The Year Was 1938 – May 31st

Bette Davis in 1938

• Lots of news for Bette Davis. She is to begin work on ‘The Sisters’ this week. This is to be followed by ‘The Phantom Crown’ which will begin production as ‘Juarez.’ And another project calls her back to the old South – a post Civil War story called ‘Memphis Belle.’ [The Sisters which pairs her with Errol Flynn closes out 1938 for her. ‘Juarez’ did go ahead, but another project came on line before it – ‘Dark Victory’ (one of the biggies for 1939). The ‘Memphis Belle’ title remained on the shelf].
• Sidney Franklin (director) due in tomorrow at Metro to conference about his next film – ‘Goodbye Mr Chips’ – to be filmed in England with Robert Donat. 

• Laurel and Hardy start shooting today their final Roach production for Metro. [This is the ‘Meet the Missus’ project that was released as ‘Blockheads’]. (Mentioned in prior posts – see May 28^th)
• RKO is so happy with the dailies on ‘The Affairs of Annabel’ that they are considering adding more titles and making it into a series. [There was a quick turn around on this idea for ‘Annabel Takes a Tour’ came out in the same year. Jack Oakie went directly between the two; Lucille Ball squeezed in her part in ‘Room Service’ between them].
• Walt Disney is looking to expand to a bigger plant – his Hyperion Ave site – covering 70,000 sq ft and employing 735 workers has become too cramped, hence plans are going forward for a million dollar facility. As for this next projects, slated next is Pinocchio, then Bambi.
• 20^th Century Fox is prepping ‘The Little Princess,’ the beloved story by Frances Hodgson Burnett as a film for Shirley Temple. To start 9/1. [It would be released in 1939].

CONTRACT TIME

• Metro signed Gabriel Dell and Huntz Hall to term pacts. [Two of the Dead End kids gang. Dell has one short and four features for 1939].
• 20^th Century Fox lifted the option on Pauline Moore. [Charlie Chan, Abe Lincoln and the Musketeers keep her busy for 1939].
• Republic renewed director James Cruze’s contract for one year. [Former silent actor and director Cruze had one film on the screen at this moment – ‘Gangs of New York.’ He has only one more credit for the year, none in 1939. Alcoholism over-shadowed his career and life until his death in 1942].
• Fay Bainter had her contract at WB extended for two more pictures.
• Frank Wead inks writer contract at 20^th Century Fox. [The former navy pilot had written the story upon which MGM’s ‘Test Pilot’ was based. After the freak accident in which he broke his neck in 1926, he turned his skills to a writing career. He would work on two projects for Fox in 1939, one of wich was ‘Tail Spin’].
• John Huston signed for a writer’s contract at WB. [Huston’s contribution to the screenplay for ‘Jezebel’ no doubt raised him in the eyes of WB. His involvement with ‘Jaurez’ for 1939; and an uncredited contribution to ‘Wuthering Heights’ put him on course to reach his goal – to direct the films based on his own scripts].
• Florence Rice’s new contract with MGM, guarantees her time off to go East to catch the Joe Louis/Max Schmeling fight.
• WB lifts the ban in director Lloyd Bacon’s contract on flying, so he can fly to Florida to do his research in Pensacola before he shoots ‘Wings of the Navy.’

ITEMS OF INTEREST

• Eight casting directors rate the top supporting actors. The top 8 were Mischa Auer, Beulah Bondi, Walter Connelly, Edward Everett Horton, Jean Hersholt, Donald Meek, Alan Mowbray, Frank Morgan. (With 7 of the 8 votes, none unanimous). Next group (with 6 votes each) – Billie Burke, Leo Carrillo, Andy Devine, Hugh Herbert, Lewis Stone, Charles Winninger. Next (with 5 votes) – Una Merkle, Reginald Owen, Basil Rathbone, Henry Stephenson, Fay Bainter, Alice Brady, Spring Byington, Walter Brennan. Next (with 4 votes) – Edward Arnold, Ralph Bellamy, Humphrey Bogart, Herman Bing, Donald Crisp, Fritz Feld, Glenda Farrell, Bonita Granville, Edna May Oliver, May Robson, C Aubrey Smith, Ned Sparks, Slim Summerville, George Sanders, Akim Tamiroff.

• Regarding premiers in Hollywood – for “A pictures” six to eight arc lights were the norm. The prize houses were Grauman’s Chinese, the Village in Westwood, and the Paramount in downtown LA, and sometimes the Carthay Circle (seating 1600) on the edge of the Beverly Hills District. Disney’s ‘Snow White,’ garnered historic grosses there on a two-a-day run.  [Now you know why a replica of the Carthay Circle graces the main street in Disney’s California Adventure park].
• Inside the sound stage of ‘Four Daughters’ at WB, the Lane sisters under the direction of Michael Curtiz arrive via a Pullman car at the station of a small town. The snow – cornflakes; the slush on the ground – cornflakes, gypsum, salt and water. The Pullman car was real, but there was no motive power. It was pulled into the station by a winch, which could only move the rail car 20 feet, but that was all they needed.

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The Stuff Dreams Are Made Of

Having been awed by Bogart in Casablanca I was eager to see him in other films. So when The Maltese Falcon popped up on the schedule for the Harvard Exit, my girl friend and I made a date to see it. Ahead of time, I didn’t know what to expect, not having read any Dashiel Hammett stories or novels. In fact, I had not heard of Film Noir or even the phrase “hard-boiled.” (I did take a class on film at Seattle U, but it was more of film appreciation type class. It would touch a bit on the how tos so that you knew what you were looking at. Really it was a film critique class. And it talked about genres – westerns, sci-fi, comedy, etc.Film Noir included – but this must have been later).

Come time for the show, we were settled in our seats, the lights went down, and the Warner Bros. Logo and a fanfare announced the film. And the music score (Adolph Deutsch) ushered us into the mystery heralded in glorious black and white (and charcoal and pearly grays).

So we were thrown into the mystery of the Black Bird, all wrapped up in the events surrounding the murder of Sam Spade’s partner Miles Archer. We were confused along with our hero as odd characters, one by one came on the scene, all trying to enlist the detective’s help and thwart the others in the quest for the fabled bird. Would Sam figure out what was going on? Would we? Would his feelings for Brigid O’Shaughnessy find fulfillment? We cared. And we were surprised.

Some years afterwards I read one of the bios about the director of the film, John Huston. Huston himself wrote the screenplay. He said that he simply took the story that Hammett had written and translated it page for page to the screen. And in my reading and viewing of the two I can concur. It is unusual for a film taken from another source to end up reflecting it in all its little perfections. The norm for this situation eventuates in two artistic expressions with the same title, but with little similarity thereafter. As the expression goes, Huston nailed it.

The Maltese Falcon would join Casablanca and Lawrence of Arabia as seeds sewn in my psyche. Or in another analogy – they were germs that gave me Hollywood Fever.