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Stamps Dogs EIGHT PAGES. WASHINGTON, D. C., MAY 18. 1941. 1 THEY JUST CAN'T STAY AWAY—There is a hypnotic allure about the movie cameras, or maybe it is the movie salaries. Many film stars—among them Franchot Tone, Katharine Hepburn, Frances Farmer, Fredric March, Jean Arthur, John Garfield and John Barrymore—have deserted Hollywood for Broadway, but always to return. There’s No Place Like Hollywood Stars May Call It Names and Flee the Movies in a Huff, But After Their Little Flings They All Come Back By Harold Heffernan. HOLLYWOOD That Svengali-like hypnosis that Hollywood seems to exert over its j Inmates is really something to be concerned about. Bad medicine though it may be. j give any actor a taste of Hollywood ♦ and he can't stay away from it the rest of his life. He gets mad and says ta-so-and-so with-the place and every one in it. He’s never coming back. He says he can’t resist the urge of the foot lights. He says there's nothing so soul-satisfying as applause from a live audience out in front. But in the end, what happens? He ctfmes back. The women, too. They always come back, the Hep burns. the Garfields, the Munis, the j Tones, the Eriksons, Marches, i Farmers, Arthurs, Barrymores, Crawfords—all. It may rain six months of the year and the vege tables may taste like sin—but there’s no place like Hollywood, and they know it. Remember when Lief Erikson and Frances Farmer left for Broadway ! and gave out blistering interviews ! about Hollywood's impossible at mosphere?” Henceforth, they cried, j It was the stage for them. They’d both had their fill. They knew when they were well off. In the Heat of the Moment. That was two years ago this sum mer. And so the former Mr. and Mrs. Erikson are now back in the town they profess to despise—glad to earn a living here again. Erikson came back for Paramount’s “Noth ing But the Truth,” Miss Farmer for “World Premiere.” In fact, Erikson. down to his last handful of small change, rode across country on a second-hand motorcycle to reach Hollywood in time for his role! “Oh, sure, you say a lot of things in the heat of the moment that you don’t mean two years later,” Erikson said. “I left in a huff, but now I see the light. Yes, I’m mighty glad to be here again. The town doesn’t look half bad, either.” One of the most vehement of Holly wood deserters was Franchot Tone. The things he said about the town, following his separation from Joan Crawford, burned the pavement in spots. But after a play or two, he bought his way out of the cast of **The Fifth Column” to come back to the town he hates. He isn’t nearly so much in demand as he was while playing opposite the biggest stars at M-G-M, but he’s having plenty of fun. Wants to Commute. Then there’s the stand-out case of Katharine Hepburn, who fled Hollywood four years ago on the heels of five successive flop pic THE LUCKY WINNER—Paul ette Goddard plays the lead ing feminine role in “Pot o’ Gold,” the picture with Horace Heidt’s Orchestra, in spired by his famed radio program. It opens Thursday at the Capitol. * ft tures. To her there was no ex cuse for the existence of the entire area of Southern California. She went back to Broadway and took a discouraging beating in “The Lake." But she stuck it out until- she had a hit in “The Philadelphia Story.” She bought an interest in it only to have a bargaining weapon that would bring her back to Hollywood. It did, but not permanently. Now, Hepburn is casting about for an other stage vehicle—one. that will clinch her steady employment in movies. Fredric March is another who returned to his first love, the stage, only to have it slap him in the face. But, like Hepburn, he hunted up the right vehicle, found it in "The American Way," came back to Hollywood and announced that henceforth he intended to commute between the two media. He fol lowed with two other pictures and now is announced to star in “One Foot in Heaven.” He still hasn’t re occupied his New York apartment. Margaret Sullavan once walked out on the production of “Only Yes terday” and took an east-bound train. She was prevailed upon to return—and hasn’t been “homesick” since. First Love Forgotten. Jean Arthur quit Hollywood twice because she was being cast in two reel westerns. About 10 years ago she bade the town goodbye and picked up her stage career with Dorothy Gish in "Foreign Affairs,” with Claude Rains in "The Man Who Lost His Head” and several other plays. However, she couldn't get Hollywood out of her blood. A re turn five years ago signaled her elevation to stardom. Melvin Douglas took years to make up his mind that pictures were his metier. So sure was he that the town was wrecking his mind and career that he talked Sam Goldwyn into canceling his con tract. One show in New York and the lure of movietown got in its work. He's been back several years. But the Audiences Differ And So ‘The Happy Days’ Fared Better In France Than It Will Here By Ira Wolfert. NEW YORK. In the French of Claude-Andre Puget, “The Happy Days” ran three seasons in Paris, but Zoe Akins' adaptation of it is not likely to run longer than three weeks in New York—that being the