Shine on Harvest Moon (Warner Bros.) (1944)

yan CAST, SYNOPSIS, PREPARED REVIEW ‘Shine On Harvest Moon, New Warner Bros. Musical, Opens At Strand Theatre Ann Sheridan And Dennis Morgan Star In Film Dipping again into the rich background of our theatre at the turn of the century, as they did for “Yankee Doodle Dandy,” Warner Bros. comes forth with another nostalgic plum sure to please both veterans and young theatre-lovers alike. It’s “Shine On Harvest Moon,” starring Ann Sheridan and Dennis Morgan, which opened last night at Mat HM-109—15c Dennis Morgan as Jack Norworth, husband of Nora Bayes, in "Shine On Harvest Moon" currently at the Strand. the Strand Theatre. In it, the smell of greasepaint and gaslight mingle to produce a warm and lovable story about one of America’s best-loved singers— Nora Bayes. With Ann Sheridan as the beautiful crooner who was the Dinah Shore of her day, “Shine On Harvest Moon” is a film (Prepared Review) rampant with the rowdiness, music and color “that spelled burlesque life in the early 1900’s. Legend and the Bros. Warner have it that Nora Bayes was discovered by one Jack Norworth (Dennis Morgan), songwriter and vaudevillian, when she was still singing ex. clusively to Milwaukee audiences in a small cafe known as the Golden Horseshoe. Norworth, as much impressed with the young girl’s beauty as with her ability to put over one of his numbers started her on what was eventually to become one of the most notable careers in American songdom. Acting on Norworth’s advice, Nora Bayes left the Golden Horseshoe, appeared for a while in a sister act with Blanche Mallory (Irene Manning) and seemed well on her way to the top. But a sister-act, like the proverbial chain, is only as strong as its weakest link. In this case the weakest link was Blanche Mallory, jealous of Norworth’s increasing attention to her partner, who brought the Mallory-Bayes combination to an abrupt end. And when Jack Norworth jumped in to fill the somewhat sudden gap in the act, the much more famous team of Bayes and Norworth finally got off to a start. But Fate was not to smile permanently on this romantic team—not just yet, anyway. Once married, it began to look like their love had been nurtured solely to see how many storms it could weather. As a vaudeville act, their days were numbered. Nora’s former employer, reaping a neat vengeance for the loss he had sustained when she left his Golden Horseshoe, refused to let their act play in any of the theatres in the chain he now owned. And because they were married Norworth could not publish his one asset—“Shine On Harvest Version Of Nora Bayes’ Life Moon”—because its publication depended on the approval of the woman he _ had _ rejected— Blanche Mallory. But Nora Bayes was not above sacrifice— even when it involved separation from the man she loved. So it was that Nora disappeared completely from the public eye—and from her husband’s —in order to give Norworth a chance to. make good without her. Their final reunion in no way minimized the girl’s sacrifice for when at last they did come together, Jack had arrived on his own and their future as two of Flo Ziegfeld’s most glittering stars was just beginning to shine faintly on the horizon. As the songstress and songwriter, Ann Sheridan and Dennis Morgan exhibit a happy combination of romantic interest and genuine musical ability. They’re called upon to do some good, singable numbers in addition to the title song— namely, “Time Waits For No One,” and “I Go For You” as well as some older, vintage 1906 tunes like “Take Me Out To The Ball Game,” “I’m Just Goin’ Along As I Please,’ etc., and perform admirably. Jack Carson as The Great Georgetti, magician extraordinary, and Marie Wilson as Margie, his stooge, contribute some excellent comedy while Irene Manning imbues the role of the beautiful Blanche Mallory with the proper fury of a woman spurned. S. Z. Sakall, as Poppa Karl, the singer’s friend, plays with understanding and warmth. Based on an original story by Richard Weil, the screenplay was authored by Sam Hellman, Richard Weil, Francis Swann and James Kern. The William Jacobs production was directed by David Butler and the dance routines were prepared under the guidance of Le Roy Prinz. Nora Bayes and Jack Norworth, Stars Of Yesterday, Coming Friday to Strand In London James Barrie (not yet knighted) wrote a revue called “Josephine.” Here in America, Taylor Holmes had just completed a long tour with Robert Edeson. William Collier opened in New York (the Garrick) as Dick Crawford in “Caught In The Rain.” The season was humming. At the Criterion, Maxine Elliott was playing Jo Sheldon in “Her Great Match,” Mrs. Fiske was doing “Dolce” at the Manhattan and George M. Cohan was up at the Herald Square in “George Washington, Jr.” James Forbes, two years later to entertain an entire nation -with his “Traveling Salesman,” attended the opening of his first play “The Chorus Lady.” Ethel Barrymore was touring the sticks in “Alice-SitBy-The-Fire.” And all the way out in Milwaukee, a young girl was blazing a trail to a new type of singing —which would later, much later, be known as “torch singing.” The year, Ma HM-103—15< for those of Irene Manning you who are 10 (Advance Theatre Story) wondering, was 1906. And the young. trail-blazer was Nora Bayes, the songstress whose fame has ‘still to find its equal in American songdom. Against just such a_background of theatrical nostalgia, Warner Bros. have produced a colorful and touching film, made up of equal parts tender love story and musical _ entertainment, and called it “Shine On Harvest Moon.” Starring Ann Sheridan, Dennis Morgan, Jack Carson and Irene Manning, the film opens Friday at the Strand Theatre and promises