This is an ORIGINAL piece of studio Art direct from the HAL ROACH STUDIOS. This artwork is OVER 70 YEARS OLD!!!

It is an artwork pencil on paer drawing that features Blond, lovely bubbly MARJORIE WOODWORTH. The artwork is on Strathmore paper, measuring about 11" x 17". The art image is about 5" x 6". The paper has aged and the artist is Helen Callary.

It features the blond lovely in a nurses cap. I am not sure if this was for art for the movie poster or for print ads, but it's an original piece of artwork of the actress from the 1943 comedy film,

Yanks Ahoy

Sergeants flirt with a nurse aboard ship and go fishing for a Japanese Sub.

Sergeant Dorian "Dodo" Doubleday is allowed to go into active duty only because his superiors are impressed by his photographic memory. Sergeant Ames, a superior physical specimen but intellectually inferior, is offended that a weakling like Doubleday has been assigned to the transport ship which will take them overseas. Hardy Ames makes fun of the seasick soldiers until he becomes seasick as well, and Doubleday succumbs after losing his anti-nausea pills. A voracious learner, Doubleday eagerly memorizes the ocean charts, but is later humiliated when he earnestly follows Quartermaster Jenkins' joking suggestion that he obtain eggs for the captain from the "crow's nest." Doubleday has an evening rendezvous with nurse Phyllis, but she loses interest after his attention strays to a flashing light in a nearby cliff. Doubleday is soon declared a hero for intercepting and identifying the light signals as a message intended for an enemy saboteur aboard ship. While everyone searches for the saboteur, Jenkins takes over the wheel when the ship goes into a dangerous strait. Ames mistakes Jenkins for the saboteur and knocks him out, so Doubleday pilots the ship through the strait using on his memory of the ocean charts. Doubleday is again praised for his efforts, and Ames is demoted for his. After an angry Ames tricks Doubleday into the nurses' quarters at night, however, Doubleday is demoted and loses Phyllis's affection as well. Shortly after, the captain receives word that the saboteur was captured earlier while boarding the ship. Put on K.P. duty together, Doubleday and Ames are sent by cook Flynn to catch some fish. When they feel a strong tug on their line, they struggle to keep hold, and climb into a rowboat to reel the fish in. Instead, they are dragged by the mighty creature, which turns out to be a two-man Japanese submarine. Ames and Doubleday capture the Japanese and force them to row the submarine to their ship. His pride restored, Doubleday presents Captain Scott with the enemy logbook.

Director: Kurt Neumann

Writers: Eugene Conrad, Edward E. Seabrook

Stars: William Tracy, Joe Sawyer, Marjorie Woodworth


William Tracy ... Sgt. Dorian 'Dodo' Doubleday
Joe Sawyer ... Sgt. Ames
Marjorie Woodworth ... Phyllis Arden
Minor Watson ... Capt. Scott
Frank Faylen ... Quartermaster Jenkins
Walter Woolf King ... Capt. Gillis
Romaine Callender ... Col. Elliott
Robert Kent ... Lt. Reeves

The keyset photo that comes with the art features Marjorie with co-star William Tracy. The photo is stamped on the back, APPROVED AUG 5, 1942 HOLLYWOOD It's a nice photo all original with the original art! Great for the Blonde lover, film art or HAL ROACH Collector!

Shop with confidence! This is part of our in-store inventory from our shop which is has been located in the heart of Hollywood where we have been in business for OVER 40 years!

MORE INFO ON MARJORIE WOODWORTH: Hal Roach tried to launch a new star with his 1941 farce Broadway Limited only to discover what most of Hollywood already knew: Stars aren't made, they're born. But he still came up with a spirited comedy that provided a nice showcase for some of Hollywood's best comic sidekicks. He even launched another Hollywood stalwart, though it wasn't a human one.

The star Roach tried to create was Marjorie Woodworth, a blonde beauty he was grooming to become the next Jean Harlow. After a few walk-ons, she had signed with Hal Roach Productions, where she started out with a supporting role in 1941's Road Show, which also featured Broadway Limited co-stars Patsy Kelly and George E. Stone. She followed with her first leading role, as a rising star riding the "Broadway Limited" from Chicago to New York. Her producer (Leonid Kinskey) arranges to borrow a baby for a publicity stunt, only to get them all implicated in a high-speed kidnapping investigation.

