Jane Wyman In the 30's & 40's

EY has a day off due to a missing file. The Jane Wyman book section is more interesting than usual because her career started later than most of the actors adn actresses in this series. That means that writers who generally don't appear in the other selections make their appearance.gdh4/21/1934 HCN HORTON'S TREE HAVEN GROWING In Hollywood where hobbies and such things go to extremes, Edward Everett Horton today was revealed as the record-holder for some time to come. For the comedian, now appearing in B.P. Schulberg's Kiss and Make Up at the Paramount studios, has the unique hobby of buying old trees. Not only that, he saves then, grows them and personally supervises the care of them himself. He frankly admits he doesn't know how he ever conceived the idea for such a hobby, but it started several years ago when he learned that some fine old shade trees that lined Melrose Avenue in Hollywood were to be destroyed in a street widening project. Owner of a bare, 80-acre ranch near Van Nuys, Horton decided to convert it into a transplanted forest, a sort of haven for old trees. Two of his prized possessions are the famous old Japanese plum tree that stood for a half-century on Wilshire Boulevard where a large department store now stands. Other trees with a history are the large oleander tree that stood at Figueroa and 47th streets; four crepe myrtles that shadowed the corner of 3rd and Alvarado for 25 years; several palms that were condemned during the Cahuenga Avenue extension; and a 100-year old oak that was brought from Newhall. The latest additions to the Horton tree-farm are two holly trees more than 150 years old and a magnolia tree that stood at the intersection of Laurel Canyon and Ventura Boulevard. His hobby is rather costly, Horton admits, but he believes it's well worth the expense. He has paid as high as $250 for a tree, but the average cost is around $75. The uprooting, crating and replanting of the trees is but part of the cost. He frequently calls expert tree surgeons to nurse some valuable old tree that shows signs of expiring after its unnatural journey. His ranch now has more than 450 trees on it.Jane Wyman In the 30's & 40's8/19/1936 HCN Elizabeth Yeaman Barton MacLane and Glenda Farrell, both tough characters in their particular screen field, are now to be made a team by Warners. The two have been cast together in the leads of No Hard Feelings. Glenda will have the role of a private detective. Others in the cast are Winifred Shaw, Craig Reynolds, Joseph Crehan and Jane Wyman. Frank McDonald will direct, starting Monday.11/21/1936 EHE Previews By Jimmy Starr Smart Blonde Rating: Good Produced by Warner Brothers. Starring Glenda Farrell. Directed by Frank McDonald. Story by Frederick Nobel. Screenplay by Don Ryan and Kenneth Gamet. Harry Seymour, dialogue director. Photographed by Warren Lynch. Supervised by Bryan Foy. A murder mystery with a new kind of twist quite accurately describes this happy combination of high farce and chill-getter, Smart Blonde. Sure-fire Glenda Farrell, who has yet to give an indifferent performance, clicks away nicely as Torchy Blane, ace newspaper gal who has a mind of her own–of the super-sleuth, gabby sort–a large flock of wisecracks at her command and a great deal of that go-get-it spirit. Breezily directed by Frank McDonald, this little movie should go out and entertain all types of audiences. It's chuckful of fun, a you-can't-guess-it mystery and several bang-up performances by Addison Richards, George Lloyd, Tom Kennedy, David Carlyle, Winifred Shaw, Barton MacLane and others. Outstanding is a pretty newcomer by the name of Jane Wyman, who snaps out the neatest bit of comedy seen in a long time. She's going places. Joseph Crehan, Craig Reynolds, John Sheehan and Max Wagner all turn in brief but good performances. As is her custom, Glenda walks away with the honors in first-rate style. I understand she'll do a series of these yarns – and that's good news for the movie fans.12/26/1936 EHE 10 Greatest Discoveries of 1936 1. Robert Taylor 2. Simone Simon 3. The Ritz Brothers 4. Deanna Durbin 5. Sonja Henie 6. Jane Wyman 7. Tyrone Power Jr. 8. Mischa Auer 9. Reginald Gardner 10. Martha Raye5/3/1937 LAX Behind the Makeup By Erskine Johnson Plotless Dialogue: Jane Wyman: "I'd rather buy shoes than anything else. I like to have my feet