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Irving Berlin’s EASTER PARADE (1948) dir. Charles Walters starring Judy Garland, Fred Astaire, Peter Lawford and Ann Miller

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Fred Astaire performs “Drum Crazy” in the classic musical “Easter Parade” (1948)💞 Gene Kelly was originally cast opposite Garland, but broke his ankle. The part was then offered to Astaire, who had retired two years earlier. Very eager to work again, Astaire consulted Kelly about the offer, and Kelly supported his decision to take the role. Garland and Astaire were a successful team, and Astaire was restored to his status as a top MGM star. A critical and commercial success, “Easter Parade” was the highest-grossing musical film of 1948, and the second-highest grossing MGM musical of the 1940s, after “Meet Me in St. Louis.”
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Fred Astaire and Ginger Rogers dancing “Cheek to Cheek” in Top Hat (1935). For this “Cheek to Cheek” number, Ginger Rogers wanted to wear an elaborate blue dress heavily decked out with ostrich feathers. When director Mark Sandrich and Fred Astaire saw the dress, they knew it would be impractical for the dance. Sandrich suggested that Rogers wear the white gown she had worn performing “Night and Day” in The Gay Divorcee (1934). Rogers walked off the set, finally returning when Sandrich agreed to let her wear the offending blue dress. As there was no time for rehearsals, Ginger Rogers wore the blue feathered dress for the first time during filming, and as Astaire and Sandrich had feared, feathers started coming off the dress. Astaire later claimed it was like “a chicken being attacked by a coyote”. In the final film, some stray feathers can be seen drifting off it. To patch up the rift between them, Astaire presented Rogers with a locket of a gold feather. This was the origin of Rogers' nickname “Feathers”. The shedding feathers episode was recreated to hilarious results in a scene from Easter Parade (1948) in which Fred Astaire danced with a clumsy, comical dancer played by Judy Garland. “Cheek to Cheek” was nominated for the Best Song Academy Award for 1936, which it lost to “Lullaby of Broadway”. The song spent five weeks at #1 on Your Hit Parade and was named the #1 song of 1935. Astaire's 1935 recording with the Leo Reisman Orchestra was inducted into the Grammy Hall of Fame in 2000. In 2004, Astaire's version finished at No. 15 on AFI's 100 Years ... 100 Songs survey of top tunes in American cinema.
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In Remembrance of JUDY GARLAND Born | June 10, 1922 in Grand Rapids, Minnesota, USA Died | June 22, 1969 aged 47 in Belgravia, London, England, UK American actress and singer Judy Garland possessed a strong contralto voice, and was celebrated for her emotional depth and versatility across film, stage, and concert performances. Garland achieved international recognition for her portrayal of Dorothy Gale in The Wizard of Oz (1939). Her recording of “Over the Rainbow” became an enduring song in American popular music. Over a career spanning more than forty-five years, she recorded eleven studio albums, and several of her recordings were later inducted into the Grammy Hall of Fame. At the age of two, Garland began her career by performing with her two sisters as a vaudeville act, The Gumm Sisters. In 1935, she signed a contract with Metro-Goldwyn-Mayer at thirteen and appeared in supporting roles in ensemble musicals such as Broadway Melody of 1938 (1937) and Thoroughbreds Don't Cry (1937). The success of The Wizard of Oz propelled her into leading roles in MGM musicals including Meet Me in St. Louis (1944), Easter Parade (1948) and Summer Stock (1950). In the 1950s and early 1960s she expanded her range with dramatic performances in A Star Is Born (1954) and Judgment at Nuremberg (1961), both of which earned her Academy Award nominations and demonstrated her capacity to convey vulnerability and resilience on screen. Beyond her film work, Garland cultivated a distinguished career in live performance and recordings. Her 1961 live album Judy at Carnegie Hall won the Grammy Award for Album of the Year, capping a series of sold-out engagements at the Hollywood Bowl and concerts. That same year she became the first woman — and, at thirty-nine, the youngest recipient — of the Cecil B. DeMille Award for Lifetime Achievement in motion pictures. Her honors also included a Golden Globe Award, an Academy Juvenile Award for her early contributions, and a Special Tony Award for her role in reviving vaudeville. In 1997 she was posthumously awarded a Grammy Lifetime Achievement Award, and in 1999 the American Film Institute ranked her eighth among the greatest female screen legends of classic Hollywood cinema. Garland's personal life was marked by both public fascination and private struggle. She married five times and had three children, including actress and singer Liza Minnelli. From her teenage years onward, she faced health challenges exacerbated by studio pressures on her appearance and performance, and she developed dependencies on prescription medications that affected her physical and mental well-being. Financial difficulties, including substantial tax debts, added to her burdens. She died in London in 1969 from an accidental barbiturate overdose at age forty-seven. Garland's resilience, artistic range and enduring recordings have ensured her lasting impact on popular culture and her reputation as a cultural icon.
