS—20th ‘53—Edmund

Goulding—William Lundigan,Jane Greer,MitziGaynor,David Wayne,GloriaDeHaven,GeneLockhart, jackPaar.Color—87 min. 109.PARADISEALLEY—Astor ‘62—HugoHaas—HugoHaas, Marie

Windsor, ChesterConklin, CarolMorris,Margaret Hamilton, Corinne Griffith.85min. 110.FIVEWEEKSINABALLOON—20eth ‘62—Irwin AlNen—Red Buttons,

Fabian,BarbaraEden,CedricHardwicke,PeterLorre,Herbert Marshall,BarbaraLuna,HenryDaniell,ReginaldOwen,Richard Haydn.Color—101 min.

Billyinhislastfilmappearance,withPeterLorrein FIVEWEEKSIN A BALLOON(1962)

ByLeonardMaltin October,1989

In the 1930sand40s,DorothyGrangerwastheuncontestedQueenofShort

seriesoftwowile,inhislong-running BestknownasLeonErrol’s Subjects. Chase,Edgar withLaurelandHardy,Charley alsoappeared Dorothy reelers, andvirtuallyeveryothercomic AndyClyde,theThreeStooges, Kennedy, atthetime.Whatmaycome c omedies short whowasmaking inHollywood asa surprisetomanyreaders,as it didtothiswriter,is theextentofMiss workinfeaturefilmsduringthesameperiod.Sheworkedwith Granger’s mostofthemquiteclearly. fromDeMilletoGarboandremembers everyone Referringto modern-dayHollywoodas an ulcerfactory,Dorothy leftshowbusinessin theearly1960sto devoteherselfto painting(she’s quitegood)andrunninga successfulupholsterystoreinLosAngeles withherhusband,JackHilder.Stillveryattractive,MissGrangerwas herthissummer. subjectwhenweinterviewed anextremelycooperative

viaa beauty FFM:Let’sstartatthebeginning...youcameto Hollywood contest,didn’tyou? 1wona beautycontestwhenI wasthirteen,in SylvanBeach, GRANGER: a summerresortoutsideof Houston,Texas.Wehadbeen studying dancingwith a man by the name of BillyTruehart,in Houston,so when

this contestthingcamealongand Iwon,hethrewusintoa familyact. I dancedwithmybrother,andthatledto vaudeville.Wehadseveral familyacts,and it gotbigger,untilweweredoingprologues.Atthat andthenanhourshow timetheatershadonefeature,a short,a newsreel, shows. hour,hour-and-a-half Wehadfiveorsixdifferent calleda prologue.

THE REAL STARS

DorothyGrangerin 1934

FFM:Didtheseprologues haveanything todowiththemoviesbeingshown? GRANGER: No,butoneplacethatIworkedinHoustonwasshowingRed GrangeinONEMINUTE TOPLAY, sotheycalledusRedGrangerandher Team,andwedidaslow-motion football game.Wedida lotofvaudeville, all over.Dadwasourbookingmanager, andouradvanceman,andthem.c.of theshow.Wewentintothistabloidstockcompany inTulsa,TomLewisand hisPlayers, attheLyricTheater, asanaddedattraction, todoafewsinging anddancingnumbers.Theylikedourlooks,andourbookingswerebeing canceled(youweregettingcancelations becausetheywereputtingthese bigsoundthingsinthemiddleofthestagefortalkiesinmanytheaters), soTomLewissaid,“Whydon’tyoustayonandstartworkinginbitsand things?”Iworkeduptoingenue,mybrotherworkeduptoleadingman.We wouldchangetwicea week,doingthreeshowsduringtheweek,fiveon Saturday, andthemidnightshowwastheshowweopenedwithonSunday. Weneverhadlessthanfiftyorsixtysidestomemorize. Theywouldtake playsandbootlegthenames,sotheydidn’thavetopayroyalties—they got bywithmurderinthosedays.Thatreallygavemescadsofexperience... youhadtolearnnewsongs,newopeningstosing,andclosings, andspecialties. Youneverknewwhatyouweredoing—you sortofwalkedaround

MALTIN LEONARD inadaze.WhilewewereinTulsa,amannamedCharlesMonroe, whohad thestars, a lotof a ndphotographed outhere, studio a bigphotographer's withhiswite.Theysaw happenedtobecomingthroughTulsaonvacation andhehadgonetoschoolwithmy “TheGrangerCompany,” themarquee, father.Hecaughttheshow,andhecamebackandravedtothefolksabout me,andsaid“Ithinkshehasgreatpossibilities, andthey'rescreamingfor ... anyonewhocantalk.”Sohecame anyonewho’shadstageexperience backouthere,and madearrangementswithUniversal.Thatdidn’tpan out,

butCharlieintroducedmetodifferentcastingdirectors. I dida movieat RKO-PathewithEddieQuillan,SallyO’Neil,StanleySmith,and Jeanette

Loff.Wedidn’tknowit at thetime,butthiscastingdirectorwascrooked.

and Jr.typeofHapper, asaJohnHeld, thispicture Heusedmeallthrough

I didn’t a dayandpocketingtherestofthemoney. hewaspayingme$7.50 knowthedifference! ThepicturewasTHESOPHOMORE, 1929.Atthattime

weworkedasadance oneI dancedwith—and mybrotherwasouthere—the waltz,but team.Wegota callfromRKO.Wedidjusta plainold-fashioned alltheseothercoupleskeptgettingupanddoingthesefancythings.Dick withthat.”Isaid wecan’tcompete on,Dorothy, gotwhiteandhesaid,“Come here,we'regoingtodanceforthem,andwe'renotgoingtowalkout.” “We're Sowegotupanddidourlittlesimpledance,andtheycalledusforthepart. HALLwithOlive Wefoundoutwhylater.Itwasa picturecalledDANCE BordenandArthurLake,andmybrotherhadtoplaya pansyinit “Otall things,”he said,“formyfirstpart!”)Well,whytheytookuswasthatthey andArthurLake danceteam,becauseOliveBorden didn’twanta sensational werethedanceteamintheballroom, andtheywantedthemtolookgood. FFM:Howdidyougetintotwo-reelcomedies? GRANGER: Dadtookmeoverto Roach’s. He’dalwaysthoughtthat| a goodcomedienneso he I wouldmake hadcomedytimingandthat tookmeoutto HalRoach’s, andtheyweretestingat thattimeforthe BoyFriendsseries.Theytestedmeandsignedmeforit.I dida picture withHarryLangdoncalledTHEKING,andthisiswhattheyputmein totestme.Theydida bigclose-upinthefilm.

THE REAL STARS

FFM:Sotheyhadtheclose-upasa sortoftest. GRANGER: Yes... itwasn’tatallunusual.RKOusedtothrowkidsthey wantedtoputundercontractintoourcomedies totestthem.IwasaboutseventeenatthetimeRoachsignedme,andIwasgettingprettymature-looking. LittleGertieMessingerandMaryKornmanweresuchbabyish-looking things—we wereallaboutthesameage,butIwassexier,moredeveloped. TheytriedfrsttomakeanotherZaSuPittsoutofme,andthatdidn’tcome throughatall.Iworkedinsomemoreofthemandthentheydecidedthat I wasjusttoosophisticated forthatsotheyputmewithCharleyChase andLaurelandHardy.Fromthere,myDadtookmeouttoMackSennett’s ...not theEdendalestudio,butwhatwaslaterRepublic. Mr.Sennettwas awayononeofhisfishingtrips,soWarrenDoane,thegeneralmanager, said“Well, we'lluseyouinoneofthesecomedies, andwhenMr.Sennett comesback,ifhelikesyouwe'llsignyouup,”andthat’swhathappened..

Toptobottom,GradySutton,GertieMessinger, DavidSharpe,Dorothy Granger,MickeyDaniels,MaryKornman—THE BOYFRIENDS

LEONARD MALTIN it alwayslooksas ifyoureenjoyingyourself. FFM:Inthetwo-reelers GRANGER: Well,youdidhavefun. FFM:Thatreallycomesacross.

It does,and especiallyoncomedymaterial.Youplayedit GRANGER: byear,andyoufelta scene.Youhadsortofanoutline;theydidn’thave Ofcourse scriptwritersas such.Theyhadmaybefiveorsixgag-writers. the boys (Laureland Hardy)could have done twenty-eightminutes on one scene,becausethe directorwouldjust turn onthe camera,and they

wouldkeepit upandkeepit up.He’dneversay“cut.”Theonlywayhe’d say“cut”wasifthewholecrewwouldgethystericalandthey’dhaveto AND cutbecauseofthe sound.] havean 8-mmprintofTHELAUREL CASE,in whichI havejustonescene... it wasthe HARDYMURDER frst timeI workedwiththem,and it’sfunto showit sometimeswhen I havethe gangover.Too,in thosedays,youdidn’thaveto be in the makeupat 7:00foran 8:30shooting.Youcamemaybeat 10andthey wouldshoot until 3, and then the gag-writerswouldgo intoconterence,

andthey'dsendyouhome.Asyousay,itcameover. FEM:That’sthecharmofthetwo-reelers.

Well,I thinkit goesdeeperthan that,too.Youtakeall of GRANGER: thosecomedianswhoweredoingfilmsat that time.Theyhad all had oronthestage,ordoingtwo-reelers hadbeeninburlesque, training—they Theyknewcomedy,andtheyknew insilents.Theywereprofessionals. timing.We'relosingallofthemnow,and wherearethe kidsgoingto getittoday? wasn’tthere? FFM:Therewasquitea stockcompanyatRoach’s, ofyourfamily.I Ohyes,andnotonlya stockcompany—all GRANGER: havestillswhereyou’dseemydad,mytwobrothers.TheGuildwasn’t ie

THE REAL STARS

in existencethen,soJackRoachwascastingdirector,andhe’dsayto mydad,“Well,Pop,youwanttoworktomorrow?” andMaryKornman— you'dseehermother,GertieMessinger’s sister,allofthe extraswere allourfamily. FFM:What werethe comedianslike off-screen?

GRANGER: Morelikeundertakers.Theyweregenerallyveryserious, andnotlikethesecomicstodaywhoare always“on.”Theyregarded comedyastheirprofession, that’sall. FFM:HOWmuchtimewouldyouspendonan averagetwo-reeler? GRANGER: Oh,I'dsayaboutaweek.Later,whenIwasdoingtheLeon Errols,we'ddotheminthreedays,sometimesworkingovertimeonthe third day,whichwouldkillthe producer.

FFM:Wastheremuchimprovisation? GRANGER: Well,on the BoyFriendsyoumore-or-less stuckto the story-line, butwithStanand Babeit waseverymanforhimself.And CharleyChasead-libbed alot. FFM:Whatareyourmemories ofsomeofthecomics,likeCharleyChase? GRANGER: Hewasveryserious,andaverydedicatedman.I’dsaythat Charleywasreallymoretechnicalthantheothercomediansofthattime. FFM:ThelmaTodd? GRANGER: Shehadaterrific senseofhumor;shewasalwayslaughing, alwaysbreakingup.TheonlytimeI didgetthe gigglesI wasdoinga picturewithCharleyChasecalledLOOSER THANLOOSEwithDell Henderson,Thelma,and myself.SomethingtickledThelmaand me;we (acne

LEONARDMALTIN

startedlaughingandwecouldn'tstop.SheandZaSuusedtojustlook ateachotherandstarttolaugh.They’dhavetodofiteen,twentytakes.

DorothyandThelmaToddintheCharleyChase comedyTHEPIPFROMPITTSBURGH (1931)

FFM:Wastheresortofa classsystemwhereyouwereknownasstrictly a short-subject player? GRANGER: I alwaysconsideredit natural that I woulddo comedies;I

mean,whoelsewasavailable? Butitwasawfullyhardtogetanyfeatures. Infact,whenLeonwoulddotheSPITFIRE filmswithLupeVelez,they wouldn'tletmeplayhiswife,becauseI wastooyoung.Inthetwo-reel

THE REAL STARS

farcecomedies,itwasallright,buttheyhadanoldergirltoplayitmore legitimate.Youknow,Leonactuallywasaboutthesameheightas me, butinallourshortshelooksalittleshorterbecausehelikedmetostand tallandheplayeddown,likethebrowbeatenhusband.

WithWalterCatlettandEugenePallettein an Educationaltwo-reelerfromthemid-1930s

FFM:WhendidyoufirstappearwithLeonErrol? GRANGER: Heavens,yearsagoat Educational. Nota series,but I’d goandplaythegalhe’dgettiedupwith,sothewifewouldgetjealous. I graduatedfromthatto playingthe otherwoman.VivianTobinhad beenplayinghiswifeat RKOandtheyweredissatisfiedwithher,so theycalledmein to doonewithhim,andI washiswifefortenyears afterthat.WeweredoingthatatthesametimethatFlorenceLakeand EdgarKennedyweredoing“Mr.AverageMan.” FFM:Itmusthavebeena greatadvantagetobeabletoworkwithsomeoneona steadybasislikethat.

LEONARDMALTIN

GRANGER: Youcouldsenseeachother;wejustrolleditofflikenothing. We'dhavevisitorscomeonthesetandtheywouldthinkwewerereally married.Andsomeofthemwouldsay,“Gee,hesuremarrieda young gal!”Therewasquitea differenceinouragesatthattime.

DorothyandLeonErrol,circa1934 FFM:Was he also seriousoff-screen?

GRANGER: Yes,buthehadquitea senseofhumor.Hewasn’tlikean undertaker.Wewereallreallyserious.Whenyou'reworkingin three days,andwewereineveryscene,andyouhada longscript,youdidn't havetimetochasearound.Buthewasajoytoworkwith.I remembera funnyincidentona filmwhichwascalledPLLTAKEMILK.Hekeeps havinghislittlenipsallthetime,inthefilm,andI’mveryannoyedand I’mgoingto breakhim.Hepromisesnotto haveanymore,so at the tailendofthefilmIcomeintohimandhesays“Honey, Ineeda drink.” I handhima glassofmilk,andwithoutlookingatithetakesa swigof it,realizesit’smilk,andspitsit out.Well,thecamerais dollyingupfor

THE REAL STARS

a bigclose-upas hetastesit,andas he spitsit out,to gethisreaction. Well,weshotit,butwedidn’trehearseit.Sohe takesthisbigswigof milk,andhespitsoutfalseteethandeverythingrightintothecamera! Ithinkhelaughedharderthananyone. FFM:Youmentionedthattheytriedoutnewpeoplein theshorts.Do yourememberanyoneinparticular? GRANGER: Well,ofcourse,LucilleBallstartedin them.Thetrouble withtheseyoungsterswhotheywouldsendoverto showcaseinthese filmswasthattheydidn’trealizetheycouldhavelearnedsomuchby justwatching.Theyresentedthefactthattheyhadbeenputintoa tworeeler.Theywereabovethat. FFM:Whydoyouthinkyourserieslastedsolong,intothe1950s? GRANGER: Wewouldhavedonea televisionshowifhehadn’tpassed away.SomanysituationcomedieshaveusedtheformatthatLeonandI started.Hewasjustcrazyaboutit,butunfortunately, hehadabadheart, andhetooka tripwithHarryShannon,camebackandhada heartattack.Ithinkwelastedbecausewewereslapstick,andwewerefarcebut theywerebelievablesituations.Wemuggedalot,butnottoomuch,and theywerequitebelievable.Theywerefast,andwehadgooddirectors. Onedirectorwhodidquitea fewofthemwasHalYates.You’dbreak upifyouwatchedhim.Toshowyouhowhe’dlosehimself,wedidone shortwitha trainedchicken.Theyhadituponthepiano,andHalwas gettinga shotofit,andhewassaying“Look,dothis,dothis!”He’stalkingandgettingveryupsetbecausethechickenwon'tdowhathesays! FFM:Doyourememberanyfeature-flms inwhichyouappeared?You're onlycreditedfora handful. GRANGER:Well,therewasTHEMERRYWIDOWI wasonthat about

tourmonths.I wasoneofthegirlsatMaxim’s. Chevaliercomesinand ome

LEONARDMALTIN

kissesme,andthenkissesmyshoulder.Theylovedmebecauseofthose costumes;Ijustfitintothem.Adrianlovedto designthemforme,and I’llneverforgetwhenIworkedinNANAwithAnnaSten.Wehadtogo overandshowthedirector,DorothyArzner,ourcostumes.Thedesigner hadtakenallthe girlsoverthere,andshe (Arzner)said,“Nowthis is theonlyonethatlooksright,padtherestofthemlikethis.”AndI said, “I’msorry,MissArzner,butthat’snotpadding!”GeorgeCukorlovedto useme—Iworkedwithhimin CAMILLE, andROMEOANDJULIET.