on the ground in style."5/29/1937 EHE Previews By Jimmy Starr Kid Galahad Rating; Splendid Produced by Warner Brothers, Co-starring Edward G. Robinson and Bette Davis. Directed by Michael Curtiz. Story by Francis Wallace. Screen play be Seton I. Miller. Photographed by Tony Gaudio. Hall Wallis, in charge of production. The inner workings of the prize fight racket ordinarily might only appeal to those interested in the muscle men of the squared circle, but the Warner film, Kid Galahad, packs just as neat a feminine punch as any heavyweight blow ever zinged in the ring. Many a fine story of a boxer's life has come out of Hollywood, but Kid Galahad has that extra bit of socko "umph" to send it across and make it one of the real hits of the season. Personally, I think it is the best of "Battle of the century" stories. Loaded with action and personalities to match, it directorially assumes a three-ring circus stride in swiftness and punchy situations. Edward G. Robinson and Bette Davis turn in some of their best work. Eddie has the robust role of the fight manager who does all the thinking for his boxers, Bette is the girl friend whose feminine intuition clicks off many a coup for the man she loves. Bette's a grand actress. She doesn't miss a trick. You'll like this new Warner "find," Wayne Morris. He's got something...a certain naive quality and easy naturalness that will send him a long way on the cinematic path. A little newcomer for whom I've already predicted success is pretty, pert Jane Wyman. She possesses a winsome wholesomeness that is most intriguing. Humphrey Bogart makes an extremely convincing killer out of the rival fight manager's role, and, as usual, gives a sterling performance. Harry Carey, too, shines as the trainer in a brief role. Director Curtiz megaphoned the yarn with all the zip of a buzz-saw, snipping off suspense-filled situations in rapid-fire succession. My printed plaudits for his especially fine efforts. Kid Galahad will keep you guessing and cheering to the last punch. It's socko, and wins a Starraveroo!6/17/1937 LAX Louella O. Parsons From the Queen of the Angels Hospital comes word that Jane Wyman, who collapsed in the projection room at the Warner Studio, is much improved and that she will be all right after a couple of weeks rest.6/17/1937 EHE SLIM Slim--Opened at Warners' Hollywood and Downtown theaters June 16. A Warners' picture. Directed by Ray Enright. Novel and screen play by William Wister Haines. Photography by Sid Hickox, ASC. CAST: Pat O'Brien, Henry Fonda, Margaret Lindsay, Stuart Erwin, J. Farrell MacDonald, Dick Purcell, Joseph Sawyer, Craig Reynolds, John Litel and Jane Wyman. By W.E. Oliver The friendship of two men is set against the terror and beauty of an obscure calling in Slim, a new film from Warners' studio which creates some amazing drama with a simple story, unassuming events and breath-taking camerawork. You may see this effective combination on Warners' Downtown and Hollywood screens. The calling is that of the linesmen who put up the transmission towers and string the copper cables which carry power and light from the mountains to homes and industry. The friendship is between a man and a youth who takes the job of "grunt" or groundworker for these brawny aristocrats of a dangerous calling and who fights his way up to a place on the towers for himself. MEN AGAINST DEATH The drama is the fight of these men against sudden death and the hardships of their calling. The events are the daily occurrences of these men, their sickening falls from a perch in a storm 200 feet high, the flash of 80,000 voltage current which turns them into a black cinder, the small part of comfort they get out of it. For his lens, the cameraman had some of the most unusual scenes to work with, strange designs of steel against the sky, shot in wild country. The wonder is how the production achieved many of these photographic scenes. Pat O'Brien and Henry Fonda play the central characters. The older man, reckless and human, is cut exactly to the measure of O'Brien. He gives it strong conviction coming closer than any actor I have seen to the feeling of a worker and his tools. Fonda's role is more complex, a character study. The pair of them make a good team. THREAD OF ROMANCE The thread of romance is carried by Margaret Lindsay, playing the nurse who tries to get them to give up