Broadway Gondolier (Warner Bros.) (1935)

SERIALIZATION 10-DAY SERIAL BROADWAY GONDOLIER Adapted for the screen by Warren B. Duff and Sig Herzig from a story by Sig Herzig, E. Y. Harburg and Hans Kraly. This Warner Bros. film stars such not ables as Dick Powell, Joan Blondell, Adolphe Menjou and Louise Fazenda and will be shown at the Theatre starting Fictionized by BOB HUSSEY CHAPTER I Heyward and Gilmore were two of the best known theatrical critics on Broadway — and two of the best known drinkers. That’s why there was nothing unusual in their arrival rather deep in their cups for the opening night at the Metro politan Opera House. It was just another opera opening, nothing more. They lurched through the doors and unsteadily made their way toward the girl at the check room. ‘“You want to check these?’’ she asked in surprise, watching them as they threw their wraps on the counter. ‘‘That was our idea!’’ answered Heyward, graciously bowing low before the attractive young lady. ‘<T’m sorry, but the performance is just about over,’’ she said, amused. That was all right with the critics. In fact it was good news. Delighted, they linked arms and ambled through the lobby to the street where they climbed into a waiting taxi. ‘Oh, well,’’ remarked one, as the cab pulled away. ‘‘I’ve heard ‘Rigoletto’ two hundred and eleven times already.”’ ‘‘T guess I’ll let my last re view ride again,’’ said the other. ‘‘Tt’s just a matter of changing names.’’ They hadn’t gone far when argument arose. Gilmore started to hum the ‘‘Rigoletto’’ quartette, but his memory was bad. His companion was quick to detect the error, but even he couldn’t recall the right tune. They argued back and forth — these two critics who had heard the opera an endless number of times — and who now couldn’t remember it. ‘‘Bella Figlia Dell’ Amore...’’ sang the taxicab driver, turning to face his fares. They looked in amazement, then broke into smiles. He was right — the cab driver knew his opera — more than that, he was an excellent singer. Young and attrac AND IT’S FREE! tive, the smiling chauffeur sang the aria beautifully. Heyward and Gilmore chimed in and soon the trio was going full blast in song. Dick Purcell, the eab driver, was much too intent upon his music. One doesn’t do Storming Radio’s Gates Newspapers everywhere gobbled up our last few serializations so fast, we decided to make an additional supply available on this film. The story’s light, fast-moving, funny. Read the first two chapters below to get an idea of what it’s about. If you like it, show it to ye ed—and assure him that the other eight are just as good. Complete 10-day serialization available in mimeographed form (not mats) with ten stills to illustrate, is yours for the writing. Available from Campaign Plan Editor, Warner Bros., 321 West 44th St., N.Y. C. midst of the disturbance that was blocking traffic. ‘¢We were singing,’’ said Dick weakly. ‘We forgot the quartette from ‘Rigoletto’ and this fine fellow was helping us remember it,’’ blurted He drove a cab, but he yearned to sing. So the Broadway gondolier and his music master storm the barriers of the big broadcasting studio. (Dick Powell, Adolphe Menjou and Joan Blondell in Warner Bros.’ ‘‘ Broadway Gondolier’’ which opens at the ........ Se aos MECUUN-O” Oct. ccc octets) that while driving in the crowded streets of Manhattan. There was a terrific smash as Dick’s cab collided with another. Drivers and passengers scrambled to the street and then a burly redfaced Irish cop pushed his way through the crowd to appear in the out the bewildered Gilmore in an attempt to help the situation. ‘“You ought to be ashamed of yourselves!’’ declared the policeman in anger. ‘‘Everybody knows ‘Rigoletto’ — it goes like this.’’ He started to sing in a loud, deep voice. Dick and his musical passengers joined in and while the ‘‘ Quartette From Rigoletto’’ resounded in the crowded thoroughfare, a startled and amused crowd of spectators laughed at the strange sight. Heyward and Gilmore liked Dick’s voice. As soon as he revealed his operatic ambitions they decided to launch him upon a radio career. It was late at night. There was no paper available on which to write an introduction to the radio studio officials, so the determined critics made use of the back of a sign outside their apartment reading, ‘‘ Vacancy — apply within.’? Bright and early the next morning Purcell appeared at the UBC radio studio, accompanied by De Vinci, his rather down-at-the-heels Italian music teacher. They approached the information desk. “‘T am to see Mr. Richards,’’ said Pureell, smiling at the beautiful blonde miss behind the counter. Alice, however, wasn’t impressed. ‘You must have made a mistake,’’ she said. ‘‘Mr. Richards didn’t send for a cab.’’ ‘But we must see him!’’ declared De Vinci, in his broken English. ‘“Let’s have no trouble, now,’’ cautioned the girl. ‘“We demand to see him!’’ said the fiery De Vinci. Alice sensed trouble. She had met lots of gate-crashers in her work. There was a studio policeman nearby. ‘“Get them out, will you, Pete?’’ she asked. Before Purcell and De Vinci knew what was happening, before they had a chance to show the note of introduction, pupil and mentor were on their way—out. (TO BE CONTINUED) (Pick up heading from previous chapter) WHAT HAS HAPPENED When Heyward and Gilmore, two bibulous Broadway musical critics got into an argument about certain arias in the opera Rigoletto, their taxi driver, Dick Purcell, who had ambitions to become a singer, demonstrated the disputed refrain. An auto smash resulted, which ended in a policeman with a bass voice completing the quartette instead of taking the trio to jail. The two critics, impressed with Dick’s voice, sent him to see their friend Richards, manager of the UBC radio station. CHAPTER II The most important program account of the UBC Studios was the Flagenheim Cheese Hour, and for that reason it was natural that Richards, the station manager, was most anxious to please Mrs. Flagenheim. That buxom matron had inherited the cheese business upon the demise of her beloved husband and took every opportunity to extoll the virtues of Flagenheim cheese. Right now she was annoyed. She wanted a new radio program, new entertainment, and although Richards was all ready with renewal contracts and fountain pens, she demurred. ‘‘What a cheese needs is romance,’’ she declared. ‘‘I want a new program that has lots of romance.’? While Richards tried to ‘‘sell’’ Mrs. Flagenheim his available talent, Dick and De Vinci sneaked in with some orchestra members, hiding themselves under the musical instrument collection. Dick, entranced by this magic world of radio, stood enraptured as the Mills Brothers performed before a microphone, until he saw the same officer who had once already that day thrown him bodily from the studio. Startled, Dick started walking rapidly down the corridor, around a corner, then into the first office door he saw. There was Alice, the pretty blonde who previously had ar ranged his hasty departure from the studio. She was in difficulty at the moment. She was standing on her tiptoes trying to pull a script from the bottom of a huge pile of other scripts on the top of the cabinet. ‘“What — you again?’’ she asked. ‘“Sure.’? ‘Well, get a chair there and help me,’’ she exclaimed impatiently. ‘‘T’ll show you how to get that,’’ he said with great assurance. His stunt didn’t work, though, and the whole pile of scripts toppled down on them. Their friendship really started as they began the arduous task of picking up the scripts from the floor. Dick finally convinced Alice that he had a legitimate note of introduction to her boss and that he should be given a chance to demonstrate his singing. As Dick sang for her, Alice ® managed to sneak sidelong glances at him, her amused cynicism slowly changing to genuine appreciation. ‘¢Perhaps Mr. Richards should listen to you,’’ she said, and entered the office where Mr. Richards was trying desperately to meet Mrs. Flagenheim’s demands for new talent. Looking in the corridors for his teacher, Dick saw De Vinci being thrown from the auditorium when he had criticized the musical efforts of an orchestra at rehearsal. The two hurried into a room to a piano for a hasty rehearsal before Mr. Richards was brought in to listen. Alice had difficulty getting her employer to come to listen to the newcomer. ‘CA cab driver? Why should I listen to a cab driver sing?*’ he asked, impatiently. ‘“All I know,’’ answered Alice, smiling, ‘‘is that he can sinz and he’s quite nice looking.’’ ‘“Well,’’ said the studio official, frowning, ‘‘all right. I’ll go and hear him.’? Strange noises met their ears as Alice and her boss entered the audition room where Dick and De Vinci, engrossed in rehearsal, were waiting them. De Vinci was at the piano. Dick stood nearby. As the professor struck a chord, Dick would let out a sound — and strange sounds they were. First, a pig’s grunt. Then the moo of a cow. The roar of a lion. The quack of a duck. Standing at the door with Mr. Richards, Alice was terribly embarrassed. ““Tg he singing?’’ asked Richards, perplexed. ‘*No — maybe he has laryngitis,’? advanced Alice. ‘¢Let’s pray that’s all he has,’’ said Richards. Dick and De Vinci turned at the sound of the voices. ‘‘I’m sorry,’’ he said, ‘‘we didn’t hear you enter. I was practicing.’’ *¢The De Vinci Natural Sound Theory,’’ explained the fiery Italian, with dignity. Convinced that the visitors were lunatics, Richards told Alice to arrange an appointment and hurried away to safety. (TO BE CONTINUED) Reward of Criticism Telling a broadcasting orchestra its work was ‘‘rotten’’ proved disastrous to Adolphe Menjou and his pupil, Dick Powell, in one of the hilarious scenes of Warner Bros.’ ‘‘ Broadway Gondolier,’’ which opens at the eaere pee ea eee ERGQUO Orage as inte Page Nine