Alice Faye: A Bio-Bibliography (Bio-Bibliographies in the Performing Arts)

ALICE FAYE

1.

Alice Faye in the title role of LILLIAN RUSSELL (1940). Author's collection.

A L I CE F A Y Eh A Bio-Bibliography Barry Rivadue

Bio-Bibliographies in the Performing Arts, Number 10 James Robert Parish, Series Adviser

GREENWOOD PRESS New York • Westport, Connecticut • London

Library of Congress Cataloging-in-Publication Data Rivadue, Barry. Alice Faye : a bio-bibliography / Barry Rivadue. p. cm.—(Bio-bibliographies in the performing arts, ISSN 0892-5550 ; no. 10) Includes bibliographical references. ISBN 0-313-26525-9 (lib. bdg. : alk. paper) 1. Faye, Alice, 1915- . 2. Faye, Alice, 1915- —Bibliography. 3. Entertainers—United States—Biography. I. Title. II Series. PN2287.F36R5 1990 791.43'028'092-dc20 [B] 89-25631 British Library Cataloguing in Publication Data is available. Copyright © 1990 by Barry Rivadue All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 89-25631 ISBN: 0-313-26525-9 ISSN: 0892-5550 First published in 1990 Greenwood Press, Inc. 88 Post Road West, Westport, Connecticut 06881 Printed in the United States of America OO

The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48-1984). 10 9 8 7 6 5 4 3 2 1

IN MEMORY OF DEC

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Contents List of

IX

Illustrations

Preface

XT

Acknowledgments

x ii i

Biography

1

Filmography

25

Discography

95

Broadcast ing

129

Stage

145

Annotated

Bibliography

151

Appendix

I: Chronology

203

Appendix

II: Awards

205

Appendix

III: Song Sheets

207

Appendix

IV: Product

Endorsements

210

Sources

211

Appendix V: Archival General Song

Index

Index

213 221

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List of Illustrations 1.

Alice Faye in the title role of LILLIAN RUSSELL (1940).

2.

Faye as a chorus dancer, circa 1929.

3

3.

Faye with mother, 1934.

6

4.

Faye with daughters, 1949.

17

5.

Faye with husband Phil Harris, 1980.

23

6.

Scene from GEORGE WHITE'S SCANDALS (1934).

27

7.

Production shot of ON THE AVENUE (1937).

44

8.

Faye with Tyrone Power and Andy Devine in IN OLD CHICAGO (1938).

9.

Faye with John Payne in WEEKEND IN HAVANA (1943).

76

10.

Scene from STATE FAIR (1962).

85

11.

Faye and CBS microphone, 1937.

99

12.

Faye, Harris with their NBC "radio chiIdren," 1948.

13.

Group photo from 1931 edition of George Wh ite's Scandals. with Rudy Vallee.

146

Faye, Stubby Kaye and John Payne in 1974 stage revival of Good News.

148

Faye as Pfizer's "Ambassador for Good Health," 1987.

175

14. 15.

frontispiece

55

133

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Preface This Bio-Bibliography of Alice Faye documents her career in extensive separate chapters for her work in film, recording, broadcasting and on stage. An annotated bibliography of book, magazine and newspaper sources covers her life and career from 1933 through 1989. All undocumented quotes in the introductory biography are from first hand remarks of people contacted by the author. The filmography of feature films is arranged in chronological order, with other Faye appearances in clips or film shorts listed separately. Faye films that have been nominated for or have won Academy Awards are also listed in the filmography chapter. The discography chapter is compiled in four sections. The first section lists recordings alphabetically; the second section arranges the recordings through categories; the third section lists compact disc releases; the fourth section lists miscellaneous compilations on tape. The broadcasting chapter covers appearances on radio and television in chronological order. The stage chapter also lists Faye's appearances in chronological order. The annotated bibliography is arranged in alphabetical order by author or by article title if no author is identified. Entries in each of the major sections are enumerated and prefixed by a letter relating to the section; e.g., "F" for filmography and "B" for bibliography. Specialized appendixes and a general index and song index complete the volume. The song index lists songs exclusively featuring Faye (or in accompaniment with others) in her film, broadcasting and stage appearances. The indexes provide access to specific items via their entry numbers; unenumerated material, as in the biography, is indexed by page numbers.

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Acknowledgments The most difficult part of compiling a reference book is not in the research; it's in having to arrange the order of people to thank. Of all those who helped in my efforts, I'd like to begin with Regina Kramer, curator of the Phil Harris-Alice Faye Collection in Linton, Indiana. Her exceptional donation of time in methodically assembling many aspects of Faye's career, particularly her post-Hollywood life, is something I'll always be grateful for. A very special thanks goes to Margie Schultz. Her steadfast interest in contributing to this volume, along with her good humor and our mutual understanding of the crazy quilt directions research can lead to, made for a happy camaraderie that enhanced the experience of developing the book. Among those who have done much to preserve and promote Alice Faye's legacy, I'd like to begin by acknowledging the help of George Ulrich, who was extremely generous in donating rare photographs, along with copies of Faye's more elusive films. Also, Ulrich's contributions to the discography and broadcasting chapters were invaluable. Noted Faye historian Franklyn W. Moshier also contributed Faye data and insights regarding Faye's career. Roy Bishop contributed to the appendixes, along with other chapters. My sincere thanks to them all. Additional thanks go to Paul Ritz of Pfizer Pharmaceutical and Cindy Tannenbaum of Visibility Public Relations for their generous donation of material. Further thanks go to Jewel Baxter, Miles Kreuger, Frank Miller, Michael R. Pitts, Larry F. Kiner, Charles Stumpf and Wade Ballard for their various contributions. My appreciation also to James Robert Parish and Marilyn Brownstein.

xiv

Acknowledgments

Finally, my thanks to Alice Faye, who graciously offered the time to discuss mainly her productive pursuits of the present. Faye's unpretentious, realistic attitude about her Hollywood past suggests someone who has long kept a perspective free of undue sentiment regarding a vanished era and style of musical. Nevertheless, I'll gladly take responsibility for any such sentiment (and appreciation) that asserts itself between the facts and figures.

ALICE FAYE

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Biography Early

Years

(1915-1928)

Alice Jeane Leppert, the future Alice Faye, was born in New York City on Wednesday, May 5, 1915. That same day, the New York Times advertised Vernon and Irene Castle in Watch Your Step at the New Amsterdam Theater on 42nd Street, and Ruth Chatterton starring at the Gaiety four blocks north in Daddy Long Legs. Both stage shows were musicals, with chorus dancers often recruited from surrounding neighborhoods. A ten minute walk east from Alice's home lead to Times Square, an oasis of marquees and neon that provided many girls with a means of escape from often impoverished backgrounds. Before Alice Leppert could develop rudimentary skills at singing and dancing, her earliest years remained around West 54th Street and Tenth Avenue, among the crowded tenement blocks in the Clinton area of Manhattan popularly known as "Hell's Kitchen." A resident, remembering young Alice Leppert as a "pretty child," disagreed with the neighborhood's nickname, saying "It never deserved that name at this end" (B124). Nevertheless, the general area had long absorbed a history of gang violence, which had only begun to ebb at the time of Faye's birth, due to a few slum clearances and the efforts New York Central Railroad's private police force to keep their yards in the area free of looters and corruption. Above ground railway tracks ran up 10th and 11th Avenue, the latter ominously dubbed "Death Avenue," due to many pedestrian fatalities, despite the efforts of "Tenth Avenue Cowboys," who were mounted riders hired to warn pedestrians of a train's approach. Here corner saloons would sell "growlers" of beer for Alice to carry home to her father, as she would recall years later. Her father Charley was a New York policeman, who paid $13 a month for an apartment on a salary of $14 a week as a foot patrolman.

Her mother, born Alice Moffit, had two other children,

Charles Jr. and William. For many families in the area, prospects rarely meant full schooling, with local residents mostly toiling along the nearby Hudson River docks, railway yards or local factories. Alice's mother worked at a candy

2

Biography

factory; on Saturdays the two Alices would attend Saturday matinees at the Broadway theaters, where the younger A 1 ice would loiter by the stage door pretending she was leaving her own engagement. Faye's actual entrance through a stage door began to formulate when her father moved the family to 359 W. 53 Street, positioned above Sullivan's Cafe, a place Charley Leppert would visit while off duty. It was here that Leppert met a man named Newsome, who was chief dancing instructor for Ned Wayburn, who ran a dancing school. An afternoon job was arranged for Alice, where she would work in the ladies' dressing room hanging clothes, among other duties. More importantly, she was given free dance lessons. According to a 1941 newspaper account, Faye was sued by Newsome years later for payment of a year of free dancing lessons. Faye said she "settled with him handsomely," adding, "It's better to forget disagreeable things as quickly as possible" (B124). With such early lessons as a literal step toward the stage, Alice boldly auditioned for the Ziegfeld Fol1ies at age thirteen, an underage level she accidently admitted being. She was sent back to 359 W. 53 Street.

Early Professional Years (1929-1934)

Faye's first break came as a dancer. She left behind P.S. 84 (sometimes reported as P.S. 69), at 9th and W. 54th, and became a Chester Hale dancer. As she told eminent musical historian, Miles Kreuger, "If you were pretty, and you grew up on double-Fifth Avenue, you either hit the stage or hit the streets." The Hale troupe performed in Brooklyn, New Jersey, and Long Island, a way of life that now inspired Alice Leppert to adopt a stage name. She changed the name Leppert to Faye, though not legally until 1935. Faye also added three years to her age to escape being taken off the stage of the Capitol theater and placed back into school. Shortly after Hale, Faye continued chorine duties for WHN radio star Nils T. Granlund, who ran two nightclubs. One was called the Hollywood Restaurant, located at 48th and Broadway. The other was called The Hollywood Gardens, along Pelham Parkway in the Bronx. These dancing chores trained her well for when she auditioned successfully for impresario George White. Faye was cast in the eleventh edition of George White's Scandals, which opened on September 14, 1931. Faye was now making $60 a week, in a company that included such young luminaries as Ethel Merman and Ray Bolger. Also on the bill was the widely known crooner, Rudy Vallee. Vallee, a popular radio and recording star of the day, along with being a promoter of new talent, had been impressed with Faye's warm vocalizing during Scandals cast parties. Vallee had even suggested to George White during the pre-Broadway Atlantic City engagement of

2.

Alice Faye as a chorus dancer, circa 1929. George Ulrich Collection.

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Biography

Scandals to put Faye on as a last minute replacement for an ill singer, but White had said no. Vallee was not present at one such party in which Vallee's attorney, Hyman Bushel, listened as Faye made a memorable recording on a portable recording device which utilized a wax disk. Bushel took the disk to Vallee, who was by now convinced that Faye's ability with a song deserved public notice. When Scandals went on a post-Broadway tour, Vallee gave Faye a prominent opportunity in the show to sing, which also doubled her weekly salary from $60 to $120 a week. Scandals toured wherever George White could find an armory or large auditorium, and it found audiences wherever it went. However, Vallee was eager to return to Manhattan to sustain his long running radio show, "The Fleischmann Hour," with his regular band. With Vallee the prime attraction in the hinterlands, his exit brought on Scandals's demise in Chicago, in the spring of 1932. Alice Faye graduated from the chorus. With Vallee as her new mentor and strict disciplinarian (he would fine his singers for making mistakes while vocalizing), she debuted on his radio program in December of 1932, soon becoming a regular only after a serious accident. Between radio stints, Faye would keep touring with Vallee and his Connecticut Yankees on the road. It was on one such tour, in August of 1933, that Faye was seriously injured. She was in Vallee's car when it skidded and crashed during a torrential rain, which lead to her first appearance in The New York Times, where she was listed as a dancer with facial bruises. Faye was absent from the radio microphone for several weeks. During her recovery there were repeated requests from Faye's radio listeners for her return. Vallee pressured the reluctant sponsor, who finally relented to sign on Faye as a regular. By this time, Faye, her brothers and mother had moved to significantly more upscale quarters at 350 W. 55th Street, where the rent was a relatively well-heeled $75 a month. One person who did not make the transistion was Faye's father, who had since left the police force and his wife, taking odd jobs such as a shipping clerk. According to one of his acquaintences, "Charley Leppert was as nice a fellow as you'd want to meet, but he belonged in the neighborhood and stayed there" (B124).

1933 was a significant year for Faye, having now made her first commercial recording, along with being signed to do a musical number in a restyled movie edition of George White's Scandals at Fox Studios in Hollywood. Yet during this period a difficult situation arose for Faye which littered the columns of New York's newspaper trade for months. In January of 1934, Rudy Vallee's wife, Fay Webb, a woman of almost sinister demeanor, sued Vallee for divorce and named Faye as one of several co-respondents. The newspapers played up the divorce trial, almost daily quoting Vallee on his misery and publishing occasional photos of Faye in Vallee's company

Biography

5

under innocent conditions. At this time, flash photos of Faye gave her a hardened, mature look misleading in representating the kind of intentions the papers were all but ready to confirm, despite any significant evidence other than Webb's accusations. Vallee's divorce was finally granted in May of 1936, with Faye's reputation intact, particularly after she, according to Vallee, didn't hesitate in advising Vallee to authorize the sealed court papers be made public to the newspapers. The papers contained nothing to indict Faye, though rumors remained for years afterward. As an added filip to the potentially sordid affair, Fay Webb committed suicide not long after the divorce was granted.

Hollywood Years

(1934-1945)

When Faye arrived for her secondary role in GEORGE WHITE'S SCANDALS, she was almost immediately given another major break. Lilian Harvey had been cast opposite Vallee in SCANDALS, but Harvey was not content with the size of her role. She left the production, leaving the studio in search of a quick replacement. Faye already had filmed her main contribution to the film, "Nasty Man," a number she dominates from the start, squarely facing the camera and effortlessly capturing it with her low, husky crooning and appealing face. Her dancing is little more than a wriggle backed by row after row of swaying chorines, but her voice and engaging manner lifted the number above its somewhat tawdry, carnival atmosphere. Fox liked Faye's screen presence, and with Vallee's timely support her role was expanded. Now prominently featured, Faye found herself squaring off on camera with Adrienne Ames, a sultry tower who was Faye's romantic competition in the film. Faye had no acting experience to call upon; her innate shyness is most noticeable in an early scene with Vallee, where she gazes at him with no doubt sincere affection. Her lack of polished acting skill makes the moment all the more effective, for she seems precisely natural. Her demeanor is light years away from her assured singing in the production number, yet it's what also made her ultimately a favorite of audiences, for this self effacing manner never completely left her even after years of more studied camera awareness. The film was a success, with Faye's appearance given positive attention from various newspapers. Faye, already signed to a standard seven year contract, was dutifully fed into the B-budget production slate at Fox.

During this first year Faye's films were nondescript musicals with Faye cast as a streetwise hoofer and singer, not unlike her actual New York days. Early on, Fox had Faye's teeth capped. Otherwise, her platinum-hair looks would stay intact for nine films. Faye's second film, NOW

3.

Ex-New Yorker Faye in Los Angeles with her mother, 1934. George Ulrich Collection.

Biography

7

I'LL TELL (1934), had the advantage of Spencer Tracy in the cast. SHE LEARNED ABOUT SAILORS (1934) was a forgettable programmer graced only by Faye's vocalizing. 365 NIGHTS IN HOLLYWOOD (1934) continued this tradition. GEORGE WHITE'S 1935 SCANDALS (1935) got Faye a few more favorable notice her singing. Loaned to Paramount in 1935 for EVERY NIGHT AT EIGHT, Faye added style to a singing act that featured Francis Langford and Patsy Kelly. Faye's home studio was now undergoing reorganization as 20th Century-Fox, with Faye's next film, MUSIC IS MAGIC (1935) mainly notable for it being Bebe Daniel's last prominent role. Lost in the shuffle were a couple of announced productions that proved phantoms. FUN IN THE AIR would have cast Faye with Joe Cook and James Dunn, and ANGEL FACE planned to have Shirley Temple, James Dunn and Faye. Beyond some teaser posters issued to exhibitors by Fox, nothing more came out of these announcements. In the newly outfitted studio, Faye made headway in KING OF BURLESQUE (1936), receiving her best reviews to date and gaining further popularity in the song sheet industry, with "I'm Shooting High" being one of her early major successes. However, before the production POOR LITTLE RICH GIRL, Faye's father died at age forty-nine on November 25, 1935, in circumstances that made for difficult press relations for Faye. Charley Leppert, having been estranged from his wife, had ultimately found himself alone at death at Bellevue Hospital in New York. Faye, racing in from the coast, showed up too late, and the press printed unpleasant allegations of neglect on Faye's part. Faye, long stung by the Vallee divorce case, did not like this brand of publicity hitting so personally close to home, reinforcing her already shy disposition with the press. It was at this time that Faye had her name legally changed from Alice Leppart to Alice Faye, which her surviving family followed doing eventually. Her mother and two brothers had since moved to California, with Charles becoming an assistant director and William her business manager. Faye's following release, POOR LITTLE RICH GIRL (1936), showcased Shirley Temple in virtually every scene. While superficially little different from her preceding roles, Faye etched a funny, memorable characterization with her limited screen time, whether heckling husband Jack Haley or performing ballads. Faye also worked hard perfecting a difficult tap number, which was probably the most memorable dance effort of hers on film. This was followed by SING, BABY, SING (1936) and STOWAWAY (1936), the latter another Temple vehicle. Both films displayed a marked evolution in Faye's screen image, with Fox studio head Darryl F. Zanuck drastically reducing the dimestore glamor Faye began with in Hollywood, eliminating the spider thin eyebrows and flashy platinum hair color. Faye's manner took on a more characteristic maturity that was both more sympathetic and natural a persona for her. It was also a time when her movie career was blossoming

8

Biography

just short of full stardom. After SING, BABY, SING Faye was given a revised contract that paid her $2,000 a week, and Faye herself felt the trappings of stardom begin in earnest; it was the first time she genuinely felt appreciated by critics. SING, BABY, SING brought two key men into her life too. Tyrone Power was an unknown talent at the studio, who was understandably distressed when he was fired by director Sidney Lanfield, a director Faye despised. Power's day was powerfully compensated however when Faye took it upon herself to take the young actor out to dinner and assure him he had a potential worth pursuing. Power was immensely grateful for this timely encouragement, and never failed to acknowledge Faye's compassion during his quick rise to stardom shortly thereafter. Faye also met future husband Tony Martin, a nightclub and radio singer, on this film set.

Despite her constant work at the studio, Faye was also making frequent appearances on radio, mostly to promote her songs. She would guest star with legendary entertainers such as Al Jolson and Eddie Cantor on various programs. None of it came about out of any particular ambition on Faye's part. With a small laugh, Faye would recall doing such shows "because we were told to," implying the studio's need to rotate their stars to publicize what needed to be known. By decade's end Darryl F. Zanuck bowed to pressures by movie exhibitors who complained of radio's use of stars would diminish their boxoffice uniqueness and drawing power. For a brief time Zanuck banned Faye, along with others, from appearing on the air. Faye's major radio work before this, however, had been as a resident vocalizer on bandleader Hal Kemp's radio program during the last half of 1937. 1937 methodically enhanced Faye's more pleasing, accessible persona, it being an extremely productive year for her film career. ON THE AVENUE premiered with music by Irving Berlin. Faye's singing of "This Year's Kisses" and "I've Got My Love To Keep Me Warm" from this musical were two of her more enduring '30s song hits. WAKE UP AND LIVE was her next 1937 release, in which Faye delivered the title song with a cheerful sincerity and well being that further ingratiated herself to audiences. YOU CAN'T HAVE EVERYTHING followed, pairing her for the first time with Don Ameche, and a third time with the never boring Ritz Brothers. Later that year Faye would be loaned to Universal for her fourth film of 1937. However, work had already begun on a project at Fox that would finally be ready in 1938, a film that would help catapult Faye into the higher realms of stardom.

In 1936 MGM had a huge success with SAN FRANCISCO, a film full of outstanding special effects in its restaging of the 1906 earthquake. Surveying the rubble and envious of MGM's profits, 20th Century-Fox soon made preparations for their own historical calamity. The studio decided to recreate the 1871 Great Chicago Fire, in an opus called IN OLD CHICAGO, pouring nearly $2 million ($750,000 for the fire alone)

Biography

9

into a painstakingly authentic production. For such a prestigious project, Zanuck at first looked beyond his own talent roster for the role of Belle Fawcett, a saloon singer and comfort for Tyrone Power, who was now a new star at Fox. MGM's Jean Harlow was soon scheduled to be loaned to Fox for the role of Belle, though Harlow was not a natural singer; however, she could always be dubbed, as in RECKLESS (1936). With production about to begin, Harlow unexpectedly died of uremic poisoning while filming SARATOGA in mid-1937. She was 26. IN OLD CHICAGO'S director, Henry King, decided to screen test 22 year old Alice Faye for the part. Power, not forgetting the kindness Faye had once shown him, insisted on being present to help guide Faye through a demanding call upon her less than polished acting abilities. Genuinely moved by Power's generosity and goodwill at such a crucial occasion, Faye was moved to tears. Happily, Henry King saw much promise in Faye, and she got the role. King would emerge as Faye's favorite director, admiring his patience and belief that she had acting qualities other directors were not as likely to bring out. Before the elaborate film was completed and released, Faye was loaned to Universal for YOU'RE A SWEETHEART (1937), an expensive production by Universal's standards, which went to the trouble of building a huge set of trees and dressing up Faye as a bird for one uncharacteristic number. She was better at swirling with George Murphy in a ballroom setting later in the film. During the filming of YOU'RE A SWEETHEART, Faye was given a day to be present in Yuma, Arizona, where on the 4th of September she was wed to Tony Martin.

With IN OLD CHICAGO still in post-production, Faye was back to Fox at a fast trot for SALLY, IRENE AND MARY and ALEXANDER'S RAGTIME BAND. SALLY, IRENE AND MARY (1938) was a buoyant musical that had Faye up against Joan Davis, the Ritz Brothers, Fred Allen and Jimmy Durante. Faye's new husband Martin performed a duet with her in the film, giving the impression to audiences that perhaps a new screen couple was upon them. But Faye's next volley of films defined her uniquely in her own right. January of 1938 saw the release of IN OLD CHICAGO, followed by SALLY, IRENE AND MARY in February and ALEXANDER'S RAGTIME BAND in August. This triple play from Faye catapulted her to major prominence, giving critics and audiences a renewed perspective on her talents. Faye was now Fox's newest blue chip among their musicals, with another revised contract at hand, in league with their Shirley Temple and Sonja Henie musicals.

When 20th Century-Fox premiered ALEXANDER'S RAGTIME BAND in August, it was their most expensive musical to date and a prestigious homage to America's most reknowned songwriter of

10

Biography

the time, Irving Berlin. Faye shouldered the majority of new and old Berlin tunes, assisted during the final reels by Ethel Merman. Faye was part of a charming trio that included Tyrone Power and Don Ameche, all of whom, over the quarter century the film covered, didn't age a day, an observation noted by legions of film viewers ever since (the timelessness of the cast's appearance was due to Zanuck's edict that he didn't want graying make-up to offset the glamor of his stars).

For the next three years Faye would be at the very top of audience popularity polls, earning nearly $180,000 for herself in 1939 alone. Between films, whether on vacation or attending the premiere of one of her films on the East coast, Faye would often find herself back in her hometown of Manhattan. Faye would often stay at the Sherry Netherland Hotel, having to weather numerous rounds of interviews during each visit from many of Manhattan's then multitude of newspapers, where she would hazard having her remarks rewritten as playful banter by columnists eager for lively copy. Faye would usually politely deny any serious consideration of returning to the stage, realizing secretly that for her the movies offered a safe distance from the tensions and insecurity of a live performance, which had often plagued her as a teenager. Faye's marriage to Tony Martin was developing signs of trouble. Martin's frequent tours and carefree lifestyle out of town resulted in many long distance phonecalls and not much else for Faye. Another problem that Martin would acknowledge in his memoir (B125) were the slights and remarks by those in Hollywood who considered Martin "Mr. Alice Faye." For all the success Faye was enjoying at this time, it was also an emotional difficult one that would continue for another year.

1939 began with TAIL SPIN, with Faye cast as Trixie the aviatrix, competing with Constance Bennett up in the air and on the ground for love and the "Powder Puff" golden cup during a national air race. It featured one Faye song and was otherwise an inconsequential attraction. More in Faye's line was ROSE OF WASHINGTON SQUARE, a film often mentioned in the same breath as entertainer Fanny Brice, who sued Fox for invasion of privacy for using well known facts about her life for this tale of show business and scandal. Faye even sung Brice's trademark song, "My Man." The suit was settled out of court in Brice's favor, and what was released on screen for the world to see was Faye and Tyrone Power being constantly upstaged by Al Jolson, who was willing to take third billing since his glory cinematic days since THE JAZZ SINGER had long ebbed, despite repeated comeback attempts. ROSE was his best shot, and Faye had to be content to sing with a mugging Jolson egging her on. The film was a success.

Biography

11

Faye's next film, HOLLYWOOD CAVALCADE (1939), was her first feature in Technicolor. Don Ameche was the lead, and though it wasn't a musical, it provided Faye with an opportunity for slapstick comedy. The film, which looked back at the then not too distant origins of silent film comedy, had Faye accept a pie in the face from Buster Keaton. The force and accuracy of the pie hit Faye so squarely on the face (Keaton had a reputation for being a deadly pie thrower), a viewer can easily hear Faye's genuine cry of surprise at the pie's impact. Though the film seriously bogged down in its latter half with tedious melodramatics, HOLLYWOOD CAVALCADE continued the Faye momentum at the box office that would sustain her as being 1940's top female star, ranking above Myrna Loy and Bette Davis. The previous year, the Motion Picture Herald Poll judged her number one, following a 1938 appearance among the top ten. 1939 ended with her second film oddity of the year (after TAIL S P I N ) , an exotic Chinese adventure called BARRICADE. It was a production that was a patchwork of drastically revised scripting, retakes and some inevitable continuity problems in its finished state. Faye's one song was dropped during these changes, leaving her to do a straight dramatic role.

On March 26, 1940, Faye and Martin announced their divorce, which was finalized a year later on March 28. Before long, Phil Harris entered Faye's life in a significant way. They had first met in 1933, at the Pennsylvania Roof, a New York nightclub. Harris recalled being introduced to a damaged looking Faye, her face covered in stitches from a recent car accident suffered with Rudy Vallee. Now, years later, they were re-introduced by Jack Oakie at Charlie Foy's, a restaurant in the San Fernando Valley. Harris during this time was seeing the end of his first marriage, effective September 17, 1940, to actress Marcia (originally Mascotte) Halston, who he had married in 1928. Halston had won the divorce because, among other things, his not taking her on one vacation in twelve years. Harris, eleven years Faye senior, seemed an unlikely match for Faye, at least to many of Faye's friends. Though Harris over years has been described as a quiet, sensitive person in private, his reputation was of a good-time partygoer, leading a life among musicians and nightlife seemingly at odds with Faye's desire to lead a homespun life.

Born Wonga Phillip Harris in Linton, Indiana, on June 24, 1904, the "Wonga" was taken from the name of an Indian who appeared in a circus show featuring Phil's father, a clarinet player. His mother, Dolly, was also a travelling trouper, both parents seventeen years old when "Wonga" was born. Raised by grandparents for several years, working in the circus during the summer months. As a teenager, played the drums in a movie orchestra his father ran at the Knickerbocker Theater in Nashville, Tennessee. Harris

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Biography

formed his own band after high school, later touring as a drummer with various bands. Harris met his first wife, an aspiring actress, on such a tour in Melbourne, Australia. They were married in 1928. Back touring in California, Harris began vocalizing and developing his patented jivey patter with audiences, and his fame grew rapidly. By 1933 Harris began making numerous film appearances, starting with his Oscar winning 1933 short, SO THIS IS HARRIS. He became a long-running regular on Jack Benny's radio show in 1936, where he further promoted his gregarious persona. Unlike Faye, he maintained a consistent show business career well into the 1980s, including an appearance in WABASH AVENUE (1950), a Faye-type Fox musical. Aside from many tv and stage appearances, Harris also created a special immortality for himself by doing three highly characteristic vocal turns in such Disney animated features as THE JUNGLE BOOK (1967), THE ARISTOCATS (1970) and ROBIN HOOD (1973).

With a new decade and husband at hand, Faye's peaking popularity helped carry her through LITTLE OLD NEW YORK (1940), an elaborate if middling musical outing, full of period detail and historical nonsense involving Robert Fulton's struggle to launch the first steamboat. With Faye at his side, this indeed came to pass, but the film was not a memorable one. Faye's next film, an ideal sounding project, cast her in the lead of LILLIAN RUSSELL (1940), the foremost female songbird of her day in the last two decades of the 19th Century. No film seemed to suit Faye more, even though Mae West would've more closely resembled the magnificent hourglass figure Lillian Russell was known for. Nevertheless, according to Fox publicity, Faye went from 112 to 120 lbs. to fill out her costumes, which numbered 27 (of which one, full of "metalware," weighed 13 lbs.). Faye's waistline was whalebone-corseted from her usual 26" down to 20", and one spectacular hat measured 4' in diameter. The production was widely publicized as the "Film of the Month" in Life (May 20, 1940), and Photoplay (June 1940) published a lengthy mini-nove1ization of the film, which was dotted with cartoonish drawings of Faye as Russell. Unfortunately, LILLIAN RUSSELL was a flawed movie. In later years Faye lamented about the film not being photographed in Technicolor, a production decision seemingly made to underline the grayness of the dour screenplay, which was mired in often bogus depictions of Russell's career, a career outlined on film with alot more suds than song. Aside from Faye and Edward Arnold, much of the starring cast looked pained to be in it. However, the musical interludes evoked many wonderful moments, as Faye tore into such Victorian valentines as "After The Ball," and "Come Down Ma' Evenin' Star," which suited her perfectly. Despite LILLIAN RUSSELL's flaws, the film was very popular when released.

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Scheduled to appear in DOWN ARGENTINE WAY, Faye withdrew due to an appendicitis operation. In her place was Fox contract player Betty Grable, who, as with Faye, had begun her career as a teenage member of a chorus line. Grable had actually preceded Faye to Hollywood by four years, when she appeared as a chorine in LET'S GO PLACES (1930). Faye and Grable were united in TIN PAN ALLEY (1940), with Jack Oakie, John Payne and June Havoc. THAT NIGHT IN RIO (1940) put Faye into the tropical Technicolor world she missed out on in DOWN ARGENTINE WAY, a genre of Latin-themed musicals she would continue to divide with Betty Grable. However, in such shrewdly propagandistic "good neighbor policy" films, which for Faye included WEEKEND IN HAVANA (1941) and THE GANG'S ALL HERE (1943), Faye was less the obvious drawing card than was the new novelty on the block, Carmen Miranda, who all but owned each of these films with her outrageous costumes and mannerisms. It was usually left for Faye to find a palm tree and moonlight for crooning purposes, where she would reaffirm her status as a peerless singer of ballads. These particular films have often been typically the favorites of Faye aficionados, and they continue to amaze subsequent generations with their festive atmosphere, gaudy colors and inimitable style. THE GREAT AMERICAN BROADCAST (1941) didn't have the monumental production of previous Faye musicals, but it had a first rate score by Harry Warren and game cast featuring John Payne and Jack Oakie. It compensated for the blatant lack of authenticity in depicting radio's history, and of costuming everyone as if it were always 1941 on the calendar.

Having now been legally set free from Tony Martin in the spring of 1941, Alice Faye and Phil Harris were married on May 12, 1941 in Ensenada, Mexico. The following September a second wedding took place in Galveston, Texas, and not just because, as some newspapers thought, a Mexican wedding wasn't legally binding in California. According to an unnamed friend of Harris, the earlier wedding in Mexico occurred because Harris wanted some kind of ceremony to mark his intentions with her. During the months separating these nuptials, Faye was busy filming WEEKEND IN HAVANA, and decorating her new home in Encino. She also found time during that summer to visit Harris in New York, where he was appearing on stage, but otherwise it wasn't until nearly October they settled down to begin Faye's most sought for goal at that time: a new family life, away from Zanuck and his studio.

WEEKEND IN HAVANA was released in late 1941, a colorful film giving Carmen Miranda plenty of space to chica-chica-boom and Faye to supply the more languid interludes. Next up would have been another bustle and bloomer musical, MY GAL SAL, which was recast with Rita

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Hayworth after Faye announced she was expecting her first baby. On May 19, 1942, Alice Jr. was born. Betty Grable and others continued to fill the void Faye had left at Fox, with Grable soon to overtake Faye's pre-eminence as Fox's reigning (if inactive) star. Grable would soon become the top pin-up of World War II, a role her naturally sunny image was well suited for. Fox, for the sake of added publicity, would plant rumors of jealousy and feuding between Grable and Faye, but the two were actually friends, particularly in later years. While Grable became a patriotic trademark on the fighting lines, Faye did not participate in home front activities, even bypassing the Hollywood Canteen, since her new role of motherhood overrode her attentions to anything else. Periodically she would be seen in a brief newsreel clip, such as donating nylons, along with Lynn Bari, during scrap drives; or, she would be heard on radio, singing at an all-star "Command Performance" at local Navy bases. Otherwise, Hollywood, and the war, went along without her for two years.

Faye returned in glorious Technicolor with HELLO, FRISCO, HELLO in 1943, which once more clothed her in vintage finery circa 1900, teamed her with John Payne, Jack Oakie and June Havoc, and gave her a song to sing which identified her ever after, "You'll Never Know," by Mack Gordon and Harry Warren. Such a hit was this song that it not only won the Oscar for Best Song in 1943, but sold over a million song sheets, transcending its cinematic origins to become one of the nostalgic anthems of World War II. Underlying its lyrics and resonant delivery by Faye was the bittersweet quality of longing, romance and reunion, a timely wartime theme and a type of ballad that was also Faye's essence and strength as a singer. The rest of HELLO, FRISCO, HELLO's score relied on pearls of ragtime and tunes from vaudeville in a Technicolor production that reaped commercial and critical gold when released. For all the escapist qualities of the film, audiences were still reminded by a small emblem over the end credits to "buy war bonds."

THE GANG'S ALL HERE (1943) was another vividly photographed Technicolor extravaganza featuring the inexhaustible Carmen Miranda and the often berzerk inventiveness of Busby Berkeley's choreography. Faye was easily the most sedate trouper in it, even appearing listless at times, reportedly due to her being pregnant with her second child during the film's seven-month production schedule. Yet in the "Polka Dot Polka" finale, in what proved to be her last major production number for Fox, Faye was caught on an excellent day. Her high spirits and most robust of Technicolor complexions offset much of her rather sallow looks preceeding it. The film's "Polka Dot Polka" was a memorable if bizarre exit to her string of production numbers at Fox,

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since it was easily the most elaborate number she ever did involving special effects. Once done singing the introductory stanzas in a rather circusy looking party full of children, Faye gives way to a barrage of Berkeley motifs that include red neon hoops being swung about by chorines that look like space cadets. Faye's head is then glimpsed jutting through a vibrantly blue silk sheet before disappearing into an explosion of mirror images. Faye soon reappears all aglow in a heavenly skyscape reprising "Journey To A Star," in which she is but one of many singing novas with faces. Ironically, it serves as a nicely matched cinematic bookend to Faye's first movie number, "Nasty Man," nine years before. Both numbers, each with their unique share of photographic tricks, have a loose, bouncy quality that go beyond the usually stagebound limitations in most of Faye's numbers. And despite the contrasting image she conveys in both numbers, the essential appeal of Faye is plainly evident; that of a welcoming, friendly aura that made virtually all her musical interludes uniquely hers and inimitable. THE GANG'S ALL HERE was a very popular release, keeping Faye a going concern at Fox as the studio continued to find more bubbly productions for her, but Faye was eager to try her hand at a non-musical role. With a dwindling amount of films left on her contract at Fox, Faye was not eager to keep following the usual formula.

In 1944 Faye gave birth to a second daughter, Phyllis, on April 26. Faye also appeared briefly in FOUR JILLS AND A JEEP, where Faye reprised "You'll Never Know" as part of a USO-type radio show featuring other Fox stars as Miranda and Grable, all of whom seemed somewhat out of place in this routine black and white production. In 1945, after considering dozens of scripts, Faye accepted the role of June Mills in FALLEN ANGEL, a film noir successor to Fox's LAURA, a film Faye admired, and to which she harbored thoughts of doing more dramatic films in its style. LAURA star Dana Andrews was cast, along with LAURA director Otto Preminger also on board. Dark-eyed Linda Darnell was on the set too, given the role of a seductive waitress, and it was her role that proved costly to Faye. Zanuck, after viewing the initial rushes of Darnell, expanded Darnell's role significantly and cut Faye's. Faye not only had what she considered her best scenes dropped, but her sole musical number, "Slowly" was excised too. Zanuck never even consulted Faye about it. According to most accounts, Faye, livid at finding out what the final print would be missing, wrote Zanuck a nasty note and left the studio cold, vowing never to return. She had two films left on her contract, but they went unfulfilled. "I sat it out" was Faye's terse recollection of that contractual detail. However, in an 1984 interview, Faye dismissed the usual story behind her exit with "Oh, that (FALLEN ANGEL) didn't have anything to do with it. If it wouldn't have been that it would have been something else. I'd had it anyway." (B217) More surprising in the same article was her glowing assessment of Zanuck as "a very brilliant man," which he

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Biography

might have been as a studio chief, but most Faye comments about Zanuck were not the type one would hear at a testimonial.

The Quiet Life (1945-1962)

At age thirty, Faye was determined to lead a more conventional life. She learned to drive for the first time, and to do her own shopping, along with other mundane activities previously taken care of by others. But for her weekly NBC stint on radio's "Fitch Bandwagon," which evolved in 1948 for a six year run as the "Phil Harris Alice Faye Show," along with a few random radio and tv appearances, Faye retired from show business for sixteen years, despite repeated requests, usually from Fox, to return to the Technicolor fold. When she continued to refuse, her otherwise tailored musical roles went to a newcomer such as June Haver, who appeared in THE DOLLY SISTERS, with Betty Grable. The period costume musical genre at Fox ended by the early 1950s, when Haver and Grable themselves were being overshadowed at Fox by the advent of Hollywood's ultimate blonde, Marilyn Monroe. Meanwhile, according to Miles Kreuger, Faye's switch from film to radio did not necessarily mean a serious diminishment in Faye's popularity. In his view, "(Faye's) popularity grew due to radio. I'm afraid that too many myopic film-oriented fans think that once someone stopped making pictures their careers were over: precisely the opposite was the case with Alice. Many people, myself included, disliked Fox films in general as being garish, vulgar, and gaudily colored and made a point of avoiding them. Thus, vast numbers of the public refused to see her films on these grounds, while just about everyone adored her radio series with Phil Harris. Sad to say, while the soft fashions of the 1930s flattered Alice's round and wholesome cheeks, and her black and white movies of the 1930s, the fashions of the 1940s and the harsh, hypercolored Fox films of that era made her look hard and cold and, I believe, hastened her deparature from films. Compare the color of (Faye's) THE GANG'S ALL HERE with (MGM's) MEET ME IN ST. LOUIS, for example, in which color is warm and shaded and frequently very subtle." With Hollywood behind her, Faye would still find a few opportunities to dip into the limelight occasionally, usually instigated by her husband. During 1947 and 1948, Phil Harris was becoming a popular name in London, due to

4.

A happy absence from Hollywood, 1949; Faye at home with daughters Phyllis (left) and Alice. Museum of Modern Art Film Stills Archive.

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Biography

his recording, "The Dark Town Poker Club," which was one of the most repeated songs on the BBC "request programmes." In July of 1948, Harris, Jack Benny and assorted radio cronies sailed on the Queen Elizabeth to England, to headline a show at the London Palladium. Faye went along too, being prominently featured in the London papers, though she was not at any time a scheduled part of the program. Still, at the final show of the two-week London engagement, Faye was spotted by fans in the audience and prompted to sing on stage. Despite her persistant nervousness in front of a live audience, Faye sang "You'll Never Know" with the orchestra winging along. It went over well, and Faye followed with "Alexander's Ragtime Band." Benny and Harris continued their trip with a ten-day European tour of American military posts, primarily in Germany. Faye attended these too, signing autographs and eventually heading back on the Queen Elizabeth in August, with Harris bringing back a $3,500 Triumph as a souvenier. In June of 1950 Faye would accompany Harris and Benny once more for a three-week return engagement at the London Palladium, though there is no mention this time of her being coaxed on the stage again.

During this time, Harris and Faye had made their move from Encino to Rancho Mirage, near Palm Springs, with their home situated along the Thunderbird golf course. On the homefront, Harris and Faye's shared activities on "The Phil Harris-Alice Faye" radio program brought in about 16 million listeners a week, according to NBC, with their sponsors during their six-year run being Rexal1 Drugs and RCA. Faye's contributions to each episode would include a song, either drawn from her movie days or "The Hit Parade." A review from Bi11 board critiquing a 1952 episode says, "There is little question that the type of comedy stressed on this show is both unsubtle and even, in a way, corny. Yet there is little doubt that the brash and somewhat dim-witted Harris, and his smart, slick likeable friend Remley (Elliot Lewis) make a delightful pair through their fantastic adventures, with disapproving remarks from Alice and Ju1ius."

Faye may not have been Hollywood publicity grist anymore, yet she was featured in reams of articles throughout the late '40s and '50s as one of "the Harrises," with familyoriented coverage on their homelife, with posed family photos usually centered around the swimming pool. Harris tended to dominate these articles, with Faye's illustrious film career given cursory acknowledgement. Not until the early 1960s, with her re-emergence in STATE FAIR, and a with the advantage of a longer perspective in time, were articles popping up celebrating Faye's musicals with a certain nostalgic undertone, underlined by the realization

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that such colleagues as Tyrone Power and Carmen Miranda had since died. However, during the '50s she was the model mother and wife for millions of readers of magazines and newspapers, though in one article she did admit that much of the time she and Harris lead contented lives apart; Faye looking after the household and Harris going off on extended sporting trips or Las Vegas engagements.

Return Engagements (1962-1978)

In 1961, Alice Faye accepted a major role in STATE FAIR. One daughter had just married and the other was attending college, leaving Faye with days alone, particularly with her husband frequently away. Faye was offered STATE FAIR by her old studio, a film that was ironically a remake of the 1945 STATE FAIR musical Faye had turned down after her Zanuck walkout. Faye was cast as Pat Boone's mother in a production that seemed promising at first. Soon afterwards Faye was disappointed not to have Don Ameche cast as her husband; instead, Tom Ewell took the role. Faye was also displeased with director Jose Ferrer. Ferrer proved difficult to work with, particularly among the younger players, helming the production with little style and inspiration. Neither did Faye think Ferrer cared whether she was photographed in a particularly flattering manner or not, which was a far different approach from the customized lighting and camera angles Faye had once been accustomed to. The functional shambles Faye found her home studio 20th Century-Fox in also distressed her. Faye's memories of the camaraderie of earlier days was unpleasantly replaced with a perfunctorily run studio environment. It was an era in which the long entrenched studio system was fast fading, with Fox and other studios soon to be more valuable to conglomerates as real estate by decade's end rather than as idiosyncratic dream machines. Once Faye's obligations with STATE FAIR were done, with the film proving a compost heap at the boxoffice, she returned home with discouraging firsthand knowledge on the changing ways of contemporary filmmaking. It was an experience rare for her to mention afterwards except negatively, though she always had kind words about co-stars Pat Boone and Ann-Margret. Faye continued with sporadic appearances on television, usually singing vintage tunes with Phil Harris on such shows as "The Dean Martin Show," "The Perry Como Show," and "Kraft Music Hall." Faye turned down a stint on stage in Hello Pol 1v. which was then going through a succession of former movie musical queens as a way of continuing its lengthy run both on Broadway and elsewhere. Her refusal was in part due to her unease over live performing. Faye preferred occasional public appearances throughout most of the late 1960s, bobbing up for an event such as the film festival in her honor at London's Mayfair Hotel in 1970, which she attended with fanfare among Fleet Street papers.

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Biography

The early 1970s witnessed an unprecedented "nostalgia boom," which became a favorite media issue. Pop culture going back several decades became a new pursuit for people of all ages. Aging actress and long forgotten musical stage properties were ferreted out of the nation's collective pop memory and refitted for new productions. Among such phenomenon was the hugely successful revival of the 1925 No. No Nanette on Broadway in 1971, with Ruby Keeler and choreographer Busby Berkeley getting raves, and reams of articles analyzing the loss of more seemingly innocent, carefree days. Because of this renewed popularity and interest in vintage music, particularly when a still breathing representative of those times could still be found available for the footlights, Alice Faye was seen as a perfect successor to Keeler for a road tour of No, No, Nanette. However, the two producers of the show had a falling out, and one of them instead chose what was still a staple in summer theaters, the 1927 Good News. Faye, always the ambivalent one for reactivating her career consistently, especially on stage, finally accepted after being prodded by friends, particularly after Faye saw former co-star Shirley Temple recall on tv that all her costars were long dead. Being only 58, Faye did not want to be confused with the departed.

