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Great Actress Confesses "YOU'D HATE TO BE A STAR!7'
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He first admired her Tartan Plaids but he lost his heart to her lovely smile!
i?
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Behold the beauty of exotic song-bird llona Massey as she hears throbbing love-lyrics from impassioned Nelson Eddy ! (His great- est role since "Naughty Marietta".)
ILONA MASSEY
CHARLIE
RUGGLES • MORGAN • ATWILL
C. AUBREY JOYCE
SMITH • COMPTON
Screen Play by Leon Gordon, Charles Bennett and Jacques Deval Based upon the Play "Balalaika" Book and Lyrics by Eric Maschwitz
Music by George Posford and Bernard Grun
Directed by Reinhold Schunzel Produced by Lawrence Weingarten AN M-G-M PICTURE
DEC -9 1939
©C1B 436768
JANUARY, 1940 Vol. 29 No. 1
Hollywood
icornoralino SCREEN LIE
W. H. FAWCETT . Publisher
incorporating
SCREEN LIFE
(ReE. U. S. Pat. Off.)
LLEWELLYN MILLER, Editor
Table of Contents
EXCLUSIVE FEATURES
You'd Hate Being a Star 12
When the Christmas Tree Fell Over by Charles Daggett 14
Rhapsody in Green (Geraldine Fitzgerald) by Wilbur Morse, Jr. 1 8
Forecasts for I940 by Helen Hover 20
A Puppet Comes to Life (Pinocchio) by Winifred Aydelotte 22
Her Heart Belongs to Hollywood (Mary Martin)
by John R. Franchey 26
Baby Takes a Bow (Another Thin Man) by Emily Norris 28
Art for Artie's Sake (Artie Shaw) by Jack Mosher 30
On "The Blue Bird" Set by Jessie Henderson 34
Second Generation by Kolma Flake 36
Santa Is a Headache by Edward Churchill 38
Everything Happens At Night by E. J. Smithson 41
PICTORIAL FEATURES
Holiday Spirit (Roland Young and Pat O'Brien) 19
Wedding Bells of I939 24
How to Become a Swimmer (Marjorie Weaver) 3!
Canadian Cousins 32
Family Album (Nona Massey) 40
EVERY MONTH IN HOLLYWOOD
Hollywood Newsreel by Elmer Sunfield 6
Important Pictures by Llewellyn Miller 10
The Show Goes On by the Editor 16
Beauty Budget Gifts by Ann Vernon 42
Movie Crossword 52
"Snacks" for Your Holidays by Betty Crocker 58
CONTEST NEWS 1 7
Leap Year is something for Mickey Rooney to get dreamy about. He plays next in the title role of M-G-M's picture, Young Thomas Edison
RALPH DAIGH, Managing Editor
GORDON FAWCETT, Hollywood Manager
CHARLES RHODES, Staff Photographer
HOLLYWOOD Magazine is published monthly by Fawcett Publications, Inc., 1100 West Broadway, Louisville. Kv. Entered as second class matter at the post office at Louisville, Ivy., under the act of March 3, 1879, with additional entry at Greenwich, Conn. Copyright 1930 by Fawcett Publications, Inc. W. H. Fawcett, Publisher; Elliott Odell, Advertising Director. General offices, Fawcett Building, Greenwich, Conn. Trademark registered in U. S. Patent Office. Subscription rate 50 cents a year in United States and possessions and Canada; foreign subscription $1.50. Foreign subscriptions and sales should be remitted by International Money Order in United States funds, payable at Greenwich, Conn. Single issues five cents. Advertising forms close on the ISth of third month preceding date of issue. Printed in U. S. A. Member Audit Bureau of Circulations. Send all remittances and correspondence concerning subscriptions to Fawcett Building, Greenwich, Conn. Advertising offices: New York, 1501 Broadway; Chicago, 360 N. Michigan Ave.; San Francisco, Simpson- Beilly, 1014' Russ Building; Los Angeles, Simpson-Reilly, Garfield Bldg. Editorial offices, 1501 Broadway, New York City.
