Indianapolis Times, Indianapolis, Marion County, 9 October 1941 — Page 16
Foie
from the Balcony
by FREMONT POWER
AS WE WERE SAYING SO ENTHUSIASTICALLY upon the day before yesterday, Hollywood seems to have found a new approach ‘to the war. At least the evidence is sufficient to arouse a few hopes. The new way is ta let the story stand out in front as the important
;- element, "hol minim
ding the war in the background and the flag-waving to a
um. . As examples of this new procedure, which is a thoroughly
effective one, we
run at the Circle tonight, and “A
tomorrow at the Indiana.
ted to “Hold Back the Dawn,” which closes its - opening
Yank in the R. A. F.”
In neither of these new works is the customer expected to twiddle
his thumbs while some actor slips out of character and delivers a little speech on aid to the British. In the R. A. F. picture, we have Tyrone Power as an irrepressible, unreliable young American who ferries bombers to London purely for the thrill. Ideals have nothing
to do with it. f J 8 8
Fancy Meeting Betty
* WHILE ON one of his stayovers in London, Pilot Power meets Betty Grable, this time a chorus girl who had broken their engagement back in Dallas because Tyrone didn't care to “settle down.” ‘ Of course, you won't be too surprised to learn that Tyrone starts the courtship over again. Like the true poster patriot, Betty [tells him that, assuming that he is such a wonderful guy, he might prove it by joining the . R. A. F. Naturally, he does. There follows then a long and ¢ boring training period, with Ty2 zone finally being assigned to the = wing commander, John Sutton. # Though facing all the dangers ~ of air warfare over Europe, what . bothers Power most is the fear of ; losing Betty to Wing Commander
= Sutton. : ! « The evacuation of Dunkirk, however, turns the trick. So . Lt heroic is Power's work in that great engagement, Betty decides > that “he’s the one,” after all, Land they slip into an English * church and are wed. i It should be pointed out that this picture has received a heap tof rosy critical appraisals, with © | the longest adjectives being used son the Dunkirk scenes.| It is a = war story, with emphasis on the «+ story, | #8 8 =»
Comedy, Strictly
¢ WITH “HONKY TONK” stay“ing for a second week at Loew's, + there remains but one other new *; featured show on the downtown . bill tomorrow. That one is “If ‘ Started With Eve,” a comedy § number wherein Charles Laugh2 ton and Deanna Durbin become -% great friends. i" It's like this: Old millionaire » Laughton is on his death bed % and wants to meet the socialite % Who is going to marry his son, # Robert Cummings. Time is short, ® Bob can't locate his fiancee and 80 he persuades Deanna, a hat + check girl, to take her place for . the moment. The dying Laughton likes De- + anna fine, so well in fact, he be- ¥ gins to recuperate, Deanna has
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Screen Play .
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Opening Tomorrow
CIRCLE—“It Started With Eve,” with Deanna Durbin, Charles Laughton and Robert Cummings. Also “Sing Another Chorus,” with Jane Frazee, Johnny Downs and Mischa Auer, INDIANA—“A Yank in the R. A. F.,” with Tyrone Power and Betty Grable. Also “Charlie Chan in Rio,” with Sidney Toler, Mary Beth Hughes and Cobina Wright Jr.
Held Over
LOEW’S—“Honky Tonk,” with Clark Gable and Lana Turner, will stay for its second week in Indianapolis. * Also being held is “Tanks a Million,” with William Tracy.
To Be Announced
LYRIC—New bill to be announced tomorrow, says Manager Pete Bathory.
to stick around. Well, by now perhaps you've guessed that this condition goes on until Son Cummings finally falls in love with Deanna. The romance, of course, Is] prodded on by Pappy Laugh-
Meantime, Deanna does some singing. Her program: Malotte’s “The Lord’s Prayer”; “Clavelitos”, by Valverde; Dvorak’s “Going Home”; “Viene la Conga”, by Valdesti, and Tschaikowsky’s “Waltz " From the Sleeping Beauty Ballet”. There are advance indications, too, that Mr. Laughton does a jitterbug routine. Now, that should be something to see. What’s happened to him since “Mutiny on the Bounty”?
