Go Into Your Dance (Warner Bros.) (1935)

© Daily. Publicity MER. & MRS. AL JOLSON An Impertinent Portrait Being a movie star is a big job. Being married to a movie star is a bigger one and managing a movie star’s home is a career in itself. Ruby Keeler has proved a success in all three assignments. Ruby is intensely interested in her screen career, but that holds true only insofar as it does not interfere with her career as Mrs. Al Jolson. She openly declares that if ever her movie work infringes on her career as wife of Al Jolson, she will lose no time in deserting the films. Tt was Al who first induced Ruby to try the movies, for she was quite content in her real life of wife before she sky-rocketed to success in “42nd Street” and followed that with a long list of screen hits. She is, as a matter of facet, quite willing to return to that status and never again see a movie camera. Ruby’s foremost: concern is running the home. She tries to anticipate her husband’s wishes and invariably has them fulfilled long before he expresses himself. This faculty astounds Al no end. “She’s psychic!” he will declare on such occasions. Al Jolson and Ruby Keeler have vastly different temperaments, but their tastes are alike. They play golf and tennis together. They work, think and plan together, but Al is always prompt to make suggestions about her picture work whereas Ruby knows he’d rather handle his own individual problems alone. While they worked together on the First National picture, “Go Into Your Dance,” which comes LOUbMe tee ee ere aS Theatre on oa RAE nee » Ruby and Al had their breakfasts together regularly. Usually, however, when Al is called to the studio earlier than Kuby, he hurries through his breakfast without her company. He’s accustomed to the rush and bustle of hurried meals. The main basis of the happiness of Ruby Keeler and Al Jolson as husband and wife is their steadfast refusal to be separated. When business engagements: have oceasioually brought separations for them, each speeds througk it to get to the other. During the filming of “Footlight Parade” Al was in New York because of a radio engagement. There was a lull of four days when Ruby wasn’t required at the studio so she took a plane and hurried across the continent for a brief two day visit with her hubby. Both Ruby and Al keep away from Hollywood parties, not because of the usual _ reasons. They’re just so busy with their own occupations that they can’t go places. But wherever they go, whatever they do, whenever they do it, it’s certain they’ll be together. Perhaps that’s the underlying reason for their contentment and happiness, Maybe that explains why Ruby Keeler can be a big star, be happily married to a big star and still handle the gigantic task of being an ideal home woman. “Go Into Your Dance” is a mammoth musical with specialty numbers staged by Bobhy Connolly with scores of beautiful girls. Music and lyries are by Harry Warren and Al Dubin. Glenda Farrell Kicks Like Mule, Says Jolson For several days Al Jolson limped about the set at the First National studios where he was making “Go Into Your Dance,” the latest mammoth musical which comes to the Theatre on Al had a very, very sore shin because in one of the scenes Glenda Farrell was required secretly to kick Al on the shin under the table. When the first “take” was made for the cameras, Miss Farrell’s kick was “like a mule’s” according to Al. His cry of pain ruined the scene. Presenting Ruby Keeler. She’s in “Go Into Your Dance,” now Pl Jaa 7 j Ye Ss a NRA NES Theatre. Mat No. 10—10c Page Twenty-two Ruby Keeler Tells Female Inquirers To “Be Yourself” The charm of Ruby Keeler has made her the target for a heavier bombardment of questions concerning affairs of the heart than ever was directed at any adviser to the lovelorn. A young miss in Chicago who has long yearned for romance, but never quite grasped it, wants Ruby Keeler to advise her on what is to be done about it. A girl in Miami writes to inquire how she should go about winning the friendship of young men and finding romance. Miss So-and-So of Tacoma gends Ruby a stamped, self-ad dressed envelope and asks Ruby to please supply a set of rules for acquiring charm. Ruby Keeler, the girl who typifigs enchantment and allure to so many thousands of feminine admirers, as well as masculine, answers it all quite simply. “Be yourself.” Thai’s her idea of the whole subject. She thinks the charm that is within every woman will properly express itself if it isn’t distorted into something that doesn’t fit the individual. Al Jolson and Ruby Keeler, his wife, are starred together for the first time in “Go Into Your Dance,” coming to the da Farrell, Helen Morgan, Barton MacLane, Sharon Lynne, Patsy Kelly, Benny Rubin und Gordon Westcott. “Go Into Your Dance” is from the sereen play by Earl Baldwin, based on a story by Bradford Ropes. Danees in which scores of beautiful girls take part were staged by Bobby Connolly with songs by Warren and Dubin. Funnier Than Ever Patsy Kelly, one of the foremost screen comediennes who appears with Al Jolson and Ruby Keeler in the new Warner Bros. musical triumph, “Go Into Your Dance.’ > This picture marks the joint screen appearance of Mr. and Mrs. (Ruby Keeler) Al Jolson. In support of these stars, are Helen Morgan, Glenda Farrell and a host of other film favorites, such as Barton MacLane, Sharon Lynne, Gordon Westcott and Benny Rubin. Mat No. 20—20c Al Jolson Taboos Use of Word “Hurry” in Lyric Al Jolson sent out a hurry call for his friend Al Dubin, lyric writer, recently from the set of his new First National picture, “Go Into Your Dance,” whick Chines. fer tne eno eens THGatre: VONGe fun. Ga. a 3 When Dubin arrived, Jolson pointed excitedly to the manuseript ecpy of one of the new songs written for the picture. “Look,” he shouted, “here’s a word I can’t sing.” Dubin, who isn’t excitable, looked. The word was “hurry.” “What’s the matter with it” demanded Dubin. “Nothing,’”’ admitted Jolson, “except that I can’t sing it. To me it isn’t a singing word. Can’t you change it?” “Sure,” said Dubin. “Somebody give me a pencil.” Somebody gave Dubin a pencil and the lyrie writer disappeared behind some neighboring scenery. When he emerged, a few minutes later, he handed a corrected copy of the song—a song whieb will be introduced to the public as “This Evening About a Quarter to Nine”’—to Jolson. He had a run a line through the word “hurry” and by juggling the meter slightly had put in its place the three words: “be right there.” “Now I ean sing that,” said Jolson. And sing it that way he does in the finished picture although the published version of the same song will still contain the word “hurry.” Something like that happens every day or two during the filming of a Jolson picture and other pictures, too. Al Jolson and, Ruby Keeler are starred for the first time together in this picture which is a mammoth musical spectacle based on the story by Bradford Ropes. Others in the east include Glenda Farrell, Helen Morgan, Barton MacLane, Sharon Lynne and Patsy Kelly. Dances in which scores of chorus beauties take part were created and staged by Bobby Connolly. Ruby Meets Patsy in “Go Into Your Dance”’ Patsy Kelly, engaged in an important comedy role in the First National musical, “Go Into Your Dance,” now showing at the Cie ha ie ma ae Theatre, with Al Jolson and Ruby Keeler in the stellar roles, was associated for two seasons with the singing star in the stage production, “Wonder Bar.” Patsy also was a _ childhood playmate of Ruby’s in New York. The friendship continued through their school days at the New York Professional Children’s School. Later they worked together as dancers in several night clubs and in the Broadway production of “Flying Colors.” Ruby Keeler and Al Jolson are co-starred together for the first time. Others in the cast are Helen Morgan, Glenda Farrell and Benny Rubin. Policeman Knits Sweater As Gift To Helen Morgan A night prowler who got away and a fat policeman who knits are responsible for an unusual present received by Helen Morgan, famous actress and piano sitter, now playing in the First National production, “Go Into Your Dance,” which comes to the is We tact a PHOALTE DON ass When Miss Morgan, who lives in the Toluca Lake district near Hollywood, in a small house ocecupied by herself and her mother, heard a prowler one night a week or so ago, she rushed out of the house in lightweight lounging pajamas calling for the police. One of the guards of the district responded quickly and helped Miss Morgan in a fruitless search for the disturber. When they agreed he was not to be found, the policeman noticed that Miss Morgan was shivering and blue with cold. “You should have sweater,” he suggested. “IT was too seared,” Miss Morgan explained, “and besides, I haven’t any sweaters.” “S’too bad,” said the policeman, “T’ll knit you one.” And just to make good his promise he did. A few days later the same policeman delivered a package to Miss Morgan. In it was a bright red sweater, newly knitted. It was a beautiful piece of work. But it had one fault. “Did your wife knit this?” asked Miss Morgan. “V’m a bachelor,” explained the officer. “And I knit.” The sweater is too large for the actress but she is wearing it anyhow. “After it stretches,” she says, “I think it will just about. fit the piano.” Miss Morgan has the role of a blue’s singer in “Go Into Your Dance,” a mammoth musical in which Al Jolson and Ruby Keeler, his wife, are starred together for the first time. Others in the all star cast include Glenda Farrell, Barton MacLane, Sharon Lynne, Patsy Kelly, Benny Rubin and Gordon Westcott. The screen play is by Earl Baldwin, based on a story by Bradford Ropes. Dances in which scores of beautiful girls take part were staged by Bobby Connolly with music and lyries by Harry Warren and Al Dubin. worn a ‘The Man I Love’ But it doesn’t seem to be Al Jolson, who seems rather perturbed about the snub he is receiving from the torch singer superb—Helen Morgan. That’s Glenda Farrell (right) and they’re all in “Go Into Your Dance,” the Warner Bros. musical. triumph, in which Ruby Keeler is co-starred with her husband. Mat No. 9—20c The “Freak Facts” feature, usually shown in the publicity sec tion, is illustrated in the exploitation section. See it on page 18.