IZMHT/IOlOKIiVflclH*
By ELMER SUNFIELD
■ While in Europe, Cary Grant joined automobile clubs in England, France, Italy, and Belgium. When he returned to the United States, he placed the insignia of the various clubs on the front of his car. During rehearsals for the first Gulf Screen Guild Theatre radio show, souvenir hunt- ing fans stripped them from his coupe while it was parked in the rear of the theatre. He's willing to pay twenty dollars for the return of each insignia— and no questions asked.
| Credit Actor Brian Donlevy with the biggest patriotic gesture by a Holly- wood star since the war started. Brian has turned over to the United States government all mineral rights to a rich antimony mine, discovered recently on his property in Death Valley.
Donlevy, who has made gold and silver mining a hobby the past few years, said experts from the Federal Bureau of Mines told him that antimony is one of the rarest substances in nature, and is invaluable in munitions manufacture.
The discovery was kept secret by Don- levy until he was sure that the govern- ment could use the mineral.
H The romance between Virginia Field and Richard Greene is the talk of the town. Virginia's latest affectionate gesture is to come on the set directly after lunch and start Dick off on his afternoon acting chores with a big hug and a bigger kiss that wins deep sighs from the prop boys, juicers, carpenters and a score of others on the sidelines. Maybe it's an act, but Dick seems to like it — as who wouldn't!
■ We understand that Warner Brothers Studio has put John Garfield smack
into the doghouse following his bitter complaint that he has been typed. And in this instance the doghouse treatment has been severe. Garfield is suspended without pay. John is tired, he says, of playing neurotic roles as in Four Daughters and others that followed, and threatens to return to the stage unless he receives better parts.
■ Clark Gable, Carole Lombard, and
other screen celebrities, who are members of Encino's "Hard Rock Club,"
Oren Haglund and Priscilla Lane at the" preview of he"f newest picture, The Roaring Twenties in Hollywood
All set for that Rose Bowl Game is Baby Sandy, complete with megaphone and cheer leader's cap. Her latest screen part is in hit tie Accident
are within weeks of becoming oil magnates. A short time ago, oil was dis- covered two miles west of the property and hundreds of barrels were produced. Now oil has been discovered on the Club's land, and before long the club members will be rolling out the barrels.
The club started when a group of stars, Valley residents, wanted a week-end lodge for skeet shooting and riding, and purchased 160 acres in the nearby hills for the resort.
P. S. The club's name is derived from the stony nature of the soil.
H The mystery of the brown paper bag Lew Ayres carries around with him while on a picture has been solved. The other day it burst, spilling shaving soap, brush, greasepaint and other odds and ends usually carried in a make-up kit.
Although Lew has half a dozen de luxe make-up kits, he has never used one of
them. The first time he was called to a studio for a picture, he hurriedly filled a paper bag with make-up. Ever since, he has .figured that a paper bag brings him luck.
Lew claims that a paper bag will last through three pictures. "I tried to stretch the last one to four pictures. That's what caused the accident. Anyhow, this proves that I don't carry my lunch to the studio in a paper bag."
■ Ed Brophy, playing the part of Ryan, a not-quite-bright operative of the Federal Bureau of Investigation in Philo Vance Conies Back has this to say about his screen life:
"This is the 16th time I've been cast as a dumb dick in pictures. But I've been promoted. Hitherto I've been simply dumb in a local way — as a city police sergeant, or a county constable, or a wit- less stooge for a private detective office. But now I'm a secret service man in a plot which involves several of the most important countries of the world."
What Ed means by this is that he's now dumb internationally!
H We got to jabbering with a film editor
not long since. For some unexplained
reason we hit upon the subject of kissing,
particularly screen kissing, and were
positively amazed by what we learned.
We learned, for instance, that kisses
come by the foot these days in the movies.
When Bette Davis accepted Errol Flynn's
first kiss in their latest starring picture,
The Private Lives of Elizabeth and Essex,
it was an introductory osculation only 15
[Continued on page 53]
Judy Garland, Mickey Rooney, Bonita Granville and Bobs Watson on the way to the premiere of Babes in Anns
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Gabby, the town a
iL/augh till your sides ache at the antics of Gabby, the town crier, the little fellow who discovered the giant Gulliver but couldn't find himself in the dark.
iVleet King Little and his terrible tempered rival, King Bombo. Meet the charming Princess Glory and her brave lover, Prince David . . . hear them sing their love songs, "Forever" and "Faithful."