MORE INFO ON HAL ROACH: Hal Roach was born in Elmira, New York in 1892. After working as, among other things, a gold prospector, he wound up in Hollywood and began picking up jobs as an extra in comedies, where he met comedian Harold Lloyd. He began producing, directing and writing a series of short film comedies starring Lloyd around 1915. These were quite successful, and Roach started his own production company and eventually bought his own studio. By the early 1920s he had eclipsed Mack Sennett as the King of Comedy and created many of the most memorable comic series of all time, even by today's standards. These include the team of Stan Laurel and Oliver Hardy, Charley Chase and The Little Rascals. By the late 1930s Roach's formula for success was jeopardized by audience demands for bigger, feature-length productions, and he was forced to try his hand at making full-length screwball comedies, musicals and dramas, although he still kept turning out two-reel comedies. By the 1950s he was producing mainly for television. In 1983 his company developed the first successful digital colorization process. Roach then became a producer for many TV series on the Disney Channel, and his company still produces most of their films and videos.

MORE INFO ON WILLIAM TRACY: Pittsburgh-born actor William Tracy was born on December 1, 1917, and began performing professionally as a youth. Trained at the American Academy of Dramatic Art, he appeared in musical and comedy roles until his big break arrived in 1937 at age 19 when he took over the role of fidgety military school "plebe" Misto Bottome in the hit Broadway show "Brother Rat." The following year he recreated the role in the film version of Brother Rat (1938) that had him in good standing company alongside up-and-coming Warner Bros. actors Wayne Morris, Priscilla Lane, Eddie Albert (also from the Broadway show) and both Ronald Reagan and Jane Wyman, who would marry a short time later. William's second film assignment for Warners was playing 'Pat O'Brien' (I)'s as a young adult in the classic yarn Angels with Dirty Faces (1938).

Hal Roach saw promise in the tousle-haired, innocent-looking youth with the slightly squealy voice and signed him up for a some WWII comedy programmers teamed up with actor Joe Sawyer. He and the tough-looking Sawyer played Sgts. "Dodo" Doubleday and William Ames, respectively, in the flimsy but amusing misadventures of two soldiers at odds with each other. Tracy's character has a photographic memory which steers him into all sorts of unexpected trouble. Audiences took to the harmless escapism and Roach obliged by churning out more of these lowbudgets, recreating the characters in About Face (1942), Hay Foot (1942), Fall In (1942) and Yanks Ahoy (1943).

Tracy is best remembered, if at all, for playing the lead role in the film adaptation of the popular comic strip Terry and the Pirates (1940). Featured roles in such classics as The Shop Around the Corner (1940), Tobacco Road (1941), Mr. & Mrs. Smith (1941) and George Washington Slept Here (1942) also endeared him to the public usually enacting an amiable but somewhat dull-witted fellow. Offers started drying up in post war years, however, and an attempt to re-team Tracy and Sawyer's sergeant characters with As You Were (1951) and Mr. Walkie Talkie (1952) fell flat.

Tracy went on to appear on TV and was featured in the series cast of Terry and the Pirates (1952), not as the lead this time but in the role of Hotshot Charlie. From there he faded away into relative obscurity. He died in 1967 at age 49 in Los Angeles.

MORE INFO ON HAL ROACH: Hal Roach was born in 1892 in Elmira, New York. After working as a mule skinner, wrangler and gold prospector, among other things, he wound up in Hollywood and began picking up jobs as an extra in comedies, where he met comedian Harold Lloyd in 1913 in San Diego. By all accounts, including his own, he was a terrible actor, but he saw a future in the movie business and in Harold Lloyd. Roach came into a small inheritance and began producing, directing and writing a series of short film comedies, under the banner of Phun Philms (soon changed to Rolin, which lasted until 1922), starring Lloyd in early 1915. Initially these were abysmal, but with tremendous effort, the quality improved enough to be nominally financed and distributed by Pathe, which purchased Roach's product by the exposed foot of film. The Roach/Lloyd team morphed through two characters. The first, nominally tagged as "Will E. Work", proved hopeless; the second, "Lonesome Luke," an unabashed imitation of Charles Chaplin, proved more successful with each new release. Lloyd's increasing dissatisfaction with the Chaplin clone character irritated Roach to no end, and the two men engaged in a series of battles, walkouts and reconciliations. Ultimately Lloyd abandoned the character completely in 1917, creating his now-famous "Glasses" character, which met with even greater box-office success, much to the relief of Roach and Pathe. This new character hit a nerve with the post-war public as both the antithesis and complement to Chaplin, capturing the can-do optimism of the age. This enabled Roach to renegotiate the deal with Pathe and start his own production company, putting his little studio on a firm financial foundation. Hal Roach Productions became a unique entity in Hollywood. It operated as a sort of paternalistic boutique studio, releasing a surprising number of wildly popular shorts series and a handful of features. Quality was seldom compromised and his employees were treated as his most valuable asset.