DorothyandLeonErrol,cirea1948

FFM:Whatdidyoudoin CAMILLE*® GRANGER: I wasoneofthe girls... youknow.LauraHopeCrews wastheMadam,and1wasoneofhergirls.Therewasonescenewhere we'resittingatthetable,andthey'repanningaround,andE.E.Cliveis whisperinga dirtystoryinmyear.ThenI havetothrowmyheadback andlaughandbanghimontheback.I laugheditup.Well,Garbohad es 2

THE REAL STARS

anawtultimelaughing...shejustcouldn’t.Shewassofascinatedshe gotthestoolrightnexttothecamera,andjustwatchedmeandwatched medoingthe scene.Afterwardsshecameto meand said,“Dorothy, dot’svonderful,howcanyoulaughlikedot?”Shewasjust fascinated. gownshehad ThenIrememberattheparty,thisgorgeoustight-waisted firstmovie— on.Therewasan EnglishactornamedRexO’Malley—his whomCukorhadbroughtoutfromNewYork.Hewasdancingaround withGarboduringtherehearsalforonescene.Shetrips,and hevery gallantlyhelpsherup and says“Oh,I’msorry,MissGarbo,didI step onyourdaintylittlefeet?”in allseriousness.Onebyone,yousawthe cameramandisappear,andeverybodyclearedthesetbecausetheyall crackedup.

VirginiaGrey,PauletteGoddard,LanaTurner,LuiseRainer,Dorothy Granger,andAnnRutherfordin DRAMATIC SCHOOL(1938)

FFM:HOWdiditcomethatyouweren’tbilledfora filmlikethat? GRANGER:Youjust weren't.Youwere sort of a stock company.They

signedyouup.LikeDRAMATIC SCHOOL, oneofLanaTurner’sfirst as

LEONARDMALTIN

wereallkids films,andVirginiaGrey,BillTalman,DickHaymes—we on that togetherwith LuiseRainer.Wewerethe stockcompany.If theyput a line in the script,they’dsay“Well,youdo it.”Youmight showup forthreedaysandnotwork,justwalkthrougha scene.Then maybethe fourthdaythey’dthink of somethingforyouto say.They either.Theyspentalotofmoneyonthose.| weren'tsobudget-minded, rememberoncemystep-sonwasoverhereandwewerewatchingTV, an oldRamonNovarro picturewith MarianMarsh.We werewatching, and I said, “Gee,what was that actress’ name? She looks so familiar.”

andTonylookedat meandhe said,“That’syou!”I hadforgottenthe

MitchLeisenusedto usemeallthetime.Healways pictureentirely. I triedto hadmedoingsomecomedyscene.InLADYINTHEDARK getJonHall’sautographwhenGinger’swalkingdownthestreetwith him. I’vegot everything in my purse and I can’tfinda pencil,so they

walkawayandleavemetheretalkingto myself.In TAKEA LETTER comesinto get whenFredMacMurray I wasthereceptionist DARLING goingto getthejob.”IworkedwithFredanother ajobandI say“You're Thisgoesback YOURS. time,withClaudetteColbert-PRACTICALLY quitea way... Mitchusedto be secondassistantto CecilB.DeMille, andIworkedin SIGNOFTHECROSS.1wasoneoftheChristiansbeweretwoor ingthrowntothelions.Thisis thestoryofmylite—there threethingswhereIjustmissed,andthiswasone.Therewasanother redheadedgirlon the lot;welookedquitea bit alike.Hernamewas Pat Farley.DeMillehad nicknamesfor everyone,and he calledme wouldgoup thesesteps,andthenI had Red.Hemademerehearse—! to takea fall. [hada blackspot,evenknowinghowto fall,buthe liked me sowell,hewasso impressed,thathe sawmewalkingon the lota fewweeksafterthat.Hetoldoneofthe executives“Signthatgirl,”and George it wasthe othergirl.ThenwhenI wasworkingonCAMILLE, Cukorsaid,“HaveyoureadGONEWITHTHEWINDyet?”Isaid“Not andreadthepartofBelle yet.”Hesaid,“Byallmeansgetitimmediately Watling.I haverecommendedyouto Selznick.Margaretmusthave knownyou... youfitthedescription.” Soonmyowntime,hehadme workoutwithWillPriceon studioeverydayand overtoSelznick’s go 134

THE REAL STARS

thatGeorgia-cracker accentuntilIhadthewholethingdown.Sowhat happens?Just as I’mreadytotest,Cukorhasa battlewithsomebody andtheybringin SamWood. I didn’tknowhim,he didn’tknowme, soheputin OnaMunson,whowasalittle petiteblonde.Theyputher inbigbuildupshoes,builtoutthebust,andputa redwigonher,and shewasBelleWatling.SoI guessI wasn’tdestinedto be a bigstar.I thinkIprobablywouldn'thavebeenhappy.WhenIfirstcameouthere, peoplealwayssaidIwasfaithfultomyfamily;andIwas,becausemy familyalwayscamefirst.WhenI boughtmyfirstcar,a producersaid, “T’ll payit off,”and I said,“No,I’llpayit off.”I didn’twantto getinto that,becausewe'dalwaysbeen a closefamily.Andsomebigwriter said,“Youknow,youcanbecome a bigstar,butyou'llhaveto break awayfromyourfamily,and getan apartment,”andhe startedgiving methewholelist,andI said“No,I don’tthinkso.”I didn’twantto,and ifI hadittodooveragainI don’tthinkIwould.I’ddoitthesameway, becauseI hada veryhappylifewithmyfamily. FFM:Canyouthinkofanyotherfeaturesyou'vedone? GRANGER: NAUGHTY MARIETTA... Iwasoneofthegirlswhowere beingsenttogetmarried.I wasontheboat,becauseI rememberI got seasick.Theyhadthisbiginterior,anditwasona rocker.Theysaid“If anyofyouthinkyou'regoingto getseasick,letus know.”AndI didn’t sayanything,becauseI neededthework,andI gotsickasa dog.Iwas in PALEFACE, withBobHope,as a barmaid.Theyhit BobHopeand hesailsoverandendsupbehindthecounter,andIbenddowntopick himupandfanhim.Well,becauseofthecleavageproblemwithJane Russell,everythingtheyhadwashigh-necked. Andtheyhada censor oneveryscene,justhangingaround.Formetheysupplieda verylowcutdress,andwhenIbentover,itwasjusta littletoomuch.Thecensor raisedthedevil.I hadalreadybeenestablishedinthecostume,sothe onlywaytotakecareofitwasasIsaid“Oh!”tohaveahandkerchief and putitinthedress,soIwouldhavetwohandsfree—which wastwiceas obviousasiftheyhadjustforgottenthewholething.

LEONARDO MALTIN I quitactingaboutsixyearsago,butfora longtimeI’djusttakewhat I wanted... if somethingcamealongwhereI thoughtI’dseesomeof theoldgang.MyagentgotdisgustedwithmebecauseIwouldn'ttake anything;Iwouldn'ttakeanylivestuff.I didn’tneeditfnancially,which wasa goodfeelingbecausea goodmanyyearsI neededit.Youwent outwitha lotofcompetitionandyoufought,becauseifyoudidn't,you didn’tpayyourrent.Peoplesaytome,“Don’t youevermissit”andIsay “No,becauseI’vehad it all.Itwasinteresting,and Ihave memories.”The

onlythingI amsorryaboutis thatLeondidn’tlivea littlelonger,and wecouldhavegottenina coupleofseasonsontelevision. FFM:Doyouhaveanyfavoritesofallthefilmsyou'vedone? GRANGER: Well,I wouldsayI enjoyedallofmyLeonErrols,because weweresortofbigfishina littlepond.Wehadourownlittlegroup.We wehadourownhairdresshadourrotationoftwoorthreecameramen, ers,wehadourownwardrobemistress,ourownmake-upman,ourown stand-ins.Wehadalittle clique,and we enjoyedit. It wasfun.It was hard work,but it was fun.

(Editor’snote:DorothyGrangercontinuedto enjoymeetingandcorrespondingwithfansforthe restofherlife,and attendedgatherings of the Laureland Hardy society,Sons of the Desert. She died in 1995

attheageof82.)

THEFILMSOFDOROTHY GRANGER (Directornnamefollows year)

AlthoughDorothyGrangerisbestknownforherworkin shortsubjects, sheappearedin a surprisinglylargenumberoffeaturefilmsas well, oftenunbilled.The followinglist is as completeas existingrecords and MissGranger’smemorycan detail.Shewascutfromboth THE NITWITS(RKO‘35)andADVENTURE (MGM445). Shealsoappeared in one serial,DANGERSOFTHE CANADIANMOUNTED(Republic,

THE REAL STARS

48),as wellas scores oftwo-reelerswith W.C. Fields,LloydHamilton,

Laureland Hardy,CharleyChase,HarryLangdon,the BoyFriends, AndyClyde,WalterCatlett,the ThreeStooges,VeraVague,Edgar Kennedy,HughHerbert,andparticularlyLeonErrol.Inthe1950sshe didconsiderable televisionwork,includingliveandfilmedTVshows, and severalcommercials.

1. WORDSAND MUSIC—Fox‘29—JamesTinling—Lois Moran, TomPatricola,David Percy,Helen Twelvetrees,Frank Albertson,

ElizabethPatterson;DGappearedunbilledwithJohn Wayne.7 reels. 2. THESOPHOMORE—Pathe ‘29—Leo McCarey—Eddie Quillan,Sally O’Neil, JeanetteLoff,StanleySmith,RussellGleason,SarahPadden, BrooksBenedict.7reels,silentandsound. 3. DANCEHALL—RKO ‘29—Melville Brown—OliveBorden,Arthur Lake,Joseph Cawthorn, Helen Kaiser,Lee Moran, Tom O’Brien,

MargaretSeddon. 7 reels,silentandsound. 4. BEHINDOFFICEDOORS—RKO ‘31—Melville Brown—Mary Astor, RobertAmes,RicardoCortez,KittyKelly,EdnaMurphy,Catherine DaleOwen.86min. 5. PRIMROSE PATH—Hollywood ‘31—William O’Connor—Helen Foster,

JohnDarrow, LaneChandler,DeWittJennings,MaryCarr,Virginia Pearson.71min.

6. UNDEREIGHTEEN—WB ‘32—Archie Mayo—Marian Marsh,Regis Toomey,WarrenWilliam,AnitaPage,EmmaDunn,JoyceCompton,

J. FarrellMacDonald. 80min. 7, AWOMANCOMMANDS—RKO ‘32—Paul L.Stein—Pola Negri,Basil

Rathbone,RolandYoung,H.B.Warner,AnthonyBushell,Reginald Owen.83min.

8. FIGHTING FOOL—Col ‘32—Lambert Hillyer—Tim McCoy, Marceline Day,WilliamV.Mong,RobertEllis,ArthurRankin,HaryTodd.58min. 9. BACKSTREET—Univ ‘32—John M.Stahl—Irene Dunne,JohnBoles, June Clyde,GeorgeMeeker,ZaSuPitts,ShirleyGrey,DorisLloyd. G'SaT,

LEONARDMALTIN

AFRAID TOTALK—Univ ‘32—Edward L.Cahn—Eric Linden,Sidney

1.

Fox,TullyMarshall,LouisCalhern,RobertWarwick,BertonChurchill,

EdwardArnold.77min. Lis

THE SIGNOF THE CROSS—Para ‘32—Cecil B.DeMille—Frederic

March,ElissaLandi,ClaudetteColbert,CharlesLaughton, IanKeith, VivianTobin.115min. Le.

FRISCO JENNY—WB‘33—WilliamWellman—RuthChatterton, Donald Cook,James Murray,Louis Calhern, Hallam Cooley,Pat

O'Malley. 72min. es SECONDHANDWIFE—Fox ‘33—Hamilton MacFadden—Sally

1.

Eilers,HelenVinson,KarolKay,EstherHoward,NellaWalker,Ralph Bellamy. 70min. HELEARNED ABOUT WOMEN-—Para ‘33—Lloyd Corrigan—Stuart Erwin,SusanFleming,AlisonSkipworth, GordonWestcott,Grant Mitchell.68min.

‘33—William Nigh—RayWalker, L5. HE COULDN’TTAKEIT—Mono

VirginiaCherrill,GeorgeE.Stone,StanleyFields,Jane Darwell, Paul Porcasi.65min. ‘33—EddieBuzzell—Slim 16. LOVEHONORAND OH BABY—Univ

Summerville, ZaSuPitts,GeorgeBarbier,LucilleGleason,Verree Teasdale.60min. ‘33—JohnM.Stahl—MargaretSullavan, Ly ONLYYESTERDAY—Univ.

JohnBoles,BillieBurke,ReginaldDenny,JimmyButler,EdnaMay Oliver.108min. Neumann—ChesterMorris, 18, KINGFORA NIGHT—Univ‘33—Kurt

HelenTwelvetrees, AliceWhite,JohnMiljan,GrantMitchell, George E.stone. 77min. 19.

MARRIAGE ONAPPROVAL—Freuler ‘34—Howard Higgin—Barbara Kent,William Farnum,LeilaMcIntyre,Donald Dillaway,Edward

Woods.80min. ‘34—MarkSandrich—BertWheeler, Zs HIPS HIPS HOORAY—RKO

RobertWoolsey,DorothyLee,ThelmaTodd,RuthEtting,George Meeker.68min.

THE REAL STARS

Zols NANA—Goldwyn-UA ‘34—Dorothy Arzner—Anna Sten,Phillips

Holmes,LionelAtwill,RichardBennett,MaeClarke,MurielKirkland. 89 min. Ae

Ao:

PLLTELLTHEWORLD—Univ ‘34—Edward Sedgwick—Lee Tracy, GloriaStuart,RogerPryor,OnslowStevens, AlecB.Francis,Lawrence Grant.74min. TWO HEADS ON A PILLOW-—Liberty ‘34—William Nigh—Neil

Hamilton, MiriamJordan,HenryArmetta,HardieAlbright, Dorothy Appleby.68min. BA, THEMERRY WIDOW—MGM ‘34—Ernst Lubitsch—Maurice Chevalier, JeanetteMacDonald, EdwardEverettHorton,UnaMerkel,George Barbier.99 min. 25. KENTUCKYKERNELS—RKO ‘34—George Stevens—Bert Wheeler,

RobertWoolsey,MaryCarlisle,SpankyMcFarland,NoahBeery, LucilleLaVerne. 75min. 26. VANESSA,HERLOVESTORY—MGM ‘35—William K.Howard—

HelenHayes,RobertMontgomery, OttoKruger,MayRobson,Lewis 2}.

Stone,Henry Stephenson.74min. NAUGHTYMARIETTA—MGM ‘35—W. S. Van Dyke—Jeanette

MacDonald, NelsonEddy,FrankMorgan,ElsaLanchester, Douglass Dumbrille, JosephCawthorn.80min. 28. MANHATTANBUTTERFLY—Imperial ‘35—Lewis Collins—William

Bakewell,BettyCompson,KennethThomson,DorothyBurgess, CarmelitaGeraghty.(DGreceivedstarbilling).73min. 29. DIAMONDJIM—Univ ‘35—Edward Sutherland—Edward Arnold,Jean

Arthur,BinnieBarnes,Cesar Romero,EricBlore,Hugh O’Connell. OFTiti, SO, THE AFFAIROF SUSAN—Univ ‘35—Kurt Neumann—ZaSuPitts,

HughO’Connell, WalterCatlett,ThomasDugan,InezCourtney, JamesBurke,MaeBusch.62min. as SHOWBOAT—Univ ‘36—JamesWhale—IreneDunne,AllanJones,

CharlesWinninger,PaulRobeson,HelenMorgan,HelenWestley, FrancisX.Mahoney.110min.