their dangerous job, but who capitulates when she falls in love with Slim the younger and accepts the jittery job of being a lineman's wife. Stuart Erwin plays a comedy role, the helper who wouldn't get off the ground. His character is touched up with a string of humorous folk lore sayings. J. Farrell MacDonald, as the gang boss, is another strong character. All of them portray a story that should interest and hold you whether you work behind a desk, with your hands or play polo to kill time. There is not a jarring note in any of the performances. Slim is among the best of the rare occupational pictures. It is as real as you'd want. Directors Ray Enright and the studio production crew are entitled to plenty of plaudits for their part. Smart contrast to this excellent film is Rhythm in the Clouds, a fast moving radio farce, pairing Patricia Ellis and Warren Null, also on the hill, along with an amusing Looney Cartoon and other short films.6/17/1937 HCN Slim By James Francis Crow At least this much is true of Slim, the new film attraction at the Warner Bros. Hollywood and Downtown theaters--namely, that it is one of the season's most unusual pictures. It achieves this distinction, curiously, by reason of its innate simplicity. It is the simple story of two men whose lives revolve about the simple facts of having a good job of work to do, and of doing it well. These two men are power linemen. They erect the tall towers from which are suspended the cables distributing electricity throughout the nation. They move from camp to camp, commanding, as experts in their craft, the respect of fellow workmen everywhere. Occasionally they interrupt their workaday routine with a trip to the city and a round of the night clubs. Now and again a fight provides a lively interlude. But nothing, not even the romance which sets the two men against each other as friendly rivals, serves to cure them of their absorption in their job. Eventually one of them gives his life for his work. It is a simple story--in fact, too simple. The quality which was a virtue in the original best-selling story by William Wister Haines becomes a fault in the film version, for a drama is by nature complicated and involved. The complications which have been effected in the photoplay seem artificial, alien, labored and far-fetched. And the film's total impression is that of dramatic vacuity, in spite of its refreshing difference from run-of-the-mill movies, and in spite of solid performances by Pat O'Brien and Henry Fonda as the two workmen. Haines himself prepared the scenario from his own novel. Margaret Lindsay has the heroine's role, and Fonda playing the title part, and O'Brien appearing as his staunch friend and luckless romantic rival. Other players are Stuart Erwin, Dick Purcell, Joseph Sawyer, Craig Reynolds, and J. Farrell MacDonald. Ray Enright was the director. The companion feature on the dual bill at the two Warner houses is Rhythm in the Clouds, a Republic production featuring Warren Hull and Patricia Ellis under the direction of John Auer.6/17/1937 LAX Slim By Louella O. Parsons A Warner Brothers picture, produced by Hal B. Wallis, associate producer, Sam Bischoff; directed by Ray Enright; story and screenplay by William Wister Haines; music director, Leo F. Forbstein. Presented at Warner Brothers Hollywood and Downtown theaters. Intensely human–someway different–and with plenty of pictorial interest and action, Slim is one of the better motion pictures. Now who would ever suspect that the glorification of a lineman, the hero who risks his life by working on high tension wires under the most hazardous conditions, would offer such exciting melodrama and such unexpected comedy situations. Slim, you can take my word for it, will rank with the top money getters, for it's the fresh type of picture play that appeals to the paying customers. Henry Fonda in the title role has never done a finer piece of work. A simple country boy, he yearns to be a lineman and really haunts a construction job until he gets an opening. His pal is Red, a man whose adventurous camps and who never settles down for any length of time. Pat O'Brien is splendid as Red–so real, so vital and so believable. Only an actor of Pat's versatility and ability could play the adventurous lineman who talks little but acts fast and is utterly fearless. One of the interesting things