davidaulloa/AmericanStories huggingface dataset:
Detroit evening times., 1943-04-11
l,,xEykHERbGQPS4AND ROBBERS ISNTAGAME

they are allowed TO join the force.
With regular .3s ,calibre re-
volvers, the youngsters are taught
how TO handle and care for the
guns and are trained in marks
manship. That's just in case
someone wants to play cops n
robbers for keeps.
AS the youngsters grow older,
they either join the regular force,
or go into some other life work
their police training having done
much TO make them better citi-
zens of the community.
Seventeen members of the or
ganization are now in the armed
forces, some serving as military
police, and they report that their
work in the Junior Police gave
them a valuable head start.
Irvington's unusual Junior Po-
lice department is probably the
only one Of its kind in the coun-
try. The nearest thing to it is in
nearby Teaneck, New Jersey.
where youngsters. under the age
of Is, serve as auxiliary firemen.
Called fire cadets, the Teaneck
kids get $50 a month for helping
out the fire department The
Detroit evening times., 1943-04-11

This Sergeant
of the Junior
Police Force
Knows Almost
aS Much
About "A
Service
Revolver aS
the Full Time
GroWn-up
Members of
the IrNingtOn,
New Jersey,
Police
Department.
Not Only Can
This
loungSteT
Shoot
Straight, But
He Can Take
"A .3S Calibre
Gun Ia Pieces
and Put II
Together
Again i'm Fast
Time.
Detroit evening times., 1943-04-11

youngsters, nine in all, go 70
school in the daytime and sleep in
the firehouse at night.
Under the direction of Fire
Chief Francis Murray, these
Detroit evening times., 1943-04-11

youngsters have been put through
a stiff course in fire-hghting
and when il comes TO battling
biaZes, they are almost as capable
as their elders.
Detroit evening times., 1943-04-11

Discipline
and Re
sponsibilitN
Are Two
Things
That the
New Jersey
Junior
Policemen
Learn
Early and
Never
Forget.
This BuSi-
ncSSlil<e-
Looking
Young
Patrolrnan
l. Calling
Hcadquar-
tCrS TO
Make q
Report
That He
l. on the
job and
That All
Is Wen.
The Acts
of the
Junior
Cops Are
Official,
and When
one of
Them Gives
a Reckless
Driver "A
Ticket, the
Law
breaker
Has To Go
10 Police
HeadqIiar-
tcrS The
BOYS Are
Just aS
Firm With
Their
Personal
Friends
aS With
Other
itiLcnS.
Detroit evening times., 1943-04-11

Scrci different cheese spreads-all wholesome,
all delicious! Krqd help for you women who
must make lunch sandwiches every day. Some
Of these Kraft Spreads are temptingIy mild in
naver-othcrs arc zcstful; all are made from
the same kind of fine ingredients you'd use to
make sandwich spreads in your own kitchen.
You'll be delighted with the Posy Pattern
glasses Kraft Cheese Spreads come in, too.
Save them for a set!
Evening star. [volume] (Washington, D.C.) 1854-1972, 1943-12-05
Among Producers,
Gold Is Not Gold
Until 1t Glitters
By the Associated Press

