Indianapolis Times, Indianapolis, Marion County, 29 January 1942 — Page 15
THURSDAY, JAN. %, ‘Pretty Bob’ Toughie Now
———
1942
2 Blonds—an Are
Loew's Film Shows Taylor]
'Sisey’ No More.
Robert Tavlor. who used to be a!
pretty boy, iS Seeing “Johnny Eager” at Loews, you'd hardly guess that Robert used to be a cello plaver cursed with a “widow's peak” hair-do and a nose crinkled up so cute-like when he grinned. Yes, it appears that the long, hard haul to rip the delicate glamour off Mr. Taylor is now entering 1 final, successful stages. And one of the original used to think he was a sissy.
This One's Different
And that's the reason I want to be among *he first to say he turns in a first-class job on an uninspired script in Eager.” f you can forget what a wishy-washy mug Hollywood made of him at first then I think youll like the picture Mr Tay] lor is a tough. icy hearted gangster and it's only the memory of him more unfortunate days that bothers one. Forget that
131 like him
Johnny
in inl
d Ton u
ngs can't alwavs be hard and
though, and so theres Lana | 1 glamour gal |
1 n A No is becoming an actress. She's Eager's woman and to see t he has no interference, he puts r in a framed murder—and that ner stepfather. who also is the right where Johnny wants
Runs True to Form Johnny up with all no squawks from the trying to prove to Lana really loves her Fager runs nto a blazing gun battie The story is familiar stuff: Gangters, molls and wise guys. But the vs code now calls for the bad to get what's coming to them nd so they do. That's about the v twist that makes the picture cem different from others of five
opens his
rackets 3 »e Then
law
that Ma
the star-stocked cast. one
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Madeleine Carroll has a few w Havden, while Leo G. Carroll looks nicolor movie, “Bahama Paggage’ Indiana.
ument
ords of disagreement with Stirling on. The scene is from the tech- * which comes tomorrow to the
notices Charles Dingle (Marco) of
The Little Foxes” Paul Stewart (Julie) of “Citizen Kane” and Van! Heflin The next time Van Heflin appears a picture, he should get the top billing. for he $ definitely proven he has the makings. You won't for-| get the scene where he confesses he doesn't have the guts tp turn Johnny in and then kill himself. For a solidly tense bit of drama! here 1s an episode that has few peers. The
in
fact is, Mr. Heflin, as the;
wise-cracking pal of Johnny Eager!
-:
what 1 liked most about the whole show. For good measure, offers another of the Blondie series. This time “Blondie Goes to College.” Penny Singleton, Arthur Lake and Larry Simms are featured. —F. P.
AND NO PLAY
When Dorothy Lamour finished her starring role in “The Fleet's In”
is
ishe chalked up a record score of six
pictures in one year, having worked
282 twelve-hour days.
That is
Loew's also!
Studio Sued By ‘Stripper
Betty Rowland Irked by 'Ball
of Fire' Film. By FREDERICK C. OTHMAN United Prese Hollywood Correspondent HOLLYWOOD, Jan. 28 — Miss Betty Rowland, who removes her clothes five .times a day and six on Sundays in the interests of her art, sued Samuel Goldwyn, Inc, Ltd, today on charges of: damaging her good name $53,500 worth. Thesé many years, Miss Rowland tola the Superior Court, she has been known wherever lovers of beauty gather in the Nation's burlesque theaters as “The Red Hot Ball of Fire” So okay. Goldwyn, Inc, Ltd, makes a movie and bills one Barbara Stanwyck as “The Ball of Fire.” This Miss Stanwyck gets up there and does the bumps, according to Miss Rowland, and she doesn’t even unbutton her dress. fire she turns out to be. “Chunk of ice,” muttered Miss Rowland.
No Audience Either
“If this Miss Stanwyck is a ball of fire, theyre going to say they don’t want any ball of fire—and where does that leave me?” tinued Miss Rowland.
“It leaves me out there without |
any clothes. And no customers, either.” For thus shivering in private under the blue spotlight, Miss Rowland demanded $50,000. For not getting a job at Goldwyn, Inc, Ltd, as technical adviser on the art of undressing in public, as promised, Miss Rowland asked $3500 more. For hinting, however delicately, that her law suit might possibly—
| just possibly—have been inspired by
the mighty Goldwyn’s press agents, Miss Rowland suggested that this correspondent go jump in the lake.
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HE INDHANATOLIS Tres
RECORDINGS
A fine ball of |
con- |
PAGE 15
ARTHUR Murray Dance Studios will be glad—or mad— that Jimmy Dorsey (Decca) has a new one out called “Arthur Murray Taught Me Dancing in a Hurry.” It's from the filmusical, “The Fleet's In.” Helen O'Connell takes the vocal and it's a nifty set of lyrics, to wit, in part:
Life was so peaceful at the laundry, Life was so calm and serene. Life was tres gay—till that unlucky day I happened to read that magazine. Why a8 1 réad that advertiscment here it says: “Since I rhumba Jim SRILES I'm sublime.” Why, O, Why, did I ever try, Whes I didn't have the talent, didn't have ithe money and Teacher did not have the time.
