TOWN WEEKLY MAGAZINE SECTION
ROBERT MONTGOMERY
The turning point in Robert Montgomery's career was
“Fugitive Lovers,”
known ‘as “Mr. Dooley.”
in which he wore the checked suit now
SE ARATE
“STAR GAZING"
with Urie Megahan
AS A GENERAL RULE, it is
not very hard to pick out the
hero in a motion picture. He's
the handsome young man who
dares and sometimes nearly
dies for a great cause, and final-
ly ends up with the lovely
heroine in his arms. But each
rule carries with it an excep-
tion, and, as the instance in this
case, consider 20th Century’s
“Alexander” s Ragtime Band.”
Naturally, Tyrone Power is
most widely acclaimed as the
hero of the film—it is he who is
the male star and it is he who
wins the winable Alice Faye.
But really there are two
heroes in the picture. The other
is a gay, young man, just past
fifty years of age, whose por-
trait in the show is traced on
the sound track with a lot of
wavy lines which create the
music that will delight audi-
ences. His name is, of course,
Irving Berlin He it was who
braved criticism and risked ca-
reer disaster to introduce a new
rhythmic treatment in music.
“Alexander’s Ragtime Band,”
while dealing with fictional
characters and a fiction story,
js in a very real sense a resume
of Berlin’s remarkable career.
Starting with that famous song
from which it takes its name,
the picture creates settings
contemporary with almost thir-
ty of the tunes which have
placed Berlin at the top of our
heap of composers. Plain, ordi-
nary folk whose memories
stretch back a few years will be
able to recall the delight those
songs brought them and appre-
ciate the manner in which Ber-
lin steadily gained lasting place
in the hearts of Americans.
That the film does not show
the composer himself seems fit-
ting. He earned his fame from
the sounds he conceived, and this
tribute to his work is made in
his own medium—sound.
THE FAMOUS basketball quin-
tet from Stanford University,
which brought three national
his success was g
championships to the Palo Alto
college, will soon make its screen
debut in Paramount’s “Campus
Confessions.” All five are un-
der acting contracts for the
picture and are headed by the
All-American Hank Luisetti.
The studio has erected a
complete basketball stadium on
a giant sound stage, and the
film marks the first time that
Hollywood has ventured into
basketball as a source of movie
material, although every studio
in the colony makes a football
picture each year.
Universal has set in motion
wheels to make the second
screen vehicle of Danielle Dar-
rieux in Hollywood even more
impressive than the very im-
pressive “Rage of Paris.”
The wide acclaim being given
the French star, both here and
abroad, for her outstanding per-’
formance in her American de-
but has convinced studio of-
ficials that the brilliant Dan-
nielle is potentially one of
filmdoms greatest attractions
(which view is also shared by
your correspondent), and the
studio is planning to give her
second flicker the utmost in pro-
duction value.
Entitled “Rio,” the story has
a South American atmosphere
and background, with part of
the plot revolving around Paris.
A drama, rather than a romantic
comedy as war “Rage of Paris,”
the new film is primarily in-
tended to give Miss Darrieux a
chance to surpass the extraordi-
nary dramatic talent she un-
deniably. displayed in “Mayer-
ling,” the . French production
which opened the eyes of Amer-
jcan producers to her charm
and ability.
Production will start
fall, upon Danielle’s
from her stay in Paris.
in the
return
WHEN Rudolph Valentino was
causing feminine hearts to flut-
ter by the millions about fif-
teen years ago, the credit for
in no small
AAA ERROR
FAME ASSURED
BY ‘DOOLEY’
LEW AYRES has fallen heir to
“Mr. Dooley,” considered the
luckiest suit of clothes in the
M-G-M wardrobe department.
“Mr. Dooley” is a checked
hand-me-down that was worn"
originally by Robert Mont-
gomery ‘in “Fugitive Lovers”
several years ago. This picture
marked the turning point in
Montgomery’s career.