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In Remembrance of JUDY GARLAND Born | June 10, 1922 in Grand Rapids, Minnesota, USA Died | June 22, 1969 aged 47 in Belgravia, London, England, UK American actress and singer Judy Garland possessed a strong contralto voice, and was celebrated for her emotional depth and versatility across film, stage, and concert performances. Garland achieved international recognition for her portrayal of Dorothy Gale in The Wizard of Oz (1939). Her recording of “Over the Rainbow” became an enduring song in American popular music. Over a career spanning more than forty-five years, she recorded eleven studio albums, and several of her recordings were later inducted into the Grammy Hall of Fame. At the age of two, Garland began her career by performing with her two sisters as a vaudeville act, The Gumm Sisters. In 1935, she signed a contract with Metro-Goldwyn-Mayer at thirteen and appeared in supporting roles in ensemble musicals such as Broadway Melody of 1938 (1937) and Thoroughbreds Don't Cry (1937). The success of The Wizard of Oz propelled her into leading roles in MGM musicals including Meet Me in St. Louis (1944), Easter Parade (1948) and Summer Stock (1950). In the 1950s and early 1960s she expanded her range with dramatic performances in A Star Is Born (1954) and Judgment at Nuremberg (1961), both of which earned her Academy Award nominations and demonstrated her capacity to convey vulnerability and resilience on screen. Beyond her film work, Garland cultivated a distinguished career in live performance and recordings. Her 1961 live album Judy at Carnegie Hall won the Grammy Award for Album of the Year, capping a series of sold-out engagements at the Hollywood Bowl and concerts. That same year she became the first woman — and, at thirty-nine, the youngest recipient — of the Cecil B. DeMille Award for Lifetime Achievement in motion pictures. Her honors also included a Golden Globe Award, an Academy Juvenile Award for her early contributions, and a Special Tony Award for her role in reviving vaudeville. In 1997 she was posthumously awarded a Grammy Lifetime Achievement Award, and in 1999 the American Film Institute ranked her eighth among the greatest female screen legends of classic Hollywood cinema. Garland's personal life was marked by both public fascination and private struggle. She married five times and had three children, including actress and singer Liza Minnelli. From her teenage years onward, she faced health challenges exacerbated by studio pressures on her appearance and performance, and she developed dependencies on prescription medications that affected her physical and mental well-being. Financial difficulties, including substantial tax debts, added to her burdens. She died in London in 1969 from an accidental barbiturate overdose at age forty-seven. Garland's resilience, artistic range and enduring recordings have ensured her lasting impact on popular culture and her reputation as a cultural icon.