\___3^ Oee the tiny Lilliputian horses
Prince David and Princess Glory. drag the giant to King Little's
castle. See Gulliver, single-handed, capture the entire Lilliputian battle fleet!
1 hrill to those three spies, Sneak, Snoop, and Snitch. Meet Twinkletoes, the carrier pigeon .
King Little and King Bombo.
Meet them all
laugh with the
with them eight never-to-be-forgotten
Leo Robin and Ralph Rainger songs: "Faithful Forever," "Bluebirds in the Moonlight," "I Hear a Dream,'' "It's a Hap-Hap-Happy Day,"* "All's Well," "We're All Together Now," "Faithful," "Forever."
PRODUCED BY MAX FLEISCHER •DIRECTED BY DAVE Fl
* "IT'S A HAP-HAP-HAPPY DAY"-Words ami Music by Al. J. NeibarB and Sa
j Timberg & Winston Sharpies
IP*
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Copyright 1939, Paramount Pictures Inc.
AND A VERY |ARY "(UUmH)
i
™ Hum in love wn«
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• THE GREAT MARY (My Heart Belongs to Daddy") MARTIN ... as the singing sweetheart of Victor Herbert's Broadway. . . Allan Jones, as the star who means it when he sings "Kiss Me Again" to Mary . . . The Great Victor Herbert's most familiar melodies as the glorious background for a love story^^ roman- tic as yesterday, as real as |bdav.
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A Paramount Pi
Ji{-*
Allan Jones • Mary Martin • Walter Connolly
Lee Bowman • Julith Barrett ■ Susanna Foster • Produced and Directed by andrew l. stone
Screen Play by Russ\l Crouse and Robert Lively • Based on a story by Robert Lively and Andrew L. Stone
IiSi:Mrt#^fcaaMiiJrt«
By LLEWELLYN MILLER
THAT THEY MAY LIVE— For ester-Par ant
This picture was finished in France just before war was declared. At that time the producers and the actors and indeed the whole nation hoped that once again war might be averted. But, by the time the picture was ready for release, France was mobilizing, and it wasn't possible to show the film. We are more fortunate in this country. The film is available to us, and every thoughtful person will do well to listen to its power- fully stated protest against all war.
The opening scenes show soldiers in front line trenches. The last war is near- ing its end, but how can they know that? For years they have lived in wretched, muddy, freezing dugouts. For years they have seen death on all sides of them. For years they have done the next thing de- manded of them. A patrol of twelve men must be chosen for a duty that means certain death. And to certain death they do go, all of them, except one man. He is brought in, wounded, just as the news of the armistice is sounded. Of all the men in the doomed patrol, he was the one who believed that another war never could happen. "This one is too horrible," he argued. "Now that we know what war can be, there never will be another. The world could not face this again. I am only one man, but I promise you that my whole life will be devoted to seeing that there never is another war. I promise you it won't happen again."
For the next twenty years, all of his hours were spent in research. His lab- oratory produced materials never heard of before . . . transparent steel, unbreak- able metals . . . many things to be turned to the uses of peace. About his experi- ments in the military cemetery he did not
Boris Karloff went berserk when he had to have his head shaved for his part in Toiver of London and tried some horror-man stuff on Jack Pierce, creator of the Karloff fright make-ups
speak. Not until a munitions-maker turned his transparent steel into armor, not until war was declared again did he turn his greatest discovery of all to account.
The first of the film may seem to Amer- ican audiences a little over-acted, a little over-sentimentalized but no one can deny the power of the closing scenes when in anguished protest over the useless deaths of his comrades and their nine million fellow-dead, he returns to the white crosses that cover acre after acre at Ver- dun, and calls to the French who died so long ago, to the Americans, to the Rus- sians, to the British, Slavs and the Italians, to the German dead, to those who died at sea and those who died in the air, to every man who fought the last war in pitiful sacrifice to end all wars. He calls and the white crosses fade away. He calls and the ground stirs. He calls and wearily the figures of the dead rise for one more bat- tle. French and German, British and American, men of all nations, now long past hatred, help each other to rise and walk the streets. They jam the roadways, they fill the towns. Millions and millions who died once for their countries come back so that their presence may save their fellow men.
