Evening star., 1941-11-20

sequence in which John Payne
strikes up an acquaintance with
Maureen O'Hara, and you'll see what
We mean.
No routine introduction of the pair
here. Mr.. Payne, as handsome
Young no-account with too much
time and money at his command, is
sitting bored and slightly in his cups
at the bar of San Diego night
club. A beautiful vision enters,
crosses the room and peers about,
obviously looking for some one.
This, you may have guessed, is Miss
OHara.
Payne looks up from his drink
and whistles softly. He continues
to stare as the girl looks impatiently
at her wrist watch and summons
bellboy. AS the music stops, the
boy begins paging:
Calling Maj. wilson,
Payne gulps his drink. Wlnks at
the bartender and walks up to Miss
OHara. smile on his face.
Il beg your pardon" he says.
my name is Chris Winters. Maj.
Wilson asked me to keep an eye
out for you, and say he's awfully
sorry but he's been tied up"
Miss OHara registers disap-
pointment and asks, Does that
mean he isn't coming at alp
well. he wasn't sure" Payne
continues, 80 he suggested that
perhaps I might"
Thank you-that's awfuly nice,
but I'll be quite all right says
Maureen and she starts for the
door.
PAYNE follows hastily. You sure
can't take you home-or wherever
you're going?" he persists. You
know the major wasn't certain he
couldn't make it."
'I guess it would be a shame to
rush off-especially after I prom
ised I'd"
Payne is quick to take advantage
of her hesitation.
cat least you might stay and have
one drink" he coaXes. Its swell
out on the terrace" He takes her
by the arm.
Maureen looks at him. obviously
attracted. She's tempted and un-
certain. Suddenly she smiles, bows
an acknowledgement and Payne
leads her toward the bar.
That's how boy meets girl in ITO
the Shores of Tripoli." Sounds
simple enough, doesn't It? But
Lamar Trotti, one of Hollywood's
most successful scenarists. said he
wrote and discarded eight boy
meets-girl openings before deciding
upon this one.
I'VE used to introduce our hero
and heroine in a much more con-
ventional manner" said Trotti. But
formal get-togethers don't go any
more. Nine times out of ten these
days It's purely accidental when
boy meets girl in the movies"
Ginger Rogers, who insists on
changing her film character every
few pictures, is grotesque sight to
behold on the set of "Roxie Hart
She plays tawdry, two-bit dancer
and she isn't afraid to look anc
talk like one.
Ginger pops gum nobly and this is
not an act for Ginger because no
actress in town masticates gum any
more thoroughly or vigorously be-
tween scenes. When action is called
Ginger merely slips the wad under
her tongue and is ready for any
emotional trial or protracted burst
Of speech. But this is scene in
which she may chew to her hearts
content. She is wearing enough
mascara and rouge for 10 girls. She
is running around in black tights
and wears spider web stockings that
meet the tights.
In the script the police suspect
her of shooting her lover. Lynne
Overman, a newspaper man, ha.
cornered her and is trying to get ,
confession. That leads to a fight
scene.
Director William Wellman talk.
the fight over in a low voice with
Ginger. He doesn't believe in re-
hearsed fights.
Guess they're framing me,
mumbles the dour- faced Overman
The scene begins. Overman trie
to grab Ginger's arms. She slap
him a blow that rocks him. Sh'
isn't pulling any punches. He trip
her. She gets up and hits him II
the stomach with her head. Ike ,