TOWN
Linnie]
NEW EDDY-M‘DONALD COLOR FILM
VEERS FROM USUAL THEME
ALTHOUGH they have appear
ed together in five different
productions, “Sweethearts” is
the first picture with a modern
setting in which Nelson Eddy
and Jeanette MacDonald have
co-starred. It also marks the
first time that they have ap-
peared together in an all-Tech-
nicolor film.
Too, the picture marks a de-
parture from the usual Nelson
Eddy - Jeanette MacDonald
theme in that it strives for
greater appeal through the
medium of comedy—an un-
heard-of theme for this roman-
tic, singing pair.
At least one of the laughs in
the picture was, however, not
in the original script. It all
came about like ‘this: Lucille
Watson, New York stage
actress making her film debut
as Jeanette MacDonald’s moth-
er, committed what she consid-
ered a horrible faux pas, and
Director Van Dyke left it in the
film as one of the comedy high-
lights.
Miss Watson was appearing
in a sequence in which a group
standing around a piano, sing-
ing, goes into a burlesque of
the Floradora Sextette’s dance
step. Trying a high kick, Miss
Watson caught her slipper in
the hem of her evening dress
and pulled off the heel. Furious-
ly she kicked again in an ef-
fort to free the shoe and sue-
ceeded only in ripping a long
tear in her evening dress. Al-
most in tears, she nevertheless
went ahead with the scene, but
the minute it was over she
rushed to Van Dyke with pro-
fuse apologies “for her clumsi-
ness.
“What are you worrying
about?” demanded the director.
“That’ll be one of the funniest
shots in the film.”
Another humorous incident
in the filming of the picture,
which; however, almost ruined
a musical scene, arose out of
Herman Bing’s superstition.
Bing, who appears as the or-
chestra leader in “Sweet-
hearts,” cuts a notch in his
baton every time a member of
the cast completes his role in
the film. Bing believes these
notches prolong his own life in
the film. He had cut notches for
Fay Holden, Florence Rice,
Mischa Auer, Olin Howland,
Terry Gardiner and others who
had finished their work in the
film, although he still remained.
In the midst of conducting a
number while filming was go-
ing on, the baton snapped
where a notch had been cut too
deep, and flew ‘back toward
the cameras and Kliegs while
Bing bit his lips and went on
waving the stub.
Forgetting the comedy and
remembering that it is the sing-
ing that is the biggest drawing
card of any Eddy-MacDonald
film, the producers have gener-
ously sprinkled the movie with a
number of Victor Herbert num-
bers that are already clicking in
a big way with the public. “Pret
ty as a Picture,” which is Eddy’s
favorite, promises to become a
phenomenal hit.
AMONG THE hit tunes of the
coming year, Nelson Eddy pre-
dicts, will be melodies which
were smash successes two gen-
erations ago and which will
emerge as entirely new composi
tions, thanks to modern orches-
tration.
“It’s surprising what a brass
choir and a few saxophones can
do to put mew life in an old
tune,” remarked Eddy, who,
through his film work, concert
tours and radio broadcasts, has
been responsible for reviving
many a favorite melody of years
gone by.
After every concert he makes
a point of singing, as encore ree
quests, numbers from his films.
During the past year, the three
most in demand have been “Will
You Remember?” from ‘“May-
time,” “In the Still of the
Night” from “Rosalie” and
“Who Are We to Say?” from
“The Girl of the Golden West.”
The previous year, the most
popular song in his repertoire
was “Ah, Sweet Mystery of
Life” from “Naughty Mari
etta,” which is still included on
his concert list.
Yet before Eddy and Jeanette
MacDonald appeared together
in such pictures as “Naughty
Marietta” and “Maytime,” the
Sigmund Romberg number,
“Will You Remember?” and
“Ah, Sweet Mystery of Life,”
though remembered through the
years, could never have qual.
ified on a weekly ‘hit parade”
broadcast.
A EEE
EATING SCENES BRING PROTESTS
FROM FILM ACTORS
HOLLYWOOD actors dislike
eating scenes—for several rea-
sons. In the first place, movies
aren’t made by rehearsing a
situation a couple of times and
then cinching it in a single take.
They are remade through dozens
of takes.