LEONARD MALTIN ‘36—Stephen Roberts—William 32. THE EX-MRS.BRADFORD—RKO Powell,Jean Arthur,James Gleason,EricBlore,RobertArmstrong,

LilaLee.80min. ‘36—GeorgeCukor—Norma oo: ROMEOAND JULIET—MGM Shearer,LeslieHoward,John Barrymore,Edna MayOliver, BasilRathbone,RalphForbes,C.AubreySmith,AndyDevine. i126minutes.

‘36—George Cukor—Greta Garbo,RobertTaylor, 34. CAMILLE—MGM LionelBarrymore,ElizabethAllan,JessieRalph,HenryDaniell, Laura Hope Crews, Lenore Ulric. 85 min.

‘37—Irving Pichel—Ramon Novarro, 30. THESHEIKSTEPSOUT—Rep Lola Lane, Gene Lockhart, Kathleen Burke,Stanley Fields,Billy Bevan.66 min. SCHOOL—MGM ‘38—Robert B.Sinclair—Luise Rainer, 36. DRAMATIC PauletteGoddard, AlanMarshal,LanaTurner,AnthonyAllan,Henry Stephenson. 80min. ‘39—B. ReevesEason—GeneAutry, Sf BLUEMONTANASKIES—Rep

SmileyBurnette,June Storey,HarryWoods,TullyMarshall,Al Bridge.59min.

40—GeorgeMarshall— 38. WHENTHE DALTONSRODE-—Univ RandolphScott,KayFrancis,BrianDonlevy, GeorgeBancroft, Andy Devine,BroderickCrawford. 80min. 41—FrankLloyd—Loretta Young, ou LADYFROMCHEYENNE—Univ

RobertPreston,EdwardArnold,FrankCraven,GladysGeorge,Jessie Ralph.87min. TOTHEKLONDIKE-—Univ 42—Erle C.Kenton—Broderick 40. NORTH Crawford, EvelynAnkers,AndyDevine,LonChaney, LloydCorrigan. 58 min. Fes. PARDON MYSTRIPES—Rep 42—John H.Auer—Bill Henry,Sheila

Ryan,EdgarKennedy, HaroldHuber,PaulHurst,CliffNazarro,Tom Kennedy.64min. DARLING—Para 42—Mitchell Leisen—Rosalind 42. TAKEALETTER, Russell,Fred MacMurray,Constance Moore,Macdonald Carey, RobertBenchley.93min. ihe

THE REAL STARS

McGann—John Wayne, 43. INOLDCALIFORNIA—Rep42—William BinnieBarnes,AlbertDekker,HelenParrish,PatsyKelly,Edgar Kennedy.88min. 42—Frank Macdonald—Leon Weaver, 44. THEOLDHOMESTEAD—Rep FrankWeaver, JuneWeaver, DickPurcell,JedProuty,AnneJeffreys, MarisWrixon.68minutes. | RHYTHM—Para 42—George Marshall—Eddie 45.STARSPANGLED Bracken,BettyHutton,VictorMoore;gueststarsBingCrosby,Bob Hope,RayMilland,MaryMartin,VeronicaLake,FredMacMurray, DorothyLamour,DickPowell,AlanLadd,FranchotTone,Paulette Goddard,many others.99 min. Ab, COW BOYINMANHATTAN—Univ 43—Frank Woodruff—Frances

Langford, RobertPaige,LeonErrol,WalterCatlett,GeorgeCleveland. 59 min.

43—George Marshall—Mary Martin,Franchot 47.TRUETOLIFE—Para Tone,DickPowell, VictorMoore, MabelPaige,Beverly Hudson. 94min.

48. ‘SWEETROSIEO’GRADY—2o0th 43—IrvingCummings—Betty

Grable,RobertYoung,AdolpheMenjou, ReginaldGardiner, Virginia Grey,PhilRegan.Color—74 minutes. 43—GeorgeArchainbaud—Claire 49. WOMANOF THE TOWN-—UA

Trevor,AlbertDekker,BarrySullivan,HenryEyl MarionMartin, PorterHall.90 min. 5Q, LADYINTHEDARK—Para 44—Mitchell Leisen—Ginger Rogers,

RayMilland,Jon Hall,WarnerBaxter,BarrySullivan,MischaAuer,

MaryPhilips.Color—100 min. ai, JOHNNY DOESN’TLIVE HEREANY MORE—Mono44—Joe May—Simone Simon,JamesEllison,WilliamTerry,MinnaGombell, ChickChandler,AllanDinehart.77min. Bie.INSOCIET Y—Univ 44—Jean Yarbrough—Bud Abbott,LouCostello, MarionHutton,KirbyGrant,AnneGillis,ArthurTreacher, Thomas Gomez.75min. oa ONEBODYTOO MANY—Para44—FrankMcDonald—JackHaley,

Jean Parker,BelaLugosi,BernardNedell,BlancheYurka,Douglas Fowley. 74min.

LEONARDMALTIN

YOURS—Para 44—Mitchell Leisen—Claudette 54. PRACTICALLY Colbert,FredMacMurray, GilLamb,CecilKellaway, RobertBenchley, Tom Powers, Jane Frazee. 90 min.

45—JeanYarbrough—Martha DD:UNDERWESTERNSKIES—Univ O’Driscoll, NoahBeeryJr.,LeoCarrillo,LeonErrol,IrvingBacon, Ian Keith.57min.

45—Phil Rosen—Sidney Toler,Mantan 56. THEJADEMASK—Mono Moreland, EdwinLuke,JanetWarren,EdithEvanson,AlanBridge, RalphLewis.66min. a. HERE COMESTHE CO-EDS—Univ45—JeanYarbrough—Bud

Abbott,LouCostello, PeggyRyan,MarthaO’Driscoll, JuneVincent, LonChaney.87min. 58. THE SOUTHERNER—UA ‘45—JeanRenoir—ZacharyScott,Betty

Field,BeulahBondi,BunnySunshine,Jay Gilpin,PercyKilbride, BlancheYurka,EstelleTaylor.91min. INELDORADO—Rep 45—Frank McDonald—Roy Rogers, Og.SUNSET

George“Gabby”Hayes,DaleEvans,HardieAlbright,Margaret Dumont,RoyBancroft.65min. 60. SHADOWSOVERCHINATOWN—Mono47—Terry Morse—Sidney

Toler,MantanMoreland,VictorSenYung,TanisChandler,Bruce Kellogg,JohnGallaudet.64min. 61. KILLER DILL—Screen Guild47—Lewis D.Collins—Stuart Erwin, Anne Gwynne, Frank Albertson, Mike Mazurki,Milburn Stone,

AnthonyWarde.71min. 62. THE SECRETLIFE OF WALTERMITTY—Goldwyn-RKO 47—

NormanZ.McLeod—Danny Kaye,VirginiaMayo,BorisKarloff, Fay Bainter,Ann Rutherford,Thurston Hall, GordonJones. Color—105 min. 63. THEWALLSOFJERICHO—2oth 48—JohnM.Stahl—Cornel Wilde,

LindaDarnell,AnneBaxter,KirkDouglas,AnnDvorak,Marjorie Rambeau,HenryHull.106min. 64. MICHAEL O’HALLORAN—Mono 48—John Rawlins—Scotty Beckett, AlleneRoberts,TommyCook,IsabelJewell,CharlesArnt,Jonathan Hale.76min.

THE REAL STARS

65. VARIETYTIME—RKO 48—HalYates—compilation ofshort-subject

materialhostedbyJackPaar,includingLeonErrolshortHIRED HUSBAND.59min.

66.SEALED VERDICT—Para 48—Lewis Allen—Ray Milland, Florence Marly, Broderick Crawford, JohnHoyt,JohnRidgely, Ludwig Donath. 83min. eT. THE STRANGEMRS.CRANE-—EL 48—ShermanScott—Marjorie

Lord,RobertShayne,PierreWatkin,JamesSeay,RuthBrady,Claire Whitney.60min. 68.THEPALEFACE—Para ‘48—Norman Z.MacLeod—Bob Hope,Jane Russell,RobertArmstrong,IrisAdrian,RobertWatson,JackSearl. Color—91 min. 69. LONELY HEARTSBANDITS—Rep ‘50—George Blair—Dorothy

Patrick,JohnEldredge, BarbraFuller,AnnDoran,RobertRockwell, RichardTravis.60min. 70. FOOTLIGHT VARIETIES—RKO ‘51—Hal Yates—another shortsubjectmelangehostedby JackPaar,includingLeonErrol’sHE FORGOT TOREMEMBER. 61minutes. ls WESTWARD THEWOMEN—MGM ‘51—Wilham A.Wellman— RobertTaylor, DeniseDarccl,Beverly Dennis,JohnMcelntire, Renata Vanni,JulieBishop.118min. a. ONEMINUTE TOZERO—RKO ‘52—Tay Garnett—Robert Mitchum, AnnBlyth,WilliamTalman,CharlesMcGraw, MargaretSheridan, RichardEgan.105min. Wise—Jane Wyman, Sterling Hayden, Nancy ES SOBIG—WB‘53—Robert Olson,SteveForrest, Elisabeth Fraser, MarthaHyer,WalterCoy.101min. Rouse—Broderick 74.NEWYORKCONFIDENTIAL—WB‘55—Russell

Crawtord, RichardConte,MarilynMaxwell, AnneBancroft, J.Carrol Naish,OnslowStevens.87min.

‘56—KurtNeumann— 79: THE DESPERADOSAREIN TOWN-—2oth

RobertArthur,KathyNolan,RhysWilliams,RhodesReason,Dave O’Brien, KellyThorsden.73min. 76. RAINTREE COUNT Y—MGM ‘57—Edward Dymtryk—Montgomery Clift,ElizabethTaylor,EvaMarieSaint,NigelPatrick,LeeMarvin, RodTaylor, AgnesMoorehead. Color—187 min. ra

LEONARDMALTIN

77.DONDI-—AA ‘61—Albert Zugsmith—David Kory,DavidJanssen, PattiPage,WalterWinchell,MickeyShaughnessy, RobertStrauss, ArnoldStang.100min.

INGR

ByLeonardMaltin

November,1967

It seemsoddthatwithallthe variousmediaexaminingtheroleofthe Blackin sundryaspectsofAmericanlife,includingmovies,noonehas paidtributetoa Blackactorwhosecareerwastrulyunique:RexIngram. Whilemostblackswererelegatedto stereotypedrolesofservants,railroadporters,andshiftlessbums,Ingramroseto fameplayingtheLordin GREENPASTURES, andcontinuedtoworkinfilmsandonthestagein generallyrespectableroles.Forvariousreasonshiscareerwasplagued byanincredibleseriesofupsanddowns,andwhilehestillworksfrom timetotime,hedoesnotenjoytheprestigeherightfullydeserves.

RexIngramasDeLawdinGREENPASTURES (1936)

LEONARD MALTIN ThefirstthingonenoticeswhenresearchingRexIngramisthelarge numberofinconsistencies invariousclippingsandbiographies; there is morethanoneversionofpracticallyeveryeventin hislife.Ingram submitsthefollowing information toacurrenttheatricalguideabouthis earlylife;hewasbornonOctober20,1895,aboardtheriverboatRobert E.Lee,nearCairo,Illinois.Hisfather,MackIngram,wasa ship’sstoker andhismothera nurse.Theysenthimto militaryschoolin Chicago. Thiscurrentbiographydoesnotmentionthe factthat he wentonto graduatefromthe MedicalSchoolofNorthwesternUniversitywith highhonors,andthathebecameoneofthefirstBlackmembersofPhi BetaKappa

Herethecontradictions setin.Forsomereason,Ingramjourneyed toCaifornia; mostsourcesagreethatthepurposeofthetripwastojoina hospitalorsanitariumstaff.Instead,heendedupinTARZAN OFTHE APESwithElmoLincoln.Therearenolessthanfourversionsofhow thiscameabout:First,astoldbyIngramhimself,“Theypaid$15a day, andI certainlythoughtthatwasbigmoney,” sohelefthishospitalpost forthelifeofa movieactor.Second,whileworkingoutina gymnasium, directorRobertZ.LeonardeyedthemuscularIngramandthoughtthere mightbeworkforhiminmovies.Third,a cameracrewwasridingdown a LosAngelesstreetwhentheyspiedIngramandinducedhimtocome withthemtoappearinthefilm.Fourth,Ingramfoundhimselfassigned to mundanedutiesinthehospitaldespitehisimpressivebackground, andquitin disgust.Anyoftheabovecouldbetrue,butIngramnever wentintodetailinanyofhisinterviews. Hehasrecalledhisfirstfilmappearance,however, withwryhumor. “Tdon’tknowexactlywhatI didplay...Iwassomekindofa chief,went aroundwitha spearandnotmuchclothes,andjabbered.Itwasfun.” He remainedonthe Coastand soughtworkin filmsand localstage productions.Hisclippingsandbiographiesclaimthathe appearedin suchsilentfilmsasTHETENCOMMANDMENTS, KINGOFKINGS, THEWANDERER, THEBIGPARADE,LORDJIM,BEAUGESTE,and

THETHIEFOFBAGDAD, inwhichhesupposedly operatedamechanicalelephant.Itisdifficulttosubstantiatethislistingwithoutscreening 146

THE REAL STARS

eachoftheabovefilmswitha sharpeyeinordertolocatetheimposing (6’2”)countenanceoftheactor.Amongtheplayshe didin California wereLuluBelle,Onceina Lifetime, Porgy(asCrown),andHarlem.In the early1930she madehiswayto NewYorkandlandedrolesin Ol’ MamSatan,TheodoretheQuean,andStevedore, thefirstplayto give himsomerecognition,playinga charactercalledBlacksnake. In 1935 hewroteandproduceda playcalledDrumsoftheBayou,inwhichhe starredaswell;itclosedoutoftowninWilmington,Delaware. Then in 1936came the turning point of Ingram’scareer. He was

castas“DeLawd”inthescreenversionofMareConnelly’s classicplay TheGreenPastures.Connellyhad sueceededin convincingWarner Brothers toproducea filmheavenlyallegorywithanall-Black cast,which hadopenedonBroadway sixyearsbefore.ForsomereasonRichardB. Harrison,whohadplayedtheroleofDeLawdforallthoseyears,was passedbyinfavorofIngram,whotookthemajorroleplustwosmaller parts,asAdamandaYoungProphet.Connellyco-directed withWilliam Keighley, andsupervised thetalentedBlackcastthathadbeenassembled torthelavishfilming,includingEddie“Rochester” Andersonas Noah, andGeorgeM.Reedasa ministerrelatingtheheavenlytalestoa group ofawedyoungsters.TodayTHEGREENPASTURES remainsremarkablytresh.Ingram’ssubtleyetforcefulperformancedoesn’tdatea bit, andhisabilitytoexpressthetwosidesofDeLawd’scharacter,mixing infinitepowerswithoccasionalindecision,bringsfullrealizationto authorConnelly’s ideas.THEGREENPASTURES, withitssimple,yet warmand movingdepictionsoffamousBiblicalstories,givesmore meaningto manyofthesetalesthanmostlaterspectacleswhichsupposedlydidthesamething. Thefilmshouldhavedonea lotforIngram’scareer,butinsteadhe regardeditasanobstacle.Herefusedtostarina revivaloftheplayand declaredthattheroleofDeLawdhadbroughthiscareertoa standstill. “ItI werea whitemanI knowperfectlywellthatwithallthepublicity THEGREEN PASTURES hasbroughtme,halfa dozenproducerswould offermecontracts.Asitis,whatevertheymightthinkofme,therejust aren'tanyparts.I’dnevergetanywhere, justhavetogobacktoplaying

LEONARD MALTIN bits.”Ratherthanfacethatoutcome,he retiredfromshowbusinessin 1936to devotehimselfto medicine.

