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> Paco Moreno, George G i v o t, Antonio Moreno, Anne Ayars, George Negrete and Armida in “ Fiesta." Johnny Downs and Sonnie O'Dea in “Moonlight in Hawaii.' Swing music has been combined with every possible kind of story. “ Cadet Girl,' for instance, had America's big military academy of West Point as a background. Carole Landis, George Montgomery and John Shepperd, in the leading roles, were so successful that they were picked to head the cast of another musical, “ My Gal Sal," Theodore Dreiser’s story of the life of his composer brother, Paul Dreiser, a leading writer of popular song hits in the eighties and 'nineties. Music and the navy joined hands in “ The Fleet’s In,” and we had a mixture of army, navy and music in “ Panama Hattie.” Swing and college comedy appeared in “ All American Co-ed,” and swing and football in “ Rise and Shine." And, of course, there are innumerable back-stage musicals. Fantastic film studio comedy was linked with music in “ The Great Man,” with W. C. Fields supplying the comedy and Gloria Jean and Butch and Buddy supplying the music. “ Playmates " was a mad frolic, with Kay Kyser and his band mixing their music with John Barry- more’s and Lupe Velez’s comedy antics. Then there are the Mickey Rooney-Judy Garland musicals, latest of which was “ Babes on Broadway,” the successor to “ Babes in Arms " and “Strike Up the Band.” Mickey's impersonations, with song, of Sir Harry Lauder and Carmen Miranda were among the comedy highlights of the film, while Judy also contributed impersona- tions of a couple of favourite American singers of some years ago, in addition to singing specially com- posed songs and “ Franklin D. Roosevelt Jones.” This film also gave Virginia Weidler her first oppor- tunity to show her talent in singing and dancing, and she did so well that she followed it with the leading role in “ Born to Sing," which was written round the song hit, "Ballad for Americans," and had a number of talented singing and dancing youngsters in the leading roles. An article on musicals would not be complete with- out mentioning the Weaver Brothers and Elviry, who are as unique in their way as Carmen Miranda, and whose hillbilly songs are as distinctive as Negro spirituals, the cowboy saddle songs and sea shanties. Music has been interpolated in every way into every kind of story, and no pic- turegoers surely can say that they lacked music to help cure the blues. Two scenes from “ Blues in the Night," show Betty Field and Lloyd Nolan (left) and lower left, Priscilla Lane with Billy Halop, Peter Whitney, Richard Whorf and Elia Kazan. Right: Peter Lind Hayes, Kay Kyser, Patsy Kelly, John Barrymore and May Robson in “ Playmates."