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Remembering Judy Garland on her birthday Born | June 10, 1922 in Grand Rapids, Minnesota, USA American actress and singer Judy Garland (born Frances Ethel Gumm (June 10, 1922 – June 22, 1969) was known for her emotional depth and versatility across film, stage, and concert performances. Garland achieved international recognition for her portrayal of Dorothy Gale in The Wizard of Oz (1939). Her recording of “Over the Rainbow” became an enduring song in American popular music. Over a career spanning more than forty-five years, she recorded eleven studio albums, and several of her recordings were later inducted into the Grammy Hall of Fame. At the age of two, Garland began her career by performing with her two sisters as a vaudeville act, The Gumm Sisters. In 1935, she signed a contract with Metro-Goldwyn-Mayer at thirteen and appeared in supporting roles in ensemble musicals such as Broadway Melody of 1938 (1937) and Thoroughbreds Don't Cry (1937). The success of The Wizard of Oz propelled her into leading roles in MGM musicals including Meet Me in St. Louis (1944), Easter Parade (1948) and Summer Stock (1950). In the 1950s and early 1960s she expanded her range with dramatic performances in A Star Is Born (1954) and Judgment at Nuremberg (1961), both of which earned her Academy Award nominations and demonstrated her capacity to convey vulnerability and resilience on screen. Beyond her film work, Garland cultivated a distinguished career in live performance and recordings. Her 1961 live album Judy at Carnegie Hall won the Grammy Award for Album of the Year, capping a series of sold-out engagements at the Hollywood Bowl and concerts. That same year she became the first woman—and, at thirty-nine, the youngest recipient—of the Cecil B. DeMille Award for Lifetime Achievement in Motion Pictures. Her honors also included a Golden Globe Award, an Academy Juvenile Award for her early contributions, and a Special Tony Award for her role in reviving vaudeville. In 1997 she was posthumously awarded a Grammy Lifetime Achievement Award, and in 1999 the American Film Institute ranked her eighth among the greatest female screen legends of classic Hollywood cinema. Garland's personal life was marked by both public fascination and private struggle. She married five times and had three children, including actress and singer Liza Minnelli. From her teenage years onward, she faced health challenges exacerbated by studio pressures on her appearance and performance, and she developed dependencies on prescription medications that affected her physical and mental well-being. Financial difficulties, including substantial tax debts, added to her burdens. She died in London in 1969 from an accidental barbiturate overdose at age forty-seven. Garland's resilience, artistic range and enduring recordings have ensured her lasting impact on popular culture and her reputation as a cultural icon.
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Remembering Judy Garland on her birthday Born | June 10, 1922 in Grand Rapids, Minnesota, USA American actress and singer Judy Garland (born Frances Ethel Gumm (June 10, 1922 – June 22, 1969) was known for her emotional depth and versatility across film, stage, and concert performances. Garland achieved international recognition for her portrayal of Dorothy Gale in The Wizard of Oz (1939). Her recording of “Over the Rainbow” became an enduring song in American popular music. Over a career spanning more than forty-five years, she recorded eleven studio albums, and several of her recordings were later inducted into the Grammy Hall of Fame. At the age of two, Garland began her career by performing with her two sisters as a vaudeville act, The Gumm Sisters. In 1935, she signed a contract with Metro-Goldwyn-Mayer at thirteen and appeared in supporting roles in ensemble musicals such as Broadway Melody of 1938 (1937) and Thoroughbreds Don't Cry (1937). The success of The Wizard of Oz propelled her into leading roles in MGM musicals including Meet Me in St. Louis (1944), Easter Parade (1948) and Summer Stock (1950). In the 1950s and early 1960s she expanded her range with dramatic performances in A Star Is Born (1954) and Judgment at Nuremberg (1961), both of which earned her Academy Award nominations and demonstrated her capacity to convey vulnerability and resilience on screen. Beyond her film work, Garland cultivated a distinguished career in live performance and recordings. Her 1961 live album Judy at Carnegie Hall won the Grammy Award for Album of the Year, capping a series of sold-out engagements at the Hollywood Bowl and concerts. That same year she became the first woman—and, at thirty-nine, the youngest recipient—of the Cecil B. DeMille Award for Lifetime Achievement in Motion Pictures. Her honors also included a Golden Globe Award, an Academy Juvenile Award for her early contributions, and a Special Tony Award for her role in reviving vaudeville. In 1997 she was posthumously awarded a Grammy Lifetime Achievement Award, and in 1999 the American Film Institute ranked her eighth among the greatest female screen legends of classic Hollywood cinema. Garland's personal life was marked by both public fascination and private struggle. She married five times and had three children, including actress and singer Liza Minnelli. From her teenage years onward, she faced health challenges exacerbated by studio pressures on her appearance and performance, and she developed dependencies on prescription medications that affected her physical and mental well-being. Financial difficulties, including substantial tax debts, added to her burdens. She died in London in 1969 from an accidental barbiturate overdose at age forty-seven. Garland's resilience, artistic range and enduring recordings have ensured her lasting impact on popular culture and her reputation as a cultural icon.