HOLLYWOOD.
jewelers. are smart enough to dis
play their twinkling stuff against a
velvet setting. This same showcase
method has been borrowed, with
telling results, by actors and
actresses who couldn't get any at
tention in the Aim capital until they
schemed to display their wares to
advantage.
Most recent example is Dick
Haynes, king of the juke boxes :"
singing sensation nowadays. Two
years ago Dick could sing as we'll as
he can now, but he was going no.
where fast. The nearest he could
get to a studio was to drive a
comedian to work daily at 81 week.
This and other jobs did little to
develop his talent or his faith in his
future. His agent, Bill Burton.
loaned him money to 60 to New
York and once there he landed a
singing job at La Martinique.
Seven Years, Right Place.
Talent scouts spotted him, and
four months later his name ap-
peared on a dotted line that says
he will work for seven years at
Twentieth Century Fox. beginning
with a salary Of SIS. 900 for his first
picture. Kay Francis. Martha Rae
Carole Lands and Mitzi Mayfair
helped him make it. 1t is called
-Four Jills in Jeep," and it looks
as II Dick Haynes is set.
Sonia Henie really pioneered with
the showcase method. In 1896 Sonia
| decided to try pictures, but after
tests at Paramount and Metro
Goldwyn-Mayer Melted her practi-
cally nothing, she followed the old
adage to hire a hall and put on her
own show. She used a lot of other
well-trained skaters as the back
ground velvet. set herself in the
center Of the first ice ballet ever seen
hereabouts. with plenty of fanfare
and top prices. Daryl Zanuck won
out in the bidding for her.
But No Commitments.
Mary Martin, who tried singing at
the Sunday night shows sat the
Trocadero, in the days when that
was a favorite spot for producers
and talent scouts to gather, didn't
make it. They all said she was
sweet, SO what?
Pretty soon Hollywood began to
hear about the terrific My Heart
Belongs to Daddy girl who was
dragging EN- in on the main stem
in New York. After that she made
films till she got tired Of them and
returned to the stage. She is due
for more films shortly.
Victor Mature, fretful at his slow
advances in films, went East, talked
himself into the role opposite Ger
trude Lawrence in Lady in the
Dark" emerging as she described
him, "a beautiful hunk Of man." and
Hollywood sensation.
One could multiply instances, but
the moral is that Hollywood, which
manufactures glitter, Is more taken
by it than would seem reasonable to
suppose.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1943-12-05
TOday's Film Schedules

CAPITOL"Whistng in Brooklyn Shelton Dodgers
2. AS 1880 and IL pm. Stage 1:2o, 4o5
9:35
coIUMB1A-"Claudia," Broadway's favorite $780, $780,
$50, 730 and $50
EARLE"Od Acquaintance" Miss Davis Hopkins
430 tbs and SIS Stage shows ITO $50 6:35 95
KEITHs"The North Russian fights
$50, TBS and GAS pm.
LITTLE-"Jeanne introducing actress:
and $50 pm.
ORourke" royalty
1:35, 3:35. 5:35, 7:35 and $40 pm
PALACE-Grl Crazy" Rooney, Garland 40 525
7:30 and $50 pm.
P1XSherock Holmes Faces Death"
los. 3:25, $40. and 1920 pm
TRANs-LUx-News shorts: Continuous from pm.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1943-12-05
Those Who Proved Neither Too Young Nor Too Old

John Harvey, . fine looking young
fellow with Z bad heart, shared the
prize assignment opposite Betty
Cradle in "Pin-Up dirl"; John Aida,
who has . wife and child, landed
the plum role Of George 0ersll-
win in the Warner biographical
Aim, Rhapsody in Blue; ewooner
Frank Sipatra, alsoa family man,
helped out by making one, Higher
and Higher" for R-K-O. and at the
same studio Gregory Peck, suffering
like Sonny Tufts from . spinal In
JURY, made Revenge" R-K-O plans
4 big buildup for Peck.
Most Of the aforementioned, and q
dozen others scattered in various
studios, hadn't even seen 4 movie
camera II months ago.
Donald O'Connor Is another who
came out of nowhere with the male
shortage. This youngster had
banged around the studios for sev-
eral years, no one giving him much
Of 4 break. Came the hegira to the
wars and Universal got busy with
him. His first, when Johnny
Comes Marching Home" proved 4
big hit. He's made four since then,
all light 1--WE efforts that seem to
catch on with the juvenile Gus
toners.
The Roads Back.
Repatriation of the old-timers
forms another interesting sidelisht
on Hollywood's winning battle. Most
of these fellows had retired to their
ranches in the ALLEY, living on in
comes piled up during their lush
romantic days. However, they were
stirred into action by the frantic
pleas Of studio heads, who In many
instances put the thing squarely on
. patriotic basis.
Warner Baxter came back for 4
top role with Ginger Rogers In
Psramount's Lady in the Dark"
and now Is starring in the "Crime
Doctor" series for Columbia. Bax-
ter, in his Sos, Is one OF the Wealth.
est personalities in Hollywood and
would rather take it easy.
Hoot Gibson and Ken Maynard
are making q series of Westerns for
Monogram. Neil Hamilton, leading
man OF a decade ago, Is back and
appearing Economically in Since
You Went Away" with Claudette
Colbert. John Boles recently re-
turned to M-G-M. Charles Bick-
ford, Dick Powell, Roland Young,
Ralph Forbes, James Dunn, George
Brent, Chester Conklin, Jimmy Du-
rante, Henry Stephenson and Grant
Withers are other old favorites re-
burning for fresh careers.
One year ago Hollywood was fear
full 1t couldn't be done. But now the
battle for heroes has been won.
(RSeased by North American Newspaper
Allianes)
Evening star. [volume] (Washington, D.C.) 1854-1972, 1943-12-05
1t Took Marriage
To Convince Bosses
Mae Was Grown
BY the Associated Press