The orchestra takes the lead at that point with a bit of rhumba and then Helen somes in with the title line. Speaking of the rhumbas, Helen laments
bles.” The kicker: of Paviowa, well, Jack, move over,
make way for the queen of the |
dance.”
The song is of the patter variety characteristic of musicals — and |
vou should get a bang out of the first few hearings, at least. “Not Mine” is the flipover.
Otherwise, from Decca: Jimmy
Lunceford plays it hot, low-down | and sultry in “Blues in the Night | It's |
(My Mama Done Tol’ Me).” a double-sided record, with a slow, simmering beat—proof that Mr. Lunceford still makes real jazz. The Delta Rythym Boys harmon-
ize closely in “When You're Gone, | and “When I'm |
I Won't Forget,” Gone, You'll Soon Forget.”
Benny Goodman's clarinet and Art London's voice, something new |
in the Goodman outfit, combine to make a haunting lullaby of “You Don’t Know What Love 1s.” And the same goes for the backside, “Someone's Rocking My Dream Boat” (Okeh). A couple of revivals find Carl Hoff’'s sax
section sighing deeply with “Pale | “The Mar- |
Moon” (Okeh), with riage of the Broker's Daughter” on the reverse, and Ray Noble's band unbending a bit with “By Light of the Silvery Moon” lumbia), “While My Lady Sleeps” consuming the flipover. ” 8 2
James Blows Hot
HARRY JAMES continues to |
fire the jazz world with his sén-
sational trumpet playing, a matter |
which recently pot him a new Columbia contract. His latest platter combines “I Don't Want to Walk Without You” and “B-19.” James had a hand in writing the latter and Helen Forrest's vocals in the first are something to remember. Carel Bruce was one of the good things about the Abbott-Costello movie, “Keep 'Em Flying,” And she’s just as good on records. She sings “The Boy With the Wistful Eyes,” from the movie, and “You Don't Know What Love Is” (Columbia). “Chattanooga Choo Choo,” by now an old favorite, blossoms out anew if a elever Claude Thorn. hill treatment, with “This Love of Mine” consuming the “hb” side (Columbia). The gleaming, high-blown trumpet of Louis (Satchmo) Armstrong shines through “I Used to Love You” and “Leap Frog” (Decca), as Freddy Martin devotes a Bluebird waxing to “Until the Stars Fall Down” and “’'Tis Autumn,” both suggestive of the style he used in his Tschaikowsky Piano Concerto. Tommy Dorsey's boys ask ‘How About You?” and conclude with “Winter Weather” (Victor), both fair, If the comics are coming back on records, then it was Abbott and Costello who led the way. They have a two-sided run of patter called “Laugh, Laugh” (Victor) that should emit many a chuekle, sometimes even a laugh.
Albums
HILDEGARDE, who's something of a rave item in the higher
* priced night joints, sings six songs
from Cole Porter's musical, Let's Face It,” in a current Decca collection. The titles: “Everything 1 Love,” “Ace in the Hole.” ‘You Irritate Me S60.” “A Little Rhumba Numba,” “Farming” and “I Hate You Darling.” Hildegarde will have you fee]ing like getting cozy before she's half through a number. A “souvenir” album from Victor presents Paul the way it used to be. That's when Bix Beiderbecke was building up his fabulous name with a cornet, Frankie Trumbauer was on, C melody sax and Bing Crosby | was just one of the Whiteman crooners. Five re-pressed records comprise the album and it's of high interest to those who take their jazz seriously. Very documentary. Another group or repreéssings has the late Helen Morgan singing all the songs that made her famous (Victor) and Arturo Arturos has a packet of “Cubano Rhythms” available (Victor), which is not the best south-of-the-border music one can hear. ” 2 2
Revivals
Sammy Kaye (Victor), with vocals by Tommy Ryan and the choir, does a neat job with Cole Porter's “Begin the Beguine,”
Tickled
By Fremont Power
which couldn't be a very bad song played by ‘most anybody. Erskine Hawkins (Bluebird) doesn’t come out so well, however, with “I Love You Truly.” The singing, by Ida James, Jimmy Mitchell and Cap & Bob sounds downright silly, Will Bradley's trombone (Columbia) is solid and smooth in “Sleepy Time Gal” with Count Basie (Okeh) quiets down more than is his habit in “My Old Flame.” It's Basie in one of his mellow moods.
Horowitz Plays Here on Feb. 16
Vladimir Horowitz, the pianist who appears on the Martens series at English’s Feb. 16, is another who is badly confused by the English language.
He likes to tell the story about himself when he played at the
White House for President Hoover. |
Friends had instructed him to say, “I am delighted.” upon being introduced to the President. Having shaken hands with Mr. Hoover. Mr. Horowitz solemnly and properly (he thought), remarked, “I am delightful.”
Nobody flinched, so the story goes,
and following the concert, Mr. Hoover gave the pianist a signed photograph.
VERSATILE CREGAR
Between scenes as an actar, Laird Cregar writes plays and composes songs. He has written three dramas, a musical comedy and a revue, all unproduced.
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