In the second place, the cam-
era is always intimate. On the
stage it is possible to do a good
deal of faking. But when an
actor is presented at table on
the screen he can’t just go
through the motions. He has to
put away food. And to make
matters worse, sometimes he
hangs up an endurance record
only to have it wasted. For in-
stance, 20 pies were ordered for
the “scene in “Spawn of the
North,” in which George Raft
sits down to the dish of apple
pie. George ate pie through an
entire morning. He ate until his
eyes bulged. When the cutter
got through slicing pieces out
of the film, all that remained of °
the pie marathon was a fleeting
impression of George taking one
bite.
All things considered, it is no
wonder we find Shirley Ross and
, Bob Hope gazing with jaundiced
eyes at plates of scrambled eggs
at a table for two, Paramount’s
Stage 7. It is 4 o’clock in the
afternoon and they’re doing a
breakfast scene for “Thanks for
the Memory.” They’ve been do-
ing it for some cime.
“Now I think we have it,”
beams Director George Archain-
baud after Shirley and Bob have
nibbled eggs and said bright
things to each other for the
tenth consecutive time. “Save
them, boys,” he nods to the
electricians, who promptly douse
the arcs.
“Well, then,” moans Bob, *if
you want to save us for the rest
of the picture, for Pete’s sake
take this hen fruit out of our
sight.”
“Ditto!” - Shirley.
WEEKLY MAGAZINE SECTION
SHOW WITHIN A SHOW
Here is a scene from a stage play within the picture, “Sweethearts.”
Donald sings as the chorus gathers ‘round.
Donald-Nelson Eddy film, and is entirely in Technicolor.
“Sweethearts”
Jeanette Mac-
is the latest Jeanette Mac-
1t is the first picture with a
modern setting in which the famous singing pair have appeared.
AT
‘STAR GAZING’
with Urie Megahan
NO MATTER what kind of
scenery a motion picture pro-
ducer may need for a produc.
tion, he need not travel more
than 250 miles from Hollywood
for an ideal location spot!
An amazing statement, but
studio location experts have
proof that there is not a single
type of scenery in the world
that cannot be duplicated with
in such a radius around the film
capital. Every inch of the ter-
ritory has been scouted and
surveyed by automobile and air.
plane. And in the location files
of each major studio may be
found neatly indexed cards
containing data on every land-
mark in that area.
It is a revelation to flick
through these files. It is possi-
ble to find a photograph and ac-
companying description of
everything from courthouses to
graveyards, golf courses to raile
road stations—mountains, val-
leys, streams, deserts, ditches,
trees, swimming pools, farms,
rocks—literally everything. All
are catalogued.
Although one of the hardest
things to find is a country road
minus telegraph and telephone
wires, there are even a few of
these on tap, too.
Lake Arrowhead in the near
by San Bernardino range has
always been a favorite movie
locale. Paramount built a whole
Arkansas village there for
“Tom Sawyer, Detective.” For
scenes in “Spawn of the
North,” the lake became Alas-
kan for a while, When Ginger
Rogers was “Having Waonder-
ful Time” with Doug Fair-
banks, Jr., the spot abruptly
became one in the Adirondacks.
Another popular location is
at the base of Mount Whitney.
When cameras were pointed
at the mountains there, they
became the Khyber Pass for
“Lives of a Bengal Lancer”
and “Gunga Din.” Then when
cameramen turn their cameras
around toward the Mojave Des
ert, the place is a dead ringer
for Arabia.
Of course, these location
sites have to be rented, and
the natives have become
shrewd about bargaining. Yet
there is no limit to what can be
rented in this movie-conscious
vicinity.
Why, William Wellman even
managed to get the exclusive
use of an airport for weeks
while he was making “Men
with Wings.”
WHEN FILM fans see the 20th
Century-Fox Technicolor spe-
cial, “Kentucky,” they will see
billed as stars such names as
Loretta Young, Richard
Greene, Walter Brennan and
Ralph Morgan. But, playing im-
portant roles in the same flicker
although not mentioned on the
screen, will be seven other
stars, known to millions.
These non-billed players bear
the names of Equipoise, Gal-
lant Fox, Omaha, Blenheim,
Hard Tack, Sickle, and Chance
Shot. And if you've ever watched
the ponies, you'll recognize
these names as famous in turf
history.
The noted equine stars were
used in the scenes filmed on lo-
cation in Kentucky, the state
famous for its track champions
Director David Butler was able
to use them through the co-
operation of stable owners,
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