HOLLYWOOD.
1t took eight years and a marriage
for Bonde Marcia Mae Jones to con-
vince Aim producers she had grown
up.
When less than a year old, Marcia
portrayed Dolores Costello as a
baby, with Warner Baxter and Alice
Jones as her parents.
After that, she appeared In an
average Of three pictures a year
until she became II, when she start
e" playing roles in just about every
juvenile film.
Directors always looked upon her
as a portrayer Of child roles, and
despite her pleas and her approach
to maturity they never cast her in
any other part.
Even her father, Bill Jones, jo-
vial, white-thatched telegraph op-
orator in a newspaper office, was re-
luctant to concede she was grow
ing up.
Then last February Marcia be-
came the bride Of Ensign Robert J
Chic of the Merchant Marine. Pro-
ducers lifted their eyebrows and ex-
claimed:
What! That kidd"
To which Marcia retorted: well
I'm 10 years old!"
Now directors have concluded
that Marcia really has grown up
So they've selected a role for her
In Mine Girls" a story Of goods
This is the end of kid roles for
me" exclsims Marcia. Thank
goodness, those days are gone for
everl".
Evening star. [volume] (Washington, D.C.) 1854-1972, 1943-12-05
Life of Insecure
.SplendOr Assured
Mr.. Rays Future

HOLLYWOOD.
Charles Ray was an example of
the lack of business acumen so
characteristic of many old time mo-
ton picture personalities. Penniless
at his death last week, Ray had at
one time ranked in wealth with
Pickford. Fairbanks, Chaplin and
Bill Hart.
Rays mistake was that he believed
he could handle his own money, run
his country-boy personality with the
same success as the astute Tom
Ince had developed and exploited
1t. With no anchor of a personal
fortune to give him security. he
plunged into Independent production
and lost. a.
For years his prop ship, the May
| flower, stood on the old studio prop
erty mute with the melancholy evil
dence Of the failure that had cost
Ray his career and his fortune, when
he made his Inflated "Courtship Of
Miles StandlSn.
Golden House Of Cards.
Ray lived lavishly. His home had
gold doorknobs, his bath had a
fabulous tree Of life design worked
out in semiprecious stones, with
flowers and fruit Of jade, carnelian
lapis, quartzes and amethysts, in
which bottles Of bath scents, luxury
toilet accessories and soaps fitted
on cunningly contrived lodges. There
was the fabulous tea house beside
the swimming pool, all in lacquer
with a grand piano also in lacquer.
Clara, his wife, maintained her
lavish expenditures even after Ray
had lost most Of his fortune. It was
the rule with her to wear any dress
no matter how expensive. but once
Then if the fabric was suitable, it
was cut up and made into sofa
cushions
In that era, other Hollywood nota-
bles who still retain their wealth
had large investments in Los An
geleS real estate, which made them
as much money as their Aim work
Lloyd Knew the Formula.
Roscoe Arbuckle, another high
liver, but of q completely different
character, found utter ruin staring
him in the face when the collapse
of his earning power in films-due
to scandalous suit which FIRST
made Hollywood a spot to be singled
out for gossipseaught him with
nothing laid by. Arbuckle's home, q
palatial affair on Hollywood boule
ward, maintained during those gala
days complete gas station and
service crew, all free, for the guests
at the many-roomed residence.
Meanwhile, Harold Lloyd, well ad :
vised, had laid by fortune in real
estate and other investments care
fully chosen by competent advisers
He has lived in lavish style by the
simple matter Of waiting to be lavish
until the income of his investments
was big enough to support his way
Of living. At all times, sensible
budgets have ruled the life OF the
Lloyds
Evening star. [volume] (Washington, D.C.) 1854-1972, 1943-12-05
Treasured Miss Gurie
Will Face the Nazis
With Both Barrels
Ply the Associated Press
HOLLYWOOD.

