Movieland. (1950)

vitations. “You have your first date with me at Ciro’s,” Jimmy Stewart wired young Miss Dozier. Otto Preminger sent the young lady a magnificent orchid. Harry Crocker, a popular man-aboutHollywood, begged to take her on her first night club date. Bill is the moony parent. Joan is sensi¬ ble. Having been an active nurse’s aide during the war, she has a sure manner with the baby. The nurse was surprised that this orchidaceous movie star mother was able to diaper and bathe her first baby like an old hand. For the first few weeks, Bill insisted upon weighing the baby himself every morning. When she lost a few ounces the first few days he became alarmed. “Darling,” Joan told him with all the confidence of a woman who’s had a dozen. “All new babies lose at the very begin¬ ning. Then they gain.” Joan is a natural mother — serene, efficient and happy. No hysteria, no superstitions cloud her joy over finally having a baby. She doesn’t handle Debbie as though she were made of glass. She really enjoys her baby — bounces her on her knee, sings funny songs to her and makes the baby laugh. When it comes to pictures of the baby, both Joan and Bill are wild-eyed. They catch Debbie in every position, asleep, awake, on her tummy or on her back scrutinizing the ceiling, and they have great fun picking out the points of resemblance. “She has your eyes,” says Joan fondly to Bill. “Wide apart and slanting up¬ wards a little. I love them. . .” Bill beams. “And she has your wriggle! She never sits still,” he points out. “And your mouth. She’s a smart child, that one. Knows enough to look like you.” “But darling,” says Joan. “She looks like you. Look at her ears.” Bill studies the little ears, so flat to the head. “Do you really think so?” he says with a certain measure of awe. Being bom of such talented movie parents, and having, as a matter of fact, appeared in two films in her nuclear state, Debbie seems destined to become a movie star herself when she grows up. But instead of making ambitious plans about a screen career, Joan and Bill are very reluctant to think of their youngest daughter becoming an actress. “Just let her grow up a healthy, love¬ ly young woman with a useful life,” says Bill fervently. “I wanted to be a doctor at one time,” says Joan thoughtfully. “It would be nice if my daughter were to take up that profession.” A month after the baby was born, Joan and Bill flew to Honolulu for a brief holiday. Joan was recuperating and needed a brief holiday fling with Bill to celebrate her high-geared production year. Then back home again they bounced into the nursery to hold the baby. “Precious,” cooed Joan. “How we missed you.” “The next time we go anywhere,” Bill said, “we’ll take you.” And they will. The Doziers plan to go to England next summer and their young lady will go with them. Debbie, as her parents exclaim, is a wonderful child. We think so, too. Only a wonder child would have brains enough to have chosen a set of parents like Joan and Bill. The End STRICTLY FOR LISTENING By Velma Scott Tex Beneke and the band are riding the rails — only by way of music and a brand new ditty they’ve waxed for Victor. Tex takes the vocal on Missis¬ sippi Flyer and gets a rhythmic assist by the Moonlight Serenaders, not to mention a wonderful solid backing from the orchestra that’s strictly from Casey Jones. For Look Up, the same combo turns in a fine arrangement — the toe¬ tapping kind you like to dance to. Every disk can’t be a hit, but it’s too bad Rose Murphy’s first mediocre sides have to come under such delightful names. These sounded like perfect foil for the Chee-Chee girl but the titles out¬ do the numbers on both of these sides for Victor. They’re Girls Were Made To Take Care Of Boys and Busy Line. Rose’s rhythm is as good as ever, her delivery is fresh and syncopated, but the material’s just too thin. The Warner film My Dream Is Yours is chock-full of good songs, and that master in the Romance Department, Claude Thornhill, picked the dreamy title song for his first waxing on Victor. It’s a really beautiful arrangement, per¬ fect for dancing with the emphasis on delicate phrasing, subtle piano and a subdued full orchestra background. On the reverse is Wind In My Sails, a lovely, simple ballad. Both are above average time-wise and the arrangements are an example of why Thornhill’s band is cop¬ ping honors these days. Tony Martin, of the full-throated tones, will cement his place in your heart when you hear No Orchids For My Lady and We’re Not Getting Any Younger, Baby. The first is a straight ballad with nice melody and Tony gives the little tune more meaning than it deserves. But the flip is a stand-out side. Rhythm, beat and a breezy delivery by Tony make this a must for Martin fans. On Victor. So Spike Jones’ newest Victor record isn’t up to Cocktails For Two. Still the Clink Clink Polka is good for a laugh and if you don’t like the music, just read the label for a chuckle or two. The flip, MacNamara’s Band, might be enough to alienate all good Irishmen from St. Patrick’s Day Parade but I. W. Harper and the Four Fifths do themselves proud. For lovers of the dance who like just a taste of the Torrid Zone in their music, try Harry Horlick’s album Tangos for Two. The arrangements are conventional, pretty good insurance that you won’t be forced to throw a hip out of joint keeping up with a beat, and they’re all favorite tunes. Orchids in the Moonlight, La Cumparsita, Adios Muchachos are the three most familiar, but you’ll like them all. They’re on M-G-M label. Just when we thought he’d exhausted the corny old-timers so good for hum¬ ming, Art Mooney comes up with an¬ other on M-G-M. This time it’s Do De Doo On An Old Kazoo. Even the en¬ semble vocal and banjo strumming are still on hand in just as lilting an arrange¬ ment as Mooney’s other novelties. On the flip is Beautiful Eyes, a catchy jump tune that takes beautifully to its BabyFace treatment by the Mooney crew. That slick threesome, the Page Cava¬ naugh Trio, does some more intimate styling on their new Victor sides. They’re No Moon At All and You Say The Nicest Things, Baby. The trio’s interpretation and Page’s fine piano lift the tunes into the Better-Than-Average Department. one piece dress that looks like two Sizes: JUNIOR 9-11-13 15-17 REGULAR 10-12-14 16-18-20 LARGE 38-40-42 44-46-48 Wear this new styled gabardine dress at our risk-ifin ten days you f are not completely satisfied return dress / for full refund. 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