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“Hollywood Steps Out” (1941). “Hollywood Steps Out” is a 1941 Warner Bros. Merrie Melodies cartoon short directed by Tex Avery and produced by Leon Schlesinger. The cartoon features caricatures of over forty contemporary Hollywood celebrities (along with guest appearances). PLOT A group of “caricatured” Hollywood stars is having an expensive dinner at Ciro's nightclub in West Hollywood. The first stars seen are Claudette Colbert, Don Ameche, Adolphe Menjou and Norma Shearer. Greta Garbo, working as a cigarette girl, sells a pack to Cary Grant, then lights his cigarette by striking a match on her very large foot. Edward G. Robinson asks Ann Sheridan “How's the Oomph girl tonight?”. Sheridan responds by uttering the word “oomph” several times. Warner Bros. staffers Henry Binder and Leon Schlesinger are shown. A seat is reserved for Bette Davis, as is an extra-wide sofa for Kate Smith. More seats are reserved for the characters of the Blondie films, including a fire hydrant for Daisy the dog. In the cloakroom, Johnny Weissmuller checks a coat with Paulette Goddard that reveals his Tarzan outfit. Sally Rand leaves her trademark feather fans behind and is presumably naked. James Cagney prepares Humphrey Bogart and George Raft for a risky task: pitching pennies. Harpo Marx gives Garbo a hot foot, who reacts with a weary “Ouch”. Clark Gable turns his head around 180 degrees to observe a blonde girl, whom he follows offscreen. Bing Crosby introduces the evening's entertainment, interrupted frequently by a racehorse with an apparently unconscious jockey. Crosby presents conductor Leopold Stokowski, who wears a snood before performing “Ahí, viene la conga” (also known as “Here comes the conga” in English). The conga inspires Dorothy Lamour to invite James Stewart to dance with her, who stutters, stammers, and runs away scared. Gable dances by, following the girl he saw earlier. Tyrone Power dances with Sonja Henie. Frankenstein's monster dances stiffly and woodenly. The Three Stooges abuse each other in rhythm to the beat. Oliver Hardy's dance partner is revealed to be twin blonde women initially hidden by his obese frame. Cesar Romero dances clumsily with Rita Hayworth. Mickey Rooney, sitting with Judy Garland, is presented with an expensive bill, who turns to ask his Andy Hardy movie father (Lewis Stone) for a heart-to-heart talk. In the next scene, they are seen washing dishes. Gable is still pursuing the girl. Crosby then introduces Sally Rand (identified as “Sally Strand”), performing a bubble dance to “I'm Forever Blowing Bubbles”, as the camera cuts between the men's reactions and her dancing. Spectators at various tables include: Kay Kyser, William Powell, Spencer Tracy, Ronald Colman, Errol Flynn, Wallace Beery, and C. Aubrey Smith, who wolf-whistle in unison (by saying “Baby!”), Peter Lorre, Henry Fonda, whose “mother” pulls him away by his ear (in its reference to The Aldrich Family), J. Edgar Hoover, Boris Karloff, Arthur Treacher, Buster Keaton, and Mischa Auer, asked by Ned Sparks if they are having a good time, and Jerry Colonna, who reveals an invisible character next to him called “Yehudi”. Now that Strand is standing still on the stage, this allows Harpo Marx an opportunity to shoot her bubble with a slingshot. The bubble explodes on impact, and she reacts with shock, as it reveals she is wearing a barrel, held up by suspenders. Meanwhile, Gable has finally caught up to the girl he was chasing and insists she kiss him. The girl turns out to be Groucho Marx in drag. CAST Kent Rogers as James Cagney, Cary Grant, Edward G. Robinson, Clark Gable, Ned Sparks, Peter Lorre, Groucho Marx, Mickey Rooney, James Stewart, J. Edgar Hoover, Henry Fonda, Bing Crosby, Kay Kyser, Lewis Stone, Mel Blanc as Jerry Colonna, Sara Berner as Greta Garbo, Ann Sheridan, Paulette Goddard, Dorothy Lamour, and Henry Fonda's mother. Directed by Supervision: Fred Avery Story by: Dave Monahan Produced by: Leon Schlesinger Starring Sara Berner, Mel Blanc and Kent Rogers Edited by: Treg Brown Music by: Carl W. Stalling Animation by: Rod Scribner Color Process: Technicolor Production Company: Leon Schlesinger Productions Distributed by: Warner Bros. Pictures Release Dates: May 24, 1941 (original); October 2, 1948 (Blue Ribbon reissue).