HOLLYWOOD.
Sigrid Gurie recently completed a
role opposite Francis Lederer in
Voice in the Wind" an anti-Nazi
film of the adventures and fate Of
two refugees who do not get out OF
Hitler's Europe but go down before
their fate with courage.
This might seem a routine cast
ing announcement, but behind it is
the family story OF Sigrid Gurie.
Until this role, Miss Gurie, whose
family is in occupied Norway, had
refrained from accepting roles in
anti-Nazi pictures, fearing the
worst might happen to her people in
the way of reprisals. She had been
out of touch with them for over a
year when finally a letter came
through from her brother, Knut
Haukelid, a lieutenant in the Nor
wegian Army now training in Scot
land
AS the whole family is in the Hit
Ter black books, Knut urged her to
work in anti-Nazi films, said it
could not affect their status You
are nobody in Norway" wrote Sig
rid's brother, 'if you haven't been
in and out of a few concentration
camps" Their uncle, member of
the oxford Movement, was picked
up Immediately at the time of the
occupation Mrs. Haukelid and the
brothers wife all were in camp, but
the brother twice escaped, finally
making his way through Sweden to
England.
Voice in the Wind" is tender
spiritual love story, with Lederer
playing q Viennese pianist, and
Gurie his wife.
Sigrid Gurie is also playing in
"Goebbels' Wife" now that she
knows there's no reason not to play
anti-Nazi roles.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1943-12-05
NEW YORK.

Broadway is once again in Katha-
rine Cornell's debt. this time for q
most enjoyable evening of polite
comedy found in her new vehicle
Lovers and Friends by Miss Dodie
Smith of England.
Produced by Miss Cornell and
John c. Wilson, directed with char
acteristic deftness and precision by
Guthrie McClintic, the comedy gives
the actress no vestige of opportunity
to enhance her professional stature
But, since this Is generally recog-
nlzed and universally accredited, she
was free to do precisely what she
has done-which is to present and
appear in q piece in which, in q
drawing room, she may graciously
depict the charm of poised
chatelaine of an English household
until time comes to register the
deeper shadings of woman brought
suddenly face to face with marital
tragedy.
In its very lightness, 1t fragility
the Obviousness of all its phases,
including eventual outcome of trite
plot, this comedy imposes upon Miss
Cornell the responsibility of impart-
ing reality and depth to superficial
conditions and situations. This, with
splendid artistry, she accomplished
fully.
Responsibility. however, was by no
means an individual one. 1t rested
upon every member of the small
company of six players, all of whom
requited it superbly.
AS to the play itself, 1t should be
said, I think, that in depletion of
types. cleverly drawn, clearly defined,
the author established that agree
able sense of variety to be found on
a stage more numerously populated
1t discovers Miss Cornell established
as consort of a middle-aged bar
rister. Serene in wifehood and
motherhood-her two boys are of at
Scholastic looks into a perspective
'of future years no less placid, nc
less happy, than the background OF
her marital career.
Just why such man as Raymond
Massey makes the lawyer out to be
should have been lured away from
a helpmeet of the charm, poise and
pervading womanliness as por-
trayed by Miss Cornell is a question
to be submitted to the author. Sure.
ly no one else would know. At any
rate, this IS what happens, the
woman in the case being a youns
intellectual, secretary of a frienc
OF the family, an eminent playwright,
and novelist But, as 1t turns out
the fatuous husband discovers the
meretricious qualities of his enamo-
rata before his home is broken up
Whereupon. delivering himself tc
the mercy Of his outraged wife. he
learns she has found compensation
by falling in love with the play
wright. However, it all ends a.
happily as you knew 1t would end
and in about the way you expected.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1943-12-05

