The New Movie Magazine (Jan-Sep 1935)

DAYS AHEAD! ■ an pour iiana (he DRVUCHT TEST? Nothing's so flattering to a woman's complexion as the soft glow of electric lights. But the sunlight isn't so kind! Soon you'll be out more during the day. Then, what about your makeup? In all fairness to yourself, make this Daylight Test : Go to the window and tilt your head up to the sun. Bring your mirror close to your face. Now, honestly, what do you see? . . . Rough patches? Powder "caked" around your nose? Spotty rouge? Smeared lipstick? Don't despair! Outdoor Girl Olive Oil Beauty Aids will correct these makeup faults . . . keep your complexion smooth, distract-; ingly lovely, even under the glare of the sun. Take the powder, for instance. Outdoor Girl is the only face powder made on a base of pure Olive Oil. (U. S. Pat. No. 1707684). Between your fingers it's sheerest chiffon. Light. Fluffy. On your face, in your particular shade, it gives your skin an exquisite, flower-petal finish. Outdoor Girl Face Powder stays on for hours. Yet it never cakes. Never looks ''pasty." Outdoor Girl Rouge and Lipstick go on smoothly . . . spread evenly. They bring out the skin's natural living tones. Add a radiant, youthful bloom to your complexion. Because all three . . . the powder, rouge and lipstick . . . are made with soothing olive oil, Outdoor Girl Beauty Aids do more than create a glamorous, lasting makeup. They protect your skin — keep it supple, soft and youthful . . . guard it against the damaging effects of sun and wind. Try Outdoor Girl today! You can get these lovely preparations in large, economical sizes at your drug or department store for only 55c. Or in handy, purse-size packages at the leading 10-cent counters. TUNE IN -SATURDAYS, 7:30 P.M., E.D.S.T. "The Outdoor Girl Beauty Parade" Over the Columbia Broadcasting System OUTDOOR GIRL OLIVE OIL BEAUTY AIDS CRYSTAL CORPORATION, DEPT. 2-F Willis Avenue, New York City I enclose 10c. Please send me liberal trial packages of Outdoor Girl Face Powder, Rouge and Lipstick. My complexion is Light Q Medium □ Dark fj. Wame „ _ Address... City ..State... Music in the Movies Ruby Keeler suits action to title in "Go Into Your Dance." LOVERS of music in the movies will find several of the new -' musical pictures much to their liking. Warner Brothers' "Go Into Your Dance," starring Al Jolson and his talented wife, Ruby Keeler, looms as the most important. As if to make certain of a superb musical score for Jolson, Warners assigned the ace team of Dubin and Warren to the task. These boys have given us such popular numbers as "Forty-Second Street," "Shuffle Off to Buffalo," and more recently the songs from the "Gold Diggers of 1935." For the Jolson picture they have written among others "She's a Latin from Manhattan" and "It's the Little Things," both of which are reviewed by this department. Then, too, RKO is readying "Top Hat," starring Fred Astaire, in which you will hear several songs written by that most prolific of all song writers, Irving Berlin. To mention the hits Berlin has written would entail pages, since he has been turning them out for more than twenty years. However, two of his greatest and best remembered songs of the last decade were "Always" and "All Alone." In "Top Hat" you will hear "Cheek to Cheek" and "I'm Wild About You," both of which are destined to become big hits. Paramount is also releasing Mae West's newest picture; and those of you who like to hear The Belle of the Nineties vocalizing should be pleased to hear her sing "Now I'm a Lady," "He's a Bad Man," and "Love Is Love in Any Woman's Heart," all of which will be included in our next issue's review. BUT let's look at the records: "She's a Latin from Manhattan," from "Go Into Your Dance," is played by Enric Madriguera and his orchestra. This is a lilting tune treated interestingly by the Spanish maestro and his boys. Three fiddles lend charm throughout. Tony Sacco handles the vocal in his usual splendid style. "It's the Little Things," from the same picture, is heard on the other side; a melodic fox trot with an old lyrical theme. The Madriguera band deals out a smart ar A regular flood of good tunes comes out of Hollywood this month for dance lovers T WAS TAKEN BY STORM, * from "Dizzv Dames," i By JOHN EDGAR WEIR rangement with just enough dressing. The lovely melody is dominant throughout and the brass section furnishes some clever harmonic effects. The vocal is sung by Tony Sacco. (Victor.) "OOBERTA" revives several of the •^ tunes from the original stage show. Outstanding among these is the popular "Smoke Gets in Your Eyes" which Rudy Vallee and other leaders contend was last year's best popular song. The selection was recorded by Paul Whiteman, who treats it most interestingly with a splendid arrangement. A trombone interlude falls pleasantly on the ears, as do the efforts of his renowned sax section. Bob Lawrence sings the vocal in a full, rich baritone voice. The opposite side carries "Something Had to Happen," also carried over from the stage show . Whiteman is again heard in a very modern dance arrangement. This time the brass section stands out, as well as two pianos. The appealing voice of Ramona is heard in the vocal chorus. (Victor.) HIT OF THE MONTH "LULLABY OF BROADWAY." Played by Little Jack Little and his orchestra. (Columbia) Also Recommended "SHE'S A LATIN FROM MANHATTAN." Played by Eric Madriguera and his orchestra. (Victor "I WONT DANCE." Played by Eddie Duchin and his orchestra. (Victor) "SINGING A HAPPY SONG." Played by Abe Lyman and his orchestra. (Brunswick) "BLUE MOON." Played by Benny Goodman and his orchestra. (Columbia) played by Hal Kemp's orchestra. As the Kemp fans can imagine, Hal employs one of his tricky arrangements. Unquestionably this band is one of the best in ultra modern arrangements, but sometimes we wonder if it isn't a little over-ambitious. In this case we believe he obscures the melody in parts. However, musically it is cleverly executed for dancing, and probably Kemp plays more to the feet than the ear, and probably that is all many will care about. The voice of Maxine Gray is heard in the vocal rendition. The opposite presents "Love Serenade," also played by Hal Kemp's band. This one is less rhythmic and more sulky. It is not so heavily arranged and the clarinet harmonic effects are superb. Bob Allen sings a grand vocal refrain. (Brunswick.) ALTHOUGH about every name band ■ in the business has recorded "Lullaby of Broadway," from the "Gold Diggers of 1935," we think that Little Jack Little has turned out just about the best platter. This tune is best when played to a slow tempo, but so few orchestra leaders realize it that it isn't even funny. Little, however, strikes a fairly happy medium and the result is pleasant. The vocal is by Little Jack and will no doubt be appreciated by his host of followers. Another number from the same film is on the opposite side and is heard as Little Jack Little and his orchestra play, "I'm Goin' Shoppin' with You." Snappier stuff, with staccato brass and trick sax figures. Little is again the vocalist. (Columbia.) T^ROM the film version of "Ro■*■ berta," Eddie Duchin and his orchestra play "I Won't Dance," a Jerome Kern melody with a Duchin arrangement that is a treat for anyone. Eddie is up to par. The piano bits by the maestro are very entertaining and the whole thing is rounded out in fine fashion. Another number from the same picture is included as Eddie plays the coupling. "Lovely to Look At" (Please turn to page 50) 40 The New Movie Magazine, June, 1935