JjjHtoHytoood Sights and Soundt — • Rene Clair Does Things To Hollywood ^ HOIJ-iYWOOD—Ths setting was the voluptuous baroque boudoir—gold cupids, satin, furry, white ,J rugs, tulle draperies and valances—pf a lady who •».was no lady of old New Orleans. ;•£ ,-'. Theresa Harris, the sepia-toned comedienne, was ^', fitving a closeup made of her feet and the floor. •srTPheresa plays Clementine, the no-lady's maid. There- lisa wore a voluminous blue-checked gingham, and a s-mammy's turban adorned un-mammylshly with two |jbig gilt ornaments. Theresa was shaking and lifting 3; her skirts, and as she did so a handful of coins ^.KBowered on the fur rug. /' —~ It was not so simple as this, however. There was an invisible star, one, Louise. Louise was The- ^.reaa's stand-in, also in blue-checked gingham. Louise ".was crouched behind Theresa, hidden. In her hand, Tield between Theresa's calves, were the coins. On "(;lgnal she dropped them, so that they appeared to . But the coins didn't fall right. And again some- was wrong here, or there, or the other place— so Rene Clair's first day on a Hollywood movie •et yas typical of any day movie set. But Rene Clair is not typical of directors—he is acknowledged as France's foremost, and it took a war to drive him , to Hollywood. '- * * * ; He was coming anyway, he says, on a good-will mission for the government. He got away the day the Germans took Perls, and he came with pocket ;' money, the rewards of 20 yean in pictures left be- hind in France. He is starting from scratch, and his first picture is "Flame of New Orleans," the Marlene Dietrich starrer. Rene Clair is the sort of guy you like from scratch. Slight and dark-haired, he works calmly, with no fuss—and no feathery other than those inevitably inevitably surrounding Dietrich. The head man, he takes tips and suggestions from his fellows. He's forty-odd, and he's been In the movie madhouse madhouse since the day, as a journalist on L'lntran- slgeant, he went out to see movies made at a Parisian Parisian studio. * • » For a long time Rene Clair shunned Hollywood's offers. "I was happy In France, and knew I could make pictures there—why should I have left my home? Then too, Hollywood at the time was making pictures the Thalberg way, which was fine for Thai- berg but promised little for me. The directors seemed seemed to me then little more than a head cameraman, under a chief with many other directors and pictures to oversee. Now that is changed, and a director can make pictures his way." One of his first "radical" steps in Hollywood was the singing of Bruce Cabot, the "heavy," for the romantic lead. "But his test was the best," said Rene Clair. "And It seems to me it is good to give actors a chance to do different things. We need new leading men. We cannot all have Gary Grant and Clark Gable."