The Good News experience followed Faye for nearly two years, from 1973 through 1975. It went on an extensive pre-Broadway tour for one year, stopping in cities such as in Boston, Toronto, Chicago, Philadelphia and San Francisco. Faye fondly recalls this phase of the tour one of cheering audiences and happy critics, with a young cast she become fond of. Unfortunately, Good News fumbled when it finally reached Broadway, where it was decimated by critics. Despite ongoing support from fans, Good News folded after sixteen regular performances. Faye did not have fond memories of the Broadway stay. The show as presented was a different one than that seen during the tour. When Good News played in Los Angeles to a few negative reviews, producer Harry Rigby feared similiar reactions with Broadway looming. Despite the happy reception the show had been accumulating on the road, Good News was significantly altered, with a change of cast and directors, along with tampering the scenes. When the show reached Broadway, according to Faye, "The show was a shambles. The chorus was great, but the producers screwed it up. It lasted twenty minutes. The producers rewrote it and I lost interest." It was revived again however, on a smaller scale, later in 1975, when Faye took on a regional tour. This time she was paired with Don Ameche, with the show often scheduled in tents. "I have hay fever" Faye recalls, "and, God, all I did was sneeze. My nose was all blown up. But it was fun. You work in the round and half the time nobody's there except a couple of bees." (B217)

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Faye added three minor film credits before long, both of them with canines as the star. First, Faye had a cameo as a studio secretary in the cameo-heavy WON TON TON, THE DOG WHO SAVED HOLLYWOOD (1976), a labored comedy in which Won Ton Ton was the only lucky performer exempt from reading the script. Of this film, Faye summed it up as "a stab in the dark. Henry King would chide me for doing these parts." Next was a somewhat more involved role for Faye, this time as a waitress in THE MAGIC OF LASSIE (1978). Faye sang, almost conversationally, in an attempt to comfort a runaway boy in search of a clever collie. Faye liked doing the brief part, recalling "I did it for (producer) Bonnie Wrather. We were at a party and she said there was this part to be filled. So I went up to Reno, and got a kick out of it." Both films were lucky to recoup their advertising costs, and critics had little to say about Faye in either of them. Faye appeared that year in an independent production, EVERY GIRL SHOULD HAVE ONE, which gave her a larger role than previous films. However, the film was screened but not bought by American distributers, and was primarily seen on British television.

Later Years

(1979 - present)

On May 5, 1979 (Faye's birthday), the Phil Harris-Alice Faye Collection was dedicated in Linton, Indiana. It was an outgrowth of a tradition begun in 1979 in Linton, Harris's boyhood home. "Weekend with Phil" was designed as a festival theme that would encompass sporting events and awards given out on behalf of the newly established Harris-Faye Scholarship Foundation. Such scholarships are typically $2,000 towards the recipient's choice of college and any field of study, or a $1,000 scholarship to Vincennes University, Indiana, which is matched by the university, and it's also suitable for any field of study. A few months prior to the event, Harris and Faye alerted the festival committee that they'd be donating the first of many boxes of memorabilia to the Margaret Cooper Public Library. Room was made at the library, which has since been supervised by Regina Kramer. The collection itself was featured in the early 1980s on a segment of "PM Magaz ine."

Various clubs, along with church and school groups have visited the collection in Linton, where a slide show on the legacy of Harris and Faye is available for viewing. According to an article of the Linton Daily Citizen (May 31, 1989) by Lana Robertson, the annual Phil Harris Scholarship festival, highlighted by golf and other sporting events, has averaged 2,000 visitors per year, with a general 25% increase in local businesses, with one gas station manager plainly noting "people want their cars

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Biography

clean, they buy pop, ice and gas." The president of the Linton Chamber of Commerce comments "It affects other towns too--Dugger, Sullivan, even on down to Bicknell. A lot of folks come into this area who visit and stay with relatives. The whole area really benefits from it. It's a real boost." For Faye's part, she is often recognized in town but few people intrude upon her privacy. She's content to visit the various events, often in the company of her daughters and grandchildren, do a song at the weekend celebrity dinner, and dutifully appear before local photographers before returning to Rio Mirage, a place Faye admits gets very humid at times due to all the landscaping and irrigation that has compromised the usual dry desert air.

Another pursuit began to germinate in the early 1980s when Faye was a guest on a syndicated show "Over Easy," hosted by stage legend Mary Martin, who later became her close friend. Prompted by Martin's queries about how Faye kept busy of late, that Faye was initially inspired to consider a new career outside of show business. In 1984 such an opportunity materialized in the form of Pfizer Pharmaceutical, a makers of health care products, particularly for the elderly. The firm was looking for an "Ambassador of Good Health" to travel throughout the states to promote good health advice to their favorite market. "(Pfizer) wrote to me" recalls Faye, "and I called, but I couldn't get through! I thought someone was ribbing me a bit, but I went East." Faye signed up as their ambassador. "I love doing it. I can be a normal person at home, doing my shopping, my own cooking. Then I can go be a movie star'." In the following years, Faye would spend an average of three days per month traveling to large and not so large cities, usually joined by a doctor at the podium such as Dr. Michael Freedman, director of Geriatric Medicine at the New York University Medical Center. Highlighting each visit for several years was a forty minute Pfizer film called WE STILL ARE!, in which Faye relates health and exercise tips for geriatrics, along with reminiscences and vintage film clips of her Hollywood career. Though Faye admits "Traveling gets harder every year," she nevertheless maintains a full schedule, as seen in her itinerary in 1989; stops scheduled include Dallas, Detroit, Lansing, Phoenix, Sacramento, Chicago, Seattle, Baltimore, Kansas City, Philadelphia and Anaheim. Pfizer's promotional packet describes Faye as someone "still boasting 25 inch waist and a model "young elder" who "has been awarded citations from government officials and senior citizens for her work in this field, and has been invited to appear at stateswide government conferences on the aging." Her Pfizer role has given her reason to be in front of television cameras again; she also made a high profile return on ABC's "Love Boat" in 1980. Mahny a local morning or talk show has received her as a guest; one 1985 appearance on "The Morning Show" with Regis Philbin had her dismissing her Hollywood aura with "I leave it to others."

5.

Faye with husband Phil Harris in Linton, Indiana, during a "Weekend with Phil' festival, 1980. Photo by Frank Miller, courtesy of Regina Kramer.

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Most of her non-Pfizer television appearances have taken place in Great Britain, a country that has long given her the kind of consistent publicity and vintage superstar status that has usually eluded her stateside in later years. "I love England. I'll go there at the drop of a hat" she says. In 1984 she appeared as the main subject on "This Is Your Life," where she was greeted by Mary Martin, John Payne, George Murphy and Don Ameche. For a "Royal Command Performance" the following year, Faye was featured reprising "You'll Never Know" (after being introduced by Don Ameche), with a voice husky and pleasing in its mature, still familiar tones. On American television, Faye was seen in a 1985 documentary on Irving Berlin, where she discussed ALEXANDER'S RAGTIME BAND. Pfizer nevertheless remained Faye's main calling card in the American media throughout the 1980s, with photos of "Alice Faye Exercises," such as stretching routines that encompass "Leg Touch," "Rollover," "Superstretch," and "Knee Roll." These exercises, in addition to walking and swimming, Faye does herself regularly to keep fit. Breathing exercises are also explained in the packet, along with stationary bicycling, all in the quest of keeping otherwise sedentary blood circulating. Repeatedly on Faye's mind is to maintain a sense of humor, for in many of her Pfizer related interviews she stresses the importance of a positive mental attitude for a healthful life. Faye's views on aging culminated with her book, Growing Older. Staving Young in 1990.

Today, Alice Faye reflects upon her show business career sparingly, if at all. Her hometown of Manhattan holds little interest for her, "Only on business" is her reason ever to return. She would find very little to recognize at the corner of West 54th and 10th Avenue, the corner generally considered the site of her birth. The visible legacy of a once teeming, picturesque neighborhood is drastically obscured by a new, massive utility plant on one corner, a nondescript camera supply warehouse on another, and parking lots taking up the remainder. At 6922 Hollywood Boulevard her Hollywood star is affixed in the pavement between those of Bill Cosby and Billy Barty, a capricious arrangement which in its way indirectly suggests the apparently random sequence of timing and happenstance that often determines if a performer is to ever to be noticed and showcased to their best advantage in a mercilessly competitive environment such as show business. Faye was a fortunate performer, but this does not necessarily ensure a lasting legacy. More essential to a singer is a heart that gives a timeless vibrancy to the music that is sung. That accessible quality, sublime and evocative at its best, is inseparable from what Alice Faye gave to the Hollywood musical.

Filmography F1 GEORGE WHITE'S SCANDALS

(Fox, 1934) 80 minutes.

CAST: Jimmy Martin (Rudy Vallee), Kitty Donnelly (Alice F a y e ) , Happy McGillicuddy (Jimmy Durante), Barbara Loraine (Adrienne Ames), Nicholas Mitwoch (Gregory Ratoff), Stew Hart (Cliff Edwards), Patsy Dey (Dixie Dunbar), Miss Lee (Gertrude Michael), Minister (Richard C a r l e ) , Peter Pandos (Warren Hymer), George White (Himself). Directors: George White, Thornton Freeland, Harry Lachman. Story: George White. Additional Dialogue: Jack Yellen. Photography: Lee Garmes, A . S . C , George Schneiderman. A.S.C. Editor: Paul Weatherwax. Wardrobe: Charles Le Maire. Musical Direction: Louis De Francesco. Dances Staged by: George Hale. SONGS: "Nasty Man" (Faye) "So Nice" "My Dog Loves Your Dog" "Sweet and Simple" "Following in Mother's Footsteps" "Every Day Is Father's Day With Baby" by Ray Henderson, Jack Yellen, and

Irving Caesar.

"Picking Cotton" by B.G. DeSylva, Lew Brown and Ray Henderson. SYNOPSIS: Scandal star Kitty Donnelly has a crush on Scandal headliner Jimmy Martin, though it is rich girl Barbara Loraine who actually has Jimmy transfixed. Further heartache ensues for Kitty when, in her

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Filmography dressing room, she argues with Barbara. Kitty slaps Barbara's high toned face, yet she receives equal pain when eyewitness Jimmy sides with Barbara. Kitty plans to leave the Scandals, but Barbara is eventually exposed when previous flames are brought in by White to expose her as an opportunistic celebrity seeker. The now enlightened Jimmy is then given, along with Kitty, supposedly new contracts by the equally opportunistic George White. White has them unknowingly sign what is actually a marriage license, which will keep the two onboard for the long run of his Scandals. Kitty and Jimmy, once they catch on, go on to a long and no doubt successful run themselves as husband and wife. COMMENTS: Faye's jaunty rendition of "Nasty Man" ensured her of an auspicious debut at Fox Studios, complete with a more prominent role than originally intended, having replaced Lilian Harvey, after Harvey bolted the production early on. Though the film was more Depression glass than fine china among Hollywood musicals of the day, Faye's pleasant personality and vocal ability were noted favorably in the press; her presence was arguably the most memorable part of the film. It was also her last film appearance with musical mentor Rudy Vallee. REVIEWS: New York Sun (March 16, 1934) - "Alice Faye, as cute a trick as the movies have introduced for a long time, appears often...The picture could be stood another song or two by her in place of some of Rudy Vallee's croonings." London Times (April 2, 1934) - "A good film of its own spectacular kind."

F2

NOW I'LL TELL (Fox, 1934) 87 minutes. CAST: Murray Golden (Spencer Tracy), Virginia Golden (Helen Twelvetrees), Peggy Warren (Alice Faye), Freddie (Hobart Cavanaugh), Doran (Henry O'Neill), Mositer (Robert Gleckler), Hart (G.P. Huntley, Jr.), Traylor (Ray Cooke), Mary (Shirley Temple), Wynne (Barbara Weeks), Mac (Leon Ames). Producer: Winfield Sheehan. Director: Edwin Burke. Screenplay: Edwin Burke. Story: "Mrs. Arnold Rothstein. Photography: Ernest Palmer, A.S.C. Settings: Jack Otterson. Sound: William D. Flick. Gowns: Rita Kaufman.

6.

Singer-turned-actress Faye confronts seasoned Adrienne Ames in GEORGE WHITE'S SCANDALS (1934). Museum of Modern Art Film Stills Archive.

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FiImography Musical Director: Arthur Lange. Musical Score: Hugh Friedhofer, Arthur Lange, David Buttolph. SONGS: "Fool in' with the Other Woman's Man" "Harlem Versus the Jungle"

(Faye)

by Lew Brown and Harry Akst. SYNOPSIS: The Depression may be on but New Yorker Murray Golden seeks to live a life full of money and style as a gambler. His stoic wife Virginia is upstaged when Murray meets Peggy, a vampy nightclub singer who wants to marry him. Murray prefers to lead a double life instead, but things back up on him when he hears that his wife has been kidnapped by a gambling acquaintance out to recoup money lost on a fight Murray had fixed. Murray, out of town with Peggy, drives anxiously back to Manhattan, only to crash. Peggy is killed, but Murray survives to reclaim his wife, who now escapes to Europe to seek a divorce. Mositer is still not satisfied and pursues Murray, who, sensing an early demise, finally purchases a life insurance policy for Virginia, but only after cashing in her jewels. Mositer fatally wounds Murray, but before Murray dies, stoic Virginia returns to his deathbed, where she vows to forgive and forget if he pulls through. However, she's upstaged yet again when Murray dies and presumably catches up with Peggy. COMMENTS: Notable as the only role that Faye died in, it was not, fittingly, an escapist musical but rather an untypical drama for her, in which she participated in a small though key role. Having the high caliber star as Spencer Tracy in the film enhanced Faye's tentative hold on her largely as yet undetermined film career; at this point her image was never more aligned to her contrived resemblance to Jean Harlow in looks and character as when Faye si inked through her one song in the film. In their press kit, Fox has a coy article which tells of Faye requesting a break from rehearsals during the recording of her one number, ostensibly just to have dinner. However, Lew Brown, associate producer, noting the day of the week and the time, cleverly realizes Faye's true dilemma and brings out a portable radio, where for the next two hours Faye listens to Rudy Vallee's radio program. This may sound like imaginative fluff, except that it tallies with an observation heard by first husband Tony Martin, noted in his memoir, in which Faye, out on a date, would insist on staying inside a car to listen to Vallee's show on the radio (B125).

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REVIEWS: Variety (May 29, 1934) - "The right kind of should cinch this one."

exploitation

Los Angeles Times (May 25, 1934) - "Alice Faye...essays a serious role acceptably."

F3

SHE LEARNED ABOUT SAILORS (Fox, 1934) 76 minutes. CAST: Larry Wilson (Lew Ayres), Jean Legoi (Alice F a y e ) , Rubinstein (Harry G r e e n ) , Peanuts (Frank Mitchell), Eddie (Jack Durant), Brunette (Wilma C o x ) , Hotel Clerk (Paul M c V e y ) , Dance Hall Girl (June L a n g ) . Producer: John Stone. Director: George Marshall. Screenplay: William Counselman, Henry Johnson. Story: Randall H. Faye. Photography: Harry Jackson. Sound: Bernard Freericks. Settings: Duncan Cramer. Gowns: Royer. Musical Direction: Samuel Kaylin. SONG: "Here's the Key To My Heart" (Faye) by Richard Whiting and Sidney Clare. SYNOPSIS: Shanghai is full of sailors on liberty, and it is here that Sailor Larry Wilson falls in love with Jean Legoi, a singer at a colorful dive. When they part, Larry writes a note to her, reluctantly, calling off their budding relationship since he has second thoughts on being able to support her if they marry. But his original letter gets sidetracked by some playful shipmates, who instead send a phony valentine of a letter to Jean, supposedly from Larry. Jean follows Larry to Los Angeles as a result; there the shipmates do their best to persuade an understandably chagrined Larry to go ahead and marry Jean, who does her best to snare him in his home port. And eventually, she does.

COMMENTS: Save for Faye's vocalizing, this was a weak programmer from the Fox factory. It was also a comedy that emphasized the acrobatic antics of Mitchell and Durant, who would punch and tumble their way through two more Faye films before being pitched off the Fox lot. Fox aimed squarely at the female audience in their publicity campaign, telling exhibitors to "arrange a complete display in your lobby of (a) Alice Faye beauty angles: hair, make-up and clothes... tie up (angle) at beauty parlors, millinery, dress and gown shops."

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Filmography However, advised Fox, despite the nautical nature of the movie, "we do not approve of the...Navy getting all the publicity." REVIEWS: New York Post (July 31, 1934) - "The feature of the picture...rests with the lusciously appealing personality of Alice Faye." London Times (September 3, 1934) - "Incongruous real ism." New York Daily Mirror (July 30, 1934) - "(Faye) sings with more authority than she acts."

F4

365 NIGHTS IN HOLLYWOOD (Fox, 1934)

74 minutes.

CAST: Jimmy Dale (James Dunn), Alice Perkins (Alice Faye), Percy (Frank Mitchell), Clarence (Jack Durant), Professor Ellenbogen (John Qualen), J. Walter Delmar (Grant Mitchell), Adrian Almont (John Bradford), Frank Young (Frank Melton), Assistant Director (Ray Cooke), Assistant D.A. (Addison Richards), Drunk (Arthur Housman). Producer: Sol Wurtzel. Director: George Marshall. Screenplay: William Conselman, Henry Johnson. Author: Jimmy Starr. Photography: Harry Jackson. Dances Staged by: Sammy Lee. SONGS: "My Future Star" (Faye) "Yes To You" (Faye) by Sidney Clare and Richard Whiting. SYNOPSIS: Respectable looking but mercenary J. Walter Delmar runs an acting school that does little more than line his pockets with tuition fees. Aspiring star Alice Perkins enrolls, lured in part by Adrian Almont, an unemployed screen actor Delmar uses to attract students. Along with Alice are Percy and Clarence, two oddly acrobatic ice deliverymen. When Delmar is offered big investment money by Frank Young, he conjures up a starring film vehicle for Alice, on the condition that if the production is cancelled along the way, the money becomes his. To help ensure this, Delmar hires

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presumably unreliable, once-successful Jimmy Dale to direct the movie. Yet Jimmy, happy at the opportunity, does a tremendous job, and also falls in love with Alice, all of which worries Delmont. Before the production is completed, Delmont talks Almont into cagily absconding with Alice to a remote mountain location, where Alice is left stranded, with Almont drinking himself into a stupor there. Hard working Jimmy is extremely anxious about her disappearance, and for his career comeback, though the acrobatic ice deliverymen locate Alice and bring her back to the soundstage, where she tears into the big musical finale. The film is a smash, Alice and Jimmy go on to better days, and Delmar and Almont are out of business. COMMENTS: "Alice Faye sings again--only more so!" blared the Fox slogan for this otherwise forgettable film. Fox promotion included making available to exhibitors, at Fox film exchanges, copies of Faye's two "very excellent" songs, issued on Fox Movietone Record No. F-119, at 75 cents apiece. Such records could be given away "with purchases" at local stores. REVIEWS: New York Herald Tribune (November 8, 1934) - "Alice Faye, still imitating Jean Harlow, manages to hold attention with reasonable constancy..in her blues number, she clicks."

F5

GEORGE WHITE'S 1935 SCANDALS

(Fox, 1935) 83 minutes.

CAST: Honey Walters (Alice F a y e ) , Eddie Taylor (James D u n n ) , Elmer White (Ned Sparks), Manya (Lyda Roberti), Dude Holloway (Cliff Edwards), Midgie (Arline Judge), Marilyn Collins (Eleanor Powell), Aunt Jane (Emma D u n n ) , Louis Pincus (Benny Rubin), Harriman (Charles Richman), Officer Riley (Roger Imhof), Daniels (Walter Johnson) Grady (Donald K e r r ) , Master of Ceremonies (Fred Santley), Ticket seller (Jack Mulhall), Porter (Sam McDaniel). Produced and Director: George White. Screenplay: Jack Yellen, Patterson McNutt. Photography: George Schneiderman, A.S.C. Sound: A. L. Von Kirbach. Art Director: Gordon Wiles. Costumes: Charles Le Maire. Musical Direction: Louis de Francesco. Dances Staged by: George White.

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Filmography SONGS: "According To The Moonlight" (Faye, Dunn) "Oh, I Didn't Know" (Faye) by Jack Yellen, Herb Magidson and Joseph Meyer. "It's An Old Southern Custom" (Faye) "I Was Born Too Late" (Faye) by Jack Yellen and Joseph Meyer. "I Got Shoes, You Got Shoosies" "The Hunkadola" (Faye with Dunn, Edwards and Roberti) by Jack Yellen, Cliff Friend and Joseph Meyer. "It's Time To Say Goodnight" by Cliff Friend and Joseph Meyer. "You Belong To Me" (Faye) by Jack Yellen and Cliff Friend. SYNOPSIS: Enroute to a vacation in Florida after yet another edition of his Scandals, George White visits a theater in Georgia where singer Honey Walters strikes him as a good bet for his next Scandals. Eventually, White returns to New York with Honey, her performing colleague and friend Eddie, along with a horde of tagalongs. Complication arise when Honey's Manhattan socializing creates bad working habits. She's fired. Her aunt from Florida then visits Manhattan to check her whereabouts, which causes George White to frantically locate both Honey and Eddie, who's also been recently bounced from the show for too much urban highlife. Magnanimous White finally puts the two young performers back in the show to the delight of Honey's aunt, who is even more pleased to learn that Honey and Eddie will soon be husband and wife. COMMENTS: For the price of a mere ticket, a moviegoer was given, as the advanced publicity described it, "10 scintillating stars, 200 gorgeous girls, 30 beauty contest winners, 1000 colorful costumes, 7 lavish spectacles, 6 tuneful song hits, 187 laughs: 1,440 reasons why it's the best show you've ever seen." In other words, it was another serviceable Fox musical. REVIEWS: New York World-Telegram (April 29, 1935) - "In spite of the industrious endeavors of the entire cast, SCANDALS must be set down as a disappointment."

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Variety (May 1, 1935) - (The film) has little real pul1 -'em-in...some real names would have helped ...most of the work is left to James Dunn and Alice Faye."

F6

EVERY NIGHT AT EIGHT (Paramount,

1935) 80 minutes.

CAST: Tops Cardona (George R a f t ) , Dixie Dean (Alice F a y e ) , Daphne O'Connor (Patsy Kelly) Susan Moore (Frances Langford), Snorky (Harry Barris), Master of Ceremonies (Walter Catlett), Trick Drummer (Dillon O b e r ) , Chicken Lady (Florence G i l l ) , The Three Radio Rogues (Jimmie Hollywood, Henry Taylor, Eddie Bartel). Producer: Walter Wanger. Director: Raoul Walsh. Screenplay: Gene Towne, Graham Baker. Additional Dialogue: Bert Hanlon. Based on "Three On A Mike" by Stanley Garvey. Photography: James Van Trees. Editor: W. Donn Hayes. Art Direction: Alexander Toluboff. Assistant Director: Eric Stacey. Sound: Hugh Grenzbach. Costumes: Helen Taylor. Editor: W. Donn Hayes. SONGS: "Speaking Confidentially" (Faye, Langford,Kelly) "Take It Easy" (Faye, Langford, Kelly) "I'm In The Mood For Love" "Every Night At Eight" (Faye, Langford, Kelly) by Jimmy McHugh and Dorothy Fields. "I Feel A Song Comin' On" (Faye, Langford, Kelly) by Jimmy McHugh, Dorothy Fields and George Oppenheimer. "Then You've Never Been Blue" Music by Ted Fio Rito, Lyrics by Joe Young, Sam Lewis, Francis Langford. SYNOPSIS: Dixie Dean and her two friends, Daphne and Susan, go over big at an employee's variety program, where their acclaimed vocalizing later inspires them to make a record on their boss's dictaphone--without his permission. This heinous infraction causes their dismissal, and things look bad indeed, particularly since all three are left with scarcely any money for rent and food. They enter an amateur radio contest, which goes well until Susan passes out from hunger during the trio's number. The winner of the contest, slick-topped bandleader Tops Cardona, gallantly buys the girls something to eat at a beer garden. Tops takes on the trio for his band, and eventually prosperity

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Filmography envelopes Dixie and her harmonizing cohorts. However, the girls want to balance their career with some socializing, so they momentarily foresake Taps for an invitation to a yachting party. The gig backs up on the trio, who are put off by their snobbish audience. Tops is happy to have the girls back in time for a major broadcasting session. With Susan and Tops smitten and apparently headed for marriage, the trio sings away as the scenario runs its course. COMMENTS: "Plug them for all their worth" sounds like a line from a George Raft gangster movie, but it was actually a selling point from the Paramount pressbook ballyhooing EVERY NIGHT AT EIGHT'S songs. Though Faye shared above title billing with Raft, she lagged in the promotional build-up behind Langford and Kelly, apparently since she was just on loan from Fox. The most unusual Faye publicity item was a probable bit of cloudscaping that stated, "According to Alice Faye, you can have a streamline figure and eat your candy too. Miss Faye uses an edible lip rouge of her own invention, flavored with mint and various fruit essences." REVIEWS: New York Post (August 5, 1935) - "As a hot weather antidote, you will find EVERY NIGHT AT EIGHT equivalent to a dip in the sea." Today's Cinema (August 30, 1935) - "Alice Faye is just a petulant blonde." New York Herald Tribune (August 6, 1935) - "Of assistance too (is) Miss Alice Faye, who is a sort of musical comedy version of Miss (Jean) Harlow."

F7

MUSIC IS MAGIC (20th Century-Fox, 1935) 66 minutes. CAST: Peggy Harper (Alice Faye), Jack Lambert (Ray Walker), Diane DeValle (Bebe Daniels), Shirley DeValle (Rosina Lawrence), Peanuts Harper (Frank Mitchell), Eddie Harper (Jack Durant), Tony Bennett (Thomas Beck), Pomeroy (Andrew Tombes), Castellano (Luis Alberni), Amanda (Hattie McDaniel), Jim Waters (Hal K. Dawson), Theater Cashier (Lynn Bari), Theater Manager (Charles C. Wilson). Associate Producer: John Stone. Director: George Marshall. Screenplay: Edward Eliscu and Lou Breslow. Adapted from a play by Gladys Unger and Jesse Lasky, Jr.

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Photography: L. W. O'Connell, A.S.C. Sound: Bernard Freericks. Editor: Alexander Troffey. Art Director: Duncan Cramer. Gowns: Rega. Musical Director: Samuel Kaylin. Dance Director: Jack Donahue. SONGS: "Honey Chile" (Faye) "Love Is Smiling at Me" (Faye) by Oscar Levant and Sydney Clare. "Music Is Magic" (Faye) by Arthur Johnston and Sydney Clare. "La Locumba" (Faye) by Raul Roulien and Sidney Clare. SYNOPSIS: Vain, fading film luminary Diane DeValle sees her singing career meet with apathy during a personal appearance tour, though an accompanying act featuring Peggy Harper scores well. The tour gets cancelled, with Peggy and her tour pals the Harper Brothers and Jack Lambert, deciding to take on Hollywood, though their plans for awhile go nowhere. DeValle returns to Hollywood for a new musical, bringing her "younger sister" along, who, with the star's egotistical vanity aside, is actually her daughter. Peggy is cast into the chorus line for DeValle's film, and, helped by some impromptu chicanary from Jack, gets the opportunity to sing a number DeValle is reluctant to do. Peggy impresses everyone, to DeValle's annoyance. However, when DeValle's "sister" is hurt when leaving her mother's dressing room, a chastened DeValle makes multiple amends. First, DeValle admits that her "sister" is her daughter; second, she persuades the studio head to cast Peggy in the starring role; and third, she accepts a role in the film more aligned to her age. The film is made and it is a smash. COMMENTS: Fox was by now billing itself with its new trademark logo, "20th Century-Fox," in their promotional material to exhibitors. In an article tucked among this material, an interview with Faye has her saying that she would leave films immediately if she found a husband, though not a husband in the theatrical profession, since there would be "too great a danger in temperaments clashing." Whether the interview was a typical fabrication from the Fox publicity department or not, it nevertheless underlines the actual ambivalence Faye always had for her career, and of wanting to lead a more low key life, which she finally found with second husband Phil Harris. Ironic too that first husband, Tony Martin, and Harris were both in show business.

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Filmography REVIEWS: Brooklyn Daily Eagle (December 13, 1935) - "Alice Faye is a charming young lady, and very agreeable to look upon in repose, but you will understand that too much of a good thing will sometimes pall the senses, and an entire musical film starring her is a little too much." New York Sun (November 17, 1935) - "Second rate musical comedy stuff, routine but not dull. Alice Faye, the singing blonde who manages to look slim and chubby at the same time...supplies the romantic note."

F8

KING OF BURLESQUE (20th Century-Fox, 1936) 88 minutes. A Darryl F. Zanuck Production. CAST: Kerry Bolton (Warner Baxter), Pat Doran (Alice Faye), Joe Cooney (Jack Oakie), Connie (Arline Judge), Rosiland Cleve (Mona Barrie), Kolpolpeck (Gregory Ratoff), Ben (Fats Waller), Arthur (Kenny Baker), Marie (Dixie Dunbar), Anthony Lamb (Nick Long, Jr.), Stanley Drake (Charles Quigley), Wong (Keye Luke), The Bootblac (Gareth Joplin). Associate Producer: Kenneth MacGowan. Director: Sidney Lanfield. Screenplay: Gene Markey, Harry Tugend. Adaptation by James Seymour, based on a story by Vina Delmar. Photography: Peverell Marley, A.S.C. Art Direction: A.F. Erickson. Editor: Ralph Dietrtich. Costumes: Gwen Wakeling. Sound: E. Clayton Ward, Roger Heman. Musical Direction: Victor Baraville. Music and Lyrics: Jimmy McHugh, Ted Koehler, Jack Yellen, Lew Pollack. Dance ensembles: Sammy Lee. SONGS: "I'm Shooting High" (Faye) "I've Got My Fingers Crossed" (Faye) "Spreading Rhythm Around" (Faye) "Whose Big Baby Are You?" (Faye) "Lovely Lady" by Jimmy McHugh and Ted Koehler. "I Love To Ride the Horses on a Merry-Go-Round" (Faye) by Jack Yellen and Lew Pollack.

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SYNOPSIS: Burlesque impresario Kerry Bolton upgrades his image by producing Broadway musicals with the help of his favorite singer and choreographer Pat Doran, who has an unrequited crush on Kerry. Kerry becomes involved with a nearly destitute society lady, Rosalind Cleve, who is auctioning off her furniture. The two ultimately marry, much to Pat's heartache. Pat decides to perform in London on her own, where she becomes the newest star of the West End. Kerry and Rosalind are at odds though when she demands that Kerry put a former protege of hers into a new production. Kerry overeaches himself with a top heavy, pretentious show, which flops and sends Kerry into financial ruin. Rosalind divorces him, as he descends into a life of drinking and bar hopping. His salvation looms when Pat returns; she sizes up his situation, and then hires a gent by the name of Kolpolpeck to enact the role of a millionaire intent on offering Kerry financial backing for the kind of entertainment that once made Kerry such a rich and popular guy around town. Pat's money is behind all this, and Kerry unknowingly accepts this wonderful offer. Soon Kerry is running a combination theater and restaurant in which Pat graciously performs as the star. The opening show is a hit. Pat and Kerry are on top of the world, together for keeps. COMMENTS: With Fox studio chief Darryl F. Zanuck eyeing Faye for better things, Faye was given a better showcase with this musical, her musical interludes more purposeful and artfully rendered, though her platinum looks were still in evidence. The plot of the film was mostly recycled for Faye's HELLO, FRISCO, HELLO seven years later. However, KING OF BURLESQUE was notable for its casting of Jack Oakie, who became one of Faye's personal friends and key co-star in several films. In a KING OF BURLESQUE program from the Rockefeller Center Playhouse in Manhattan, a reserved seat during the evening went for $1.10. Those with less loose change could see the film during the morning hours for a quarter. REVIEWS: New York Daily Mirror (January 16, 1936) - "Alice Faye, acquiring a finish, plays the burlesque girl and looks particularly fetching."

F9

POOR LITTLE RICH GIRL (20th Century-Fox, 1936) minutes. Colorized edition, 1988.

72

CAST: Barbara Barry (Shirley Temple), Jerry Dolan (Alice

38

Filmography Faye), Jimmy Dolan (Jack Haley), Margaret Allen (Gloria Stuart), Richard Barry (Michael Whalen), Collins (Sara Haden), Woodward (Jane Darwell), Simon Peck (Claude Gi11ingwater), George Hathaway (Paul Stanton), Tony (Henry Armetta), Stebbins (Charles Coleman), Percival Gooch (Arthur Hoyt), Flagin (John Wray), Dan Ward (Tyler Brooke), Tony's wife (Mathilde Comont), Radio vocalist (Tony Martin, billed as "Dick Brewster"). Associate Producer: B.G. DeSylva. Director: Irving Cummings. Screenplay: Sam Hellman, Gladys Lehman and Harry Tugend, Suggested by the stories of Eleanor Gates and Ralph Spence. Photography: John Seitz, A.S.C. Art Direction: William Darling. Associate: Rudolph Sternad. Settings: Thomas Little. Assistant Director: Booth McCracken. Film Editor: Jack Murray. Costumes: Gwen Wakeling. Sound: S.C. Chapman, Roger Heman. Musical Direction: Louis Silvers. Dances: Jack Haskell, Ralph Cooper. Musical Adaptation: Cyril J. Mockridge. SONGS: "Oh, My Goodness!" "Buy a Bar of Barry's" "When I'm with You" (Faye) "But Definetly" (Faye) "You Gotta Eat Your Spinach" (with Temple and Haley) "Military Man" (with Temple and Haley) by Mack Gordon and Harry Revel. SYNOPSIS: Barbara Barry is a pampered little girl living in a mansion full of servants and one parent: her widowed father, a manufacturer of soap. When Barbara is taken to be enrolled at a private school, her accompanying private nurse is hit by a car as Barbara waits inside a railroad station. Unaware of the accident, idle Barbara wanders off into the city, where she befriends a street musician and his family, identifying herself as "Betsy Ware," the heroine of her favorite bedtime story. In the apartment above, a luckless show business couple, the Dolans, hearing Barbara precociously mimicking their dance steps, rush downstairs. They believe Barbara's tale of being an orphan; thus the Dolans informally adopt Barbara and form an form an act with her. "Dolan, Dolan & Dolan" audition for a soap manufacturer by the name of Peck, who is enthusiastic only after Barbara coyly ingratiates herself to him in his office. Barbara's father, unaware of his daughter's exploits, has meanwhile fallen in love with soap rival Peck's secretary, Margaret. Listening to the Peck Soap Hour, Barbara's father is understandably surprised by what sounds like his daughter's voice, and he anxiously sets out to verify her whereabouts. However, an unsavory stranger loitering around the

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Dolan's apartment begins to walk off with Barbara, but he's quickly confronted by Mr. Dolan, who slugs the man. Moments later Barbara's father, Margaret and Peck race in, along with the police. With Barbara's winning manner, everything gets quickly resolved; the soap rivals decide to merge, and curly-topped Barbara and the Dolans conclude the film with a rousing precision tapdance in front of a radio audience. COMMENTS: Faye, in a film thoroughly dominated by Temple, nevertheless stamps her singing sequences with great '30s panache, along with being a peppery companion to Haley. As her husband gamely roughs up a would-be kidnapper, her soulful cry of "Jimmy, lead with your left!" is both comical and touching. In a radio spot, Faye's eventual first husband, Tony Martin, is briefly seen crooning. The film is also notable for the amount of commercial tie-ins Faye was required to do double duty for. In the Fox press kit for POOR LITTLE RICH GIRL, Faye was available in photos posing with a Norge refrigerator; being part of a "Faye and flower" display intended for 8,000 florist shops that belonged to the Florists Telegraph Delivery Association; and of being pictured on behalf of Transcontinental Western Air and Max Factor. However, as many as Faye's tie-ins might have seemed, they were overwhelmed by the commercial tie-ins involving Shirley Temple. As in the film, Temple was top priority at Fox. REVIEWS: New York American (June 26, 1936) - "There are really fine characterizations by Mr. Haley and Miss Faye, who sings and dances besides." Brooklyn Daily Eagle (June 26, 1936) - "When Mr. Haley, Miss Faye and Shirley go into their dance, they are a very pleasant team indeed."

F10 SING, BABY, SING (20th Century-Fox, 1936) 90 minutes. A Darryl F. Zanuck Production. CAST: Joan Warren (Alice Faye), Bruce Farraday (Adolphe Menjou), Nicky (Gregory Ratoff), Al Craven (Ted Healy), Fitz (Patsy Kelly), Ted Blake (Michael Whalen), The Ritz Brothers (The Ritz Brothers), Roberta Wilson (Montagu Love), Mac (Douglas Fowley), Telephone Operator (Dixie Dunbar), Brewster (Paul Stanton), Tony Renado (Tony Martin). Associate Producer: B.G. DeSylva.

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Filmography Director: Sidney Lanfield. Screenplay: Milton Sperling, Jack Yellen, Harry Tugend. Story: Milton Sperling, Jack Yellen. Photography: Peverell Marley, A.S.C. Art Direction: Mark-ee Kirk. Set Direction: Thomas Little. Costumes: Royer. Assistant Director: Fred Fox. Sound: Arthur Von Kirbach, Roger Heman. Musical Director: Louis Silvers. SONGS: "You Turned the Tables On Me" (Faye) by Sidney Mitchell and Louis Alter. "When Did You Leave Heaven?" by Walter Bullock and Richard

Whiting.

"Sing, Baby, Sing" (Faye) "Love Wi11 Tel 1" (Faye) by Jack Yellen and Lew Pollack. "The Music Goes 'Round and Around" by Red Hodgson, Ed Farley, Mike Riley. "When My Baby Smiles at Me" by Andrew B. Sterling, Ted Lewis, Bill Munro. "Singing A Vagabond Song" by Sam Messenheimer, Val Burton, Harry Richman. SYNOPSIS: Working class singer Joan Warren is turned down at a New York radio audition where society girls with deep-rooted family treees are favored. Joan's agent, Nicky, attend Warren's final appearance at a nightclub engagement, where he becomes acquainted with Bruce Farraday, a leading matinee idol who is thoroughly soused. Farraday in his cups becomes equally intoxicated with Joan, who imagines she is just for him. When Farraday passes out and taken to a hospital, columnist Ted Blake follows in the hopes of a scoop, which Nicky capitalizes on by having Joan pose with the besotted Farraday. The ensuing publicity is used by Nicky to get her another radio offer, this time coupled with Farraday. This scheme takes a header when Farraday's cousin Robert intervenes to bring Farraday back west. However, Ted manages to get Joan and Farraday together again for an impromptu radio broadcast in Kansas City, and the resulting success of it makes Joan's dream of a radio career a reality.

COMMENTS: Inspired by the real-life shenanigans of John Barrymore and Elaine Barrie, this veiled edition proved a very significant film in Faye's career. 20th Century Fox, which billed itself in the promotional material for

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this film as the "Twentieth Hit Mint," was pleased enough by now with Faye's potential to scrap her old contract and arrange a new one. Fox also supplied such false or questionable facts for newspapers to spread around that Faye was once an amateur skating champion of New York, and that she currently aspired to sing operatically. Faye was also promoted in stores by wearing a knitted coat on behalf of Lampel Knitting Mills as a commercial tie-in for SING, BABY, SING. REVIEWS: Brooklyn her best going to say John

Daily Eagle (September 14, 1936) - "Faye is at when she is singing any of three songs that are be hits and run into the ground before you can Barrymore."

F11 STOWAWAY (20th Century-Fox, 1936) 83 minutes. Colorized Edition, 1988. CAST: Ching-Ching (Shirley Temple), Tommy Randall (Robert Young), Susan Parker (Alice Faye), The Colonel (Eugene Pallette), Atkins (Arthur Treacher), Mrs. Hope (Helen Westley), Judge Booth (J. Edward Bromberg), Kay Swift (Astrid Allwyn), Richard Hope (Allan Lane), Chang (Willie Fung), Captain (Robert Greig), Sun Lo (Philip Ahn). Producer: B.G. DeSylva. Associate Producers: Earl Carroll, Harold Wilson. Director: William A. Seiter. Screenplay: William Conselman, Arthur Sheekman, Nat Perrin. Story: Samuel G. Engel. Photography: Arthur Miller, A.S.C. Art Decoration: William Darling. Set Decoration: Thomas Little. Assistant Director: Earl Haley. Editor: Lloyd Nosier. Costumes: Royer. Sound: Eugene Grossman, Roger Heman. Musical Director: Louis Silvers. SONGS: "Goodnight, My Love" (Faye) "You Gotta S-m-i-1-e to be H-a-Double-p-y" "One Never Knows, Does One?" (Faye) by Mack Gordon and Harry Revel. "That's What I Want For Christmas" by Irving Caeser and Gerald Marks.

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Filmography SYNOPSIS: Orphaned, curly topped Ching-Ching, daughter of murdered missionaries, finds herself alone and abandoned in Shanghai, save for a little dog as companion. She finds refuge in the backseat of a sportscar owned by Tommy Randall, a rich man of leisure. Unbeknownst to Tommy, the child is still in the car as it's put aboard ship for Randall's next stop. When Ching-Ching starts exploring the cargo area, the crew is surprised by suspicious noises. Ching-Ching hides in a room occupied by Susan Parker and her formidable future mother-in-law, Mrs. Hope. Ching-Ching and Susan become friends, with Susan volunteering as her guardian on board. Susan meets rich man Tony, and suddenly her impending marriage to Mrs. Hope's son looks less impressive a prospect. Ching-Ching, now known as Barbara, continues to ingratiate herself with Tommy and Susan with her clever impressions of popular American performers at a Chinese amateur show. Susan hastily marries Tommy in order to spare Barbara from an orphange, but when the marriage is followed the threat of an equally hasty divorce in the United States, Barbara, with her dimpled charm, conspires with the a judge to keep the couple together. On Christmas morning Tommy and Susan are all smiles, as they admire the former stowaway as she sings in front of the Christmas tree in her new home. COMMENTS: While being another star vehicle for Temple, and also a huge success, this film was an instructive case for comparing Faye's manner and appearance with GEORGE WHITE'S SCANDALS two years earlier. With a revitalized contract, STOWAWAY began in earnest the studio's trend towards the more familiar, softer Faye image, forever comfortable in moonlight. Gone for good were the platinum hair, eyebrows and depression babe looks that never conveyed Faye's true personality. An exception would be a near parody in ALEXANDER'S RAGTIME BAND (1938), when, as a waterfront singer, she briefly wore the kind of excessive makeup she had otherwise outgrown. REVIEWS: Variety (December 23, 1936) - "Anybody on the lookout for incredibilities will have to bring an adding machine to keep count in this picture."

F12 ON THE AVENUE (20th Century-Fox, 1937) 90 minutes. CAST: Gary Blake (Dick Powell), Mimi Carraway (Madeleine

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Carroll), Mona Merrick (Alice Faye), The Ritz Brothers (The Ritz Brothers), Frederick Sims (Alan Mowbray), Commodore Carraway (George Barbier), Aunt Fritz (Cora Witherspoon), Jake Dibble (Walter Catlett), Eddie Eads (Douglas Fowley), Miss Katz (Joan Davis), Herman (Stepin Fetchit), Herr Hansfstangel (Sig Rumann), Joe Papaloupas (Billy Gilbert). Producer: Darryl F. Zanuck. Director: Roy Del Ruth. Associate Producer: Gene Markey. Screenplay: Gene Markey, Wi11iam Conselman. Photography: Lucien Andriot, A.S.C. Art Direction: William Darling; Associate: Mark-Lee Kirk. Set Decoration: Thomas Little. Assistant Director: William J. Scully. Editor: Allen McNeil. Costumes: Gwen Wakeling. Sound: Joseph Aiken, Roger Heman. Music and Lyrics: Irving Berlin. Dances staged by Seymour Felix. Musical Direction: Arthur Lange. SONGS: "He Ain't Got Rhythm" (Faye, Ritz Brothers) "The Girl On The Police Gazette" "Slumming On Park Avenue" (Faye, Ritz Brothers) "This Year's Kisses" (Faye) "I've Got My Love To Keep Me Warm" (Faye, Powell) "You're Laughing at Me" Music and Lyrics by Irving Berlin. SONGS (Deleted): "On The Avenue" "On The Steps Of Grant's Tomb" "Swing Sister" SYNOPSIS: The curtain rises on "On The Avenue," a new musical revue produced by Gary Blake. Among the show's ingredients is a satirical skit about "The Richest Girl In The World." It's fun for everyone except Mimi Carraway, the richest girl in the world, and also in the audience, who doesn't like seeing herself lampooned. After accosting producer Blake backstage about excising the skit, Blake promises make changes, but, more immediately, he falls in love with Carraway. And she falls for him in short order. Distressed is Mona Merrick, a star of the show, who is also in love with dapper Blake. She responds by making the satirical lampoon on Carraway much more scathing, having first verified that during that particular show Carraway and her relatives are in the audience. Blake and the Carraways are appalled, with the Carraways filing a suit against Blake. Ever revengeful, Mimi Carraway buys the production from its producer Jake Dibble. She has the show changed to make Blake look bad, with Blake finally

7.

Production shot of the "Slumming On Park Avenue" number from ON THE AVENUE (1937); Faye is at top center. Museum of Modern Art Film Stills Archive.

