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“Then all five of them get com
fortable and start throwing gags.
When they get an especially good
one they may build an entire com
edy situation around it. Some
times they have a situation out
lined and have to find the gags to
fill it in. In any event, I watch
them closely and take down what
seems to be the final choice. 1 can
usually tell what it is by the re
ception the gag gets. When they
all howl with laughter, that’s gen
erally it.
Mr. Benny, of course, decides
what should go in the scripts and
I’ve learned to recognize by his
reactions just what he wants. I
guess it’s sort of a sixth sense by
now. Mr. Benny has an uncanny
faculty for picking out the weak
and strong spots in a situation. He
knows what he wants. He acts
everything out and sometimes gets
carried away by it all.”
Janie says she has learned a lot
about comedy, at least enough to
appreciate good comedy. She
thinks being a gag writer is one of
the most difficult jobs imaginable.
And she enjoys the writing
sessions.
“I’m a good audience,” she de
clares. “I laugh when they’re
writing the show, I laugh during
rehearsals and I even laugh when
the show is being broadcast, al
though I’ve lived with that par
ticular script all week.”
She likes working for Jack,
mainly because he’s considerate.
He also pays well, despite his
script characterization as “the
stingiest man in the world.” What’s
the hardest thing about writing a
comedy script? “Getting that first
line down on paper,” says Jane.
• 6 6
Sidney Franklin and William
Wyler, as producer and director
respectively, teamed up to put
“Mrs. Miniver” into the Academy
Award sweepstakes in 1942. Sid
ney is still at Metro-Goldwyn-
Mayer and has just finished pro
ducing “The Yearling,” while Wil
lie’s first postwar film is “The Best
Years of Our Lives,” which looks
like terrific competition for the
1947 Oscars!
* • *
The most hectic household these
days in Hollywood is Eddie Can
tor's. It’s like a club with streams
of movie and radio folk, Eddie’s
married daughters and their fam
ilies and his unmarried daughter’s
friends pouring in and out. Song
writers punish the piano and
there’s a babel of voices as scenar
ists do comedy routines for “If You
Knew Susie,” which Eddie is pro
ducing and starring in at RKO
studio.
I asked Mrs. Cantor how she
managed to keep a cook, for meals
are served at all hours of the day
and night. Replied Ida: “I look for
a cook who has worked in a 70- or
80-room hotel. She comes here and
thinks it's a vacation!”
Introduction
(Continued from page 6)
he said. And now they all chant
the Kaddish at the top of their
voice . . . Magnified and glorified
by thy great name.”
* * *
ABOUT OUR COVER ... We
had planned the photograph on
page 8 for our front cover. But
when we laid eyes on the shot of
the Phi Eps polishing off the living
room silver, a scene we can easily
conjure up as preparation for a
rushing event, frat party or the
forthcoming national convention,
we knew it was what we wanted.
It simply hollers “fraternity” from
top to bottom and across. The Phi
Eps, not all of whom belong to the
Georgia Tech chapter where the
picture was made, are: (1. to r.)
Sam Massell, Jr., Atlanta; Fred
Ringel, Brunswick; Marshall
Hirsch, Atlanta; Julius Edel, Sa
vannah; Ernie Scheller. Stamford,
Conn.; Dick Wasserstein, New York
City; Henry Schwab, Columbus;
(standing) Bobby Hecht, Colum
bus, and Fred Wolf, Tampa.
— ADOLPH ROSENBERG
I. Saac's Jest for Fun
Told on President C. W.
SOME WEIZMANN STORIES
It was in the days before Hitler. Dr. Weizmann was going around try
ing to make converts of distinguished Jews. It was hard sledding doing
that then. Particularly in Germany.
Dr. Weizmann visited the late Prof. Ehrlich, the discoverer of salvar-
san. W eizmann started talking and Ehrlich talked back. No, said Ehr
lich. Germany was a good country. He wanted no Zion.
So the conversation dragged on. Finally Ehrlich said, “I’m sorry to
cut you off. Dr. W eizmann. but do you know' that there are princes and
noblemen here who have been waiting a whole hour for me?”
\ es. said Dr. Weizmann, “but they are waiting for you to give them
an injection. I have come to give you an injection ”
THE MAN WHO DARED
Rabichek didn’t like Weizmann. He kept on arguing in the halls of the
Zionist convention that the trouble with Zionism was too much Weizmann.
A brother delegate grew wrathy at Rabichek. “Why do you tell us all
of this? There is Weizmann himself. Go up and tell him what you just
said. I dare you.”
“So you think I’m afraid,” said Rabichek. "Well, you’ll see. With
that he went straight up to Weizmann.
Dr. Weizmann. he began, “it's time . . . for you . . . to give
me your autograph.”
(24)
The Southern Israelite