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IRVING BERLIN S <’ There’s No Business Like Show Business Put Irving Berlin’s "There’s No Business Like Show Business” down as the No. 1 CinemaScope musical treat of 1954! Hollywood acknowledges now the logic of such a classification. In preparation for four years, "There’s No Business Like Show Business” will be a singing, dancing romantic revelation as big and warm as the heart of the entertainment world itself! Irving Berlin, undisputed monarch of contemporary com- posers of popular songs, has left nothing unexplored, nor untried, in his determination to make this CinemaScope musical his outstanding achieve- ment. Certainly, no musical, stage or screenplay has been more carefully prepared. None has been produced on the lavish scale planned for "There’s No Business Like Show Business.” It was about four years ago that the late Lamar Trotti was first inspired to write the screenplay for "There’s No Business Like Show Business.” That was when he first heard Ethel Merman sing the song in the Broadway production of "Annie Get Your Gun.” Before he passed away, Mr. Trotti had written an original screenplay that spurred Irving Berlin to decide to associate himself with the venture by supplying its song s. From the very beginning, Mr. Zanuck was set on making "There’s No Business Like Show Business” an even more moving musical than "Alexander’s Ragtime Band” proved. Incidentally, Mr. Trotti and Mr. Berlin were similarly associated in the production of "Alexander’s Ragtime Band.” When Mr. Trotti died, "There’s No Business Like Show Business” was assigned to Sol Siegel who was the producer of that other Irving Berlin musical, "Call Me Madam.” When CinemaScope came into being early this year, Mr. Zanuck scheduled "There’s No Business Like Show Business” for filming in that process. It was a perfect wedding for a story of such magnitude as this one. Producer Siegel signed his "Call Me Madam” associate, director Walter Lang, to devote himself to the directorial chores. There never was any question as to who should play the feminine lead. When he first began whipping the story into screenplay Mr. Trotti had Ethel Merman in mind for the part. They were not strangers, for he and the world’s No. 1 singer of popular melodies and Irving Berlin worked together on "Alexander’s Ragtime Band’’ which, incidentally, marked Miss Merman’s film debut. First, for the singing-dancing male lead, he chose Donald O’Connor, who played oppos- ite Ethel Merman in "Call Me Madam.” His next move was to sign Johnny "Cry” Ray, crooning sens ation of the night clubs and air waves. Mitzi Gaynor has her "juciest” dancing role. Equally popular musical comedy players were being screentested for other roles as this report was going to press. Robert Alton will do the choreography. A Singing And Dancing Revelation As Big And Warm As The Heart Of Show Business