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leaving her and the production in anger. Carraway prepares to marry Frederick Sims, but her aunt intercedes at the wedding, reuniting Carraway with Blake at City Hall, where all harsh feelings evaporate as the two getting married in impromptu order. As for Monica Merrick, she seems ready to go slumming with Carraway's father on Park Avenue. COMMENTS: A prestige production, promoted as "Full of boom-boom and go-go: the perfect attraction for youth!," graced with music by Irving Berlin and a borrowed Dick Powell from Warner Brothers, ON THE AVENUE was a sizeable hit. It also contained probably the most pointed and hilarious production number Faye was ever a part of, "Slumming On Park Avenue." Ironically, the title song was dropped before release. Fox prepared audiences for the film by sending a note to exhibitors stating "If your theater has an organist, arrange for him to feature the songs from ON THE AVENUE in his solos 2-3 weeks in advance of opening the picture, including a medley of old Irving Berlin favorites." Particularly involved commercial tie-ins featuring Faye included "Advertising copy of Alice Faye wearing Admiration hosiery being placed in Fawcett publications," Faye being posed with various Max Factor cosmetics, and "Furniture dealers throughout the country... being furnished with attractive display material showing Alice Faye with the Lane Cedar Chest." REVIEWS: New York Post (February 5, 1937) - "(The song) This Year's Kisses' will unquestionably become the major stimulant and memory stirrer of February, 1937." New York Daily Mirror (February 5, 1937) - "The Berlin hits...are insinuatingly sung by Miss Faye." Variety (February 20, 1937) - "(Faye) is almost a walk through as the unrequited beauty of amour de Powell, but she socks 'em with This Year's Kisses' and Slumming On Park Avenue.'"

F13 WAKE UP AND LIVE (20th Century-Fox, 1937) 91 minutes. CAST: Walter Winchell (Himself), Ben Bernie (Himself), Alice Huntley (Alice Faye), Patsy Hane (Patsy Kelly), Steve Cluskey (Ned Sparks), Eddie Kane (Jack Haley), Gus Avery (Walter Catlett), Spanish Dancer (Joan Davis), Jean Roberts (Grace Bradley), Cafe Singer (Leah Ray),

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Filmography James Stratton (Miles Mander), Herman (Douglas Fowley), Walso Peebles (Etienne Giradot). Associate Producer: Kenneth Macgowan. Director: Sidney Lanfield. Screenplay: Harry Tugend, Jack Yellen. Story: Curtis Kenyon. Based upon the book by Dorothea Brande. Photography: Edward Cronjager, A.S.C. Art Direction: Mark-Lee Kirk; Associate: Haldane Douglas. Set Decorations: Thomas Little. Assistant Director: A. F. Erickson. Editor: Robert Simpson. Costumes: Gwen Wakeling. Sound: W.D. Flick, Roger Hemen. Musical Direction: Louis Silvers. SONGS: "Wake Up and Live" (Faye) "Never in a Million Years" (Faye) "There's A Lull In My Life" (Faye) "It's Swell Of You" (Faye) "Oh, But I'm Happy" "I Love You Much Too Much, Muchacha" "I'm Bubbling Over" by Mack Gordon and Harry Revel. SYNOPSIS: Singer Eddie Kane wangles an radio audition through the auspices of his sister, who works for legendary broadcaster Walter Winchell. Eddie is alarmed to see another auditioner pass out from "mike fright," and he too is overcome with nerves, fainting instead of singing. His immediate radio dreams squashed, Eddie becomes a tour guide at the radio station, becoming acquainted with resident singer Alice Huntley. She sympathizes with his microphone anxiety, making him practice in front of a supposedly dead mike. By amazing coincidence the mike suddenly turns live, and Mike's singing blends in with the on-air strains of Ben Bernie's orchestra. Listeners are won over by this mysterious singing voice, though Bernie later palms off another singer as "The Phantom Troubador." Winchell shows up Bernie's bogus singer as a fraud, and Winchell and Bernie intensify what is already a popular public feud. Alice offers the station the opportunity to hear the real "phantom" if she can broadcast from her apartment, where Eddie will think he's practicing again in front of a dead mike. Eddie though is momentarily distracted by a rival radio station owner intent on signing him, but ultimately a concerned Alice lures Eddie back to where she and Ben Bernie are broadcasting. Eddie confronts the mike, and, with Alice as his true inspiration, he finally sings assuredly on a live mike. Alice and Eddie look brightly ahead to a singing career together on radio, and Winchell and Bernie end their feud.

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COMMENTS: According to the New York Evening Journal (April 27th), 33,145 patrons saw WAKE UP AND LIVE in a single day at the massive Roxy theater in Manhattan. It broke a 1929 house record by 284 people (the other film was Fox's THE COCK-EYED WORLD). Fox used the "Alice Faye Dictograph Radio" as a commercial tie-in, supplying a photo of Faye with "the new silent radio" to local dealers. Exhibitors were suggested to "induce" these dealers to offer the radio as the "grand prize in a contest," though just what kind of contest was left for the dealers to busy themselves with. Fox had another option for exhibitors, "a new item that is winning popularity;" these were "bumper strips," forerunners of the bumper sticker, which read "Wake Up and Live," available for 18 cents each.

REVIEWS: Variety (April 28, 1937) - "This strongly paced filmmusical is surefire...(Faye) never looking better and now handling light emotional scenes with conviction." New York Post (April 24, 1937) - "At this early writing there is no way of telling whether the songs are as good as they sound when Alice Faye sings them. It would be a cold, clammy song that wouldn't wake up and live for her. "

F14 YOU CAN'T HAVE EVERYTHING (20th Century-Fox, 1937) 100 minutes. CAST: Judith Poe Wells (Alice Faye), George Macrae (Don Ameche), The Ritz Brothers (The Ritz Brothers), Lulu Riley (Louis Hovick/Gypsy Rose Lee), Sam Gordon (Charles Winninger), Rubinoff (Rubinoff), Bevins (Arthur Treacher), Bobby Walker (Tony Martin), Evelyn Moore (Phyllis Brooks), Jerry (Wally Vernon), Orchestra Leader (Louis Prima). Associate Producer: Laurence Scwab. Director: Norman Taurog. Screenplay: Harry Tugend, Jack Yellen, Karl Tunberg. Based on an original story by Gregory Ratoff. Photography: Lucien Andriot, A.S.C. Art Direction: Duncan Cramer. Set Decorations: Thomas Little. Assistant Director: Jasper Blystone. Editor: Hansen Fritch. Costumes: Royer. Sound: Arthur Von Kirbach, Roger Heman. Musical Direction: David Buttolph.

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Filmography SONGS: "You Can't Have Everything" (Faye) "Afraid To Dream" (Faye, Martin) "The Loveliness of You" "Please Pardon Us, We're In Love" (Faye) "Danger--Love at Work" (Faye) by Mack Gordon and Harry Revel. SYNOPSIS: Judith Poe Wells, a struggling playwright in New York, and grandaughter of literary great Edgar Allan Poe(!), is unable to pay for her restaurant bill after ordering a lavish dish beyond her means, if not her ravenous appetite. The restaurant takes vengence by making her wear a sign advertising the restaurant. Judith encounters dapper stage producer George Macrae, and she soon confides her doubts about hearing word on her play, North Winds, she had sent producer Sam Gordon. George, forgetting about his date, the combustible and possessive Lulu Riley, offers to get an answer on Judith's play. When George and Sam read the play, they find it less than promising, but George convinces Sam to buy the rights to it anyway. Solvent once again, Judith begins to grow fond of helpful George, particularly when he offers her a role in a new musical of his, which she accepts. Lulu, still possessive of George, threatens to remove Judith's heart a la Poe if Judith continues her friendship with George. Judith wisely if regretfully exits George's life for the time being, returning to a former job demonstrating songs in a village store. A disgusted George breaks up with Lulu, and searches for any telltale clue on Judith's whereabouts, but is unable to locate her. With Judith's North Winds script in hand, George decides to convert the play into a musical, certain that Judith will hear of it and return. Indeed she does, hurrying to New York in time to see North Winds debut and become a hit. Judith and George, hearts entwined, rejoice. COMMENTS: Fox confidently announced to exhibitors that "12,000,000 (readers) were eagerly awaiting the new musical thanks to 13 top film magazines being pre-sold on this singsational' musical." Several Faye productions later, Fox had swelled this amount to 58,000,000, now including general magazines such as Life and Look. YOU CAN'T HAVE EVERYTHING was the first of six Faye films Don Ameche would appear in, and it marked the exit of the Ritz Brothers after three go-arounds with Faye. Faye and Martin were now a romantic screen team, on the brink of being wed in real life when the film opened. REVIEWS:

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New York Daily Mirror (August 4, 1937) - "Miss Faye has an enchanting role which she plays with engaging charm and sincerity...no one sells a song so artfully." London Times (October 11, 1937) - "Miss Faye is talented." New York World-Telegram (August 4, 1937) - "Alice Faye gets better and more attractive with each picture."

F15 YOU'RE A SWEETHEART (Universal, 1937) 96 minutes. CAST: Betty Bradley (Alice Faye), Hal Adams (George Murphy), Don King (Ken Murray), Cherokee Charlie (Charles Winninger), "Daisy" Day (Andy Devine), Fred Edwards (William Gargan), Harry Howe (Frank Jenks), Cousin Casper (Casper Reardon), Conway Jeeters (Donald Meek), Frances Hunt and the Five Playboys. Director: David Butler. Screenplay: Monte Brice, Charles Grayson. Original Story: Warren Wilson, Maxwell Shane, William Thomas. Photography: George H. Robinson, A.S.C. Art Director: Jack Otterson; Associate: Richard H. Riedel. Editor: Bernard W. Burton. Sound: Joseph Lapis, Bernard B. Brown. Musical Direction: Charles Previn. Orchestrations: Charles Skinner. Dances Staged by: Carl Randall. SONGS: "Broadway Jamboree" "My Fine Feathered Friend" (Faye) "Oh, Oh, Oklahoma" "You're A Sweetheart" (Faye) "Who Killed Maggie" (Faye) by Harold Adamson and Jimmy McHugh. "So It's Love" (Faye) by Lou Bring, Art Quenzer, Mickey Bloom. "Scrapin' the Toast" (Faye, George Murphy) by Charles Tobias and Murray Mencher. SYNOPSIS: tryout of disturbed time of a

During a promising out of town Broadway Oh, Oh, Oklahoma, producer Don King is that his show is scheduled to open the same reknowned charity event. The producer

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Filmography conspires with a clever waiter, Hal Adams, to stage a publicity stunt in which Adams, taking on a role as a rich Texan with a supposed crush on show headliner Betty Bradley, buys up a whole week's worth of tickets just for himself so that he can gaze at Betty alone. Soon newspapers fall for the stunt and print reams about the show, which seems scheduled to be a hit as its premiere looms. Adams begins to regret the stunt as he falls for Betty, wanting to tell her the truth about himself. However, a semblance of reality intrudes when the producer runs into heavy debt over unpaid production expenses. Betty eventually arranges additional capital by collecting money on a lucrative advertising contract for the bogus oilman, which is then put into the show. Advertising executive Jeeters discovers that Adams is a fraud, and plans to shut down the show. However, on opening night, Adams does some impromptu hoofing with Betty, while a stalled Jeeters sees the show go over in a big way. Betty Buckley and Hal Adams now are sweethearts in more than just song. COMMENTS: For YOU'RE A SWEETHEART, Faye was loaned to Universal, a studio then benefiting primarily from winsome chirper Deanne Durbin. Universal's publicity department worked itself into a fever promoting the picture as having "more solid entertainment, more laughs, more spectacular dance routines and beautiful song numbers...than in any other musical that was ever shot." REVIEWS: New York Daily News (December 25, 1937) - "Alice Faye plays the leading role with an easy competence that brings her a step higher in her climb toward the summit of Mount Cinema. " Brooklyn Daily Eagle (December 28, 1937) - "Makes the grade by virtue of its lilting score (and) a slimmer Alice Faye, who has added a touch of emotional acting to her superior ability as a blues singer."

F16 SALLY, IRENE AND MARY (20th Century-Fox, 1938) 86 minutes. CAST: Sally Day (Alice Faye), Tommy Reynolds (Tony Martin), Gabby Green (Fred Allen), Jefferson Twitchell (Jimmy Durante), Irene Keene (Joan Davis), Mary Stevens (Marjorie Weaver), Baron Zorka (Gregory Ratoff), Joyce Taylor (Louise Hovick/Gypsy Rose Lee), Oscar (Barnett

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Parker), Miss Barkow (Mary Treen), the Brian Sisters. Associate Producer: Gene Markey. Director: William A. Seiter. Screenplay: Harry Tugend, Jack Yellen. Story: Karl Tunberg, Don Ettinger. Based on a stage play by Edward Dowling, Cyrus Wood. Photography: Peverell Marley, A.S.C. Art Direction: Bernard Herzbrun. Set Decoration: Thomas Little. Editor: Walter Thompson. Costumes: Gwen Wakeling. Sound: Arthur Von Kirbach, Roger Heman. Musical Direction: Arthur Lange. Dances Staged by Nick Castle and Geneva Sawyer. SONGS: "Got My Mind on Music" (Faye) "Sweet as a Song" by Mack Gordon and Harry Revel. "Minuet in Jazz" by Raymond Scott. "Half Moon on the Hudson" (Faye, Martin) "I Could Use a Dream" "This Is Where I Came In" (Faye) "Who Stole The Jam?" (Faye, Davis, Weaver, Brian Sisters) "Help Wanted: Male" by Walter Bullock and Harold Spina. "Hot Potata" by Jimmy Durante. SONG (Deleted): "Think Twice" (Faye) SYNOPSIS: Manicurists Irene, Mary and Sally want to crash the Broadway scene, but their agent Gabby at best lands them positions hawking cigarettes and cigars at a nightclub. They nevertheless impress the club's singer, Tommy Reynolds, particulary Sally. Gabby the agent gets rich widow Joyce Taylor to back a show starring Tommy and Mary and Irene and Sally, but Joyce, out of jealousy over Tommy, demands that Sally be dismissed. Tommy, Irene, Sally and Mary quit. However, Mary suddenly inherits an old ferry, which Gabby wants to turn into a showboat. The needed funds are raised with Sally agreeing to marry a rich Broadway producer for $25,000, and Tommy likewise promising to marry Joyce for $25,000 up front. Before the nuptials though, the ferry is restored into a fancy showplace restaurant. On opening night the ferry accidently gets unberthed, threatening to drift into sea traffic, but it gets safely remoored.

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Filmography The show is a hit, with Tommy and Sally getting married by the boat's captain. The Broadway producer and Joyce pair off too, happy that their combined $50,000 investment brought them together with happily anticipated dividends. COMMENTS: SALLY, IRENE, SALLY was another lightweight winner for Fox, a film that had Faye and comic Joan Davis truckin' the "Big Apple" in a number the Ritz Brothers would covet. This was Faye's last film with Tony Martin, and the only one they did while married. Fox capitalized on their present union with the slogan, "Alice and Tony together... singing the tune-fullest songs, as only they know how!" Further promotion included Faye having a cosmetic tie-in with Manhattan's Hudnut of Madison Avenue, Fox also covered their bets by telling exhibitors to offer "a special prize" for any sisters in attendance named Sally, Irene and Mary. No particular kind of prize was specified, though a big apple wouldn't have been inappropriate. REVIEWS: New York World-Telegram (February 26, 1938) - "Alice Faye carries the burden of what little plot there is." New York Post (February 26, 1938) - "I am not going to repeat any of the several jokes that I found extremely amusing." New York Journal-American (February 26, 1938) - "The girls are decorative, the comedians are amusing, and the songs are pleasant."

F17 IN OLD CHICAGO (20th Century-Fox, 1938) 115 minutes. A Darryl F. Zanuck Production. CAST: Dion O'Leary (Tyrone Power), Belle Fawcett (Alice Faye), Jack O'Leary (Don Ameche), Molly O'Leary (Alice Brady), Pickle Bixby (Andy Devine), Gil Warren (Brian Donlevy), Ann Colby (Phyllis Brooks), Bob O'Leary (Tom Brown), Hattie (Madame Sultewan), Senator Colby (Berton Churchill), General Phillip Sheridan (Sidney Blackmer), Gretchen (June Storey), Judge (Frank Dae), Cow (Daisy). Associate Producer: Kenneth MacGowan. Director: Henry King. Screenplay: Lamar Trotti, Sonya Levien. Original Story: Niven Busch. Photography: Peverell Marley, A . S . C , Art Direction: William Darling, Rudolph Sternad. Set Direction: Thomas Little. Special Effects director:

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H. Bruce Humberstone. Special Effects Photographer: Daniel B. Clarke, A.S.C. Special Effects Scenes: Fred Sersen, Ralph Hammeras, Louis J. Witte. Unit Manager: Booth McCracken. Assistant Director: Robert Webb. Editor: Barbara McLean. Costumes: Royer. Sound: Eugene Grossman, Roger Heman. Musical Director: Louis Silvers SONGS: "In Old Chicago" (Faye) by Mack Gordon and Harry Revel. "I'll Never Let You Cry" (Faye) "I've Taken a Fancy To You" (Faye) "Take a Dip in the Sea" (Faye) by Sidney Clare and Lew Pollack. "Carry Me Back to Old Virginny" (Faye) by James A. Bland. SYNOPSIS: The widow O'Leary has three sons, two of whom carry the story. One, Dion, becomes interested in singer Belle Fawcett, vowing to build her a magnificent saloon of her own by way of his gambling and murky political interests. Dion's brother Jack, an honest lawyer, becomes embroiled with Dion when his new saloon inspires Belle's original employer, crooked Gil Warren, to bribe Dion with $10,000 to support Warren's bid for mayor. Belle is displeased by Dion's evident corruptibility, but Dion dupes unsuspecting Jack into running against Warren, then initiates a pre-election scheme that will put Warren and his untrustworthies in jail so that honest Jack can prevail. It works, though Jack's reforming of the saloon district puts Belle in court to testify against Dion's questionable gambling and political interests. Dion makes Belle avoid testifying by marrying her. Jack conducts the ceremony unaware of this legal loophole. When Dion afterwards informs him, the two brothers scuffle. The Widow O'Leary gets wind of this, and, in her upset, overlooks conditions that allows her cow to knock over a lantern, which ignites the barn. This soon leads Chicago into a costly and legendary conflagration, as Jack forgoes his fraternal grievance to rally the city's firefighters. During the fire, one of Warren's men shoots Jack fatally as he attempts to set off dynamite charges around Warren's saloon. Gil Warren himself ends up falling into a herd of stampeding cattle. Belle joins Mrs. O'Leary, while Dion and another brother, Tom, search and eventually find them by the lakefront. They survive, even if Old Chicago doesn't.

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Filmography COMMENTS: Commanding $2 ticket prices at twice-a-day performances in major cities, this boxoffice bonfire proved another major step for Faye. It was her most prominent role yet, and the first in which she wore period costume. The film was also the first of three pairings with Tyrone Power. A genuine classic, just for the special effects alone, the film was nominated for six Academy Awards, including Best Picture, but snared only one--for Alice Brady, as Best Supporting Actress. REVIEWS: New York Daily Mirror (January 7, 1938) - "Big, horrifying, gaudy and tumultuous...Alice Faye looks ravishing, sings provocatively, acts commendably, (and) wears the tights...of the period with fine pictorial effect." New York Post (January 7, 1938) - "Alice Faye plays the gorgeous entertainer from New York with her eminently pleasing voice, face and figure."

F18 ALEXANDER'S RAGTIME BAND (20th Century-Fox, 1938) 105 minutes. CAST: Roger Grant/"Alexander" (Tyrone Power), Stella Kirby (Alice Faye), Charlie Dwyer (Don Ameche), Jerry Allen (Ethel Merman), Davey Lane (Jack Haley), Professor Heinrich (Jean Hersholt), Aunt Sophie (Helen Wesley), Bill (Paul Hurst), Taxi Driver (John Carradine), Wally Vernon (Himself), Louie (Chick Chandler), Ruby (Ruth Terry), Snapper (Douglas Fowley), Corporal Collins (Eddie Collins), Charles Dillingham (Joe King). Associate Producer: Harry Joe Brown. Director: Henry King. Screenplay: Kathryn Scola, Lamar Trotti. Adapted by: Richard Sherman. Photography: Peverell Marley, A.S.C. Art Direction: Bernard Herzbrun, Boris Leven. Set Decorations: Thomas Little. Editor: Barbara McLean. Costumes: Gwen Wakeling. Sound: Arthur von Kirbach, Roger Heman. Musical Direction: Alfred Newman. Dances Staged by: Seymour Felix. SONGS: (New) "Now It Can Be Told" (Faye)

8.

Alice Faye with pals Tyrone Power and Andy Devine make merry before the fiery conflagration in IN OLD CHICAGO (1938). Movie Star News.

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Filmography "I'm Marching Along with Time" "My Walking Stick" (Vintage) "Alexander's Ragtime Band" (Faye) "Ragtime Viol in" "That International Rag" (Faye) "Everybody's Doing It" (Faye) "This Is The Life" "When The Midnight Choo-Choo Leaves for Alabam'"(Faye) "For Your Country and My Country" "I Can Always Find a Little Sunshine at the YMCA' "Oh! How I Hate To Get Up In The Morning" "We're On Our Way To France" "Say It With Music" "A Pretty Girl Is Like A Melody" "Blue Skies" (Faye, Merman) "What'11 I Do?" "Remember?" (Faye) "Everybody Step" "Al1 Alone" (Faye) "Gypsy in Me" "Easter Parade" "Heat Wave" Music and lyrics by Irving Berlin. SYNOPSIS: Classically trained violinist Roger Grant opts for the low class but high vitality of San Francisco's Barbary Coast, auditioning with his ragtag musician friends for a spot in a saloon. Neighborhood fun gal Stella Kirby joins in, singing Grant's rendition of "Alexander's Ragtime Band," the songsheets of which she earlier had inadvertently introduced to the auditioning group. Everything goes so well that "Alexander's Ragtime Band" is hired along with Kirby, but Kirby is irritated by Grant's pretentions in transforming her looks from a painted doll to a elegantly styled chanteuse. His efforts eventually pay off and they fall in love amidst serendipitous moonlight. Grant's musician pal Charlie Dwyer, resigned to losing Kirby after a brief round of infatuation, nevertheless helps the group by arranging big time New York producer Charles Dillingham to hear the group perform. However, Dillingham only wants Kirby. Kirby proceeds to have a falling out with Grant and she leaves for New York, where she becomes quite successful. The U.S. soon enters World War I; Grant is overseas and Kirby decides to marry Dwyer. After the war, disgruntled veteran Grant takes on a new singer, brassy Jerry Allen, yet still yearns for Kirby. Kirby and Dwyer divorce, with her going off on a lonely string of nightclub singing engagements. She then learns of Grant's opening night at Carnegie Hall, where she hears "Alexander's Ragtime Band" being broadcast from there over a taxi radio. After reconsidering the plight of her heart, she

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impetuously rushes backstage and a surprised Grant, still conducting the band, encourages her to sing along on stage. It's the merry saloon days all over again, and at concert's end Grant and Kirby are in a deep clutch. COMMENTS: A blockbuster success in its day, the film served as a homage to the timelessly popular music of Irving Berlin, along with being another elaborate if formula backstage romance that Faye traipsed through in many of her films. The musical's extravagant (for 1938) $2 million budget is clearly seen in the horizon filling sets, particularly the impressive duplication of Carnegie Hall. Nominated for six Oscars, it won for Best Musical Scoring. As a bonus, movie exhibitors were given the opportunity by Fox to purchase and hand out to patrons a "novelty oblong balloon," which "emits a musical note as the balloon deflates," presumably in the privacy of one's home. A minimum order of 500 musically deflating balloons could be had for $7.50. REVIEWS: New York Sun (August 6, 1938) - "20th Century-Fox has turned out a picture so rich in entertainment that its mere existence should help the entire movie industry." New York Post (August 6, 1938) - "So darn much music." Brooklyn Daily Eagle (August 6, 1938) "Alice Faye hits the high spot of her acting career."

F19 TAIL SPIN (20th Century-Fox, 1939) 84 minutes. CAST: Trixie Lee (Alice Faye), Gerry Lester (Constance Bennett), Lois Allen (Nancy Kelly), Babe Dugan (Joan Davis), Bud (Charles Farrell), Alabama (Jane Wyman), "Tex" Price: Kane Richmond, Chick (Wally Vernon), Sunny (Joan Valerie), Speed Allen (Edward Norri), Al Moore (J. Anthony Hughes), T.P. Lester (Harry Davenport), Mrs. Lee (Mary Gordon), Cafe Manager (Harry Rosenthal), Storekeeper (Irving Bacon), Announcer (Sam Hayes). Associate Producer: Harry Joe Brown. Director: Roy Del Ruth. Screenplay: Frank Wead. Photography: Karl Freund, A.S.C. Art Direction: Bernard Herbrun, Rudolph Sternad. Set Decorations: Thomas Little. Film Editor: Allen McNeil. Costumes: Gwen Wakeling. Sound: Eugene Grossman, Roger Heman. Aviation Directors: Paul Mantz, Clifford W. Henderson.

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Filmography Musical Direction: Louis Silvers. SONG: "Are You In The Mood For Mischief?" (Faye) by Mack Gordon and Harry Revel. SONG (DELETED): "Go In and Out of the Window" SYNOPSIS: Trixie Lee is a blue-eyed, goggled flier who enters the Powder Puff Derby in Los Angeles, which concludes in Cleveland. She crashes just outside Cleveland, and impatiently learns he plane must wait for repairs. A major air meet is about to begin in Cleveland, and Lee bargains with several airport personnel to expedite the repair in time by promising them part of any prize money won in the meet. Her plane fixed, Lee encounters Gerry Lester, a rich flier who becomes an acrimonious rival to her during the meet, both in the air and on the ground. In one particular contest, Lester lands her plane prematurely while Lee is injured after parachuting from her own disabled plane. At the hospital the rivals patch up their differences, with Lester winning one of Lee's former suitors. However, Lee takes off with the mechanic who originally fixed her plane, and everything is sunny side up. COMMENTS: Faye, in an uncharacteristic role, made a game attempt portraying a tough breed of aviatrix, a type which suited co-star Constance Bennett far more. Of TAIL SPIN'S budget, $3,819.02 was spent looking for "clouds of the required density and formation," according to a publicity release. Only then were certain aerial sequences, lead by pilot Paul Mantz, dramatically shot, in this case over Kernville, California. One scene in TAIL SPIN featured Faye enduring "escaping motor oil gushing over her with great force." Fox explained, "an oil substitute of ordinary glycerine and caramel coloring" was formulated to do minimal harm on "(Faye's) eyes, skin and hair." REVIEWS: New York World-Telegram (February 11, 1939) - "TAIL SPIN ...does an inglorious nosedive." Variety (February 1, 1939) - "Alice Faye and Constance Bennett are okay as competitors...there's rather an overabundance of tragedy, with nearly all of the girls

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cracking up or doing the parachute bail out." New York Daily Mirror (February 11, 1939) - "Miss Faye and Miss Bennett...do manage to stage a nice faceslapping match."

F20 ROSE OF WASHINGTON SQUARE (20th Century-Fox, 1939) 86 minutes. CAST: Bart Clinton (Tyrone Power), Rose Sargent (Alice Faye), Ted Cotter (Al Jolson), Harry Long (William Frawley), Peggy (Joyce Compton), Whitey Boone (Hobart Cavanaugh), Buck Russell (Moroni Olsen), Band Leader (Louis Prima), Barouche Driver (E.E. Clive). Associate Producer: Nunnally Johnson. Director: Gregory Ratoff. Screenplay: Nunnally Johnson. Based on a story by John Lark in and Jerry Horwin. Photography: Karl Freund, A.S.C. Art Direction: Richard Day, Rudolph Sternad. Set decoration: Thomas Little. Editor: Louis Loeffler. Costumes: Royer. Sound: Eugene Grossman, Roger Heman. Musical Direction: Louis Silvers. SONGS: "I Never Knew Heaven Could Speak" (Faye) by Mack Gordon and Harry Revel. "Rose of Washington Square" (Faye) by James F. Hanley and Ballard MacDonald. "My Man" (Faye) by Maurice Yvain, A. Willemetz, and Jacques Charles (English lyrics by Channing Pollack). "Toot, Toot, Tootsie (Goodbye)" by Gus Edwards and Ernie Erdman. "The Curse Of An Aching Heart" by Al Piantadosi and Henry Fink. "I'm Sorry I Made You Cry" (Faye) by N.J. Clesi. "I'm Just Wild About Harry" (Faye) by Noble Sissle and Eubie Blake. "Pretty Baby" by Tony Jackson and Egbert Van Alstyne.

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Filmography "My Mammy" by Joe Young, Sam Lewis, Walter Donaldson. "The Vamp" by Bron Gay. "California, Here I Come" by B.G. De Sylva, Joseph Meyer. "Rock-A-Bye Your Baby With A Dixie Melody" by Jean Schwartz, Sam M. Lewis, and Joe Young. "Ja-Da" by Bob Carleton. SONGS (Deleted): "I'll See You In My Dreams" (Faye) by Gus Kahn. "I'm Always Chasing Rainbows" (Faye) by Harry Carroll and Joe McCarthy. "Avalon" by Vincent Rose. SYNOPSIS: The 1920s is a stellar era for live entertainment in Manhattan, but singer Rose Sargent finds herself getting by at unrewarding amateur nights, where her friend Ted Cotter is a singing snack vendor among the crowd. Rose seeks some relaxation at a Long Island resort, where, at a piano sing-a-long, she attracts the eye of Bart Clinton, a person always looking for a fast buck among the rich. At a party he and Rose dance under the stars. This idyll ends when Bart receives, as surreptiously planned, a piece of hot jewelry from a shady associate. However, a detective is not far behind. Bart departs suddenly without telling Rose. Happier circumstances prevail with friend Ted, who gets a successful audition as a singer with the unintended help of a heckler. The two men are both hired as an act and go on to great success. Bart rediscovers Rose singing at a speakeasy, and their romance resumes. Rose attracts the attention of an agent, and her singing eventually takes her to be cast in the Ziegfeld Follies. By this time Rose and Bart are married, but Bart has been getting further embroiled into many questionable business deals on the sly, which forces him to make quick money by participating in a robbery. Bart is caught, and the ensuing scandal adds resonance to Rose's heartfelt singing at the Follies. Ted bails Bart out of jail, and Bart promptly disappears again. Upon hearing Rose's thinly disguised songs of devotion to him from a distant seat at the Follies, Bart turns

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himself in and is sent to prison for five years. As he is taken away, loyal Rose promises to be there for him upon his release. COMMENTS: If exhibitors so wished, they could order from Fox a giant 8' or 10' mounted cut-out of Faye, "to stop people in their tracks" outside of theaters showing the film. If not, Fox was ready with an exclusive radio commercial during the 1939 Kentucky Derby ("the only commercial!") trumpeting the movie. Fox was sponsoring the race that year. For the more fashion minded, Fox had photos prepared to fill space in newspapers featuring Faye wearing either a "pinkish-banana crepe by Royer," or "a bolero frock executed in crisp linen." If none of this drew an extra patron, Fox was ready to exploit the "local angle," by stating that Faye's maternal grandfather, William Moffit, "lies in the soldier's cemetery in Jackson, Tennessee," an item doubtlessly intended for the region's newspapers. The reknowned House of Westmore was part of a commercial tie-in, where make-up artist Buddy Westmore is pictured applying "fascinating make-up for Alice Faye." Whether due to these advertising promotions, or the veiled Fanny Brice incidents in the film, or just for the musical fun of it, ROSE OF WASHINGTON SQUARE acquitted itself well at the box office. REVIEWS: New York Daily Mirror (May 6, 1939) - "Miss Faye, who excels in representing a suffering entertainer, plays the lead role handsomely."

F21 HOLLYWOOD CAVALCADE (20th Century-Fox, 1939) 96 minutes. A Darryl F. Zanuck Production. Technicolor. CAST: Molly Adair (Alice Faye), Michael Linnett Connors (Don Ameche), Dave Spingold (J. Edward Bromberg), Nicky Hayden (Alan Curtis), Peter Finney (Stu Erwin), Buster Keaton (Himself), Lyle P. Stout (Donald Meek), Al Jolson (Himself), Chief of Police (Jed Prouty), The Keystone Cops (Eddie Collins, Hank Mann, Snub Pollard, James Finlayson, Heinie Conklin), Saloon bartender (Ben Turpin), Sheriff (Chester Conklin). Associate Producer: Harry Joe Brown. Director: Irving Cummings. Silent picture sequences supervised by Mack Sennett and directed by Malcom St. Clair. Story by Hilary Lynn, Brown Holmes, based on an original idea by Lou Breslow. Screenplay: Irving Pascal. Directors of Photography: Ernest Palmer, A . S . C , Allen M. Davey, A.S.C. Technicolor Director: Natalie Kalmus; Associate:

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Filmography Henry Jaffa. Art Direction: Richard Day, Wiard B. Ihnen. Set Direction: Thomas Little. Editor: Walter Thompson. Costumes: Herschel. Sound: Eugene Grossman, Roger Heman. Musical Direction: Louis Silvers. SYNOPSIS: Understudy Molly Adair fills in for the star during the run of a Broadway play, impressing the audience and especially Michael Linnett Connors and Dave Spingold, two film producers in an industry, which in 1913, is still raw with potential. Michael goes backstage to offer Molly an acting contract, but Molly is reluctant. Next day, at a drugstore fountain, Michael finally convinces her with a more significant offer of money. She is soon aboard a train and headed to the still fledgling film community of Hollywood. Michael directs her first film, which unexpectedly evolves into a landmark comedy by virtue of Molly being struck in the face by a flying pie. Molly becomes a star, and Mike and she enjoy success through several more films. Michael then invests money from friend David's newfound inheritance money to form their own studio, with Molly as their resident superstar. Michael forges ahead with visionary zeal while Molly falls for new leading man Nicky Hayden, albeit with a certain reluctance since she had grown fond of Michael, who in turn had proved too busy to reciprocate. During the production of one of her films, Molly marries Nicky, surprising Michael, who completes the film then spitefully fires the both of them. Returning from their honeymoon in Europe, Molly and Nicky sign up at another studio and in time become Hollywood's most celebrated stars. Michael's career takes a tail spin as his post-Molly productions turn into expensive failures. Molly and Nicky finally notice him again at the Coconut Grove during their fifth anniversary party, with Michael a shadow of his former zeal. Sentimental Molly talks Michael's erstwhile friend David, who is now her agent, into hiring Michael to direct her new film. The newly employed Michael all but finishes the film when Molly and Nick are in a car accident. Nicky is now a dead star and Molly is in the hospital. Michael is especially distressed that his new silent film won't be ready for release soon, since talking pictures have just hit big. Ignoring advice on using a double for Molly to complete the silent, he heists the negative and gets a recovered Molly to complete a few sound sequences to complete the film. The film is a hit, and old friends Molly, Michael and David forsee a great new day for themselves and cinema, as they scan the lights of a Hollywood far different from the days of 1913. COMMENTS: This film was a creative reworking of the actual romance between comedy pioneer Mack Sennett (the Ameche role) and his protege Mable Normand (Faye). It was also Alice Faye's first appearance in Technicolor, which seemed purposeless considering that this Faye

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endeavor was not a musical (though the original script, called SHOOTING STARS, alluded to three songs to be sung by Faye). However, The use of Technicolor may have been used as dramatic contrast to the sepia toned sequences of silent film comedy re-created for the film. Another integral technical aspect of this cinematic homage to slapstick was the composition of the custard pies. According to the Richmond Leader (October 11, 1939), the pies were designed by Alfred Ulrich, chef of the Fox commissary. Ulrich used "heavy whipped cream with sufficient sugar for good consistency," and "a good egg coloring" for a proper custard appearance. Out of 100 pies prepared, 56 went splat. REVIEWS: New York Daily Mirror (October 14, 1939) - "(Faye) is simple, unaffected, and rather attractively at home in the custard antics." New York Post (October 14, 1939) - "Alice Faye gives a creditable performance."

F22 BARRICADE (20th Century-Fox, 1939) 71 minutes. CAST: Emmy Jordan (Alice Faye), Hank Topping (Warner Baxter), Samuel J. Cady (Charles Winninger), Upton Ward (Arthur Treacher), Ling (Keye Luke), Yen (Willie Fung), Mrs. Ward (Doris Lloyd), Mrs. Little (Eily Malyon), Winifred (Joan Carroll), Boris (Leonid Snegoff), Col Wai Kang (Philip Ahn), Assistant Secretary of State (Jonathan Hale), Managing Editor (Moroni Olsen), Telegraph Manager (Harry Hayden). Associate Producer: Edward Kaufman. Director: Gregory Ratoff. Story and Screenplay: Granville Walker. Photography: Karl Freund, A.S.C. Editor: Jack Dennis. Art Directors: Bernard Herzbrun, Haldane Douglas. Set Decoration: Thomas Little. Sound: George Leverett, Roger Heman. Costumes: Royer. Music by David Buttolph. SONG (Deleted): "There'll Be Other Nights" (Faye) by Lew Brown and Lew Pollack. SYNOPSIS: Yankee newspaperman Hank Topping hooks up on a

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Filmography train with exported singer Emmy Jordon, a blonde with a secret, and a phony Russian accent, in an area of China full of murderous robbers terrorizing American missionaries. Time and again Emmy and Hankan are witness to cold blooded doings from murderous renegades, while Hank writes a gripping article on the struggles of the missionaries wanting to get out of the area alive. Emmy gets Hank to wire the story to his news service, also giving Hank a scoop by revealing that she recently had shot dead a killer who had confronted her in a nightclub. The article is sent off, and Emma and Hank make tracks after Hank kills one of the younger robbers in self defense. The harried twosome find refuge in a consulate, which is soon under seige by the robbers keen on revenge. Fortunately the Chinese National Army intervenes to put a stop to an otherwise certain bloodbath. Hank and Emmy make wedding plans once her inconvenient murder charge is straightened out. COMMENTS: While the ads promised "Hating, Fighting, Loving While (Baxter & Faye) Face Death In the Seething Orient!, BARRICADE was a curious interlude for Faye. The filming of BARRICADE was actually abandoned a year before its release when the original script proved increasing unworkable. With Faye's stardom ever ascending though, what scenes were filmed were later incorporated into new footage and sent on its way to unsuspecting audiences. The film is more notable for its atmospheric photography then for any key Faye contributions; her one song was sacrificed during the production reshuffling. The resulting film took up only 71 minutes, second to the 1935 Faye programmer, MUSIC IS MAGIC, in its brevity. Fox's advance publicity was unexceptional and comparatively subdued, settling for such newspaper filler that mentioned how, during the course of the film, "(Faye's) clothes are thoroughly muddied and torn...it adds to the realism of her fine acting." REVIEWS: New York Journal-American (December 9, 1939) - "Miss Faye doesn't sing in this one." New York Sun (December 9, 1939) - "When (Faye) can be so effective in a modern musical, her appearance in BARRICADE is a waste of time."

F23 LITTLE OLD NEW YORK (20th Century-Fox, 1940) 100 minutes. A Darryl F. Zanuck Production.

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CAST: Pat O'Day (Alice Faye), Charles Browne (Fred MacMurray), Robert Fulton (Richard Greene), Commodore (Andy Devine), Noah (Ben Carter), Harriet Livingstone (Brenda Joyce), Regan (Ward Bond), Tavern Keeper (Fri Feld), Nicholas Roosevelt (Robert Middlemass), Willie Stout (Clarence Hummel Wilson), John Jacob Astor (Rog Imhof), Washington Irving (Theodore Von Eltz), Mrs. Brevoort (Virginia Brissac). Associate Producer: Raymond Griffith. Director: Henry King. Screenplay: Harry Tugend. Story: John Balderson. Editor: Barbara McLean. Photography: Leon Shamroy, A.S.C. Art Direction: Richard Day, Rudolph Sternad. Set Decoration: Thomas Little. Special Effects: Fred Sersen. Costumes: Royer. Sound: Alfred Bruzlin, Roger Heman. Musical Direction: Alfred Newman. SONG: "Who Is the Beau of the Belle of New York?" by Mack Gordon. SYNOPSIS: Arriving from England, future historical figure Robert Fulton takes a room in downtown Manhattan, a small inn run by spunky Pat O'Day. Seeking backing for his experiments in launching a paddle wheel steamboat, Fulton visits well heeled Chancellor Livingston, who agrees to invest. As an unexpected bonus to his plans, Fulton falls for the Chancellor's daughter, Harriett. The planned boat, the Clermont, begins construction under the supervision of Pat O'Day's sweetheart, Charlie Browne. The boat's future is stalled when a group of waterfront workers, concerned that the advent of steam technology will lose them jobs, set the boat aflame. The Chancellor pulls out, though the indomitable Pat O'Day and her neighborhood roustabouts help continue supporting Fulton's "Folly." However, boatbuilder Browne becomes increasingly annoyed by O'Day's attraction to Fulton, yet he stoically remains to finish the job after O'Day convinces him to. When the Clermont is finally launched successfully once innumerable plot obstacles are overcome, Fulton sails off with Harriet, and Pat O'Day throws in her anchor for Charlie Browne. COMMENTS: Previously a 1923 silent film starring comedienne Marion Davies, which had in turn been based on a play by Rida Johnson Young, Faye's LITTLE OLD NEW YORK proved a rather minor turn in her career. Her singing was minimal, and her stab at comedy rated mixed reviews, which made her generally second to predecessor Davies. It

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Filmography was also Faye's last film directed by her favorite, Henry King. As a commercial tie-in, Grosset & Dunlap published a movie edition book for 75 cents, which contained scenes of action from the film. As for that action, a publicity article quotes Ward Bond as saying, "I don't know how hard (Faye) punches, but she can certainly swing a beer bottle." REVIEWS: Variety (February 7, 1940) - "It's word of mouth will not be complimentary...Miss Faye is terribly miscast." New York Times (February 3, 1940) - "Alice Faye's barmaid...(shows) some further trace of a good comedienne."

F24 LILLIAN RUSSELL (20th Century-Fox, 1940) 127 minutes. A Darryl F. Zanuck Production. CAST: Lillian Russell (Alice Faye), Edward Solomon (Don Ameche), Alexander Moore (Henry Fonda), Diamond Jim Brady (Edward Arnold), Tony Pastor (Leo Carrillo), Jesse Lewisohn (Warren William), Grandma Leonard (Helen Westley), Cynthia Leonard (Dorothy Peterson), Charles Leonard (Ernest Truex), Edna McCauley (Lynn Bari), William Gilbert (Nigel Bruce), Arthur Sullivan (Claude Allister), Weber & Fields (Joe Weber & Lew Fields), Eddie Foy, Sr. (Eddie Foy, Jr.), Marie (Una O'Connor). Associate Producer: Gene Markey. Director: Irving Cummings. Screenplay: William Anthony McGuire. Photography: Leon Shamroy, A.S.C. Set Decoration: Thomas Little. Art Direction: Richard Day, Joseph Wright. Editor: Walter Thompson. Costumes: Travis Banton. Sound: Arthur von Kirbach, Roger Hemen.

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Musical Direction: Alfred Newman. Dances Staged by: Seymour Felix. SONGS: "Waltz Is King" "Adored One" by Mack Gordon and Alfred Newman. "Back In The Days of Old Broadway" by Charles Henderson and Alfred Newman.

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"Blue Love Bird" (Faye) by Gus Kahn and Bronislau Kaper. "Ma Blushin' Rosie" (Faye) by John Stromberg and Edgar Smith. "After The Ball" (Faye) by Charles K. Harris. "Come Down Ma' Evenin' Star" (Faye) by John Stromberg and Robert B. Smith. "Comin' Thro' The Rye" (traditional Scotch melody) by Robert Burns. "He Goes To Church on Sunday" by E. Ray Goetz, Vincent Bryan. SYNOPSIS: Young Helen Leonard is told by distinguished voice instructor, Leopold Damrosch, that her voice is not suited for operatic purposes, which had been her ambition. On the way home with her grandmother, the horses pulling their buggy are panicked by a suffragette band. Fortunately, a young man stops the horses, whom Helen befriends. While singing in her father's backyard, she is overheard by vaudeville impresario Tony Pastor, who promptly puts her into his theater, rechristians her "Lillian Russell," and sets her on a legendary career, unfortunately leaving her young rescuer behind. Lillian becomes acquainted with Diamond Jim Brady, of whom she has a bittersweet relationship with, along with young musician Edward Solomon, whom she marries. While in London starring in a Gilbert & Sullivan operetta composed just for her, her forgotten rescuer reappears and begins writing articles about her life for American newspapers. Tragedy pops in when Lillian's husband dies. With her baby daughter, she leaves for America, again leaving her aging rescuer in her wake. Lillian Russell continues her career as the greatest stage presence of her time, and as she debuts in another triumphant show, her longtime, patient former rescuer reappears yet again, as the owner of a newspaper, and this time they stay together. COMMENTS: LILLIAN RUSSELL was a success when released. Faye was never more opulently garbed as here, elegantly showcased as the quintessential (if slimmer) image of the vaudeville queen, and, on another level, as the reigning costume queen at Fox. But it's an extremely stodgy film, save for the musical numbers. Much puzzlement over the years has been expressed why the film was never made in Technicolor. Ironically, Fox squandered the expensive Technicolor process for the tepid circus drama CHAD HANNA that same year, which starred LILLIAN RUSSELL co-star Henry Fonda, and was directed by Faye's favorite director, Henry King. As compensation, LILLIAN RUSSELL is historical in that it

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Filmography has a wonderful card table skit by the venerable vaudeville team of Weber & Fields, then in their 65th year of show business, who were contemporaries of Russell. Both comedians died within two years after this last appearance. Of commercial tie-ins, Faye was pictured on behalf of the Women's Neckwear Guild, along with promoting gloves for Van Raalte and hats for Lilly Dache. Faye was also featured on LILLIAN RUSSELL matchbook covers ($3.85 a thousand). Lastly, robust LILLIAN RUSSELL balloons were available in "assorted colors." REVIEWS: New York Daily News (May 18, 1940) - "There is no denying that Miss Faye looks the part. She is more beautiful than she's ever been, but is a little too much the ideal heroine and not enough of the realistic actress to suit this observer." St. Louis Post Dispatch (May 26, 1940) - "(The original Lillian Russell) could spot Miss Faye an easy 35 lbs., though as far as modern audiences and Miss Faye's fans are concerned, that extra heft won't be missed." Boston Post (May 24, 1940) - "Alice Faye looks very pretty and enticing, but she is not the superb amazon...Miss Russell was."

