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DARRIEUX APRIL 1938 - Hollywood Sightt And Soundt by ROBBIN COONS—...
Hollywood Sightt And Soundt by ROBBIN COONS— HOLLYWOOD—The oddest literary literary office in town at present is on a movie set. Two writers and a girl secretary labor there, tue click of the portable's keys at intervals while the current scene for the movie movie they're writing is benig filmed and recorded. The office is a canvas shack about eight feet square. The writ ers are Bruce Manning and Fe- 3 a c k s o|n From the door scribes can peer out and see how the scene they've just written written is being play- and see (more pertinently) pertinently) how much } longer they have Mile. Darrieux i to turn next. out the All this sounds of very much like the movie business as caricautred in those stage lam poons like "Once in a Lifetime' and "Boy Meets Girl." And yet— when the kidding's finished and you get down to facts—it isn't such a funny, inefficient mode cf movie- making. If it is then it's the same that turned out "Three Smart rirls" and "One Hundred Men and a Girl"—and that, to movie fans and fainting bankers alike, should argument enough that Henry Koster's way of making pictures is a good way. The picture in question is "The Rage of Paris." That's the story in which Danielle Darrieux o: France is bowing to the Hollywood camera. She's getting $4,000 a week, and she was getting it al the weeks sht waited while they prepared a story for haste which might make waste. Must Be A Smash But from the movie point view this Darrieux is a mighty important important property. They couldn't rush into production with just any story, even to save time. Darrieux is with Universal for five years and to realize the maximum return in five years the first picture has to be a smash. So they had no' one, but two stories, ready to shoo before "The Rage of Paris" was selected as best for an introduc tory vehicle. And now, even though they're writing as they go along, Manning and Jackson are writing from t finished script A scene at a time —just a ju?np ahead of the camera and sometimes only a 10-minute jump at that—they polish, revise point up scenes, twist dialogue From 7:30 a. m. to 11:30 p. they're with Koster who is a brilliant brilliant young director as his work attests. Each night they plan ou' with him-the next day's shooting. Not Temperamental By all the la»7s this "Rage . Paris" set should be a madhouse and it would be interesting to report report that it is. The dull truth is that it's a pleasant place; that Mis~ Darrieux, who as a foreigner coulc course, I may be a liar. The delightful delightful Danielle may have exploded, exploded, young Fairbanks may have walked in a huff, or Koster may have had a nervous breakdown— but all that would be another story not forecast by today's study of the set barometer. "get by" with temperamental explosions, explosions, doesn't have them but persists in being agreeable, demo cratic, and unassuming; that the other actors—Doug Fairbanks Jr Louis Hayward, Mischa Auer— uniformly respect and like Koster and his work with them; and that everybody's happy. Before this reaches print, of

Clipped from
  1. Big Spring Daily Herald,
  2. 28 Apr 1938, Thu,
  3. Page 13

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