The Brooklyn Daily Eagle from Brooklyn, New York • Page 31

TREND: A SECTION OF THE BROOKLYN EAGLE SUNDAY, JANUARY 1, 1939 Passed in Review 4 Good 'Bad' Role Helps Screen Actresses Who Try 'Evil' Characterizations Boost Chances for Stardom Actresses who play the "other kind of women" in their early picturea often arrive at stardom ahead of their more respectable screen sisters. For a good "bad role" is perhaps a better stepping stone to publlo favor and producer attention than any good secondary straight role can be. Justice Black Suggests Unorganized Boycott to Smash German Ring of Malice in 'If I Were a Jew Careful Study of Persecutions Against a Defenseless Minority By ARTHUR RHODES William Harman Black, a justice of the Supreme Court of the State of New York and honorary chairman of the Inter-Faith Movement, isn't the sort of individual who condones an organized boycott against a people; he Is, however, very willing to admit that an extensive, pointed boycott can effectively notify a nation that it is being lashed because of the in-deceny of its leaders. "If I Were a Jew" is Justice Black's deliberate conception of what is wrong with Germany, what Is really responsible for the persecutions of Jewry, what the civilized world can do to obliterate this bloodstain, and, finally, is the author's conception of the probable effect of a boycott against all that is German-made. -AW Meet G.

Jessel 'World's Greatest Toastmaster' Plays M. C. at Strand Acclaimed as the world's greatest toastmaster, George Jessel has to his credit a scholastic record of six months in New York public schools. It speaks well either for the Board of Education or for the actor himself. Few would deny Jessel Just praise for being a self-made man.

Born in New York City, April 3, 1898, George is the son of Joseph and Charlotte Jessel. His father, a playwright was the author of "La Belle Marie," "A Remarkable Woman" and other dramas. His first stage appearance was at the age of nine, when he playad the Imperial Theater in Harlem with Walter Winchell and Eddie Cantor. The act consisted of illustrated songs and sketches. In 1925 Jessel went on the legitimate stage in "The Jazz Singer," which ran for three years.

He played in "The War Song," which he wrote in collaboration with Sam and Bella Spewack. Next he played the title role in John Golden's production of "Joseph," following which he toured the country with Eddie Cantor. In 1934 he married Norma Tal-madge, former film star, who now it 4. ML Y- i If rife: foresees an end washed by the waters of disgrace. Speaking of Hitler, he points out "he staggers from side to side and his only panacea is the diversion of the people from what confronts them, their deception as to real conditions and to build up an army strong enough to execute every man who differs with them." For, to shown, for she portrayed a woman of doubtful virtue.

She continued in similar roles, notably in "Shanghai Express," until she became one of the most successful and highest paid stars in the movie firmament. After many months in pictures, Claire Trevor undertook the role ol a woman of the streets in Goldwynis picture, "Dead End." Her stock as an able actress soared immediately. In most of her early roles, as well as in many of her more recent ones, Joan Blondell has played overdressed, over-painted, loud-voiced ladies with "hearts of gold" and supposedly slightly tarnished pasts. As such she became an important figure in Hollywood. One reason for the eventual success of young actresses who start their careers playing the "other kind of women," thinks Lloyd Bacon, who directed Bette Davit in "Marked Woman" a year or so ago, is the demand such roles make on real acting ability.

The actress who can play these parts successfully can usually play almost any other sort of role convincingly. "Not all young women who try such parts succeed later in more pleasant roles," he suggests, "but most of those who give notable performances do." Many Hollywood careers seem to prove that. Bette Davis was merely an acceptable leading woman until her characterization of the despicable Mildred in "Of Human Bondage." Bette continued to play ladies of questionable virtue in several pictures, including "Dangerous," which won the Academy Award for her. She played a role of this type in "Marked Woman." The late Jean Harlow made a sensational start on the talking screen in "Hell's Angels" and in "Public Enemy." She pltyed women who were something less than ladies in both of them. Her remarkah-e ca reer started from roles.