them. Gradually, other potential
titles for 10-best selection begin to
form in the memory. Watch On
the Rhine" the critic tells himself
was a superlative picture. 1t was a
prize-winning play the year before
and made with intelligence by the
same director, and much the same
cast with the addition of Bette
Davis, its choice should not leave
the critic fumbling for words to
modify his embarrassment. The
number of candidates is growing
now. There also is Claudia" which
was adapted with intelligence and
excellent taste by Hollywood after a
triumphant two seasons on the stage.
That would not be a defenseless Sc
lection if it had nothing more than
Dorothy McGuires enchanting per-
Torrance to recommend it.
Guile in the Twilight.
Another thing to hearten a man
confronted by this December dilem-
ma is the trick Of cinema magnates
OF releasing some of their more pro-
found wares at the very tag end Of
the season in order to make them
eligible for prizes, most notably the
Academy Award. 1t Is a perfectly
legitimate maneuver, of course, even
If not without its element of guile.
The immediate impact of a tardily
released picture of real merit is
likely to exceed the remembered i'm
pact Of one released, say, last
January. = g-,
One picture. scheduled for just that
sort of release is Madame Curie,"
which is of Academy Award dimen-
sions in the opinion of critics who
have seen it in preview. In produc-
ton and much talked of is Since
You Went Away" which probably
will not be finished in time for re-
lease this month. Then, Of course,
there is the already completed. al
though unreleased, Song Of Berna-
dette."
So, by the end of December,
man should be able to compile 10
pictures of sufficient 'bestness" that
he can hold up his head when he
walks among his fellow moviegoers
Evening star. [volume] (Washington, D.C.) 1854-1972, 1943-12-05
NEW YORK.

NEW YORK.
Once upon a time ! used to write
the ziegfeld Follies and other re-
vues. The sketches were supposed
to be funny. but you never could be
sure. No matter what you did to
them, every audience was unpredict-
able, and the final test of whether
you had funny sketch was if the
audience laughed. One of the come
dams who used to play in the
sketches was w. c. Fields. and no
funnier man ever lived. But even he
was always getting a surprise. His
famous golf game was a gradual &C
erection through the years of an in
finite number of tiny details pain
fully learned by trial and error from
audiences all over the world.
He told me once how he stumbled
on 4 fundamental principle of COM
edy. In this golf game there was
one place where he took an angry
swing at the ball, missed it, hit the
ground and broke his club. The au-
dience was supposed to laugh at this
but it didn't. He tried it over and
over again. with different kinds OF
clubs and different kinds of swings
but every audience reacted the same
No laugh.
Knots for Laughter.
One day instead of putting q
wooden shaft in the golf club he
used one made out of soft metal
something like pewter. That night
he took his customary swing at the
ball, missed, but the club instead OF
breaking tied itself into ridiculous
knot. The audience roared with
laughter. The next audience did the
same-and ever after.
That's how learned" said Bill
that when you break something II
isn't funny to an audience. But
when you bend it, it is People DOM
like to see something destroyed. II
isn't funny to them"
I tucked that away as major
piece of wisdom. Surely if Bill Fields
said it, then it must be so.
Last summer Ed Wynn came up te
spend the week end. Now if there is
any one in this world funnier thar
Bill Fields, it is Ed Wynn, and vice
versa. Naturally, the talk quickly got
around to comedy and why people
laugh, and 1 repeated Bill Fields
formula-that destruction was moi
funny to an audience. Ed looked
thoughtful.
Ed Wynn Contributes.
DO you know what was the fun.
NEST revue sketch I ever played ir
the one that got more laughs ane
bigger ones? Curiously enough, the
sketch was called Why Do They
Laugh and here's how it went.
Il had an assistant who went out
and told two or three jokes. They
were good jokes, and he told then
as well as he could, but nothing
happened. When I came out and h,
said to me, What's the matter
Those are the same stories you tell
and when you tell them the audi
ence laughs, but when I tell then
nobody laughs. Why do audience!
laugh at you and not at me?'
And I said, I don't know VIII,
audiences laugh And then
asked him If he had knife in hi
pocket. He said he had and said
Give 1t to me- And I opened it VI
and it had a big shiny blade. Ant
then I said, rs that a new straw ha
you have on?' And he said, Yes
very becoming, don't you think?' ant
said, Give it to me-
Butchery for Humor.
$50 he gave me the straw hat an,
took the knife and proceeded t.
cut q big slice of the brim. Then
turned the hat around and Wtittle,
Evening star. [volume] (Washington, D.C.) 1854-1972, 1943-12-05
Comedians Are at a Loss. Too
By J. p. McEvoy.