to be the female counterpart to “Yankee Doodle Dandy” since it, too, unfolds the story of a figure who grew up with—and helped to build—our’ early theatre. What “Yankee, Doodle Dandy” did for George M. Cohan, “Shine On Harvest Moon” promises to do for Nora Bayes. From the time she was discovered singing in a small Milwaukee cafe by Jack Norworth, then popular songwriter and vaudevillian, Nora Bayes’ emotional and _ professional life moved forward in uneven tempo. Norworth, in love with the young singer, took Nora out of the cafe and put her into vaudeville as half of a sister act written by him. But Nor worth had not bargained with female temperament and the other half of the sister act walked out in a tantrum of jealousy over Norworth’s increasing affection for Nora. So it was the songwriter himself who teamed up with the torch singer, both professionally and in private life too. But their marriage was the signal for the start of a series of ups and downs in the theatre and in life which did not end until many years later when the couple were reunited by an astute talent scout employed by Flo Ziegfeld. As Nora Bayes, Ann Sheridan’s real singing ability and charm lends credibility to the role. Dennis Morgan plays Norworth while the excellent cast includes Irene Manning, wellremembered for her role in “Desert Song,” Jack Carson, S. Z. Sakall, Marie Wilson and Robert Shayne as well. A number of old-time songs are included—“Take Me Out To The Ball Game,” “When It’s Apple-Blossom Time in Normandy” and of course the title song among them. There are three excellent new numbers as well: “Time Waits For No One,” “So Dumb But So Beautiful” and “I Go For You.” THE CAST PRG POU WOOTEN c's. ao slate RS iss sine ob Renee oo Dennis Morgan PI es Fale ati ye nice ee Sale a See + dee Ann Sheridan AR Pee ae eee or eae rare ere are oe Jack Carson EPEC ENT TRNGIN aos Socks ss A 6 hes Se Irene Manning OE 0 ara 5 ees Sool oe ea 406: 3 ees S. Z. Sakall rin 2 ss eos Ss ae es also “oS Robert Shayne UR gt asks aie ox Cab ee ees voce o SE Marie Wilson CE SS Fe a soe a Themselves ONG. aM Ctta ton aii aoc SRPMS. #9 > 9 0 'n ogd Bob Murphy Se Se a rr eae nee eo ee ae ee Will Stanton iF 5'3 (2) Be Beineea eee rh me eee a tecete Harry Charles Johnson UMMTUE hs 6 oc hoe Sk oa a tend So Peeaeereel tener Betty Bryson PRODUCTION Produced by William Jacobs; Directed by David Butler; Life Story of Nora Bayes; Screen Play by Sam Hellman, Richard Weil, Francis Swann and James Kern; Based on Original Story by Richard Weil. Director of Photography, Arthur Edeson, A.S.C. Film Editor, Irene Morra; Sound by Dolph Thomas and David Forrest. Art Director, Charles Novie; Dialogue Director, Hugh Cummings. Set Decorations by Walter Tilford. Montages by James Leicester. Dance Director, LeRoy Prinz. Gowns by Milo Anderson; Unit Manager, Frank Mattison; Asst. Director, Jesse Hibbs. Unit Publicist, Bill Rice. MUSIC Solo Numbers Sung by Miss Sheridan My Own United States; Just Like A Gypsy; How Can They Tell That O’Im Irish; Time Waits For No One. Solo Numbers Sung by Miss Manning Be My Little Baby Bumble Bee; San Antonio; Thank You For The Dance. Numbers Sung by Miss Sheridan and Miss Manning Don’t Let The Rainy Days Get You; We’re Doin’ Our Best For You. Numbers Sung by Miss Sheridan and Mr. Morgan Shine On Harvest Moon; I Go For You; When It’s Apple Blossom Time In Normandy; Take Me Out To The Ball Game; I’ve A Garden In Sweden; I’m Just Goin’ Along As I Please; Whose Your Honey Lamb; Time Waits For No One. Number Sung by Mr. Carson and Miss Wilson So Dumb But So Beautiful. Ensemble Number It Looks To Me Like A Big Night Tonight. SYNOPSIS (Not fer Publication) Sharing billing at Milwaukee’s Crystal Theatre in 1906 are Jack Norworth (Dennis Morgan), songwriter, Blanche Mallory (Irene Manning) singer in love with Norworth, The Great Georgetti (Jack Carson) magician and his stooge Margie (Marie Wilson). In a local cafe, Norworth hears an unknown warbler Nora Bayes (Ann Sheridan) sing his song “Time Waits For No One”? and is tremendously impressed—by both the singing and the girl. But he is responsible for her being fired when he intervenes between Nora and her boss, Dan Costello (Robert Shayne). Norworth maneuvers to have Nora fill a spot on the Crystal program only to have her booed off stage by Costello’s paid hecklers. At Norworth’s insistence, Blanche Mallory and Nora form a sister act with the songwriter writing the act and supplying songs. But Blanche grows jealous of Norworth’s increasing attention to Nora and walks out, just when Bill Fowler (James Bush) is on hand to catch the act at Jack’s invitation. Jack fills the gap and Fowler offers Jack and Nora a contract. They accept. Norworth proposes marriage as well and Nora happily accepts. As Mr. and Mrs. Norworth, they are celebrating having signed the vaudeville contract when Fowler informs them the deal is off. Dan Costello now owns a powerful theatre chain and has turned thumbs down. Unable to buck Costello’s “blacklist,’? Norworth tries to get “Shine On Harvest Moon” published. He is told Blanche Mallory, now a headliner, must approve. Blanche will approve —if Jack leaves Nora, but he declines. Nora takes matters in her own hands, confides to her friend Poppa Karl (S. Z. Sakall) that she is leaving Jack so he can make good. Later Poppa Karl finds Nora, plugging songs in a dimestore, tells her Jack is opening that night at a burlesque house. Nora hears him sing “Shine On Harvest Moon”—badly, exhorts him to sing it right—for her. Inspired, Jack puts the song over, calls her to stage and together they bring the house down. Flo Ziegfeld’s talent scout is in the audienge, signs them up for the Follies and their future is assured. lal