PHILOSOPHY OF OPTIMISM?

Hawera Star, Volume LIV, 7 November 1935, Page 8

PHILOSOPHY OF OPTIMISM?

FAITH IN THE FUTURE HOLLYWOOD DEVELOPMENTS

Is the screen seeking to give thje public a new philosophy of optimism*? Current developments iu Hollywood production point' toward this, jys “happy” music and pictures designed to stimulate and recreate faith in t£ie future seem to be the keynote of current schedules.

One of the outstanding .moves in tjhis ' direction is the bringing to the serteen of Ted Lewis, music’s exponent of •optimism, and his, orchestra. Lefsvis, [throughput his career, has nevef sung .4-ny but “Happy Songs.” “Is Weryb»ody happy?” is literally his trademark.

His records cover the world. His stage appearances have been rey.narkablo successes. In the theatre world he is l referred to as “music’s amSbassador of optimism.” Lewjs comes to the screen in “Here Comes the Band,” a comedy romance featuring not only Lewis’ own famous “happy songs,” but many elaborate musical interludes by other famous composers.

The key song, “Headin’ Ho,me,” is a blend of typical American melodies such as the negro spiritual, the song of the hill-billy, cowboy songs, and Indian designed as the ultimate in typical American music with elements of all its branches. Composed by Herbert Stothart, with

lyrics by Ned Washington, it is really the central theme of tho picture, as tho entire plot revolves about it. The song is stolen by a publisher, and iu court its original singers appear as musical “witnesses” to prove its origin, in a novel twist in musical presentation. Virginia Bruce and Harry Stqckwell play tho, romantic leads in the film, and Ted Hpaly, Nat Pendleton and Donald Cook are featured in the.cast.

Incidentally, the picture will probably set a new record in the use of music in screen drama, as, including songs, musical sequences, and underscoring or musical backgrounds for dramatic scenes, fully 97 per cent, of the sound track will contain .music in some form.

“Public Hero Number 1” provided a note of optimism also, in showing that organised crime has not conquered the law.

“Woman Wanted,” filmed by Metro-GoldAvyn-Mayer, likewise slioavs the power of the law to guard citizens, and ■does it largely in a light vein, with comedy interspersed gmong thrills and mysteries.

“Broadway Melody of 1936” is one of the most elaborate examples of the spirit of lilting romance with music, breathing the very spirit of Broadway; it expresses this spirit in spectacular dance and musical sequences. The entire keynote is one of joyousness. Roy Del Ruth is directing the picture, with Jack Benny, Robert Taylor, Eleanor Powell, Una Merkel, June Knight and many players famous in musical comedy, stage, wireless and screen. John W. Considine, junr., is the producer. “Escapade,” a lilting romance of Vienna, in Avhich William Powell introduces Luise Rainer, Continental stage star, to the American screen as his leading lady, is another picture to fall into the “happy” class. Whimsical humour, music and Viennese gaiety are backgrounds for a love story with distinctly ncAV-treud flavour. Robert Z. Leonard directed, .and Bernard Hyman produced. Frank Morgan, Virginia Bruce, Mady Christians, Reginald Owen, Henry Travers and others are in the cast.

“O’Shaughnessy’s Boy,” a drama of the circus, which reunites Wallace Beery and Jackie Cooper after past triumphs in “The Champ” and “Treasure Island,” likeAyisc lias a note of optimism and uplift in the “comeback”-, of a man after heartbreaking adA’ersity. Richard BoleslaAyski is directing-under Philip Goldstone’s production superA’ision, Avith Spanky McFarland, Sarah Haden, Clarence Muse, Willard Robertson, Ben Hendricks aud others in the cast. A complete circus figures in its romantic action.