This film may not have very wide dis- tribution. It should have. Pierre van Paassen's subtitles make the French dia- logue easily understandable to all Amer- ican audiences. Victor Francen's playing of the central character makes the theme understandable to all men who hate the waste of war. If you want to see this film, your local theatre manager will know where it is showing or will arrange book- ing for it in his theatre.
FIRST LOVE — Universal
H Dear Cinderella! At long last the movies frankly acknowledge their debt to you. At long last they make your story without caitiff evasion or elaborate disguise. At long last you come into your own stream-lined 1940 version, just as good as ever.
True, Connie (Deanna Durbin) does not have mean sisters, but she has the most unpleasant set of cousins ever filmed by Universal, and most people will acknow- ledge that cousins in Universal films are just about tops in uncouth manners and bad taste.
Connie's cousins don't come to her grad- uation. They leave her alone while they go off to a dazzling party on her first night home. They won't listen to her sing. They do not introduce her to their friends. They let her go around in her simple old school clothes. Even the butler is chill and displeased.
Gradually Connie wins over the house- staff. After two operatic numbers they are taking up a collection in the kitchen in order to buy her a new dress to wear to the ball. Oh, it is a tense moment when
Connie is ordered to stay at home. Oh, it is a breath-holding time when the chauffeur winks at the butler, and the butler tells Connie that she is going to the ball but that she must not stay a minute after midnight. But you know that every- thing is going to be all right when the friendly cop turns up, not with six white mice, it is true, but with six motorcycle cops on six white motorcycles. It is all there . . . the lost slipper, the flight after midnight, the prince charming, the happy ending. It is mighty unrealistic but it is mighty refreshing.
Assorted mean cousins, fairy-god- mothers and members of the court are played by Helen Parrish, Robert Stack, Eugene Pallette, Lewis Howard, Leatrice Joy, June Storey, Charles Coleman, Marcia Mae Jones, Samuel S. Hinds, Kathleen Howard, Jack Mulhall, Mary Treen, Dor- othy Vaughn, Frank Jenks and Lucille "Ward.
NINOTCHKA — M-G-M
I Those who have followed the history of the United States of Soviet Russia with respectful admiration are not going to like this film, because the government of Stalin is treated with less . . . with much less than serious regard. If the film indus- try had not recently treated our own government with somewhat the same light-hearted humor in Mr. Smith Goes to Washington, perhaps a cry of "No fair!" would be in order. But, since the bright blades of farce and satire have been swung in a good many quarters lately, there is no reason to suppose that Russia can't take it just as imperturbably as can the United States of America. And, no matter what you think about the wisdom of poking fu;r at another powerful nation, you will have to admit that the film is enchanting farca and telling satire.
Just to keep in character when not before the cameras, Robert Preston and Dorothy Lamour play South Sea checkers on the Typhoon location at Catalina Island
10
Greta Garbo strides into the picture first on flat heels as Ninotchka, dour, se- vere, painfully glum and literal Envoy Extraordinary who has been dispatched from Moscow to investigate the delay in the sale of the Grand Duchess Swana's confiscated jewels in Paris.
The negotiations had been started in a feeble fashion by three gentlemen whose antic reaction to a bourgeois society make them worthy to be called the three (Karl) Marx Brothers. They did not approve of a democratic government, of course, but once in Paris they felt it their duty to investigate conditions. They started with the working conditions of the cigarette girls.
Melvyn Douglas as Leon, friend of the Grand Duchess (Ina Claire) already was deep in a plot to recover the jewels when Ninotchka arrived. Not until he had been fascinated by her rude contempt for the pretty fencing of romance did he discover that it was her business to defeat him.
Garbo is by far the most amusing in the first part of the film in severe clothes and chilly mood. That part is packed with laughs. Later, when she is all dressed up in a singularly unbecoming and ineffec- tually fluffy white and gold gown, the film becomes just another screen love story for a while. The cast is splendid, Ernst Lubitsch's direction just as deft and re- sourceful as ever, and the dialogue is sharp as a cactus but much funnier.