F25 TIN PAN ALLEY (20th Century-Fox, 1940) 92 minutes. CAST: Katie Blane (Alice Faye), Lily Blane (Betty Grable), Harry Calhoun (Jack Oakie), Skeets Harrigan (John Payne), Nora Bayes (Esther Ralston), Casey (Allen Jenkins), Reggie Carstair (John Loder), Joe Codd (Elisha Cook, Jr.) Sheik (Billy Gilbert), Harvey Raymond (Fred Keating), Lord Stanley (Lionel Pape). Nicholas Brothers. Director: Walter Lang. Screenplay: Robert Ellis, Helen Logan. Photography: Leon Shamroy, A.S.C. Associate Producer: Kenneth MacGowan. Art Direction: Richard Day, Joseph C Wright. Set Decoration: Thomas Little. Editor: Walter Thompson. Costumes: Travis Banton. Sound: Eugene Grossman, Roger Heman. Musical Direction: Alfred Newman. Dances Staged by: Seymour Felix.

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SONGS: (New) "You Say The Sweetest Things" (Faye) by Mack Gordon and Harry Warren. (Vintage) "Goodbye Broadway, Hello, France" by Frances Reisner, Benny Davis and Billy Baskette. "America, I Love You" (Faye) by Edgar Leslie and Archie Gottler. "K-K-K-Katy" (Faye, Grable) by Geoffrey O'Hara. "Honeysuckle Rose" by Andy Razof and "Fats" Waller. "The Sheik Of Araby" (Faye, Grable) by Harry B. Smith, Francis Wheeler, Ted Synder. "On Moonlight Bay" by Edward Madden and Percy Wenrisch. SONG (Deleted): "Get Out And Get Under" SYNOPSIS: Songwriters Skeets Harrigan and Harry Calhoun ingratiate themselves with the singing Blane Sisters, who accept their song for their vaudeville act. The foursome's ambitions intertwine, with Katie Blane introducing new songs from Harrigan and Calhoun's new musical publishing company while Lily Blane tours on her own. After Harrigan gives a promising new tune to legendary performer Nora Bayes, disappointed Katie rejoins her sister in London, where they form a new act. The musical business sours for Harrigan and Calhoun, who enlist in the Rainbow Division when America enters the Great War. On the way to the front lines they detour to see the performing Blane Sisters in London. During their parting, Calhoun takes a tumble into the briny, which causes him to sputter out "K-K-K-Katie!" This sputtering inspires Calhoun to polish off a song using the stuttering "k's" as a popular marching song. When the war ends, Katie, having ditched a young British peer, rejoins Harrigan. The film concludes with the reconciled lovebirds marching arm-in-arm along Broadway with the returning doughboys.

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Filmography COMMENTS: A 1940 Oscar winner for "Best Score," TIN PAN ALLEY was also the only musical Faye co-starred with Betty Grable, not counting their separate turns in FOUR JILLS IN A JEEP. It was John Payne's first of four films with Faye, a genial actor who later found his most memorable role at Fox in MIRACLE ON 34TH STREET (1947). Fox had high expectations for the exhibitors, suggesting "for several miles out of town, post all main highways with 5 miles to TIN PAN ALLEY at the...theater.' Watch your speedometer so that you get the correct amount of miles on each separate posting." REVIEWS: New York Morning Telegraph (November 22, 1940) - "The picture has a bounce and liveliness, a sort of electric quality...so help me, I even liked Miss Faye's performance."

F26 THAT NIGHT IN RIO (20th Century-Fox), 1941) 90 minutes. Technicolor. CAST: Baroness Cecilia Duarte (Alice Faye), Larry Martin/Baron Duarte (Don Ameche), Carmen (Carmen Miranda), Penna (S.Z. Sakall), Machado (J. Carrol Naish), Salles (Curt Bois), Pierre (Leonid Kinskey), Luiza (Lillian Porter), Pedro (Frank Puglia), Inez (Maria Montez), Ambassador (Georges Renavent), Alfonso (Edward Conrad), Pereira (Fortunio Bonanova), Specialty Trio (The Flores Brothers), The Banda da Lua (Carmen Miranda's Orchestra). Associate Producer: Fred Kohlmar. Director: Irving Cummings. Screenplay: George Seaton, Bess Meredyth, Hal Long. Additional Dialogue: Samuel Hoffenstein. Adapted from a play by Rudolph Lothar and Hans Adler; Adapted by Jessie Ernst. Photography: Leon Shamroy, A . S . C , Ray Rennahan, A.S.C. Technicolor Director: Natalie Kalmus; Associate: Morgan Padelford. Editor: Walter Thompson. Art Directors: Richard Day, Joseph C Wright. Set Decorations: Thomas Little. Costumes: Travis Banton. Sound: W.D. Flick, Roger Heman. Musical Direction: Alfred Newman. Dances Staged by: Hermes Pan. SONGS:

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"I'yi, Yi, Yi, Yi" "Chica, Chica, Boom, Chic" "Boa Noite" (Faye) "They Met in Rio" (Faye) "The Baron Is in Conference" by Mack Gordon and Harry Warren. SYNOPSIS: At the Club Samba, nightclub singer Larry Martin is an astonishing double for aviation tycoon Baron Duarte, so much so that the Baroness Duarte is fascinated too, and flattered by Martin's appreciation of her singing. When the real Baron leaves town to raise money for his airline, Martin is asked by the Baron's associates to stand in for him at the stock exchange, where Martin haplessly bungles the Baron's business dealings. Complications arise when the Baron unexpectedly returns that evening, his finances unresolved. He secretly finds Martin receiving serious attention from the Baroness. However, the Baron tricks her by getting rid of Martin, allowing the Baron to pretend to be Martin impersonating himself. In this guise the Baron seduces the Baroness, who is convinced it's merely Martin all aflame. The following day, after a spell of guilt, she learns from Larry the actual story. The Baron himself is informed that his financial problems have been resolved by Martin's stock exchange activities the day before. The Baron and Baroness reconcile and Martin goes off with Carmen, a fruit-topped singer at the nightclub where the farcical doings began. COMMENTS: A rather plumpish Faye was given dazzling treatment in Technicolor, notably in a brilliant, bejeweled gold gown which on Faye shimmered not unlike a chandelier. Though rather sedate in the film, and given just one major song to sing, Faye slyly played off of Ameche's double role, while Carmen Miranda stole the rest of the film. Originally, Ameche and Faye had a major song and dance interlude with "Chica Chica Boom," but it was cut before the film's release. REVIEWS: Dallas Morning Times (April 19, 1941) - "Miss Faye...fills a scandalous dress to overflowing, and croons melancholy ditties." New York Journal-American (March 10, 1941) - "Miss Faye sings two songs, but...isn't called upon to do much more than look pensive throughout the film."

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F27 THE GREAT AMERICAN BROADCAST (20th Century-Fox, 1941) 90 minutes. CAST: Vicki Adams (Alice Faye), Rix Martin (John Payne), Chuck Hadley (Jack Oakie), Bruce Chadwick (Cesar Romero), Specialty Act (The Four Ink Spots), Dancers (The Nicholas Brothers), Specialty Act (The Wiere Brothers). Madame Rinaldi (Eula Morgan), Secretary (Mary Beth Hughes), Foreman (William Pawley), Justice of the Peace (Lucien Littlefield), Conductor (Edward Conrad), Announcers (Gary Breckner, Mike Frankovich, John Hiestand). Associate Producer: Kenneth MacGowan. Director: Archie Mayo. Original Screenplay: Don Ettlinger, Edwin Blum, Robert Ellis, Helen Logan. Directors of Photography: Leon Shamroy A . S . C , Peverell Marley, A . S . C , Art Direction: Richard Day, Albert Hogsett. Set Directions: Thomas Little. Film Editor: Robert Simpson. Costumes: Travis Banton. Sound: Joseph E. Aiken, Roger Heman. Musical Director: Alfred Newman. SONGS: "I've Got A Bone To Pick With You" "It's All In A Lifetime" (Faye) "Long Ago Last Night" (Faye) "Where You Are" (Faye, with Payne and Inkspots) "The Great American Broadcast" (Faye) by Mack Gordon and Harry Warren. "Alabamy Bound" by Buddy DeSylva, Bud Green, Ray Henderson. "Give My Regards To Broadway" by George M. Cohan. "If I Didn't Care" by Jack Lawrence. SYNOPSIS: World War I overwith, Rix Martin is looking for a new life, along with trench comrade Bruce Chadwick, the one with the money. Misfortune happens until Rix meets Chuck Hadley, who introduces him to the potential of radio, an untested new medium for music. Rix also meets Chuck's alluring girlfriend, Vicki Adams, who can really sing. They combine efforts by trying out a broadcast at a leaky warehouse, unfortunately during a storm. The broadcast fails, but Rix believes in radio's future. They next attempt a sports broadcast of a boxing match, which is a great success. Rix and

Filmography Vicki fall in love, and Chuck leaves. After getting married, Rix and Vicki operate a small radio station, but they need to expand. Vicki secretly arranges for Bruce to invest, but proud Rix finds out and walks out on Vicki, who goes on to be a top vocalist at the equally top WAB, a New York station. In time Vickie plans to divorce Rix and marry Bruce, but Chuck, reconciled over his being passed over by Vicki, believes that Vicki still loves only Rix, who has long since vanished. Chuck then plans the first coast-to-coast musical extravaganza, having it reported in newspapers as his own idea. Chuck knows it's really one of Rix's old ideas, hoping Rix will resurface to claim so. As the "Great American Broadcast" gets underway, Rix does indeed show up, and Chuck brings he and Vicki together. COMMENTS: This film, one of Faye's less heralded, contains superior songs (particularly Faye's wistful "Where you Are"), a furiously mugging Jack Oakie, and memorable dancing by the Nicholas Brothers. These elements offset what was otherwise a formula plot and lazy approach to period authenticity. REVIEWS: New York Journal American (May 2, 1941): "Whether or not its historically accurate, it's good entertai nment." Dallas Morning Times (May 16, 1941) - "Miss Faye delivers her warbling and romantic punches in her best style." Philadelphia Evening Public Ledger (May 17, 1941) "Big eyed, serious Alice Faye is again appealing as the maiden all forlorne--who can sing."

F28 WEEKEND IN HAVANA (20th Century-Fox, 1941) 80 minutes. Technicolor. CAST: Nan Spencer (Alice Faye), Rosita Rivas (Carmen Miranda), Jay Williams (John Payne), Monte Blanca (Cesar Romero), Terry McCracken (Cobina Wright, Jr.), Walter McCracken (George Barbier), Boris (Sheldon Leonard), Arbolado (Billy Gilbert), Rafael (Leonid Kinskey), Driver (Chris-Pin Martin), Mr. Marks (Hal K. Dawson), Tailor (Maurice Cass), Captain Moss (William

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Filmography Davidson), Passengers (Leona Roberts, Harry Hayden). Producer: William Le Baron. Director: Walter Lang. Screenplay: Karl Tunberg, Darrell Ware. Photography: Ernest Palmer, A.S.C. Technicolor Director: Natalie Kalmus; Associate: Morgan Padelford. Editor: Allen McNeil.Art Direction: Richard Day, Joseph C Wright. Set Direction: Thomas Little. Costumes: Gwen Wakeling. Sound: E. Clayton Ward, Roger Heman. Musical Direction: Alfred Newman. Dances Staged by: Hermes Pan. SONGS: "Romance and Rhumba" (Faye) by Mack Gordon and Jimmy Monaco. "Tropical Magic" (Faye) "A Weekend In Havana" "The Nango(Nyango)" "When I Love I Love" "The Man with the Lollipop Song" by Mack Gordon and Harry Warren. SYNOPSIS: Vacationing store clerk Nan Spencer is very disappointed when her cruise ship, on the way to Havana, runs aground off of Florida. Too annoyed to sign a waiver absolving the ship owners of responsibility, Jay Williams is sent to placate Nan by flying her to Havana and putting her in a lavish hotel suite. Nan and Jay later visit a casino, where she is disappointed in Jay's apparent lack of personal interest in her, not knowing he's already engaged to be married to Terry McCracken, patiently awaiting their wedding in New York. Nan meets Monte Blanca, who thinks Nan is a rich tourist who can help offset his gambling losses. Monte also manages casino entertainer Rosita Rivas, who thinks Monte has eyes for Nan. Jay in turn offers to become Rosita's new manager. Trouble occurs when jealous Rosita, with Jay, sees Nan with Monte at an inn. A scene occurs, with an upset Nan running off with Jay in pursuit. Jay crashes his car, Nan goes to his side, and the two succumb to Havana's moonlight romanticism. When impatient fiancee Terry arrives the next day to ruin Nan and Jay's breakfast. Nan is shattered when she realizes Terry's mission of matrimony, eventually signing the cruise ship waiver for Terry, who gives Nan $1,000 as part of their deal over Jay. Nonetheless, on the way back to New York with Terry, Jay is sent the $1,000 check from Nan. Disenchanted with Terry's

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ways, Jay bolts and goes back to Nan in Havana, where they rhumba and rhumba and rhumba. COMMENTS: Faye delivers here one of her most lively and memorable performances, with Technicolor once more providing a lush, glow to the tropical festiveness that permeates this film more successfully than Faye's other Latin America themed musicals. Though Carmen Miranda threatened to upstage everyone again, Faye received much praise for successfully showcasing the kind of comedic qualities that often went underutilized in her fi1ms. REVIEWS: PM (November 9, 1941) - "The yarn employing these nice people does well enough, hints it was conceived to do much better, even aspired, when it was but the germ of an idea, at satire itself." Philadelphia Evening Public Ledger (October 18, 1941) "Put it on your fun list." New York Daily News (November 18, 1941) - (The scenarists) have devised a role that suits (Faye) admirably, and that gives her a fine opportunity to display her talents as a comedienne, as well as a singer of sad songs."

F29 HELLO, FRISCO, HELLO (20th Century-Fox, 1943) 98 minutes. Technicolor. CAST: Trudy Evans (Alice Faye), Johnnie Cornell (John Payne), Dan Daley (Jack Oakie), Beulah (June Havoc), Bernice (Lynn Bari), Sam Weaver (Laird Cregar), Sharkey (Ward Bond), Cochren (Aubrey Mather), Ned (John Archer), Colonel Weatherby (George Barbier), Aunt Harriet (Esther Dale), Missionary (Frank Darien), Burham (Harry Hayden), Cockney Maid (Mary Field), Lou (Frank Orth). Producer: Milton Sperling. Director: Bruce Humberstone. Screenplay: Robert Ellis, Helen Logan, Richard Macauley. Photography: Charles Clarke, A . S . C , Allen Davey, A.S.C. Technicolor Consultant: Natalie Kalmus; Associate: Henri Jaffa. Art Direction: James Basevi, Boris Leven. Set Decorations: Thomas Little, Paul S. Fox. Dances Staged by: Val Raset. Costumes: Helen Rose; Supervised by: Fanchon. Editor: Barbra McLean, Makeup Artist: Guy

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Under a tropical moon in WEEKEND IN HAVANA (1943), with John Payne. Movie Star News.

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Pearce. Special photographic effects: Fred Sersen. Sound: Joseph E. Aiken, Roger Heman. Musical Direction: Charles Henderson, Emi1 Newman. SONGS: "You'll Never Know" (Faye) by Mack Gordon and Harry Warren (Academy Award Winner for Best Song). "Ragtime Cowboy Joe" by Grant Clarke, Maurice Abrahams, Lewis F. Muir. "Hello Ma Baby" by Joe K. Howard. "Lindy" by Irving Ber1 in. "Hello, Frisco, Hello" (Faye) by Louis A. Hirsch and Gene Buck. "Sweet Cider Time" (Faye) by Percy Wenrich and Joseph McCarthy. "Grizzly Bear" (Faye) by George Botsford and Irving Berlin. "Why Do They Always Pick On Me?" (Faye) by Harry von Tilzer and Stanley Murphy. "Bedelia" (Faye) by Jean Schwartz and William Jerome. "Has Anyone Here Seen Kelly?" (Faye) by Charles Moore, C W . Murphy, William J. McKenna. "By The Light Of The Silvery Moon" (Faye) by Gus Edwards and Ed Madden. "Gee, But It's Great to Meet a Friend from Your Home Town" by James McGavish, Fred Fisher, William G. Tracey. "He's Got a Gal in Every Port" (composer unknown) "It's Tulip Time in Holland" by Richard A. Whiting and David Radford. SONG (deleted): " I Gotta Have You"

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Filmography SYNOPSIS: A quartet of singers, Trudy, Johnnie, Dan and Beulah, are fired for being too entertaining at one of San Francisco's Barbary Coast saloons. Their vocalizing, particularly from Trudy, lures too many free spending patrons from the bar. Eager for other opportunities, Johnnie stakes a goldminer on an expedition. He also produces a wholesome street fair in league with a missionary group, that depletes the population of the saloons. Sly Johnnie then profitably accepts money from each saloon for staying away from their vicinity. With this soiled lucre, Johnnie proceeds to open an upscale saloon; a lavish affair which caters to the elegant Nob Hill crowd, and where Trudy performs her way to stardom. In time, Johnnie has similiar establishments along the coast, which attracts a theatrical producer from England to offer Trudy a starring vehicle in London. Trudy refuses, being loyal and in love with Johnnie. Johnnie, however, marries an heiress, coveting her high social standing, among other things. Devastated Trudy thus accepts the London offer and becomes an immediate hit. Bad fortune however follows Johnnie, as his rich wife erodes his capitol on bad investments. Johnnie eventually becomes a barker at the saloon that once fired him, much to Faye's dismay. She secretly finances Johnnie's old goldminer friend to gently con Johnnie into thinking he has actually hit gold. With a bogus share of Johnnie's original stake, Johnnie reopens up his original saloon, which also puts his other old friends, Dan and Beulah, back on top to great success. Johnnie is then surprised to be reunited on stage with Trudy, as they sing the title tune and embrace. COMMENTS: Faye's first film in two years was a popular and personal triumph, in which she acquired her signature tune, "You'll Never Know." It was also one of her best costume musicals, and the last she would appear in. Though it was immersed in the same plot cliches Faye had endured in past films, HELLO, FRISCO, HELLO cascaded with enough music to put this usual drawback to rest. Her co-stars Jack Oakie and June Havoc were rarely better, and the Technicolor splash made up for the black and white photography in Faye's similiarly attired LILLIAN RUSSELL of three years before. One of Faye's own favorites, it remains one of her best and most fondly remembered. REVIEWS: Brooklyn Daily Eagle (March 25, 1943) - "It's a glorified Alice Faye we have in this film; slim, prettier and sweeter voiced than the original model." New York Morning Telegraph (March 25, 1943) - "Miss

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Faye shows a good deal more restraint and composure in putting (the songs) over then she used to back in the days before she had a baby."

F30 THE GANG'S ALL HERE (20th Century-Fox, 1943) 103 minutes. Technicolor. CAST: Eadie Allen (Alice Faye), Dorita (Carmen Miranda), Phil Baker (Phil Baker), Benny Goodman and his Orchestra (Benny Goodman and his Orchestra), Mr. Mason, Sr. (Eugene Pallette), Mrs. Peyton Potter (Charlotte Greenwood), Peyton Potter (Edward Everett Horton), Tony DeMarco (Tony DeMarco), Andy Mason (James Ellison), Vivian (Sheila Ryan), Sergeant Casey (Dave Willock), Maybelle (June Haver), Specialty Dancers: Charles Saggau, Deidre Gale. Marine (Frank Faylen), Sailor (Russell Hoyt), Girl by Pool (Jeanne Crain). Producer: William Le Baron. Director: Busby Berkeley. Screenplay: Walter Bullock. Based on a Story: Nancy Winter, George Root, Jr. Tom Bridges. Photography: Edward Cronjager, A.S.C Technicolor Director: Natalie Talmus. Editor: Ray Curtiss. Art Direction: James Basevi, Joseph C Wright. Set Decorations: Thomas Little; Associate: Paul S. Fox. Costumes: Yvonne Wood. Special Effects: Fred Sersen. Sound: George Leverett, Roger Heman. Musical Direction: Alfred Newman, Charles Henderson. Dances Conceived and Director: Busby Berkeley. SONGS: "No Love No Nothing" (Faye) "The Lady in the Tutti-Frutti Hat" "A Journey to a Star" (Faye) "The Polka-Dot Polka" (Faye) "You Discover You're In New York" "Paducah" "Minnie's in the Money" by Leo Robin and Harry Warren. "Brazi1" by Ary Barroso and S.K. Russell. SONGS (Deleted): "Sleepy Moon" "Pick in' On Your Mama"

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Filmography "Drums and Dreams" SYNOPSIS: Fox provided a succinct description to movie exhibitors, stating, "Alice is cast as a nightclub singer whose romance revolves around James Ellison, who finds himself in a pretty pickle when he tries to keep both Alice and Sheila White happy by the ingenious device of splitting himself into two distinct personalities." Expected complications arise, but are resolved with a huge musical finale. COMMENTS: A gargantuan production filmed in blinding Technicolor, and mainly recalled for Carmen Miranda's bizarre banana number, "The Lady In the Tutti-Frutti Hat," this was Faye's last major musical as a star, and her only association with legendary choreographer Busby Berkeley. Though cast among scene stealers such as Carmen Miranda, Edward Everett Horton, Eugene Pallette and Charlotte Greenwood, Faye's vocalizing soared above them all, especially Benny Goodman's ill advised attempt at singing. From the almost unworldly strains of "Journey To A Star" to the jolly and surreal "Polka Dot Polka," Faye gave a gracious if unknowing farewell performance to her Hollywood musical legacy, despite being reportedly unwell (she was expecting her second child) during some of the film's lengthy production schedule; at times she looks fatigued, but Faye is in fine form by fadeout, where she's radiantly superimposed over a deep blue sky. REVIEWS: New York Daily Mirror (December 24, 1943) - "Alice carries the romance convincingly and sells the two hit ballads above ceiling." Brooklyn Daily Eagle (December 23, 1943) - "the show is an eyeful and earful, every which way."

f3 1 FOUR JILLS IN A JEEP (20th-century Fox, 1944) 89 minutes.

CAST: As Themselves: Kay Francis, Carole Landis, Martha Raye, Mitzi Mayfair. "Guest Stars:" Alice Faye, Betty Grable, Carmen Miranda, Georgie Jessel. Also featuring: Jimmy Dorsey and his Orchestra, John Harvey, Phil Silvers, "Introducing" Dick Haymes as "Lt. Dick Ryan."

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Producer: Irving Starr. Director: William A. Seiter. Screenplay: Robert Ellis, Helen Logan, Snag Werris. Story by Froma Sand, Fred Niblo, Jr.; based on experiences of Kay Francis, Carole Landis, Martha Raye and Mitzi Mayfair. Photography: Peverell Marley, A.S.C. Art Directors: James Basevi, Albert Hogsett. Set Decorations: Thomas Little; Associate: Al Orenbach. Editor: Ray Curtiss. Costumes: Yvonne Wood. Makeup: Guy Pearce. Special Photographic Effects: Fred Sersen. Sound: Jesse T. Bastian, Murray Spivack. Music and Lyrics: Jimmy McHugh, Harold Adamson. Musical Direction: Emi1 Newman. Musical numbers staged by: Don Loper. SONGS: "You'll Never Know" (Faye) "I'Yi,Yi,Yi,Yi" by Mack Gordon and Harry Warren. "Crazy Me" "You Send Me" "How Blue The Night" "How Many Times Do I Have To Tell You?" by Harold Adamson and Jimmy McHugh. "No Love, No Nothin'" by Leo Robin and Harry Warren. "Cuddle Up A Little Closer" by Carl Hoscha and Otto Harbach. "Mr. Paganini" by Sam Caslow. "Caissons Go Rolling Along" by Brig. General Edmund L. Gruber. "Over There" by George M. Cohan. SYNOPSIS: Star (albeit waning) Kay Francis does her bit for the war effort by enlisting some of her show business friends to perform overseas for the troops. Periodically, other performers such as Alice Faye are seen singing over the radio airwaves. COMMENTS: A package of Hollywood hoopla for those in uniform, Faye walks center stage to

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Filmography reprise her famous number "You'll Never Know" from HELLO, FRISCO, HELLO. That business concluded, she briskly walks off without as much as a glance back. REVIEWS: New York Daily News (April 6, 1944) - "Has more fiction than fact mixed into its melange of... general high jinks." Variety (March 15, 1944) - "May not be relied upon to do outstanding business."

F32 FALLEN ANGEL (20th Century-Fox, 1945) 98 minutes. CAST: June Mills (Alice Faye), Eric Stanton (Dana Andrews), Stella (Linda Darnell), Mark Judd (Charles Bickford), Clara Mills (Anne Revere), Professor Madley (John Carradine), Dave Atkins (Bruce Cabot), Pop (Percy Kilbride), Joe Ellis (01 in Howl in), Johnson (Hal Taliaferro). Producer and Director: Otto Preminger. Screenplay: Harry Kleiner. Based on the novel by: Marty Holland. Photography: Joseph LaShelle, A.S.C Editor: Harry Reynolds. Art Direction: Lyle Wheeler, Leland Fuller. Set Decorations: Thomas Little; Associate: Helen Hansard. Costumes: Bonnie Cashin. Special Effects: Fred Sersen. Sound: Bernard Freericks, Harry M. Leonard. SONG (Deleted): "Slowly" (Faye) by David Raskin and Kermit Goell. SYNOPSIS: Eric Stanton, a man down on his luck in California, momentarily forgets his troubles when he eyes Stella, a stunning waitress at "Pop's Eats," who is also a wistful sight for diner regular Mark Judd. Eric becomes acquainted with promoting a phony "Psychic Extraordinary," who plans to stage a show in town, though the show is stalled when the upstanding, well-to-do Mills Sister protest the forthcoming event. Eric makes peace with the sisters, particularly with June, who is as gentle looking as her sister is severe. The show does well and transports itself elsewhere, while Eric stays in

Filmography town to have another look at Stella. Stella wants a commitment from Eric, and her friend Dave seems a more likely prospect, which angers Eric. Eric then schemes to marry June fast in the hopes of acquiring her fortune, then dumping her to marry Stella. Eric and June marry, yet their wedding in town is overshadowed by news the followingday that Stella has been murdered. Diner regular and former cop Mark Judd steps in to solve it, and he soon suspects Eric. Eric leaves town with June, hoping to withdraw her money from a San Francisco bank, but police find June and take her in for questioning. Eric decides to do his own murder investigation, and he and Mark square off. Mark confesses that he killed Stella because she refused to wait any longer for his wife to give him a divorce, in order for him to marry Stella. Aghast, Eric pummels Mark a bit, then drops him off at the jail for safekeeping. The sordid case solved, a more responsible Eric and his bride June get on with their marriage for keeps. COMMENTS: The real drama of FALLEN ANGEL was its serving as the abrupt conclusion to Faye's years of stardom at Fox. Tired of making films in general, Faye decided it was time to break free after Zanuck reduced her role in the editing room. FALLEN ANGEL was not enthusiastically received, compared to Fox's model predecessor, LAURA (1944), which shared the same director and leading man. REVIEWS: Time (November 12, 1945) - "Alice Faye...is not likely to add or detract from her present reputation...her speaking voice is richly husky as ever, even though she doesn't have much to say."

F33 STATE FAIR (20th Century-Fox, 1962) 118 minutes. Color. CAST: Wayne Frake (Pat Boone), Margie Frake (Pamela Tiffen), Jerry Dundee (Bobby Darin), Emily (Ann Margret), Abel Frake (Tom Ewell), Melissa Frake (Alice Faye), Hipplewaite (Wally Cox), Doc Cramer (Clem Harvey), Harry (David Brandon), Squat Judge (Robert Foulk), Betty Jean (Linda Henrich), Red Hoerter (Edward "Tap" Canutt), Lilya (Margaret Deramee).

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F ilmography Producer: Charles Brackett. Director: Jose Ferrer. Screenplay: Richard Breen. Adapted by: Oscar Hammerstein II, Sonya Levien, Paul Green. Based on the novel by: Philip Stong. Photography: William C Mellor, A . S . C Art Direction: Jack Martin Smith, Walter M. Simonds. Set Decoration: Walter M. Scott, Lou Hafley. Editor: David Bretherton. Special Effects: L.B. Abbott, A . S . C , Emi 1 Kosa, Jr. Costumes: Marjorie Best. Sound: Alfred Bruzlin, Warren B. Delaplain. Original Music and Lyrics Hammerstein II. New Music Musical Direction: Alfred Darby. Choreography: Nick

by Richard Rogers and Oscar and Lyrics by Richard Rogers. Newman; Associate: Ken Castle.

SONGS: "It Might As Well Be Spring" "Our State Fair" (Faye, Ewell, Boone, Tiffen) "It's A Grand Night Night For Singing" "Isn't It Kind Of Fun" by Richard Rogers and Oscar Hammerstein "More Than Just A Friend" "It's the Little Things in Texas Ewel1) "Never Say No" (Faye) "Wi11ing and Eager" "This Isn't Heaven"

I I .

I Love" (Faye,

by Richard Rogers. SYNOPSIS: The Texas State Fair lures the Frake family for a time of fun, though a neighbor first bets $5 that something untoward will happen before it's over. Melissa Frake, the mother, enters her mincemeat recipe for a hoped for prize, father Abel enters his hog for another hoped for prize, demure daughter Margie romantically targets Jerry, an announcer at the fair, and mild son Wayne becomes red bloodedly bemused by Emily, a wildly alluring entertainer among the sawdust. After much singing by everyone, Melissa wins first prize for her mincemeat (a recipe helpfully spiked with brandy), Abel's hog wins top honors, Margie makes plans with Jerry, and Wayne forgoes the combustible Emily for the hometown arms of Betty Jean. Once home, the $5 bet is won by Abel, since everything seems to have worked out just fine.

COMMENTS: One of STATE FAIR'S songs, "This Isn't Heaven," sums up what was a very disappointing major return to the screen for Alice Faye, who

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Faye's short-lived return to the screen in STATE FAIR (1962), with Pamela Tiffen (left) and Bobby Darin (right). Movie Star News.

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Filmography found it a very disillusioning, unenjoyable experience, particularly since it was back at her own home studio. Critics and audiences were similiarly unexcited by the film, and Faye left Hollywood again for another long stretch. REVIEWS: London Sunday Times (April 22, 1962) - "I liked 'Never Say No'...but then there was Alice Faye, making a most welcome return to the screen, to belt out that one." Time (April 27, 1962) - "Alice Faye...looks refreshingly real; she is middle aged now and she doesn't try and hide it."

F34 WON TON TON, THE DOG WHO SAVED HOLLYWOOD (Paramount, 1976) 92 minutes. Technicolor. CAST: Won Ton Ton (Augustus Von Schumacher), Grayson Potchuck (Bruce Dern), Estie Del Ruth (Madeline Kahn), J.J. Fromberg (Art Carney), Fluffy Peters (Teri Garr), Murray Fromberg (Phil Silvers), Rudy Montague (Ron Leibman), many cameos by veteran stars. Producer: David V. Picker, Arnold Schulman, Michael Winner. Director: Michael Winner. Screenplay: Arnold Schulman, Cy Howard. Photography: Richard H. Kline. Editor: Bernard Gribble. Art Direction: Ward Preston. Set Decoration: Ned Parsons. Sound: Hugh Strain. Dog Trainer: Karl Miller. SYNOPSIS: Struggling actress Estie Del Ruth's life changes when she meets Won Ton Ton, who is on the run from a dog pound. Clever Won Ton Ton becomes devoted to her, and his canine "acting" feats ultimately catapult Estie and the dog to stardom, but only after alot of determined hilarity. COMMENTS: Back again at Paramount, four decades after her EVERY NIGHT AT EIGHT stint, Faye is momentarily seen as a "Studio Gate Secretary." Film technically reunites her with Rudy Vallee, and even the Ritz Brothers, though they're not seen together. WON TON TON is mainly notable for being the last screen credit for many former stars. REVIEWS:

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Variety (April 26, 1976): "(Director) Winner's DEATH WISH (1974) is funnier in comparison."

F35 THE MAGIC OF LASSIE (International Picture Show, 1978) A Jack Wrather Presentation. 99 minutes. Color. CAST: Clovis Mitchell (James Stewart), Lassie (Lassie), Jamison (Pernell Roberts), Chris (Michael Sharrett), Alice (Alice Faye), Gus (Mickey Rooney), Kelly (Stephanie Zimbalist), Sheriff Andrews (Gene Evans), Apollo (Mike Mazurki), Gary Davis (Motorcycle Officer), Finch (Robert Lussier), Reward Seeker (Rayford Barnes), Happy Singing Group (The Mike Curb Congregation). Producers: Bonita Granville Wrather and William Beaudine, Jr. Director: Don Chaffey. Screenplay: Jean Holloway, Robert M. Sherman, Richard B. Sherman. Editor: John C Horger. Production Manager: Jack Sonntag. Art Direction: George Troast. Set Decorator: Carl Biddiscombe. Sound: Ryder Sound Services. Lassie owned and trained by Rudd Weatherwax; assisted by Sam Williamson and Robert Weatherwax. Musical Supervision: Irving Kostal. Music and Lyrics by: Robert M. Sherman and Richard B. Sherman. SONGS: "A Rose is Not a Rose" (Faye, voice of Pat Boone) "There'll Be Other Friday Nights" "Brass Rings and Daydreams" "Traveling Music" "Banjo Song" "That Hometown Feeling" "Thanksgiving Prayer" "When You're Loved" "Nobody's Property" "I Can't Say Goodbye" by Robert M. Sherman and Richard B. Sherman. SYNOPSIS: Clovis Mitchell and his two grandchildren, Chris and Kelly, run the family vineyard in Northern California. Lassie lives with them too, a dog Clovis adopted after finding her (actually a "him") as a lost, unidentified puppy on his property years earlier. Life is good until rich, arrogant businessman Jamison offers to buy the vineyard from Clovis. Clovis, full of pride, indignantly refuses. On his way out, Jamison sees Lassie, who reminds him of a collie he once had. Annoyed by Clovis's turndown, he schemes to take Lassie away to

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Filmography his mansion in Colorado, showing Clovis alleged proof that Lassie was from his own collie's litter. The Mitchells are distraught as Lassie is taken away. Once at the Colorado mansion, Lassie escapes, but not before dunking Jamison into his swimming pool. Chris, meanwhile, runs away to Colorado to be with Lassie again. During his search, a kindly truckstop waitress called Alice sings and packs him a free lunch. Lassie in turn is meandering his way back west, helped along by some friendly people. An anxious Clovis leaves the vineyard to look for Chris, whom he later finds in a cattle truck. They return to the vineyard, hoping an all-points bulletin by police will locate Lassie. Clovis confronts Jamison with newfound evidence that shows Jamison's claim of ownership of Lassie is invalid, with Lassie now legally part of the Mitchell family. Jamison snidely exits, leaving the Mitchell family to gather for Thanksgiving dinner, a somber occasion because of Lassie's absence. Clovis keeps secret a report from the police that Lassie was last seen attempting to rescue a kitten from a fire, with no clear indication of Lassie having escaped from the inferno. Just as Clovis is somberly saying grace, a bark is heard in the distance; it is Lassie coming home at last, just in time for some turkey. Together once more, Chris and Lassie romp joyfully through the fields in slow motion.

COMMENTS: Faye, onscreen for approximately two minutes and forty seconds, enhanced a modest film that hardly made a ripple with critics and the intended family audience. Faye's casual sing-along to a Pat Boone jukebox number, at a very wholesome truckstop, was little more than humming, though Faye's throaty mannerisms still evoked the musical Fox films of yore. REVIEWS: Variety (August 9, 1978) - "(Faye) may provide marquee lure for parents shepherding the kids. Otherwise the only thing this film has going for it is the kiddy product shortage."

F36 EVERY GIRL SHOULD HAVE ONE (Robert Fridley Productions, 1978, copyrighted 1980). 80 minutes. Color. Video. Cast: Wendy (Sandra Vacey), Chris (John L a Z a r ) , Ambrose (Herb Vigran), Adam Becker (Robert A l d a ) , Ernestine (Hannah D e a n ) , Frank (Michael H e i t ) , Homer (Dan Barrows), Tina (Dana H o u s e ) , Detective Rand (William Boyett), Derek (David

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C h o w ) , Spider Woman (Dorothy Burham), Napoleon (Napoleon Whiting), Willie (Hy P i k e ) , Veronica (Tamara Backley), Statue mover (Larry French), Statue mover #2 (Don Carrara), Detective (John Zenda), Policeman #2 (John Doucette). Voice Characterizations: Hans Conreid, Kathleen Freeman. Guest Star: Zsa Zsa Gabor as Olivia Wayne, and featuring Alice Faye as Kathy. Producer: Robert Fridley. Director: Robert Hyatt. Original Screenplay: Robert Hyatt; Additional Material: Jacques Wilson. Photography: Michael Jones, Eric Saarinen, James Anderson. Art Direction: James Newton, Martha Bergan. Editors: Michael Luciano, Robert Freeman. Sound: Wray Chafin, Michael Moore. Executive Producer: Joe Cavalier. Production Co-ordinator: Eudie Charnes. Production Manager: Tere Schwartz. Associate Producer: Tom Cooney. Music Editor: Ving Hershon. Costume Design: Nan Hinds. Stunt Co-ordinator: Alton Jones. Titles, Opticals and Color by CFI. Re-Recording by Ryder Sound Services. Music composed, written and conducted by Johnny Pate. Additional Music Score by Capitol Productions. Music produced by Ole George. SYNOPSIS: Aspiring writers Frank and Wendy occupy an apartment next to artist Chris, who is painting a portrait of rich woman Olivia Wayne. At one point a man in a gorilla mask interrupts the session and runs off with Olivia's diamond necklace. Frank and Wendy volunteer to investigate, with Frank becoming a suspect by the police and Wendy falling for Chris. When Chris is seen smooching another girl, Wendy decides to marry Frank. As their engagement party takes place, Chris is nearly done next door with a bust of Olivia's jovial husband Ambrose, who is less than content with his wife. Ambrose confides in Chris that the diamond that was stolen was actually a fake. He shows him the actual diamond. When Chris attempts to make up with Wendy that evening, he returns to find Ambrose apparently dead with a knife in his back, with the diamond necklace still in his possession. Returning with a detective, Ambrose's body is missing. The bust of Ambrose is sent to a museum, while Chris disguises Wendy as a statue and ships her to the museum as a ploy in trapping the murderer, who is thought to be in search of the real diamond necklace now planted in Ambrose's bust. That night at the museum, a man in a ski mask uncovers Wendy, who screams. Chris, also at the museum, is confronted by the man in the gorilla mask again. The two fight. The man in the ski mask turns out to be a jealous suitor who wants Olivia to divorce Ambrose. Suddenly the missing Ambrose pops out of a mummy's sarcophagus, merrily admitting

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Filmography his "murder" and diamond story had been a set up; his curious way of showing up his fussy wife as a scatterbrain. Olivia pulls a gun on Ambrose outdoors, taking the diamond necklace he is holding. The necklace is then snatched by Kathy, Chris's art dealer in cahoots with Ambrose's schemes. Kathy in turn is upstaged by the man in the gorilla mask who grabs the necklace and runs off on a motorcycle. A car chase ensues, in which the motorcyclist is driven into the water. He is found to be Olivia's bodyguard. Sharks, literally talking to each other, swim by and take off with the diamond necklace. Ernestine, a character primarily serving as a Greek chorus throughout the film, explains directly to the camera (and hopefully still present audience) the later whereabouts of the main characters. She then busts open Ambrose's bust and walks off with the authentic diamond necklace.

COMMENTS: Unreleased in its day, virtually unknown since save for the rarest of video copies, EVERY GIRL SHOULD HAVE ONE is a fascinating example of low budget purgatory. Though worthwhile, unheralded films are often made on a small budget, EVERY GIRL is an unfortunate example of its obscurity being greatly deserved. The main dilemma is a foolish plot that is incoherent, patched together with periodic scenes of Hannah Dean (the most lively and interesting performer in the film) explaining to the camera what exactly is happening, which is never a good sign of a sound script. Compared to Faye's more recent films, EVERY GIRL's production lacks the gloss of MAGIC OF LASSIE, and its wildly uneven humor makes WON TON TON look like a genuinely witty comedy. Faye appears rather arbitrarily throughout the film, doing little more than posing by a phone or indulging in some badly staged chase scenes much better done in HOLLYWOOD CAVALCADE. The only memorable aspect of the film is it's unremitting bizarreness, and not as a coda to Faye's otherwise illustrious film career.

FILM SHORTS:

F37

CINEMA CIRCUS (MGM, 1937) 19 minutes, Technicolor. CAST: Alice Faye, Jack La Rue, Cliff Edwards, Lee Tracy, Jack La Rue, Hank Mann, Ben Turpin, The Ritz Brothers, Olsen & Johnson, Charlie Murray, Boris Karloff, Mickey Rooney, Cliff Edwards, Allan Jones, Martha Raye, William S. Hart, Charlie Murray, others. Director: Roy Rowland. Producer: Louis Lewyn. Dialogue: John Krafft.

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COMMENTS: An astonishing melange of huge animal balloons, chorus girls, clowns and movie stars, as ringmaster Lee Tracy introduces moments of pageantry and acrobatics in an outdoor arena. Faye is seen in the audience with a chimpanzee on her lap, asking a dour Jack La Rue, "What's the matter, aren't you having any fun?" Overall, a surreal gem.

F38

WE STILL ARE! (Manno Productions, 1986) Presented by Pfizer Pharamaceutical. Color. 16mm and video. 40 minutes. Director: Charles Manno. Producers: John Donnelly, Charles Manno. Associate Producers: Gail Johnson, Ginny Mazzei. Photography: Peter Passas. Editor: Scott Hudson. Written By; Irwin Lewis, Charles Manno. Art Director: Charles Hoeffler. Sound: Ed Gleason. Make-up: Lorraine Altamura. Hair: Enid Gellar. Graphic Artist: Joseph Tarallo. "Special Thanks To 20th Century-Fox" for clips from GEORGE WHITE'S 1935 SCANDALS, WAKE UP AND LIVE, IN OLD CHICAGO, ALEXANDER'S RAGTIME BAND, LILLIAN RUSSELL, WEEKEND IN HAVANA, HELLO, FRISCO, HELLO. SONG: "Wake Up and Live" by Mack Gordon and Harry Revel; new arrangement: Jeremy Goldsmith, Michael Colicchio. SYNOPSIS: On a set filled with movie props and memorabilia from her Hollywood career, Alice Faye, Pfizer's "Ambassador to Good Health," offers a pleasant blend of Hollywood reminiscences and health tips for aging citizens. COMMENTS: Even if it isn't a character role in a movie, this is probably Faye's most ingratiating appearance on film since HELLO, FRISCO, HELLO. Faye is both an animated and engaging speaker, whether doling out recommended approachs to exercise and nutrition, or recalling humorous memories before and after a film clip. After delivering a mildly jazzy rendition of "Wake Up and Live," Faye concludes the program with an anecdote, saying "A friend of mine was visiting a relative in a retirement home not long ago. He noticed an elderly man sitting at a table, and with the best of intentions he asked "And what did you use to be?" The old gentleman stared back at him, and rather haughtily replied, I still am!' Yes indeed. We still are."

92

Filmography

MISCELLANEOUS APPEARANCES:

F39

TAKE IT OR LEAVE IT (20th Century Fox, 1944) 70 minutes. Clip heisted from TIN PAN ALLEY (1940) shows Faye and Betty Grable performing "The Sheik of Araby." Other Faye film excerpts from HOLLYWOOD CAVALCADE (1939) and LILLIAN RUSSELL (1940).