OneyearlaterIngramfiledforbankruptcy,listingdebtsof$9,511 andassetsof$20.Hehadawifeanddaughtertosupport,heexplained, sohereluctantlystartedhissecondshow-business career,andentered intothemostproductiveandrewardingdecadeofhisprofessional life. Aftersomesummerstockwork,hejoinedtheFederalTheaterProject in NewYorkand in 1938starred in their productionofHaiti byWilliam DuBois.

:

RexIngramas DeLawdinTHEGREENPASTURES (1936) withOscarPolkandotherplayers

IngramlandedtheleadingroleofGeneralHenriChristophe,“the BlackNapoleon.” CriticHowardBarneswrote,“Mostofthemelodramatic vigorofthe offeringis dueto Mr.Ingram’ssplendidperformance. He looksthepartofChristopheandplaysitwithallthesavagemajestythat theroledemands...wheneverheisonstage,theactionisgalvanized, andwhenheleaves,youwaitwithsuspenseforhisnextentrance.”

148

THE REAL STARS

Laterthatyearhescoredanotherhitin HaroldRome’s musicalrevue SingOuttheNews.Richard Watts,Jr.oftheNewYork HeraldTribune wrote, “Ifan outstandingnumberistobe picked,myselectionwouldgoto ‘Manof

theYear’inwhichthatexcellent actorRexIngram,anda largebandofhis

fellow Black performers, singanddancewithmagnificent humor andhigh spiritstocelebrate thebirthofFranklinD.Roosevelt Jones,a newaddition to Harlem.”In betweenstageactivities,Ingramproduceda documentary

filmontuberculosis fortheTuskegee InstituteoftheUniversity ofAlabama.

Ingrammakesa bigimpressionasthegiantDjinn(especiallyalongside Sabu)inthisframefromTHETHIEFOFBAGDAD (1940)

SoonafterthesestagetriumphsIngramreceivedoneofhisbestfilm rolesinHollywood, asJim,therunawayslave,inMGM’s ADVENTURES OFHUCKLEBERRY FINN.It is hardto imagineanyonewhocould haveequalledthe actor’sexcellencein thepart,conveyingignorance ofbooklearningcombinedwithaninnatesenseofrightandwrong.In fact,everythingseemedto clickin this adaptationofTwain’sclassic tale,includingan amazinglysubduedMickeyRooneyinthetitlerole. Fortunately,MGMhas kept this 1939release in circulationdespite its ownremake in 1960.

LEONARD MALTIN ThatsameyearproducerAlexanderKordabroughtthe Djinni,in theclassicTHIEFOFBAGDAD. Asthetremendous, all-powerful genie summonedfroma magiclampbywide-eyedboySabu,Ingramhadthe showiestroleinthefilm,andmanagedto stealtheentireproceedings withhisrobust,tongue-in-cheek performance. Thefilmwasinproductionforthebetterpartofa year;whenstormcloudsformedin Europe, producerKordamovedtheentireproduction toHollywood. Itpremiered in Decemberof1939in England,andwasreleasedherein 1940.The specialeffectsand Technicolor atmospherewerestunningthen,and haven'tlost any oftheir lustertoday.THE THIEFOF BAGDADis still

superbentertainmentbyanystandards. IngramthenreturnedtoBroadway foranotherhit,CabinintheSky,

thelegendary all-Black musical withmemorable lyricsandmusicbyJohn LatoucheandVernonDuke.Ingramhadthepivotalroleof“Lucifer Jr.” (repletewithpointedbeard,horns,andominous,slantedeyebrows), who trieddesperately toleadpoorbuthonestLittleJoe(Dooley Wilson)down

thepathtoruin,whileenjoying thegoodlifehimself inhisair-conditioned suiteinHell.BrooksAtkinsonexulted,“RexIngram...hasa gleaming magnetismthat stretchesthe seams ofany part he plays”and Richard WattsJr. added “incidentally,Mr.Ingram,whoplaysLucifor’sson in the

newshow,wasthe Lordin the screenversionofGREENPASTURES,

whichmayprovesomething orother.” Ingramhasonesong,“DoWhat YouWannaDo,”whichheputoversuccessfully. Hewasnotonthe screenagainuntil1942whenhe acceptedthe quietroleofprofessorRonaldColman’s philosophical valetinTALKOF THETOWN.Thepartwassmall,butIngramdidfigureinoneamusing runningjoke,discoveringhisurbanemasterknockedcoldin several instances. In one other memorablescene Ingram shed tears when he

discoveredColmanshavingoffthebeardthatmeantsomuchto him. In1941MGMhadIngramrepeathisLucifercharacterization intheflm versionofCABININTHESKY,withEddie“Rochester” Andersonas LittleJoe,LenaHomeasasultry siren,andEthelWatersrepeatingher stagesuccessandcontributingsomeunforgettablemomentssinging “HappinessIsJust a ThingCalledJoe,”writtenespeciallyfortheflm

THE REAL STARS

byHaroldArlenandE.Y.Harburg.ThatsameyearIngramappeared in SAHARAforZoltanKorda(whohad directedhim in THIEFOF BAGDAD) asTamboul, theAfricansoldierwhojoinsHumphrey Bogart’s platooninthedesert.ItwasamarvelousopportunityforIngramtowork outa fine,understatedperformance,withoneoutstandingscenein whichheexplainswhyAfricantriballeadersneedfourwives.Healso appearedina smallrolethatyearintheroutinemaritalcomedyFIRED

WIFEwithRobertPaigeandLouise Allbritton.

2

Ingramina characteristicposewithEddie“Rochester’

Anderson inCABIN INTHESKY(943) Ingramhada fewgoodmomentsin1944'sDARKWATERS—in fact, practically theonlygoodmomentsinthatmuddledproduction. Heplayed aworkeronThomasMitchell andFayBainter’s plantation whotriestowarn innocent MerleOberonthatthefamilyisouttogether.TheTechnicolor 1001 ARABIANNIGHTS,releasedin 1945,gaveIngrama flashyroleasa giant,

reminiscent ofhisworkinTHIEFOFBAGDAD; itwasnotasmemorable, however, althoughthefilmwaspleasantfluff.In1946Rexwaspartofan interesting experimental projectonBroadway adaptingLysistrata foranallBlackcast,withIngramasthePresident oftheSenate.Itwasnotsuccessful. oi

LEONARO MALTIN Somehow,in the late1940s,RexIngram’scareerstartedto decline.He

worked steadily onthestageandinsuchfilmsasMOONRISE (asoneofDane Clark’spals),TARZAN’S HIDDEN JUNGLE, andCONGOCROSSING (whichhedescribedas“integration withoutidentification”), butthegood, meatyroleshehadbeenreceiving foryearsstoppedcoming.Onefactorin thisdeclinemayhavebeenanunpleasant courtincidentin1949inwhich theactorpleadedguiltytochargesoftransporting a girlfromonestateto anotherforimmoral purposes. Forwhatever reason, the1950s brought mainly run-of-the-mill workonthestage(withtheexception ofanall-Black Waiting forGodotin 1957with Rexas Pozzo,co-starringMantan Morelandand

Geoffrey Holder). Infilms(with asmallbutexcellent roleinGOD’S LITTLE ACRE standing out),andonTV(insuchseriesasTHERIFLEMAN and MR.NOVAK). Hewasgivenamajorroleinthe1958ANNALUCASTA as EarthaKitt’sfather(hehadplayedtheroleforawhileonBroadway) butthe scriptwasweakandthepartcameoffashokey. “Hedoeseverything butpoint

toheaven andhowl‘Never darken mydoor,” commented Bosley Crowther.

With Oscar Polk,Eddie Anderson, and Lena Horne in

CABININTHESKY(943)

THE REAL STARS

Inrecentyearsa fewgoodpartshavecomeupfortheveteranactor. HereturnedtoBroadway intheearly1960sforanoffbeatmusicalcalled Kwamina, inwhichheplayedanAfricantribalchiefopposedto“progress.” Criticsnotedthattheplay'sintentions weregood,butitdidnotcomeoffwell anditsrunwasrathershort.ProofthatHollywood waswastingatalentthat wasstillalivewasIngram’s smallbutmemorable roleinYOUR CHEATIN’ HEART, thebiographyofsingerHankWilliams. Ingramappearedinthe film’sprologueandthe guitar-strumming drifterwhobefriendsyoung Hank,anddeathpromptstheladto gooutontheroad.LastyearOtto PremingersoughtIngram’sservicesforHURRY SUNDOWN, buteven theactor’sknow-how couldn'tstandupagainstthefilm’sterriblescript. Commented BosleyCrowther, “ThecastincludesRexIngramasa school principal, wearingawhitefuzzofbeardandbenignlookthatremindsone ofhisperformance longago,asDeLawdinTHEGREEN PASTURES. It’s nicetohaveMr.Ingramwithus,butitwouldbebetterifheweren'tstill playingDeLawd.” Theactor'smostrecentappearance wasinalow-budget Western,JOURNEY TOSHILOH, releasedbyUniversal inJune1968.

HumphreyBogartandIngram,asan Ethiopianofficer, in SAHARA(1943)

LEONARD MALTIN Itisoneofmovies’ bitterestironiesthatwhenIngramwasestablished as oneofthefewrespectedBlackactors,goodpartswerescarce.Just nowarefilmproducersbeginningtoopenthecastingheldtotalented blacks.RexIngramisinhisseventies,buthe’sstillcapableofgivinga fineperformance. Let’shopesomeonein Hollywood realizesit. (Editor’snote: Mywishdid not cometo pass,as Ingramdied in September, 1969attheageof73.Hehadjustcompletedtwotelevision appearances,onGunsmokeand—most appropriately—The BillCosbyShow,)

THEFILMSOFREXINGRAM (Director’s namefollows year)

Asindicated inthepreceding article, Ingramatvarioustimescredited himself withbeingindozensofmajorsilentandearlysoundfilms, soerratically thatitis impossible toknowwhattobelieve. Heneverreceived screencredituntilTHE GREEN PASTURES, soitisfromthatpointthatwebeginourflmography.

IngramonthesetofHURRYSUNDOWN (1967)

THE REAL STARS

THE GREENPASTURES—WB ‘36—William Keighley,Mare Connolly—Oscar Polk,EddieAnderson, FrankWilson,GeorgeReed, AbrahamGleaves,MyrtleAnderson.90min. THEADVENTURES OFHUCKLEBERRY FINN—MGM ‘39—Richard Thorpe—Mickey Rooney, WalterConnolly, WilliamFrawley, Lynne Carver,Jo Ann Sayers,MinorWatson.90 min.

THETHIEFOFBAGDAD—UA 40—Ludwig Berger,MichaelPowell, TimWhelan—Conrad Veidt,Sabu,JuneDuprez,JohnJustin,Miles Malleson,MortonSelten,MaryMorris,BruceWinston,HayPetrie. Color—106 min. THETALKOFTHETOWN—Col ‘42—George Stevens—Cary Grant, Jean Arthur, Ronald Colman, Edgar Buchanan, Glenda Farrell,

CharlesDingle,EmmaDunn,LeonidKinskey.118min. CABININTHESKY—MGM 43—Vincente Minnelli—Ethel Waters,Eddie

“Rochester” Anderson, LenaHome,LouisArmstrong, Kenneth Spencer, John W.Sublett,OscarPolk,MantanMoreland,WillieBest.98min.

FIREDWIFE—Univ 43—Charles Lamont—Robert Paige,Louise Allbritton,DianaBarrymore, WalterAbel,GeorgeDolenz,Ernest Truex,AlanDinehart,WalterCatlett.70min. SAHARA—Col 43—Zoltan Korda—Humphrey Bogart,BruceBennett, LloydBridges, J.CarrolNaish,DanDuryea,RichardNugent,Patrick ©’Moore.97min.

DARK WATERS—UA 44—Andre deToth—Merle Oberon, Franchot Tone, ThomasMitchell,FayBainter,John Qualen,ElishaCookJr.90min. A THOUSANDAND ONE NIGHTS—Col45—AlfredE. Green—

CornelWilde,EvelynKeyes,PhilSilvers,AdeleJergens,Dusty Anderson,DennisHoey,PhilipVanZandt,GusSchilling.Color— 93 min. lt

ADVENTURE—MGM 45—Victor Fleming—Clark Gable,GreerGarson,

JoanBlondell, ThomasMitchell,TomTully,JohnQualen,Richard Haydn.125min. Ll. MOONRISE—Rep 48—Frank Borzage—Dane Clark,GailRussell, EthelBarrymore, AllynJoslyn,HarryMorgan,DavidStreet,Selena Royle.90min.

LEONARDMALTIN

LAsTARZAN’S HIDDEN JUNGLE-—RKO‘55—HaroldSchuster—

GordonScott,VeraMiles,PeterVanEyck,JackElam,Zippy,Charles Fredericks.73min. Len CONGO CROSSING—Univ ‘56—JosephPevney—VirginiaMayo,

George Nader,Peter Lorre,Michael Pate, TonioSelwart,Kathryn

Givney.Color—87 min. 14.

HELLON DEVIL'SISLAND—2o0th ‘57—ChristianNyby—Helmut Dantine, William Talman, Donna Martell, Jean Willes, Robert

Cornthwaite, JayAdler.74min. if.

GOD’SLITTLEACRE—UA ‘58—Anthony Mann—Robert Ryan,Aldo

Ray,TinaLouise,BuddyHackett,JackLord,FaySpain,VicMorrow, HelenWestcott,LanceFuller,MichaelLandon.110min. 18. ANNA LUCASTA—UA ‘58—ArnoldLaven—EarthaKitt, Sammy

DavisJr.,FrederickO’Neal,HenryScott,GeorgiaBurke,James dts

Edwards.97min. ESCORTWEST—UA ‘59—FrancisD. Lyon—Victor Mature,Elaine

Stewart,FaithDomergue,RebaWaters,NoahBeery,LeoGordon, JohnHubbard,HarryCareyJr.,SlimPickens,RoyBarcroft.75 min. 18. WATUSI—MGM ‘59—Kurt Neumann—GeorgeMontgomery,Taina

Elg,DavidFarrar,DanSeymour, RobertGoodwin, AnthonyM.Davis. 19.

Color—85min. ELMERGANTRY—UA ‘60—RichardBrooks—Burt Lancaster,Jean

Simmons,DeanJagger,ShirleyJones,ArthurKennedy,PattiPage, EdwardAndrews,John McIntire.Color—145 min.

DESIREINTHEDUST—2oth ‘6o—William F.Claxton—Raymond Burr,Joan Bennett,MarthaHyer,BrettHalsey,Jack Ging,Anne Helm,EdwardBinns.102min. als YOURCHEATIN’HEART—MGM ‘64—Gene Nelson—George Hamilton,SusanOliver,RedButtons,ArthurO’Connell,Shary 20.

Marshall,Chris Crosby.99 min. Age HURRY SUNDOWN-—Para ‘67—Otto Preminger—Michael Caine,

Jane Fonda, John Phillip Law,Diahann Carroll, Robert Hooks,

FayeDunaway, BurgessMeredith,JimBackus,RobertReed,Beah Richards,DoroMerande,GeorgeKennedy.Color—146 min.

THE REAL STARS

23. JOURNEYTO SHILOH—Univ‘68—William Hale—JamesCaan, MichaelSarrazin,BrendaScott,DonStroud,PaulPetersen,Michael

Burns,HarrisonFord,JohnDoucctte,NoahBeery.Color—1o1 min.