about the picture is its pictorial quality–the scenery, the transmission station and the terrifying maze of hot wires which calls for expert lineman. Splendidly produced and excellently photographed, Slim is in a class by itself when it comes to real thrills and excitement. The two men, Slim and Red, become inseparable, and when they are both fired they travel through the desert to Chicago, where Red's girl friend makes a happy threesome. Margaret Lindsay plays the nurse, the girl whom he likes and admires but not well enough to give up his hazardous career. Miss Lindsay plays her role with warmth and sincerity, in fact, she is unusually good. One of the outstanding characterizations is offered by Stuart Erwin as the lazy ground helper who cannot be persuaded to join the linemen in their up-in-the-air jobs. Stu is very funny and is responsible for some of the big laughs. J. Farrell MacDonald, line foreman, is another player who helps give this vigorous yarn reality. William Wister Haines has adapted his own story–maybe that is why it is so good–and Ray Enright has done a beautiful job of directing. In fact, all of the Warnerites, including Sam Bishcoff, producer, can feel proud of this day's work, for Slim is a really worth while picture and one we advise you not to miss. A merry little musical Rhythm In the Clouds, with Patricia Ellis and Warren Hull, gives the audience its money's worth this week at both Warners Downtown and Hollywood theaters.7/1/1937 FD The Singing MarineWarners 1 Hr., 45 Mins. Swell summer show with lots of color and music and Dick Powell's singing featured. This is mostly Dick Powell, for he is in evidence the greater part of the time, and he seems to be singing more than in any of his other pictures. In any event it is a fine show for the younger element, for it is filled with the spirit of youth and song and laughter and love. And that about makes up the requirements for this musical-comedy type of entertainment. Powell is in the Marines on the West Coast, and on his furlough the members of his company make up a purse so he can go to New York and make a stry for the Amateur Radio Hour contest as the Singing Marine. Doris Weston, who has won the local beauty contest, also goes along. Dick goes over big on the program, while Doris flops, with nervousness. Then into the business of being skyrocketed to fame by Hugh Herbert as his manager, going kind of ritzy on the old Marine gang who resent it, and finally the marine division is shipped to Shanghai. Powell and Doris as his secretary go along on another steamer with a couple of his oldtime Marine pals who are still sore at his conduct. In Shanghai Powell gets his own night club, which he turns over to Ma Marine (Jane Darwell) when she loses her club through financial reverses, and so reestablishes himself as a regular guy with the Marine outfit. It is pepped up all the way with snappy lines, good comedy, plenty of catchy music and Dick's singing. Also plenty of good looking gals. Powell is at his best. Doris Weston is very charming. Hugh Herbert kicks in with his funny antics. Larry Adler does some remarkable playing on the harmonica. Directed by Ray Enright with snap and fine pace. CAST: Dick Powell, Doris Weston, Lee Dixon, Hugh Herbert, Jane Darwell, Allen Jenkins, George (Doc) Rockwell, Larry Adler, Rose King, Marcia Ralston, Guinn Williams, Veda Ann Borg, Jane Wyman, Berton Churchill, Eddie Acuff, Henry O'Neill, Addison Richards, James Robbins, Miki Morita, Pierre Watkin. Director, Ray Enright; Musical Direction, Busby Berkeley; Music and Lyrics, Harry Warren, Al Dubin. Direction, Very Good. Photography, Excellent.8/2/1937 HCN Elizabeth Yeaman The lead opposite Boris Karloff in Without Warning is no goofy that Marie Wilson wins the assignment in place of Jane Wyman, who was previously set. This is a murder mystery perpetrated in a government arsenal, and Karloff will play a straight role, sans horror make-up. John Farrow is to direct, beginning tomorrow. That means he cannot accompany his wife, Maureen O'Sullivan, to England., when she sails shortly to become Robert Taylor's leading lady in A Yank at Oxford.8/12/1937 LAX Mr. Dodd Takes the Air A Warner Brothers picture, produced by Mervyn LeRoy, directed by Alfred E. Green, screenplay by William Haines and Blaine Ryan, from the novel by Clarence Burlington Kellan. Showing at