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ALDO MAGGIOROTTI
OPBRA STARS ON ‘THE SCREEN
Part 2 — THE TENOR YEARS 1935-1937
The period from 1935 to 1937 saw a veritable vocal onslaught on the low fifilm sound track. Grace Moore’s second Columbia film was released in *35 and titled "Love Me Forever", No doubt the producers thought the "Love" in the title would mean a duplication of the success enjoyed by "One Night of Love". This idea is not too far-fetched since the writer had occasion to speak to one of the most important film men in the country, who, on the subject of film titles, claimed that no picture in the past with "Magic" in its title did any business and his Company would not use that unmagical word in the title of one of their new productions! The fact that "Love Me Forever" did not follow in the financial footsteps of its predecessors was due mostly to its heavy
going dramatics. The picture did serve to introduce a good tenor voice in the personable Michael Bartlett. Miss Moore apparently saw to it that his Rodolfo’s Narrative was cut toa few phrases and allowed him to sing the "0 Soave Fancivila™ duet with her. The acting honors went to a veteran Californian Leo Carrillo.
The year 1935 was the film debut of the hardiest and longest-lasting, yet most diminutive coloratura within memory Lily Pons. This petite French bombshell made her bow in RKOfs "T Dream Too Much" with Henry Fonda as her leading man, The music by Jerome Kern was most pleasant and besides the title song, Miss Pons sang the delightful "Jockey on the Carousel" which she recorded twice for R.C.A. Victor. Her operatic piece de resistance in the movie was and still is -— the "Bell Song" from Lakme.
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