Chorines Aided By Mary Martin
HOLLYWOOD, Oct. 9 (U, P.).—
Mary Martin, who won fame and fortune singing “My Heart Belongs to Daddy,” has announced that she will give a year’s vocal scholarship under Helen Cahoon; her former instructor, to the most promising singer among chorus girls, night club singers and models in New York. Forty. of the likeliest candidates will be selected in preliminary examinations -and the winner will be chosen after a series of thorough auditions, Miss Martin said.
Action like this,
p
ter's War Film
ree
NS
the evacuation of Dunkirk, is promised in “A Yank in the R. A. F.,” which starts to-
morrow on the Indiana screen. The stars are Tyrone Power and Betty Grable.
RECORDINGS
Tschaikowsky:
By Fremont Power
Symphony No. 5 in E minor; the London Philhar-
monic Orchestra, Sir Thomas Beecham conducting (Columbia).
Quite queerly, when Tschaikowsky set ta work on this symphony, he was in fear that his powers as a composer were beginning to wane. But since 1888, the birth date of the work, it has been recognized as one of his greatest accomplishments. If one were sure just what went on in the brain of Tschaikowsky when he was writing the symphony, then the Fifth might be called
“definitive.” one of which has become overfamiliar as the basis of a popular song, and orfe can feel certain that Tschaikowsky was creating the music with particu~ lar pictures in mind. But precisely what he had in mind only he knew. - °' It can only be said that this symphony, cemented together as much with common thematic material as with key relations, is a magnificent creation. It is fully deserving of the reading Sir Thomas gives it, and vice versa. Here is one that should become a best-seller before the winter season is over. Yes, that’s a prediction.
Mahler: Symphony No. 1 in D major; the Minneapolis Symphony Orchestra, Dimitri Mitropoulos * conducting (Columbia).
Gustav Mahler, the conductor, composed with a boundless imagination, going to extents which some might even term “unmusical.” For these reasons, this
It is interlaced with melodies of the most beautiful hue,
work will take more-than-av= erage study and listening to reach any stage simulating popularity. . Mr. Mitropoulos shows it off with a rich and warm performance, having given it previously with the Boston and New York Prl:artaonis-Symphony Orchesras,
Leoncavallo: “Pagliacci” the opera; soloists, chorus and orchestra of La Scala, Milan, Lorenzo Molajoli conducting (Columbia).
Though the . description of opera as a coupling of music and drama is more a bromide than anything else, when the drama is missing, there is a decided emptiness. . Any recorded or broadcast operatic performance suffers. this handicap. And yet a great many of the Pagliacci population will welcome this nine-record albutfi, a complete performance of the opera. There are reasons, of course. Besides the cast, which delivers the
work with an apparent passion, there is a continuity present which could have heen totally miss
ing. The cast: Rosetta Pampanini, soprano, Nedda; Francesco Merli, tenor, Canio; Carlo Galefi, baritone, Tonio; Tino Vanelli, baritone, Silvio, and Guiseppe Nessi, tenor, Peppe. Sig. Merli is particularly a standout. Sig. Molajoli has been -responsible for many of Columbia's operatic recordings and this one upholds his standard.
Ferde Grofe: “Grand Canyon” Suite, Andre Kostelanetz and his Orchestra (Columbia).
If it can be assumed that Americans are now creating music that will stand the wear of time—and it’s not a dangerous assumption — then this Grofe suite surely must be included in that class. This assemblage of folk themes once was a frequent number in music halls through out the country. And now, as resurrected by Mr. Kostelanetz, the “Grand Canyen” Suite shows that it has stood the test of wide playing and subsequent disuse very well, : It is still a colorful and engaging work. Director Kostelanetz takes extra pains to keep the performance on. a high level, allowing no one to go off the deep end in a gypsy splash. Bernard Ocko’s violin solo is particularly warm and soulful. If already you have a liking for this composition, you may rest assured that no finer recording is available.
Tschaikowsky: Overture 1812; the Cleveland Symphony Orchestra, Artur Rodzinski conducting (Columbia).