Ann Sheridan, now being groomed for early stardom by Warner is a newer addition to the ranks of the screen's "ladies of the evening." She is the wrong kind of girl In "They Made Me a Criminal," from whom John Garfield manages to escape into the highly respectable arms of Gloria Dickson. Miss Sheridan may prosper more from the picture than will Miss Dickson, however, if Hollywood history repeats itself. Marlene Dietrich first Interested Hollywood when her foreign-made picture, "The Blue Angel," was Pick and Choose Grapewin's Success Formula Ignores Roles Without Character Charley Grapewin, who has probably refused more offers of contracts than any other man in Hjllywood, says he prefers free-lance work because it insures him of playing every type role under the sun. When interviewed on the set of the Jack Benny-Joan Bennett film, "Artists and Models Abroad," now at the Fox Brooklyn Theater with "Secrets of a Nurse" as the second attraction, Grapewin declared his preference for free-lancing in no uncertain terms. I "It's hri for ctor ir, t.Bv too! 'I long on one lot," said the popular character actor.

"Producers and directors get tried of seeing an actor around every day. And it is just as natural and just as I human for a producer or a director to want new faces as it is for a woman to want a new hat. "When you're under contract, the men who are about to make a pic- ture at your studio will say: 'I sup- pose we'll have to take Charley Grapewin for that old man's How much your position is improved if they have to say 'I wish we could get Charley Grapewin for that "If I didn't like my part in 'Artists and Models Abroad," he said, "I would not have taken it. Lots of times I'm tempted to accept roles proffered me. But if I do not see a character behind the words in the script, I won't try to create one.

"You can't make a parachute jump on a silk handkerchief, and you can't give a good characterization where there's no character to present. "Lots of actors would be better off if they picked their parts with more care." That's Grapewin's formula. i i I i Whitman Reinterpreted Newton Arvin, in a Brilliant Study, Examines the Character of American Democracy Through the Eyes of One of the Greatest Artistic Spokesmen By WALTER SIDNEY A decade ago, the attitude of students to Whitman was a Freudian one. Today, in his new book on the poet, Newton Arvin asks "Was Whitman a Socialist?" And the difference is symptomatic of a change that has come over a whole section of American critical thought. It would be a pity if Mr.

Arvin's opening question should give some .1 confines her public appearances to the George Jessel Show, of which her husband is both producer and master of ceremonies. Jessel is heard frequently over the air on shows other than his own, and is considered America's foremost after-dinner speaker, as well as leading master of ceremonies. George Jessel Is now appearing on the stage of the Brooklyn Strand Theater where he is headlining the gala New Year's week stage entertainment with the 16 dancing debutantes, Lyda Sue, Bud Harris and Lowell Howell and other acts with Ted King and his orchestra. The screen attraction is "Adventure in Sahara," featuring Paul Kelly, C. Henry Gordon and Lorma Gray.

lily' Means O. K. At Least It's Word 'Kentucky' Director Used for Perfection The strange Jargon of the movies has been enriched by another word. The word is "Lily" and when it is uttered in the presence of an assistant cameraman he will writhe under the indignity. It all came about as the result of Technicolor.

David Butler coined the term during the filming of "Kentucky," the 20th Century-Fox production in Technicolor, now playing at the Roxy Theater. Whenever Butler wanted to indicate that a "take" was perfect, he would shout "A lily!" This would be the signal for the Technicolor assistant cameraman to hold in front of Loretta Young, who is featured in the film with Richard Greene and Walter Brennan, a card bearing all the colors of the spectrum. A few feet of this would be run off at the end of the scene so that it could be used as a test for timing, developing and printing the film. In a short time, the color card became known as a "lily," inasmuch as Butler's exclamation was always the signal for it to be brought into use. And, of course, it wasn't long before the name became attached to the assistant cameraman himself, whose duty it was to hold up the card.

7 v-W i v. Walt Whitman aghast at the corruption of politics In the 1870 and 80 but keeping firm (if expressed in more mystical language) his faith in a democracy built and ghared by common people. "Wealth and Illth" marks out Whitman's attitude, as expressed in his writings, toward the vast change that took place in the American scene, from a land mainly of farmers, shopkeepers and merchants to one of great industries, railroads and growing extremes of wealth and poverty. It shows Whitman sharing the common pride in this new expansion, yet repelled by some of the bitter fruits of it. "Science and the Unseen" is the most brilliant chapter of critical writing in the book.

