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

© Features Night Club Life From Coast To Coast In Film Many Cabarets of Various Characteristics Shown in “Go Into Your Dance”’ By BOB HUSSEY tionality and every city insists that it be presented N ‘tion life is night life in any language, but every na in a different style. Art Director John Hughes made this discovery when he started research on the subject before designing the night elub sets in the First National picture, ‘‘Go Into Your Dance,’’ which comes to the OMiiauet Toasts. dp res , co-starring Ruby Keeler and Al Jolson. He had to devise a Mexican cabaret, a San Diego night club, the roof garden of a fashionable Chicago hotel and a Broadway theatre which had been converted into a revue showplace. The “ha Cucaracha” cabaret was built as a composite. of all the cabarets in the border town of Tia Juana. It is one large room with about sixty tables covered with checkered tablecloths. There is a long bar off to one side and an artistic balcony. The art director counted much on the “character touches” to aid in getting the real Mexican atmosphere in this set. A native orchestra is in the background. There are dishes of Mexican food on the tables. The Shim Sham Club, presumably in San Diego, was the next night spot photographed in the picture. Hughes made it from pictures of a real San Diego ecabaret, but he had to take the liberty of adding a few touches here and there for the purpose of properly photographing the setting. But there it was—a real life night club reproduced in all its glory on a Hollywood sound stage. The St. Ledger Roof Garden, when the action of the picture shifted to the Windy City, will win attention and admiration for its quiet beauty and artistic effectiveness. The Casino de Paree, which appears as one of New York’s favorite places of entertainment, is seen in “Go Into Your Dance” as a theatre which Al Jolson has converted into a late spot where people may dine, dance and see a show. It is more crowded than the other cabarets and night clubs in the picture. Floor space along the Great White Way doesn’t allow for too much elbow room, The Casino de Paree is seen as a theatre from which the row of seats have been removed, the chairs and tables for the guests replacing them. In such places the guests dance on the regular stage at the conclusion of the entertainment program. Never before has a moving picture shown such a variety of night clubs and eabarets as will be seen in “Go Into Your Dance,” and that’s because the authors of this film have seen fit to start their story on one side of the continent and then send it whizzing overland to the opposite seacoast. Jolson and Miss Keeler are starred together for the first time in “Go Into Your Dance,” the latest First National musical spectacle. Others in the all star east inelude Glenda Farrell, Helen Morgan, Barton MacLane, Sharon Lynne, Patsy Kelly, Renny Rubin and Gordon Westcott. The screen play by Earl Baldwin is based on a story by Bradford Ropes. Danees in which scores of beautiful girls take part were staged by Bobby Connolly with musie and lyries by Harry Warren and Al Dubin. 00020020000 000DORDIODIOIOOOOIOOOOIOIO i Welcome Back, Ruby IAEA EOE TY TCE It’s always a pleasure to have you visit us, but this time the movie POS OE Bape Snead Wied i OEY Sit Deen lee (city) are twice as anxious to see your latest picture, “Go Into Your Dance,” Warner Bros. stunning musical. Perhaps, it’s because your husband, Al Jolson, appears with you. Or, perhaps, because you’re twice as good as you’ve ever been. Mat No. 7 Vaudevillian in Screen Debut as Violin Buster Gene Gory makes his living by smashing violins. He is a talented violinist and entertainer, and he really breaks violins to bits only when he’s giving one of his unique performances. His latest engagement was the filming of the First National picture, “Go Into Your Dance,” now showing at the............ Theatre. Gene starts his act by playing a very difficult composition and then indulges in a fit of temperament that ends with his smashing his violin. You Can’t Go Wrong With VITAPHONE SHORTS” Walter Beymer, Lido Theatre, Providence, Ky. AND YOU WON’T GO WRONG WITH ANY OF THESE SIX IN CONJUNCTION WITH THIS PRODUCTION. “BUDDY’S PONY EXPRESS,”’ “Looney Tune,” (7 minutes). Buddy triumphs over the villain of the Big Bad West in this amusing cartoon comedy. No. 9705. **Merrie tain “J HAVEN'T GOT A HAT,” Melodie,”’ Cartoon characters sing and enter (7 minutes). in this full-color short with plenty of music. No. 9805. “THE MORMON TRAIL,” “See America First,’? (10 minutes). The opening of the Utah country and the drive West is the subject of this short by E. M. Newman, with dialogue by John B. Kennedy, famous 9508. news commentator. THE EASY ACES in “SOME BRIDGE WORK,’’ Pot,” (10 minutes). Popular radio team featuring their nutty bridge talk. No. 9619. No. edy,”’ “Pepper BOB HOPE in GRAY MAYOR,” “Big ‘V’ Com(18 minutes). “THE OLD Broadway’s newest comedy star in two reels of hilarity. No. 9213. ‘BUDDY IN AFRICA,” “Looney Tune,” (7 minutes). Buddy goes to the dark continent and meets the terror of the jungle... much to his surprise. No. 9706. 