minimum necessary to get a producer a slice of the author’s movie money. The difference is not so much between an original and an adapted translation—for Miss Akins has been intelligent in her work—as between a Paris audience and a New York1 audience. The play is a sentimental journey among the love woes of innocent youth. Is is the law in Gaul among fashionable playwrights who play with their writing, the youths are extremely innocent imitators of their elders and their woes are amusing to all except themselves. It’s the kind of fun that touches the heart—not seriously, you under stand, for a serious touch would be bad form, but in the way that wine does. The cliches about youth and fond and unflagging confidence in the inability of youth to be cruel, realistic or anything except funny in their imitations of their elders are all part of the accepted baggage of such a play. A Least-Innocent Group. Well, Paris audiences could take it and adore it, no doubt because they were further from innocence than American audiences are. Such a play could dew Paris with nos talgia, since it was as misty about innocence as the city itself was. Americans, being closer to inno cence and knowing it better, require a more realistic presentation of it to poke up the memory that brings the dew—the dew of nostalgia, we mean. The first-night audience — moet 4 sophisticated, least youthful, most remote from innocence of all Amer ican audiences—began drifting away from the play early. The society folk went first, trailing languidly up the aisle without a backward glance. One of the earliest to go was a woman who announced in a vig orously cultivated voice, “I’ve slept an hour and I think that’s enough.” Her face shone with delight at her wit. Soon after her, stepping witH the dancer’s stride that has made him famous, came the acknowledged leader of New York cafe society, followed by his exceedingly beauti ful wife, whose face and figure entice millions to buy the cigarettes with which she satisfies her guests economically. Shadows in the Darkness. This is a couple whose position in society is entirely European in its realism and formula of values. They own what is called "a good name,” but have not quite enough money. So they have “a domestic understanding”—the phrase is not mine, but one of his partner’s— which enables him to lend his name as the backer of money men behind several night clubs. The actual money is supplied by substantial men, owners of substantial fortunes, who cannot afford to be identified 1 No longer does he talk of his first love. Of those unable to get the foot- | lights entirely out of their system, . some have satisfied their yearning i for applause—others not so com- ' pletely. John Garfield's "Heavenly Express" expressed him right back in the lap of Warner Bros. Paul Muni's "Key Largo” might have been played in better key. Muni thinks Hollywood not such a bad place after aB and would like to get going in a big "Zola” or "Pasteur” way once again. Some Maintain Balance. On the other hand, John Barry more did rather well with "My Dear Children,” and Boris Karloff has rolled up a nice record with “Ar senic and Old Lace.” But Barrymore has no patience with the stage any more. He is back on the Para mount lot starring in “World Pre mier.” “I ll roam no more,” he says. Such serious-minded devotees of Thespis as Walter Huston, Raymond Massey, Walter Hampden and Betty Field seem able to maintain a nice balance between their allegiance to stage and screen. But they are rare exceptions. In most cases it’s either one or the other and no mix ing the arts. Yes, Hollywood seems to be a narcotic. They all are drawn back, whether they're character actors like John Carradine, Edward Clan nelll and J. Edward Bromberg, who still ‘ talk” a great play at Chasen's, or glamour girls like Ann Sheridan, Hedy Lamarr and Alice Faye, who walk out just for the principle of the thing—plus a raise in pay. In the end, they do a right-about-face. Two courageous holdouts Holly wood has never been able to “con vert'’ are Helen Hayes and Katha rine Cornell. The still stick fast to the footlights and show no indi cation of changing their minds. But Hollywood may get them yet. Give ’em time and they all succumb to the town's blandishments. (Released by the North American News paDer Alliance, Inc.) Messrs. Welles and Capra, And Even Walt Disney Make Case for Writing Their Three Pictures, All in One Week, Show That Good Pictures Begin And End With a Good Story By Jay Carmody. Writing, Hollywood's most tattered art, still is allotted an occasional week when it may lift its eyes to an admiring smile on the face of the public. It is rare, indeed, that the week is such a rich and satisfying one as this in Washington. Here now are two—three counting "Fantasia”— of the most distinguished pictures ot 1941. They are "Citizen Kane” and "Meet John Doe.” At first glance they are pictures which fall readily into the cliche that the "movies are a director's medium.” With Orson Wells and Frank Capra, respectively, as their producer-directors, the estimate is all the easier and more defensible. But a somewhat deeper searching will reveal that they began as