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“Hollywood Steps Out” (1941). “Hollywood Steps Out” is a 1941 Warner Bros. Merrie Melodies cartoon short directed by Tex Avery and produced by Leon Schlesinger. The cartoon features caricatures of over forty contemporary Hollywood celebrities (along with guest appearances). PLOT A group of “caricatured” Hollywood stars is having an expensive dinner at Ciro's nightclub in West Hollywood. The first stars seen are Claudette Colbert, Don Ameche, Adolphe Menjou and Norma Shearer. Greta Garbo, working as a cigarette girl, sells a pack to Cary Grant, then lights his cigarette by striking a match on her very large foot. Edward G. Robinson asks Ann Sheridan “How's the Oomph girl tonight?”. Sheridan responds by uttering the word “oomph” several times. Warner Bros. staffers Henry Binder and Leon Schlesinger are shown. A seat is reserved for Bette Davis, as is an extra-wide sofa for Kate Smith. More seats are reserved for the characters of the Blondie films, including a fire hydrant for Daisy the dog. In the cloakroom, Johnny Weissmuller checks a coat with Paulette Goddard that reveals his Tarzan outfit. Sally Rand leaves her trademark feather fans behind and is presumably naked. James Cagney prepares Humphrey Bogart and George Raft for a risky task: pitching pennies. Harpo Marx gives Garbo a hot foot, who reacts with a weary “Ouch”. Clark Gable turns his head around 180 degrees to observe a blonde girl, whom he follows offscreen. Bing Crosby introduces the evening's entertainment, interrupted frequently by a racehorse with an apparently unconscious jockey. Crosby presents conductor Leopold Stokowski, who wears a snood before performing “Ahí, viene la conga” (also known as “Here comes the conga” in English). The conga inspires Dorothy Lamour to invite James Stewart to dance with her, who stutters, stammers, and runs away scared. Gable dances by, following the girl he saw earlier. Tyrone Power dances with Sonja Henie. Frankenstein's monster dances stiffly and woodenly. The Three Stooges abuse each other in rhythm to the beat. Oliver Hardy's dance partner is revealed to be twin blonde women initially hidden by his obese frame. Cesar Romero dances clumsily with Rita Hayworth. Mickey Rooney, sitting with Judy Garland, is presented with an expensive bill, who turns to ask his Andy Hardy movie father (Lewis Stone) for a heart-to-heart talk. In the next scene, they are seen washing dishes. Gable is still pursuing the girl. Crosby then introduces Sally Rand (identified as “Sally Strand”), performing a bubble dance to “I'm Forever Blowing Bubbles”, as the camera cuts between the men's reactions and her dancing. Spectators at various tables include: Kay Kyser, William Powell, Spencer Tracy, Ronald Colman, Errol Flynn, Wallace Beery, and C. Aubrey Smith, who wolf-whistle in unison (by saying “Baby!”), Peter Lorre, Henry Fonda, whose “mother” pulls him away by his ear (in its reference to The Aldrich Family), J. Edgar Hoover, Boris Karloff, Arthur Treacher, Buster Keaton, and Mischa Auer, asked by Ned Sparks if they are having a good time, and Jerry Colonna, who reveals an invisible character next to him called “Yehudi”. Now that Strand is standing still on the stage, this allows Harpo Marx an opportunity