Profiles of Irene Dunn and Joan Blondell

Bitwell McCormick takes you behind the scenes in Hollywood. They tell me there was no backlighting Evelyn Keys during the filming of her new motion picture for Columbia a thousand and one nights. That was decreed by Cameron Ray Rannahan because of the filming garments Evelyn wore as a genie of the lamp in the technicolor extravaganza of Old Bag Dead.

When the Wispy Chiffon garments which Jean Louis designed for the actress were first tested, Renahind decreed that they could be used only if extreme care were taken not to place lights behind Evelyn, otherwise he said the ire of the sensors would be aroused.

So by ruling out all backlighting that might too sharply accent Evelyn Key shapely charms, Cameron and Renahand saved the day. Yes, the harem trousers, the breastplates, and the gauze skirts were factual oriental arraignment, and could not be changed for the film without the atmosphere losing authenticity.

Charles D. Brown, a heretofore unsung character actor of lengthy duration, is now flirting with fickle fame because Howard Hawks, the noted director, has spoken as follows. Of all the butlering celebrities in Hollywood, Brown strikes me as being the one with the impeccable demeanor, the inscrutable look, the impersonal mannerisms of the perfect screen butler.

In fact, he is like the one the late John Barrymore demanded when he made the man from Blakely's. Mr. Barrymore insisted upon having an actor who could not only act like a butler, but one who looks as though he had descended from a long line of butlers.

Leonard Muti, Mary Gordon, Barbara Woodill, and Clarence Mews have been added to the cast of Divorce, K. Francis' first starring vehicle for Monogram with William Knight directing, as Francis co-producers with Jeffrey Berners as well as playing the star role with Bruce Cabot opposite.