20¢ Ruby Keeler Changes Dances To Fool Hubby Ruby Keeler proved herself the champion quick change artist in Hollywood and the title in no way concerns wardrobe. The quick changing was done in dance steps. In her current First National picture, “Go Into Your Dance,” now showing at CROW seer yeh Theatre, she displays, her versatility as a dancer. In filming the scene, Al Jolson played the piano and rapidly shifted from one dance time to another, trying to confuse Ruby. But as swiftly as he would change tempo, she would adapt her steps to it. ' Without a moment’s hesitation or a lost step, Ruby went from a Highland fling into a waltz clog dance, then into an Irish jig, following that with a softshoe tap dance. Miss Keeler is starred with Jolson for the first time in “Go Into Your Dance.” Ruby Keeler Reveals Her Beauty Secrets Ruby Keeler, who co-stars with her husband, Al Jolson, in the First National musical spectacle, “Go Into Your Dance,” now Shiowanor sats thionies sce isk ted hak Theatre, has come out with a few beauty hints for girls of her own type. Miss Keeler who is youthful, demure, a brunette with dark brown eyes and hair and heavy eyebrows, and is slight of stature—says: “Tf your eyebrows are heavy, like mine, don’t pluck, but merely groom them. If they are not heavy, a slight line drawn either at the upper part of the eyebrow or the lower, will give them a similar contour. “Use no mascara in the daytime and at night use a brown mascara which will give your eyes a much larger outline, but a softer appearance. “Rouge of a medium light shade and the lighter red tones of lipstick should match your type of complexion.” One Song Made Many By Change In Tempo Given different tempos, one song can become many songs. This is shown in the Bobby Connolly dance ensemble written around the Warren and Dubin song, “A Latin from Manhattan” in the First National musical spectacle, “Go Into Your , Dance,” which COMOESE LO TNe-t3de ie eee shoe HEALLE OMiie a ica a ee , with Al Jolson and Ruby Keeler in the stellar roles. Jolson sings the song at a lively pace which requires but 39 seconds for a chorus. When the song is slowed down one second, it serves for dancing in the Argentine manner. At 41 seconds it becomes “hot tempo” and serves for a cheap dime-a-dance melody. The Park Avenue set favor the song at 45 seconds for dancing and the real Spanish tango is performed best at the slow pace of 51 seconds per chorus. It’s the same song throughout and one never loses consciousness of the true melody, but there’s nevertheless a feeling of separate songs just because the tempo is shifted about for different purposes. Helen Morgan Sings For Her Co-Workers During the production of the First National musical spectacle, “Go Into Your Dance,” which COMES! HO}euhe! sis hae Theatre TORU ek sh csicee ee , Helen Morgan frequently entertained her coworkers with torch songs, for which she is famous. Those who were rapt listeners included Al Jolson, Ruby Keeler, Glenda Farrell, Patsy Kelly, Benny Rubin, Phil Regan and Gordon Westcott, all members of the cast. Miss Morgan sings in “Go Into Your Dance”’—and also plays an important role. Glenda Farrell Talks Too Fast For ‘‘Mike’”’ Glenda Farrell continues to reign supreme as the _ fastest talking actress in Hollywood. In the First National picture, GLENDA FARRELL in “Go Into Your Dance” at the Strand Theatre Mat No. 138— 10c¢ “Go Into Your Dance,” which COMES “tO Ate ya eae Theatre Sie eae next, Miss Farrell had to re-take several scenes because her speech was too speedy for the microphone. While most players have to take scenes over occasionally through mistakes, Miss Farrell’s trouble is just the opposite. She knows her dialogue so well that she rattles it off too fast. “Slow down at least to the speed of a stream-lined train, will you, please,” begged the director. Peppy Glenda Farrell Qualifies As Climber In making scenes for the First National musical spectacle, “Go Into Your Dance,” now showing UDR AUTO tree etre tse Theatre, Glenda Farrell had to climb up and down the steps of a Pullman train nineteen times. In addition she climbed in and out of a bus seventeen times. All the eclimbing was done in one day. “Bring on your Matterhorn,” Glenda remarked to bystanders. Al Jolson and Ruby Keeler costar in the production. Page Twenty-five