SEVENTEEN — Paramount
\ Betty Fields and Jackie Cooper, who
made such a success of What a Life,
are together again with Jackie playing the
passionately seventeen, Willie Baxter and
Betty as the baby-talk lady.
The whole story is there, very much as Booth Tarkington wrote it. Ann Shoe- maker plays the loving, rather elderly Mrs. Baxter. Otto Kruger plays the de- voted but understandably irritated Mr. Baxter. Thomas Ross plays the franti- cally furious Mr. Parcher.
The story has been carefully brought up to 1940, in every little detail, but somehow it dates as a tale of the past. The characters remain Tarkington types, rather than people, «and the film is vaguely not so funny as it should be. This is not the fault of the excellent actors.
THE ROARING TWENTIES — Warners
■ All of you who have liked James Cagney for his bounce and vigor but who considered him a rather limited actor should make an especial effort to see this film. He gives his expected rough and tumble performance in the first part which deals with the adventures of two young men returned from France after the war. One (Jeffrey Lynn) studies hard and becomes an attorney. The other (Cagney) finds excitement and big money in boot- legging. Both fall in love with Priscilla Lane. There is plenty of excitement in the first part, but you will have a new respect for Cagney when you see his performance at the end as the uncertain, broken former big-shot.
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11
You'd Hate Being a Star
■ Yes, I have beautiful clothes. And I know famous people. And I make a lot of money. I have a lovely house and my car is paid for. I have some lovely jewels, and if I take a fancy to a new fur coat, I can buy it without worrying about the mortgage. But, just the same, you are luckier than I am, most of you, and hap- pier and more serene. Certainly I go on some lovely trips between pictures, but, taking it hour by hour and day by day, you'd hate to be a star!
Think I'm crazy, don't you? Think I'm talking through my hat! All right, here are a few questions for you. Take this little test — answer truthfully — and see if you come out on top.
Can You Take Orders?
S You're pretty — you're the pet of the family. But on a studio sound stage you're just "another cute doll" — until you get to the top. How do you answer when somebody yells "Hey — you!" How would
Impassioned is this plaint of an actress so famous that she has asked ns to withhold her name from this inside tale of the woes of movie stardom
you feel when the director hurls sarcasm at you? Do you sulk? Do you cry? You can't do that and keep your job. No, Ma'am! Do you get mad and answer back? Nothing doing there, either. Lots of pretty girls to take your place. Prettier than you, maybe. You have to learn to take it on the chin on the way up. At the top — it's worse! If you're a star the sar- casm is doubly vindictive — you're a Big Shot — you're not supposed to make mis- takes. How would you feel as star of a picture if the director yelled through the loudspeaker system, "The bit play- ers will show you how to act that scene, Miss Glamour!" And everybody laughed. Would you laugh, too? Would you try again? I've heard those very words used on a star of the highest rank — and she took it. Would you?
Do You Like to Get Up Early in. the Morning?
| Think hard before
you answer this,
because no star likes
to get up; but studio
calls mean five-thirty
under the shower,
and nine o'clock on
the set — dressed, made-up and ready for
the camera. How would you like to have
your hair washed and dressed at six a. m.
when you're half asleep and longing for
bed? How would you like to climb into an
intricate evening gown at seven of a foggy
morning — feeling silly and trying to look
glamorous?
Do you take hours to "get awake?" You can't do that in pictures. The camera reg- isters sleepy eyes and dark shadows under them even though make-up can hide the worst of it. Would you enjoy walking onto a cold sound stage in a backless evening dress at seven a. m. with a lot of equally sleepy people and try- ing to register emotion vividly when
the shivers are running down your spine? Does that sound like fun? It doesn't? It isn't!
Are You Moody?
■ Do you feel as though the end of the world were at hand sometimes. As
though you wanted to run and hide or scream or cry your eyes out? Of course you have. Women feel that way often. And show it sometimes. In pictures (if you're a star) you hide that temperament, or somebody else gets that leading role you want — next time. Sure, there was a time when temperament was played up, but no more. Making movies is a highly competitive business. Tears and tantrums run up a shooting schedule — and the pro- ducer's temperature. There is no room for temperament these days. You take an aspirin for that screaming headache and go on working — under lights that burn into your head like steel rods. Does that entice you?
Are Your Eyes Strong?