Warner Brothers Hollywood and Downtown theaters. CAST: Kenny Baker, Frank McHugh, Alice Brady, Gertrude Michael. By Dorothy Manners Mr.Dodd Takes the Air is another way of saying that Mr. Baker (Kenny) takes the screen and both Mr. and Dodd and Mr. Baker fare very well indeed in the radio favorite's first starring picture for Mervyn LeRoy which opened the new bill yesterday at both Warner Brothers Hollywood and Downtown theaters. Mervyn LeRoy has chosen well in selecting Clarence Budington Kelland's human little story of a small-town boy who makes good over the big-time airwaves as the setting for the debut of his popular crooner. Baker is sure to be a big hit, which is not entirely due to his charming voice, either. He is natural and at ease in a semi-romantic, semi-comic role, presenting something new in screen heroes. When he sings four swell numbers, "Remember Me," "Am I In Love?" "The Girl You Used to Be" and "Here Comes the Sandman," he is fan-mail bait of the first order. Not far behind in interest is pretty Jane Wyman, another newcomer, who is delightful as Kenny's screen sweetheart striving to save him from the clutches of two New York sirens (Gertrude Michael and Alice Brady) and a big head after success comes his way. These two youngsters are an attractive young romantic team that will bear a repeat engagement. The supporting cast is exceptionally good with Alice Brady stealing top honors as the temperamental prima donna who who sets her trap for the crooner, but catches his manager, amusingly played by Frank McHugh. Miss Brady is a wow doing a parody on "O Mio Fernando." Gertrude Michael's portrayal of the society charmer is pointed a little too high. Director Al Green deserves particular credit for the natural and unassuming quality of the entire film and scenarists William Wister Haines and Elaine Ryan have aided and abetted the good work with a script filled with human interest gags. All in all, Mr. Dodd Makes the Air is a picture that should rate strong with the whole family from Grandma down to Jr. The second feature on the bill, White Bondage, lived up to its billing by "smashing the chains of a fearsome slavery," resulting in so-so dramatic entertainment. Jean Muir and Gordon Oliver are featured in this Warner Brothers picture directed by Nick Grinde.11/6/1937 CHIC GOWNS FEATURE PREMIERE By Elaine St. Maur 'Neath a heavy-hanging canopy of sweet-scented flowers and surrounded by the fantasy of a South Sea Island village created in the forecourt of the Carthay Circle Theater, prominent members of motion picture, social and political circles gathered last night laden with leis, to witness the premiere of The Hurricane, Samuel Goldwyn's saga of tropic climes. Here, in a suffusion of light and color was the marked contrast of simple native charm and our sophisticated civilization—their sarongs against our scintillating evening gowns. Yet they blended harmoniously and beautifully. Glimpsed as they moved through the throng, midst the groups of native Polynesian dancing girls, who swayed to the strains of an orchestra, were many chic and beautiful women. Among them, and the gowns that they wore, were: Dorothy Lamour, the film's leading lady, who chose a gown with a bodice of iridescent sequins and a very bouffant tulle skirt of brilliant blue. With this costume she wore a wrap of white fox. Sonja Henie in a gown of gold lame worn with white ermine coat bordered with silver fox and a corsage of orchids. Annabella in a picture dress of blue wool crepe worn with a silver fox cape. Joan Crawford, white chiffon gown under luxurious white fox wrap. Evalyn Knapp, Wallis blue velvet gown fashioned in Empire style, with high bodice of silver lace. Wrap of white ermine. Mrs. Paul Kelly, black taffeta printed with tiny gold figures. Wrap of red fox furs. Mary Astor, silver brocade gown with emerald piping at hem. Belt of green satin and rhinestones, very short jacket of silver lined with green, wide cuffs faced with white fox. Billie Burke, Gray satin dress and slippers with a blue fox cape. Norma Shearer, white sequin full-length coat with huge matching white sequin purse. Jane Wyman, eggshell flannel gown, green accessories and a green flannel wrap. Rosemary Lane, white draped gown with a silver fox coat. Priscilla Lane, ceil blue net frock with a white ermine wrap. Lola Lane, Alix model of black jersey