another slice off the other side. With
every slice the audience howled and
I kept on whiting until there
wasn't anything left but the crown
And then I handed it back to him
and I said, Did you think that was
funny?' and he said very indignant
ly. No I certainly did mott So !
pointed to the audience and said
Well look out there-listen to them
laughing They think it's funny!
And then he inquired plaintively
Why do they laugh?' and I replied
I don't know
Then I reached over and pulled
out his necktie. That's very pretty
tie said, and I took his knife and
cut the tie off. right up close to the
knot. The audience fell out of then
seats with laughter. Then I cut all
the buttons off his coat and ran the
knife down the seams and ripped
out all the seams-and the coat
came all to pieces.
Does Anybody Know?
by this time the audience was ir
Mysteries. And then I cut his shirt
of and left nothing but the collar
and then handed the knife back tt
him and asked him, Did you think
that was funny?' And he replied
I certainly did not!' So I pointed
to the audience - they were al
doubled up and you couldn't hear
yourself talk for the laughing.
Look at them,' I said. They
think it's funny
But why do they laugh?' my
assistant asked.
And then I took him by the arm
and as We walked off the stage I sale
to him, Why do people laugh:
Darned if I know"
Distributed by McNauaht Syndicate, Inc l..
Evening star. [volume] (Washington, D.C.) 1854-1972, 1943-12-05
Coming Attractions
Stage.

Stage.
ACKNOWLEDGMENT Sullivan repertorv by the BOSTON Comic
Opera starting one week from tomorrow
CAPIlOI-Happy Land" with Don Frances Dee
starting Thursday
EARLE-1n Old Oklahoma" with Martha Scott
starting Friday. 1890 '
KEIIHs-"Crazy House." johnson; starting
Thursday.
LIIIIE-'Abe Lincoln Of Illinois, with Raymond Massey.
Hostages, with Luse Lukas
PAIACEIassie Come Home with Roddy Macdonald
starting Thursday.
PIX-"Son Allbritton
starting Saturday,
Evening star. [volume] (Washington, D.C.) 1854-1972, 1943-12-05
By Harold Hefernan.

tie theater and you see such strange
names as Sonny Tufts, Gregory
Peck, Robert Ryan, Donald O'Con-
nor, John Harvey, John Kodiak and
many more-all developments of
1943. And all good, long range stu
dio investments, because they pos
sess talent plus At ratings.
First fellow to prove there must
be fertile leading-man field among
actors not wanted by Uncle Sam was
Sonny Tufts. Sonny had person.
atty, good looks, no acting expert
ence and rundown from the Army
because of back injury when he
reported at Paramount to play OPP