something that may rightfully be called cinema literature in the highest, instead of the standard low est, sense of the term. Each, As Producer, Knows Excellence Lies in Story. In view of the writer's low estate as artist in Hollywood, whatever altitude, size and luster of his real estate, it is devoutly to be hoped that this facet of the two pictures will not be lost upon the envious col leagues of the Messrs. Welles and Capra. As the two outstanding storytellers of the moment, it should be significant that each is a writer first and a producer-director afterward. That is true at least in the chronological sense. Each recognizes that the first essential is a story and each actually participates in the writing of his story’. (Mr. Welles is shown in “Citizen Kane” pounding a typewriter with a skill and speed that would have made energetic old Anthony Trollop appoplectic with envy.) No amount of wear and tear upon their taut nerves can swerve either from the conviction that the script is the thing. That is why Capra averages one picture, or less, a year; why Welles spent tw„o years in Hollywood before dumfounding the snickering community with a picture profoundly disdainful of convention. In many quarters Welles’ patient quest for a script was a pro tracted joke, the end of which was counted upon to leave experienced film makers permanently double up with laughter. Wasn’t he brought out there specifically to make a movie ef Joseph Conrad's grimly exquisite account of the tragically unbalanced Kurtz in "Heart of Darkness?” And did he ever get farther than the bench in R-K-O’s snug little studio park, where he would sit and brood and let the sun nourish that strange beard he was growing? He never did. And, failing that, did he not contemplate a mysterious little something that apparently could neither be written nor cast satisfactorily from his point of view? That was the case. In the case of any one but Welles, the protracted delay would have been enough to kill the producers who could produce even if the result was not the highest art. They did not let themselves laugh that hard, however. A genius who coulcf send innocent men fleeing into the mountains, and hardened ones to their knees in prayer, with the mere sound of his voice on the radio was not to be reckoned with so conventionally. The allow ance always had to be made that Welles would find the story, that his pa tience would be rewarded and that he might turn out an extraordinary picture. Disney, Imaginative Fellow, Saw Composers as Writers. That he has may commend his system of careful story selection, his feeling that the script's the thing, to others. Seizing Mr. Disney as a symbol of hope for the writer in Hollywood may seem the arbitrary device of a minute fox bent upon spoiling the cinema’s vine. Yet it requires no painful stretching of even the modest imagination to see him as the most resourceful creator of dramatic liter ature the screen ever has known. Such is Disney’s imagination, in truth, that even he has not the slightest idea where it may lead his story and “Fantasia,” in a way, is just the picture to illustrate it. In its current form the music is the basic thing. It began quite differently. Casting about for a suitable vehicle for Mickey Mouse, otherwise unoccupied at the moment, the story of “The Sorcerer’s Apprentice” appealed to him as virtually perfect. Not the mu sic, understand, but the story. It was alter the picture had been made that the screen's most un fettered story teller saw the possibilities of composers—classic and not so classic—as script writers. That is precisely the angle from which Disney viewed them, as great story tellers In a medium that was too little un derstood. “Fantasia,” accordingly, seems a piece of cinema craft that may validly be offered in hope for a better deal—in respect, not money—for the writer. After all, there was Shakespeare. as financers of night clubs, which means as playboys. But he doesn't mind being identified as such, since that is the way he provides himself with most of his money, his place in cafe society and his non-domes ticated fun. Others kept floating by my aisle seat. They were shadows in the theater's luminous darkness and each had some dark secret in his life, the sign of which is worn as a kind of badge of admittance into cafe society. The dark secrets are not kept secret. Instead they are flourished with something like pride wherever society gathers and folks have been known to feel all kicked in about having nothing “sophisticated” ' in their pasts or presents. Yet here these people were walking out bored on a play whose enjoyment requires the ultimate “sophistication,” at tempting to establish superiority (according to their standards) and succeeding only in establishing in feriority. For who except the decadent can enjoy a nostalgically unreal portrait of innocence and who can be bored by it except “ (See WOLFERTTPage F-2.) Today's Film Schedules CAPITOL—“That Certain Feeling.” romantic comedy with Merle Oberon: 2, 4:30, 7:15 and 10 p.m. Stage shows: 3:40, 6:25 and 9:10 pm. ^COLUMBIA—“Ziegfeld Girl,” musical story of three of them: 1:45, 4:20. 