worn with a black skunk coat. Madge Evans, silver blue heavy crepe dress with a full length coat of black velvet with ermine sleeves. Lupe Velez, a gown of deep red, the bodice of sequins and the bouffant skirt of tulle. A long silver fox cape. Mrs. Neil Hamilton, black crepe gown with gold sequins at the throat and waistline. Baum marten coat. Irene Dunne, gold tissue cloth gown fashioned with full skirt and square neckline. Full length sable wrap. Eve Arden, chartreuse jersey gown with sable wrap. Mrs. John Carradine, Nile green velvet princess gown with kolinsky wrap. Gloria Stuart (Mrs. Arthur Sheekman) a plum-colored satin empire gown with full length coat of gold lame. Mrs. Robert Leonard, red silk kersey gown trimmed with gold pallettes.12/23/1937 EHE Jimmy Starr Joe E. Brown was kidding Jane Wyman about being a good bet for the Scarlett O'Hara role, and along came director George Cukor who asked her to make a test!1/8/1938 EHE Sally Frank Moore Jane Wyman receiving guests at home after her two weeks sojourn in the hospital.3/3/1938 LAX Scandal Street By Harry Friedman Joaquin Garay, singing stylist, and quips about the Los Angeles "mist" featured yesterday's opening of the new Orpheum stage show. The audience, which waded through flooded streets for the first show, found the bill–or maybe it was the dry comfort of the theater–to its liking, for all acts were well applauded. The Galli Sisters, child singing trio, and Large and Morgner, one-legged acrobats, have been held over from last week. The Gallis sang several medleys, including one of George Gershwin tunes. Large and Morgner, with one pair of legs between them, repeated last week's difficult hand balancing feats. Garay, who helped popularize "The Man on the Flying Trapeze" several years back, included a Spanish rhumba number in his selection of clever numbers. The current rage of Edgar Bergen and Charlie McCarthy has helped boost other ventriloquists to popularity. "Professor" Frank Gaby and his dummy, an Irish looking gent like Charlie, were a comedy success. Billie Curtis, diminutive man, who recently married a six-foot woman in Florida, is also in the act. The Moran Brothers, tap dancers, worked hard at a drunk routine. Al Lyons and his trusty band rendered a tuneful Hawaiian medley, including "Sweet Lelani," in addition to the regular opening musical stint. On the picture part of the bill are Scandal Street, with Lew Ayres and Louise Campbell, and The Spy Ring, with William Hall and Jane Wyman.5/4/1938 LAX Sinners In Paradise A Universal release of a James Whale production. Directed by James Whale, associate producer, Ken Goldsmith; screenplay by Harold Buckley, Lester Cole and George Robinson from an original by Harold Buckley. Showing at Pantages Hollywood and RKO-Hillstreet. THE CAST: John Boles, Madge Evans, Bruce Cabot, Marion Martin, Gene Lockhart, Nana Bryant, Charlotte Wynters and Willie Fung. By Sara Hamilton A widely diversified bill, with adventure and comedy running side by side, is offered at the Pantages and RKO-Hillstreet theaters this week. The adventure is found in Universal's picture, Sinners in Paradise, a story of love and intrigue on a far-off Pacific Island. When a Clipper plane is wrecked, the passengers, an odd assortment of individuals find shelter on the isle of paradise. Among the passengers are Madge Evans, a nurse running away from an unwelcome marriage; Gene Lockhart, a shady politician; Charlotte Wynters, a self-centered heiress; Bruce Cabot, a gangster, and several other characters of thoroughly soiled reputations. On the island the passenger find John Boles, a doctor who has fled from scandal and his servant, Willie Fung. With the aid of Boles the group organizes itself in a self-governing band. There are barbs of wit and humor, cozy sallies of social satire, and sufficient drama to keep the story alive. Stress is laid on the psychological effect of the simple life on each character before rescue comes. The romance between Madge Evans and John Boles is neatly laced into the tale. Equally entertaining is Joe E. Brown's latest comedy, Wide Open Faces, which, alas, has nothing to do with the famous gap in Mr. Brown's countenance, but deals, instead, with Joe E.'s attempts to share the limelight with a famous crook. As a small town soda jerker, Joe meets Stanley Fields, a notorious bank robber, who induces the