"Artists and Models Abroad Farce Done, With Velocity Never has it been recorded that Hollywood suffered in pocket—or very deeply, at least—for making a revue, says an American writer. The formula varies not at all, except in the degree of lunacy. But a revue isn't easy to make. 14 15 long in the borning, expensive and only the coolest producers immune to being rattled over the absence of the ele-pliants, Swiss ell-ringers and Argentine tenors when the cameras ere ready for them. The nervofis strain involved in making a Grade A revue is equivalent to that in making "The Good Earth" or "Marie Antoinette," and the glory is less.
Chance also bedevil the programme, and two out of the eight re-vries are "lucky accidents"—the highest form of art in anything—and all involved lexultingly take the blame. By a happy dispensation of Providence, ohe of them always emerges in gocd season like "Artists and Models Alfroad" which comes to Shanghai soon. Arthur Hornblom, jun, got this revue out for Paramount, ang it is the second in the series set abroad For a star he has got Jack Benny, Joan Bennett Charley Grapewin, Mary Boland, the Yacht Club Boys and exactly 47 varieties (only ten under the sacramental number) of beauties to Paris at the time of the exposition. Benny, as a cowboy im-"presario, is there With his troupe and stranded. He strides down the boule-yard in ten-gallon hat and chaps looking for any Americano who will lend him money to rescue his beauties from hunger and the grip of the concierge. Thats striking the sinister mote at once to have it over with. Screaming little boys and affrighted citizens follow him down the street until he ducks into a restaurant—it looks like Jarraud's—and runs into Miss Bennett, whom he takes for a lady panhandler and generously offers her a job with his troupe.
Picking the Beauties For that matter, the 47 would in themselves be justification for any screen revue. If you want to hear more about them: the producer and LeRoy Prinz, the dance director, picked them out of 750, which in turn were picked out of 1,200, and Hollywood couldn't do any more. The writer happened to be there at the final picking-out in the sunlight on the Paramount quadrangle, a most severe test, when the girls were lined up like so many mari-golds, and Gilbert Gabriel remarked with that sadness that touches the beholder of pure beauty, "No, Fifty-seventh Street wasn't anything like this; not even after the best concert at Carnegie Hall. You've got to come here for it."
How many of them, do you suppose, came from the New England States? Not one. Texas yielded the top share of them, then Missouri and the dust-bow! States. New Englandfers complain about a rough climate. but they still refuse to emigrate to Hollywood, "They're too cultured to care for rough work," is Prinz's explanation. "Takes muscle to stand the racket."
Paramount has changed the tenor of its revues from the Hipprodrome and big fauna style of "The big Broadcast" to farce done with velo-
Stage Hero Makes Screen Debut From Helen Hayes stage husband to Constance Bennett's screen boy friend, describes the progress of Vincent Price, who may become one of feminine filmdom's major enthu-spasms.
Price is the young man who made sensational showing as Prince Albert opposite Helen Hayes in the two-year run of the stage play "Victoria Regina, at New York's Broadhurst Theatre. Before that, he had created this role of the Queen's husband in London. Now he is putting his interesting profile on celluloid for the first time opposite Constance Bennett in the Universal comedy, "Service De Luxe," (soon to be shown locally) with Helen Broderick, Mischa Auer, Charles Ruggles and Joy Hodges featured. of the prince who " Queen Victoria to the portrayal of a young inventor whose life Constance tries to "b seems as wide a change in rde the change in scene from Broadway to Hollywood that brought it about. For the youthful Price. however, it is something to be taken in stride
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