The New Movie Magazine (Jan-Sep 1935)

A page for lovers of tunes from pictures JOHN EDGAR WEIR PROBABLY the outstanding musical of the moment, which you'll be seeing soon if you haven't already seen it in your town, is "Top Hat,'" with Fred Astaire and Ginger Rogers. , As we told you last month, any number of the songs in it are written by that grand old man of song hits, Irving Berlin. v "Broadway Melody of 1936" is also nearing completion and should soon be released by M-G-M. Nacio Brown and Arthur Freed, famous for their "Pagan Love Song," provide the songs. The titles are "You Are My Lucky Star," "I've Got a Feelin' You're Fallin'," "Broadway Rhythm" and "On a Sunday Afternoon." Paramount is rushing out "The Big Broadcast of 1935." The production includes such stars as Bing Crosby, Ray Noble and numerous other radio satellites. The outstanding song of the production, however, goes to Mr. Crosby. The title is "I Wished on the Moon" and promises to be an outstanding hit. Those of us who were so captivated by the glorious singing of Grace Moore in "One Night of Love" can hardly wait to hear the star in her newest picture, "Love Me Forever." Gus Kahn, who wrote the delightful waltz, "One Night of Love," has written the title song, "Love Me Forever," also a waltz, and we believe he has done equally well this time. The best selection of the month is, in our opinion, Bing Crosby's recording of "I Wished on the Moon" from "The Big Broadcast of 1935." The selection is given first place because of the beauty of its melody, its appealing lyric, and Bing's grand vocal interpretation. "npOP HAT," from the picture of the same name, is played by Ray Noble and his orchestra. The selection is a typical show tune and very danceable. Noble employs one of those clever, modern dance arrangements with which he has captured the ears of American dancers. Though this young English maestro has been with us but a few months, he has already won for himself a high place in the esteem of American music lovers. His band is superb in the rendition of this number and Al Bowlly handles the vocal chorus capably. The reverse side carries "Piccolino," another characteristic show tune by Ray Noble's band. The number is played in a quick tempo with amazing harmonic effects in both the brass and sax sections. Three fiddles also lend themselves admirably to a fine recording by a great band. Al Bowlly sings another vocal refrain and splendidly too. (Victor) "pHEEK TO CHEEK" from "Top ^ Hat" is a melodic little tune well suited to the smooth style of Eddie . " ." • '.'..... .' ::" ' .3,.. At the left are Nancy Carroll and George Murphy as they appear in "After the Dance," and below we show you Shirley Temple's latest and cutest dance routine, from her picture "Curly Top." Duchin's orchestra. We refer of course to the style of Eddie's Central Park Casino band . . . The Duchin band on the radio commercial program is augmented, and, as you may have noticed, plays more on the show style. On this recording a lone trumpet is heard in a pleasing interlude and, as always, Eddie's piano playing stands out as the best individual performance on the record. Lee Sherwood's vocal refrain is up to his usual standard. The opposite side presents "Isn't It a Lovely Day?" from "Top Hat" and is also played by the Duchin band. This is a rhythmic tune in medium dance tempo and Duchin gives it a bouncing dance rhythm which we feel sure will appeal to the feet as well as to the ears. The sax section turns in a smooth job as does Lee Sherwood in the vocal interpolation. (Victor) "13 ROADWAY RHYTHM" from ** "Broadway Melody of 1936" is played by Richard Himber and his orchestra. As the name implies this one is a rhythmic dance tune. A unique harp introduction launches the Himber band into a lilting but simple arrangement with reverence for melody. A section of four fiddles furnishes a brilliant string interlude as does a sub-tone clarinet. Stewart Allen sings the chorus. The other side brings us "On a Sunday Afternoon" from the same picture, and is played by the same orchestra. This tune is a melodic fox trot, better suited to the Himber style, which does not embody intricate arrangements but which emphasizes melody and superb tonal quality in the instrumentation. The string section, one of the best, does a grand job on the record. Stewart Allen sings a pleasing vocal. (Victor) unpHE ROSE IN HER HAIR" from "Broadway Gondoliers" is played by Ted Fiorito and his orchestra, who, incidentally, appear in the picture. This is an engaging little song in waltz time and promises to be a big hit. If the opening strains sound familiar to you, we refer you to the middle strains of "The Continental." The Fiorito band gets a lot of color into the arrangement and gives it a Spanish accent. The vocal chorus is interesting as sung by Muzzy Marcellino and the Debutantes, a female vocal trio. The reverse side brings us "Outside of You" from the same picture and played by the same band, a selection in medium tempo in which the Fiorito band gets plenty out of a smart dance arrangement. A muffled brass interlude is heard with complete satisfaction, as is a sizzling clarinet. Muzzy Marcellino sings a vocal refrain, this time without the aid of the Debs. (Brunswick) (Please turn to page 50) Gossip of Hollywood WELL, gals ... the Wailing Wall is straight down the hall and the second door to the left! Tullio Carminati, your current heart throb, has gone to London to make a play there. Furthermore, while there, the dashing gent may make a picture for Gaumont-British in response to an offer made him just before he left there last year. Being continental (beautiful music . . . ta dee da! ) it is as natural for him to pick up his cane as his hat upon leaving the house. But realizing our American scorn for such goings on, Tullio satisfies himself by picking it up on his way out, but leaving it in the car when he gets where he's going. Is everybody happy? r>ONALD SVDROW, eleven years old, ** of Buffalo, has organized a baseball team and calls it the "Mae West Nine." "And," writes Ronald, "with curves like that, we never lose a game!" These kids have got us stopped without even trying! FOR that "tired" feeling! Lynne Overman reports that he's just about all rested up after spending three days on his back, "dying" for a scene in "Men Without Names." S~>ETTING tired of hearing some of ^Jr our male stars boasting about their prowess in the kitchen, Stu Erwin decided to take a crack at it himself and show the braggarts up. Mixing it with a special veal paprika, Stu was doing right well until something went haywire and filled the house with so much smoke that the regular cook was fit to be tied and threatened to walk out, then and there, unless she got Stu's sworn promise to stay out of the kitchen in the future. . THE stars have complexes, even as you and I. For instance, Joan Crawford makes her own bed so as to be darn sure the covers don't come out at the foot! Clark Gable changes the oil in his car, because he once burned out a bearing by trusting the word of another. Jean Harlow does her own fingernails, because it makes her fidgety to have anybody work on her hands! Bob Montgomery likes fooling around with figures so well that he keeps all his own accounts. "And if I want to gyp myself," he says, "it's okay with the police department!" No matter how busy she is, Maureen O'SulIivan always plans her own menus and makes out the grocery list, even if she has to do it on the set between scenes! And there hasn't been an electrician in Otto Kruger's house for years, simply because, next to acting, there's nothing he'd rather do than fool around with electrical devices. T?VER hear of "bursitis?" Well, that's J— j what Claudette Colbert came down with. But before you start to worry, we'd better tell you it's just an inflammation in her right arm from playing too much tennis. DRIVING into our favorite Pig stand, who should pull in alongside of us but Nils Asther, and goodness knows, we haven't seen him in a columnist's age! You'll be seeing him right soon now, though, because he's reporting to Universal for a part in "Storm Over the Andes," just as soon as the script's ready. 36 The New Movie Magazine, September, 1935