LIND I

ByDougMcClelland

February,1968 ThelateRosalindIvanwasa musician,writer,teacher,linguist,and actresswho,embarkingona Hollywood careerwellpastmiddleagein theearly1940s,gavethreevariedperformances virtuallyina rowthat stillbristleinmymemory. TheEnglish-born characteractress—red-haired butotherwiseaveragelooking—came tothefilmcapitalonthestrengthofhersupporting performanceas the light-Angered Mrs.Wattyin EthelBarrymore's

1940stagetriumph, TheCornIsGreen. Before shegottofilmthatrole, though,shegavea hair-raisingportrayalasCharlesLaughton’s shrewishwifein Universal’sTHESUSPECT, the RobertSiodmak-directed suspenserthatmanycomparefavorablytoHitchcockathisbest.Init, heroldmaneventuallybrainedherwitha walkingstickforthe love ofEllaRaines.A MovielandbiographerofMissIvan,a G.B.Shallin, wrote,“WhenRosalindIvanmadeherscreenbowinTHESUSPECT as Cora,CharlesLaughton’shateful,nagging wite,shejolted the custom-

ersintosuchan enthusiastichatredthatduringherscreentantrums, manyaudiencesgaveoutwithhissesand boos.Soterrificwasthe impactofher characterizationthat nobodyblamedLaughtonat all when,finallydrivenbeyondthe limitsofhumancontrol,he finished

heroff.YetevenafterwehadwatchedCora’s funeralservices(with a guiltyfeelingofrelief),herpersonalitycontinuedto dominatethe storycleartothe end.”

THE REAL STARS

RosalindIvan with Charles Laughtonin THE SUSPECT(1944)

MissIvanalsodominatedmuchofWarners’ THECORNISGREEN, eventhoughitwasnowa BetteDavisvehicle.AsWatty,Davis’s Cockney housekeeperand one-timethiefwhoreformedwhenshe discovered theSalvationArmy(the“corpse,” as shecalledit,proudlywearingthe

uniformofa sisterwho’drunoffwitha sailor), Ivanprovedasdefta comedienneas dramaticactress.Sheappearedas the motherofthe trouble-making BessieWattyUoanLorring),andat onepointhadto casuallyquietoneofBessie’s temperoutburstswitha glassofwaterin the girl’stace—"]learned that trickwith her father,”advised MissIvan,

asWatty,adding“Hewasforeign,youknow.”InhisNewYorkSunreviewoftheplay,RichardLockridgeopined,“...to hearRosalindIvan announcethatshecouldn'tquitetaketoherdaughterisanexperience nottobe missed.”Thesamewentforthemovie. ThethirdoftheBigThreeIvanperformances wasinanotherWarner release,THREESTRANGERS, a contrivedbutskillfulmelodramawith supernaturalundertones,writtenbyJohn HustonandHowardKoch. MissIvanwasplayinga morehighstylecomedyherein a subplotas LadyRhea,a wealthy,seeminglysillywidowwhochatteredon about ‘ees

LEONARDMALTIN

“intimate”conversationsshewasstillhavingwithher deceasedhusband.Whenhercrookedlawyer,JeromeK.Arbutny,essayedbySydney Greenstreet,foundhimselfstrappedformoney,he saidhe lovedher andaskedthatshemarryhim.“Oh,1knowyourhusbandreturns...his visitsneedn'tstop,”pleadeda desperateGreenstreet. Evincingsurprise, Ivan,coylywieldinga blackfeatheredfan,countered,“Mr.Arbutny! I’mafraidLordBelladonwouldn'tbe sobroadminded!” Suddenlyshe criedthatLordBelladonwascomingatthatverymoment(Greenstreet gotupandpeeredoutherwindow)andtoldhersuitorshewouldgive himherreplythenextday.Shearrivedathisofficeallsmiles,although reportingthatLordBelladon“wasfurious!Hesaidyouwereonlyafter mymoney!”Stillairilygraciousandsmiling,shetoldGreenstreetshe wouldlookat the booksandwavedin heraccountant.WhileIvanat firstappearedto be easyprey,shesoonprovedto knowexactlywhat shewasabout—and Greenstreet,too.Theyworkedsuperblytogether, the fatman’snervous,ultimatelydumbstruckembezzlera beautiful counterpointto Ivan’sfluttery,unrelentinggaietythatcouldnothide a pairofvixen’seyesbehindherfan.Herelocutionearned,as always, A-plus,andIcanstillhearheraddressingGreenstreetas“Mr.Arbutny,.” slightlyemphasizingthe“but.”

THE REAL STARS

IvanfendsoffEdwardG.Robinsonin SCARLET STREET(1945))

Theactressdidnotcomefromatheatricalfamily.Herfatherhadhis ownfirmofcharteredaccountants,an unclewasBritishConsul-General

inChina,a cousinwasmasteratHarrow,anothera DonatCambridge. {61

LEONARDMALTIN

Stillothersheldcommissions intheArmyandNavy.Althoughshehad alwayswantedtoact,shewasraisedtobea musician,andattengavea pianorecitalin London.Atsixteen,inboardingschoolin Germanyto continuehermusicstudies,herfatherdiedandfinancialreversesforced heroutonherown.Shebecameanactress. AcquiringnoteandfriendslikeGeorgeBernardShawin Europe, MissIvanmadeherAmericanstagedebutoppositeWarnerOlandin Strindberg’sTheFatherin 1912,followedbyGorky’sA NightLodging andRichardIII(asQueenMargaret)withJohnBarrymore. AfterJohn Drinkwater’sAbraham Lincolnin London,Miss Ivan ended her “first

career”and spentseveralyearswritingmagazinearticles,bookreviewsfortheNewYorkTimes,plays,anda translationofTheBrothers Karamazovwhichbecamea TheatreGuildproductionin 1927with theLunts,EdwardG.Robinson(whosenaggingwileIvanwouldlater playintheexcellentfilmSCARLET STREET), DudleyDigges,Henry Travers,and Morris Carnovsky.In the late 1930sMiss Ivan returned

to the stage as guest star at the MohawkDramaFestivalopposite CharlesCoburnin TheBourgeoisGentleman.Thencamea seriesof lighterrolesin NewYorkinsuchas InaClaire’sOnceIsEnough,and, finally,TheCornIs Green. EightyearsbeforesheclickedinHollywood, shetriedtobreakinto hlms,appearingwithEdmundLoweinTHEGARDEN MURDER CASE. Butshewastoldtogobacktothetheaterandbe“discovered” bya film talentscout,whichshedidandwhichshewas.Altogether,MissIvan madeonly a littleovera dozenpictures,withthebestofthesecoming earlyin herscreencareer.In the late1940s,whenEnglishtypeswere beingusedlessandlessin an industrythengettingcaughtup in onlocationshooting,neo-realism, theActorsStudio,etc.,notto mention the TV-induced economywave,sheapparentlyreturnedto NewYork. Therewereacoupleofpicturesinthe1950s,butsheseemstohavespent a gooddealofthatdecadecoachingactors.EarlyinApril1959,at age seventy-eight, MissIvanwasfounddeadinherroominNewYorkCity byhotelemployees. Shehadbeenillaweek.

THEREALSTARS

IvanandJoanFontaineinIVY(1947)

Sometimes called“IvantheTerrible” becauseoftheshrike-like nature ofmanyofherfilmroles,therealRosalindIvanwassaidtohavebeena charmingwoman,clearlyculturedandabright,amusingconversationalistwithapenchantformimicry.Shewasalsooneofthoseirreplaceable characterpeoplewhohelpedmakethescreen’sgoldenageglitter.

THEFILMSOFROSALIND IVAN (Director’s namefollows year)

1. THEGARDEN MURDER CASE—MGM 36—Edwin L.Marin—Edmund Lowe,VirginiaBruce,GeneLockhart,BenitaHume,NatPendleton, H.B.Warner,KentSmith.62min. 2. THESUSPECT—Univ 44—Robert Siodmak—Charles Laughton, EllaRaines, DeanHarens,StanleyRidges, HenryDaniell, MaudeEburne. 85min. 3. NONEBUTTHELONELYHEART—RKO ‘44—Clifford Odets—Cary

Grant,EthelBarrymore, BarryFitzgerald, JuneDuprez,JaneWyatt, GeorgeCoulouris,Dan Duryea.113min.

LEONARD MALTIN

Ivan in character forthe Biblicaldrama

THEROBE(9s2) THECORNISGREEN—WB 45—IrvingRapper—Bette Davis,John

Dall,JoanLorring,MildredDunnock,NigelBruce,RhysWilliams, ArthurShields.114min. PURSUITTOALGIERS—Univ 45—Roy WilliamNeill—Basil Rathbone,

NigelBruce,MartinKosleck, Marjorie Riordan, JohnAbbott,Frederic Worlock.65min. PILLOWOFDEATH—Univ45—Wallace Fox—Lon ChaneyJr.,Brenda

Joyce,J. EdwardBromberg,ClaraBlandick,GeorgeCleveland. 66min.7. SCARLET STREET—Univ 45—Fritz Lang—Edward G. Robinson,Joan Bennett,DanDuryea,MargaretLindsay,Samuel S.Hinds,JessBarker,ArthurLoft.102min. THREESTRANGERS—WB 46—JeanNegulesco—Sydney Greenstreet,

Geraldine Fitzgerald, PeterLorre,JoanLorring, PeterWhitney, Robert Shayne,MarjorieRiordan.92min. THE VERDICT—WB %46—Don Siegel—SydneyGreenstreet, Peter

Lorre,Joan Lorring,GeorgeCoulouris,ArthurShields,IlanWolfe, PaulCavanagh.86min.

THE REAL STARS

LO.THATBRENNAN GIRL—Rep 46—Altfred Santell—James Dunn,

MonaFreeman, JuneDuprez, WilliamMarshall, FrankJenks,Charles Arnt. 97 min. Ms

|

ALIASMR.TWILIGHT—Col 47—John Sturges—Michael Duane, TrudyMarshall,LloydCorrigan,GigiPerreau,AlanBridge,Jeff York.69 min.

124. IVY—Univ 47—Sam Wood—Joan Fontaine,PatricKnowles, Herbert

Marshall, Richard Ney, Cedric Hardwicke,LucileWatson, Sara Allgood,Henry Stephenson,UnaO’Connor.99 min. Las JOHNNYBELINDA—WB 48—JeanNegulesco—JaneWyman,Lew

Ayres,CharlesBickford, AgnesMoorehead, StephenMcNally, Jan Sterling,MabelPaige.102min. 14.

THEROBE—20th ‘53—Henry Koster—Richard Burton,Jean Simmons,

VictorMature,MichaelRennie,JayRobinson,DeanJagger,Torin Thatcher,RichardBoone,BettaSt.John, Jeff Morrow.Color— 135 TA, LS. ELEPHANT WALK—Para ‘54—William Dieterle—Elizabeth Taylor,

DanaAndrews, PeterFinch,AbrahamSofaer, AbnerBiberman, Noel Drayton.Color—103 min.

YKELLY ByLeonardMaltin February,1968 PatsyKelly’s eyessparklewhenshetalks.It’sthesamesparklethathas madeheratimelessfavoritewithfilmbuffsovertheyears.Herpresence in anyfilmduringthe 1930swasa guaranteeofa lotoffun.In THE GIRLFROMMISSOURI sheandJeanHarlowarehired,alongwitha groupofchorusgirls,toentertainata smoker.Assoonastheyarrive,a totteringoldgeezerlungestowardPatsy,whocomments, “Lookatthis— deathtakesa holiday!” Nooneeverdelivereda wisecrackbetterthan she.Andnow,aftersomeyearsofgeneralinactivity, Patsyisstarringin oneofthebiggesthitsonBroadway, therevivalofNo,No,Nanette,with heroldfriendRubyKeeler.Sheopenstheshow,andkeepsthelaughs comingthroughout. It’sthesamePatsyKellywe'vealwaysloved...and it’sgreattohaveherback. FFM:Whata delightfulshowthatis. KELLY: Well,thankyou.We'reelatedwithit.]haven’tbeenthisexcited in forty,fiftyyears,eversinceI wasa kid.I don’tknowwhatthehellit iswe'vegotbutI’mverygladwe'vegotit.Themusiciswonderful, and it’soneofthebestcastsIthinkI’veeverhadthepleasureofbeingwith. FFM:YouandRubyKeelergobacka longtimetogether,don’tyou?

KELLY: Yes,I metherwhenwewerenineorten,somewherein that vicinity.Andshe’sbetterthanever.Really,she’sglorious,andyouget hystericalbackstagewiththeensemble,alltheseyoungkidsinawe.

THE REAL STARS

PatsyKellyandThelmaTodd,whentheyfirstteamedin1933 FFM:Yougotintoshowbusinessasa dancer,didn’tyou? KELLY: Yes. FFM:Howdidthatcomeabout? KELLY: Well,] wanted to be a freman, and I was their mascot;the fire

chieftoldmymothertoplease,getheroffthestreetorshe’l]be killed. Sotheonlythingtheycouldthinkofwasdancingschool.I don’tmean thismodestlyorimmodestly, butdancingcamekindofeasily.I don’t knowwhy;ofcourse,myfamilydidtheIrishjigandthingslikethat.I metRubyindancingschool.AndthenmybrotherwaswithFrankFay, and he asked me,in facthe beat me from51stStreetand ThirdAvenue

tothePalaceTheatre,pushedmeandshovedmetocomeoverandteach hima danceroutinethathe andhisboypartnerweregoingto do in Mr.Fay’sact.Sotheycouldonlylearnhalfofit,andhesaid“Wouldyou showit to Mr.Fay?”ThegreatMr.FaycamedownandI dancedwhat Iwasteachingtheboys,andhesaid“WhatareyoudoingMonday?” I said“Nothing.” Hesaid“Whydon’tyouopenwithme?”ThinkingI’dbe

LEONARDO MALTIN

withmybrother,whoI adored,I saidyes.Well,I gotthejobandWillie wasfired.Williebecamehischauffeur, whichpleasedhimmorebecause hedidn’tparticularlycareforthestage. FFM:Whatdidyoudointheact? KELLY: I danced,forquitesometime,andthenheletthisotherboygo, andhesaid,“You’re goingtodotheacttonight.” Well,youknow,youcan bewithsomething,butwhenyoudon’tdoit,youhardlyevenlisten.It waslikefortyminutesofdialogue.That’swhenstagefrightsetin.Also, I didn’treallyknowwhereI was.Yousee,the PalaceTheatrewasthe mecca.I’vehadsuchluck,beenblessedwithsuchopportunitiesthat way...andallofa sudden I startedtolookaroundwhereIwas.I started at thetopandworkedmywaydown,in otherwords,itwasincredible; well,hewasapastmaster,oneofthegreatesthumorists, wits,andtalents ofalltime;hewouldinsultmeonstageif I didanythingwrong,and beinga freshIrishkidIstartedtoanswerhimback.Fromthenonitjust grewintoanact,and1waswithhimforaboutfouryears,somethinglike that.Itwasthegreatestexperience,as I said,and1lookedaroundand sawMissEthelBarrymore, thegreatlady.ThePalacehadeightor ten actseveryweek,oftheall-timegreats...BurnsandAllen,JackBenny, one after the other.

