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Looking at Hollywood with Ed Sullivan

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Looking at Hollywood with Ed Sullivan Claic:.~o Sand." Tribane Looking at Hollywood with Ed Sullivan Six y.am ago ~m.thiI1g hcrppell.el to mo'l'i. 10.,. t.clmlqu.. Jimmy Cagn.y wa direc:t.d to elo thia to 2 Ma. elc:rrk ill "Public: En.my" CII1elthe famou .C:.Il•• tart.el crmoYie tr.llel to c:atc:h·a.-c:crtch-c:CII1c:ourtil1g. From Pining Passion to Larruping Love, in a Decade of Movie Making By ED SULIJVAN the heroine in his arms, or kissed of 1927, or even the Pre-War the hem of her skirt. John Gilbert, Wally Reid, and stut!'. Today, Irene Dunne, in Just how many hems of how Richard D1x. Can you picture II The Awful Truth," represents many skirts were kissed in the any of these old-tlme heroes land- the sophisticated love which MDtoll SUla br.crth •• el•• ply. goe. iIlto c:ow-.yeel c:1iI1c:hwith Gertrud. silent movies w1ll never be ing a knockout wallop on Llllfan movie directors portray. Only Olmat.d ill "Puppeta." a pictur. of the mool1il1glo.,.r .ra a el.c:ael. ago. known. It was the celluloid cUche Gish? Can you imagine Kath· yesterday, or so it seems, sophis· of humility, always accompanied leen Williams or Mary Maclaren ticated Theda Bara was slinking' Hollywood, C(Jl. to pledge his undying devotion. by a sterling subtitle: II I will be fllnging crockery at Richard and writhing allover the lot as Fthere's one thing, more than And then, grimly resolute, he your slave for life." In the next Barthelmess, or Eugene O'Brien the No.1 vampire of the screen. another, that has changed in would step forward and take the sequence, the heroine would be hauling ot!'and punching Norma Styles have changed. Ithe passage of movie years, it gal in his arms, stroke her hair discovered knitting baby gar- is the Approach to Love. The cap- and then imprint a chaste caress ments and in the fadeout, there itals are mine, and I urge The on her forehead. would be a silhouette et!'ect of Tribune linotyper not to change When a Milton sms made love two figures outlined against the 'em to lower case lettering, re- to a Pauline Garon, the Sms' horizon riding into the sun. gardless of his own possibly un- technique was just as idealistic. Just why the hero and heroine happy experiences in at!'a1rs of His director, to stress the high always had to make an exit rld- the heart. nobility of the scene, would In- ing horseback into the sun never Now w. hCl'l'. the r.al McCoy. Ten ,years ago the great lovers sist on a three-shot, so that as has been made clear. No direc- a Fr.d.ric: Marc:h land. a blow of the screen approached a love sms and Mi~s Garon clinched, tor ever switched this formula 3 011 Carol. Lombard'. law ill the scene with an air that was al- the audience might be treated so that the hero and heroine r.C:.llt film "Nothil1g Scrc:r.d." most reverential. When a simultaneously to the pious re- could make their exit riding Thomas Meighan clasped a Lila actions of Elliott Dexter. The away from it, although this Lee to his manly bosom, a hush subtitle would then flash on the would have been more comfort- Other studios, which also had descended upon the audience of screen: II Take her, old man. able on the eyes of hero and her- their eyes glued on public reae- that day. The lovellght was She was too good for me." Betty oine, in an era when sun glasses· tion to this approach to love, Im- plainly apparent in the hero's Compson might be discovered had not yet been invented. mediately ordered scripts in eye, even though you sat in the playing a silent violin, while preparation to be· re-written. last row. The heroine always John Harron looked at her in • • • Overnight, the movie landscape played the scene a trifle tremolo. rapt adoration. Even RUdolph Today the Approach to Love is was dotted with the figures of Her eyelashes fluttered as she Valentino. characterized as a hardly reverential. In II Nothing Cagney landing a grapefruit in sneaked a glance, first at the ruthless sheik, became gentle as Sacred," Fredric March care- Mae Clark's face; Robinson boot- hero, then at the invisible audio a desert lamb in the love scenes tully poses Carole Lombard and ing Margaret Livingstone (now ence. There was a breathless with Agnes Ayres. Forgotten knocks her cold. In II Love Be- Mrs. Paul Whiteman) for a field few seconds as the hero turned were the victims he had slain in fore Breakfast," Herbert Mar· goal, and other heroes taking his manly gaze