“Alexander’s Ragtime Band”

Northern Advocate, 17 December 1938, Page 4 (Supplement)

“Alexander’s Ragtime Band”

“I’ll never forget the night I first heard thcr: song!” The words were wisps of thought in a roomful of conversation. It was Sunday in Hollywood—and the radio offered a programme of Irving Berlin hits. i ' '*k * 5 t Darryl F. Zanuck caught the words from across the room. Every song stirs a memory—the melody whispers across the years and again opens the old album of recollection. It might have been the first time a girl went to a party. It might have been the song the fellows sang around a summer campfire . . . the song the men sang marching to war . . . the rong mother loved best to play . . . dad’s one-ahd-only solo . . . songs which never die.

It has been said of Darryl F. Zanuck that he looks for his motion picture stories on the front stories of the daily most immediate in the public mind. More important, he says, are the things closest to the heart. . And among the 600 songs that Irving Berlin has written, Zanuck knew he could find the melodic milestones within every one’s recollection. Favourite Song “What’s your favourite song, Irving?” was the first question the pro-

ducer placed before the faihous song writer. “Alexahdesr’s Ragtime was the prompt reply. “I’ll never forget the first time Emma Carus sang it.. Thus, the vast research facilities of the 20th Century-Fox studios went into action . . . tracing the story of the most astonishing years in history. Irving Berlin was interviewed . . . libraries were searched . . . newspaper files, pictures, biographies, almanacs and histories. Slowly there emerged a screen play by Kathryn Scola and

Lamar Trotti from an adaptation I Richard Sherman. Romance it must be . . . great wl the power to stir the hearts of all wl ever have loved ... rich in the mer ories of three decades enriched by I ving Berlin’s melodies. There arose a poignant love story an obscure young musician whose ra time brought fame —the girl he lov and lost—and won again. Only Henry King, master of imprt sive pictures, could direct such a stoi Only Tyrone Power could portray t inspired youth who lived and lov his music. Only Alice Faye could pi the role of Stella Kirby. Only D Ameche could put the sincerity a depth in the role of the friend. And so the names of Ethel Mernu Jack Haley, Jean Hersholt, Hel Westley, Wally Vernon, Ruth Ten John Carradine, Paul Hurst, Edc Collins and many others were add to “Alexander’s Ragtime Band.” But no picture is merely story, c rector and cast. An army of thousan of artists, artisans, craftsmen a technicians erected sets; • Jreproduc cld landmarks; coached dances, < ranged music and orchestratioi manufactured long-forgotten articl of furniture, clothing and jeweh taught old-fashioned dances to ne fashioned dancers.

Piano Brought Along The piano upon which Irving Ber! wrote “Alexander’s Ragtime Banc was brought across country to appe in the film .. . San Francisco’s o Cliff House was rebuilt . . . the ( Barbary Coast loomed again in sto and wood . . . the World War canto ments ~ . Greenwich Village . . London . . . and Carnegie Hall grc under the craftsmen’s hands.

Peverell Marley led the came batteries . . . Bernard Herzbrun to charge of the art work . . . Seymo Felix and A 1 Siegel were signed f the dance direction . . . Thomas Lit designed 85 huge sets . . . Barbara M

Lean, film editor on a dozen gre spectacles was assigned to the pictu . . . Gwen supervised pr duct ion of the costumes ahd gowns. Alfred Newman was leaned by anoth studio to handle the sound techniqt . . . Bob Webb, Academy Award wi ner, was appointed assistant directo Array of Songs And for two months an army' ' actors which at tunes totalled 7M worked to capture the everchangir tempo .. . arousing sensations treasure forever . . .

Across the years it marches —191 “Alexander’s Ragtime Band,” “Ra: time Violin,” “Everybody’s Doin’ Now.” 1912: “When the Midnight Cho Choo Leaves for Alabam’,” “When Lost You.” “In My Harem.” 1911 “That International Rag.” 1914: “Th: Is the Life.” 1917: “For Your Countr and My Country.” 1918: “In th Y.M.C.A.,” “Oh, How I Hate to Get U; in the Morning,” “We’re On Our Wa to France.” 1919: “A Pretty Girl I Like a Melody.” 1921; “Say It Witl Music.” 1922: “Some Sunny Day, “Pack Up Your Sins and Go to th Devil.” 1924: “What’ll I Do?” “Lazy, “All Alone.” 1925: “Remember.” 1927 “Blue Skies.” 1928: "Marie.” .1933 “Heat Wave,” Easter Parade.” 1935 “Cheek to Cheek.” And now, 1938: “Now It Can Be Told’ and “My Walking Stick.” A stirring story of our times, oui loves and our memories—recalled bj the certain haunting spirit epitomisec in . . . “Why, I remember the first night J heard that song . . .”

Estelle Farnum. the thirteen-year old daughter of the late Dustin Farnum. who starred in' the first feature picture ever made in Hollywood, the Cecil B De Mille 1912 production ol “The Squaw Man,” recently visited the barn which served as the first studio, and is now being used as a gymnasium. She was a guest on the set of Paramount’s “If I Were King,” where her uncle, William Farnum, is playing a part.