F40

MYRA BRECKINRIDGE (20th Century-Fox, 1970) 94 minutes, Color. Dismal travesty which mean spiritedly utilized many clips from vintage Fox films from classier days. Those seen in excerpts included Faye, Carmen Miranda, June Havoc, Betty Grable and Loretta Young, the latter who sued her old studio for invasion of privacy and won a court settlement.

F41

FRED ASTAIRE SALUTES THE FOX MUSICALS (20th CenturyFox Television, 1974) Cast: Fred Astaire, Host. Director: Marc Breaux. Producer: Alan P. Sloan. Writer: Draper Lewis A 20th Century-Fox Production in association with Unicorn Films, Inc. A knockoff of MGM's THAT'S ENTERTAINMENT, this clumsy pastiche of Fox musical clips ranges from 1929's SUNNY SIDE UP to the non-musical BUTCH CASSIDY AND THE SUNDANCE KID, the latter by virtue of the "Raindrops Keep Falling On My Head" interlude. The uneveness of the selections is additionally hampered by Astaire's often rambling narration, which tends to compete unwisely with the soundtracks of the clips. Faye is featured in the final section, the clip chosen not unexpectedly being the "You'll Never Know" number from HELLO, FRISCO, HELLO (1943), though it's in black and white.

F42

ALICE DOESN'T LIVE HERE ANYMORE (Warner Brothers, 1975) 113 minutes, Color. Video.

Filmography Faye is heard singing "You'll Never Know," from the soundtrack of HELLO, FRISCO, HELLO (1943). Song is also available on the ALICE DOESN'T LIVE HERE ANYMORE soundtrack album.

ACADEMY AWARD WINNERS:

IN OLD CHICAGO Alice Brady (Best Supporting Actress) Robert Webb (Assistant Director) ALEXANDER'S RAGTIME BAND (1938) Alfred Newman (Best Scoring) TIN PAN ALLEY (1940) Alfred Newman (Best Scoring) HELLO, FRISCO, HELLO (1943) Harry Warren and Mack Gordon (Best Song, "You'll Never Know")

ACADEMY AWARD NOMINATIONS:

KING OF BURLESQUE (1935) Sammy Lee (Dance Direction) SING, BABY, SING (1936) Richard A. Whiting and Walter Bullock (Best Song, "When Did You Leave Heaven?") YOU'RE A SWEETHEART (1937) Jack Otterson (Interior Direction) IN OLD CHICAGO (1938)

93

94

Filmography

Best Picture Niven Busch (Original Story) E.H. Hansen (Sound Recording) Louis Silvers (Best Score) ALEXANDER'S RAGTIME BAND (1938) Best Picture Irving Berlin (Original Story) Bernard Herzbrun and Boris Leven (Interior Decoration) Irving Berlin (Best Song, "Now It Can Be Told") Barbara McLean (Editing) LILLIAN RUSSELL (1940) Richard Day and Joseph C Black and White)

Wright (Interior Decoration -

HELLO, FRISCO, HELLO (1943) Charles G. Clarke and Allen Davey (Color Cinematography) THE GANG'S ALL HERE (1943) James Basevi, Joseph C. Wright and Thomas Little (Interior Decoration-Color) THE MAGIC OF LASSIE (1978) Richard M. and Robert B. Sherman (Best Song, "When You're Loved")

Discography SECTION ONE: ALPHABETICAL LISTING OF LPs AND 78s

D1

ALEXANDER'S RAGTIME BAND

Hollywood Soundstage 406

side one Opening credits Alexander's Ragtime Band - Alice Faye and dialogue Ragtime Violin - Jane Jones Trio, Otto Fries, Mel Kalish The International Rag - Faye, Jack Haley, Chick Chandler Everybody's Doin' It - Wally Vernon, Dixie Dunbar, Faye Now It Can Be Told - Don Ameche Now It Can Be Told (reprise) - Faye This Is The Life - Vernon When the Midnight Choo Choo Leaves for Alabam' - Faye For Your Country and My Country - Donald Douglas In the YMCA - the Kings Men, vocal chorus Oh, How I Hate To Get Up In The Morning - Haley We're on Our Way to France - Soldiers chorus side two Say It with Music - Ethel Merman A Pretty Girl Is Like A Melody - Merman Blue Skies - Merman, Faye Pack Up Your Sins and Go to the Devil - Merman What*11 I Do? - the Kings Men My Walking Stick - Merman Remember - Faye Everybody Step - Merman Al 1 Alone - Faye Marie - Instrumental Easter Parade - Ameche Heat Wave - Merman Alexander's Ragtime Band - Faye, chorus

96 D2

Discography ALEXANDER'S RAGTIME BAND (radio version) 132, Demand Performance DP602

Pelican LP

Lux Theatre radio broadcast from June 3, 1940. Does not include opening, closing, or commercials.

D3

ALICE FAYE & THE SONGS OF HARRY WARREN 6004

Citadel

You Say The Sweetest Things (TIN PAN ALLEY) - with John Payne Chica Chica Boom Chic (THAT NIGHT IN RIO) - with Don Ameche Boa Noite (THAT NIGHT IN RIO) The Man With the Lollipop Song (WEEKEND IN HAVANA) - with Natcho Galindo Tropical Magic (WEEKEND IN HAVANA) It's All In A Lifetime (GREAT AMERICAN BROADCAST) Long Ago Last Night (GREAT AMERICAN BROADCAST) I Take To You (GREAT AMERICAN BROADCAST) Where You Are (GREAT AMERICAN BROADCAST) You'll Never Know (HELLO, FRISCO, HELLO) No Love, No Nothin' (THE GANG'S ALL HERE) Journey to a Star (THE GANG'S ALL HERE)

D4

ALICE FAYE'S GREATEST HITS

Stanyan Records 10072

side one The Band Played On (LILLIAN RUSSELL) Moonlight Bay (LILLIAN RUSSELL) You're a Sweetheart (YOU'RE A SWEETHEART) This Year's Kisses (ON THE AVENUE) You Turned The Tables On Me (SING, BABY, SING) Never Say No (STATE FAIR) side two Rose of Washington Square (ROSE OF WASHINGTON SQUARE) Never In A Million Years (WAKE UP AND LIVE) You Can't Have Everything (YOU CAN'T HAVE EVERYTHING) Alexander's Ragtime Band (ALEXANDER'S RAGTIME BAND) You'll Never Know (HELLO, FRISCO, HELLO) No Love, No Nothin* (THE GANG'S ALL HERE) Note: The selections on this album were recorded by Faye in 1962. Originally issued as ALICE FAYE SINGS HER FAMOUS MOVIE HITS (Reprise R9-6029/Stereo, R6029/Mono), with liner notes by Lawrence D. Stewart. Also reissued in Australia as ALICE FAYE'S GREATEST HITS (POW 3003) and in England as ALICE FAYE SINGS HER GREATEST MOVIE HITS (Valiant VS122).

Discography D5

ALICE FAYE IN HOLLYWOOD (1934-1937) ACL 3068

97

Columbia CL 3068,

side one Nasty Man (GEORGE WHITE'S SCANDALS) 15422-1 Here's The Key To My Heart (SHE LEARNED ABOUT SAILORS) 15422-1 Yes To You (365 NIGHTS IN HOLLYWOOD) 16066-2 According To The Moonlight (GEORGE WHITE'S 1935 SCANDALS 16921-1 Speaking Confidentially (EVERY NIGHT AT EIGHT) LA 379-B I've Got My Fingers Crossed (KING OF BURLESQUE) BLA 449-A I'm Shooting High (KING OF BURLESQUE) BLA 451-A Spreadin' Rhythm Around (KING OF BURLESQUE) BLA 452-A side two Goodnight, My Love (STOWAWAY)) LA 1202-A This Year's Kisses (ON THE AVENUE) LA 1240-A Slumming On Park Avenue (ON THE AVENUE) LA 1241-B I've Got My Love To Keep Me Warm (ON THE AVENUE) LA 1242-B Never In A Million Years (WAKE UP AND LIVE) LA 1304-A It's Swell of You (WAKE UP AND LIVE) LA 1305-A There's A Lull In My Life (WAKE UP AND LIVE) LA 1306-A Wake Up and Live (WAKE UP AND LIVE) LA 1307-A Produced and designed in 1969 by Miles Kreuger.

D6

ALICE FAYE ON THE AIR Hook SH-2020

Totem 1011 (1977), Sandy

side one Hats Off/Mimi/The Scat Song (12/29/32) Sittin' Up Waiting For You (11/9/33) You're Getting To Be A Habit With Me (5/11/33) Gather Lip Rouge While You May (11/16/33) Weep No More My Baby (1/14/34) You Can't Play My Ukelele You've Got Everything (10/30/33) Dinah w/Mills Brothers (11/30/33) side two Young and Healthy/Oooh, I'm Thinking (5/4/33) Old Man Harlem (5/4/33) My Oh My (6/1/33) Happy As The Day Is Long (6/15/33) I've Got The World On A String (2/9/33)

98

Discography You're An Old Smoothie Shuffle Off To Buffalo

w/Rudy Vallee (4/6/33)

Selections are from NBC's FLEISHMANN

D7

ALICE FAYE ON THE AIR

Volume

II

(3/16/33)

HOUR with Rudy Vallee.

Totem

1032

side one My Oh My (7/20/33) Honeymoon Hotel (9/7/33) Mimi/How'm I Doin'? (9/28/33) You're Gonna Lose Your Gal (11/2/33) Sittin' Up Waitin For You (12/21/33) Shuffle off to Buffalo/Honeymoon Hotel (12/28/33) Fool in' with the Other Woman's Man (original studio soundtrack) side two Nasty Man (4/12/34) Fool in' With the Other Woman's Man (4/12/34) Here's the Key to My Heart (6/7/34) Oh I Didn't Know You'd Get That Way/According to the Moonlight (3/7/35) Now It Can Be Told (8/3/38) So Help Me (9/1/39)

D8

ALICE FAYE: OUTTAKES & ALTERNATES

AF-1 Limited

Edition

side one Got My Mind On Music (SALLY, IRENE & MARY) - with Joan Davis and Marjorie Weaver, contains more singing than in film I Could Use A Dream (SALLY, IRENE & MARY) - two versions, both with Tony Martin, one of which was not used Half Moon On The Hudson (SALLY, IRENE & MARY) - cut, with Tony Martin Think Twice (SALLY, IRENE & MARY) - cut, with Joan Davis and Marjorie Weaver This Is Where I Came In (SALLY, IRENE & MARY) - contains more singing than in film side two Carry Me Back To Old Virginny (IN OLD CHICAGO) - without dialogue I've Taken A Fancy To You (ALEXANDER'S RAGTIME BAND) cut Alexander's Ragtime Band (ALEXANDER'S RAGTIME BAND) - two different versions from release print

11.

Faye amiably promoting her radio appearances, 1937. Billy Rose Theatre Collection.

100

Discography Remember (ALEXANDER'S RAGTIME BAND) - contains more singing than in film Blue Skies (ALEXANDER'S RAGTIME BAND) - with Ethel Merman, without dialogue Are You In The Mood For Mischief? (TAIL SPIN) - contains more singing than in film Go In and Out the Window (TAIL SPIN) - cut

This highly regarded compilation from 1985 was compiled by George Ulrich, with liner notes by Roy Bishop.

D9

ALICE FAYE: OUTTAKES & ALTERNATES VOL. 2 Limited Edition

AF-2

side one I'm Just Wild About Harry (ROSE OF WASHINGTON SQUARE) - contains more singing than in film, without dialogue; with Louis Prima I'm Sorry I Made You Cry (ROSE OF WASHINGTON SQUARE) - contains more singing than in film I'm Always Chasing Rainbows (ROSE OF WASHINGTON SQUARE) - cut I'll See You In My Dreams (ROSE OF WASHINGTON SQUARE) - cut I Never Knew Heaven Could Speak (ROSE OF WASHINGTON SQUARE) - contains more singing than in film, without dialogue There'll Be Other Nights (BARRICADE) - cut After the Ball (LILLIAN RUSSELL) - different version than used in film The Last Rose Of Summer (LILLIAN RUSSELL)) - cut Get Out and Get Under (TIN PAN ALLEY) - cut Chica Chica Boom Chic (THAT NIGHT IN RIO) - cut, with Don Ameche side two It's All In A Lifetime (GREAT AMERICAN BROADCAST) contains more singing than in film, without dialogue Where You Are (GREAT AMERICAN BROADCAST) - without dialogue Tropical Magic (WEEKEND IN HAVANA) - two versions, one with John Payne, contains more singing than in film Romance & Rhumba (WEEKEND IN HAVANA) - with Cesar Romero, contains more singing than in film The Man With the Lollipop Song (WEEKEND IN HAVANA) - cut, with Natcho Galindo Note:

Followup edition from George Ulrich, issued

D10 AN EVENING WITH PHIL HARRIS (private

issue)

in 1988.

Discography

101

side one Consider Yourself Back Home Again In Indiana Stardust Do You Know What It Means To Miss New Orleans Up the Lazy River side two Washington and Lee Swing Basin Street Blues Mr. Chris Schenkel - talk You'll Never Know - Alice Faye Just To Be Alive When the Saints Go Marching In Live recording of concert held at the Linton Stockton High School Gymnasium on May 5, 1979 (Faye's birthday). Concert was to raise money for the Phil Harris/Alice Faye Scholarship Fund. Album, produced and edited by Dennis Dye, was sold locally on behalf of the Phil Harris/Alice Faye Scholarship Foundation.

D11 AN

IRVING BERLIN TRIBUTE

Famous Personality

1001

A 1938 radio broadcast featuring "Now It Can Be Told" (ALEXANDER'S RAGTIME BAND). Also on the program were Ethel Merman, Eddie Cantor, Al Jolson, the Brox Sisters, John Steele, Sophie Tucker, Lew Lehr, Rudy Vallee and Connie Boswell. Faye sings with the Tommy Dorsey orchestra.

D12

CHOICE CUTS

Includes "Go

D13

ST 500-1

In and Out of the Window" (TAIL

CLASSIC MOVIE MUSICALS OF JIMMY McHUGH

SPIN).

JJA

19825

Includes BLA-452-A version of "Spreading Rhythm Around" (KING OF BURLESQUE).

D14 CLASSIC MOVIE MUSICALS OF HARRY REVEL (THIRTIES MOVIE MUSICALS OF HARRY REVEL) JJA 1981-2D Songs from POOR LITTLE RICH GIRL, WAKE UP AND LIVE, YOU CAN'T HAVE EVERYTHING, IN OLD CHICAGO.

D15 CLASSIC MOVIE MUSICALS OF RICHARD WHITING JJA Records

(1928-1939)

102

Discography

Includes "Here's the Key to My Heart" (SHE LEARNED ABOUT SAILORS).

D16 CUT! OUT TAKES FROM HOLLYWOOD'S GREATEST MUSICALS Out Take Records OTF-1 side one We Must Have Music - Judy Garland, Tony Martin Easy to Love - Garland Think Twice - Alice Faye (cut from SALLY, IRENE AND MARY) Salome - Ann Sothern I'll Be Marching to a Love Song - Betty Grable I Gotta Have You - June Havoc An Easier Way - June Allyson, Pat Marshall Way Out West - Betty Garrett Gotta Bran' New Suit - Nanette Fabray You Have Everything - Fred Astaire, Cyd Charisse side two Mr. Monotony - Garland D'Ye Love Me? - Garland Hayride - Garland My Intuition - Garland March of the Doagies - Garland Voodoo - Garland I'll Plant My Own Tree - Garland Is It a Crime? - Judy Holliday Who Is There Among Us Who Knows?- Jack Nicholson You Are My Lucky Star - Debbie Reynolds

D17 CUT! OUTTAKES FROM HOLLYWOOD'S GREATEST MUSICALS Vol. 3 OTF-3 (various artists) Includes "I'll See You in My Dreams" (ROSE OF WASHINGTON SQUARE).

D18

ECHOS OF A CENTURY

American Red Cross (1981)

Excerpt from public service broadcast c.1952 (Harris-Faye).

D19 EVERY NIGHT AT EIGHT

Caliban 6043

Overture Dick Powell impression - Radio Rogues Speaking Confidentially - Frances Langford, Alice Faye, Patsy Kelly Then You've Never Been Blue - Langford Take It Easy - Faye, Langford, Kelly

Discography

103

Every Night At Eight - Faye, Langford, Kelly I Feel A Song Coming On - Faye, Langford, Kelly, male I'm In The Mood For Love - Langford Flip side is soundtrack for the Bing Crosby film, ANYTHING GOES (1936).

D20 FOUR JILLS

IN A JEEP

Hollywood Soundstage 407

side one Opening music Cuddle Up A Little Closer - Betty Grable, dialogue by Kay Francis, Mitzi Mayfair, Carole Landis, Martha Raye Swing Instrumental (The Champ) - Jimmy Dorsey and His Orchestra You'll Have To Swing It (Mr. Paginini) - Martha Raye How Blue The Night - Dick Haymes, chorus, dance by Mitzi Mayfair Swing Instrumental (Ohio) - Jimmy Dorsey and His Orchestra side two Command Performance Broadcast: Master of Ceremonies - George Jessel You'll Never Know - Alice Faye I, Yi, Yi, Yi, Yi, - Carmen Miranda You Send Me - Dick Haymes, vocal group No Love No Nothing - Phil Silvers, Jimmy Dorsey How Many Times Do I Have To Tell You? - Dick Haymes Boogie Woogie Instrumental - danced by Mitzi Mayfair Crazy Me - Carole Landis Finale (The Caissons Go Rolling Along) - chorus

D21 THE GANG'S ALL HERE C.I.F. 3003

Classic

International

Filmusicals

side one Opening Titles Brazil - Carmen Miranda You Discover You're in New York - Miranda, Phil Baker, Alice Faye, chorus Let's Dance/Minnie's in the Money - Benny Goodman (vocal) and his orchestra. The Lady in the Tutti-Frutti Hat - Miranda, chorus A Journey To A Star - Faye Rhythm number - Benny Goodman's Orchestra, danced by Charlotte Greenwood, Charles Saggau side two

104

Discography No Love No Nothing - Faye, Goodman's Orchestra No Love No Nothing - Chorus and dance by De Marco and Ryan Minnie's in the Money - Goodman's Orchestra, danced by Mir iam Lave!le Paudcah - Goodman's Orchestra, vocal by Goodman and Miranda A Journey to a Star (reprise) - Faye Polka-Dot Polka - Faye, chorus A Journey to a Star/Finale - cast

D22 GIRLS OF THE THIRTIES

Pelican LP 122

Includes studio soundtrack of "You Can't Have Everything" (YOU CAN'T HAVE EVERYTHING)

D23 GOLDEN GOODIES FROM THE SILVER SCREEN 154569

Columbia SXM

Includes LA 1240-A "This Year's Kisses" from ON THE AVENUE.

D24 GOLDEN MOMENTS of the SILVER SCREEN

Harmony

H-30549

Includes LA 1240-A version of "This Year's Kisses" (ON THE AVENUE)

D25 GOOD NEWS

(Private LP - limited edition of

1000)

side one Overture Opening (Happy Days) - students He's A Ladies Man- Jana Robbins, Paula Cinko, Rebecca Ur ich The Best Things In Life Are Free - Alice Faye, girls Just Imagine - Marti Rolph, Robbins, Cinko, Urich Happy Days - Scott Stevenson, Randy Robbins, David Thome, Tim Cassidy, Tommy Breslin, Jana Robbins, Cinko, Urich Button Up Your Overcoat - Barbara Lail, Wayne Bryan Lucky in Love - Stevenson, Rolph, students You're the Cream of my Coffee - John Payne, Faye Together - Faye side two The Varsity Drag - Lail, students Today's the Day - Robin Gerson, Sally O'Donnell, Randy Robbins, Cinko, Urich, girls

Discography

105

The Girl of the Pi Beta Phi - Jana Robbins, girls Never Swat A Fly - Bryan, Lail Good News - Faye, students Keep Your Sunny Side Up - Stubby Kaye, boys I Want To Be Bad - Faye Life Is Just A Bowl Of Cherries - Faye, Rolph, Lail Finale and Bows - Payne, Faye, company side three Entre-acte - Orchestra Lucky in Love - Stevenson, Rolph, students (early vers ion) Good News - Faye, students (final "coronation" version with ad libs) Button Up Your Overcoat (reprise) - Brian, Lail The Football Drill - Orchestra Keep Your Sunny Side Up - Kaye, boys (early version) The Tait Song - Payne, Kaye, students The "Knothole" Scene - Rolph, Faye The Best Things in Life Are Free (reprise) - Stevenson, Rolph Dance: I Want To Be Bad - Tommy Breslin, Faye, students Finale Frivolities - Payne, Faye, students side four From rehearsal (NY, Broadway Studio): Today's the Day - girls (with 1927 lyrics) On the Campus - Timmy Rogers (as "Pooch"), students The Varsity Drag - Barbara Lail, students (with extra chorus) You're the Cream in My Coffee - Payne, Faye Keep Your Sunny Side Up - Breslin, Rogers, boys Act One Finale - students After Commencement - Urich, Cinko First Overture - Orchestra (arranged by Philip J. Lang) From first opening night (December 17, 1973, Colonial Theater, Boston): First entrance of Alice Faye Button Up Your Overcoat - Bryan (Bobby's verse) On the Campus - Stevenson, Kaye, Terry Eno, students The Varsity Drag - Orchestra ("Blues" section) Never Swat a Fly - Bryan, Lail (with Babe's verse and dance) Together - Faye, Payne Finale - Faye, Payne From final closing night (January 4, 1975, St. James Theater, New York): Finale - Kaye, Faye, Gene Nelson, students

106

Discography

D26 HAL KEMP AND ALICE FAYE (Music from Hollywood) Radiola #10 Medley - Who Stole The Jam? (SALLY, IRENE AND M A R Y ) , You're A Sweetheart (YOU'RE A SWEETHEART), In Old Chicago (IN OLD CHICAGO) Once In A While Medley - This Year's Kisses, There's A Lull In My Life, You Can't Have Everything (YOU CAN'T HAVE EVERYTHING) Note: Final broadcast of the show, aired December 24, 1937. Also on tape is an unrelated Tommy Dorsey broadcast from June 24, 1945.

D27 HELLO, FRISCO, HELLO

Sandy Hook S.H.

2070

side one Overture Hello, Frisco, Hello Medley - Alice Faye, John Payne, Jack Oakie, June Havoc. Hello, Frisco, Hello - Faye, Payne, Oakie, Havoc You'll Never Know - Faye Ragtime Cowboy Joe - Faye. Oakie, Havoc Sweet Cider Time - Faye The Grizzly Bear - Faye, Oakie, Havoc It's Tulip Time in Holland - Kirby Grant When You Wore A Tulip - chorus Why Do They Always Pick On Me - Faye side two Bedelia - Faye, Oakie Has Anybody Here Seen Kelly? - Faye, Oakie By The Light Of The Silvery Moon - Faye I Gotta Have You - Havoc Gee, But It's Great to Meet a Friend from Your Home Town - Oakie, Havoc. You'll Never Know (reprise) - Faye Strike Up the Band, Here Comes A Sailor - Havoc I've Got a Girl in Every Port - Oakie, Havoc Hello, Frisco, Hello (reprise) - Faye, Payne You'll Never Know (reprise) - Faye, Payne Note: The songs from HELLO, FRISCO, HELLO, are also on Caliban 6005 (flip side is SPRING PARADE, a Deanna Durbin musical). Another edition is on Hollywood Soundstage 5005; Lux Theatre version (Rehearsal; doesn't include opening, closing or commercials--story o n l y ) , on Pelican LP 126, Demand Performance 605.

D28

HERE COMES THE GIRLS

Epic LN

3188

Discography Includes LA 1307-A version of "Wake Up and Live" UP AND L I V E ) .

D29 HOLLYWOOD

IS ON THE AIR

Radiola

107

(WAKE

2MR-1718

Excerpts from movie promos using original studio soundtrack recordings of "You Turned the Tables on Me," Sing, Baby, Sing (SING, BABY, S I N G ) , "All Alone," "Remember," "The Easter Parade" (ALEXANDER'S RAGTIME BAND, and "Go In and Out of the Window" (deleted from TAIL S P I N ) .

D30 HOLLYWOOD ON THE AIR PRESENTS "THE FEMININE TOUCH" Star-Tone Records ST-205 side one Reckless - Jean Harlow Comedy Skit - Marilyn Monroe La Vie en Rose - Marlene Dietrich, Bing Crosby Scene from "Private Lives" - Vivien Leigh, Laurence 01ivier Medley of film songs (from 12/24/37 Hal Kemp show) - Alice Faye Oscar acceptance speech - Ingrid Bergman Then It Isn't Love - Carole Lombard My Heart Tells Me - Betty Grable Truckin' - Martha Raye Never in a Million Years - Ann Sothern side two Alone - Bebe Daniels Road to Morocco parody - Dorothy Lamour, Crosby, Bob Hope Isn't This a Lovely Day - Ginger Rogers Scene from "History Is Made at Night" - Greer Garson, Charles Boyer I Don't Know Why - Lauren Bacal1, Crosby Scene from "Dark Victory" - Bette Davis, Spencer Tracy Here Am I - Irene Dunne Voice of the Firestone Closing Theme - Jeanette MacDonald Comedy skit - Lana Turner, Orson Welles

D31 HOLLYWOOD STORY

Festival

214

Radio clips from "This Year's Kisses" (ON THE AVENUE). "In Old Chicago" (IN OLD CHICAGO), "You're A Sweetheart" (YOU'RE A SWEETHEART), "Who Stole the Jam?" (SALLY, IRENE, AND MARY).

108

Discography

D32 HOLLYWOOD YEARS OF HARRY WARREN

1930-1957 JJA

Includes "Where You Are" (THE GREAT AMERICAN

D33 LADIES OF BURLESQUE

Legends

Records

BROADCAST).

1000/2

side one The Ladies of the Chorus - chorus includes Adele Jergens, Marilyn Monroe Whose Big Baby Are You? - Alice Faye Cradle Me With a Ha-Cha Lullaby - Grace Bradley Surprise! - Glenda Farrell Put A Little Rhythm In Everything You Do - Miriam Hopkins I've Still Got My Health - Ann Sothern Salome - Virginia O'Brien Love Me - Lee Patrick That's How I Got My Start - Mary Martin Oh Mother, What Do I Do Now? - Lucille Ball Palsy Walsy - Marion Martin I'm Only Teasin' - Constance Moore Eadie Was A Lady - Ann Miller side two Bring On The Girls - The Girls Trap That Wolf - Iris Adrian May I Tempt You with a Big Red Apple? - Betty Grable Lie To Me - Shelley Winters Ev're Baby Needs a Da-da-daddy - Jergens Would You Like a Souvenir? - Ann Sheridan It Ain't Gonna Be You - Jan Sterling The Call Of The Wild - Jane Wyman I Wish I Could Shimmy Like My Sister Kate - Kathryn Grayson Zip - Rita Hayworth, Jo Ann Greer I Got News For You - Nita Talbot Something's Gotta Give - Joanne Woodward I Refuse To Rock and Roll - Cara Williams

D34 LEGENDARY LADIES OF STAGE, SCREEN AND RADIO Harmony KH 32423

Vol. 2

Issued in 1973. Includes LA 1307A version of "Wake Up and Live" (WAKE UP AND L I V E ) .

D35 LILLIAN RUSSELL

Caliban

6016

Overture Coming Through the Rye - Alice Faye Brighten the Corner Where You Live - Faye, chorus

Discography

109

The Band Played On - Faye My Evening Star - Faye Ma Blushin' Rosie - Faye After the Ball - Faye Adored One - Don Ameche Adored One - Faye Blue Lovebird - Ameche Blue Lovebird - Faye Since He Goes to Church on Sunday - Eddie Foy, Jr. After the Ball (reprise) - Faye, chorus Flip side is MEET DANNY WILSON

D36 LIVE WITH BING CROSBY

D37 MAGIC OF LASSIE

(1952) with Frank

Amalgamated

Sinatra.

214

Pickwick SHM 992

side one When You're Loved - Debby Boone Nobody's Property - Mike Curb Congregation Travelin' Music - Mickey Rooney There'll Be Other Friday Nights - Debby Boone A Rose Is Not A Rose - Pat Boone Banjo Song - Mike Curb Congregation side two Nobody's Perfect - Instrumental A Rose Is Not A Rose - Alice Faye That Hometown Feeling - James Stewart Brass Rings and Daydreams - Debby Boone Thanksgiving Prayer - James Stewart I Can't Say Goodbye - Mike Curb Congregation When You're Loved (reprise) - Debby Boone Note: This British issue features Faye's "A Rose is Not A Rose," which is not on U.S. or Japanese editions.

D38 MAGICAL SONGS OF Records 60-5256

IRVING BERLIN

Book of the Month

Includes "I've Got My Love To Keep Me Warm" D39 MISS ALICE FAYE SINGS THE RARE ONES Love Somebody Medley

(ON THE

Wong EC IF 087

10/17/48

(TV - "Dean Martin Show," 2/1/68):

Give My Regards to Broadway I Don't Care

AVENUE).

110

Discography By the Light of the Silvery Moon Darktown Strutter's Ball Medley (TV - "Dean Martin Show," 9/67): You'11 Never Know Rose of Washington Square Sing, Baby, Sing I've Got My Love To Keep Me Warm Medley (TV - "Red Skelton Show," 1/22/63): After the Bal1 The Band Played On Slumming On Park Avenue Kraft Music Hall, (TV, 2/14/68): Ragtime Cowboy Joe My Funny Valentine There's A Lull In My Life (4/30/37) "Hollywood Palace," (TV, 2/18/67,): Mame "Hollywood Palace," (TV, 2/18/64): Hello Dolly

Note: Same as THE ALICE FAYE SONGBOOK (Amalgamated 146).

D40 MORE HITS FROM "YOUR HIT PARADE" VOL. 7 (various artists)

CBS P16940

Includes LA-1242-B version of "I've Got My Love to Keep Me Warm" (ON THE AVENUE).

D41 MUSIC MAESTRO PLEASE

Star-tone ST 210

D42 MUSIC, MUSIC, MUSIC (RADIO PERSONALITIES OF THE AIR: ALICE FAYE) Take Two 302 Music, Music, Music You Told A Lie Let's Take An Old Fashioned Walk Rhode Island Is Famous For You Rain They All Laughed Clancy Lowered The Boom You Were Meant For Me

Discography

111

Baby It's Cold Outside - with Phil Harris You're the Cream In My Coffee Dear ie I'm Just Wild About Harry WiIhelmina I've Got My Love To Keep Me Warm My One And Only Highland Fling Stay With The Happy People All songs originally broadcast on the Phil Faye radio show.

D43 ON THE AVENUE

Harris-Alice

Hollywood Soundstage 401

side one Overture He Ain't Got Rhythm - Alice Faye, Ritz Brothers, chorus The Girl on the Police Gazette - Dick Powell, chorus You're Laughing at Me - Powell, Madeline Carroll This Year's Kisses - Faye side two I've Got My Love to Keep Me Warm - Powell, Faye Slumming On Park Avenue - Faye, Ritz Brothers, chorus You're Laughing at Me; Ochye Tchornia (Dark Eyes) Powell, Ritz Brothers This Year's Kisses (reprise) - Faye Finale (Slumming On Park Avenue) - Powell, Faye, Carroll, Sig Ruman, Ritz Brothers, Billy Gilbert, chorus

D44 PHIL HARRIS - ALICE FAYE SHOW

Radio Archives LP 101

Two complete radio broadcasts from 1/30/49

and

6/5/49.

D45 PHIL HARRIS - ALICE FAYE RADIO SHOW Radiola MR Episode from

1098

10/3/48 broadcast.

D46 PUTTIN' ON THE RITZ - ALL TIME FAVOURITES OF STAGE AND SCREEN Saville SVL 188 (England) Includes "According to the Moonlight" (GEORGE WHITE'S SCANDALS).

1935

112

Discography

D47 ROSE OF WASHINGTON SQUARE

Caliban 6002

side one Pretty Baby - Al Jolson I'm Sorry Dear - Alice Faye Vamp - Faye, chorus Rockabye Your Baby with a Dixie Melody - Jolson Toot Toot Tootsie - Jolson I'm Just Wild About Harry - Faye California Here I Come - Jolson I Never Knew Heaven Could Speak - Faye Rose Of Washington Square - Faye, chorus Mammy - Jolson My Man - Faye Flip side is the soundtrack to FOOTLIGHT SERENADE with Betty Grable.

D48 SALLY,

IRENE AND MARY

(1942)

Caliban 6031

Overture Half Moon on the Hudson - female chorus Got My Mind On Music - Alice Faye As Sweet as a Song - Tony Martin (Unidentified) - Raymond Scott Quintet I Could Use A Dream - Faye, Martin This Is Where I Came In - Faye Dark Eyes - comic instrumental Who Stole the Jam? - Faye, Joan Davis, Marjorie Weaver (Unidentified) - Jimmy Durante Help Wanted: Male - Davis Half Moon on the Hudson/Finale - cast Flip side is a Doris Day musical, TEA FOR TWO

D49 SALUTE TO THE HOLLYWOOD CANTEEN

Stanyan

(1950).

1006

Includes "You'll Never Know"/"No Love, No Nothin'" medley (R9 6029).

D50 SILVER SCREEN STAR SERIES: ALICE FAYE Scarce Rarities 5502, Curtain Calls CC100-3 side one Foolin* with the Other Woman's Man (NOW I'LL TELL) Oh I Didn't Know You'd Get That Way (GEORGE WHITE'S 1935 SCANDALS) I Feel a Song Coming On (EVERY NIGHT AT EIGHT) with Patsy Kelly, Frances Langford Music is Magic (MUSIC IS MAGIC))

Discography

113

Whose Big Baby Are You? (KING OF BURLESQUE) I Love To Ride the Horses (KING OF BURLESQUE) When I'm With You (POOR LITTLE RICH GIRL) You Gotta Eat Your Spinach, Baby (POOR LITTLE RICH GIRL) My Fine Feathered Friend (YOU'RE A SWEETHEART) This Is Where I Came In (SALLY, IRENE & MARY) In Old Chicago (IN OLD CHICAGO) side two Now It Can Be Told (ALEXANDER'S RAGTIME BAND) International Rag (ALEXANDER'S RAGTIME BAND) with Jack Haley, Chick Chandler Are You In The Mood For Mischief? (TAIL SPIN) My Man (ROSE OF WASHINGTON SQUARE) There'll Be Other Nights (BARRICADE) - cut before release. Blue Lovebird (LILLIAN RUSSELL) You Say The Sweetest Things (TIN PAN ALLEY) with John Payne, Jack Oakie America, I Love You (TIN PAN ALLEY) with John Payne, the Roberts Brothers, the Brian Sisters The Grizzly Bear (Hello, Frisco, Hello) with June Havoc, Jack Oakie Why Do They Always Pick On Me (HELLO, FRISCO, HELLO) Hello, Frisco, Hello/You'll Never Know/Finale (HELLO, FRISCO, HELLO) with Payne

D51 SING, BABY, SING

Caliban

6029

Overture Music Goes Round and Round - Ritz Brothers When Irish Eyes Are Smiling - Ritz Brothers Finiculi, Finicula - Ritz Brothers Sing, Baby, Sing - Faye Comic routine - Ritz Brothers You Turned The Tables On Me - Faye Love Will Tel 1 - Faye Tiger Rag - orchestra When Did You Leave Heaven - Tony Martin I'm Shooting High - Patsy Kelly You Turned the Tables On Me - Faye Soliloquy - Adolphe Menjou Sing, Baby, Sing - Faye Flip side is WABASH AVENUE, a 1950 Betty Grable musical

D52 STATE FAIR

Dot DLP 29011

side one Overture and Main Title, Our State Fair - Pat Boone, Alice Faye, Tom Ewell, chorus It Might As Well Be Spring - Anita Gordon

114

Discography That's For Me - Boone More Than Just A Friend - Ewell Isn't It Kinda Fun - Ann-Margret, David Street side two Willing and Eager - Boone, Ann-Margret Never Say "No" - Faye It's A Grand Night for Singing - Bobby Darin, Boone, Gordon This Isn't Heaven - Darin The Little Things in Texas - Ewell, Faye, kids chorus Our State Fair Finale - chorus

D53 THAT NIGHT

IN RIO

Curtain Calls

100/14

See D60. D54 THE THIRTIES GIRLS ON THE AIR

Totem

1026

Can't Help It/Sweet & Hot/A Little Hotcha Gertrude Niessen I Surrender Dear - Ethel Merman I've Got A Cousin In Milwaukee - Lyda Roberti Stormy Weather - Ethel Waters Sittin* Up Waiting For You - Alice Faye (12/21/33) When You Love Only Once - Libby Holman Body & Soul - Katherine Perry & Earl Hines Lost My Man/Pardon My Southern Accent - Ella Logan Time Was/Dream Ship - Josephine Baker It's Love I'm After/For Sentimental Reasons - Mildred Bai1ey

D55 THOSE BOMBASTIC BLONDE BOMBSHELLS BGMM42 (various artists)

Wallysrite

From Hal Kemp's 12/24/37 broadcast, "This Years's Kisses," "There's A Lull In My Life," and "You Can't Have Everything" medley.

D56 THOSE WONDERFUL GIRLS OF STAGE, SCREEN, and RADIO SN 6059/BSN 159

Epic

Includes LA 1307-A version of "Wake Up and Live" (WAKE UP AND LIVE). D57 THOSE WONDERFUL GUYS AND GALS OF STAGE, SCREEN, AND RADIO, VOL. 2 Harmony KH 32423

Discography Includes LA 1307-A version of "Wake Up and Live UP AND L I V E ) .

D58 TIN PAN ALLEY Sountrak STK-10 (Sunbeam

115

(WAKE

Records)

side one Overture K-K-K-Katie (Dixie) - Jack Oakie, John Payne K-K-K-Katie (Hawaii) - Alice Faye, Betty Grable You Say The Sweetest Things - Faye, Payne, Oakie, chorus On Moonlight Bay- Faye Medley: Honeysuckle Rose, Moonlight and Roses Grable, chorus side two America, I Love You - Faye, Payne, Roberts Brothers, Brian Sisters, Four Lady Trumpeters, chorus Goodbye Broadway, Hello France - Oakie Arabian Song - chorus girls (danced by Princess Vanessa Ammon, Billy Gilbert, Nicholas Brothers) Sheik of Araby - Faye, Grable, Gilbert Finale: K-K-K-Katie - Oakie, Faye, Payne, Grable, John Loder

D59 WAKE UP AND LIVE

Hollywood Soundstage 403

side one Titles It's Swell of You - Condos Brothers, Ben Bernie's Orchestra I'm Bubbling Over - Grace Bradley, Brewster Twins Wake Up and Live - Alice Faye Red Seal Malt - Ben Bernie Quartet I'm Bubbling Over - Condos Brotherss Never in a Million Years - Jack Haley (dubbed by Buddy Clark) Never in a Million Years (reprise) - Bobby Baker, dialogue by Bernie and Winchell side two Wake Up and Live - Haley/Clark Camptown Races - Barnett Parker, chorus Oh, But I'm Happy - Haley/Clark I Love You Much Too Much, Muchacha - Leah Ray, chorus, dance by Joan Davis There's A Lull in my Life - Faye Finale: Wake up and Live - Haley/Clark Never in a Million Years - Faye, Haley/Clark I'm Bubbling Over - Grace Bradley

116

Discography There's A Lull In My Life - Patsy Ned Sparks It's Swell of You - Ben Bernie

D60 WEEKEND IN HAVANA/THAT NIGHT Curtain Calls 100/14

Kelly,

IN RIO

side one Main Title- orchestra Weekend in Havana - Carmen Miranda Weekend in Havana - Siboney, Mama Inez, chorus Rebola a bola - Miranda When I Love I Love - Miranda Tropical Magic - Alice Faye and chorus Romance and Rhumba - Faye, Cesar Romero, chorus The Man with the Lollipop Song - Faye (cut) Tropical Magic - Faye, John Payne The Nango - Miranda, chorus Weekend in Havana Finale - Faye, Miranda, Payne, Romero side two Main Title - orchestra Chica Chica Boom Chic - Carmen Miranda, Don Ameche The Baron is in Conference and Boi Noite - Ameche They Met in Rio - Alice Faye, Ameche Cae Cae - Miranda I, Yi, Yi, Yi, Yi - Miranda Chica Chica Boom Chic - Faye, Ameche (cut) Boa Noite - Faye Finale - Miranda, Ameche, Faye, chorus

D61 YOU CAN'T HAVE EVERYTHING

Titania 508

side one You Can't Have Everything - Alice Faye Instrumental - Orchestra with violin solo Long Underwear - Ritz Brothers The Loveliness Of You - Tony Martin Sing Sing Sing - Orchestra Danger Love At Work - Faye You Can't Have Everything - Ritz Brothers Reprise: I'm Afraid to Dream/You Can't Have Everything - Martin, Faye Please Pardon Us We're In Love - Faye side two You Can't Have Everything - Orchestra and tap dancer Pardon Us We're In Love - Ritz Brothers Finale: Please Pardon Us We're In Love, Faye, Martin Exit Music: You Can't Have Everything end titles Orchestra

Discography

117

Balance of side two are selections from the soundtrack of the DUCHESS OF IDAHO (1950) with Esther Williams.