In it Arvin deduces, from both the poetry and prose, what must have been the works of science and philosophy that affected Whitman's mind most deeply. Its tracing of the change from the great pleasure In the material world of the early poetry, mixed with a romantic idealism, to the later mysticism inspired by Kant and Hegel, is especially subtle and fine, and it presents, besides, an illuminating picture of the beginnings of American science and the immigration of European philosophical thought. Lastly, "For Purposes Beyond'' discusses the qualities of Whitman's poetry as literature, and it is here Denouncing Adolf Hitler for what he is, Justice Black is strictly an analyst in this rather hastily prepared volume. And In interesting, simple fashion, with many Biblical quotations to furnish a background, he provides a book that tells a great deal about the cancerous problem of the Jewish persecutions. Though hardly an authority on a number of the subjects he touches, the author is, nevertheless, fair enough and sufficiently Mtical to endeavor to offer a solution to this frightful catastrophe the hounding of a minority that can best be ended, he believes, by outside interference by a world aware of its task and determined to accomplish it.

For Justice Black Is firmly convinced that if intolerance and hate are permitted to stamp their fangs on an innocent and friendly race such as the Jews the heat of such oppression may easily consume Catholics and Protestants and others And, needless to add, it is being fanned over the heads of an oncoming generation by "Aryans" deranged by Hitler's psychological barbarities. "This book," says the author, "would be incomplete unless a practical remedy could be applied to bring the proper pressure to bear to prevent the recurrence of the prejudices we are fighting today. "The method the writer proposes Is not retaliation against the innocent German people and not expropriation or theft from a helpless German anywhere, but what the writer recommends is the exercise, first, of the undeniable right of investigating everything done by the Germans as a nation and everything produced by them as a people. This with a view, If it is discovered that they are selling the world shoddy in place of wool or if it is discovered that they are a nation of promise-breakers whose commercial honor does not exist, to having the customers of the world, both Jews and Gentiles, register their disapproval. "This disapproval can be expressed in the only way that will produce the slightest possible result; that is, by warning buyers throughout the world of what they have discovered and by themselves refraining from buying anything which is manufactured by the German people or the products of which the raw materials come from Germany, and to make every human effort to register their disapproval in a way in which it will represent dollars and cents lost to those they seek to reprove." Although outlining the methods adopted by the Nazis to ascertain that nothing Jewish contaminates the products they use and suggesting similar conduct for the enemies of Nazi persecutions, Justice Black warns against an organized boycott.

"There must be no general boycott," says he, "but all the laws of the world can't keep any single human being, however weak he may be, from exercising his inalienable right to form an opinion about people who have been persecuting his race or make him buy on pfennig's worth of what they depend upon for their living." Upholding Jewry in his desire to "undo wrongs and prevent more injustices to a race which has put as much civilization into history as any other people," the author, punctuating his theories of boycott, adds that: "The corollary to this line of action must be such a fight against war and crooked diplomacy as the world has never known, and when this plan has been followed long enough the myriads of white ballots will lay a shroud of final defeat upon the nefarious plans of the men who are misleading Germany today." Justice Black, a bit further on, then plays the role of the subtle character he would be: "Now, all of this, in the opinion of the writer, would be the narrowest sort of conduct, and he would be the last to suggest the same kind of retaliation by any non-Aryan, or Jew, or friend of the Jews, against anything German; but if such retaliation did occur he would have to admit in all fairness that this 'Aryan' brought it upon himself and his country, and it would at least have the effect of calling his attention to Just how his conduct towards the Jews and then friends affects them." He then confesses he "knows no other way to bring the question home to them." Of Hitler's domination, the author the author, "Aryanism" is the "pseudo-science of cracked pots." Then, further: "Like a man caught in a burning building and surrounded by armed men on every side, Hitler dashes against first one wall and then another, knowing that at last he will be consumed, and that if he is not thousand bullets will lay him low if he should succeed in getting out. "All that has kept his card-house standing is the tragic weakness of those who could demolish it if they had the courage. But what they have not the nerve to do will be accomplished by ruined credit, impos sible taxation, lowered wages, un dernourLshment of the people and the Hitler army that rides upon their backs. "When the zero hour will arrive no man knows, but every man knows that it is as inevitable as fate itself. Because in his army and in his rearmament he has made a Frankenstein that will destroy every man who helped to build it." Justice Black isn't speaking merely from behind a lamp in a study in comparatively secure America; he has seen Germany with his own eyes, he has observed the terror that is masquerading for civilization.

