THAT'S ME IN THE SECOND ROW
PART 7
The depression did not affect me. It was strange, but in
the darkest days of the depression, people still found the money to see movies. Thus I was paid and working throughout the bad years. The movies changed slightly, now "Escapist Fantasy" became the main productions. We were so busy making movies that we had time for nothing else. (We did not realize it at the time, but that was our salvation) The seeds of Hollywood's darkest period were planted, but did not bear fruit for another 15-20 years.
During the 30's, we did something that we are very proud of, but was never publicized. As Hitler consolidated his power, he destroyed the German Film industry. The German Film Industry had been located in Berlin and had given us "Metropolis" and later "M". Many in that industry were Jewish. Hitler, through Goebbels, marked those Jewish members of the film industry, for "removal." There was an unorganized movement in Hollywood, to bring those members of the German Film Industry to Hollywood. (I say unorganized because it started casually. Marlena Deitrict mentioned, at a Hollywood party, that she was sending money to her friends in the German Film Industry. She was then bombarded with offers to help and cash donations by backstage workers in the Hollywood film industry, including cash donation from the Studio Owners, although they would never admit their part.) Most refugees arrived not speaking a word of English We loaned out our dance studio for German/English classes. We purchased a number of the combination seat and desk that was prevalent at the time, and several blackbords with their own feet. The desks and blackboards were pushed to the sides when the studio was used for dance classes. Interestingly enough, the dance students never asked what the desks were for. Most of the German refugees did not become fluent enough in English, for American film. They did get jobs behind the camera; some (such as Peter Lori) did become fluent. Others, we loaned money to, until they "got on their feet." Every dollar we loaned out was eventually repaid!
World War II was something else!
All three of us were drafted. My amaretto received a commission and got orders to Hollywood to make war films. I went down for my physical. I brought a copy of my "Resume", listing all of the movies I had worked on as Choreographer and "Dance Captain." Unfortunately, the sergeant in charge was a homophobe and assumed that anyone who worked in the movies, was gay. When I got through with the physical, my paperwork was stamped "4-F". I carefully looked over the paperwork, Nowhere did it say anything about being gay, and I found no secret number codes. I went home and back to work.
Peter was not so lucky. He went down for his physical and was tall enough to be drafted. We found out later that had he been a fraction of an inch shorter he would have been too small for the Army. The Army had to figure out what to do with a small soldier who wore clothing that looked too big for him, even the SMALL size!. Then the Army found out that Peter was very strong. They sent him to the Signal School where they strapped a two-way radio on his back then sent him off to war in the South Pacific. Needless to say we had someone to worry about.
Peter had a short time off before going overseas. We took him and his Army clothing to the studio costume shoppe. The ladies there were delighted to help one of OUR servicemen! In no time at all, they custom fit Peter's Army clothing, and no longer did he look like he was wearing clothes that were too big for him. The well dressed Peter went off to war, and we worried.
The Hollywood community did its part in the war effort. During the War we made escapist fantasies, propaganda films and Army training films. I had previously drilled dancers in dance. I know learned how to stage Battle Scenes. I worked with the Hollywood Special Effects Department and Army Personnel to have battle scenes (for propaganda films) that looked authentic. In later years, the participation expanded. Stars conducted "War Bond Drives," the Hollywood Canteens, and (Later) the stars went overseas to entertain the troops.
One of my treasured experiences was meeting the Great Arthur Freed. I first worked with him on the Wizard of Oz (I was "loaned out" by my studio) He was then functioning as an Assistant Producer on the film. I was very pleased when I found out that he asked for me by name. I was developing a reputation for backstage work and I never received credit! I will not bore you with stories about drilling almost 100 little people for the dances in that film. Suffice it to say that they may have been small, but they were full functioning adults and I think the Devil had their ears. It was quite an experience.
During the war, Mr. Freed asked for me again when he produced "Meet Me in St. Louis." There is not much dance in that film, but Vincent Minelli would stage the numbers and I would drill the actors for perfect blocking. I knew by heart, the words for "The Trolley Song" long before the film was released. (We knew it was a great song before anyone else.) There was one interesting thing that happened while that film was made, and that was the song "Have Yourself a Merry Little Christmas." The original lyrics were so depressing that Garland refused to sing them. After much pressure, the writer of the song wrote new lyrics, which Garland did sing in the film. Because I got on well with Mr. Freed, I worked on his many films; but that came later.
When the war ended, Peter came home and rejoined us. He was one of the lucky ones. He returned in one piece with no head problems. When he returned he was immediately rehired by our studio! He spent a few days reading every sound magazine he could get his hands on; when he was up to date, he went back to work. He devised a method for sound on film that reduced sound costs by half. The studio was very happy with him and he received a hefty bonus.
As far as we knew, Peter had no psychological problems from the war. One night, he dissuaded us of that concept. He got drunk and related the hell of war that he had seen. He started crying when he related the death of his friends. We let him cry himself out and put him to bed. We never talked about the war again!