to heaven, as if desert combat as Valentino took shall spatters a pie in, on and whacks at ingenues. Gable, the around the classic features of guinea pig of this startling ex- Barbara Stanwyck. In II Old periment, later served again in Chicago" you will find Tyrone an even more radical innovation, Power and Alice Faye in a cat- When in "San Francisco," he hit and-dog fight that climaxes in a a priest in the face. The studio wrestling match on the rugs. In again discussed the pros and cons "It's Love I'm After," Bette ~".D the more orthodox 10.,•• C:.Il•• hCl'l'. chang.d. Dorothy Lamour and JOIlHall a. Dati.,•• ill "Th. Hurric:an. " of this far into the night, and Davis throws potted plants at look fOlldly at .ac:h oth.r without b.ll.fit of h.crYiDg c:h•• a aDd rollil1g .y.L even called in Catholic clergy- Leslie Howard. In" True con- men of the coast to get"their re- fessions," Fred MacMurray Talmadge? These old-timers of Director Clarence Brown, in said one sentimentalist. Brown action before permitting it to be sticks Carole Lombard's head the screen must shudder when "A Free Soul," was one of the was adamant. " People will released. under water. they see Myrna Loy, in the fade- ftrst to inaugurate the new treat- blackball your theaters unless It seems, however, that the The movies today play love out of "Double Wedding," pros- ment ot amour. In that picture you realize that love is a rowdy movies have reached the satura- scenes with camera -in . cheek. trate on the fioor of an auto he ordered Clark Gable to plant emotion, too," spake he. So tion point in violent love treat- Contrast the modern attitude of traller after being hit on the chin a kick on Norma Shearer's bus- with fear and trembling, the ment. Shortly, the hands of the the Great Lovers of the screen by a wild swinging bystander. tle. M.-G.·M.executives; apprised master minds permitted him to pendulum will swing back, and with the almost mousey love- However deplorable, the ad- of this daring treatment of love, let Gable boot Miss Shearer. To heroes will go back to the making of Francis X. Bushman, mission must be made that 1938 argued far into the night. "Peo- their amazement, audiences Francis X. Bushman formula ot Conrad Nagle, Ramon Novarro, Movie Love is not the movie love ple will blackball our theaters," loved it. awed !enderness. Leteers published in this department should be WTitten on one side of the paper. V.i£e .1 tLe M.~ie F•• If you wish a personal reply please indose a stamped, self-addressed envelope. Dear Miss T1n~e: As I have been amon~ the plays shown would be! I think that: ley appeared aa Dawn O'Day in the filma Dear Miss T1n~: I read your column those silent approverl of your column for .. The Women" would make a dandy " Mother Knows Best," "Oity Girl," fI The every day and find It ve1'l interesting, as quite lome time, drama with Gloria Swanson, Merle Ober- Life of Jimmy Dolan," fI Private Le8.otIlI "; I am an ardent movie fan. on, and Janet Gaynor. I decided It wa. Vitaphone short productions, fI Picture I would like some information concern- hl&,h time to put "Brother Rat" would prove a box office Palace" and" The Key." ing Dorothy Lamour and the name of her In my two cents. winner with Wayne Morris and Anita You're welcome. next picture. Louise in the leadin&, rOles. In my eatlmatlon I would like to know the complete cast Ronald Colman I. "Madame Bovary," of course, on the of the not-so-recent picture, "Piccadilly " tops" I nth e screen, with Norma Shearer In the rOle Dear Miss T1n~: I read your column Jim," There has been quite a heated argu- m 0 vie Industry. that Constance Cummings enacted so well every Sunday and enjoy the letters of ment In my famUy as to a certain charac- N.ar the •• a.1thof all that wa peri.c:t ill film 10.,.mcddl1g. RudoU Val.ll· Why hasn't more here. your fans and' ter In the picture. tiIlo .mbrac: •• B.b. Daa.1.l. ill "MozW.ur B.auc:cdr•••• been said about "You Can't Take It With You," with your answers to Thanking you, I am sincerely yours, him? He de- Mary Boland, Hugh Herbert, Nydia West- them. RUTH LOVRITZEN ("PINKY"), serves more than man, and Tom Brown. Would you Galena, a few laurels for "Yes, My Darllng Daughter" would be please tell me m, his splendid per- smooth comedy with Helen Broderick or who the leading EdJtor's note: Welcome to ·our comer! formance in Billie Burke In the rOle that Florence Reed girl was in "Mr: Here's the information you cle8ire: " Lost Horizon." had.
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