Word: rko
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...Metro was lending her voice to the sound track of a dog comedy. She posed for innumerable publicity stills (says she: "damnedest leg art you ever saw"), inadvertently landed a part in the chorus of the Broadway musical Smiles, played innumerable simpering glamor-girl parts for Columbia and RKO, in 1937 was out of work. Nice handling of a part as a dumb stenographer in Trade Winds, after a year's separation from the cinema, brought her to the attention of Producer Ruben...
...Life With Caroline (United Producers; RKO Radio). Caroline (Anna Lee) does not possess the studied virtuosity of the S. J. Perelman heroine who left the room in high dudgeon and returned in low dudgeon, just to show her versatility. But she is an exasperatingly contradictory female. Life confounds her. Attention is her dish. Her water-bug mind, attractively camouflaged by a pert, pretty face and curly, blonde topknot, tends to forget people when they aren't around...
Miss Lee, who is the wife of RKO Director Robert Stevenson, thought she had retired from the cinema when Milestone saw her in a British picture and cabled London to get her for Caroline. London told him to see Stevenson in Hollywood. He did. Milestone: "This cablegram says you know something about a woman named Anna Lee. I think she's what we want for my picture. Where is she?" Stevenson: "About four feet away from you. You have your back...
...Dick and Harry (RKO Radio) is homespun Ginger Rogers' first picture since her Oscarization. That Hollywood halo has not noticeably affected good old Ginger. She is still the epitome of the U.S. working girl-nonchalant, wise-eyed, self-sufficient, heaven-protected. Her performance as Janie The Beautiful Phone Girl, whose moonstruck propensity for accepting honorable proposals lands her in three simultaneous engagements, is adroitly comic...
...Sunny (RKO Radio) came to Broadway in the dreamboat days of 1925. She was luminous Marilyn Miller, star of an English circus, and she danced and sang her musicomedy way into the arms of an ex-doughboy baritone and the hearts of Manhattan theatergoers. Of no small help to her was the catchy score by Jerome Kern, Victor Herbert's successor and equal, and the lyrics by Otto Harbach and Oscar Hammerstein II. One of their tunes moved the great Critic Percy Hammond to observe: "One song entitled Who? was attractive enough to indicate that ere the snow falls...