Not much need be said about this musical debauch. Along wi the “Marche Slave” and the “Nutcracker Suite,” it probably will remain one of Tschaikowsky's most popular works. The playing here is just as riotSus and colorful as you could ask or. : # # 8
Americana
VICTOR PRESENTS a five, 10inch record album, “Smoky Mountain Ballads,” which is more than a musical oddity. There is a growing audience for this folklore music and it is not all of the pseudo variety. Edited by John A. Lomax, who estimates’ that he has traveled more than 300,000 miles in his researches, this collection is authentic and authentically sung by mountain people. There is a spontaneity and informality (listen to “Chittlin’ Cookin’ Time in Cheatham County”!) which is thoroughly refreshing. Of a different ilk but just as much American as the hillbilly songs, are the spirituals of the Southern Negroes. These, course, have an established popularity. The Hampton Institute _ Quartet and the Hall Johnson Choir are practically trade names. : In a four-record Victor album, the Hampton unit sings “Steal Away,” “Swing Low, Sweet CHariot,” “There’s No Hiding Place Down There,” “Go Down Moses,” “Tis Me,” “My Lord What a Morning,” “Keep Inching Along” and “Nobody Knows the Trouble I've Seen.” Remember, though, that this is a quartet, not a choir. Some like a fuller effect to their spirituals than a quartet can give them.
LADY FARMER
Helen Vinson, who has the second eminine lead in “Nothing But the th,” raises peaches and soy beans on her 185-acre Chesapeake
NKY TONK®
LAIRE
RTACH presents
EKKER
NOW PLAYING
Bay farm.
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DRIVE-IN THEATRE
PENDLETON
L270 “NEXT SUN, i . ABE LYMAN
Indians Theater News Shop ' EDDIE YOUNG'S Admission 550
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1 Pres 8
of -
Olga Adept ; With Beasts|
Miss Celeste in Pictures 32|
Years, Still 'Unknown' HOLLYWOOD, Oct. 9 (U. P).—
Olga Celeste has been in pictures 32!
years but is virtually unknown the moviegoing public. Miss Celeste is one of the world's outstanding wild animal trainers. When a movie actress is supposed
to put some of the jungle beasts through their paces, it usually’ is Miss Celeste who actually does it. She doubled for Claudette Colbert in “The Sign of the Cross” and “Cleopatra.” In “The Jungle Princess” she. did the’ animal scenes for Dorothy Lameur. For “The King of Kings” she doubled for Jacqueline Logan. : Between her first appearance in “Adventures of Kathlyn” with Kathlyn Williams to her current part in “The Jungle Book,” she has doubled for almost every woman star who made an important animal
| picture. .
Nissa Her Favorite
Kipling’s: “The Jungle Book” is being produced in Technicolor by Alexander Korda. For one of the few times in her career, Miss Celeste has a small part of her own, instead of merely doubling for another actress, p She handles tigers and leopards in the film, and also teaches the young Indian star, Sabu, the art of handling jungle animals. Sabu, she said, is probably the best pupil she ever had. He has no fear of the animals, and after a few mnoths of coaching has become adept as a trainer. 2 Among the animals used in “The
Jungle Book” is Nissa, a leopard
that has been ‘in several movies including “Bringing Up Baby” and “Her Jungle Love.” Nissa is Miss Celeste’s favorite animal. Se was born in the jungle but was captured as a cub and has been owned by Miss Celeste for five years. The trainer ‘rarely has had serious trouble - with her animals, but still bears the scars of an encounter with a black panther named Midnight. h
THURSDAY, OCT.
What a Hat!
Bill Elliott, with a hat too big to get all of it In a one-column picture, will be seen in “The Son of Davy Crockett,” opening tomorrow on the Alamo screen. The other feature will be “Desperate Cargo,” with Ralph Byrd and Carol Hughes.
TOPS ON HORSE
Martha O'Driscoll ranks as one of Hollywood's: best horsewomen.
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: 9, 194 HOW IT STARTED
Playing a “bull-fiddle” expert in “Birth of the Blues,” song-writer Harry Barris demonstrates how the idea of “slapping the bass” first started.
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