7 and 9:45 p.m. EARLE—“Meet John Doe,” Frank Capra, champion of the “little man,” looks at today, plus stage shows; continuous from 2 o’clock. KEITH’S—“Citizen Kane,” biography of a publisher by the inimitable Orson Welles: 2:30, 5 and 8:30 p.m. LITTLE—“The Girl in the News,” another of those deft and daft British thrillers: 2, 3:50, 5:45, 7:35 and 9:45 p.m. METROPOLITAN—“Penny Serenade,” story of a romance, with Irene Dunne: 2, 4:30, 7:05 and 9:40 p.m. NATIONAL—“Fantasia,” the much-discussed Disney, with music conducted by Stokowski: 3 and 8:30 pjn. PALACE—"Road to Zanzibar,” Hope, Crosby and Lamour on the loose again: 2:40, 5, 7:20 and 9:35 p.m. TRANS-LUX—News and shorts: continuous from 3 p.m. Varied and Many Are Their Investments Date Farms, Airports and Real Estate Are Only a Few Of the Outside Interests of the Film Stars By Sheilah Graham. HOLLYWOOD. Flash! Brian Donlevy has cor nered the lace hair-net market! j Brian, together with Fred Astaire, Brian Aherne and Charles Boyer, has viewed with alarm the current cutting off of hair importation into this country from Europe. The four boys mentioned are on the bald side, and by orders of their re spective studios, require non-in digenous hair with which to hide nature's deficiency. Early in the war, Donlevy called at Wigmaker Max Factor’* and bought up all his stock of imported lace hair-net for toupees and wigs. He invested several thousand dol lars in the deal. A short w’hile ago. when a bald movie star called at Factor's to renew his film toupee, he was told, “you’ll have to buy it from Mr. Donlevy.” Brian's fore sight should prove exceedingly profitable to him. There are many other weird and wonderful ways in which movie stars invest their four-figure salaries. Jimmy Cagney goes in for flower gardens, orchards and farm pro duce—which pay—on his Martha's Vineyard property.... Charles Rug gles invests his money training dogs, for the movies and for police work, in his San Fernando Valley kennels. There are about 100 dogs—mostly Skye and Cairn terriers. . . . Bulky Jack Oakie has invested a tidy sum in his Afghan pedigreed hounds, which sell for $200 to $500 each. . . . Susan Hayward put $1,000 into an ice cream parlor. Jimmy Has an Airport. George Raft owns several apart ment houses and runs them on a paying basis. . . . Errol Flynn, in addition to making commercial shorts on the side, owns a piece of land in Pasadena, on half of which he built a 5-and-10-cent store, j This doubled the value of the other half, and if Errol were to give up picture-making, he could live fairly comfortably on the income he re ceives from this land. Jimmy Stewart has invested sev eral thousand of his Metro dollars in Thunderbird Air Corps Field, a $400,000 air training school in Phoenix, Ariz., for training civil and Army flyers. Other partners in- j dude Margaret Sullavan, her hus band, Leljmd Hayward, and Brian ' Aheme. The school was built un der Government specifications, is among the most modern in the United States and eventually will take 1.000 students. . . . Robert Cummings and Richard Arlen are other filmites financially interested in air schools. Loretta Young buys old houses, then furnishes them with antiques from her mother's antique, interior decorating business (also financed by Loretta). Then she sells the houses at a fancy profit.. .. Tyrone Power owns three apartment houses —one for his mother, one for wife Annabella, and one for Tyrone. He is also a partner in a new hotel being constructed at Las Vegas. To drum up business, Tyrone invented the scheme of giving away golden wedding rings to all elopers who stay at the hotel! Invests in a Date Farm. Gret^ Garbo is still the main shareholder in a model village for factory workers near Stockholm, Sweden . . . Joel McCrea and Frances Dee have a large cattle ranch near Calabassas and raise Errol Leads All the Rest Mr. Flynn Gets More Fan Mail Than Any Other Player at His Studio By Carlisle Jones. HOLLYWOOD. The fans the Nation over are still faithful to Errol Flynn and they continue to send him more letters of praise, complaint, suggestion and solicitation than they send any other player on the Warner Bros, roster. This, according to Gale Beatty, who keeps the records (and reads most of the mail, too), long ago indicated that Flynn is no “flash-in-the pan” with the customers. They are not backward in indicating what it is they like about him. Beattj says they want most of all to see the Irish star in action pic tures pictures which show his phys ; ical prowess, his fine physique, his ; Ion? legs and aggressive chin. Pictures in which he wears uni ■ forms, as he will in “Dive Bomber.” are popular, too. particularly with the young women who write in about him. Regardless of what he wears, they want him to be shown in vio lent death-defying action. "Dive Bomber” should supply plenty of that About half of those who write to Mr. Flynn with suggestions for his work and requests for new roles, urge that he be paired again and again with Olivia de Haviland. That teaming struck a popular chord in the public’s imagination long ago and his admirers, as well Its Miss de Haviland’s, are anxious, appar ently, that nothing interfere with the