Roach's relationship with his biggest earner was increasingly acrimonious after 1920 (among other things, Lloyd would bristle at Roach's demands to appear at the studio daily regardless of his production schedule). After achieving enormous success with features (interestingly, his only real feature flop of the 1930s was with General Spanky (1936), a very poorly conceived vehicle for the property), Lloyd had achieved superstar status by the standards of "The Roaring Twenties" and wanted his independence. The two men severed ties, with Roach retaining re-issue rights for Lloyd's shorts for the remainder of the decade. While both men built their careers together, it was Lloyd who first recognized his need for creative freedom, no longer needing Roach's financial support. This realization irked Roach, and from this point forward he found it difficult, if not impossible, to offer unadulterated praise for his former friend and star (while Lloyd himself was far more generous in his later praise of Roach, he, too, could be critical, if more accurate, in his recollections). Lloyd went on to much greater financial success at Paramount.

Despite facing the prospect of losing his biggest earner, Roach was already preoccupied with building his kiddie comedy series, Our Gang, which became an immediate hit with the public. By the time he turned 25 in 1917, Roach was wealthy and increasingly spending time away from his studio. He traveled extensively across Europe. By the early 1920s he had eclipsed Mack Sennett as the "King of Comedy" and created many of the most memorable comic series of all time. These included the team of Stan Laurel and Oliver Hardy, Charley Chase, Edgar Kennedy, 'Snub' Pollard and especially the long-running Our Gang series (AKA "The Little Rascals" in TV distribution). Pathe, which distributed his films, shut down its U.S. operations after its domestic representative, Paul Brunet, returned to France in 1927. But Roach was able to secure an even better deal with MGM (his key competitor, Mack Sennett, was also distributed by Pathe, but he was unable to land a deal, ultimately declaring bankruptcy in 1933). For the next eleven years Roach shored up MGM's bottom line, although the deal was probably more beneficial to Roach. In the mid-'30s Roach became inexplicably enamored of 'Benito Mussolini', and sought to secure a business alliance with the fascist dictator's recently completed film complex, Cinecitta. After Roach asked for (and received) assurances from Mussolini that Italy wasn't about to seek sanctions against the Jews, the two men formed RAM ("Roach And Mussolini") Productions, a move that appalled the powers at MGM parent company, Leow's Inc. These events coincided with Roach selling off "Our Gang" to MGM and committing himself solely to feature film production. In September 1937, Il Duce's son, Vittorio Mussolini, visited Hollywood and Roach's studio threw a lavish party celebrating his 21st birthday. Soon afterward the Italian government took on an increasingly anti-Semitic stance and, in retribution, Leow's chairman Nicholas Schenck canceled his distribution deal. Roach signed an adequate deal with United Artists in May 1938 and redeemed his previous record of feature misfires with a string of big hits: Topper (1937) (and its lesser sequels), the prestigious Of Mice and Men (1939) and, most significantly, One Million B.C. (1940), which became the most profitable movie of the year. Despite the nearly unanimous condemnation by his industry peers, Roach stubbornly refused to re-examine his attitudes over his dealings with Mussolini, even in the aftermath of World War II (he proudly displayed an autographed portrait of the dictator in his home up until his death). His tried-and-true formula for success was tested by audience demands for longer feature-length productions, and by the early 1940s he was forced to try his hand at making low-budget, full-length screwball comedies, musicals and dramas, although he still kept turning out extended two-reel-plus comedies, which he tagged as "streamliners"; they failed to catch on with post-war audiences. By the 1950s he was producing mainly for television (My Little Margie (1952), Blondie (1957) and The Gale Storm Show: Oh! Susanna (1956), for example). His willingness to delve into TV production flew in the face of most of the major Hollywood studios of the day. He made a stab at retirement but his son, Hal Roach Jr., proved an inept businessman and drove the studio to the brink of bankruptcy by 1959. Roach returned and focused on facilities leasing and managing the TV rights of his film catalog.

In 1983 his company developed the first successful digital colorization process. Roach then became a producer for many TV series on the Disney Channel, and his company still produces most of their films and videos. He died peacefully just shy of his 101st birthday, telling stories right up until the end.

This item is part of Backlot Movie Memorabilia and collectibles in-store inventory from our shop which is located in the heart of Hollywood, where we have been in business for OVER 40 years!!!

Item #BMM0002855