SINGLES (78rpm):

Recorded September 6, 1933, New York City. Faye accompanied by Rudy Vallee and his Connecticut Yankees: D62 D63

Shame On You BS-77619-1, BB B-5175, ELD 2069, SR S3256, MW 4370 Honeymoon Hotel BS-77621-1, BB B-5171, ELD 2065, SR S-3251 Recorded July 13, 1934, New York City. Faye accompanied by Freddie Martin and orchestra:

D64 D65

Nasty Man (GEORGE WHITE'S SCANDALS) 15421-1 (not issued) Here's the Key to My Heart (SHE LEARNED ABOUT SAILORS) 15422-1 (not issued) Recorded September 26, 1934, New York City. Faye with studio orchestra:

D66 D67

My Future Star MT-13220, 16065-1, Rex 8450 Yes To You MT-13220, 16066-1,2, Perfect 13080, Romeo 2407, Oreole 3033, Banner 33253 Recorded February 26, 1935, New York City. Faye with studio orchestra:

D68 D69

According to the Moonlight MT-13346, Rex 8573, Romeo 2483, Perfect 13125, Oreole 3109, Banner 33379 Oh I Didn't Know MT-13346, 16922-1, Perfect 13125, Faye with studio orchestra:

D70 D71 D72

The Hunkadola (GEORGE WHITE'S 1935 SCANDALS) MT M-13347 I've Got Shoesies, You Got Shoesies (GEORGE WHITE'S 1935 SCANDALS) MT 13403 I Was Born Too Late (GEORGE WHITE'S 1935 SCANDALS) MT 13403 Recorded July 6, 1935, Los Angeles. Faye with studio orchestra:

118 D73 D74 D75

Discography Speaking Confidentially (EVERY NIGHT AT EIGHT) LA-379-B (not issued) I Feel A Song Coming On (EVERY NIGHT AT EIGHT) LA-380, (not issued) Then You've Never Been Blue (EVERY NIGHT AT EIGHT) Br 7512 Recorded January 4, 1936, Los Angeles. Faye accompanied by Cy Feuer and orchestra:

D76 D77 D78 D79

I've Got My Fingers Crossed (KING OF BURLESQUE) MT-603-09, BLA-449-A, Arc 6-03-09, Rex 8779 I Love To Ride The Horses (KING OF BURLESQUE) MT-603-09, LA-450-A, Arc 6-03-08, Rex 8778 I'm Shooting High (KING OF BURLESQUE) MT-6-03-08, BLA-451-A, Arc-08-08, Rex 8778 Spreadin* Rhythm Around (KING OF BURLESQUE) LA-452, ARC 6-03-08, Rex 8879 Recorded December 6, 1936, Los Angeles. Faye with studio orchestra:

D80

Goodnight, My Love (STOWAWAY) LA-1202-A,B, Br 7821, Regal Zonophone Recorded January 24, 1937, Los Angeles. Faye with studio orchestra:

D81 D82 D83

This Year's Kisses (ON THE AVENUE) LA-1240-A, Br 7825, Regal Zonophone G-23108 Slumming On Park Avenue (ON THE AVENUE) LA-1241-B, Regal Zonophone G-23108 I've Got My Love To Keep Me Warm LA-1242-B, Br 7821, Regal Zonophone Recorded March 18, 1937, Los Angeles. Faye with studio orchestra:

D84 D85 D86 D87 D88

Never in A Million Years (WAKE UP AND LIVE) LA 1304-A, BR-7860, Regal Zonophone G-23132 It's Swell Of You (WAKE UP AND LIVE) LA 1305-A, BR-7860, Regal Zonophone G-23132 There's A Lull in My Life (WAKE UP AND LIVE) LA 1306-A, BR-7876, Regal Zonophone G-23141 Wake Up and Live (WAKE UP AND LIVE) LA 1307-A, BR-7876, Regal Zonophone G-23141 Recorded circa 1951, with Phil Harris:

Discography D89

The Letter

119

Victor 20-4124-A

SECTION TWO: DISCOGRAPHY BY CATEGORY OF LPs AND 78s (cross indexed with discography citation)

LP ISSUES - ORIGINAL SOUNDTRACK ALBUMS: MAGIC OF LASSIE STATE FAIR

Pickwick SHM 992 (England) (D37)

Dot DLP 9011 (D52)

LP REISSUES - COMMERCIAL RECORDINGS: ALICE FAYE IN HOLLYWOOD 1934-1937 (1969) Columbia ACL 3068 (D5)

Columbia CL 3068

ALICE FAYE SONGBOOK WONG EC IF 087, Amalgamated 146 see MISS ALICE FAYE SINGS THE RARE ONES (D39)

The following albums feature various artists:

CLASSIC MOVIE MUSICALS OF JIMMY McHUGH

JJA 19825 (D13)

GOLDEN GOODIES FROM THE SILVER SCREEN 154569 (D23)

Columbia SXM

GOLDEN MOMENTS FROM THE SILVER SCREEN

H 30549 (24)

HERE COME THE GIRLS Epic LN 3188 (D28) LEGENDARY LEADING LADIES OF STAGE, SCREEN AND RADIO VOL. 2 Harmony KH 32423 (D34) MAGICAL SONGS OF IRVING BERLIN Records 60-5256 (D38)

Book of the Month

MORE HITS FROM YOUR HIT PARADE VOL. 7

CBS P16940 (D40)

PUTTIN' ON THE RITZ - ALL TIME FAVOURITES OF STAGE AND SCREEN Saville SVL 188 (England) (D46) SALUTE TO THE HOLLYWOOD CANTEEN Stanyan 10066 (D49) THOSE WONDERFUL GIRLS OF STAGE, SCREEN, AND RADIO SN 6059/BSN 159 (D56)

Epic

120

Discography

THOSE WONDERFUL GUYS AND GALS OF STAGE, SCREEN, AND RADIO Columbia P 412964 (D57)

LP ISSUES - ORIGINAL STUDIO SOUNDTRACK RECORDINGS (FROM STUDIO DISCS): ALICE FAYE AND THE SONGS OF HARRY WARREN (D3)

CT 6004

ALICE FAYE, Vol. 1 OUTTAKES AND ALTERNATES (Limited edition, 1985, 1000 pressed) (D7)

AF-1

ALICE FAYE, VOL. 2 OUTTAKES AND ALTERNATES (Limited edition, 1988, 1000 pressed) (D8)

AF-2

The following albums feature various artists:

CHOICE CUTS

Choice Cuts

ST 500-1 (D16)

CUT! OUTTAKES FROM HOLLYWOOD'S GREATEST MUSICALS, VOL. 1 Outtake Records OTF-1 (D16) CUT! OUTTAKES FROM HOLLYWOOD'S GREATEST MUSICALS, VOL. 3 Outtake Records OTF-3 (D17) GIRLS OF THE 30 *s

Pelican LP 122 (D22)

HOLLYWOOD IS ON THE AIR

Radiola 2MR-1718 (D29)

LP ISSUES - RECORDINGS OF SONGS FROM MOVIE SOUNDTRACKS:

ALEXANDER'S RAGTIME BAND EVERY NIGHT AT EIGHT FOUR JILLS AND A JEEP

HS 406 (D1)

Caliban 6043 (D19) HS 207 (D20)

THE GANG'S ALL HERE Classic International Filmusicals CIF 3003, Sandy Hook SH-2009 (D21) HELLO, FRISCO, HELLO HS 5005, Caliban 6005, Sandy Hook SH -2070 (D27) LILLIAN RUSSELL

Caliban 6016 (D35)

Discography ON THE AVENUE

Hollywood Soundstage 401

ROSE OF WASHINGTON SQUARE Hook SH-2074 (D47) SALLY,

IRENE, AND MARY

TIN PAN ALLEY

(D43)

Caliban 6002, Sandy

Caliban 6031

(D48)

SILVER SCREEN SERIES: Curtain Calls (c. Scarce Rarities 5502 (D50) SING, BABY, SING

Caliban 6029

1974)

(D51)

Soundtrack STK 110, Caliban 6003

WAKE UP AND LIVE

Hollywood Soundstage 403

WEEKEND IN HAVANA/THAT CalIs 100-14 (D60)

NIGHT

YOU CAN'T HAVE EVERYTHING

121

(D58)

(D59)

IN RIO Curtain

Titania 508

(D61)

The following albums feature various artists:

CLASSIC MOVIE MUSICALS OF HARRY REVEL (THIRTIES MOVIE MUSICALS OF HARRY REVEL) JJA1981-2D (D14) CLASSIC MOVIE MUSICALS OF RICHARD WHITING JJA Records (D15) HOLLYWOOD YEARS OF HARRY WARREN LADIES OF BURLESQUE

LP

Legends

JJA Records

1000-2

(D32)

(D33)

ISSUES - RADIO AND TELEVISION:

ALICE FAYE ON THE AIR Totem 1011 (1977), Sandy Hook SH2020 (copies from Totem issue) (D6) ALICE FAYE ON THE AIR, VOL. 2 Totem MISS FAYE SINGS THE RARE ONES MUSIC, MUSIC, MUSIC

1032 (1979) (D7)

Wong EC IF 087

(D39)

Take Two TT 302 (1985) (D42)

The following albums are complete radio broadcasts:

122

Discography ALEXANDER'S RAGTIME BAND (Lux Theatre) Pelican LP 132, Demand Performance DP 602 (D2) HAL KEMP AND ALICE FAYE (Music from Hollywood) Radiola 10 (D26) HELLO, FRISCO, HELLO (Lux) Pelican LP 126, Demand Performance DP 605 (D27-see note) THE PHIL HARRIS-ALICE FAYE SHOW (10/3/48) Radiola MR 1098 (D45) PHIL HARRIS-ALICE FAYE Archives LP 101 (D44)

(10/30/49 & 6/5/49) Radio

The following albums feature various artists:

AN IRVING BERLIN TRIBUTE (8/3/38) 1001 (D11) ECHOS OF A CENTURY

Famous Personality

American Red Cross (D18)

HOLLYWOOD IS ON THE AIR Radiola 2MR-1718 (D29) HOLLYWOOD ON THE AIR PRESENTS "THE FEMININE TOUCH" Star-tone ST 205 (D30) LIVE WITH BING CROSBY

Amalgamated 214 (D36)

MUSIC MAESTRO PLEASE

Star-tone ST 210 (D41)

THE THIRTIES GIRLS ON THE AIR

Totem 1026 (D54)

THOSE BOMBASTIC BLONDE BOMBSHELLS Wallysrite BGMM42 (D55)

LP ISSUES - STAGE:

AN EVENING WITH PHIL HARRIS (1979 Concert) Private Pressing (D10) GOOD NEWS - Original Cast Album (1000 pressed, 2 records) Private Pressing; taped during several performances (D25)

Discography COMMERCIAL RECORDINGS (78s):

Shame On You (D62) Honeymoon Hotel (D63) Nasty Man (D64) * Here's the Key to My Heart (D65) * Yes to You (D67) My Future Star (D66) Oh, I Didn't Know (D69) According to the Moonlight (D68) Speaking Confidentially (D73) * I Feel A Song Coming On (D74) * I've Got My Fingers Crossed (D76) I Love to Ride the Horses (D77) I'm Shooting High (D78) Spreadin' Rhythm Around (D79) Goodnight My Love (D80) I've Got My Love to Keep Me Warm (D83) This Year's Kisses (D81) Slumming On Park Avenue (D82) Never in a Million Years (D84) It's Swel1 of You (D85) There's A Lull in My Life (D86) Wake Up and Live (D87) The Letter (D89)

* Not issued.

123

124

Discography

SECTION THREE:

COMPACT DISCS - COMMERCIAL RECORDINGS

The following albums feature various artists: D90

FALLING IN LOVE AGAIN - CLASSIC FEMALE VOCALISTS, '30s. Tall Poppy Transcriptions TQ 155 (1987) (England) "Honeymoon Hotel" (77621).

D91

HOORAY FOR HOLLYWOOD - UNFORGETTABLE MOVIE HITS Tall Poppy Transcriptions TQ 157 (1987) (England) "Goodnight My Love" (LA-1202-B).

D92

I'M READY FOR MY CLOSE-UP - THE HOLLYWOOD LADIES SING, VOL. 1 RCA 8597-2-R (1989) "Oh, I Didn't Know (You'd Get That Way)" (16922-1)

D93

MAKIN' WHOOPEE - FAVOURITES OF STAGE AND SCREEN Tall Poppy Transcriptions TQ 132 (1987) (England) "According to the Moonlight" (1692-1).

SECTION FOUR:

TAPES

D94 ALICE FAYE REEL

Redmond

A collection of Faye commercial recordings from the 1930s, radio shows, songs from STATE FAIR and Good News (stage), and an interview from April 27, 1964.

D95 FLEISHMANN HOUR (NBC RADIO)

Redmond 2429

October 26, 1933 - Fourth Anniversary Broadcast, with Rudy Vallee, Walter Winchell, Lou Holtz, Alice Faye, Hale Bruen, Deems Taylor, George Gershwin, Hall Johnson Choir. November 2, 1933 - Jack McCleeland, Heywwod Broun, Mayor John P. O'Brian, Fiorella H. La Guardia, The Eight Singing Siberians, Conrad Nagle (incomplete program).

Discography

125

November 9, 1933: My Dancing Lady - Richie Craig, Jr. Orchids in the Moonlight Concerto in F - George Gershwin, piano Sittin' Up Waitin' For You - Alice Faye Flying Down To Rio/ Gershwin Medley - Kitty Carlisle Everything I Have Is Yours/The Love Nest" - Jean Dixon, Homer Barton November

16, 1933:

Summer Is Over -Cullens & Peterson) Sitting On A Log Pettin' My Dog/Au Claire de la Lune - Parker Stewart Gather Lip Rouge While You May - Alice Faye Strictly Dishonorable - Margaret Sullivan) Dolly Dimple's Holiday/When I Go Home -Tom Howard, George Shelton

D96 PHIL HARRIS

ALICE FAYE SHOW

Phil & Alice Sign Contract Remley Signs Phil's Contract Phil's Daughter Has A Boyfriend Remley Buys A Steer Phil on Election Committee Phil's Brother-In-Law Phil & Remley's New Drug Remley's Rich Aunt Frankie Babysits Jack Benny As Santa Phil Receives Draft Notice

D97 PHIL HARRIS - ALICE FAYE SHOW Phil Receives Draft Notice Phil Loses Ring Inauguration Day Ball Phil for Fire Chief Phil to Fire Remley Alice Receives Flowers Phil Gets Jury Duty Remley Moves In Wallpapering the Bedroom Remley Gets Job Back Alice's Birthday

D98 PHIL HARRIS - ALICE FAYE SHOW Planning A Vacation

Redmond Reel 1 10/3/48 10/10/48 10/17/48 10/24/48 10/31/48 11/7/48 11/14/48 12/5/48 12/12/48 12/19/48 1/2/49

Redmond Reel 2 1/2/49 1/9/49 1/23/49 1/30/49 2/6/49 2/13/49 2/20/49 2/27/49 3/6/49 3/23/49 3/20/49

Redmond Reel 3 3/27/49

126

Discography Girl Has Crush On Phil At the Circus Dinner with School Principal Phil is Offered Movie Role A Hole in the Wal1 Mother's Day Scott's Party Phil Buys A Boat Family Picnic Phil's Tonsils Exit Remley's Foster Child

D99 PHIL HARRIS - ALICE FAYE SHOW Phil's Hair Turning Gray Alice's New Gown Julius in Love TV Auditions Rewiring the House Phy11 is the Star Woman Wrestler Woman Wrestler Returns The New Dishwasher Community Christmas Tree Phil the Concert Singer Scott's Dog

D100 PHIL HARRIS

ALICE FAYE SHOW

Father's Day Last Show of the Season Phi 1's New Office Remley Buys A Car Ph i1 on Radio Show Back to California Phi 1 Makes A Movie Daughter's Crush Julius Has A Romance Alice Buys A New Car Remley Sees UFO The Easter Bunny

4/3/49 4/10/49 4/17/49 4/24/49 5/2/49 5/8/49 5/15/49 5/22/49 5/29/49 6/15/49 6/12/49

Redmond Reel 4 10/9/49 10/23/49 10/30/49 11/6/49 11/13/49 11/20/49 11/27/49 12/4/49 12/11/49 12/18/49 1/1/50 1/8/50

Redmond Reel 5 6/19/49 6/26/49 9/25/49 10/2/49 2/12/50 2/19/50 2/26/50 3/5/50 3/12/50 3/19/50 3/26/50 4/2/50

D101 SINGING SWEETHEARTS OF THE 1930s PCB Audio cassette #C9216X (various artists) Includes "You Can't Have Everything" EVERYTHING).

(YOU CAN'T HAVE

Discography MISCELLANEOUS: D102

"Happy Happy Dream Bed." AN-8-A

This is a private early 1940s Faye recording with the dedication, "For Tim, especially written for Charles Henderson and his pappy." Henderson was a studio employee at Fox.

127

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Broadcasting RADIO APPEARANCES (as a regular):

BD1

THE FLEISHMANN HOUR (NBC) Also known as THE RUDY VALLEE SHOW, it debuted nationally in 1929 and was one of the pioneering radio institutions until Vallee left the show in 1943. Faye's stint was from 1932 through 1934.

BD2

MUSIC FROM HOLLYWOOD (HAL KEMP) (CBS) July 2, 1937 - December 24, 1937. Sponsored by Chesterfield Cigarettes. Faye was the resident vocali st.

BD3

THE FITCH BANDWAGON (NBC) This series, from 1946-1948, initiated the Harris-Faye family comedy concept that evolved into the Harris-Faye Show in late 1948.

Episode/Featured Faye Song(s) #1 #2 #3 #4 #5 #6 #7 #8

"Goodnight My Love," "They Say That Falling In Love Is Wonderful" "To Each His Own." "This Is Always" "You Can't Have Everything" "Just One Of Those Things" "You're The Top" "You'll Never Know" "Alexander's Ragtime Band"

Air Date 9/29/46 10/6/46 10/13/46 10/20/46 10/27/46 11/3/46 11/10/46 11/17/46

130

Broadcasting

Episode/Featured Faye Song(s) #9 #10 #11 #12 #13 #14 #15 #16 #17 #18 #19 #20 #21 #22 #23 #24 #25 #26 #27 #28 #29 #30 #31 #32 #33 #34 #35 #36 #37 #38 #39 #40 #41 #42 #43 #44 #45 #46 #47 #48 #49 #50 #51 #52 #53 #54 #55 #56 #57 #58 #59 #60 #61

' I Take To You" ''You Say the Sweetest Things, Baby" ''Slumming On Park Avenue" ''They Al1 Laughed" ''You Can't Have Everything, "And So Goodnight" ''Zippity Doo Dan" ''Oh, But 1 Do" '''swonderful" ''I'll Close My Eyes" ''Sooner Or Later" ''The Egg and 1" ''Glocca Mora" ''What Am 1 Gonna Do About You" ''Zippity Doo Dan" ''Everybody Step" ''Apri1 Showers" ''Glocca Mora" ''The Egg and 1" ''If This Isn't Love" ''Why Do They Always Pick On Me" '' 1 Know That You Know" '' 1 Believe" ''Blue Skies" '''swonderfu1" ''In Old Chicago" ''If This Isn't Love" ''Almost Like Being In Love" ''Almost Like Being In Love" ''The Stanley Steamer" ([none) ''They Al1 Laughed" ''Papa, Won't You Dance With Me" ''The Brooklyn Love Song" (with Ph i1 Harr i s) '''swonderfu1" ''Just One Of Those Things" *'The Stanley Steamer" ''If Thi s 1 sn't Love" ''The Best Things In Life Are Free" ''Santa Claus Is Coming To Town" [none) ''Pappa, Won't You Dance With Me" ''Dickie Bird Song" ''That's What 1 Like About The South" ''The Gentleman Is A Dope" ''Shanny O'Shea" ''You Were Meant For Me" ''I've Got A Feeling I'm Falling" ''Exactly Like You" ''I'll Get By" ''Hooray For Love" ''Shanny 0' Shea" ''Dickie Bird Song," "Zippity Doo Dan" ''1 May Be Wrong"

Air Date 11/24/46 12/1/46 12/8/46 12/15/46 12/22/46 12/29/46 1/5/47 1/12/47 1/19/47 1/26/47 2/2/47 2/9/47 2/16/47 2/23/47 3/2/47 3/9/47 3/16/47 3/23/47 3/30/47 4/6/47 4/13/47 4/20/47 4/27/47 5/4/47 5/11/47 5/18/47 5/25/47 10/5/47 10/12/47 10/19/47 10/26/47 11/2/47 11/9/47 11/16/47 11/23/47 11/30/47 12/7/47 12/14/47 12/21/47 12/28/47 1/4/48 1/11/48 1/18/48 1/25/48 2/1/48 2/8/48 2/15/48 2/22/48 2/29/48 3/7/48 3/14/48 3/21/48 3/28/48

Broadcasting Episode/Featured Faye Song(s) #62 #63 #64 #65 #66 #67 #68 #69

BD4

"Pappa, Won't You Dance With Me' "You Turned The Tables On Me" "Alexander's Ragtime Band" "Hooray For Love" "I've Got A Crush On You" "You Were Meant For Me" "I May Be Wrong" "Exactly Like You"

131

Air Date 4/4/48 4/11/48 4/18/48 4/25/48 5/2/48 5/9/48 5/16/48 5/23/48

PHIL HARRIS-ALICE FAYE SHOW (NBC)

Cast: Bill Forman (announcer), Elliott Lewis, Robert North, Jeanine Roose, Anne Whitfeld, Walter Tetley, Gale Gordon. Produced and Directed by Paul Phillip. Written by Ray Singer, Dick Chevi11 at. Music by Walter Scharf. Sponsored by Rexall (1948-1950) and RCA (1951-1954) Episode/Featured Faye Song(s) #1 #2 #3 #4 #5 #6 #7 #8 #9 #10 #11 #12 #13 #14 #15 #16 #17 #18 #19 #20 #21 #22 #23 #24 #25

(none) "It's A Most Unusual Day" "Love Somebody" "Buttons & Bows" "Rhode Island Is Famous For You" "You Were Meant For Me" "A Little Bird Told Me" "Buttons & Bows" "Lavender Blues" "Clancy Lowered The Boom" "Down Among the Sheltering Palms" "Santa Claus Is Coming To Town" "Keep In the Middle Of The Road" "I've Got My Love To Keep Me Warm" "A Little Bird Told Me" "I'm Just Wild About Harry" "If This Isn't Love" "Clancy Lowered The Boom" "Down Among the Sheltering Palms" "Skip To My Lou" "You Was" "I've Got My Love To Keep Me Warm" "Ma Blushin' Rosie" "I've Got the World on a String" "I've Got A Crush On You"

Air Date 10/3/48 10/10/48 10/17/48 10/24/48 10/31/48 11/7/48 11/14/48 11/21/48 11/28/48 12/5/48 12/12/48 12/19/48 12/26/48 1/2/49 1/9/49 1/16/49 1/23/49 1/30/49 2/6/49 2/13/49 2/20/49 2/27/49 3/6/49 3/13/49 3/20/49

132

Broadcasting

Episode/Featured Faye Song(s) #26 #27 #28 #29 #30 #31 #32 #33 #34 #35 #36 #37 #38 #39 #40 #41 #42 #43 #44 #45 #46 #47 #48 #49 #50 #51 #52 #53 #54 #55 #56 #57 #58 #59 #60 #61 #62 #63 #64 #65 #66 #67 #68 #69 #70 #71 #72 #73 #74 #75 #76 #77

"Buttons & Bows" "Johnny Get Your Girl" (none) "Skip To My Lou" "Ma Blushin' Rosie" "I'm In Love With A Wonderful Guy" "Baby, It's Cold Outside" (with Phil Harris) (none) "Johnny Get Your Girl" "My One And Only Highland Fling" "Look At Me" (none) "I'm In Love With A Wonderful Guy" "Baby, It's Cold Outside" (with Phil Harris) "There's Yes, Yes In Your Eyes" "Let's Take An Old Fashioned Walk" "I'm In Love With A Wonderful Guy" "You Told A Lie" (none) "There's Yes, Yes In Your Eyes" "Be Goody Good Good To Me" "You Told A Lie" "Old Master Painter" "Let's Take An Old Fashioned Walk "You're the Cream In My Coffee" (none) "Be Goody Good Good To Me" "I've Got My Love to Keep Me Warm" "Santa Claus Is Coming To Town" (none) "Bye Bye Baby" "I've Got A Crush On You" "They Al1 Laughed" (none) "Bye Bye Baby" "Who Cares" "'swonderfu1" "Rain" "Music, Music, Music" "Clancy Lowered the Boom" "Dear ie" "Bye Bye Baby" "Wi1hemina" "Stay With the Happy People" "Music, Music, Music" "Wilhelmina" "Rain" "Dear ie" "You Were Meant For Me" "Stay With the Happy People" "I'm In Love With A Wonderful Guy" "Who Cares"

Air Date 3/27/49 4/3/49 4/10/49 4/17/49 4/24/49 5/1/49 5/8/49 5/15/49 5/22/49 5/29/49 6/5/49 6/12/49 6/19/49 6/26/49 9/18/49 9/25/49 10/2/49 10/9/49 10/16/49 10/23/49 10/30/49 11/6/49 11/13/49 11/20/49 1 1/27/49 12/4/49 12/11/49 12/18/49 12/25/49 1/1/50 1/8/50 1/15/50 1/22/50 1/29/50 2/5/50 2/12/50 2/19/50 2/26/50 3/5/50 3/12/50 3/19/50 3/26/50 4/2/50 4/9/50 4/16/50 4/23/50 4/30/50 5/7/50 5/14/50 5/21/50 5/28/50 6/4/50

12.

Faye with Phil Harris and their "radio children," Anne Whitfield and Jeanine Roose, 1948. George Ulrich Collection.

134

Broadcasting

Episode/Featured Faye Song(s) #78 #79 #80 #81 #82 #83 #84 #85 #86 #87 #88 #89 #90 #91 #92 #93 #94 #95 #96 #97 #98 #99 #100 #101 #102 #103 #104 #105 #106 #107 #108 #109 #1 10 #111 #112 #113 #114 #115 #116 #117 #118 #119 #120 #121 #122 #123 #124 #125 #126 #127 #128 #129 #130

"You're Just In Love" "Nobody's Chasing Me" "Who Cares" "You're Just In Love" "Alexander's Ragtime Band" "It's A Lovely Day" "The Best Thing For You" "You're Just In Love" "If 1 Were A Bel 1" (none) "I've Got The World On A String" "The Letter" (with Phil Harris) "I Don't Care If the Sun Don't Shine" "Nobody's Chasing Me" "The Letter" (with Phil Harris) "Mamma's On the Warpath" "Getting To Know You" "In the Cool, Cool, Cool of the Evening" "Shanghai" (none) "In the Cool, Cool, Cool of the Evening" "Shanghai" (none) (none) "Getting To Know You" "Undecided" (none) "Undecided" "Santa Claus Is Coming To Town" "Undecided" "Down Yonder" "Shanghai" "Slow Poke" (none) "Down Yonder" "Slow Poke" (none) "Slow Poke" "It's Delovely" "Oops" "Clancy Lowered the Boom" (none) (none) "Oops" "It's Delovely" "Voulez-Vous" (none) "Voulez-Vous" "What Good is a Gal" (none) "What Good is a Gal" "Somebody Loves Me" "Walking My Baby Back Home"

Air Date 2/4/51 2/11/51 2/18/51 2/25/51 3/4/51 3/11/51 3/18/51 3/25/51 4/1/51 4/8/51 4/15/51 4/22/51 4/29/51 5/6/51 5/13/51 5/20/51 9/30/51 10/7/51 10/14/51 10/21/51 10/28/51 11/4/51 11/11/51 11/18/51 11/25/51 12/2/51 12/9/51 12/16/51 12/23/51 12/30/51 1/6/52 1/13/52 1/20/52 1/27/52 2/3/52 2/10/52 2/17/52 2/24/52 3/2/52 3/9/52 3/16/52 3/23/52 3/30/52 4/6/52 4/13/52 4/20/52 4/27/52 5/4/52 5/11/52 5/18/52 5/25/52 10/5/52 10/12/52

Broadcasting Episode/Featured Faye Song(s) #131 #132 #133 #134 #135 #136 #137 #138 #139 #140 #141 #142 #143 #144 #145 #146 #147 #148 #149 #150 #151 #152 #153 #154 #155 #156 #157 #158 #159 #160 #161 #162 #163 #164 #165 #166 #167 #168 #169 #170 #171 #172 #173 #174 #175 #176 #177 #178 #179 #180 #181 #182 #183 #184

(none) "No Two People" "Somebody Loves Me" "Glow Worm" (none) "Walking My Baby Back Home" "No Two People" "Glow Worm" "What Does It Take" "I Saw Mommy Kissing Santa Claus" "Thumbelina" "What Does It Take" "Glow Worm" (none) "It's Delovely" "Thumbelina" "Along Came Love" "No Two People" "Along Came Love" "This Can't Be Love" (none) "Side by Side" "You're Just In Love" (none) (none) "Thumbelina" "This Can't Be Love" "Side by Side" "Somebody Loves Me" "You'll Never Know' "It's Delovely" "You're the Cream In My Coffee" "What Does It Take" "Along Came Love" "You're Just In Love" "This Year's Kisses" "Side by Side" "Bye Bye Baby" (none) "You, You, You" "Hi Lili, Hi Lo" "Honeymoon Express" "It's Delovely" "Keep It Gay" "From This Moment On" "Keep It Gay" "Baby It's Cold Outside" (with Phi 1 Harris) "Glow Worm" (on air miscue) "Honeymoon Express" "Richochet Romance" "Santa Claus Is Coming To Town" (none) "Life Is Just A Bowl Of Cherries" (none)

135

Air Date 10/19/52 10/26/52 11/2/52 11/9/52 11/16/52 11/23/52 11/30/52 12/7/52 12/14/52 12/21/52 12/28/52 1/4/53 1/11/53 1/18/53 1/25/53 2/1/53 2/8/53 2/15/53 2/22/53 3/1/53 3/8/53 3/15/53 3/22/53 3/29/53 4/5/53 4/12/53 4/19/53 4/26/53 5/3/53 5/10/53 5/17/53 5/24/53 5/31/53 6/7/53 6/14/53 6/21/53 6/28/53 9/25/53 10/2/53 10/9/53 10/16/53 10/23/53 10/30/53 11/6/53 11/13/53 11/20/53 11/27/53 12/4/53 12/11/53 12/18/53 12/25/53 1/1/54 1/8/54 1/15/54

136

Broadcasting

Episode/Featured Faye Song(s) #185 #186 #187 #188 #189 #190 #191 #192 #193 #194 #195 #196 #197 #198 #199 #200 #201 #202 #203 #204 #205 #206

"Richochet Romance" "Didja Ever" "Life Is Just A Bowl Of Cherries" "Dija Ever" "Richochet Romance" (none) "That's What Rainy Days Are For" (none) (none) "Young At Heart" (none) "Didja Ever" (none) (none) "Alexander's Ragtime Band" (none) (none) "Keep It Gay" "Honeysuckle Rose" (none) "It's Delovely" (none)

Air Date 1/22/54 1/29/54 2/5/54 2/12/54 2/19/54 2/26/54 3/5/54 3/12/54 3/19/54 3/26/54 4/2/54 4/9/54 4/16/54 4/23/54 4/30/54 5/7/54 5/14/54 5/21/54 5/28/54 6/4/54 6/11/54 6/18/54

GUEST RADIO APPEARANCES:

BD5

SHELL CHATEAU (NBC) 6/22/35 - with Al Jolson, James Cagney.

BD6

CAMEL CARAVAN

BD7

SHELL CHATEAU (NBC) 6/13/36 - with Al Jolson.

BD8

KRAFT MUSIC HALL (NBC) 1936 - with Bob Burns.

BD9

CAMEL CARAVAN/JACK OAKIE (CBS) 9/22/36

BD10

HOLLYWOOD HOTEL (CBS) 12/18/36 - promoting Fox's ONE IN A MILLION. 3 other appearances through 1938.

BD11

CAMEL CARAVAN/JACK OAKIE (CBS) 12/29/36

(CBS) 3/16/36

Broadcasting (KHE)

137

BD12

LISTEN LADIES

1936

BD13

JERGENS PROGRAM (NBC) 1937 - Faye with Walter Winchell, promoting WAKE UP AND LIVE.

BD14

CAMEL CARAVAN/JACK

BD15

BEN BERNIE AND ALL THE LADS (NBC) 4/37 - Faye songs "There's A Lull in My Life."

BD16

TRIBUTE TO EDDIE CANTOR

BD17

TEXACO SHOW (CBS) 12/29/37 - with Eddie Cantor, Tony Martin; Faye sings "Night and Day."

BD18

CAMEL CARAVAN/JACK

BD19

TRIBUTE TO IRVING BERLIN "Now It Can Be Told."

BD20

MAXWELL

BD21

EDGAR BERGEN "Everybody's

BD22

PRESIDENTIAL BIRTHDAY SALUTE

BD23

MAXWELL HOUSE/GOOD NEWS (NBC) 9/1/39 - Faye sings "So Help Me."

BD24

MAXWELL HOUSE/GOOD NEWS (NBC) 1/25/40 - preview of LITTLE OLD NEW YORK.

BD25

RUDY VALLEE REUNION

BD26

LUX RADIO THEATRE (CBS) 6/3/40 - hosted by Cecil B. DeMille. "Alexander's Ragtime Band." With Ray Mil land and Robert Preston; Faye sings "Alexander's Ragtime Band,""Now It Can Be Told,""Blue Skies,""What'11 I Do?,""Remember."

BD27

LUX RADIO THEATRE

OAKIE (CBS) 3/16/37

OAKIE

10/28/37

2/8/38 (CBS) 8/3/38 - Faye sings

HOUSE/GOOD NEWS (NBC) 9/1/38 (NBC) 10/2/38 - Faye sings Laughing." (NBC) 11/19/38

3/1/40

(CBS) 10/21/40 - "Lillian

138

Broadcasting Russell," with Edward Arnold and Victor Mature. Faye sings "Comin' Through the Rye,""After the Ball,""Ma Evenin' Star,""Adored One."

BD28

LUX RADIO THEATRE (CBS) 1/6/41 - "Vivacious Lady," with Don Ameche. Faye sings "There I Go" (obscured by dialogue).

BD29

GULF SCREEN GUILD THEATRE (CBS) 1/26/41 - "If Only She Could Cook," with Humphrey Bogart, Herbert Marshall.

BD30

THE MIKADO (WOR) 2/8/41 - for Greek War Relief.

BD31

JACK BENNY SHOW (NBC) 11/23/41 - Faye sings "Tropical Magic."

BD32

LUX RADIO THEATRE (NBC) 2/9/42 - "City for Conquest," with Robert Preston.

BD33

NBC 20th ANNIVERSARY circa 1947 - Faye sings "You'll Never Know."

BD34

JACK BENNY SHOW (NBC) 12/28/47

BD35

STARS OVER HOLLYWOOD

BD36

HORACE HE IDT PROGRAM (KFI) 1/2/49

2/28/48

BD37

FIBBER McGEE & MOLLY 15th ANNIVERSARY PROGRAM (NBC) 9/16/49

BD38

SUSPENSE (CBS) 5/10/51 - "Death on My Hands," with Phil Harris.

BD39

ALL STAR MARCH OF DIMES (NBC) 1/30/52 - with Phil Harris.

BD40

RCA 35th ANNIVERSARY (NBC) - with Phil Harris.

SPECIAL BROADCASTS:

Broadcasting

139

BD41

COMMAND PERFORMANCE #41 (Armed Forces Radio Service) 11/10/42 - Faye sings "Alexander's Ragtime Band."

BD42

COMMAND PERFORMANCE #72 (AFRS) 6/26/43 - Faye sings "You'll Never Know."

BD43

COMMAND PERFORMANCE #80 (AFRS) 8/21/43 - Faye sings "Why Do They Always Pick On Me," "Alexander's Ragtime Band."

BD44

HERE'S TO THE VETS - with Phil Harris.

BD45

SALUTE TO THE RED CROSS - with Phil Harris.

c. 1940s c. 1952

TELEVISION APPEARANCES:

BD46

THIS IS YOUR LIFE (PHIL HARRIS) (NBC) 9/27/57

BD47

THE TIMEX HOUR (NBC) 2/6/59 Faye sings medley from ALEXANDER'S RAGTIME BAND with Phil Harris and Betty Hutton.

BD48

THE ROY ROGERS-DALE EVANS SHOW (NBC) 1962

BD49

THE RED SKELTON SHOW (CBS) 1/22/63 - w/Harris.

BD50

THE PERRY COMO SHOW (CBS) 3/62 Faye sings medley with Como: If I Could Be With You/You Make Me Feel So Young/Rose of Washington Square. Second medley with Como: You Can't Have Everything/When I'm With You/You Turned the Tables On Me/Never In A Million Years/I've Got My Love To Keep Me Warm/You're A Sweetheart/Alexander's Ragtime Band/You'll Never Know/It's the Little Things In Texas/Goodnight My Love.

BD51

THE RED SKELTON SHOW (CBS) 1/22/63 - w/Harris.

BD52

JACK PARR (NBC) 11/8/63

140

Broadcasting Faye sings medley, Rose of Washington Square/You'll Never Know/Alexander's Ragtime Band.

BD53

HOLLYWOOD PALACE

(ABC) 11/14/64

Faye sings "Hello, Dol1y,""Alexander's Ragtime Band;" and medley: I've Got My Love to Keep Me Warm/Rose of Washington Square/Everybody's Doin' It. BD54

THE DEAN MARTIN SHOW

(NBC) 11/24/66

Faye sings medley: You Can't Have Everything/This Year's Kisses/You Turned the Tables On Me/When the Midnight Choo-Choo Leaves for Alabam'/International Rag/Hello Dolly. Faye sings "You're A Sweetheart," with Martin; medley: Slumming On Park Avenue/We're A Couple of Swells, with Harris and Martin. BD55

LILT SHAMPOO

(commercial) - circa 1960s.

Rare commercial daughters. BD56

appearance; Faye appears with her

THE HOLLYWOOD PALACE

(ABC) 2/18/67

Faye sings "Mame." Medley with Bing Crosby and Phil Harris: K-K-K-Katy/Hello, Frisco, Hello/Has Anyone Here Seen Ke11y?/Grizz1y Bear/Alexander's Ragtime Band. BD57

THE TONIGHT SHOW

(NBC) 9/67

Faye sings "Hello Dolly." BD58

THE TONIGHT SHOW

(NBC) - circa

late 1960s.

Faye sings "Rose of Washington Square." BD59

THE DEAN MARTIN SHOW

(NBC) 9/67

Faye sings medley: You'll Never Know/Rose of Washington Square/Sing, Baby, Sing/I've Got My Love to Keep Me Warm/By the Light of the Silvery Moon, with Martin and Van Johnson; "You're A Sweetheart" with Martin, Johnson; "Blue Skies," with Martin, Johnson; "Alexander's Ragtime Band," with Martin, Johnson. BD60

THE DEAN MARTIN SHOW

(NBC) 2/1/68

Broadcasting

141

Faye sings medley: Give My Regards to Broadway/I Don't Care/By the Light of the Silvery Moon/Darktown Strutters' Ball; medley: You'll Never Know/Ma Blushin'Rosie, with Martin; "On A Picnic We Will Go, with Martin, Phil Harris. BD61

KRAFT MUSIC HALL

(ABC) 2/14/68

Faye sings "Ragtime Cowboy Joe,""My Funny Valentine;""We're So Thankful for What We've Got,""Don't Fence Me In,""Happy Trails," with Roy Rogers, Dale Evans, Phil Harris; "You Are My Sunshine," with Harris. BD62

THE TONIGHT SHOW

(NBC)

1972

Guest host: Joey Bishop. BD63

THE TONY AWARDS

1974

Faye sings "You're the Cream in My Coffee" with John Payne (from Good News). BD64

THE LOVE BOAT (ABC) 3/29/80 Episode: "Celebration."

BD65

OVER EASY (syndicated) taped

11/30/81

Interviewed by Mary Martin. BD66

NIGHT OF A 100 STARS (ABC) 3/8/82 (taped

BD67

OVER EASY (syndicated) taped

2/24/82)

6/82

Interviewed by Mary Martin. BD68

BOB MONKHOUSE SHOW

(U.K.) 3/13/84

Faye sings "You'll Never Know;" "Hello, Frisco, Hello" with Monkhouse; medley: Hello Dolly/You Say the Sweetest Things, Baby/Rose of Washington Square/I've Got My Love to Keep Me Warm/No Love, No Nothin'/I'm Just Wild About Harry/This Year's Kisses/Alexander's Ragtime Band, with Monkhouse and Danny LaRue.

142

Broadcasting

BD69

LOOKS FAMILIAR (U.K.) 1984 Faye sings medley: Rose of Washington Square/Alexander's Ragtime Band/You Can't Have Everything/Never in a Million Years/You're a Sweetheart/No Love, No Nothin'/You'11 Never Know. Host: Dennis Norton.

BD70

CBS MORNING NEWS

5/84

BD71

HOUR MAGAZINE (syndicated) 9/84

BD72

THIS IS YOUR LIFE (ALICE FAYE) (U.K.) taped 12/5/84

BD73

MORNING SHOW (ABC)

5/85

Interviewed by Regis Philbin. BD74

ROYAL VARIETY PERFORMANCE (U.K.) taped 11/25/85 Faye sings "You'll Never Know."

BD75

IRVING BERLIN'S AMERICA (PBS)

3/86

Faye talks about ALEXANDER'S RAGTIME BAND. BD76

WOGAN

(U.K.)

3/18/87

BD77

HAPPY BIRTHDAY, HOLLYWOOD

5/18/87

"Heroines of the Silver Screen" segment. BD78

MORNING PROGRAM (CBS) 3/30/87

BD79

AMERICAN MOVIE CLASSICS (cable)

BD80

ENTERTAINMENT TONIGHT (syndicated)

taped 12/14/87 2/4/89

Interviewed by Leonard Maltin. BD81

61st ACADEMY AWARDS (ABC) 3/29/89 Faye escorted briefly to "Alexander's Ragtime Band."

Broadcasting

143

PUBLIC SERVICE ANNOUNCEMENTS: BD82 U.S. POSTAL SERVICE, 1977 BD83 PFIZER PHARMACEUTICAL, 1985

ADDENDUM (RADIO):

BD84

TONIGHT IN HOLLYWOOD (CBS) "Sauce for the Goose," Faye with Tyrone Power, Ethel Merman.

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Stage S1

GEORGE WHITE'S SCANDALS (Eleventh Edition) A revue in two acts and twenty-five scenes. Opened September 14, 1931 at the Apollo Theater, New York. 202 performances. Sketches by George White, Lew Brown, Irving Caeser. Songs by Lew Brown and Ray Henderson. Settings by Joseph Urban. Costumes by Charles LeMaire. Produced and Staged by George White. Cast: Rudy Vallee, Everett Marshall, Peggy Moseley, Alice Frohman, Ethel Barrymore Colt, Joanna Allen, Ethel Merman, Ray Bolger, Loomis Sisters, Ross McLean, Lois Echart, Willie and Eugene Howard, Gale Quadruplets, Barbara Blair, Jane Alden, Joan Abbott, Fred Manatt and "The Most Beautiful Show Girls on the Stage:" Renee Johnson, Cornelia Rogers, Mae Slattery, Jacqueline Feeley, Inez DuPlessis, Anne Morgan, Peggy Ring, Julia Gorman, Mary Ann Carr, Patricia Howard, Margaret Heller, Hazel Nevin, ALICE FAYE, Marian Thompson, Adelaide Raleigh, Ethel Lawrence, Joan English, Myra Gerald, Beth Foth, Betty Allen, Dorothy Daly, Patsy Clarke, Gay Delis, Rose Collins, Dorothy Keene, Gay Hill, Gloria Mossman, Gloria Pierre, Hilda Knight, Florence Johnson Orchestra directed by Al Goodman.

Notes: New York Times critic Brooks Atkinson, in his review of September 15, 1931, lauded virtually everything about the show. Of the chorines, Faye, among them, Atkinson says, "They sing, they dance, and they look good-natured in

13.

Rudy Vallee and his bevy of sweethearts in the 11th stage edition of George White's Scandals, 1931. Faye is at the extreme left, top row. George Ulrich Collection.

Stage

147

the bargain." Scandals subsequently toured for several months before disbanding in Chicago in the spring of 1932.

S2

GOOD NEWS Opened at the Colonial Theatre, Boston, on December 23, 1973. Toured in Toronto, Chicago, Philadelphia, Chicago, Los Angeles, and San Francisco until Broadway opening on December 26, 1974, St. James Theater, where it ran 51 previews and 16 performances, closing January 4, 1975. Total performances (including tour): 415. Original production opened September 6, 1927 at the 46th Street Theatre and ran for 551 performances. Broadway Credits: Presented by Harry Rigby and Terry Allen Kramer. Book by Lawrence Schwab, B.G. DeSylva and Frank Mandel. Words and Music by DeSylva, Brown & Henderson. Adapted by Gary Marshall. Directed by Michael Kidd (replacing Abe Burrows after tour). Cast Professor Kenyon Bi 1 1 Johnson Tom Marlowe Beef Saunders Bobby Randal 1 Pooch Kearney Flo Millie Babe O'Day Windy Slats Sy 1 vester Connie Lane Muffin Colton Player *

Al ice Faye Gene Nelson * Scott Stevenson Joseph Burke Wayne Bryan Stubby Kaye Rebecca Urich Pau la Cinko Jana Robbins Terry Eno Jimmy Brennan Tommy Bres 1 in Marti Rolph Margaret Ernie Pysher

Played by John Payne during previews and pre-Broadway tour.

Musical Numbers: Overture, "He's A Ladies Man," "The Best Things In Life Are Free," Just Imagine*," "Happy Days," "Button Up Your Overcoat*,""Lucky In Love," "Tait Song," "Today's the Day," "Girl of the Pi Beta Phi," "Good News," "Keep Your Sunny Side Up*," "Life Is Just A Bowl of Cherries," "The Professor and the Students," Finale.

14.

Back on stage in 1974 in Good News, with Stubby Kaye (left) and John Payne. George Ulrich Collection.

Stage

149

* Songs added to revival. See Discography chapter (D25) for complete Good News song listings. Notes: Though the pre-Broadway tour collected mainly positive reviews, the Broadway critics virtually killed the musical when it opened in New York. It was additional bad news for Faye who had not been pleased with last minute changes in the show prior to its Broadway opening. The Daily News stated, "It wasn't a triumphant arrival...you'd be tired too, if you'd been knocking around the country all year." Of Faye, the New York Times said, "she is not the most animated leading lady...but her light baritone voice is pleasing." The New York Post offered "Faye is invisible as the professor... and speaks uncannily like Lauren Bacall." The only upbeat reviews were from NBC, which said "Faye dances nervously, and yet she is just right for this show...(which) is fast-paced, high spirited, simple, silly, and well done." Women's Wear Daily said, (It's) a perfect example of Broadway musical showmanship we too seldom see." The summer following its brief Broadway run, Alice Faye teamed with Don Ameche for a tour of Good News. made up of mainly theater-in-the-round outposts and tents.

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Annotated Bibliography B1

"Alice Faye and Phil Harris: Radio's Happy Look, September 27, 1949, p. 82.

Family."

In a mainly pictorial layout, several photos track the progress of a working week for the Harris-Faye radio show, a show which "16,000,000 NBC listeners eat up." Photos include Faye at a script conference, knitting argyle socks during rehearsals, and at the microphone during broadcast time. Family related photos also show her by a poolside with her husband and children. B2

"Alice Faye At Wedding Of Stand-in." New York Herald Tribune, January 23, 1938.

Faye attends wedding of movie stand-in Helene Holmes, at Los Angeles's City Hall. B3

"Alice Faye Back On Runway." Newsday 26, 1964.

( N Y ) , October

The runway being the stage of "The Hollywood Palace," an ABC variety series and one of Faye's rare television excursions. Faye claims she is there only because her husband, Phil Harris, "likes to see her keep her hand in the entertainment scene." Faye states how she prefers life in Palm Springs playing golf and of being dismayed by the smog looming on the horizon from Los Angeles. Photo shows Faye singing on "The Hollywood Palace" in Lillian Russell-type raiment, a happy echo of her halcyon days at 20th Century-Fox. B4

"Alice Faye Banned From Radio." New York Times. February 22, 1939.

Studio head Darryl F. Zanuck buys out Faye's radio contract in response to pressure from motion picture exhibitor's who only want film stars to "give their talents to film only." Note: Faye was back on the air the following year.

152 B5

Bibliography "Alice Faye Changes Name." The New York Amer ican, December 7, 1935.

Article relates how, after the recent death of her father, Alice Faye put forth a legal petition giving up her family name of Leppert, stating that she has been known as "Alice Faye" since age thirteen, when she began performing. "Today, Supreme Court Justice Shientag granted her petition," it concludes. B6

"Alice Faye Chauffeured to Wrong Town." Linton Daily Citizen (IN), November 20, 1987.