to shoot her bubble with a slingshot. The bubble explodes on impact, and she reacts with shock, as it reveals she is wearing a barrel, held up by suspenders. Meanwhile, Gable has finally caught up to the girl he was chasing and insists she kiss him. The girl turns out to be Groucho Marx in drag. CAST Kent Rogers as James Cagney, Cary Grant, Edward G. Robinson, Clark Gable, Ned Sparks, Peter Lorre, Groucho Marx, Mickey Rooney, James Stewart, J. Edgar Hoover, Henry Fonda, Bing Crosby, Kay Kyser, Lewis Stone, Mel Blanc as Jerry Colonna, Sara Berner as Greta Garbo, Ann Sheridan, Paulette Goddard, Dorothy Lamour, and Henry Fonda's mother. Directed by Supervision: Fred Avery Story by: Dave Monahan Produced by: Leon Schlesinger Starring Sara Berner, Mel Blanc and Kent Rogers Edited by: Treg Brown Music by: Carl W. Stalling Animation by: Rod Scribner Color Process: Technicolor Production Company: Leon Schlesinger Productions Distributed by: Warner Bros. Pictures Release Dates: May 24, 1941 (original); October 2, 1948 (Blue Ribbon reissue).

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54,656 просмотров • 3 месяцев назад

Bill “Bojangles” Robinson and Shirley Temple in the 1938 film “Rebecca of Sunnybrook Farm.” In the history of tap dance there are some names of mythical proportions. A tale of legend. Dancers, then are the dancer’s dancer. Robinson was such a one. A gold standard in dance. Dancers - whom most of you in reverence genuflect both knees for - such as Fred Astaire, Sammy Davis Jr, Gene Kelly, Eleanor Powell, The Nicholas Brothers, Ann Miller, Gregory Hines, to Vera-Ellen, have all openly hallowed the name of the great Bill Robinson as their influence. An inductee of the Tap Dance Hall of Fame. Temple, today recognised by cultural critics - as the most popular child star in all of time. This prodigious star who could sing, act, and dance all at age five. A box office title holder from the years of 1935-38. The years when no star could beat her film appearances. Robinson and Temple together would make four films in total. The 1935 film The Little Colonel - which saw them perform their iconic staircase dance was one of the symbols on screen of breaking of racial barriers. As with the performance in view here, Robinson was the one who choreographed all their dances in films. The dance above is not an easy one. We have taps in crotchet beats - but there are many flurries of taps in the values of semiquavers and demisemiquavers. These are note values heard when listening to many fast notes being played in some of the most difficult classical music. To think Temple is only ten years old here is astonishing. The reason I used musical terms is because Robinson’s choreography is a blending of movement with a separate rhythmic composition for the taps. He treated Temple as a working equal. She relayed, “He didn’t talk down to me like to a little girl” which is evident. Saying Robinson would fondly call her “darling.” It’s interesting to see the visual cues at play which he uses to ensure she remains in time and step. The reason why there is repeated eye contact. How did Robinson communicate this to a small child? He taught her to, “feel the beat, rather than count it out.” Together they made an unforgettable team on screen.