He has, indeed, matched the pulse of a worldly crisis with an inner throb bing of his own that appeals for balance, that cries out against the menace of persecution. "If I Were a Jew," by William Harman Black. Real Book N. Y. $2.50.

Gotham Sights Varied Woodcuts Show New York to Be Ugly Yet Charming By JO SANSON The spirit of New York, its ugliness, its mad charm, its hurrying, frantic men and women all have been captured in the sensitive and finely wrought woodcuts of Hans Alexander Mueller in his "Woodcuts of New York," a slender volume housing 32 engravings. There is text in the book, too, not much, but enough to convey to the reader that Mueller always keeps his keen eyes open and his woodcutting tools at arm's length so that he may readily capture the sights of Gotham. The text has been translated by Paul Standard. Mueller, like other strangers to our city, is Impressed by our subway scenes, our Bowery "flophouses" and Riverside Drive's beauty, and is slightly disappointed that no Indians Jump up to greet him as he walks down our streets. "I have seen no Indian yet but he may at any moment emerge from the underbrush, softly tread the granite in his moccasins and vanish into the bush a notion silly, romantic and European," writes the artist.

"As a landscape painter I am In love with this ugliness, as also with New York streeta bearing the sign 'Dead where neglect broods," writes Mueller. "Alongside harsh colors of house or billboard shimmers the violet-gray asphalt under the gray-green net of tall, opulent treetops. Abominable as to form, weird in their variety, unthinkingly ranged together, individually offensive and seemingly valueless in aesthetics yet a succession in bold perspective of rising and descending streets somehow becomes a 'picture' whose Import cannot be more effectively composed. Just what is ugly?" "Woodcuts of New York," by Hans Alexander Mueller. J.

J. Augus-tin. $1.50. Wide Rang "Harp in the Midnight" is downright brief poetry by Alethela Garrison (Robert W. Kelly Publishing Corp.

describing in its range a subway the world In molten mass anil lethargic rainfall. readers the impression that his book is a narrow one, or written in the attempt to make a full-fledged Marxian out of Whitman. As a matter of fact, the author states the case against any interpretation of wniiman as a raaicai economist better than it has ever been stated before. What he has tried to do, however, to see American history, and more particularly the basic character of American democracy, through the eyes of the man who was one of its greatest artistic spokesmen. The answer he finds to his question is that "from our recent past we inherit no fuller or braver anticipatory statement than 'Leaves of Grass' of a democratic and fra ternal humanism." And between question and answer there is one of the most exhaustive studies of a writer's mind that has even been written by an American critic.

The book is divided Into four chapters, each comprising a separate study. The first, "The Tenor of Politics," shows Whitman amidst the bustling Jacksonian democracy of the 1840 and 50', applauding Polk and denouncing the "moneyed Whigs," sharing the belief that American democracy rested upon small ownership, upon shops and home steads; then the confusion when the Democratic party broke in two over the slavery issue, and Whitman's support of the Civil War and of Lincoln; finally, It shows Whitman that the book rises to Its most controversial point. For Arvin is not one of the scholars who believes that a writer's work must be accepted as a whole. "What is weakly transcendental or too simply egotistic or waywardly personal in Whitman's book will rapidly be or is already-discarded and forgotten," he says. It is those sections which express most fully Whitman's love of the world and faith in humanity, his affection for the common people, that he finds most real and near to us today.

But if this viewpoint will offend some who prize the more mystical qualities of Whitman's verse, the book still remains one of the most original and stimulating critical works by any American author, written in a prose that itself has a scientific concentration and explicit-ness, and a product of the viewpoint of those who look at our past not merely for hero worship but for help iii solving the pressing problems of our own day. "Whitman," by Newton Arvin. New York; Macmillan. $2.75. Getting a Man Movie Writers Sure Their Version of Technique Can't Lose The problem that is said to have completely occupied feminine hearts the world over since time dawned how to get your man has been again emphasized by Hollywood And the combined brains of no less than two of the nation's better authors, S.