Robert Young wore it again
in “Three Comrades” and went
almost immediately into his first
top-billing on the Metro lot in
“Rich Man, Poor Girl.”
With such good luck attend-
ing every actor who has worn
the ill-fitting outfit, things also
appear to look good for Ayres,
who is making his first appear-
ance since his fine performance
in “Holiday,” in the picture
with Young.
LEW AYRES...
.. has fallen heir to “Mr.
Dooley” which, according to
some, guarantees his rapid
success.
AR AEA
measure to the picturesque des-
ert settings in which his pie-
tures were filmed. And the
dashing actor was at his best
when mounted on his prancing
steed, Jadaen by name.
Now Rudy is no more, al-
though he is still drawing audi-
ences to theaters via the recent °
revival of his pictures. And his
equine partner, Jadaen, has been
quietly living. out his declining
years on a California stock
ranch. But a few weeks ago, he
came out of his retirement
briefly and, as a result, film fans
will see him again in “Suez,”
which co-stars Tyrone Power,
Loretta Young and Annabella
Too aged to do any galloping,
but still a handsome old fellow
for close-ups, the horse was em-
ployed as Annabella’s mount in
some of the desert sequences of
the picture. A substitute was
used for the long shots of the
French star engaging in some
fast riding.
MOVIE STARDOM contributes
to longevity according to one
staff member of a Hollywood
hospital, and in this assertion,
Dr. Lawrence Spangard thereby
blasts popular notions on the
ROBERT YOUNG...
o + « went almost immediately to his first top billing after
he donned the “Mr. Dooley” for “Three Comrades.”
“Rich Man, Poor Girl”
stars in
1
He
EES RORRO REAR
subject. Spangard has had
much to do with curing ills in
the film colony, and here are his
observations:
“My study of motion picture
players has led me to believe
that practically every front-
rank player has added ten years
to his life. It is nothing un-
usual. Stars simply take bet-
ter than average care of them-
selves because they must be
physically attractive as well as
mentally alert. They work hard,
which is good for them. When
they rest, they get a great deal
of sunshine and fresh air.”
MAXIE ROSENBLOOM, the
former leather pusher, likes his
work as an actor, and is doing
rather well at it, thank you. He
likes particularly his present
role in “Wooden Anchors,” in
which he is cast as a sergeant in
the U. S. Marines. But he got
an assignment the other day
which proved too much for him,
try though he did. According
to the script, Maxie is supposed
to have some Irish in him, and
was required to yell “Begorra!”
as he entered one scene. Re-
peatedly he tried it, but each
time Director John Ford, who
really has some Irish in him,
shook his head sadly, and or-
dered the business shot over
again.
After several tries, Ford
gave the word once more to try
it. But as the cameras rolled,
Maxie didn’t come on. Instead,
a towel came sailing into the set
—traditional sign when a fight-
er has given up. Ford took the
hint, and the troublesome word
was dropped.
NINE YEARS AGO, on MGM’s
Stage 7, Lew Ayres, virtually
unknown in motion pictures,
took Greta Garbo in his arms
and kissed her.
He had been picked personal-
ly by Garbo for the juvenile
lead in “The Kiss” and Holly-
wood promptly predicted that
Ayres’ future was made. Lew
was too nervous to think, but
when he recovered he went out
to fulfill the destiny that was
predicted for him.
He scored heavily in “All
Quiet On the Western Front”
and played in dozens of other
pictures. But in all those nine
years, he never appeared be-
Olah D
fore a camera again at Metro.
He then tried producing and
directing, and met with only
nominal success.
Returning again to acting,
Lew once more drew attention
to himself in “Holiday.” Then,
a short time ago, on’ the same
Stage 7 where he had embraced
Garbo nine years ago, Ayres
was playing his second role at
that studio.
Instead of a romantic juve-
nile, however, he was playing
Henry, the comic champion of
the Great Middle Class in “Rich _
Man, Poor Girl”—perhaps start-
ing another career, this time as
a comedian.
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