Faye, on a lecture tour in Florida on behalf of Pfizer Pharamceutical, disappoints 600 aging fans at a retirement community south of Tampa when Faye's chauffeur mistakenly drives her forty miles off course to Sarasota. The retirees "stuck around" for two hours waiting for Faye until her appearance was cancelled. B7

"Alice Faye Helps Celebrate Older Americans Month." Linton Daily Citizen, April 26, 1988.

During a state conference on aging (B11), Faye finds time to comment on her former career as a musical star, waving that episode off as "all so hectic...heavens, this is hectic enough for me" as she gestures towards a tv camera. Faye's finds current day Hollywood "run down," and admits she doesn't watch many movies anymore, preferring the "quiet...different" world she chose after her years of stardom. As for her current days, Faye says her secret to aging happily is to "find something to do every day that interests me." B8

"Alice Faye Hurt." New York Times, July 8, 1937.

Faye suffers a "bruised back and possible internal injuries" during the filming of a musical number. The article states that Faye stepped off a platform and caught her heel on the long train of her dress. She was unconscious for twenty minutes. B9

"Alice Faye

111." New York Times, March 7, 1938.

Faye collapses on film set, suffering from B10

"Alice Faye

influenza.

111." New York Times, June 8, 1940.

Alice Faye is reported as recovering satisfactorily from "major abdominal surgery" at a Cedars of Lebanon hospital, after being taken from her Encino home.

Bibliography B11

153

"Alice Faye in Hoosier State Today." L inton Daily Citizen ( I N ) , April 25, 1988.

Faye attends Harris's hometown for a "Healthy Older People" program at the Indianapolis Marriot Hotel, along with state governor Robert Orr. The new state program was initiated to "promote better health, increased independence and longer life for Hoosiers, age 55 and older." Faye spoke on the subject, "Steps towards Healthy Aging." B12

"Alice Faye Lonely." Los Angeles Times, November 17, 1934.

Faye, at this time still considered to be "Rudy Vallee's heart," is quoted as feeling "lonely" at his absence after the filming of GEORGE WHITE'S SCANDALS. B13

"Alice Faye Quits Retirement at 46." New York World Telegram, March 23, 1962.

Faye is quoted as wanting to get back into show business activity, now that her children have grown. She talks of her forthcoming appearance on "The Perry Como Show," and of her new film, STATE FAIR. As Faye puts it, "I just can't sit and rot; I've got to do something." B14

"Alice Faye Returns." New York Morning September 8, 1961.

Telegram,

"I feel like a tourist" says Faye, on her tour of Fox studios during the filming of STATE FAIR, after an absence of sixteen years. Faye goes on to relate about the duration of her marriage to husband Harris as being due to a mutual need for privacy about "70%" of the time, with Harris often going on sporting trips with Bing Crosby. B15

"Alice Faye Says Acting Ended." Democrat (OR), September 19, 1949.

Herald

"I owe the studio one picture, but I'm never going to make it; or, I think now, any other picture" Faye is quoted as saying at a "Fibber McGee and Molly cocktail party." Though involved in radio, Faye states her preference for family life, nevertheless letting herself continue to be billed on radio with the phrase,"Miss Faye appears through the courtesy of 20th Century-Fox," which, as the article explains, "gives the impression... she still is a star on the top lists" despite her vow not to return to Fox. The article further digs itself in on this point by adding, "technically (Faye) is a star, but actually she isn't," alluding to the abandoned Fox contract. Faye, however, is content to see her husband appear in WABASH AVENUE with her Fox successor, Betty Grable.

154 B16

Bibliography "Alice Faye Seeks Divorce." New York Post, February 23, 1940.

Faye blames husband Tony Martin's constant time away on the road or in the East, while she remained on the West coast, as a major divorce factor. Martin states "Our separate careers kept us apart." Faye adds "Tony's a grand person, but we simply didn't have a marriage." Faye charged her attorney to sue for divorce, charging incompatibility. Martin did not contest the suit. B17

"Alice Recalls her Faye-vorite Things." New York Daily News, July 24, 1987.

Faye recalls her childhood in Manhattan, and of playfully arguing in 1930's Hollywood with James Cagney, another child of Manhattan, over their respective Manhattan neighborhoods. Faye also makes a somewhat surprising admission that Jackie Gleason once asked her to play Alice Kramden in a possible movie version of "The Honeymooners," but Faye could only imagine Audrey Meadows, the most remembered Alice Kramden, as being the only choice. B18

Alleman, Richard. The Movie Lover's Guide To Hoilywood. New York: Harper & Row, 1985. p. 50.

The Hollywood Palladium at 6215 Sunset Boulevard is recalled as where, among other things, Alice Faye socialized with bandleader Phil Harris. B19

"Already an Actress." Los Angeles Examiner, May 6, 1943.

Faye's daughter, Alice Faye Harris, is christened by Rev. Harley Wright Smith at St. Nicholas Episcopal Church in Encino. Accompanying photo shows Faye and Harris amused at their child's "mugging" for the camera. Article states that Faye was currently appearing in THE GIRLS HE LEFT BEHIND, which is misleading; her current film in release at this time was HELLO, FRISCO, HELLO; probably the title was the working title for Faye's subsequent film that year, THE GANG'S ALL HERE. B20

Ames, Walter. "Desert Outshines TV Glitter for Phil." Los Angeles Times, February 28, 1954.

In an article that pointedly pictures Faye as a 1950s-style domestic vision, Harris is interviewed while Faye, "the ever-lovin' spouse," is seen in the kitchen fixing bacon and eggs. Harris tells her to "hurry up honey, we're hungry." Later, before taking her morning swim, Faye expresses disinterest in tv appearances, saying "I'll stick to keeping house and buying salty bacon. There's enough work around here taking care of Phil and the girls

Bibliography

155

to keep me busy. Besides, radio is hard enough work." Even commuting to Hollywood by train from their home near Palm Springs is becoming a chore for them, with Harris saying that he and his wife can hardly wait to get back the following night after taping the show, which is aired on Sunday. B21

Arce, Hector. The Secret Life Of Tyrone Power. New York: William Morrow & Co., Inc., 1979. pp. 124, 148, 165.

Tyrone Power and Alice Faye's friendship in Hollywood is described; at a 1939 dinner in his honor, Powers toasts Faye for her early faith and encouragement of him when he was an unknown quantity at 20th Century-Fox. Powers also played practical jokes on the set, recording them with his 16mm camera. Supposedly, Faye fell through a breakaway chair set up by him, presumably after he was safely established as a star. Faye is quoted that at the time of her stardom she was generally unaware that the overall quality and scale of musicals made at other studios, such as RKO and Warner Brothers, surpassed anything done at Fox, which she could now more consistently judge during television viewings. B22

Atkinson, J. Brooks. "Including Humor." New York Times, September 15, 1931.

Favorable review of George White's Scandals, a stage revue featuring Rudy Vallee, Ray Bolger and Ethel Merman. Faye is not listed in cast, but she's part of the chorus girl contingent. B23

Aylesworth. Thomas G. History of Movie Musicals. New York: A Gallery Book; W.H. Smith Publishers, Inc., pp. 56-59.

A general recap of Faye's contributions to Hollywood musicals incorrectly lists her original first name as "Ann" (it was always "Alice"), along with the usually disputed birthyear of 1912. B24

Bahrenburg, Bruce. "Film Queen Alice Faye Has A Party." Newark Sunday News, May 2, 1971.

Article briefly reviews Faye's career, and tellingly relates a promotional venture Faye was attending in Manhattan on behalf of the revived publication of Liberty magazine. Writer Bahrenburg notes that Faye, as the main attraction, "seemed almost frightened" by the onrush of reporters, answering questions with poise but evident unease. However, an attempt by a socialite "in hot pants" to upstage Faye supposedly provoked Faye to glare at her and say "It's my party." Faye also received

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Bibliography

an honorary plaque as "Film Star To Remember," for her musicals. Note: The revived Liberty folded not long afterwards. B25

Bailey, Margaret J. Those Glorious, Glamorous Years. Secaucus: Citadel Press, 1982. pp. 162,

Faye is pictured wearing stylish outfits from NOW I'LL TELL, IN OLD CHICAGO and ON THE AVENUE. Author mentions that for a musical number in IN OLD CHICAGO, Faye wore jeweled stockings costing $2,500. The stockings were also used for publicity for ON THE AVENUE, having been further embroidered with butterfly designs. A couple of marriage proposals in 1937 from distant admirers are noted. One was from an Argentinian millionaire who offered to toss in a 500,000 acre ranch and 10,000 head of cattle as a wedding gift if Faye accepted. Then there was a Frenchman who had jewels and a castle in the Alps as part of a matrimonial package. Author concedes that much of the publicity in the newspapers and magazines of the day regarding "glamourous stars and ingenues" were rarely "rock-true;" it didn't seem to matter much to fans anyway. For instance, during the filming of YOU CAN'T HAVE EVERYTHING (1937), Faye supposedly had to eat so much spaghetti during repeated takes in one scene she announced she wouldn't eat another plate of it for two years. The following day the crew gave her a birthday party, topped by by a magnificent white birthday cake--filled with spaghetti. B26

Barnes, Clive. " 'Good News,' for Lovers of the Obvious." New York Times, December 24, 1974.

Unenthusiatic if less hostile critique of Faye's Good News on Broadway, compared to what most other local critics said. Barnes acknowledges the audience as having a very good time, and thinks of Faye as "not the most animated leading lady one has seen...but her light baritone voice is pleasing, and she unquestionably dances with the guts of Ruby Keeler." The choreography of the show (by Michael Kidd, replacing Donald Saddler for Broadway) is praised, and the most "authentic" part of the show is judged the sets, which is appropriate to Barnes since the set designer of the 1927 show also did the sets for the revival. Otherwise, the score of vintage tunes seemed a "mishmash," and the plot and dialogue "terrible."

B27

Barrett. M. July, 1962.

"Alice Faye,

I Love You." Sideshow,

Faye admirer Barrett writes of his youth in the 1930s, when he first saw Faye make an indelible impression on him in a movie whose title he could not recall( based on the song Faye was singing, it was GEORGE WHITE'S SCANDALS).

Bibliography B28

157

Behlmer, Rudy. Hollywood's Hollywood. Secaucus: Citadel Press, 1976. pp. 166-168, 377-379, 418-421

Hoi 1ywood-themed films are surmised, with relevant Faye films described such as 365 NIGHTS IN HOLLYWOOD (1934), made at a time when young Faye was a "rapidly rising commodity on the Hollywood scene," and HOLLYWOOD CAVALCADE (1939), praised for its "fiIm-within-a film slapstick portions." Also listed is WON TON TON, THE DOG WHO SAVED HOLLYWOOD, a 1976 curio which had Faye, and dozens of other vintage performers, on display for a second or two apiece. B29

"Benny and Gang Here Tomorrow." The Nurnberg Post (Germany), August 6, 1948.

Article, from an American military base paper, heralds the arrival of Jack Benny's tour of American army camps in Europe, sponsored by "Special Services, a USO-type program. Tour group includes Phil Harris and Alice Faye. B30

Black, Shirley Temple. Chi Id Star. New York: McGraw-Hill, 1988. pp. 68, 129, 150, 195, 292.

Former tot star Shirley Temple recalls being jealous of Faye during the filming of STOWAWAY (1936), feeling upstaged by Faye's lilting rendition of "Goodnight, My Love," as compared to her own less mature, understandably childlike attempt. Author also admits to selfish annoyance when, during the same production, Faye falls ill to the flu for two weeks and production is suspended. Mention is also made of the strenuous precision tap sequence in POOR LITTLE RICH GIRL (1936), with Jack Haley and Alice Faye, the latter of whom was seen to "grimace" by Temple during its grueling filming. B31

Bladen, Barbara. "You'll Never Know How Much We Love You." The Los Angeles Times, May 20, 1974.

General article is highlighted by Faye's admission that, as a stage performer, "I'm an introvert and often don't hear the applause." She also attributes the success of her marriage to not seeing her husband very often. B32

Bradford, S. "She Never Took A Lesson." Screen Book, May, 1938.

B33

Brady, James. "In Step With Alice Faye." Parade. October 18, 1987.

Brady recounts Faye's career, and interviews her, in which she says her Pfizer-sponsored exercise tips for the aged avoids "that drastic (Jane) Fonda stuff," but instead "just

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Bibliography

walking and keeping moving...if you sit down in that rocking chair you may never get up." B34

Briggs, Colin. "Alice Faye and the Fox Blondes." Hollywood Studio Magazine, January 1988. pp. 26-31.

Career overview mentions Faye turning down many film roles during her retirement from films from 1946 through 1962, including PLEASE DON'T EAT THE DAISIES. The other blondes Faye left at Fox included Betty Grable, June Haver, Carole Landis, Vivian Blaine, Phyllis Brooks and Patricia Knight. B35

B36

"Bubbly, Bouncy and Blonde." Screen Greats. Summer, 1971. Buckley, Michael. "Alice Faye: An Interview." Fi1ms in Review. November, 1982, p. 515-521

Interview in New York after her appearance on "Night Of a Hundred Stars," in which Faye shared a dressing room with Lillian Gish, Jane Russell, June Allyson and Ginger Rogers; stars she said she had never actually met before. Her one regret that night was "not being able to locate Jimmy Cagney. I wanted to see him so badly." Interview also reviews Faye's career extensively, along with Faye correcting conflicting information as to her year of birth. When she left for the west coast in the early 1930s, "I added a few years onto my age; I wanted to be, you know, very sophisticated." B37

Carroll, Harrison. "Alice Faye, Phil Harris Plan to Re-Wed in Galveston." Los Angeles Evening Herald and Express. August 8, 1941

While preparing to leave on a "Stratoliner" to New York, where Harris is playing at the Strand theater, Faye states a second wedding ceremony to Harris is likely to occur in Texas in September. Having just finished WEEKEND IN HAVANA, Faye is eager to use her free time decorating her future home. Note: No reason is given for the second wedding in the article, though it had to do with the first one having taken place before the divorce from Faye's first husband, Tony Martin, was final. B38

"Change Of Singers." New York Post, July 6, 1937.

A review of Faye's debut as new singing star of orchestra leader Hal Kemp's Friday evening radio series. It's a mixed review, saying "She does a good job of supplying the words to the Kemp music, but her work is without startling

Bibliography

159

individuality...Miss Faye is just the girl singing with the band." B39

Cheatham, M. Alice Faye Interview. Motion Picture. February, 1937.

B40

Chierichetti, David. Hollywood Costume Design. New York: Harmony Books, 1976. p. 102.

The efforts of 20-Century Fox fashion designers Gwen Wakeling and Royer to streamline Faye's "Mae West" figure in modern dress are described. B41

Christy, Marian. "Alice Faye Gives Her Secret for Aging." Boston Globe. July 8, 1984.

Faye talks frankly about her attitudes on aging well, saying "Calmness is part of why I'm healthy now." Her early days with Rudy Vallee are also recalled, along with the transistion she embraced from a pampered movie star to a life of less dependency, which included learning to drive a car, among other ordinary skills she never had the time nor need to do before. B42

Connelly, Sherryl. "Close Up: Alice Faye." New York Dai 1v News. September 1, 1985.

Faye talks extensively about her childhood and early show business ambitions on stage, for to her the Broadway stage "meant something...movies didn't." She also describes her leave of Hollywood as the conclusion of working hard for nearly twenty years, saying "I...just had it." B43

Copeland, Elizabeth. "Director Says Alice Faye Most Cooperative Of Stars." Richmond (VA) News Leader. May 14, 1941.

Faye is commended by her director Archie Mayo (The GREAT AMERICAN BROADCAST) for being "altogether reasonable," even when they disagree. "(Faye) realizes" adds the director, "that no matter how good her individual performance...the picture as a whole must tell the story...if it doesn't come up to expectations, the star will suffer... regard!ess of the excellence of one or two of the parts." B44

Crawford, Hildy. "Why Everybody Loves the South." Palm Springs Life, December, 1963.

Though mainly about Phil Harris (described as "a real swinging guy"), Faye's career and early romance with Harris is reviewed. Faye's playing golf at the local

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Bibliography

Thunderbird Country Club is also noted, and a photo of herself with grown daughter Alice. B45

Crosby, John. "Phil Harris Program Praised." Miami Herald. January 31, 1950.

In reviewing the Harris-Faye radio show, the earliest episodes are described as "loud, crude and in decidedly poor taste," owing to the action of the show being "either Phil kissing Alice or both kissing the children" ad finium. The reviewer is pleased to point out that more attention is now being given to the supporting players, and that Faye, "who is not the most vivid of radio performers, has been pepped up a bit." The show is summed up as "unabashed farce," with the reviewer confessing "I'm sorry I said all the harsh things about it ! once did." B46

Cuskelly, Richard. "Alice Faye Plus John Payne: Good News." Los Angeles Herald-Examiner, September 8, 1974.

Exceptional article details Faye's dislike of former studio boss Darryl F. Zanuck; Faye felt Zanuck resented her since she was already an established player before he came to the studio and could not take credit for her. Also, Zanuck allegedly tried to start a feud between Faye and Betty Grable, which came to naught since Faye and Grable genuinely liked each other. After Faye left the studio, she vowed never to work there as long as Zanuck remained, which included, to her mixed regret, turning down THE RAZOR'S EDGE, which would have reunited her with Tyrone Power. Another bad memory of STATE FAIR is recounted, along with happier remarks about her adjustment to performing. Her long absence from home is not a concern, since her grown daughters now have families of their own, and husband Phil is "always in Las Vegas or golfing with pals." Despite her claims of nervousness in similiar articles at this time regarding her return to the stage, she says "I knew I was up to it," despite a gap of 43 years since her last stage engagement, albeit as a member of the chorus. Article ends with the irony that the theater Faye & Payne were then performing in stands on what was once the backlot of 20th Century-Fox, where the two "once danced the conga in WEEKEND IN HAVANA." B47

Dallinger, Nat. Unforgettable Hollywood. New York: Bonanza Books, 1986.

Photo from 1944 shows Faye with Alice Jr. and their pet Belgian Shepard, Wonga. B48

"Daly Diary." Chi cago-Amer ican. May 24, 1967.

Bibliography

161

In a Phil Harris interview, Harris mentions Faye as mostly playing golf at this time. B49

Davis, Victor. "Darling Alice...The Girl We All Adore." Dai 1v Express (London, England), December 2, 1985.

Faye is in London for a "Royal Variety Show," where she sings "K-K-K-Katie" (previously sung in her film TIN PAN ALLEY) before the Queen. Though described as having been one of Hollywood's highest paid actresses, Faye relates that she was never smart at business, admitting she spent much of her top pay of $2,500 a week (in 1940 dollars) supporting her mother and two brothers, one of whom was quite arthritic. Of her image back in the Hollywood days, Faye states "I used to have hysterics when I read about myself in fan magazines," alluding to the exaggerations or outright lies a studio would often use for publicity. However, Faye says her early background was generally given accurate coverage, that of a "Chorus girl, father a policeman, from the tough Hell's Kitchen district of West Manhattan." Faye also does "wicked impersonations" of Joan Collins, Ginger Rogers, Jane Russell, etc.; actresses she saw or shared a dressing room with during a "Night Of A Hundred Stars" tv special three years earlier. Faye also speaks frankly about marriage, advising that, for her anyway, it's enough that she only sees her husband a couple months a year, thereby minimizing having to "lean on each other" or "get a good quarrel going." While her husband would go fishing with Bing Crosby, Faye would go with some friends to London, her favorite city. She concludes by saying "It's been a wonderful life. That great producer in the sky has been awfully good to me. And when He calls me to the set I know there's one person I won't be meeting up there. And that's Darryl F. Zanuck." B50

"Death of Father." New York American. December 5, 1935.

With "unfair publicity" being printed that makes Faye seem negligent in the death of her father (who died alone in New York), this leads to a "reconciliation" with Rudy Vallee, after he and Faye had not written to each other in months. Vallee defends Faye by saying that her father had lived with her until a month before he went back to New York, where he suddenly died at age 49. B51

"Denies Alice Faye Gown Fell Apart At First Wearing." New York World Telegram. September 24, 1941.

Curious article relates how "The Alice Faye Gown Controversy" became a matter of record at a Senate committee hearing investigating alleged propaganda in films. Senator

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McFarland (D., Arizona) interrupted the hearings to read a telegram from a Mr. Fidler, whose wife had a share in the shop where Faye had bought the gown. Fidler had heard that a Fox representative at the hearings said, for reasons the article doesn't fully explain, that the gown in question "fell apart at the first wearing." Fidler disputed the charge, and wanted his telegram put into the record to offset negative publicity for the gown shop. According to the charge, Alice Faye was supposedly "humiliated" by the falling gown, though Mr. Fidler said Miss Faye took 40 days to pay her bill, and "she had ample time to report any faults...if such were needed." B52

Docks, Les. American Premium Record Guide. 3rd Edition. Florence: Books Americana, 1986. p. 86.

"According to the Moonlight,""! Love To Ride the Horses," "I'm Shootin' High," "I've Got My Fingers Crossed," "My Future Star," "Oh, I Didn't Know," "Spreadin' Rhythm Around," "Yes To You," as released on the Banner, Brunswick, Melotone, Oriole, Perfect and Romeo labels in the '30s, are listed as being worth $5-$10 as a collectible. The same songs on the Brunswick label go for $4-7. B53

Dooley, Roger. From Scarface to Scarlett. New York: Harcourt, Brace & Janovich. 1979, 1981. pp. 32-33, 491, 506-507, 515-516.

Dooley describes several of Faye's major films, particularly HOLLYWOOD CAVALCADE and ROSE OF WASHINGTON SQUARE, the latter of which he inaccurately conjectures over why the studio was never sued by Brice for using her life story without permission (Brice did sue and settled out of court). Both CAVALCADE and ROSE are criticized for their careless inauthenticity in depicting 1920s costumes and hair styles, which instead were actually the latest contemporary fash ions. B54

"Drafted." New York Wor1d-Te1egramf August 27, 1941.

Alice Faye is made honorary member of the 57th Pursuit Group at Windsor Locks, Connecticut, while a guest there of officers. B55

Dumont, Lou. "Phil Harris-Alice Faye." Hobbies T March 1982, pp. 58, 69-70

Though primarily about Faye's husband, Faye's radio work with Harris is listed, along with information on the HarrisFaye memorabilia collection housed in a library in Linton, Indiana, Harris's hometown.

Bibliography B56

163

Dunning, John. Tune In Yesterday. Englewood Cliffs: Prentice-Hall, 1976. pp. 479-482.

Extensive description of Harris and Faye's NBC family radio program of 1947 through 1954, including its predecessor the "Fitch Bandwagon." Also details on "Good News 1938" (with 1939 and 1940 seasons to follow), an NBC program Alice Faye guested on. B57

"Earl Wilson." Los Angeles Herald-Examiner, April 25, 1967.

Syndicated gossip columnist Wilson reports that Faye is discussing a possible return to movies. B58

Edwards, Anne. Shirley Temple: American Princess. New York: William Morrow & Co., 1988. pp. 100, 349.

Faye speaks fondly of director Irving Cummings, who directed her and Temple in POOR LITTLE RICH GIRL. Mention is also made of Faye's presence at a Masquers Club gathering in 1978. B59

"Fanny Brice Asks $750,000 in Suit Against Stars." Daily Mirror, July 15, 1939.

Studio,

Alice Faye, along with ROSE OF WASHINGTON SQUARE co-stars Tyrone Power, Al Jolson and others, were named in a suit filed by Brice, charging that the film actually told her own (unauthorized) life story, and was thereby an infringement on her privacy. The article wryly adds "the suit wasn't in the script." B60

Farmer, Mary. "Alice Faye, Gov. Kean Share Spotlight." News Tribune (Woodbridge, N J ) , October 10, 1984.

Looking "enviably slim," Faye, along with Governor Thomas H. Kean, preside over the Governor's Conference on Aging. Faye signed autographs and spoke of the need for regular exercise and non-smoking, admitting that she has "high blood pressure and arthritis, (but) I don't let these stop me from doing things I want to do." Also advocating an "upbeat attitude," she cites her husband Harris as confiding "If I knew I would live this long, I would have taken better care of myself." B61

Farrell, Frank T. "Everything Seems To Happen To Alice Faye--Even Success." New York World-Telegram. January 27, 1940.

Faye recalls a Manhattan stay the previous year, when Faye was vulnerable to a subpoena-happy Fanny Brice, who was

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busy sueing every major participant in ROSE OF WASHINGTON SQUARE, a thinly veiled biography of Brice. Faye's studio "deemed it wise to ship Miss Faye to California on the sly by way of Peoria," by train, a town Faye admits she didn't notice since "I was s1eeping...when I passed through Peoria, so ! didn't see a thing." Currently, Faye was in the Sherry Netherland in Manhattan for a rest, having completed LITTLE OLD NEW YORK, and soon to be starting LILLIAN RUSSELL. Recalling her early days, and how a truant officer never did find her dancing at the Capitol Theater after she quit P.S. 84, Faye admits "I've learned not to plan, not to count on things." Faye adds that whenever she has ever planned things, nothing seemed to go right. "As unassuming a lassie as her first day on the job" says the article, Faye relates her early days in show business, and shrugs about her shyness that is often mistaken for snobbishness. The reporter notes that during the interview Faye "nervously tugged and twisted her handkerchief" underneath the table. B62

"Fashion-Plates." Richmond News Leader (VA). May 27, 1967.

Photo shows Alice Faye, along with Phil Harris and Dean Martin, doing a "musical number about hoboes" on a "Dean Martin Show" rerun on NBC. B63

"Fay Webb Sues Vallee, Naming 3 as Her Rivals." New York Herald Tribune. January 9, 1934.

Alice Faye and two "Jane Does" are listed as correspondents in a divorce suit filed by Vallee's wife, Fay Webb. Vallee is "amazed at her audacity," having separated from Webb almost two years earlier. B64

Faye, Alice. Growing Older, Staying Young. New York: E.P. Dutton. 1990.

Co-written by Dick Kleiner, this is a collection of Faye's thoughts on keeping active and healthy during one's later years, as promoted in talks for Pfizer Pharmaceutical. B65

. "My Jack." Hollywood Studio Magazine. October, 1978. p. 26.

Faye writes a tribute to her former co-star, Jack Oakie, who had died recently. Along with saying what a "lifelong friend" Oakie was, Faye also states her regret over being away at the time of his funeral, where Patricia Morison sang "You'll Never Know" from HELLO, FRISCO, HELLO. She recalls that it was Oakie who was instrumental in matching her with second husband, Phil Harris.

Bibliography B66

165

"Faye Explains To Song Writers." The Daily Mirror, April 22, 1937.

Faye, inundated with unsolicited songs from mostly amateurs, wants it known that she does not choose the songs in her fi1ms. B67

"Fight to Fame." New York World Telegram, 13, 1937.

October

Faye's first major dramatic role in IN OLD CHICAGO is seen as "fairy tale proof" that the road from the chorus line can lead to "dramatic roles without being typed." Article states that Alice Faye picked the name "Faye" from popular entertainer Frank Fay, "for luck," during her early days as a chorus girl. Note: In later years Faye denied this. B68

Finch, Christopher. Gone Hoilywood. New York: Doubleday & Co., Inc. 1979. pp. 187, 259, 325.

in a chapter detailing the political side of Hollywood, Faye is noted as being one of fifty-six stars who signed a 1939 pact requesting a boycott of goods from Nazi Germany. She also spoke on radio in 1940 as part of a "Hollywood for Roosevelt" campaign. In another chapter involving star salaries, Faye's income from films, as derived from her IRS statements, is charted as ascending from $45,500 in years 1935 and 1936 to a peak of $157,958 in 1940. As generous as this sounds, it was a relatively moderate sum compared to other star salaries of the era. Also along business lines, Frank Orsatti is mentioned as being her agent for a time. Along a more cosmetic front, the book also states how the crevices in Faye's teeth were temporarily filled in during her early days at Fox, and when she seemed a likely candidate for further star grooming, her teeth were capped. B69

Gardner, Paul. "Faye and Payne Reunited." New York Times. December 18, 1973.

Faye and her co-star of several musicals, John Payne, team for the stage revival of Good News. for which Faye "is being accompanied on the long tour by her poodle, Cece." B70

Gil-Montero, Martha. Brazilian Bombshell: The Biography of Carmen Miranda. New York: Donald I. Fine. 1989. pp. 120-123, 131-134, 139.

Primary mention of Faye concerns how she, along with other Fox stars Betty Grable and Carmen Miranda, were among the major holdouts who resisted the advances of legendary star seducer Darryl F. Zanuck. B71

Goldbeck, E. Sketch. Motion Picture, July, 1934.

166 B72

Bibliography Goldman, H.G. Jolson: The Legend Comes To Life. New York: Oxford University Press. 1988. p. 231.

Faye refers to Jolson as "an obnoxious boor." B73

"Good News: Alice Faye Returns on Record and On Stage." Stanvan News. Spring, 1974.

B74

Gordon, Shirley. "So Nice To Come Home To." Radio Life, October 20, 1949. pp. 4-5, 32.

"Mrs. Harris," revealed as "the lovely Alice Faye," has her homelife in Encino, California profiled. Faye is seen posing good naturedly around the house, though admitting she suffers severe nervousness when in front of a radio microphone, her main connection with show business at the time. Except for Faye's regret that her children have no snow to enjoy during the wintertime, the reporter is content to say the Harrises "present a perfect picture of young American marrieds, chiding each other with affectionate humor." Harris describes his radio show as a sequence to the (Jack) Benny program: "After I've said 'so long, Jackson', the listener goes right along with me through the corridor of the studio, out the door through the parking lot, down Vine street, and eventually home to Alice and the kids." As to the musical numbers in each program, Harris says "The music is worked in naturally, with no stilted introduction ...orchestral music comes in logically from my car radio or on the radio in the house." Faye adds that "When I found out I was going to have to screech a few notes on the radio every Sunday, I thought I'd better get the piano in good condition." Faye goes on to say that when the piano tuner arrived, he found the piano stuffed with "gum, candy, dolls, even a hard boiled egg!," one reason the children were no longer allowed near it. B75

Graham, Sheila. Col 1ege Of One. New York: Viking Press, 1967. p. 185.

In a 1939 lecture ghostwritten by F. Scott Fitzgerald, Graham's topic, Hollywood, makes mention of "little, inoffensive" Alice Faye as the unfair target of gossips who thought her marriage to Tony Martin was over. As it happened, the marriage ended the following year. B76

. Hollywood Revisited. New York: St. Martin's Press, 1981. pp. 15, 93.

Columnist Graham states that in the late 1930s Faye considered Tyrone Power, his then-wife Annabel la and director Henry King as her only genuine friends within the Hollywood community. Also, Graham mistakenly recalls Faye singing "Sing, Baby, Sing" to Shirley Temple. Temple did not

Bibliography

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appear in the film in which Faye sang that song, though did appear with Faye in two other films that year. B77

she

Greer, Gloria. "'Alice Faye Eyebrows' Are Back." Daily Enterprise (CA), July 31, 1967.

Paris is momentarily caught up with finely plucked eyebrows in the fashion of which Faye popularized during her earliest Hollywood days (though the style of eyebrows also owed about as much to Jean Harlow). The article rather ominously states that "women will have to bleach, pluck, wax, shave and totally reshape the ones they already have." Faye, after being queried if she'd ever return to such a style, commented "Good heavens, no... why, I had to completely shave off my eyebrows." Faye adds that at least her brows grew back, unlike "some girls' eyebrows (that) never grew back at all." B78

"Greeted Upon Arrival." Galveston Daily News (TX), April 20, 1947.

Faye and Harris, along with Marjorie Reynolds and Jack Benny, make the front page together in a photo on their arrival for a benefit to help "victims of the Texas City disaster." B79

Griffith, Richard. The Movie Stars. New York: Doubleday & Co., Inc., 1970.

B80

Guiles, Fred Lawrence. Tyrone Power: The Last New York: Doubleday, 1979. p. 28.

Faye's screen test for B81

Idol.

IN OLD CHICAGO is described.

"Hal Kemp Show."

Variety. July 7, 1937.

Faye's debut on this live radio program falters when Faye starts singing prematurely, forcing her to stop to "take it again" with the Kemp orchestra. Reviewer says it was a "most painful moment for the audience, and must have been for the singer (too)." B82

Hall, G. "Should Women Feel Sorry For Alice Faye?" Si 1ver Screen. March, 1941.

B83

Harrington, Mary. "The Harris Twain." Weekend Magazine, New York Post. June 7, 1947.

Faye, in Manhattan with her husband, who is appearing at the Roxy with Jack Benny, feels homesick for California, particularly after "practically living in (Harris's) cramped

168

Bibliography

dressing room" as she waited for him until 11 p.m. every night for him to finish, so they could go out to dinner. In describing the radio show she and Harris were then doing, Faye surmises "Our (audience) rating didn't go up until I started calling (Harris) names over the air...(but) if I did it at home, it would hurt his feelings, because he's so sweet." Faye is pictured as a dutiful postwar wife and mother, who goes to the movies with her husband every three days when the bill changes at the local movie house, and who prefers to read "popular novels, not heavy stuff." Harris calls their California lifestyle "nice, peaceful living," with Faye's mother visiting about every month. When Harris admits to having "maybe five drinks before dinner, that's all," Faye tactfully suggests he revise that amount for the newspaper; Harris modifies his comment to two drinks before dinner. The article concludes with Harris ("he does most of the talking for the family" says the reporter) stating how a happy marriage depends alot on one's environment, of which "glamourous partying" leads to where Hollywood couples "get selfish, and then they forget how you got to be happy if you want to stay married." Faye adds "Honey, let's stay happy." B84

"Harris, Faye at IU Saturday Night." Linton Daily Citizen (IN), October 19, 1984

Appearing at the "Jubilee Concert of Hoagy Carchmichael Music" at Indiana University, Harris and Faye donate their $5,000 fee to Linton's Phil Harris Scholarship Fund. Harris, having undergone surgery just six weeks before, was in shape to croon "Lazy River" and "Washboard Blues." Faye sang "Ole Butter Milk Sky," also making a duet of "Two Sleepy People" with Harris. B85

Harris, Phil. "The Girl I Married Twice." Radio Stars and Television, January, 1949, p. 33.

In what reads like a ghostwritten piece heavy on Harris's patented breeziness, Harris mentions first meeting Faye at a Manhattan nightclub in 1933, several days after Faye was in an auto accident. According to Harris, "(Faye) had a black eye, fifteen stitches in her forehead and some adhesive tape around one ear...she couldn't hardly open her mouth, even." The next major encounter was seven years later in Encino, California, when Harris, leaving a grocery store with his pet Doberman, met up with another Doberman owned by Faye, who lived in the area. Despite this reacquaintance, more time went by before Harris and Faye were more formally reintroduced at Charlie Foy's in the San Fernando Valley. They were married in Mexico on May 12, 1941, and again on September 22 in Galveston, Texas, which explains the title of the article. However, the article glosses over the fact that a second cermony was required since the first one took place before Harris's divorce from Marcia Ralston was finalized. Instead, Harris and/or the ghostwriter states

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"(Faye) always wanted to get married in this country" as the main reason for the second ceremony. The wisecracking tone of the article is conveyed by a photo which shows Faye and Harris in mock dismay over a huge Burgomeister pipe Harris had bought during an overseas trip. B86

Harrison, P. Interview with Alice Faye. Motion Picture. July, 1934.

B87

Harvey, James. Romantic Comedy. New York: Alfred A. Knopf, 1987. pp. 83, 290.

Harvey's chapter on 1930's comedies among the lower social stratums opens with a description of Faye performing the "Let's Go Slumming" number from ON THE AVENUE (1937, though Harvey says 1936), a number that spoofs social pretense. Elsewhere, Harvey opines that Faye and her Fox co-stars were, as a whole, of a less interesting quality than their rivals at other studios. B88

"Hedda Hopper On Hollywood." The Sun-Baltimore (MD), November 4, 1945.

In a column quoting a contented sounding Faye on her dramatic role in "Fallen Angel," then currently filming at 20th Century-Fox, Hedda Hopper unassumingly prints a cheerful picture of a production that would soon cause Faye to acrimoniously depart Fox (and further movie roles) for sixteen years. Ironically, Hopper mentions Oscar Hammerstein II writing a musical for Faye, which never materialized, though Faye returned in Rodgers and Hammerstein's ill-fated 1962 remake STATE FAIR, which promptly made Faye leave movies again for another sixteen years. Faye is also quoted about her husband, Phil Harris: "All the other men I'd known treated me like a glamor girl who would melt if exposed to daily living, but Phil treated me like a real human being." B89

Heide, Robert. Startstruck!: The Wonderful World of Movie Memorabilia. New York: A Dolphin Book, Doubleday & Company, Inc., 1986. pp. 158-164.

Along with a standard career recap on Faye, her portrait is featured on song sheets and posters, along with a Dixie Cup ice cream lid, a collectible from the late 1930s. B90

Heimann, Jim. Out With The Stars: Hollywood Nightlife in the Golden Era. New York: Abbeville Press, Inc., 1985. pp. 101, 102, 113, 156, 203.

Book mentions Faye investing her name and money to a Hollywood restaurant (co-run by brother Bill) called "The Club Car," which opened January 23, 1941.

170 B91

Bibliography Hemming, Roy. The Melody Lingers On: The Great Songwriters and Their Music. New York: Newmarket Press, 1986. pp. 37, 128, 132, 279-280, 282-285, 309-311, 354.

Extensive amount of information regarding Faye's stylish vocalizing in musicals, and of her unique professional relationship with such songwriting luminaries as Irving Berlin, Harry Warren, among others. Songwriter Jules Styne is mentioned as Faye's arranger and vocal coach at Fox in the late 1930s. B92

Hirschorn, Clive. The Hollywood Musical. New York: Crown Publishing, Inc., 1982.

Faye's films and developing style are compactly summarized with plots, photos and song listings up through MAGIC OF LASSIE. Faye's debut in GEORGE WHITE'S SCANDALS is described as showing her "(having) all the qualities audiences would respond to in her later, more successful musicals." For SING, BABY, SING, Faye's changing appearance is noted with "a new-look Alice Faye...with fuller, more attractive eyebrows taking the place of the plucked, pencilled-in job...and with a softer hairstyle far more in keeping with her warm personality." Her performance in ROSE OF WASHINGTON SQUARE rates as "excellent," though Faye, in the case of LILLIAN RUSSELL, is described by Hirschorn as a dramatic actress of "limited abilities." B93

Hittner, Carol B. "Alice Faye: Still Singing Wake Up and Live." Golden Years. November, 1987, pp. 20-21.

Promotional Pfizer health tips, highlighted with photos of Faye in sunglasses, the "Ambassador for Good Health," doing all sorts of walking, stretching and sitting exercises. B94

Hodenfield, Jan. "Back to Broadway." New York Post. December 21, 1974.

In this article, Faye vividly describes her childhood in Manhattan and her earliest show business days. Of her current Good News stint, she mentions receiving a 22-page letter on backstage life from Debbie Reynolds, who had recently vacated from Broadway in another musical revival, Irene. Faye also received a letter from Jane Powell, regarding the housekeeping of a rented townhouse Powell had given Faye for the duration of her Broadway run, which turned out to be a short stay. Faye also makes the admission that she often doesn't see her husband "for months," which appears to be an agreeable arrangement for the both of them. Faye's transitional days, from top Hollywood star to a low profile practitioner of the domestic life, are also detailed.

Bibliography B95

171

. "Alice Faye Still Tremulous." New York Post, November 13, 1973.

Faye admits being nervous on her first day of rehearsal for the stage revival of Good News, or "just being tremulous again", notes Hodenfield. The "tremulous" tag is explained as originating from an unspecified 1938 film review where Faye was criticized for supposedly being unable to sing or talk without causing her lips to get all trembly to the point of distracting the critic. Faye however speaks confidently of her return, after being encouraged by friends Debbie Reynolds and Joan Blondell. B96

"Hollywood's Children." Life, July

18, 1949.

In an article about the lifestyles of children with "gilded lives" due to famous parents, a photo is shown of Faye's two daughters, Alice and Phyllis, by the gate of their home, testing a microphone where visitors must identify themselves. Another photo shows an "anti-prowler device." A third photo shows the daughters in a "fancy bedroom on the second floor of a separate house built especially for them," and a fourth photo shows little Alice taking a private swimming lesson while "Nurse RoClaire" helps Phyllis with her swimwear. B97

"Homeward Bound." New York Herald Tribune, July 23, 1956.

Alice Faye, with daughter Alice, is pictured at a New York airport ready to head west, after sightseeing in Chicago and New York. B98

Hopper, Hedda. "Studio Regains Alice Faye With 36th Role It Offers Her." Los Angeles Times. November 4, 1945.

Faye finally accepts a script (FALLEN ANGEL) after two years of wading through others, in part to answer her wish for a strong dramatic role. "I became tired of playing those big musicals" Faye admits, plus, she was spending most of her time raising two babies, which Hopper states "She's much more proud of...than all of her screen hits." Of her new domestic life, Faye admits that until she married Harris "she didn't know how to boil an egg." Another Harris influence was for Faye to take up horseback riding, tennis and swimming; relaxation away from work that had long kept Faye "indoors and under electric light." Faye says that Harris was the first man she knew who treated her like a "human being," and not as a glamor girl who would "melt if exposed to daily living." Though Hopper notes that Faye is still essentially a shy person who "squirms while being interviewed," she is obviously someone now who has found personal happiness away from the Hollywood soundstages

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Bibliography

during the past two years. In earlier times, writes Hopper, Faye would play little practical jokes such as hanging Tyrone Power's shoes on a catwalk while he looked everywhere for them, or she'd "sit around in her dressing room chewing the fat" hours after her filming for the day was done. Now, at 6 p.m., she leaves the studio "no matter what gives," back to her daughters and husband in Encino. B99

. "Three Of A Kind." Modern Screen. September, 1944.

"Ace snooper" Hopper visits second-time mother Faye, who proudly shows her "bundle of heaven" as "The real thing; I'd trade all the career stuff in the world for one of their smiles." The nursery in particular is described in meticulous detail. Faye expresses wonder concerning all the toddler gifts her fans have been sending her, making her realize as never before the impact she had on audiences over the years. Faye's described here as "simple, direct, almost elemental a person," and someone who has been "cruelly hurt" by those full of jealousy and competitive dislike, because "she had none of that in her own make-up." According to Hopper, Faye stopped singing for the first time when her father died suddenly, leaving her "numb from shock and grief." An opportunity to play a relatively dramatic role in POOR LITTLE RICH GIRL soon after provided increased concentration and "good medicine" for her grief. Article ends on a bittersweet note as Faye considers a return to the musical screen as a virtual responsibility "to friends she's never met," and, it being 1944, during a time when "(audiences) want to escape back to the days of romance that war and work have blurred for them." B100

Hummel, David. Collector's Guide to the American Musical Theatre: The Shows. Metuchen: Scarecrow Press, inc. 1984. pp. 233-234.

Detailed discography data on the 1973-74 revival of Good News. B101

Ivy, Mark. "Harris, Others, Dazzle Crowd Saturday." Linton Daily Citizen (IN), June 5, 1989.

Alice Faye, one of the "others," attends a ceremony in which she and Harris receive a pair of Doctorate of Performing Arts degrees from Vincennes University President Dr. Phillip M. Summers. The event was staged before the start of the 11th Annual Phil Harris Variety Show in Linton, his hometown. Faye, who left school at fourteen, commented, "I'm very, very proud." Summers noted that the university wanted to award the degrees to Faye and Harris for a long time, but that they never got around to attending a graduation ceremony at the campus. "So," said Summers, "we decided to come to them."

Bibliography B102

173

Johaneson, Miss. "Alice Faye Arrives To Take in All The Shows." DaiIv Mirror (NY), April 7, 1939.

Faye, having recently gone through the Panama Canal during a vacation cruise with her companion and stand-in, Helene Smith, arrives in New York. Sporting a sunburn from the cruise, Faye talks of someday wanting to do a stage show, though, on second thought, cites her stage fright as a mitigating factor. Faye speaks well of frequent co-star Tyrone Power, of whom she says was born at the same hour and day as she, though a year apart. Power to her is "a grand actor...! seem to work with him more smoothly than with anyone else I've ever played opposite." B103

Kahn, Gordon. ""Foran to Punish Son if He Weds." DaiIv Mirror (NY), April 8, 1934.

Kahn reports that aspiring actor John "Nick" Foran, having been "knocking around" with Alice Faye in Hollywood (both were new performers at Fox Studios), is now threatened with disinheritance by his millionaire father if an engagement is announced. The senior Foran, while acknowledging that Faye might be a fine person, is nevertheless dismayed by Faye's controversial publicity in a recent divorce suit in which she was named a correspondent. Article could very well have been a bit of journalistic hyperbole to promote Foran and Faye; Faye's first film had just been released the previous month. B104

Kallen, Jackie. "Here's Good News: Alice Faye is Back." Oakland Press (CA). March 18, 1974.

