:37:00
Greene had a problem. He was an
alcoholic and he was frequently drunk.
:37:04
The crew covered for him
as best they could,
:37:07
and Mohr effectively had
to carry the show all on his own.
:37:10
Mohr was a very gallant-if aloof-man,
:37:13
and Susanna Foster
remembered his behaviour.
:37:15
One day she returned late from a lunch
hour and she was loudly tongue-lashed
:37:20
by producer George Waggner
in front of the crew.
:37:22
Mohr went to her rescue just as loudly
:37:24
and shouted down his producer for
the outburst-a very risky thing to do.
:37:30
By contract,
Natalie Kalmus of Technicolor
:37:32
was there to supervise
all of the colour design.
:37:35
Mohr loathed Mrs Kalmus.
:37:38
When Arthur Lubin started colour tests
of Eddy and Foster,
:37:41
he too found her presence
to be "a pain in the ass".
:37:45
"We had to test everything for her."
:37:47
"There was a great deal of interference
from Technicolor."
:37:49
"They'd say 'You're putting too much red
in' or 'You need more green'."
:37:53
"She and Duke made the final decisions."
:37:55
"You'd listen to Technicolor if they had
the final say on the printing of the thing."
:38:01
Lubin said Technicolor was very difficult,
tending to come out red all the time.
:38:05
Not a pleasing process to work with,
and a difficult experience.
:38:08
Art director Alex Golitzen recalls Hal Mohr
as a rather aloof and unsociable man
:38:13
but a very skilled technician. If he were
going to use an amber gel in a scene,
:38:18
Golitzen was very careful to see
the effect of the gel on the flats
:38:22
and then alter the hues of his paints
to accommodate the colour design.
:38:27
Prerecording of the musical numbers
to a click track started in December 1942.
:38:32
"They'd put a little click in
to give you your breath" Susanna says.
:38:36
"Nelson had trouble with synchronisation,
despite all the years he'd done it."
:38:40
"I never had a problem." Her only concern
was an allergy attack during the sessions
:38:45
which she felt compromised her singing.
:38:47
In her opinion, her voice was superior in
a Lux radio broadcast on September 13,
:38:52
with Rathbone as the opera ghost.
:38:55
Jane Farrar is said to have been found by
Waggner in the Universal commissary.