Indianapolis Times, Indianapolis, Marion County, 28 November 1941 — Page 32

i" careers.”

Film Heroes eOrce Villains

Tracy and Gable Began Career as Menaces.

. HOLLYWOOD, Nov. |28 (U. P.).— ~ There seems to be no better way .. to become a screen hero than to vs start as a villain, Producer David-Hempstead made this observation in | commenting upon his cast selections for “Joan of Paris,” at R-K-O. | Mr. Hempstead has| signed Paul Henreid, who has been| on the Eng-

&. lish stage and screen |for the past

five years; and French actress Michele Morgan for the leads.

“I chose* Henreid "for .the hero

. because .he’s such a convincing | ¥illain,” said Hempstead. “It takes ¢ @ virile man to be a villain. That’s one of ‘the main reasons why most #" of the male stars-have # at some time or Other]

during their

Henreid has played numerous roles. of all types, but his greatest success, in this country at least, was. as the menace in the British film “Night Train.” The list of male stars who have profited from villainous roles includes almost all the top-flight actors in Hollywood—Spencer Tracy, ‘Clark. Gable, Paul Muni, Gary ‘Cooper, Cary Grant, ‘Ronald Colman, Jimmy Stewart, Don Ameche, Charles Boyer, Robert Montgomery, Jimmy Cagney, Walter Pidgeon, George Sanders, Ray Milland, George Raft and many others. Tracy and Gable got their chances in the movies through the same role—that of Killer Mears in

been heavies|:

On Alamo Screen |;

Wild Bill Elliott lends a hand to Judith Linden in “The King of Dodge City,” currently at the ‘Alamo,

RECORDINGS _

iy Fremont Power

| _wistfulness it should fave.

THE ‘GALS WHO wathle, of ‘broken heats tad blighted loves

again take’ the spotlight in current record releases.

Peerless Dinah Shere; than Whom. there is no. smoother, scores

with the Duke Ellington number, ~ Good,” and then slides through a “new ‘one, “This Is No Laughing

Matter” (Bluebird). With ‘a simple, straight-forward presentation (which is expert), Connie Boswell resurrects “Stormy Weather” and puts in it all He n the backside is “Gee! But I Hate to Go. Home Alone,” which is very

‘much on the “blues” side (Decca).

Although the Andrews Sisters

have proved previously that they

can make mistakes, they don’t make any worth mentioning in “Elmer's Tune” and “Honey” (Decca). Present is that old zip,

the old

* yigar and, wham.

“Gloomy Sunday,”

“suicide favorite, and “I'm in a Low

Down Groove” find Billie Holliday not quite in the groove

- (Okeh)..

If you enjoyed Carmen Miranda’s infectious, bombastic ways in the movie, “Week-End in Havana,” then perhaps you'd like a three-record album of Carmen singing some of the music from the show (Decca). Naturally the titles include “The Man With the Lollypop Song,” “When I Love I Love,” Week-End in Havana” and others. And you should hear Carmen slice up the King’s English!

2 2 2 Victors—

Frank Sinatra sings a cone vincingly sentimental ‘bit called “Violets for Your Furs” and the flipover ‘changes the pace considerably as Temmy Dorsey puts the swing touch on “Somebody Loves Me.” . Solemnity is the word for “The Shrine of Saint Cecilia” as played

“I. Got. It: Bad ‘and That Ain’t

Foy ‘Sammy ‘Kaye. with chimes and

“A

“The Last Mile.”

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organ. The flipover, however, is a rowdy: warning that “Santa Claus Is on His Way.” Some fine; clean-cut muted trumpet work -is the outstanding feature ' in “How Long Did I Dream?” ana “Humpty-Dumpty Heart” by Art Jarrett and his orchestra. : The sleepy lilt of Wayne King’s style is heard in “Time Changes Everything” and “Misirlou,” the former being much the most attractive. The smooth, rippling, racing music of John Kirby's little orchestra makes “Tweed Me” (by Billy Kyle) and “Night Whispers” enticing items. Mr. Kirby is one of Victor's. best assets. ;

, s 8 From Columbia

Benny Goodman may have a large admiration for the longhairboys, but you wouldnt rece ognize it from hearing him swing “Caprice XXVI Paganini” and “I'm Here,” the latter arrange-

ment being by his young pianist, Mel Powell. Also with the Goodman touch is “I See a Million People” and “The Count,” dedicated, presumably, to Count. Basie, Eddy Duchin’s followers probably will wish for a little more of his piano in “Every Time” and “This Time the Dream’s On Me.” Listen for that smear trumpet in ‘the latter. “I Got It Bad and That Ain’t Good” is given a delayed treat ment by Eddie Howard’s orchestra, with “Youre a Natural” on the

backside.

2 8 ” Deccas Irving Berlin's “Any Bonds Today” is swung, and how, my the Andrews Sisters, with about the same thing happening when Jimmy Dorsey’s orchestra gives the same piece a going-over on the backside. This ought to help

-Uncle Sam’s sales.

Bob Crosby sounds strong and solid in “My Imaginary Love” and Liz Tilton does well the vocals of “Week-End in Havana.” Glen Gray's interpretation of “City Called Heaven” is not particularly original, but it’s “all there.” “I Found You in the Rain” fills the bill. The tempo is sweet in “The Magic of Magnolias” and sultry in “Day-Dream,” as executed by Jimmy Dorsey.

o # ”

Three Bluebirds

Tony Pastor does a very good

job of imitating Louis Arm-

strong’s rugged voice in singing “You Can Depend on Me.” It is g first rate recording, with “El Choclo,” a little ditty about a“ jealous Latin lover, on the “b” side. . .An on-the-beat, solid rhythm section is what makes Bob ‘Chester’s orchestra score in “I Wish I Had a Sweetheart” and “Madelaine.” The Yuletide spirit in swing time is in Glenn Miller's boys as -they blow. syncopation into and the same goes on in Alvino Rey's ranks as they give forth with “Santa Claus Is Comin’ to Town.” All on one record. -

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