Walsh may be the one on the far right sitting in a chair. The man in the middle chair facing the camera looks like Vladimir Putin.
Walsh is always instantly recognizable and the center of attention. I don't think he is the guy on the right...too bland! Maybe he is taking the picture. Note: Picture from The Tall Men. CIRCA 1955: Director Raoul Walsh behind the scenes on the set of the 20th Century Fox movie "The Tall Men" circa 1955. (Photo by Michael Ochs Archives/Getty Images) Same group from different angle? "Putin" is working the camera! Walsh smoking.
Filming of Gentleman Jim (1942). -.. Errol Flynn, Alexis Smith, Alan Hale on top of buggy; one man under. Walsh top left.
From the musical comedy Artists and Models (1937), with Jack Benny, Ida Lupino, and Richard Arlen Left to right: Gloria Wheedon, Gail Patrick, and Mary Shepherd Wheedon and Shepherd appear uncredited as "The Water Waltzers." The movie got good reviews. Artists and Models (1937) - YouTube
THE SCREEN; 'Artists and Models,' Which Opened Yesterday at the Paramount, Is One of the Season's Best Musicals
"Threatening as its title was, with its suggestion of dancing girls, revels, head-splitting production numbers and all the Saturnalia Hollywood could devise, the Paramount's "Artists and Models" proves to be a suave, witty and polished show, one of the sprightliest of the season's musical comedies. A deal of humor has gone into the script, Raoul Walsh has paced it smoothly, and an engaging cast has given it buoyance and zest. If the score is less than epochal, it manages to get by and, in one case, Frederick Hollander's "Whispers in the Dark," it points unerringly at a hit. Breaking with the backstage tradition for a change, its plot headquarters is the Brewster Advertising Agency (Jack Benny, president), a starving hole in the skyscraper wall, echoing with the tread of the sheriff, the ghosts of ghosts that didn't walk and Mr. Benny's letter to the government: "* * * in re: the Social Security Act, I wish to apply for an advance." Prosperity, however, is just around the corner, all dressed up in a $1,000,000 Townsend Silver account—the only hitch being that the Townsend Silver girl be a non-professional model and be assured of being chosen queen of the Artists and Models Ball (Mr. Benny, chairman; the Yacht Club Boys, program directors). This rules Ida Lupino out, she being a professional, and lets Gail Patrick in, she being a debutante. It leaves Mr. Benny out, he being in a muddle, and it lets Richard Arlen in, he being the haughty Mr. Townsend. It admits, under some stowaway classification, Ben Blue and Judy Canova, who can holler like all get out; and it finds a place for Andre Kostelanetz and his orchestra, for Martha Raye and trumpeter Louis Armstrong to blast through a high-brow sequence called "Public Melody Number One," and for the Russell Patterson puppets, the "Personettes."Perhaps I misread this sequence, but the appearance of the "Personettes" struck me as satire of a high order. The puppets, you see, have a production number of their own, with trick lighting and overhead shots, while little wooden chorus dolls and ballet dancers jerk through a typical musical comedy routine. "Mister Esquire," the raffish old gent on the magazine's covers, ogles and winks the while, cuts a few stiff-jointed capers himself and ultimately pursues a pair of the wooden sirens offstage. It seemed to me to be the perfect spoof of the usual song-and-dance interlude, proving how unnecessary it really is and how easy to duplicate (in fact, improve upon) with dolls. The picture moves racily along—and racy is the only word for some of the dialogue—introducing its musical interludes on some pretext or other, handling them cleverly and keeping the story (thin as it is) well in the foreground. Mr. Benny, still the drollest comic on the screen, doesn't miss a beat and turns in his best performance to date. Cecil Cunningham as his secretary, Miss Lupino, Miss Patrick, Mr. Arlen and the rest are entirely satisfactory. We could have done with less of the Martha Raye-Louis Armstrong sequence, but that's a minor fault. As a whole, it's a model musical comedy." "ARTISTS AND MODELS, from a screen play by Walter DeLeon and Francis Martin; story and adaptation by Sid Herzig, Gene Thackrey, Eve Greene and Harlan Ware; score by Ted Koehler, Harold Arlen, Victor Young, Burton Lane, Frederick Hollander and Leo Robin; musical numbers staged by LeRoy Prinz; directed by Raoul Walsh and produced by Lewis E. Gensler for Paramount. At the Paramount.Mac Brewster . . . . . Jack BennyPaula Sewell . . . . . Ida LupinoAlan Townsend . . . . . Richard ArlenCynthia Wentworth . . . . . Gail PatrickJupiter Pluvius 2d . . . . . Ben BlueToots . . . . . Judy CanovaLois Townsend . . . . . Kathryn KayStella . . . . . Cecil CunninghamMrs. Townsend . . . . . Hedda HopperDr. Zimmer . . . . . Donald MeekAnd the Yacht Club Boys, Louis Armstrong, Martha Raye, Andre Kostelanetz and his orchestra; Connie Boswell; Judy, Anne and Zeke; Russell Patterson's "Personettes" and the Water Waltzers, Mary Shepherd and Gloria Wheedon."
I had to hear the song. It's not bad. Someone should try a remake. Diana Krall, Rod Stewart, Willie Nelson? Whispers in the Dark - Connie Boswell (1937)
"Some directors you can sum up in a single word, so inimitable is their signature upon the screen. With Alfred Hitchcock that word is “suspense”; with Bernardo Bertolucci, obviously, it is “sex”; with Ingmar Bergman “desolation”. In Walsh’s case, the word is “adventure”." "If you think dashing Persian heroes were invented in the climate-controlled confines of the Disney studio, try The Thief of Bagdad, Walsh’s luminous 1924 film starring Douglas Fairbanks, a star who proves that sheer athleticism can still outdo anything created by CGI. In Gun Fury (1953), he took a narrow conceit – a single stagecoach robbery – and spun it into a tightly wound tale of kidnapping and revenge." "Then there’s They Drive by Night, one of the earliest road movies on the map and a precursor to such classic buddy vehicles as The Silver Streak (Arthur Hiller, 1976) and Thelma and Louise (Ridley Scott, 1991). You may never have imagined that truck drivers led exciting lives but after seeing George Raft and Humphrey Bogart behind the wheel you’ll think there was nothing more thrilling." "The duo play brothers Joe and Paul Fabrini, wildcatters who roam the highways of California trying to strike it rich. Along the way, they battle greedy distributors, loan collectors, and the elements, with enough time in between to exchange wisecracks with fast-talking dames in roadside diners. Even the love talk has an edge that could crumple your fender. “It’s a classy chassis”, Raft says, looking Ann Sheridan up and down. But she’s not having any: “You couldn’t even afford the headlights.”