■ That's a funny question, isn't it? But eyes are important to stars. Eyes
that get red and weepy under strong lights don't belong in pictures. You are under a merciless glare all the time you are work- ing. If it's a Technicolor picture the lights are blinding. A few minutes under these lights and you can't see for a whole min- ute after you walk into the gloom of the rest of the stage. You get headaches — you get eye strain — and you have to go on. It's a million dollar production at least — and you have to "take it" or get out. Would you take it?
Is Your Memory Keen?
S Now you're going to say: "What if it isn't? Only a few lines are spoken at a time. I can remember those."
Oh, lady, it isn't just the lines. Suppose your part of the script calls for you to say: "Oh, John, look at these flowers. I know Jim sent them." You can remember that easily, can't you? Okay — you're on the set. The director calls for a rehearsal. You have to walk across stage right, go up to the flowers, turn back, greet John with a nod when he comes in, cross to left and stand by the little table where John waits and speak your piece. Then you must remember a certain gesture just at that time — a shrug — and you walk back to the flowers thoughtfully, and pause, looking back questioningly at John, who advances. There — one dialogue bit! It isn't just the words that throw you, it's remembering the wealth of detail regarding the stage business, and the gestures.
Can you walk up to a chalk mark on the floor without looking down, and stop on it, facing the camera all the while? Can you walk up for a close-up and stop fac- ing the camera at a bit of wood nailed to
XI
the floor? These are only used when a three-quarter shot is needed, or a close-up. But they are a hazard. They mark the camera focusing length, but they may also mark your length on the floor the first time you try it. See if you can do it at home! I dare you!
Do You Like Night Life?
| You're gay. You're full of fun. You want all that glamour has to offer. Just what does it offer to the fullblown star? When a picture is shooting you have to be at the studio at seven. If you're to go on location, you arrive at five-thirty.
How much night life do you think you could stand, when you have to arise at such hours? I'll tell you how much — none! You'll fall into bed the minute you get home — with a glass of hot milk. You'll want to sleep for years, but you'll get up at five o'clock just the same. You'd rather have a Scotch-and-soda before going to bed? Oh, you would! You'll drink milk and like it, lady. Liquor has a bad habit of showing up next morning on your face. Dark circles under eyes and lines in faces tell their own story. Your make-up man will scold you, and the camera will surely find you out. No, you're a star and you know darn well you can't see any bright lights other than those of the studio sound- stage until the picture is finished.
I know what you'll say to that. When the picture is finished you're going to take a good long rest and do just what you
want. Oh, you are? The studio requests that you be present at the preview. Of course, you've seen the picture. You're the star, aren't you? And you've seen the daily rushes ever since the picture started. Sure, but you haven't had a pub- lic reaction yet. And your public has to see you at the preview. You must dress up, arrive on time and let yourself be mobbed by autograph hunters. And that isn't all. You'll see it again at the pre- miere. The studio chiefs have a funny way of requesting your presence there, too. So you sit through it again. You won't like seeing yourself on the screen by that time. Ask any star about seeing his own pictures, and he shudders with real distaste. Know why? You'll see mistakes you've made, scenes that turn you cold, places where you photographed
badly, scenes you dread. I've seen stars tear handkerchiefs into bits, watching themselves on the screen. I've seen them take seats as far from the producer as they could — dreading the time when he might say: "Hedy Lamarr could have put that scene in her pocket. Gilda Glamour doesn't do the lines justice." Oh, it's fun being a star — it's grand — and you'll wish you were dead a million times a day!
Are You Nice to People ?
E| What a question! Of course you're nice to people. You love your mother, your family, your friends. Ah! But how about being "ordered" to be nice to peo- ple? Strangers? Can you do that? Can you stand calmly in the middle of a push- ing group of kids and sign autographs and [Continued on page 64]
NEXT MONTH
Don't miss our favorite extra's report on his adventures when he worked in The Grapes of Wrath, most discussed picture of the season . . . Wilbur Morse, Jr., gives you an inside report on Sonja Henie's home in Norway . . . Kay Proctor, David Niven and Charles Rhodes pooled their brilliant talents to give you lowdown on How to Be a Villain. A good issue, on sale Decem- ber 10.
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