Motion Picture Herald (Jan-Mar 1932)

February 27, 1932 MOTION PICTURE HERALD 71 € VENTURES HENRI MONNET (Los Angeles Paramount). It seems that some misguided managers have the idea that an organ is no longer a novelty, so think the only way to put it over is either for the organist to sing or to work with a singer. What with crooners, etcetra, on the ether at every turn of the dial, these managers defeat their own purpose. Henri Monnet is forced to submerge his own excellent playing every week and accompany a crooning megophone singer. If theatres must use singers, why can't they use ones who do not use megaphones? The singer, Max Lerner, was not bad, but a dreadful effect is lent when the audience sees nothing but a moving set of teeth through a big horn. The number offered was. "Dianne," and Monnet's accompaniment was splendid, but the number just didn't mean a thing, and the applause was in accordance. Here, another marvelous organ and a very fine musician's efforts are going to waste. WILL GILROY (Brooklyn Pitkin) presented "A selection of Broadway Hits," as the title of his most recent solo. Interspersed in the solo were many laughable gags on slides but the main thing, at this house, apparently is the singing of songs, and the audience did very well. The numbers used were "Can't Stop Me from Loving You," "Was That the Human Thing to Do,'' "Call Me Darling," a whistling chorus on "Time to Fall in Love," four choruses of tongue-twisters to the tune "Anchors Aweigh," and a final chorus of "Guilty." Gilroy plays the organ so the audience can sing and they surely take advantage of it. Generous applause is given him. TED CRA'WFORD (Oxnard Hughes Franklin) offered a beautiful medley of old favorites in his solo entitled "Immortal Waltzes," Three O'Clock in the Morning," "After the Ball," "Naughty Waltz," "Merry Widow," and a finale of the new waltz, "When the Rest of the Crowd Goes Home." Ted told the audience of this new number in well selected words. The solo was very well done and earned this popular organist tremendous applause, and an encore of the last named number. AL HORNIG (Baltimore Century) started his solo with announcement on the curtain of his specialty, "Singing in High." He had all join in singing "Bend Down Sister." A colored cartoon slide was used to introduce each number; then came "Old Playmate," "The Curse of an Aching Heart" and "Down by the Sycamore Tree." bei rnie cowham rko flushing new yor GUSS FARNEY and Jewel (Salt Lake City Capitol) at the twin consoles, entertained with cleverly conceived and attractively presented organ and piano duets. They offered Farney's own arrangements of "Blue of the Night," played on both organs, "Spring Fever," done on two grand pianos, and "Canadian Capers," played by Farney at piano and Jewel at organ. This audience does not go for song fests but it does like novelties and classics. Farney, who is a capable and versatile musician, is gaining a great popularity for his efforts. AL GULLICKSON (Milwaukee "Warner) is an organist with a number of tricks up his sleeve. He offers "Schoolology," the first selection in connection with which is "River Stay 'Way From My Door." Rollcall is presented to the tune of "Collegiate," and the patrons get a big kick as it sees flashed upon the screens names with which they are familiar. "Faded Summer Love," and substituting the word "asthma" for "love" in "I Call It Love," follow with gusto. A word lesson in which all words flashed upon the screen begin with "s" draws heavy laughs. It is followed by "Call Me Darling," portions of which are shown on the screen in German, and "When the Blue of the Night Meets the Gold of the Day." JOHN HAMMOND (Brooklyn Strand) offered another of his topical musical novelties which he calls "Singing the News Away." Hammond tells the audience, orally, of current events and then chooses appropriate tunes that fit in with the news. This week he played and the audience sang "Sleepy Down South,'' "Why Did it Have to be Me," "Where the Lilies of the Valley Grow," "Baby Smiles at Me," "Crosby, Columbo and Vallee," and a final chorus of "River Stay 'Way." The song "Lillies," was first played in a rhythmic style and then Hammond led them in singing the second chorus. This organist is building up a big following through not only his novelties but his fine organ playing. BOB STAMBAUGH (Milwaukee Modjeska) presented one of the most interesting and novel organ solos since he has been at this house. It was entitled "Home," and featured songs with the name "home" or the thought of "home" in them. The solo opened with the song "Building a Home." As the audience sang, a prop house behind a scrim curtain slowly formed itself into a complete building. The songs were "Home," "Old Kentucky Home," "Old Fashioned Home in New Hampshire" and "River Stay 'Way from My Door." From one of the windows in the prop house, a charming voiced girl sang "Old Fashioned Home," and the closing number was built up with river effects on the screen as a stout colored "Mammy" and two colored lads assisted in the singing. This solo drew great applause. FLOYD WRIGHT (Berkeley Fox California) offered a distinct novelty in conjunction with the playing of selections from "Rose Marie." The performance had real artistic qualities. Use solos that hit ^'the spot" aHty Slide Ca Six East Lake 5t. v.vv Chicago PHIL SPITALNY (New York Capitol) and Grand Orchestra. The guest conductor's offering, arranged and compiled by himself, proved his capability and his knowledge of what makes an entertaining overture. The first half of it was devoted to a compilation of Hungarian melodies, introduced as "Hungariana." Outstanding in this bit was a violin solo, with vibraphone and harp accompaniment. Lighting effects to fit the mood of the music fitted in perfectly and enhanced the program. The last half featured the George M. Cohan composition,' "Father of the Land We Love," as a tribute to George Washington. As the orchestra played this soul-stirring melody, still pictures depicting the life of Washington were flashed on the screen. Following this, word slides with a vocal accompaniment took the place of the pictures, with the orchestra bringing it to a close with a thunderous crescendo. Very good applause was given this popular radio director and the orchestra. MIRON ROMAN (Cleveland State) and his Orchestra are a sensation here. This week they offer their overture from the stage, and feature selections from "Girl Crazy,''' next week's attraction. Novel arrangements of "Embraceable You," "I Got Rhythm," and "Sam and Dililah," were played by the orchestra, under Roman's capable leadership, and as a surprise finish they played a number on what apparently were Royal typewriters. Instead of typing out letters, these typewriters sounded bells, and the audience were so mystified that they kept on applauding until Roman and the boys took another bow. JOE CANDULLO (Baltimore Keith's) directed his thirty Jass Friends through a fast moving overture with numerous novelty effects. Joe sang "The Cuban Love Song," as the orchestra played and then did a violin solo of "Dancing In the Dark," with a guitar and then joined by three violins. Finished to good applause then Edgar W. Hunt took the baton for the vaudeville while Candullo acted as master of ceremonies. FRED SCHMITT (Denver at Denver) and his orchestra played an overture of "Musical Gems from India" that proved exceedingly popular. You could close your eyes and imagine yourself in India. The presentation closed with the lively strains of "Galloping Dervishes" and included parts of "March of the Hindus," "Hymn to the Sun," "India .Slave Market," "March of the Slaves" and "Song of India.'' RA Y TURNER Opening Another Organ RKO PALACE COLUMBUS, OHIO