N. Behrman and Sonya Levien, provide their version of the solution. The story behind the solution Is simple. When script writing was first begun on "The Cowboy and the Lady," the new Samuel Goldwyn production starring Merle Oberon and Gary Cooper, now at Loew's Metropolitan, the situation was such: Merle Oberon was cast to play the leading role, that of the tenderly guarded daughter of a wealthy Senator. So carefully had the Mary Smith Miss Oberon plays been brought up that she had never come in contact with any members of the opposite sex younger than her father and his contemporaries.

Naturally she was a babe in arms where men were concerned. And, naturally, as plots need love interest, she had to meet her man. The agile brains of the script writers hit upon a device. Untutored Mary should meet her man but not unprepared for the occasion. To her aid come two other characters, both old hands at the game of love, well versed in the art of involving the masterful male.

And in their sage aavice is embodied the solution of the entire problem, an unbeatable "system." This system is made up of three rules: (1) Start out by flattering the victim and admire him with your eyes as well as your voice; (2) make him talk about himself; (3) tell him a hard luck story. "The Last Warning," with Preston Foftcr, completes the Met double bill. Movie Scout Hal Wallis, 'Ace' Talent Discoverer for Warner Bros. Studios As a discoverer of new stars, the world's astronomers might find an able assistant in Hal B. Wallis, associate executive in charge of production at Warner Brothers.

Scanning the Hollywood heaven one finds that Wallis has discovered more stars during the past ye at than any other cinemastonomer. He added John Garfield, Priscille, Lane, Eddie Albert, Marie Wilson. Jeffrey Lynn John Payne an'd Bonita Granville to the studio rostr ln one Production year, a new Hollywood record in talent discoveries. Before this year Wallis had brought Enol Flynn, Bette Davis, Olivia de Kavilland, Humphrey Bogart, Wayne Morris and others to the Warner observatory. His sources of talent are varied, any field being likely to furnish a possibility.

Garfield, Albert and Lynn, of thU year's new stars, were found on the New York stage. Priscilla Lane came to Hollywood by way of radio and Fred Waring's Band. John Payne was rescued from near oblivion right in Hollywood. Bonita Granville and Marie Wilson came up through the ranks of minor players in pictures, Garfield riveted attention on him- self with his performance in "Four Daughters," with Miss Lane and Lynn also sharing stellar honors In that picture. All three have been busy with other films since then, Miss Lane in "Brother Rat," Gar- field In "Blackwell's Island" and "They Made Me a Criminal," Lynn in "Yes, My Darling Daughter." Sharp eyes, years of Hollywood experience with personalities and a knowledge of what is required in the screen personality line are Wal-i lis' qualifications for his work as a star-discoverer, Hollywood type.

"We all know that new talent, new faces and different personalities are needed constantly in the motion picture he says. "When we recognize real talent early enough to bring the young player to picture while he or she is still in the formative period, we have a real accomplishment to our credit." Trenker Ski Comedy Stays at the Garden Luis Trenker, Oerman skier, is the leading actor as well as producer and director of "Liebesbriefe aus dem Engadin," the German language film, which is now in its second week at the 86th St. Garden Theater, Carla Rust, Erika von TheUmann and Charlotte Daubert are in the supporting cast. Film Blueblood Madeleine Carroll, starring with Fred MacMurray in Paramount "Cafe Society." is a -lember of fashionable London society, and ha danced frequently with both the Duke of Windsor, when he wa Prince of Wales, and King George VI, when he to Duke of York. Prize Hot George Burns takes his "ten-gallon" hat to the "Honolulu" set daily.

The hat is one of Burns' m' orized possessions, for it bears the signatures of every famous person la Hollywood. i 1 JK 4 .7 fill iv In New Topper' Force at Music Hall Roland Young and Constanfr Bennett in 'Topper Takes Trip' turrtHt ttrtin presentation at the Radio City Music Hall Co-Storring at the Fox Jack Benny and Joan Bennett in and Models Abroad' hit iharet the cu rent program at the Fox with 'Secrets of a S'urse'.