soft-hearted hick to drive him to a deserted country inn. Before our soda jerking friend can oblige, up steps the "G" men and walk off with Mr. Fields. Next day Joe's picture in the papers attracts the attention of all the bad men for miles around who are convinced Joe is an accomplice of Fields and is hiding the stolen money. The flood of visitors to the town following Joe's publicity helps put over the new inn in fine style and also aids Joe E. to get deeper and deeper into trouble. Jane Wyman as the object of Joe's affection is pert and cute, while her aunt, Alison Skipworth, turns in a first-class performance. The late Lyda Roberti, Alan Baxter, Lucien Littlefield and Sidney Toler keep the fun rolling. There have been funnier Brown comedies, but at least this one contains enough laugh provoking situations to keep everyone in good humor.5/28/1938 MPH WHAT THE PICTURE DID FOR ME Wide Open Faces: Joe E. Brown, Jane Wyman—Disappointing. Joe has had much better story material. Running time, 67 minutes. Played May 6-7.—Frank Templin, Strand Theatre, Kendallville, Ind. General Patronage. 6/11/1938 MPH WHAT THE PICTURE DID FOR ME Mr. Dodd Takes the Air: Kenny Baker, Jane Wyman—Used this on a double bill and it please.—George Khattar, Casino Theatre, Whitney Pier, Sydney, Nova Scotia, Canada. General Patronage.6/18/1938 MPH WHAT THE PICTURE DID FOR ME Wide Open Faces: Joe E. Brown, Jane Wyman—Joe really made good in this one. Joe as a small town soda jerk is typical. As a comedian, great. Running time, 67 minutes. Played May 15-16.—R.W. Crickmore, Rainbow Theatre, Newport, Wash. General Patronage.7/23/1938 MPH WHAT THE PICTURE DID FOR ME Wide Open Faces: Joe E. Brown, Jane Wyman—Here is a fine entertaining picture that failed to do business. I believe it should be played on the weekend.—Harland Rankin, Plaza Theatre, Tilbury, Ontario, Canada. Wide Open Faces: Joe E. Brown, Jane Wyman—This picture did way above average business and pleased generally.—E.C. Arnold, Avon Theatre, Hillsboro, Kansas. Small Town Patronage.8/12/1938 SFC FRATERNITY PINS Jane Wyman has a necklace made from fraternity pins given her when she was a co-ed in Missouri.8/20/1938 MPH WHAT THE PICTURE DID FOR ME The Spy Ring: William Hall, Jane Wyman—O.K. for the action fans.—Roy W. Adams, Mason Theatre, Mason, Mich. Small Town Patronage.8/20/1938 SFC Hedda Hopper Jane Wyman in The Crowd Roars is as cute a piece of femininity have rested on in a long time.8/25/1938 HCN The Crowd Roars By Carl Combs MGM furthers its virility build-up campaign for Robert Taylor in The Crowd Roars, a sturdy action picture of a prize fight career, which opened yesterday at Grauman's Chinese and Loew's State theaters. The drive is to erase the "pretty boy" stigma from the Taylor brow was begun in A Yank at Oxford, and its continuance in the new Taylor movie is almost as successful as it is drastic. Taylor in fighting trunks and, for the most part, in seedy attire is a far cry from the screen idol publicized on the billboards not so long ago as the "Garbo Loves Taylor" man. As a prize fighter of the Gene Tunney ilk (he reads "The Rise and Fall of the Roman Empire" and "The Outline of History"), Robert Taylor does a creditable job, a fact attested by the girlish gasps and boyish cheers that issued from yesterday's matinee audience at the Chinese. The star is well heeled with the kind of support that MGM is willing to provide him: namely, Maureen O'Sullivan, Edward Arnold, Frank Morgan, Lionel Stander, William Gargan, Jane Wyman and Nat Pendleton--any of them can stand fairly well alone. The screen play of The Crowd Roars has a good share of interesting, if not altogether fresh angles. It starts off with Tommy McCoy as a youngster already burdened with a father who is a drunk and a dead-beat. It brings Tommy into the fighting world, has him kill his former mentor in a ring mishap, then leads him into the intrigue of the sporting gamblers and a love affair with the daughter of a big-time gambler who holds the fighter's contract. Father's gambling interests, however, are unknown to the girl. A typically rousing prize fight climax wherein Tommy is about to throw the bout to save his sweetheart and father from a disastrous plot, puts a disappointing cap on the film. Morgan gives a smart Morgan-esque performance as Tommy's erring father who reforms and sacrifices; Arnold