Screenland (May-Oct 1934)

for September 1934 _ country," etc.. and-so-forth, and-so-on. Well, here was the Countess Albani right before me, seated comfortably in a .corner of her dressing-room adjoining one of the more capacious broadcasting studios at the N. B. C. headquarters. But wh^re was the "perfumed posing," perhaps; :he hauteur, possibly; the regal bearing, certainly? Well, you might as well know it just wasn't. Now it's true that the Countess Olga Albani, whose deep-toned soprano voice has been a distinguishing feature of many elaborate musical broadcasts during the past five years, was born in Barcelona, is of pure Castilian blood, and is married (happily too) to an Italian Count. It's true her full name is Olga Maria Aurora MedolgoAlbani. But the Countess Olga Albani likes to sing a "low-down blues song," as she puts it, as well as the operatic arias, the ballads, and the current melodies. She likes prizefights better than bull-fights — knows a lot about the former and practically nothing about the latter. And what could be more natural than that? The Countess Olga Albani, you see, was brought to this country by her parents and has lived in New York since childhood, has received all her education at American schools — is in all the tastes thus cultivated a typical American girl. "I developed a desire for the stage when I was at school," she was telling me. "I took part in all the dramatic activities at school, went to the theatre at every opportunity. When first I proposed going on the stage, my parents objected. I had studied singing under the best teachers my father could find — but that, according to father's view, was part of my education, an accomplishment. However, I finally won out, and went about getting a stage engagement. It developed finally into my being put into the leading role in 'The New Moon.' Later I sang in concert, and in 1929 I sang for the first time over the air. Since then I have been wrapped up in radio. I'll confess, though, I do like dramatic work." One thing the publicity could not go wrong on was when they said the Countess Olga Albani was beautiful. Beauty is beauty in any language. Tallish, slim, with a willowy grace, she has eyes that dance and hps that form a gay and happy smile— and the Countess Olga smiles easily, enthusiastically, eagerly. The eyes are very dark with a slight upward slope to the outer corners, her complexion olive, her hair black and worn in a modish bob. While doing regular weekly programs, the Countess lives in an apartment on Central Park south. There is a country home used for summer holidays. Her son, born m 1926, attends military school. When vacations are of sufficient duration to permit—as happened last winter— the Countess visits her parents on her father's coffee plantation in Porto Rico. The radio work now is something more than merely a means of artistic expression — you know, the economic crash, which did not leave the Count unscathed. He is an accomplished musician, pLr^st, and the composer of several works said to have considerable merit; and had had, before things happened, an established and flourishing business as an art dealer. If anything, all this seems to give the Countess more zest for her work — certainly she has the bubbling enthusiasm for radio that characterizes every really successful star I have ever encountered in the theatre or the broadcasting studios. 95 A NEW KUCLASH TO MAKE ye UK LASHES Irene fV are, now appearing in the 20th Century picture, "The Firebrand" yy/ NO HEAT NO COSMETICS V | NO PRACTICING The Star Who Is Wise to Herself Continued from page 51 herself, never taken herself too seriously. The honesty with which she opens her innermost thoughts is positively breathtaking. "I never dreamed I could ever be a picture star," she admits, unhesitantly. And adds immediately, "I've been lucky, wonderfully so !" It is just as well she doesn't rely on Al Jolson for the absolute truth about herself. Al's prejudiced, as all adoring husbands are bound to be. You may make all the fun you wish of his mammying and he will graciously put your smart cracks down to your poor judgment. Criticize Ruby and he'll escort you out to the alley for fisticuffs ! When you try to locate Ruby in a roomful of people, you look about for the quietest girl present. As soon as you've found her ( you forget all the spectacular ladies. She's not wise, in the worldly way many are — yet she is the spirit of wisdom about herself. This genuineness enchants you. She hasn't altered her eyebrows to suit the current mode in make-up and you sense that she never will be changed by external things. And in the latter I include everything, from Hollywood to marriage. The envious grumbled when she clicked in "42nd Street." They said, "Well, she's Al Jolson's wife — no wonder she's getting the breaks !" Had they ever talked to Ruby they would have been dumbfounded by her own opinion of her film acting. "I enjoy pictures, but I am sure that if *42nd Street' hadn't been such a tremendous box-office hit my Hollywood career would have ended as suddenly as it started. I've done three pictures since and, fortunately, they've been elaborate musicals. I credit their success to the vogue for music and to the all-star casts each had. I, myself, have been just the romantic filler-in." Ever hear such honesty? Although she starred in two of Ziegfeld's biggest Broadway shows and is acknowledged America's most adept feminine tap-dancer, Ruby is equally straightforward with herself on the subject of Al Jolson's invisible influence. "I imagine that there are many girls right on the Warner lot who could do as well as I've done in pictures — if they'd had the same opportunity. I believe that, being married to Al, I was thrown into social contact with the producers and they picked me because they noticed me." Ruby faces facts, but she is extraordinarily reticent about her unqualified triumphs. After all, she had climbed to stage stardom before she met Al Jolson, and a Broadway name should be better equipped for Hollywood extravaganzas than a chorine. Speaking of the chorus, Ruby has two younger sisters who work regularly as dancers in the huge spectacle numbers at Warners. She isn't the least backward in discussing them. Further, she assures me some of the girls with whom she worked in New York shows are at Warners, too— as chorines. She is delighted to be able to chum with them again. Fancy a star being this democratic! But then Ruby's wise to herself. 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