1:52

Bill “Bojangles” Robinson and Shirley Temple in the 1938 film “Rebecca of Sunnybrook Farm.” In the history of tap dance there are some names of mythical proportions. A tale of legend. Dancers, then are the dancer’s dancer. Robinson was such a one. A gold standard in dance. Dancers - whom most of you in reverence genuflect both knees for - such as Fred Astaire, Sammy Davis Jr, Gene Kelly, Eleanor Powell, The Nicholas Brothers, Ann Miller, Gregory Hines, to Vera-Ellen, have all openly hallowed the name of the great Bill Robinson as their influence. An inductee of the Tap Dance Hall of Fame. Temple, today recognised by cultural critics - as the most popular child star in all of time. This prodigious star who could sing, act, and dance all at age five. A box office title holder from the years of 1935-38. The years when no star could beat her film appearances. Robinson and Temple together would make four films in total. The 1935 film The Little Colonel - which saw them perform their iconic staircase dance was one of the symbols on screen of breaking of racial barriers. As with the performance in view here, Robinson was the one who choreographed all their dances in films. The dance above is not an easy one. We have taps in crotchet beats - but there are many flurries of taps in the values of semiquavers and demisemiquavers. These are note values heard when listening to many fast notes being played in some of the most difficult classical music. To think Temple is only ten years old here is astonishing. The reason I used musical terms is because Robinson’s choreography is a blending of movement with a separate rhythmic composition for the taps. He treated Temple as a working equal. She relayed, “He didn’t talk down to me like to a little girl” which is evident. Saying Robinson would fondly call her “darling.” It’s interesting to see the visual cues at play which he uses to ensure she remains in time and step. The reason why there is repeated eye contact. How did Robinson communicate this to a small child? He taught her to, “feel the beat, rather than count it out.” Together they made an unforgettable team on screen.

Hollywood Golden Age of Cinema

137,221 просмотров • 7 месяцев назад

“HOLLYWOOD STEPS OUT” (1941) WARNER BROS. MERRIE MELODIES CARTOON PLOT A group of Hollywood stars is having an expensive dinner at Ciro's nightclub in West Hollywood. The first stars seen are Claudette Colbert, Don Ameche, Adolphe Menjou and Norma Shearer, followed by Cary Grant, seated alone. Greta Garbo serves him as a cigarette girl, lighting a match on her foot. Edward G. Robinson asks Ann Sheridan “How's the Oomph girl tonight?”. Sheridan responds by uttering the word “oomph” several times. Warner Bros. staffers Henry Binder and Leon Schlesinger are shown. A seat is reserved for Bette Davis, as is a large sofa for Kate Smith. More seats are reserved for the characters of the Blondie films, including a fire hydrant for Daisy the dog. In the cloakroom, Johnny Weissmuller checks a coat with Paulette Goddard that reveals his Tarzan outfit. Sally Rand leaves her trademark feather fans behind and is presumably naked. James Cagney prepares Humphrey Bogart and George Raft for a risky task: pitching pennies. Harpo Marx gives Garbo a hot foot. Clark Gable turns his head around 180 degrees to observe a blonde girl, whom he follows offscreen. Bing Crosby introduces the evening's entertainment, interrupted frequently by a racehorse with an apparently unconscious jockey. Crosby presents conductor Leopold Stokowski, who wears a snood before performing “Ahí, viene la conga”. The conga inspires Dorothy Lamour to invite James Stewart to dance with her, who stutters, stammers, and runs away scared. Gable dances by, following the girl he saw earlier. Tyrone Power dances with Sonja Henie. Frankenstein's monster dances stiffly and woodenly. The Three Stooges abuse each other in rhythm to the beat. Oliver Hardy's dance partner is revealed to be twin blonde women initially hidden by his obese frame. Cesar Romero dances clumsily with Rita Hayworth. Mickey Rooney, sitting with Judy Garland, is presented with an expensive bill, who turns to ask his on-screen father (Lewis Stone) for a heart-to-heart talk. In the next scene, they are seen washing dishes. Gable still pursues the girl. Crosby then introduces Sally Rand (identified as “Sally Strand”), performing a bubble dance to “I'm Forever Blowing Bubbles”, as the camera cuts between the men's reactions and her dancing. Spectators at various tables include: — Kay Kyser, William Powell, Spencer Tracy, Ronald Colman, Errol Flynn, Wallace Beery, and C. Aubrey Smith, who wolf-whistle in unison. — Peter Lorre — Henry Fonda, whose “mother” pulls him away by his ear. — J. Edgar Hoover — Boris Karloff, Arthur Treacher, Buster Keaton, and Mischa Auer, asked by Ned Sparks if they are having a good time. — Jerry Colonna, who reveals an invisible character next to him called “Yehudi”. Now that Strand is standing still on the stage, this allows Harpo Marx an opportunity to shoot her bubble with a slingshot. The bubble explodes on impact, and she reacts with shock, as it reveals she is wearing a barrel. Meanwhile, Gable has finally caught up to the girl he was chasing and insists she kiss him. The girl turns out to be Groucho Marx in drag.