is the gambler in a smaller role than usual; Stander is the father's trainer, and a neat little part of a giddy school girl is that of Jane Wyman. Richard Thorpe directed the picture, and Sam Zimbalist is the producer. Companion feature on the bill at both theaters is Keep Smiling, a 20th Century-Fox film with Jane Withers, Gloria Stuart, Henry Wilcoxon and Helen Westley.8/25/1938 LAX The Crowd Roars An MGM picture produced by Sam Zimbalist, directed by Richard Thorpe. Screen lay by Thomas Lennon, George Bruce and George Oppenheimer from a story by George Bruce. Currently showing at Loew's State and Grauman's Chinese theaters. THE CAST: Robert Taylor, Edward Arnold, Frank Morgan, Maureen O'Sullivan, Lionel Stander, Jane Wyman, Nat Pendleton. By Erskine Johnson Robert Taylor's transition from a great lover into grimacing, fist-slinging Killer McCoy, in a lusty drama of prize fighting is one of the most believable performances we've seen on the screen in years. The transformation occurs in a picture filled with triple A entertainment, The Crowd Roars, which opened yesterday at Loew's State and Grauman's Chinese theaters. Bloody and sweaty, Taylor punches his way through the picture in a manner that will win approval from fight game experts, and the male contingent, will not be distasteful to feminine fans unaccustomed to having their celluloid idols mussed up and mauled so thoroughly as is Taylor's fate in the picture. Taylor's amazing performance is exceeded only by the excellence of the picture itself. Played by a great cast of supporting star and assorted pug uglies, The Crowd Roars is thrilling action interposed with heart warming drama and intense situations expertly directed by Richard Thorpe. Only twice in the film is Taylor dressed like someone you'd invite home for dinner. The rest of the time he is almost unrecognizable in ring shorts, towlsed hair and the grimy face of the fighting machine he portrays. In such a role, Metro officials hoped Taylor would win the admiration of male fans who heretofore have resented his classic features, his lady killer roles. Robert Taylor will be a man's man long before The Crowd Roars reaches the sticks.9/17/1938 MPH WHAT THE PICTURE DID FOR ME The Crowd Roars: Robert Taylor, Maureen O'Sullivan , Frank Morgan, Edward Arnold, Lionel Stander—There is no question on this picture. It is highly dramatic and both Taylor and Miss O'Sullivan great in their roles. This little lady is certainly coming along. She seems to take her roles in her stride. She has become deft and sure in the roles we have had her in lately. For a time she was not one of the "Forgotten Men" but the "Forgotten Woman," until Metro picked her up and cast her in good roles. Not forgetting the unsung hero who always adds to any picture that he is in, Lionel Stander. And believe it or not, his name in a cast means something. He is a lot better than some of the palookas that have their name in lights.—A.E. Hancock, Columbia Theatre, Columbia City, Ind. General Patronage. The Crowd Roars: Robert Taylor, Maureen O'Sullivan, Frank Morgan, Lionel Stander, Jane Wyman, Edward Arnold—A picture with all the action of an epic. Frank Morgan is outstanding in his role, as are Jane Wyman and Arnold. Taylor, who in my estimation has only looks and never was a convincing actor, struts his usual stuff. Miss O'Sullivan is her same sugary girl; an actress, no. The picture will go over because it is what the public wants. A show with plenty of action and suspense. An outstanding picture, no, but a money maker, yes. Running time, 92 minutes.—A.J. Inks, Crystal Theatre, Ligonier, Ind. Small Town Patronage.10/6/1938 LAX Behind the Makeup By Erskine Johnson ON THE SETS: EXTERIOR, AIRPLANE HANGER, T.C. FOX STAGE 16-- Alice Faye, Constance Bennett and Jane Wyman are posing for still pictures between scenes on the set of Tailspin, a story of feminine airplane pilots. After taking several pictures of the trio grouped around, a short, stubnosed racing plane, a cameraman suggests that Miss Faye climb a small ladder beside the plane and pose as if she were preparing to step into the cockpit. Miss Faye hesitates, grits her teeth, carefully climbs the ladder and poses for the picture. Two electricians help her down as Miss Faye smiles. "This is funny," she says. "Me playing an airplane pilot and I get dizzy climbing a two-foot ladder."