The New Movie Magazine (Jan-Sep 1935)

Serve Something New for breakfast! Apple Corn Bread will score a big hit with your family Apple Corn Bread 2 cups corn meal 2 beaten eggs 2 tablespoons sugar I teaspoon soda I '/2 teaspoons salt I tablespoon cold 2 cups milk water 2 tablespoons short I cup chopped raw ening apple Put corn meal, sugar, salt, milk and shortening in the top of a double boiler and cook for 10 minutes over boiling water. Cool, add soda dissolved in water and the eggs, well beaten. Then stir in the apples. Pour into a shallow, greased pan. Put in a moderate oven (350°F.) and bake until it begins to brown, about 25 minutes. Serve hot. Serve Apple Corn Bread with broiled bananas and bacon . . . and listen to the praise! You will get dozens of equally good recipes in the interesting food pamphlet "Better Breakfasts": Pineapple Pancakes or Waffles, Prune Bread, Omelets, special ways with Cereals, Bacon and Tomato Toast . . . simple menus and hearty menus. 48 delicious recipes and 15 breakfast menus for 10c! Address your request for "Better Breakfasts" to Jane A. Osborne Tower Magazines, Inc. 55 Fifth Ave., NewYork, N.Y. Music in the Movies Another tune from the same picture is featured on the reverse side as Enric Madriguera and his orchestra play "The Little Things You Used to Do." Played to a slower tempo than the preceding side, you'll find it's very easy to listen to and still has plenty of rhythm for dancing. Again we hear Tony Sacco in the role of a featured vocalist. (Victor) THE LADY IN RED" from the film, "In Caliente," is played in this recording by Joe Haymes and his orchestra. This is the first we've heard from Joe in a long time and we must say that he is still a headliner when it comes to handing out entertaining and enjoyable music. "The Lady in Red" is a tune of the rhumba type with plenty of rhythm for dancing, with Cliff Wetterau as the vocal artist. An old-timer recorded on the reverse side is "My Melancholy Baby," played by Joe Haymes and his orchestra. This is a strictly modern arrangement and Joe and the boys play it in great fashion. Skeeter Palmer is the vocalist. (Bluebird) TJV.OM the film, "Stolen Harmony," " Gertrude Niesen selects and sings the melody, "Would There Be Love?" Miss Niesen is in a class by herself as a popular vocalist and it would seem that nothing we could say would make this record any more popular than it is (Continued from page 65) bound to be. It is certainly one of the best vocal bits that we have reviewed in a long time. Equally as good is the other side entitled "Devil in the Moon," also sung by Gertrude Niesen. A welcome addition to any record album. (Columbia) TfROM the film, "George White's " Scandals of 1935," Benny Goodman and his orchestra play the tune, "Hunkadola." It's possible that Goodman could have found a more insipid tune to record, but by the time he'd found it he would be too old to play; However, despite this sad melody, Benny, through the medium of his clarinet, gives' us something worth listening to. We cannot praise Benny and his orchestra too much, but after all, this song is just so much tripe. However, by simply turning the record over we may hear something that is really worth listening to as Benny and the boys give us "The Dixieland Band." This is the kind of stuff that Goodman eats and they really swing it. You'll like the vocal work by Helen Ward. (Victor) A FATS WALLER interlude as we listen to Fats and his boys play "What's the Reason?" from the film "Times Square Lady." Good snappy work, with Fats picking away at the piano and an excellent guitar chorus. As usual, Fats sings the vocal refrain. "Pardon My Love" is the title of the number on the reverse side and this is also played by Fats Waller and his rhythm boys — a bit on the softer side, and played quite slowly. AL BOWLLY selects from the pic-ture, "Reckless," the song entitled "Everything's Been Done Before" and with the aid of Ray Noble's direction presents us with an excellent vocal record. Bowlly's style is rather plain, but with the aid of Noble and his bag of tricks the record is quite entertaining. "You Opened My Eyes" is the title of the song on the other side, and this is also sung by Al Bowlly, with the help of Ray Noble. Another ballad type number that is pleasing to listen to. (Victor) WE return to the film, "Go into Your Dance," for our last tune, and it's called "About a Quarter to Nine." Ruby Newman and his orchestra record this, and they do a swell bit of work. Nothing flashy, but good steady rhythm. Ray Morton is the vocalist. "There's a Little Picture Playhouse in My Heart," an older tune, is recorded on the other side. It's also played by Ruby Newman and his orchestra. A little snappier than the preceding side. Again Ray Morton does the vocal work. (Victor) Scouting for New Stars wide an appeal as those great