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“HOLLYWOOD STEPS OUT” (1941) WARNER BROS. MERRIE MELODIES CARTOON PLOT A group of Hollywood stars is having an expensive dinner at Ciro's nightclub in West Hollywood. The first stars seen are Claudette Colbert, Don Ameche, Adolphe Menjou and Norma Shearer, followed by Cary Grant, seated alone. Greta Garbo serves him as a cigarette girl, lighting a match on her foot. Edward G. Robinson asks Ann Sheridan “How's the Oomph girl tonight?”. Sheridan responds by uttering the word “oomph” several times. Warner Bros. staffers Henry Binder and Leon Schlesinger are shown. A seat is reserved for Bette Davis, as is a large sofa for Kate Smith. More seats are reserved for the characters of the Blondie films, including a fire hydrant for Daisy the dog. In the cloakroom, Johnny Weissmuller checks a coat with Paulette Goddard that reveals his Tarzan outfit. Sally Rand leaves her trademark feather fans behind and is presumably naked. James Cagney prepares Humphrey Bogart and George Raft for a risky task: pitching pennies. Harpo Marx gives Garbo a hot foot. Clark Gable turns his head around 180 degrees to observe a blonde girl, whom he follows offscreen. Bing Crosby introduces the evening's entertainment, interrupted frequently by a racehorse with an apparently unconscious jockey. Crosby presents conductor Leopold Stokowski, who wears a snood before performing “Ahí, viene la conga”. The conga inspires Dorothy Lamour to invite James Stewart to dance with her, who stutters, stammers, and runs away scared. Gable dances by, following the girl he saw earlier. Tyrone Power dances with Sonja Henie. Frankenstein's monster dances stiffly and woodenly. The Three Stooges abuse each other in rhythm to the beat. Oliver Hardy's dance partner is revealed to be twin blonde women initially hidden by his obese frame. Cesar Romero dances clumsily with Rita Hayworth. Mickey Rooney, sitting with Judy Garland, is presented with an expensive bill, who turns to ask his on-screen father (Lewis Stone) for a heart-to-heart talk. In the next scene, they are seen washing dishes. Gable still pursues the girl. Crosby then introduces Sally Rand (identified as “Sally Strand”), performing a bubble dance to “I'm Forever Blowing Bubbles”, as the camera cuts between the men's reactions and her dancing. Spectators at various tables include: — Kay Kyser, William Powell, Spencer Tracy, Ronald Colman, Errol Flynn, Wallace Beery, and C. Aubrey Smith, who wolf-whistle in unison. — Peter Lorre — Henry Fonda, whose “mother” pulls him away by his ear. — J. Edgar Hoover — Boris Karloff, Arthur Treacher, Buster Keaton, and Mischa Auer, asked by Ned Sparks if they are having a good time. — Jerry Colonna, who reveals an invisible character next to him called “Yehudi”. Now that Strand is standing still on the stage, this allows Harpo Marx an opportunity to shoot her bubble with a slingshot. The bubble explodes on impact, and she reacts with shock, as it reveals she is wearing a barrel. Meanwhile, Gable has finally caught up to the girl he was chasing and insists she kiss him. The girl turns out to be Groucho Marx in drag.

Hollywood Golden Age of Cinema

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