FFM:Faywasquitean ad-libber, wasn’the? KELLY: Oneofthe greatest.Hecouldtalkaboutthattableandhave peopleinhysterics.Anything,anysituationhecouldgrabonto.Things likewhenI cameinalittle late,hesaid“Wherewereyou?”I said“Iwas atthebeautyparlor,” andhesaid“Youweren'twaitedon,wereyou?”It] haveanythingatall,1owehima debtthat]couldneverrepay.Then,he wasgoingontodosomepicturesorsomething,andalovelygentlemen camein,presentedmewitha card,said“I’dliketoseeyoutomorrow.” I wentacrosstothetheater,anditturnedouttobeCharlesDillingham. I didashowcalledThreeCheerswiththegreatWillRogers,andofcourse

THE REAL STARS

thatwasa thrill... whata marvelous,greatman.SoI say,anythingI have... I’vebeenwiththesepeoplethataresogreat. FFM:WhatwasRogerslikeonstage? KELLY: Absolutely brilliant.Thiswasa bookshow,buthe’dputin all thepoliticsofthattime,andwhateverhappened.Aperfectgentleman, awonderfulman.Thenfromthere,EarlCarrollcameback,andsigned meup forthreeyears,forhisSketchbook andhis1930Vanities.Then AlJolson’sWonderBar... FFM:WhatwasitlikeworkingwithJolson? KELLY: Whatcanyousay?Itwaselectrifyingtobe evenonthestage withhim. FFM:Didyouhavea chance,beingonthestagewithhim? KELLY: Onceagain,theybelievedintheshow.Buthewassomething very differentagain.Likeinthemiddleoftheshow—it wasabookshow—he’d say“Youdon’twanttoheartherestofthisnonsense,doyou?Wouldn't you rather hear me sing?”And of course,the audience wouldstand,

andhe’dsinguntil2:00inthemorning.We’dallsitaroundapplauding, andbeingasentertainedastheaudience.Hewasbilledastheworld’s greatestentertainer,andhewas.ThenI didmylastBroadway showin 1932,calledFlyingColors,whichHowardDietz,Arthur Schwartz,and

GeorgeS.Kaufmanwrote.Youngpeopleaskmetoday,“Howdoyou getintoshowbusiness?It’simpossible.” Isay“Ifyouhavea third,oran eighth,oftheluckI’vehad,there’snoadvice.Ifyouhaveluck,anda little talentalongtheway,it’sthere.”Andthena littlemancalledHalRoach cameto seeFlyingColors,andhe said“I’dlikeyouto considerbeing ThelmaTodd’spartnerinpictures.” Well,I nevereventooka Brownie stillpicture,butIhadseenZaSuPittsandThelma,Godblessthemboth, and I lovedthe shorts,so I went out there.

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Patsy,Thelma,andEddieBakerinthegirls’firsttwo-reeler,

BEAUTY AND THE BUS (1933) FFM:Whatwasitlikethefirsttimeyousteppedinfrontofa camera? KELLY: Thefirsttimewastoo much... I wasoutthere fortwoor threemonths,just gettingmoney.Theyweresendingmymoneyto the hotel,and I thought,“Whata lovelywayto live.”I’dneverbeen to California,withthebeautifulweather,andthepalmtrees.Thenhe sentforme,and I metthe greatMissTodd,and madeup,and they said“Nowwe'regoingonlocation,” andI said“What’sthat?”Sothey tookme in a big limousine,downto a theater.Andtheygavemea littlepieceofpaper,likea note.Thiswasthe script.1wassupposed tocomeinthedoor,droptheticket,hitmyheadontheseat,andthen I winthe raffle,whateveris goingonon-stage... this is the director saying“NowPatsy,youhityourhead,thenyougoup onstage,grab thisticket,andyoufallintothedruminthepit.”I said“Ithinkyou've gotmemixedup withTotothe Clown...I haveneverfallenin my life.”Soanyway,beinga littlenervous,andlookingaround,thinking “Thisis a crazyplace,”I didit.Thelmawaslaughing,andshecame overandsaid,“Youknow,wehavedoubles.”Isaid“Nowyoutellme!” Anyway,thatwasthebreak-in,andshewassucha doll.Itwasa great

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lot... wehadLaurelandHardy,the OurGangKids,CharleyChase, oneaftertheother.AndMr.Roachhimself.Itwasa shametotakethe check,believeme,becausewelaughedallthetime.Wedidtheshorts in abouta week... wedideighta year.Anditwasjustfantastic...to be aroundLaurelandHardy,whoweresowonderful...inadditionto theircomicgenius,suchsweet,kindmen;they’dcomein andwatch us,andhelp,andaddsuggestionssoitwastrulyremarkable.

TrainerPatsyKellychecksprizefighter“BigBoy”Williamsin KELLYTHE SECOND(4936)

FFM:Didyouparticipateatallinworkingoutthegags? KELLY: Wealldid,yes.Itwasa prettywell-thought-out pieceofpaper thatwe'dget,andthendifferentthingswouldhappen.You'ddostunts, andallofthiscrazykindofstuffweusedto do—like I boughta house inthedesert,withthesandalloverit,gettingThelmaintotrouble,and shegettingmeoutofit-and thingswouldpopupasyouwentintodo the scene.The ideawas there.

MALTIN LEONARD

FFM:Whataboutsomeofthedirectorsyouworkedwith,likeGusMeins? KELLY: He was one ofthe best directorsin the world... another man I

owesomuchto.Abeautifulman,wonderfuldirector. FFM:Wouldgagscomeupontheset,duringrehearsal,orjusttalking? KELLY: We’dgoonthe set,andmaybeduringlunch,they’dsay“Well, thismightbefunny,”or“thatmightworkout,”or“thisisnotfunny,let’s try someotherway.”It wassucha delightfulwayto makepictures.I usedtolaughtomyselfifI evercalleditwork. FFM:Didyouevertry doingsomethingseveralwaysto see which wouldbebest? KELLY: Ohyes,sometimes.Sometimesyou’dthinkthiswasgoingto be veryfunny,andit’snot.Anypersonwhocansay“Thisis great”or “Thisis bad”is wortha milliondollarsa minute.I’vegottenscripts whereI’vethought“OhmyGod,thisis awful,”andyoudoit,andthe audiencelovesit.AndI’vepaida lotofmoneyformaterial] thoughtwas wonderful,and it was a bomb. It’svery difficultto realizewhat they're

goingtolikeandnotlike. FFM:WhenyoustarteddoingfeaturefilmsforRoachlikeKELLY THE SECOND, wasthereanydifferencein howtheyshotit,orwasitjust liketheshorts? KELLY: Ohno.Bythistimeeverythingwasgoingprettysmoothly. And then ofcourse he loaned me out to other studios.

FFM:WhataboutworkingwithCharleyChaseinKELLY THESECOND? KELLY: Oh,he was a marvelousman,and a great comic.A dear man,too.I’veneverseena lot likethat. A lot of peoplesay to me nN

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“Howaboutthe parties and the orgies?”and I say“Idon’tknow,| guesstheyneverinvitedme... all I didwaslaugh.”I metbeautiful people.I’dread everyoncein a whilea tremendousscandal,and figure“Idon’tknowwhereI waswhenthis happened.”Peoplesay “You'retakingallthe glamouroutofHollywood.” Theyallhadglamour in their ownway,somehappilymarried,and someunhappily married;it’sthe sameas anyothertown.Peopleusedto say“Don’t say that!”and I said “I’msorry,I can’tsay anything else.”There are a lot ofpeoplein Hollywoodwhobelievein marriageas much as your momand dad or anybodyelse.I guessPeytonPlacekind ofbroughtthat out;you don’thaveto be in Hollywoodor anybig cityforlittlethings that peopledo,in theirwayoflife.Butthey’re good,hardworkingpeople,just likeyou’dmeetin anywalkoflife. Oneofmydearestfriends,besidesThelma,wasthe greatTallulah Bankhead.Well,that’slikebeingonthe stagewiththe atombomb. I still can’tbelieveshe’sgone,becauseI thoughtshe’doutliveeverybody.TherewasglamourfromAto Z,andyouhearsomeweird, crazystoriesabout her,and as she wouldsay,“Mostof them are true,dahling.”Buta greatlady,and certainlya wonderfulfriend.I toured with her in Dear Charles.

FFM:ThefirstfeatureI havelistedforyouis GOINGHOLLYWOOD, with MarionDavies.

KELLY: Therewasa greatlady,wonderfultoworkfor;I didseveralpictures withher,GOINGHOLLYWOODand PAGEMISSGLORY,EVER

SINCEEVE.I'llneverforgetwhenshemovedfromMGMtoWarners, JackWarnersenthera note,towelcomeher,andshemovedherdressingroomtoWarners.1wishyou'dseenherdressingroom...itwaslike the EmpireStateBuilding.In fact,theymadetheparkinglotat MGM whentheymovedher.Buthesenthera note,saying“It’swonderfulto haveyou...Andwewillpaintyourdressingroomtomatchthestudio.” Soshesenthima notethankinghim,saying“No,I’llpaintthestudio to match my dressing room.”

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Patsycutsa rugwithCharleyChaseinKELLY THESECOND(2936)

FFM:DidyoumeetMr.Hearst? KELLY: Yes.Youknow,he had a veryhighvoice.You’dseethis tremendousman,he lookedsevenor eightfeet,witha big Stetsonhat, and he’dsay“Helly,Patsy,howare you?”and it wouldbe shocking.

THE REAL STARS

Butalwaysveryverycharming.WhenI think overoncein a while the past and the peopleI’vemet it’sunbelievable.TherewasJean Harlow,thegreatGaryCooper,MerleOberon...andas greatasthey seemedtobe on-stagetheywereoff.Anotherthingpeopletellmeis “Everybody couldn'tbe that nice,”and I say“I’msorry,butthat’sthe waytheytreatedme.” FFM:Didyoufindthemstartingtotailorrolestoyourtalents? KELLY: Well,theysaythattheyusedto getscriptswith“aPatsyKelly type”and myagentwouldsay“Well,howaboutPatsyKelly?”and they'dsay“Ohyeah,that’sright.”Theydid that withmanypeople, especiallywhenyouweredoingthemoneafteranother.Youknow, there are times in this businesswhenyou can do nothingwrong, thenthere’sa timeyoucan’tdoanythingright,youcan’tgetarrested. I came back here during the War, 1943,44, and I had a radio show

backherewithBarryWood.Wegotan acttogether,likeeverybody elsein showbusiness,andwentaroundto the hospitalsand camps tryingto entertaintheboys,alloverthe country.Fromthatwewent intoa nightclubact,so 1stayedawayfromHollywoodfora while... and I don’tthinktheywantedme,either.I didsummerstock.I kept working;then thingswenta littledeadoutthereagaina fewyears ago.I’dhavea dayortwoonthis televisionseriesorthat,a picture or two,keepingyourhandin,payingthe rent.Thenwhenthis /No, No,Nanette/ came alongI thoughtit wouldbe wonderful,never dreamingI’dcomebackto anythinglikethis.Thereceptionby all thecriticsandparticularlythepublichasbeen... unbelievable. Ruby everynightjustshakesherhead;westillcan’tbelieveit.Inthe finale theystandup andsingwithus,sing“TeaforTwo”and“IWanttobe Happy.”A lotofpeoplewhohaveseenit haveseenthe original,like theysawitontheirhoneymoon,nowthey’recomingbacktoseeit on theiranniversary,forty-five yearslater.Butwhat’smostgratifyingis thekids,theteen-agers.Theyloveit.AndRubyhascertainlybrought

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backtap dancing;everyoneI knowis takinguptap dancing.I think it’swonderful. FFM:Whateverhappenedtotapdancing? KELLY: Well,youknow,Rubystarted,andshewasreallythe greatest buck-and-wing, per se,I’veeverknown.Taps,therewasnobodywho couldtouchher.ThenEleanorPowellcamealongandcombinedballet withit,andshewasmagnificent. ThenAnnMiller,ofcoursethegreat FredAstaire,GeneKelly...andtapdancingitselfwaskindofgoingout ofthepicture.Andthenofcoursethefrugandthetwistandthe mist andthemugandwhatevercameafterthat.SoI thinkit’swonderful... andnowkidsaresaying“Mama,Iwanttotakeuptapdancing.” FFM:YoudidadanceroutineinTHANKS AMILLION withAnnDvorak, butyoudidn’tgettodancetoomuchinfilms,didyou? KELLY: No...I haven'twalkedfastinfortyyears. FFM:Howmuchwereyoudirectedin featurefilms?Asyousay,they wereprettymuchwritingrolesforyou... wereyouthenleftto your own resources?

KELLY: Sometimes. Withanydirector,theyletyougo,thentheyfigure “That’senough,”andtheytakeyouasideandsay“Patsy,Ithinkthisis overboard,” orwhatevertheyfeel.A gooddirectorletsyougoduring the rehearsals,andifhe likesit,ine, he says“Fine,we'llshootitthat way,anda lotofthemwillsay“No,let’stry it anotherway,”whichof courseisverygood.Weallneedthat direction.Andthosedirectors knowhowto makepictures.Theycutit as well... sometimesyou'd be doinga sceneandyou'dthink“Thisis forever;howlongcanthis goon?”butin thecutting,there’sclose-ups,andthisandthat... and they’retrulyremarkable.Yourwriterandyourdirectoraretheimportantpeople. e))

THE REAL STARS

WithJackHaleyin PIGSKIN PARADE (1936)

FFM:Let’stalkaboutsomespecificpictures.DoyourememberPIGSKIN PARADE?

KELLY: IlovedthatbecauseofJudyGarland. Shewasthirteen,something likethat,andifyourememberthepicture,sheusedtowanttosingall thewaythroughit,andwewerepushingheraside.Andthewholeplace tellinlovewithher... andofcoursethepublicdidtoo,veryquickly. FFM:WhenyoumadeGOINTOYOURDANCE,didyouthinkthat Jolsonfeltlostwithoutanaudience. KELLY: NotthatIcouldsee.He’dpreferanaudience. Butofcoursewhen youmakepicturesyouhavestagehands, andhairdressers, andit’sakindof public...andduringrehearsals theycangiveyoumore-or-less thatfeeling. FFM:HowdidyoulikebeingteamedwithLydaRoberti?

LEONARD MALTIN KELLY: Shewasfantastic... shehadtalentstheydidn’ttouch.God tookherveryyoung,too.Asa child,herfatherwasinthecircus,andhe usedtothrowheronbareback,andweneverknewithadaffectedher heart,andoneday... boom!Butwhata talent—she sang,danced...so beautiful,andfunny.1keepsaying“Godbless”...1seemtobetheonly oneleft!It’sheartbreaking... unbelievable. FFM:THE COWBOYAND THE LADYgaveyou one ofyourbiggest

partsaroundthattime,withGaryCooperandMerleOberon. KELLY: Well,it wasso greatto workwiththem.AndMr.Cooper... there’snothingyoucansayaboutthis manthathasn’talreadybeen said.Agreatdirectoroncesaid“Hefillsthescreen”andthat’strue... whenhewason,youdidn’tcareaboutthemountains,orthelady,orthe horse,nothing.Andsucha gentleman. FFM:ThenyouactuallyworkedwithLaurelandHardyinPICKASTAR. KELLY: Stanwassowonderful; he’dcomeinandwatchusshoot,andjust quicklydropasuggestionthatofcoursemadethewholescene.Weused tohavetogoseeourrushes,and! can'tstandmyselfonthescreen;my voicemakesmeclimbawall.ButIusedtolovetogoandwatchhimlook athisrushes,becausehe’dgethysterical athimself; yousee,itwasn’thim onthescreenatall.Heusedtocallhim,likeChaplin,theLittleFellow. He’dwatchit andhe’dsay“No,the littlefellow’—even thoughitwas funny—’wouldn’t dothat.”Becausetherewasa greatdealofpathos,and sweetness, sohewouldn't lethimdoanything a littlerisqueortoocruel... he’dlaugh,andhe’dcry,at himself.Thelmaandallofuswouldjustsit aroundandwatchhim.Hewouldhavebeena geniusasa director,too. FFM:DidyouhaveanysceneswithJohnBarrymore inPLAYMATES? KELLY: Yes...thatwasthethrillofalifetime. I’llneverforget...speaking ofliveaudiences...itwasacrazypicture,andMayRobsonwassupposed 178

THE REAL STARS

tosponsorhiminsomething, andshesaid“I’llneverforgetyourHamlet.” Thenhestoodup,andhedidthesoliloquy. Andthestagehands, everyone onthe set,spoiledthetake,becausetheystoodto theirfeetandgave himanovation,whichwasthemostthrillingthingyou'veeverseen. FFM:Wereconditions verydifferentwhenyoustarteddoingB-pictures inthe1940s,orwasitjustquicker? KELLY: That’sallitwas.Theydiditinlesstime,butthesameamountof hardwork,sweat,blood,tears,andfunthatgointothemakingofanything. FFM:Youevenstarredinoneofthose. KELLY: No,I’veneverbeena star. FFM:Therearesomepeoplewhowilldisagreewithyou. KELLY: No,I don’tthinkso.Astarissomething veryrare...GaryCooper, SpencerTracy,TallulahBankhead.