stars. Second only to personality on my list is talent, and by talent I do not mean mechanical ability. I mean the instinctive, inborn ability to "feel" emotion and to portray it convincingly. If an actor feels emotion strongly enough, the audience senses his sincerity and shares his emotions, irrespective of his mechanical skill. Talent is more important now than it was in pre-talkie days, largely because the acquisition of so many great stage stars has made competition more keen. There are, of course, stars whose personalities serve to "get them by" but they all possess a sufficient degree of talent. Character, like personality, is a composite quality and it is very important— even more important, I think, in maintaining stardom than in gaining stardom. Character often compensates for a lack of physical beauty. Helen Hayes is the perfect example of an actress who, through character, seems beautiful. Character made Marie Dressier, who called herself "the ugly duckling," seem beautiful in spite of her grotesqueries. Physical attraction is undeniably a tremendous asset to any player, yet its importance has been over-emphasized. An actress need not have an unusually beautiful face or figure in order to be successful on the screen for, by beauty of expression, she can create that illusion of physical beauty which is much more fascinating than physical perfection. As a matter of fact, few of our great stars have been paragons of beauty. On the other hand, none of them has been physically unattractive. Let's dismiss beauty by saying that, given all the other qualifications, it greatly enhances (Continued from page 4) an actress's chances for stardom. Intelligence is of more vital importance. And by intelligence I mean mental alertness, not acquired knowledge. Without the ability to reason soundly, it is very easy for a player to lose his sense of proper values, for he is constantly in contact with an artificial world. In his work, no matter how great his quota of natural talent, he must also employ intelligence, for acting, unlike most jobs, has no rules nor routine. Every new role and every new dramatic situation presents new problems and the actor must be mentally alert in order to meet them. Motion picture making, at best, is a maze of complications, and motion picture producers cannot afford to waste precious time with stupidity. TRAINING is more important today than ever before because the competition is so severe. The trained actor or actress shows to better advantage and catches the eye of the observer more readily, for experience breeds self-confidence and poise. Therefore, in appraising prospects, I should favor those with previous training, either in dramatic school, on the professional stage or in amateur theatricals. Yet I certainly would not arbitrarily rule out an untrained applicant if his other qualifications were excellent. Without determination — the ability to face discouragements and see them through — there is little chance to win stardom. Too many people think of acting as an easy profession. As a matter of fact it is one of the most bitterly competitive, and few players ever reach stardom without first being buffeted about by hardship and disap pointment in the process. It takes stubborn, bulldog courage to cling to an ambition in the face of one reverse after another. I do not know of one great screen star who could have reached the top without determination. Clark Gable battled with actual starvation here in Hollywood on two different occasions before he won the slightest recognition; Grace Moore sang for her supper in a Greenwich Village cafe while she skimped and scraped to save money for her musical education; Janet Gaynor worked "extra" for two years before she was given a chance — and I'd like to be sure, before signing any new prospect, that he or she would be willing to display the same stick-to-it-iveness that carried such stars as those to success. ADAPTABILITY includes temperament. It is one of the factors which determines between success and failure in any line of work. The person who cannot adapt himself to the conditions and the necessities of his chosen occupation is a square peg in a round hole and a certain failure. Such great stars as the late Marie Dressier and George Arliss have demonstrated that stardom knows no age limit — but most producers naturally favor youth, for youth is more adaptable and can be cast in a wider diversity of roles. Moreover, the actor who attains stardom in his twenties or his thirties is a better commercial asset, for his period of maximum earning power is longer. Background is an asset to any player. Home life, breeding, intellect are all part and parcel of the individual's background — but the results of that background can be acquired. For that reason, I place it last on my list. 66 The Neiv Movie Magazine, August, 1935