combination. He Gets Advice. Since the birth of Ronald Reagan’s baby to Jane Wyman Reagan, that young man has jumped to second place in the fan mail on the War ner lot. He gets even more letters than does Jane—and more advice about babies as well. But while youngsters of high school age are supplying the bulk of Errol Flynn's fan mail, it is the older women who have sent Reagan’s fan following into second place. Mothers and grandmothers, aunts, school teachers and women apparently well established in the business world have been giving well meant and mostly good advice to Ronald. Marriage has an effect on fan mail. Bette Davis is just now be ginning to notice the effects of her New Year marriage on bar corre spondents. Most of those writing her approve thoroughly of her mar riage Those who didn't approve 4 > write either very briefly or not at all. Probably 50 people, older women mostly, have written Bette, giving her favorite recipes for "dishes men like,” in evident approval- of the theory that the way to a man's heart is through his stomach. To date, Bette, who has been away on loca tion with James Cagney and the company filming "The Bride Came C. O. D.,” has not had time to try out any of the offered "insurance for happiness" dishes on her husband, Arthur Farnsworth. Joan's Mail Booms, Little Joan Leslie, 16-year-old wonder child, who plays leading roles in “The Wagons Roll at Night” and “The Great Mr. Nobody.” future re leases, and in “Sergt. York,” oppo site the popular star, Gary Cooper, has had a veritable boom in fan mail, according to Beatty. It un doubtedly has helped her win the at tention of studio officials and di rectors. More fan mail comes from Chi cago, New York and the small towns near them than from any other part of the Nation. The South and West Coast send the lea-* *»n mail. Every holiday increases tire of fan mail, declares Beatty, and inamoual birthdays never are forgotten. The mail increases for several weeks be fore a birthday, a wedding anni versary or the Christmas holidays. Summer vacation brings a slump in fan mail for about two weeks, in dicating, perhaps, that much fan mail is written during school hours when the writers are supposed to be doing other things. After the first two weeks of summer, however, the mail picks up again. Very little useful information comes to the studio or the players by way of the fan mail, but it is a great source of comfort to the young player who ia anxious to please. steers for the meat market. . . . Alan Hale has a successful invention business. You easily might be sitting on Alan's theater chair when you watch him in the movies. He also has invested and financed a patent frame for eye spectacles. And a fire extinguisher. Joan Fontaine puts part of her 51,000 a week salary into a date farm near La Quinta. . . . Robert Taylor is building a landing field on his valley property in which movie-ites, who fly, will be asked to take shares. Mrs. Taylor • Barbara Stanwyck* has invested most of her spare cash in the breeding of race and saddle horses. Richard Cromwell sells death masks! . . . Edward G. Robinson has invested his money in a valuable collection of French pictures of the impressionist period. This Is a business with Robinson as much as a hobby.Johnny Weismuller owns the surf-board concession at Catalina. . . . Charles Farrell's Racquet Club at Palm Springs proved a life-saver when his picture appeal decreased. He has added a small hotel and gymnasium. Her Money s on lee. July Garland has a flower shop. ... Helen Vinson is raising herbs for marketing on her newly acquired 150-acre Virginia farm. . . . Pat O'Brien financed his wife's dress shop in Beverly Hills. . . . Binnie Barnes is a builder of houses. She sold one to Jimmy Stewart before the Army took him. . . . Bine Crosby is an incorporated business and has money in race tracks, r horse farm, pugilists and a girl-’ baseball team. ... Mischa Auer ha: a chunk of money in the Pirate'' Den and Scheherazade. . .. Norma Shearer is a shareholder in Metro. Sonja Henie makes more monr producing and appearing in her ice shows than with her pictures. She received $175,000 for her current picture. . . . Reginald Owen. Fran1: Morgan and Raljph Bellamy are cleaning up with their tungsten mines. . . . Reginald Denny is another filmite profiting by tl* ■ present emergency—his model plar n factory is making target models for the United States Air Force. But more and more of the big shot movie stars are putting their money back into the business from which it came. Emulating the pros perous example set by Chaplin, the late Douglas Fairbanks and Mary Pickford, who made fortunes’ bv financing their own films, players of the caliber of Claudette Colbert. Ronald Colman, Jean Arthur and Charles Boyer are backing them selves financially for a rise of their present popularity. And thit is the most profitable investment of all— if successful. (Released by the North Amencaa Newspaper Alliance. IncJ SHE’S STILL NEWS—Margaret LOCKWOOD is the beauteous heroine whose trials, literally and figuratively, provide the suspense of "The Girl in the News," the British film which is continuing its run at the Little.