Patsy,PiccolaPupa,AronKincaid,andNancySinatrain THE GHOSTIN THE INVISIBLEBIKINI@9g66)

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FFM:Didyoudomuchtelevisionintheearlydays? KELLY: Nottoomuch,no.I workedwithpeoplelikeHenryMorgan, whowasa lotoffun.ThenI didTallulah’s series...sheusedtodoone a month.AndthenI’vemadepilotsforseries.I’vemadesomanypilots Icanfy myownplane...butnoneofthemeversold.Somegood,some notsogood.Theremustbemillionsofpilotsouttherethateverybody’s made. FFM: And who ever dreamed you’d show up playing a witch in

ROSEMARY’S BABY?

KELLY: I threwHolyWateronthatsetallthetimeIwasonit!But that wasa great experience.It had a marvelouscast,and Roman Polanskiwas phenomenal.Speakingof directors... Theycould havegottenridofmein an houranda half,ifthey’dconcentrated.I

thinkIgotfourteenweeksoutofit.I'dbetherefour-five dayswhile he waslookingthroughthe lensof a camerafiguringout coming througha door.Hewantedcertaineffects,andhe madesurehe got them.I’veneverseenthepicture,butitwasquitea kick.Theyasked me if I woulddo one ofthe scenesin the nude,and 1said “You're kidding!”They'dneedtivecamerasto coverme,I wasso fatat the time.ButMia,and Ruth,and myselfhad these flesh-coloredmuumuus.I don’tknowwhatwaskeptinthe pictureandwhatwastaken Out.

FFM:SonowhereyouareinoneofthebiggesthitsonBroadway. KELLY: Well,I can’ttellyouhowthrilledandhonored I feel.Andalso,it’s a funshowtodo.Rightnow,I’dliketosleepforfourdays,butI openthe show,andwhen I heartheoverture, Istarttofeelhappy.Thecastisallvery triendly, we'reallforeachother.There’s nopettyjealousies, nononsense. Everybody intheshowisvery,verygood...onehelpstheother.IwisheverybodyIknewandlovedcouldbeapartofit—that’s theonlywayIcansayit. 180

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(Editor’snote: PatsyKellycontinuedworking,mostlyin television, throughoutthe 1970s.Herremainingfeaturefilms:ThePhynx[1970], whichwasneverreleasedtheatrically,and twoforthe WaltDisney company, FreakyFriday[1976] andTheNorthAvenueIrregulars[1979]. Shediedin1981attheageof71.)

THEFILMSOFPATSYKELLY (Director’s namefollows year)

Following isa listofthestarringshort-subjects PatsyKellymadeforHal Roach,co-starringThelmaTodd.AfterMissTodd’sdeathin 1935,shewas

replacedfirstbyPertKeltonandthenLydaRobertifortheremaining three shortsintheseries.Inaddition tothesefilms,Patsymadeherfilmdebutina Vitaphone shortsubject,THEGRAND DAME(1931), andalsoappearedin HalRoach’s ROAMING VANDALS (1934) withBillyGilbertandEddieFoy Jr,andBABIES, THEY’ REWONDERFUL (1947) aParamount one-reeler. 1923—BEAUTY AND THE BUS,BACKSTO NATURE,AIRFRIGHT 1934—BABESIN THE GOODS, SOUP AND FISH, MAID IN HOLLYWOODTLLBESUINGYOU,THREECHUMPSAHEAD, ONE HORSEFARMERS,OPENED BYMISTAKE,DONE IN OIL,BUMVOYAGE 1935—T REASUREBLUES,SINGSISTERSING,THETIN MAN,THE MISSESSTOOGE,SLIGHTLYSTATIC,TWIN TRIPLETS,HOT MONEY,TOP FLAT 1936—ALL AMERICANTOOTHACHE,PANHANDLERS(withPert Kelton),AT SEAASHORE(withLydaRoberti),HILL TILLIES

(withLydaRoberti) ThislistofPatsyKelly’sfeaturefilmsis complete;director’sname{followsyear. 1. GOINGHOLLYWOOD—MGM ‘33—Raou! Walsh—MarionDavies,

BingCrosby,FifD’Orsay, StuartErwin,NedSparks,BobbyWatson. 80 min,

LEONARO MALTIN COUNTESSOF MONTE CRISTO—Univ‘34—KarlFreund—Fay

Wray,PaulLukas,ReginaldOwen,PaulPage,JohnSheehan,Carmel Myers,Robert McWade,Frank Reicher,Richard Tucker,Matthew

Betz,BobbyWatson,DeweyRobinson.76min. THEPARTY’S OVER—Col ‘34—Walter Lang—Stuart Erwin,AnnSothern,

ArlineJudge,ChickChandler, Catharine Doucet, Marjorie Lytell, Henry Travers,WilliamBakewell,EstherMuir,RolloLloyd.63min.

THEGIRLFROM MISSOURI—MGM ‘34—Jack Conway—Jean Harlow, LionelBarrymore, FranchotTone,LewisStone,AlanMowbray, Clara Blandick,Hale Hamilton,Henry Kolker,Nat Pendleton.75min.

TRANSATLANTIC MERRY-GO-ROUND—Small UA‘34—Benjamin Stoloft—Jack Benny,NancyCarroll,GeneRaymond, SydneyHoward, MitziGreen,SidSilvers,SidneyBlackmer, RalphMorgan,Shirley Grey,SamHardy.90min. GOINTOYOURDANCE—WB ‘35—Archie Mayo—Al Jolson,Ruby Keeler,GlendaFarrell,BennyRubin,Phil Regan,BartonMacLane,

SharonLynne,WilliamDavidson,AkimTamiroff, HelenMorgan, HarryWarren,AlDubin,GordonWestcott,JoyceCompton, Joseph Cawthorn.89 min.

EVERY NIGHTATEIGHT—Para ‘35—Raoul Walsh—George Raft, AliceFaye,FrancesLangford,ThreeRadioRogues,WalterCatlett, HarryBarris,EddieConrad,HermanBing.80min. PAGEMISSGLORY—WB ‘35—Mervyn LeRoy—Marion Davies,Pat

O’Brien, DickPowell, MaryAstor,FrankMcHugh, LyleTalbot,Allen Jenkins,BartonMacLane,HobartCavanaugh,JosephCawthorn, Al Shean,BertonChurchill.90 min.

Le,

THANKSA MILLION—2oth ‘35—Roy DelRuth—Dick Powell,Ann Dvorak,FredAllen,PaulWhitemanandBand,Ramona,Rubinoff, RaymondWalburn,TheYachtClubBoys,BennyBaker,Andrew Tombes,AlanDinehart.87min. KELLYTHE SECOND—Roach-MGM ‘36—Gus Meins—Guinn “BigBoy”Williams,PertKelton,CharleyChase,EdwardBrophy, HaroldHuber,MaxieRosenbloom, DeWittJennings,SydSaylor. a, ee

THE REAL STARS

ee

PRIVATE NUMBER—2oth ‘36—Roy DelRuth—Robert Taylor, Loretta Young,BasilRathbone,MarjorieGateson,PaulHarvey,Joe Lewis, JaneDarwell, PaulStanton,JohnMiljan,BillyBevan,MonroeOwsley, GeorgeIrving.80 min.

12.

SINGBABY SING—2oth ‘36—Sidney Lanfield—Alice Faye,Adolphe Menjou, TheRitzBrothers, Gregory Ratoff, TedHealy,Michael Whalen, MontaguLove,DixieDunbar,DouglasFowley, TonyMartin,Virginia Field,PaulStanton.87min.

13. PIGSKINPARADE—20th‘36—DavidButler—StuartErwin,Jack

Haley,TheYachtClubBoys,JohnnyDowns,BettyGrable,Arline Judge,DixieDunbar,JudyGarland,TonyMartin,FredKohlerSr, GradySutton,ElishaCookJr.95min. LA. NOBODY’S BABY—Roach-MGM ‘37—Gus Meins—Lyda Roberti, LynneOverman, RobertArmstrong, RosinaLawrence, DonAlvarado, TomDugan,SiWills,DoraClement,LauraTreadwell, JimmieGrier Orchestra,theAvalonBoys.65min. LS: PICKA STAR—Roach-MGM ‘37—Edward Sedgwick—Jack Haley, RosinaLawrence, MischaAuer,CharlesHalton,LydaRoberti,Tom Dugan,RussellHicks,SpencerCharters,RobertGleckler,Joyce Compton,LaurelandHardy.70min. 16, WAKE UP AND LIVE—2o0th‘37—SidneyLanfield—Walter

Winchell,BenBernie,AliceFaye,NedSparks,JackHaley,Walter Catlett,GraceBradley,Joan Davis,LeahRay,MilesMander, DouglasFowley,EtienneGirardot,BarnettParker,PaulHurst, Warren Hymer,Condos Brothers,BrewsterTwins,George Givot. Ol.iit. 7.

EVERSINCEEVE—WB ‘37—Lloyd Bacon—Marion Davies,Robert

Montgomery, FrankMcHugh, AllenJenkins,LouiseFazenda, Barton MacLane, MarciaRalston,FredericClark,ArthurHoyt,MaryTreen, HarryHayden.79min. 18. MERRILY WELIVE—Roach-MGM ‘38—Norman McLeod—Constance

Bennett,BrianAherne,AlanMowbray, BillieBurke,BonitaGranville, TomBrown,ClarenceKolb,AnnDvorak,MarjorieRambeau,Philip Reed,WillieBest.90 min.

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19.

THEREGOESMYHEART—Roach-UA ‘38—Norman McLeod— FredricMarch,VirginiaBruce,AlanMowbray, NancyCarroll,Eugene Pallette,ClaudeGillingwater, ArthurLake,EtienneGirardot,Robert Armstrong,Irving Bacon.81min.

“DsTHECOWBOY ANDTHELADY—Goldwyn-UA ‘38—H. C.Potter—

GaryCooper,MerleOberon,WalterBrennan,FuzzyKnight,Mabel Todd,HenryKolker, HarryDavenport, EmmaDunn,WalterWalker, BertonChurchill,CharlesRichman.91min. 2dis THE GORILLA—20th ‘39—AllanDwan—TheRitz Brothers,Anita

Louise,LionelAtwill,BelaLugosi,JosephCalleia,EdwardNorris, WallyVernon,Paul Harvey,Art Miles.59min. Be: THEHIT PARADEOF1941—Rep 40—JohnH.Auer—Kenny Baker,

FrancesLangford,HughHerbert,MaryBoland,AnnMiller,Phil Silvers,SterlingHolloway, DonaldMcBride, BarnettParker,Franklin Pangborn.86min. ZouROADSHOW-—Roach-UA 41—Hal Roach,HalRoach,Jr.,Gordon Douglas—Adolphe Menjou,CaroleLandis,JohnHubbard,Charles Butterworth, GeorgeE.Stone,MargaretRoach,PollyAnnYoung, EdwardNorris,MarjorieWoodworth, FlorenceBates,WillieBest, TheCharioteers. 87min. Ze, TOPPER RETURNS—Roach-UA 41—Roy DelRuth—Joan Blondell, RolandYoung,CaroleLandis,BillieBurke,DennisO’Keefe,H. B.Warner,Eddie“Rochester” Anderson,GeorgeZucco,Donald MacBride,RafaelaOttiano.85min.

BROADWAY LIMITED—Roach-UA 41—Gordon Douglas—Victor McLaglen, MarjorieWoodworth, DennisO’Keefe, ZaSuPitts,Leonid Kinskey,GeorgeE.Stone,GayEllenDakin,CharlesWilson,John Sheehan,EdgarEdwards.75min. 26. PLAYMATES—RKO 41—David Butler—Kay Kyser,LupeVelez,John Barrymore, MayRobson,PeterLindHayes,AliceFleming,George Cleveland, GinnySimms, HarryBabbitt, IshKabibble, SullyMason. 94min. 2]. SINGYOUR WORRIES AWAY—RKO ‘42—A. EdwardSutherland— BertLahr,JuneHavoc,BuddyEbsen,DorothyLovett,SamLevene,

25.

THE REAL STARS

MargaretDumont,MorganConway,FortunioBonanova,DonBarclay,

RussClark.71min. 28. INOLDCALIFORNIA—Rep 42—William McGann—John Wayne, BinnieBarnes,AlbertDekker,HelenParrish,EdgarKennedy, Dick Purcell,HarryShannon,CharlesHalton,EmmettLynn,BobMcKenzie, MiltKibbee.89 min. 29. MY SON, THE HERO—PRC 43—Edgar G. Ulmer—Roscoe Karns,

JoanBlair,CarolHughes,MaxieRosenbloom, LuisAlberni,Joseph AllenJr.,LoisCollier,Jeni LeGon,NickStewart,HalPrice,AlSt. John,ElviraGurci.66min. ah) LADIES’ DAY—RKO 43—Leslie Goodwins—Lupe Velez,EddieAlbert, MaxBaer,JeromeCowan,IrisAdrian,Joan Barclay,CliffClark, CarmenMorales, GeorgeCleveland, JackBriggs,RussClark,Cedric Young,EddieDew.62min. SaleDANGER! WOMENATWORK-—PRC 43—Sam Newfheld—Mary Brian,IsabelJewell,WandaMcKay, BettyCompson, CobinaWright Sr.AllanByron,WarrenHymer,MichaelKirk,VinceBarnett.60min. Aes PLEASE DON’TEATTHEDAISIES—MGM ‘6o—Charles Walters—

DorisDay,DavidNiven,Janis Paige,SpringByington,Richard Haydn,JackWeston,John Harding,MargaretLindsay,Carmen Phillips,MaryPatten.Color—111 min. THECROWDED S KY—WB ‘60—Joseph Pevney—Dana Andrews, 33: RhondaFleming,EfremZimbalistJr.,John Kerr,AnneFrancis, KeenanWynn,TroyDonahue,Joe Mantell,DonaldMay,Louis Quinn,EdwardKemmer,TomGilson.Color—105 min.

‘64—Samuel Fuller,ConstanceTowers, 34.THENAKEDKISS—AA AnthonyEisley, MichaelDante,VirginiaGrey,KarenConrad,Barbara

Perry.93min. ‘66—DonWeis— 35: THE GHOSTIN THE INVISIBLEBIKINI—AIP TommyKirk,DeborahWalley,AronKincaid,Quinn O’Hara,Jesse

White,HarveyLembeck, NancySinatra,BasilRathbone, BorisKarloff, Susan Hart, Claudia Martin, Francis X. Bushman, Benny Rubin,

BobbiShaw.Color—82 min.

LEONARD MALTIN 36. C’MONLET’SLIVEA LITTLE—Para ‘67—David Butler—Bobby Vee,

JackieDeShannon, EddieHodges,SusieKaye,JohnIreland,Ethel Smith,85min,

BABY—Para ‘68—Roman Polanski—Mia Farrow, John Si. ROSEMARY’S Cassavetes, RuthGordon,SidneyBlackmer, MauriceEvans,Ralph Bellamy, AngelaDorian,ElishaCook,EmmalineHenry,Marianne Gordon,PhilipLeeds,CharlesGordon,HopeSummers,William Castle(bit),voiceofTonyCurtis.Color—136 min.

ByLeonardMaltin January, 1971

UnaMerkel—the namealonewillbringa smiletothelipsofmostfilm buffs,recallinghervivacityandinfalliblecomicsense,a sixthsense that brightenedthe screenin scoresof delightfulfilms,madethe moresobyherpresence.A skilleddramaticactressas well,whotoo rarelygotthe opportunityto displayherversatility,MissMerkelhad thetheaterinherbloodfromthetimeshefirstcametoNewYorkasa younggirl.Shehasneverlostherenthusiasmforacting;assheputsit, “Idon’tcareifa part isbigornot,ifit’sjustgood.I’vefoundthatyou canhaveoneortwoscenes,andtheycancount.”MissMerkelalways madethemcount.Ascharminginpersonas shehasalwaysbeenon the screen,MissMerkelprovidedus withthe followinginterviewat herhomein LosAngeles. FFM:Didyousetoutwantingtobe an actress? MERKEL: Yes,I wantedto very much,and I neverbelievedthat I could.In NewYork,I had a longlist of namesand addresses,and I’dgofromoneto the other.I startedoutby doingmodelingforthe TrueStorymagazines.I was alwaysthe countrygirlwhocameto town and had the illegitimate child, because I looked like a hick,

andIwas,really.1posedforportraitsandthings,andgraduallyI got intodoingsilentpictures,and thenthe stage,and talkingpictures. Everythingis a step. FFM:Whatdidyoudoonthestage?

LEONAROMALTIN

MERKEL: ThefirstthingI didwascalledTwobyTwo;I hadtwolines in it,andit lastedtwoweekson42ndStreet.I’veneverforgottenthat. I did ThePoorNut;1wasonlyin it a month,andI didn’tdoanything but slapmyselfand say“Comeon,Wisconsin.”I didn’tevenhavea part.ThenIwentoutanddidavaudevilleactwithanotheractorforsix weeks,andthengotan acttogethermyself,anddiditwitha masterof ceremoniesinLoew’s StateinNewYork,andinWashington. Itwasjust a lot ofjokes,back and forth.

FFM:Isittruethatyougotyourfirstsilentfilmjobbecauseyoulooked likeLillianGish? MERKEL: Yes.1wasgoingto a dramaticschoolin NewYork,anda manbythenameofJeromeStormcameby.Hemadeallthe Charlie Raypictures,andCharlieRaywasa verybigstar.Hewaslookingfor a girlwholookedlikeLillianGish.Hejust satthereat the entrance, waitingforthe girlsto comein,andwhenI walkedin,he said“Oh, youdolooklikeher.”I hada dateto makea testthe nextday,butmy grandmother died, and we took her back to Kentucky to bury her.

WhileIwasgonetheysentwordthattheywouldn'tevenmakeatest, justtocome,whenI cameback,tostartthepicture.Itwasa marvelous story,aboutfivesisters,andthiswasthe part ofthe youngestsister, whowasalittle blindgirl.Itstartedouttobea differentpartaltogether, andthentheyhadtochangegirls.Theyweren'tsatisfedwiththegirl theyhad,so I gota betterpart.Buttheyran outofmoney,and they neverfinishedit!ItwascalledWORLDSHADOWS, a lovelystory,and throughit I gotto meetLillian.Eversincethenwe’vecorresponded, or I’vehadlunchwithherwhenI wasin NewYork.I introducedher toHelenHayes,andLillianwasthegodmothertooneofHelen’schildren,I believe.Anyway,they’reveryclosefriendsnow,andofcourse I alwaysfeltveryprivilegedto knowbothofthem.I hadseenHelen whenI wasa youngergirlin a playin NewYork,neverdreamingI'd onedaybe in a playwithher,whichI was,ina playcalledCoquette, whichranfortwoyears.

THE REAL STARS

Una Merkel

FFM:WhatkindofexperiencedidyouhavewhenyoumadeWORLD SHADOWS?

MERKEL: I hadmadea coupleofone-reelers,silentpictures,butnot much.I had gone out and donesomeextraworkin THEWHITE ROSE,for D.W.Griffithin Mamaroneck.One time I was living in Philadelphia,and wentwith my grandmotherto see BROKEN BLOSSOMS, and Mr.Griffithwasin the boxoffice;he cameoutto ask me whoI was and to tell me I lookedlike Lillian.Then,I did

LEONARD MALTIN THE WHITE ROSE,and he came over on the set and said “You

looklikeLillianGish.”Andthen,I introducedmyfatherto LeeDe Forest.1had answeredan ad in the paperfora newinvention,and it was talking pictures.Theyhad everybodydoingthings; some peoplesang,everybodythat applieddid something.I wentto the studio,I couldn’tdo a thing.I couldn’tsing or dance,so I recited a poemI hadwritten,and theychosemeto playthe part in a onereelpicture.I wenthomeand toldmyfather,“Youknow,I’vedone somethingtoday,withthevoicerightonthe film.There’snotalking machine attached to it, nothing.”And my father took that invention to Canada and raised $250,000 for Lee De Forest. But neither De

Forestnor myfatherhad an ounceofbusinesssense,so they lost the rightstothe talkingpicture.Butthe tilm,LOVE’S OLDSWEET SONG,wasthe first oneto be made,beforeWarnersevermadea talkingpicture.Lateron,Fathercalledmeoneday.Hewasdownat the studiowithDeForest,and he said“Youknow,they’remakinga lot oftests downhere.Mr.Griffithis makingsome,wouldyoulike to comedownand seethem?”SoI wentdown,and I watchedthem do tests of ClaudetteColbertand twoor three otherpeople.I was sittingin a littlechairoverto the side,and he cameup to me and said“I’veseenyoubefore.”I said“Yes,twice,Mr.Griffith,”andI told himwhathad happened.He said“I'dliketo makea test ofyoufor ABRAHAMLINCOLN, butI haveto leaveonthe sixo’clocktrain. Couldyou makea test withoutmake-upor anything?”So I made thetest,withoutanymake-up,justtalkingwithMr.Griffith.Andthe nextthing I knew,he wantedmeto playMaryTodd.I madea real testforMaryTodd,and1wasputundercontractto UnitedArtistsfor oneyear—they weremakingthe picture.ButafterI got outherehe saidhe’dchangedhis mind,he wantedmeto doAnnRutledge.So I tinallygotto workforMr.Griffith,afterallthoseaccidentalmeetings.Hewaswondertful, just wonderful.Hewasneverappreciated out here.MissGishhad a lot moreto saythan I evercouldsay in the bookthat shewrote.I onlyhadthree scenesin the picture,and I died in the first one that I ever made.

THE REAL STARS

AglamorousUnaMerkelwithRobertMontgomery in PRIVATELIVES

FFM:Thenyoudidanunusualpicture,THEBATWHISPERS. MERKEL: ThatwasdirectedbyRolandWest,andheworkedat night only.Hedidn’twantanyproducerscomingaroundtellinghimhowto doanything.AndI haveneverdonethatbeforeor since;I’veworked at night,butnotallnightlong.Heworkedallnightlong,andwehada bigmealat midnight—that wasourdinner.Itwassevenweeks,and I thinkI lostaboutfifteenpoundsonthepicture.I couldn'tsleepin the daytime...it’sall ]candotosleepatnight.] onlydidoneotherpicture forUnitedArtists,thentheyfarmedmeoutforpictures.I wentto Fox forsixmonths,andI]didsevenpicturesinthesixmonths.Thecasting directorspoketo mebeforehe wenton his vacationand said“We’d [Pe

LEONARD MALTIN liketokeepyou,Una,atjustwhatyouremaking,butwecan’tgiveyou theraisethatyourcontractcallsfor.”I said,“What,aftermakingseven picturesinsixmonths?”Andhesaidsomethingtome,hedidn’trealize the effectit wouldhaveonme.Hesaid,“Well,it’sbetterto be onthe insidelookingoutthantheoutsidelookingin.”Isaid,“Youmeanthatif I didn’tsignwithyouIwouldn'tgetajobanyplaceelse?”Hesaid,“No, butyou'rehere,”andhe saidto thinkit overwhilehewasgone.Well, whilehe wasgone,I gota callto makea test at MetroforPRIVATE LIVES,and I wasworkingon the seventh picture at Fox,workinguntil

1and2inthemorning.I finishedthepicture,a verycheapB picture(1 don’tevenrememberthenameofit),andI finishedat2inthemorning,

wenthome.Icouldn’t sleepallnight,Iwassonervousaboutthetest.| wenttoMGMthenextdayandmadethetestforPRIVATE LIVES, and twodayslatertheygavemea seven-yearcontract,withthe raisethat Iwassupposedtohavegottenat Fox.1wenttotheheadofthecasting department,BennyThau,andIsaid“Mr.Thau,doyousupposethatyou couldgiveme$50aweekmorethanthatraise?”Hesaidyes.]explained whyI wantedit,andhelaughed.Well,whenthemancamebackfrom hisvacationatFox,I wasnolongerthere.Hesaid,“Whydidn’tyouwait untilI gotback?”I said,“WhyshouldI?InotonlygotmyraiseatMGM; I’mgettingmoremoney.”Ofcourse,itwasonly$50a week,butitwas justbeingabletogetthatextramoneyalongwiththeraise.ThenIwas thereforsevenyears. PFM:I'dliketoaskyouaboutsomeofthefilmsyoudidbeforeyouwent toMGM.WhatdidyouplayintheoriginalMALTESE FALCON? MERKEL: Iwasthesecretary. FFM:WhataboutDADDY LONGLEGS? MERKEL: ThatwaswithWarnerBaxterand Janet Gaynor.Andthat wasa lovelypart.Theyhadintendedto doa sequelto that,to feature thepartthatI played,buttheyneverdid.

THE REAL STARS

FFM:DOyouremember a filmcalledDON’TBETONWOMEN? MERKEL: Yes,that’sthe frst comedypart I had. I was at Fox,and the directorwantedme to do this part. I’d done things like THE BATWHISPERS and EYESOFTHEWORLDand they werenothing,really... notwhatI likeddoing.Thenthis partcameup,andthe part wasso good,it wasthe best in the picture.Thedirectorhad a Southernerwritingit forme—itwasa Southernpart—andhe would sendmethe linesat night,andthe restofthe castdidn’tknowwhat the scenewas goingtobe untilthe nextday.Becausetherewasone maninit—Iwon'tmentionanynames—who wasalittle peculiarabout anybodygettinga sceneawayfromhim.Sotheydidn’tlethimknow whatit was goingto be untilhe walkedon the set!It turnedoutto be the turningpointformein gettingcomedyparts,becauseitwas such a wonderful role. FFM:PRIVATELIVESwas a wonderfulfilm. MERKEL: Yes it was.

FFM:Andyoulookedlovelyinit. MERKEL: Thankyou...Ihadlovelyclothes,whichwasunusual.Adrian designedthem,andI]hadbeenusedto nothavingclotheslikethatin pictures.AndI didn’thavethemveryoftenafterward.BythattimeI wasdoinga lotofcharacterwork;theywerealwaysputtinga bun on thebackofmyhead,andan apron. FFM:Didyoupreferthat? MERKEL: 1likedavariety.I wasgladtodoanythingwhenthepartwas good.I didn’tcarewhatIwassupposedtodo. FFM:WasPRIVATE LIVESrehearsedextensively? 133

LEONARD MALTIN MERKEL: Yes,theywererehearsingwhileI wasfinishingupthatFox picture.They’dalreadybeenrehearsingfora week,andthentheyrehearsedonemoreweek.MaryCarlislewasreadingthepartthatIwas todo.LubitschdidthatonTHEMERRY WIDOW,too.

JeanHarlowconfrontsUnainBOMBSHELL (1933)

FFM:Whatwasthepacelikeat MGM;wasit as hecticas it hadbeen at Fox’

MERKEL: No,exceptattimes.TherewasoneyearthatI wasat MGM and I]wasdoingthreepicturesat once.I madethirteenpicturesthat year.I nevercoulddoitagain,and1nevershouldhavedoneitthen,but ofcourseIwasflatteredto thinktheywantedme.Oneofthepictures wasonlocationatArrowhead, BIOGRAPHY OFABACHELOR GIRL, andtheyusedto drivemeup to thelocationafterI fhnishedworking in the daytimeat Metroononeofthetwopictures.Oneofthemwas EVELYN PRENTICE andI can’tthinkofwhatthethirdonewas.Then they’ddrivemetoArrowhead. I’dworkthenextdayupthere,thenthat nightthey’ddrivemebackandI’dworkinoneofthetwopictures.I got soI didn’tknowwhichsetofclothestoputon! eee)

THE REAL STARS

FFM:DidtheyloanyoutoWarnersfor42ndSTREET? MERKEL: Yes,andthat’swhereImetGinger.Shewaswonderful inthat. AndIhadthepleasureandprivilegeofbeinginoneoftheBROADWAY MELODY films,andBORNTODANCE, withEleanorPowell. Lastnight Iwentouttodinnerwithsomefriends,andsomebodyturnedona radio andtheywereplaying“You'dBeSoEasyto Love,”whichSidSilvers sangtomeinthepicture.I hadn’theardit ina longtime. FFM:HOW about REUNIONIN VIENNA?

MERKEL: I loveddoingthat.I onlyhad onescenein it,withFrank Morgan,but it wasa verylongscene.It ran sevenor eightpages.I wasin anotherpicturewhenI didthat.Butthe directoraskedmeif I woulddo this,and I wasdelightedto do it. I wasalsoin twopictures at onceat 20th Century-Fox, yearslater,whenI wasmaking GOLDENGIRL,and theyaskedmeif I had a fewdaysoffwouldI seethe directorwhowasdoingWITHASONGINMYHEART.So I did,andtheyjust hada smallpart ofa nunin that,and I said“Oh, I wouldloveto dothat.”I had alwayswantedto playa nun.Itwasa smallpart,but I lovedit. FFM:Didyouhaveanysayaboutwhatpicturesyoudid,whileyouwere under contract?

MERKEL: No,I didn’treally.Onlyoncetherewasa picture.I can’trememberwhatitwas,thatI didn’tlikeverymuch.I didn’tlikethescript. Andtheyweremakinga two-reelpicture,incolor,ofcooking...differentthingsaboutcooking.TheyaskedmeifI’ddoonecalledHOWTO STUFFAGOOSE.ThatoneI didn’thavetodoifI didn’twantto.Isaid “Tldoitifyou'llletmeoutof...”whateverpicturethatwas.Theysaid “Oh,that’sallright.”Sol didHOWTOSTUFFAGOOSE~—and enjoyed doingit!Itwasfun.Atthattimecolorwasnotaspopularasit is now. ..and itwasratherwarm.Theyuseda lotoflights. OS

LEONARDMALTIN

FFM:DidyouenjoyplayingleadingladytoHaroldLloydinTHECAT’S PAW’

MERKEL: Oh,thatwasa lovelything.I reallyenjoyedthat;he wasa darling.Andaverystrangethinghappenedinthat.Asithappens,I was crazyaboutRonaldColman,likea fanwouldbe.AndI hadneverseen himexceptgoingaroundcorners—I’d nevermethim.Onedaynear thefinishofTHECAT’SPAW,theassistantdirectorsaid,“Una,onthe wayout,stopin thecastingoffice.There’sa scriptyou'reto donextat UnitedArtists.” Well,I pickeditupanditwasBULLDOG DRUMMOND STRIKES BACK, withCharlieButterworth andRonaldColman.Istarted readingit and the veryopeningshot,I wassupposedto bea bride, CharlieButterworth’s bride,butRonaldColmanwasthebestmanand hewaskissingthebride.I said,“Mygoodness,I’venevermethimand I’mgoingtogetkissed!”AndI gota bigthrilloutofthat. FFM:Wasthere any improvisationon THE CAT’SPAW?

MERKEL: Tome,it wasa veryeasypictureto do.Therewasn’tany improvisationthat I remember.I’vehad that happen a coupleof timesonpictureswithJean HarlowwhereIwouldthinkofa lineand they’dlet me keepit in sometimes.Just whilewewererehearsing, a linewouldcomeoutwithoutthinkingaboutit. If it wasfunny,or somethingthat theythoughtwasworthwhile,they'dleaveit in.We did quitea fewthings likethat in REDHEADEDWOMAN.1 did fiveor six pictureswithher...I wasin the picturewithher when shedied,SARATOGA. FFM:Thatmusthavebeena strangeexperience,completingthefilm aftershewasgone. MERKEL: Itwasanunhappytime,becauseI lovedherverymuch. FFM:Youhadtosingatonepointinthefilm,I recall.