An interview with Faye, during the pre-Broadway tour of Good News, is conducted on the heels of Faye having returned from a doctor's appointment, where a broken toe of hers was being treated (an accident which occurred in a hotel suite, where Faye tripped over a suitcase while drying her hair after a shower). Faye admits she can still dance, though the broken toe is "like a toothache." Injuries aside, Faye goes on to praise co-star John Payne, along with concise recollections, all of them fond, of former co-stars Jack Oakie, Tyrone Power, Don Ameche and Cesar Romero. Describing herself as "a fatalist," Faye reflects that she may never have made it as big on stage, when young, as in film, which minimizes for her any regrets over not having done more on stage previously. Faye also states, in talking about marriage in general, that women should not depend on their husband when traveling; "Buy your own ticket, carry your own suitcase. It's very important to be independent." Husband Phil Harris though is kindly acknowledged by Faye for treating her to an annual visit to a health spa, which she sees as having directly been responsible for her being in better shape than in her younger days. The insightful article wraps with Faye recalling her three favorite films as being ALEXANDER'S RAGTIME BAND, IN OLD CHICAGO and HELLO, FRISCO, HELLO.

174 B105

Bibliography Kendall, Robert. "Alice Faye May Be Coming Your Way." HQllYWQQd StudJQ Magazine, September, 1988. pp. 27-29.

Faye talks about her Hollywood years and Pfizer activities, during a Pfizer stop in Florida. Asked to define star quality, Faye says "I can't describe it. It's just something you are blessed with when all those wonderful people fall in love with you." Faye also admits she and her husband are fans of another show business couple, Charles Bronson and Jill I re!and. B106

. Alice Faye: Sweetheart of the Musical Cinema." American Classic Screen. November-December, 1976. pp. 8-12.

Faye, back from attending the Tarn O'Shanter Golf Tournament with her husband in Scotland, talks about her early years as a chorus girl in Manhattan, and of Rudy Vallee. Of her Hollywood years, Faye remembers it as "a blur...I can hardly believe ! did them all." Faye also speaks movingly about helping Tyrone Power while he was still an unknown. After Power was dropped from SING, BABY, SING after difficulties with the director, sympathetic Faye took Power to a restaurant in Beverly Hills, assuring him that this setback was only a minor delay in what she felt was his inevitable stardom. Power, soon after as much a star as Faye, never forgot her encourgement. Faye admits their mutual affection for each other made their scenes in a film such as ROSE OF WASHINGTON SQUARE pungent with "genuine emotion and feeling," and that the friendship she shared with others such as Don Ameche and John Payne "made those pictures" through their desire to make it as good a film as possible. Faye also speaks at length about her Good News stint, pleased that some of her young co-stars were now performing in A Chorus Line in Manhattan. When Good News npen&d in Los Angeles after successful engagements in Chicago and San Francisco, a local high school band heralded the opening outside the Schubert Theater. Afterwards, at the Jade West Restaurant, Faye was reunited with past co-stars Dana Andrews, Jack Haley, Rudy Vallee, Jack Oakie and Cesar Romero. Lastly, Faye expresses interest in returning to tv and film "if I could find the right part," including comedy. B107

. "Hello, Frisco, Hello." Hoi 1vwood Studio Magazine, October 1978. pp. 28-29.

In a "special tribute" issue to Jack Oakie, article shows photo of Oakie's former co-star Faye and he talking together at the opening night of Faye's return to the stage in Good News. in 1973. B108

. "Remembering Alice Faye." Hoi 1vwood Studio Magazine. September 1983, p. 16.

15.

Faye as the "Ambassador for Good Health" for Pfizer Pharmaceuticals, 1987. Courtesy of Pfizer Pharmaceuticals.

1 76

Bibliography

Article relates Faye's recent activities, including being interviewed twice by Mary Martin on "Over Easy," and appearing on an episode of "Love Boat," along with she and husband Harris being recently honored in Hawaii for their radio work. Photo shows Faye, circa 1934, getting off train in Los Angeles for her first film. B109

Kleiner, Dick. "Alice Faye Stays Fit, Doesn't Miss Films." Herald-Telephone (IN), December 17, 1987.

Faye's last substantial role in STATE FAIR (1962) is decribed as "historic" since it was "Alice Faye's last role and Ann Margret's first," (actually Ann-Margret's first film was POCKETFUL OF MIRACLES the year before). Of her cameo in MAGIC OF LASSIE (1978), Faye waves it off with her hand. Faye also talks about her Pfizer travels, and of having fun renting video cassettes of "new pictures and old pictures I missed, as well as old favorites." She speaks of Jane Wyman, then of tv's "Falcon Crest," as someone of her age group still busy but not working too hard in front of the camera, a position Faye would still consider if offered.. Of her bygone film career, she states that "some" of it she enjoyed, but otherwise she was "certainly not at a loss without it." Faye says she never really cared for acting and singing very much either. During her return for STATE FAIR, she found whatever "glamor and beauty" she once knew as "gone, or was going." In all, Faye finds contentment in her periodic travels with Pfizer, and of living near Palm Springs on "the edge of her lovely pool." B110

Kobal, John. Gotta Sing. Gotta Dance. New York: Exter Books, pp. 185-186.

Kobal describes Faye's skill at wistful ballads as probable reason why, in so many of her star vehicles, Faye's characters were made to suffer as a cue for another characteristic exercise in poignant vocalizing, something other Fox musical stars of that era would not be as suited for. By comparison, cheery Betty Grable and June Haver were generally not required to shed tears in most of their musicals, and Sonja Henie only had to skate. Kobal points out too that once Faye's stardom was firmly established, and she could carry a film without a top male star in support, her male co-stars were picked from promising newcomers such as John Payne and Richard Greene. If they did well, some were often passed on to Faye's successor, Grable.

B111

Kobal, John. People Wi11 Talk. New York: Alfred A. Knopf, 1985. p. 398.

In a Loretta Young interview, Young relates how Faye loathed" working in films, particularly in wardrobe fittings, in which Faye was very self conscious about her figure. Once, Young says, she even had to comfort Faye, who had been so upset at one fitting that the exasperated

Bibliography wardrobe manager waved Young over for help. Young speaks of Faye as a "warm" and "real" person. B112

177

also

Knickerbocker, Paine. "Alice Faye Is Back." San Francisco Chronicle, May 16, 1974.

Faye is described as "friendly, imperturbable, patient and gracious," and her road tour of Good News is termed a "smash hit," although Faye admits at first she was "petrified" in returning to the performing life. Of her mood now, she says she's simply "doing her thing." B113

Kramer, Regina. "Alice Faye Conjures Up Alot Of Memories." Linton Citizen ( IN), May 27, 1987.

Article mentions that Faye turned down an offer to appear several episodes of tv's "Falcon's Crest." B114

in

Lamparski, Richard. "Whatever Happened To...". 10th series. New York: Crown Publishers, Inc., 1986. pp. 56-57.

With Faye featured prominently on the cover, and singled out rather thanklessly in all the printed advertisements, the book's profile on Faye's relatively low profile includes a brief account of her movie days, and of her current niche as lecturer for Pfizer Pharmaceutical. Recent photo shows her wearing tinted eye glasses at a reception table. B115

Lavine, W. Robert. In A Glamourous Fashion. New York: Charles Scribner & Sons, 1980. pp. 171, 177.

A rare show of Faye temperament is described, when Fox costume designer Travis Banton and Faye clash over a gown. Faye favors sequins, which Banton thinks will make Faye look like "a carnival hooch dancer." Faye ripostes that Dietrich wears sequins. Banton is unmoved, knowing that Dietrich's unique style invents its own rules. Studio head Zanuck reprimands Banton after Faye complains, and the sequins prevai1."Banton disgruntedly leaves Fox not long afterwards. B116

"Liz Smith's Gossip." The September 12, 1984.

Indianapolis Star ( I N ) ,

Faye turns down an eight-part appearance (at $25,000 an episode) as Susan Sullivan's mother on "Falcon Crest." instead, Faye chooses to remain at the bedside of her ai1i ng husband. B117

"Liz Smith's Gossip." The January 31, 1986.

Indianapolis Star (IN),

178

Bibliography

In her last bit of gossip that day, columnist Smith describes Faye's participation in New York at a National Board of Review awards ceremony. Of her movie days, Faye wryly cracks "my voice was always deeper than the plot," with co-stars Don Ameche and Tyrone Power and her making "the same picture six times." Smith also notes Faye planning to wheel a birthday cake on stage at Carnegie Hall two nights later in honor of current stage occupant, Hildegarde. B118

Lloyd, Ann. Illustrated History of the Cinema. New York: MacMillan. 1986, pp. 176-177

In a discourse on the stars of 20th Century-Fox musicals during the 1940s, reigning blondes Betty Grable and Alice Faye are compared, with Faye being described as having a "throaty mezzo... perfect for being soulful and singing melancholy torch songs." The men who starred opposite Grable and Faye in such musicals are summed up as being "merely moral support," though the musicals themselves are viewed as still retaining their vitality today, "when many more pretentious offerings have long since faded." B119

"Love Boat." The Indianapolis Star (IN), February 5, 1980.

Faye, in photograph, is shown being escorted around what's left of 20th Century-Fox's lot by "Love Boat" regulars Fred Grandy and Ted Lange, while she is there to tape a segment. B120

MacArthur, Harry. "Alice Faye Likes Radio Setup." The Sunday Star (D.C,), January 23, 1949.

Article notes Faye's relatively easy radio duties as compared to her hours put in when a film star, and of her children's reactions to their fictionalized counterparts on the Harris-Faye radio program. Mention is made of the couple's fascination with their new "television receiver." B121

MacCullers, M. "Hello, Frisco, Hello." Modern Screen. March, 1943. pp. 40-41, 106.

Faye's loss of significant weight prior production allegedly throws the costume frantic activity as they must refit her wardrobe, which has rippling effects on detai1s. B122

to FRISCO's department into lush and extensive other production

Maines, Jim. "Phil Harris Comes Back Home For Red Carpet Celebration." The Terre Haute Star ClN) f July 4, 1965.

Harris and Faye are honored by "30,000 worry-free partygoers" in Linton, Indiana, where the couple served as

Bibliography

179

grand marshals for the annual Fourth of July parade. Red roses were presented to Faye at the reviewing stand; later she and Harris joined the Mayor for the dedication of a new $72,000 community swimming pool, with the road around the pool being proclaimed as "Phil Harris Parkway." Photo shows Harris and Faye cutting the ribbon for the facility. B123

"Mame." 1967.

The Courier

(Prescott, A Z ) . February

17,

Photo shows Faye as Auntie Mame performing the title song from the Broadway musical Mame on "The Hollywood Palace." Faye, in 1920s sequins and cropped hairstyle, looks notably different from her more sedate Hollywood image of the 1940s. B124

Martin, Martha. "Soon Alice and Phil Will Make It Legal." Sunday News (NY), August 10, 1941

Particular emphasis on Faye's early years in Manhattan, including photos depicting former childhood homes. One photo shows a gas station at the site of her birthplace at West 54th Street and 10th Avenue. Article reviews Faye's rise to fame, Rudy Vallee's divorce suit, and her gradual involvement with Phil Harris. Both Harris and Faye's recollection of their very first meeting in 1933, at the Pennsylvania Roof in Manhattan differ; Harris recalls that Rudy Vallee and Faye came to see him perform there, while Faye states that Harris came to check the place out while she and Vallee had an engagement there. Vallee introduced Faye to Harris, but the two didn't meet again for seven years. By then Faye's marriage to Martin was over, which the article quotes Faye as saying that Martin made her a "golf and hockey widow," and that when she had visited him for his birthday in New York once, Martin was busy playing cards, telling her that she should've married someone else more settled in his ways. Unlike with Martin, the entire Faye clan wholeheartedly approved of Harris as Faye's new husband. Of Faye's family, the article also contains a rare photo showing Faye with her mother and two brothers. Her brother Bill is described as married and working for Nat Goldstone, Faye's agent. Brother Charles is described as being "almost an invalid" and living in Beverly Hills. Of her forthcoming wedding to Harris (the second, after a legally questionable one in Mexico earlier that year), Faye states, "My career for the first time in my life doesn't mean a thing to me."

B125

Martin, Tony and Cyd Charisse (as told to Dick Kliener). The Two Of Us. New York: Mason/Charter, 1976. pp. 60-77.

Martin recalls his early impression of Faye as "not one of these paint-and-powder dolls that were all over Hollywood then. Alice Faye was a person." He first got seriously

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Bibliography

acquainted with her during visits to a local restaurant that Faye would often go to after work, usually in the company of her brother, Bill. Faye would visit Martin at the studio where he was a regular on radio's "Burns and Allen Show." Faye and Gracie Allen got along well together, and they and Martin and George Burns would frequently go out to dinner together. His initial doubts about his being Jewish and her being Episcopalian as obstacles to marriage are detailed, particularly when his hesitation made Faye momentarily seek other company. Martin reports that Faye's brother Charles favored the marriage, but Bill did not. However, Faye's good friend, Betty King, was also on Martin's side, and encouraged Faye. Nevertheless, "The rest of (Faye's) friends bad-mouthed me, and for awhile...! couldn't get near her." Charles finally arranged a meeting with Martin and Faye, in which Martin bluntly declared how strongly he felt about her. The dating resumed, and soon they married in Yuma, Arizona. The difficulties of their bi-coastal show business responsibilities are detailed, with self admitted "big shot" Martin always reminded by others that Faye was always the bigger star, he being occasionally referred to as "Mr. Alice Faye." Martin also explains the gossip and social fallout he experienced when divorce came two years later, blaming in part the rancorous treatment he received from such media oracles as Walter Winchell for hurrying the troubled marriage to its conclusion. Though an emotionally damaging experience for Faye and himself, Martin writes of maintaining a distant, respected friendship with her since then. Many years later, Martin adds, after golfing with Phil Harris, Martin told Harris to give Faye his best. "Do you know Alice?" asked Harris. Then Harris, slightly embarrassed, remembered. B126

McClelland, D. "Good News from Alice Faye." After Dark. December, 1973, pp. 36, 40.

On the eve of her year long tour of Good News. Faye reminesces about Tyrone Power, Don Ameche and Carmen Miranda, but prefers not to talk about Darryl F. Zanuck. B127

Merman, Ethel. Ethel Merman: An Autobiography. New York: Simon & Schuster, 1978. pp. 54, 269.

Merman admits she didn't recognize Faye's star quality when chorus girl Faye was pointed out to her during the 1931 Broadway show George White's Scandals, in which Merman was a featured star. Book also describes the show's production history, which serves as a parallel history of Faye's early days. Merman later appeared with Faye in ALEXANDER'S RAGTIME BAND (1938). B128

Michaels, Joe. "Alice Faye: Fit and Healthy at 70." America's Health. Vol.7, #1, 1985. pp. 14-18.

Faye explains her role as spokesperson for Pfizer, or, as

Bibliography

181

Michaels puts it, "She's a woman with real aches and pains, with the real problems of arthritis and high blood pressure, and with the real answers to aging." In the article Faye also expresses her ambivalence to her movie fame: "I had achieved it. I had tasted it...enough was enough. I was ready to go on to something else." Along with now spreading health tips to her more sedentary fans, Faye usually concludes with, "for heaven sakes, have a sense of humor." B129

Miller, Robert Milton. Star Myths: Show Business Biographies On Film. Metuchen: Scarecrow Press, 1983. pp. 44-45, 76, 393.

Miller compares Faye's role in LILLIAN RUSSELL with the actual person; in ROSE OF WASHINGTON SQUARE, Faye's screen character is compared to its real life inspiration, Fanny Brice. Without elaborating beyond a " ? " after Faye's name, he also includes Faye on a list of possibly disguised reallife inspirations for a character in a film, in this case BELOVED INFIDEL (1959). The film deals with the real life romance between Hollywood columnist Sheila Graham and author F. Scott Fitzgerald. B130

"Miss Alice Faye." New York January 7, 1938.

Journal-American,

Faye is reportedly moved to tears on the eve of the premiere of IN OLD CHICAGO; wistfully, she recalls how only five years before she wanted to visit Chicago but couldn't afford the fare, nor could even borrow the money. "Isn't it all too wonderful" she says, to the "bewilderment" of the reporter on hearing this unexpected "rather vague confession." B131

Modern Picture, June, 1941.

Article on THE GREAT AMERICAN B132

Modern Screen, June, 1941.

Article on THE GREAT AMERICAN B133

BROADCAST.

BROADCAST.

Modern Movies, July, 1938.

Article on ALEXANDER'S RAGTIME BAND. B134

Mordden, Ethan. The Hollywood Musical. New York: St. Martin's Press, 1981. pp. 143-146.

Mordden describes Faye as an "irreplaceable" performer of 1930s musicals. He refers to many of Faye's screen roles as paralleling her real-life origins as a struggling child of

182

Bibliography

the city who grew up to be a star; a "working-class Cinderella." ALEXANDER RAGTIME'S BAND is cited as the "quintessential Faye epic." B135

. The Hollywood Studios. New York: Alfred A. Knopf, 1988. pp. 274-276.

In a chapter profiling 20th Century-Fox, Mordden notes that Faye's context as a musical performer at Fox was invariably confined to presenting a song in an actual performing situation, whether seen rehearsing for a production number, being on stage, or at most, using a show number of hers to lighten a co-star's troubles and cares between shows; never was it a spontaneous enhancement to a storyline in everyday surroundings, or for character development, as often found with the stylistic patterns at studios like RKO and MGM. Mordden also skewers Faye's LILLIAN RUSSELL, for its often blatantly inauthentic nature as historical biography, and for Faye's dour impersonation of Russell, which sacrificed, for the sake of looking more the serious actress, the more pungent side of Faye's personality. B136

. Movie Star: A Look At The Women Who Made Hoi 1vwood. New York: St. Martin's Press, 1983. pp. 172-175, 214.

Mordden again embellishes his enthusiastic thesis on Faye's legacy as a "proletariet, city tough" musical performer with a "penetrating basso," which contrasted with the operatic Jeanette McDonald/Grace Moore school of musical trilling during the 1930s. Mordden also compares the Faye screen image against that of Warner Brother's Ruby Keeler; feisty Faye invariably "invents" her way out of her scripted obstacles, while the more passive Keeler is content to be "bullied" through them. Faye's persona in musicals is seen as projecting a theme of underlying survival in them, as compared to Betty Grable's Fox musicals, which are more objectly romantic in nature. B137

Moshier, W. Franklyn. The Alice Faye Movie Book. Harrisburg: Stackpole Books, 1974.

Superlative, heavily illustrated book meticulously reviews Faye's screen legacy, along with many biographical details and character insights regarding Faye's persona and impact on the Hollywood musical. Text is enhanced by the author's lifelong admiration of Faye; Faye herself considers this book "her Oscar." B138

. Alice Faye Career Profile. Films In Review, October, 1961.

Bibliography B139

183

"Mother and Vallee at Debut." New York WorldTelegram, April 13, 1934.

Photo shows Faye's mother, along with Rudy Vallee, sitting with Faye during Faye's one night singing engagement at New York's Hollywood Restaurant, where a few years earlier Faye had been a chorus girl. B140

"Mother Dies." New York Times, December

3, 1959.

Brief notice on the death of Alice Faye's mother, age 73. B141

Movie Classic, July, 1935.

Faye on cover. B142

Movieland, July, 1943.

Photo story on HELLO, FRISCO, HELLO. B143

Movie Life, March, 1938.

Photo of Faye with Ethel Merman from ALEXANDER'S BAND. B144

Movie Mirror, August,

RAGTIME

1939.

Faye on cover. B145

Motion Picture Herald, March 31, 1934.

Large ad for GEORGE WHITE'S SCANDALS, featuring Faye. B146

"Movie Stars Come East." New York Post, May 31, 1934.

Photo shows Alice Faye posing next to comedian Harold Lloyd as they're about to disembark from a train at Grand Central Station. B147

Movie Mirror. June. 1940.

Color photo of Faye. B148

Movie Stars Parade. November,

Faye portrait.

1941.

184 B149

Bibliography "Movies Want Alice Back" The Times-Picavune New Orleans, April 27, 1947.

While 20th Century-Fox is rereleasing ALEXANDER'S RAGTIME BAND, Faye is reported as still in no hurry to return to movies. Faye, content in raising a family and doing a weekly radio show with her husband, admits she expects "a pat or a push" from Harris while on the air if she starts "fTupping" her lines, as Faye puts it. Faye also comments the one thing she dislikes about the show is her husband's rapid delivery, which she finds difficult to keep up with. Nevertheless, she puts a high priority on "keeping Phil happy," of which he adds that while the two of them do "have their moments," they avoid arguing in front of their children; "you got to be careful with kids" Harris concludes. B150

"Mystifying

Lady." New York Post, July 30, 1934.

Faye, "in the most pitiless of spotlights" due to rumors of romance with Rudy Vallee, and because of her "instant popularity" in GEORGE WHITE'S SCANDALS, is perceived by the reporter as nevertheless having "obviously... no intention of creating an air of mystery or temperament." Of films, Faye is glad to be in them since "I never could cure myself of stage fright, and here in motion pictures I don't have that to contend with." B151

Nicholson, Arthur. "Alice Faye Flies Into London." Hollywood Studio Magazine, January/February 1984.

Faye appears on her third British show within a year, this time the "Bob Monkhouse Show" where she sang a little, had some film clips shown, and where the audience "practically climbed out of their seats" in enthusiasm, fortunately. Following the program, Faye's "new English agent" tossed a cocktail party for her. Article also mentions that many of Faye's vintage musicals would be specially shown that week on London's Channel 4. B152

. "Alice Faye In London." Hoi 1vwood Studio Magazine, September 1983, p. 17.

Article describes Faye's appearance on "Looks Familiar," a "purely nostalgic show" on British TV. Mention is also made of a "Alice Faye Appreciation Society" which offered background material for the program in return for tickets for the show's taping. The show was a huge success, in which Faye was the show's only guest--a first for this show. B153

. "Alice Faye Today!" Hoilywood Studio Magazine, March, 1986, p. 39.

Bibliography

185

Faye is embraced by London again during an appearance at the "prestigious Royal Variety Show for her Majesty, The Queen." Along with being reunited with former co-star Don Ameche, Faye sang her venerable "You'll Never Know." Afterwards, Faye and the other Variety Show participants, who included Joan Collins, Celeste Holm and Lauren Bacall, were introduced to the Queen, who politely said she enjoyed the show. Faye flew home "loaded down with sweaters for friends and fami 1y." B154

. "American Stars Shine In London." Hollywood Studio Magazine, December, 1988, p. 32.

Article describes Faye at a couple of show business-related activities earlier that year in London. Faye appeared on "Wogan," a BBC talk show, where she talked of London as "a second home." Then she attended, along with many other celebrities, a "Showstoppers" benefit for handicapped children, where she was taken aback by an unexpected chorus on stage who joined her in singing a medley of "Hello, Frisco, Hello," which, along with a wildly applauding audience, brought her to tears. B155

Othman, Frederick C. "Alice In Wonderland! It's All Due To Love." New York Morning Telegraph, June 28, 1941 .

Unlike a previous interview, Othman reports, when Faye "had circles under her eyes and a worried look, "the newly married Faye (to Phil Harris) now says "I don't worry about anything. I guess I'm in love. And the whole world looks different." She also spoke of starting a family and limiting her movie appearances: "I think it is bad for an expectant mother to be working in pictures. Bad for the baby, I mean. Prenatal influence. An actress is under a strain and nervous (when filming) and I wouldn't want any child of mine to get that kind of start. It might be nervous too." Faye also says that her husband intends to stop touring with his band, in order for the both of them to begin "a normal kind of life...it may be difficult to arrange it, but we're going to make a real try." B156

Parker, Jerry. "Broadway Recaptures Blue Eyes." Newsday ( N Y ) , November 11, 1974.

As the Good News tour approaches Broadway, Faye talks about how her participation in the production began, along with the acrimonious split between the original producers, one of whom originally wanted Faye to succeed Ruby Keeler in the Broadway revival of No, No. Nanette. Instead, one of the producers dusted off Good News for Faye's consideration. Faye also talks about her current health regimes at an Elizabeth Arden spa, when her schedule allows. Former costars Tyrone Power and Don Ameche are given the usual fond

186

Bibliography

recollections, and Carmen Miranda in particular. She also dismisses any rumor that Rudy Vallee ever would've wanted to marry her; "(Vallee) went for slinky, sultry brunettes" says the still golden haired Faye. B157

Parish, James Robert. The Fox Girls. New York: Arlington House Publishers, Inc. 1971. pp. 152-193.

Detailed biographical overview with filmography and plentiful photographs. Mentions several films Faye was slated for, but, because of illness or scheduling conflicts, went to someone else; allegedly films such as DANTE'S INFERNO, THIS IS MY AFFAIR (a circa 1900 costume drama with music that would have predated her IN OLD CHICAGO debut in such a genre by a few m o n t h s ) , DOWN ARGENTINE WAY, THE DOLLY SISTERS, THE RAZOR'S EDGE (produced after her 1945 studio walkout), along with other announced films that weren't made at all. B158

Parsons, Louella 0. "Stork Dates Alice Faye for Spring." Los Angeles Examiner, September 25, 1941.

Faye bows out of three scheduled films in anticipation of motherhood several months off, and wanting "complete rest." According to Parsons, Faye did not want to repeat the complications of her first marriage to Tony Martin, when both career and married life proved disasterous in their case. This time, Faye has decided to "forget the fame and forget her own career"with a year's leave of absence from her studio. As Parson notes, few actresses retire, albeit temporarily, when they (are) at the very top, and Hollywood will be astounded at (Faye's) retirement now." B159

"Party at Pebble Beach." Oakland Tribune (CA). January 23, 1967.

At a local beach club, Alice Faye and Ray Bolger dance, Phil Harris plays the drums. B160

Pasik, Herb. "A Role Model Desert Post (CA), November

for Seniors." Weekend 28, 1986.

Faye discusses her childhood in Manhattan, and fondly remembers Rudy Vallee, who had died recently. However, the writer notes, "It is apparent (Faye) would just as soon talk about the present than about her days in Hollywood." The balance of the article details her health talk appearances, which include dinners sponsored by the Arthritis Foundation in .various cities. Also mentioned is the annual "Alice Faye Christmas Fantasy," a fund raising event held in Palm Desert. Faye was unable to attend the previous year, so she sent Ruby Keeler in her place.

Bibliography B161

187

Pastos, Spero. Pin Up: The Tragedy Of Betty Grable. G. P. Putnam's Sons, 1986. pp. 150, 164-165, 168.

Faye speaks about her friendship with Grable, which deepened after the two had left the Hollywood scene. Faye is mentioned as one of the few people Grable agreed to see in the hospital during her final illness. Author gives misleading impression that Faye left 20th Century-Fox for good in 1940 after TIN PAN ALLEY. Faye did "retire" for a couple of years to raise a family, but she returned for a few more films, with Grable having taken Faye's place during her absence. B162

"Phil and Alice To Open Lane's Parade of Stars." Wilshire Advertiser (CA), November 10, 1949.

Photo depicts Faye and Harris pointing to a sketch of a "specially designed sleigh type float with reindeer." The two are to helm the full scale edition during the annual Santa Claus Lane parade on Hollywood Boulevard on November 23rd. The article also plugs Harris and Faye's "zany family show" on NBC radio. B163

"Phil Harris and Alice Faye On New Bandwagon Radio-Vision, September, 1946.

Show."

Article details the debut of the "Fitch Bandwagon" on September 22 at 7:30 p.m. on NBC; Faye and Harris are called "radio's newest husband-and-wife comedy team." B164

Phil Harris Scholarship Festival Weekend, June 2, 1989.

A supplement of the Linton Daily Citizen, the issue is notable for a cover letter of greetings from former Indiana Senator, and now Vice President, Dan Quayle, and for additional insight into the Harris-Faye collection. Curator Regina Kramer's description of the collection suggests it's also a unique array of Americana, since it also includes a piece of the Golden Gate Bridge and a Civil War discharge Phil Harris's granfather received. Also on view is a costume Harris wore as "Bacchus IV" in a Mardi Gras parade. Jack 'Daniel Corporation has been noted as being quite generous in donating audiovisual equipment for special presentations. Such presentations are often attended by local school children, who write about their experiences afterwards. A few of these letters are reprinted in the supplement, with one third grader dutifully writing, "Oh Alice was so butiful! With the look she had no wonder she's a movi star."

B165

Photoplay, June, 1941.

Article on THE GREAT AMERICAN

BROADCAST.

188 B166

Bibliography Photoplay, August, 1941.

Article on Faye and Phil Harris. B167

Photoplay, December,

1945.

Photo story featuring Faye. B168

Pickard, Roy. Who Played Who In The Movies. New York: Shocken Books. 1979, 1981. p. 48.

Faye is listed under portrayers of Lillian Russell, others of whom were Ruth Gillette, Louise Allbritton and Andrea King. B169

Picturegoer, May

19, 1934.

Photo story featuring Faye. B170

Pitts, Michael R. Hollywood On Record: The Film Stars' Discography. Metuchen: Scarecrow Press, Inc., 1978. p. 134.

Several of Faye's record albums are B171

listed.

Potter, Christopher. "Alice Faye Campaigns For Fitness." Ann Arbor News (Ml), April 25, 1987.

Faye, touring on behalf of Pfizer Pharmaceutical's nutrition-and-exercise program, is pleased to point out that what appears to be a large broach she is wearing is actually her father's original police badge. "I inherited the badge," she says, "(and) I finally thought to myself, my gosh, why don't I take it out and have it dipped?" Faye also remarks happily of former co-star Don Ameche's renewed popularity in Hollywood, with such films as COCOON. Faye adds too that she never quit 20th Century-Fox, "I simply left the studio," where a she had long been feuding with studio head Darryl F. Zanuck over wanting a dramatic role. Article inaccurately implies she hadn't made any movies since the 1940s. B172

Pour Vous, September

14, 1938.

Photo story on ALEXANDER'S RAGTIME B173

"President's Birthday."

BAND.

Variety. November

19, 1938.

Alice Faye is mentioned as part of a Hollywood contingent celebrating President Roosevelt's birthday over the air on WEAF (NBC).

Bibliography B174

189

Prichard, Susan Perez. Film Costume: An Annotated Bibliography. Metuchen: Scarecrow Press, 1981.

Faye is mentioned in thirteen bibliographical entries. The sources are primarily late '30s - early '40s movie magazines that show pictorials of stars posing in costumes from recent productions; none of the articles are on Faye specifically. B175

"Radio Review." Variety, September 28, 1953.

With the increasing competition of television noted in the review's introduction, the Phil Harris-Alice Faye show is praised in its first show of the new season as eliciting laughs that range from "titter to tumult." Faye "got off a good song, too, and seemed in better voice than past seasons." B176

Raymond, Jack. Show Music On Record: from the 1890s to the 1980s. New York: Frederick Unger Publishers. 1982.

Faye film soundtracks and compilation albums enumerated. B177

Reed, Dena. "Rudy Put a Song in Her Heart." Popular Song. June, 1935. p. 19.

B178

Reed, Rex. "Alice Faye Is Back And It's All Good News." Daily News (NY), December 16, 1973.

Faye is interviewed during rehearsals for the pre-Broadway tryout of Good News. which would last a year. Faye speaks of being out of shape vocally, and of having difficulty concentrating on remembering the dialogue. She sees her participation as being less a comeback than of just feeling ready to do something again after voluntarily remaining idle from show business for so long. Her Hollywood years and comments are described, partially incorporating an earlier article on Faye by Reed. B179

. "Alice Faye." New York Daily News, December 27, 1974.

Good News is praised by Reed for its "imagination and vivid color," and for its energetic young cast "that puts the kicker in the julep." Following up on his liquor analogy, Faye is described as aging like "expensive wine...more savory and exclusive than ever." Her singing is warmly described too, along with her "soft smile and those sleepy moo-cow eyes that made her a box office legend before anybody ever heard of Betty Grable."

190 B180

Bibliography . "A Nostalgic Alice Faye." New York Sunday News (NY), May 2, 1971.

Extensive Faye profile, along with interview. Faye speaks of the whereabouts of other "nostalgia queens," such as Ruby Keeler and Janet Gaynor. Faye also recalls her early film break in GEORGE WHITE'S SCANDALS (1934). At the time she was living with her mother "in Mae West's apartment building in Los Angeles. Mentor Rudy Vallee took her to banker and film financier Sidney Kent for an audition, in which Faye "put vaseline on my eyelids to look sexy." Despite the objections of George White himself, Faye replaced Lilian Harvey in the film. A less happy occasion Faye recalls are her terrible experiences and disillusionment while making STATE FAIR in 1962, feeling she was photographed badly and ignored by director Jose Ferrer. Former Fox boss Darryl F. Zanuck is also skewered by Faye. She also expresses disappointment that she and all her co-stars never made any additonal money from her reknowned musicals once they were sold to television. The fact that none of her musicals won many major Academy Awards annoys her too, saying "We gave so much of ourselves, but we were taken for granted." In other articles Faye appears less than sentimental over her own career, though in this one she admits to watching old movies and "crying like a slob." She surmises that nostalgia is an easy target to knock, though having been witness to "people...on the tips of their seats screaming their heads off" with bravos at a performance of "No, No Nanette" she attended, Faye is all in favor of such revivals. The article anticipates Faye's return to the stage by a couple of years her stint in Good News, as she speaks about wanting to follow Keeler's example in the revival of No, No, Nanette on Broadway. B181 Delacorte,

. People Are Crazy Here. New York: 1974. pp. 182-186.

Chapter on Faye derived from Reed's two syndicated newspaper articles on Faye from 1971 and 1973. B182

Remley, Frankie. "Happy Harrises." Radio and Television Mirror, February, 1949. pp. 2-29, 104.

Remley (Elliott Lewis), the "talkative guitarist" on the Harris-Faye radio show, rhapsodizes about Phil Harris and Alice Faye, the couple, and their domestic antics and habits, though Harris dominates the article. When Harris married Faye, Harris "discovered daytime." A recent European trip is described, where Faye "bought hats in France, dishes and silver in England." The "Happy Harrises" also have 3,000 records in their collection, include copies of their radio broadcasts. Harris's gun collection is kept behind closed glass doors, of which Faye makes sure no guest ever opens. Faye also "does handle most of the household things like the laundry bills, the cleaners, the grocery bills." Harris's

Bibliography

191

habit of spending late-night jam sessions with fellow musicians, at a place in the San Fernando Valley dubbed "47," causes Faye many a tiring night when she drops by to listen. Mostly though they're viewed as a couple who rarely go out to socialize, preferring to entertain groups of friends at home. Mention is made of Betty King, "Alice's closest friend," whose friendship goes back to the days Faye was a Chester Hale chorus girl. King's husband, Walter Scharf, was now musical arranger on the radio show. Faye's tolerance of Harris's frequent absences from home, as mentioned in the article, is an early indicator of her longstanding opinion over subsequent decades that such separation made the marriage as agreeable as it was for its lengthy duration. Remley also relates "When Phil and Alice were first married, they gave each other gifts on what seemed like an average of once an hour...I would personally hate to to get Alice's flower and candy bill each month." More upscale gifts like a "star ruby" was received by Harris from Faye on their first anniversary, while Faye cherishes a "heavy gold pin made in the shape of a heart with an arrow of rubies" Harris once presented to her. The Harrises are, as the talkative Remley reflects, "like no one else in the world." B183

"Retired Alice Faye Stars In Homelife." New York Journal American, June 29, 1959.

Article emphasizes Faye's enjoyment of her years away from Hollywood, and of her dissatisfaction with her last film, FALLEN ANGEL, in which many of her best scenes were cut in favor of Linda Darnell. "I was never really wild for a career." she states, explaining that after her marriage to Phil Harris, she gradually saw her film career as "a rat race." B184

Roeder, B. 1975.

"Newsmakers." Newsweek, August

18,

Faye is pictured with former co-star Don Ameche, who is teamed again with her for a regional run of Good News, which had closed on Broadway earlier that year. B185

Romantic Movie Stories. September,

1934.

Photo story on SHE LEARNED ABOUT SAILORS. B186

Rosen, Marjorie. Popcorn Venus. New York: McCann & Geohegan, 1973. pp. 157-158.

Faye is summed up as being Fox's "resident blonde," rather routinely replaced by "mirror image" Betty Grable, who, if anything, was not as "blubberingly earnest" as Faye, so says Rosen.

192 B187

Bibliography "Runyon Check." New York Daily Mirror, May 5, 1971.

A photo of Alice Faye shows her handing a $21,400 check to a professor at the Sloan-Kettering Cancer Center on behalf of the Damon Runyon Fund, and Walter Winchell, fund founder. B188

Rust, Brian. The Complete Entertainment Discography Arlington House, 1973. pp. 267-269.

Faye's 78 rpms are listed. Note: one listing, "Happy BoyHappy Girl," is actually an instrumental, not a Faye vocal). B189

Sanders, George. The Price Guide To Autographs. Radnor: Wallace-Homestead Book Company, 1988, p. 310.

In the category of "Entertainers (Vintage)," Alice Faye's signature is appraised as going for $7 for signature only, $9 if on a document, $16 for an autographed letter, and $20 for a signed photograph (though rates can differ greatly in individual circumstances). In this guide, however, these amounts are on the low end of the collectible market. Nevertheless, Faye is in good company since others sharing the same rates are Ruth Gordon, Ethel Merman and Robert Preston. B190

Screenland, March, 1938.

Faye on cover. B191

Screen International, January 5, 1985.

B192

Screen Romances, April, 1943.

Faye portrait. B193

"Screen Star Here With Musician Husband." The Times-Picayune New Orleans, August 17, 1942.

Harris arrives for a band engagement and police benefit; photo shows Faye and Harris posing in police hats. B194

See, Kay. "Phil to Do TV Show Without Wife, Alice." Press-Telegram (Long Beach, C A ) , November 27, 1953.

Harris emphatically states "Alice doesn't have to work. I'm the one that does." Reference is made of a trip to St. Joseph, Missouri during the 1940s, in which Harris, a regular on the Jack Benny radio show, accompanied Benny to. perform. Faye went along too, for a week of parties and

Bibliography staged events, though "(Faye) remained al1 times." B195

193

in the background at

Sennett, Ted. Hollywood Musicals. New York: Harry N. Abrams, Inc., 1981. pp. 109-110, 112-114, 116-117, 171-173, 190-191.

Faye is given respectable attention throughout this lavish volume, in which her mannerisms are described as "the quivering lower lip, the large, soulful eyes that brim early with tears, the husky voice." B196

Settel, Irving. A Pictorial History Of Radio. New York: Grosset & Dunlop, 1960, 1967. pp. 211, 479.

A distinctive photo from circa 1933 shows Faye with Rudy Vallee at a radio station. A second photo shows Faye with Phil Harris during the late 1940s at the time of their popular comedy program. B197

Shaffer, Rosalind. "Feminine Compromise: She Got Her Demands." Sun-Baltimore (MD), November 7, 1943.

Article details Faye's getting her demands met from Fox to do just one film a year to allow more time for raising her growing family and being with husband Harris. Faye's request is reasonable when considering, as the article states, that an elaborate Technicolor musical can often take up to eight months to produce, compared to "an average film that takes eight to ten weeks." As for giving up her screen career, Faye is said to consider that "unthinkable," after having worked so long and so hard to get where she is. B198

Shipman, David. The Great Movie Stars: The Golden Years. New York: Crown Publishing, 1970. pp. 189-191.

Faye, so writes Shipman, was "no great shakes as an actress, but hers is the supreme example of an amiable temperament caught by the camera." Faye's ascent to stardom is illustrated by a quote from a 1937 British publication, Fi1m Weekly. which states "(Faye) has emerged as a personality of rare charm, a singer whose acting touches a deeper level of sincerity than any previous comedy artist." Shipman reviews Faye's film career with style and accuracy, citing that by THE GANG'S ALL HERE (1944), Faye seemed "bored," with retirement soon following and Betty Grable and June Haver filling her void at Fox. Faye's lasting fame among a devoted legion of fans, concludes Shipman, is highlighted by Faye being said to be "genuinely surprised" by having been so fondly remembered long after her Hollywood career had ended.

194 B199

Bibliography . The Story Of Cinema. New York: St. Martin's Press, 1982. pp. 420, 430, 650.

Faye's musicals are highlighted as "unpretentious, undemanding entertainments." Faye is also compared to Universal's resident songbird of that time, Deanna Durbin, who, as with Faye, made virtually all her musicals at one studio and opted to quit altogether once it all became thanklessly tiring, rather than beginning again at another studio. B200

Si Tver Screen. November,

1939.

Faye on cover with Don Ameche. B201

Silver Screen. April, 1943.

Faye on cover. B202

Sketch. Photoplay, November,

1934.

B203

Sketch. Time, January 6, 1936.

B204

Skolsky, Sidney. "Alice Faye's Life Is Real Life Scenario." New York Post, November 6, 1942.

Photo layout reviewing Faye's career, along with scenes with Harris and children. B205

domestic

Skolsky, Sidney."Tintyped: Alice Faye." Daily News (NY), August 6, 1937.

Review of Faye's escalating career details her film debut in GEORGE WHITE'S SCANDALS, and her supposed early reluctance to stay in Hollywood when not working, preferring frequent trips back to her hometown, Manhattan. Skolsky adds that Faye once took diction lessons in Hollywood to curb her New York accent, and that she doesn't mind going to the studio on her day off to pose for publicity stills. Faye also says she continues to take singing lessons. Leaving nothing incidental unturned, Skolsky also records that Faye prefers wearing slacks when going out, seldom wears jewelry and sleeps in silk pajamas, preferring pinks and blues, after having once favored bright red. B206

Skolsky, Sidney. "Hollywood Is My Beat: Alice Faye." New York Post, November 5, 1961.

Less an article than another of Skolsky's list of Faye opinions and characteristics, such as "(Faye) never smokes a cigarette before 6 p.m., "Her pet aversions are raw meat,

Bibliography

195

okra, phonies," etc. Column also profiles her thoughts on her return to acting and her marriage to Phil Harris. It inaccurately states that Faye made all her movies at 20th Century-Fox (she was loaned out to Paramount in 1935 for EVERY NIGHT AT EIGHT and to Universal in 1937 for YOU'RE A SWEETHEART). B207

Smith, Jack H. "Actress Alice Faye Still Vibrant Today." Wausau Merri11 Herald (WI), June 7, 1987.

Smith articulates on Faye's promotional efforts for Pfizer, with Faye "visiting senior centers and motivating the less mobile set to start a regular program of gentle exercise." Presumably a few do in her wake, though Faye advises them to check proposed exercise schedules with doctors before starting. B208

Song Hits, June, 1941.

Faye on cover. Lyrics from GREAT AMERICAN BROADCAST and THAT NIGHT IN RIO are printed. B209

Spensley, D. "The Story Of Alice Faye." Motion Picture, September, 1937.

B210

Springer, John. They Had Faces Then. Secaucus: Citadel Press, 1974. pp. 105-106, 292.

General career summary and photos. B211

Steade, Susan. "Alice Faye: The Memories Linger On." Los Angeles Times, June 5, 1984.

Faye puts in an appearance at a local screening of WEEKEND IN HAVANA and GREAT AMERICAN BROADCAST, part of a tribute to 20th Century-Fox at a local revival house. Article mentions that Faye once had copies of some her films, but had since donated them to a Catholic school in New Orleans. Faye talks of domestic matters, also saying she still gets "lots of fan mail," and admits she wouldn't mind appearing on a soap opera: "I've thrown out a line...but nobody's taken it yet." B212

Stein, Herb. "Alice Faye's First Film In Sixteen Years." New York Morning Telegram. October 26, 1961 .

Faye reviews the circumstances of accepting her latest film role; she also reports being pleased and surprised by the enthusiatic reception to her by crowds in Dallas, Texas, where location scenes are being filmed for STATE FAIR.

196 B213

Bibliography Sullivan, Ed. "Take the Stand, Alice Faye." Dai ly News (NY), January 18, 1937.

Faye mentions some of her early stage jobs as a $35 a week chorus girl, such as at the Palais d'Or in Manhattan, and for dance producers N.T.Grunland and Jack Pomeroy. She singles out Rudy Vallee as her most significant career booster. However, at the time of this interview she is "feuding" with Vallee, albeit a "one-sided feud" says Faye, that originated when Fox studio nixed her appearance at a Vallee performance, which ordinarily she would've done as a favor. Since then, Vallee addresses her as "Miss Faye," which makes her "miserab1e...since he did give me my start." When asked about how she felt being mobbed by fans during the premiere of IN OLD CHICAGO, on the same street where a few years earlier she was an anonymous chorine, Faye recalled an earlier New York visit when her father died. Acknowledging that her mother and father had separated years earlier, Faye had sent her father money regularly, not knowing he was ill until Bellevue Hospital called saying there was a man by the name of Leppert (Faye's real family name), with a picture of her in his wallet. By the time Faye reached the hospital, he had died. Therefore, when at the premiere of IN OLD CHICAGO, Faye wistfully recalled wishing how she wished her father would have been pleased to see her escorted by "mounted cops protecting me. You see--he had been a member of New York's Finest--a cop." Faye also singles out SING, BABY, SING as her breakthrough film, having felt she was neither "fish nor fowl" in her previous programmers at Fox. B214

"Sympathizes with Vallee." New York Sun. June 7, 1934.

As Rudy Vallee's divorce suit rages, Faye, named in the suit, defends herself as having only been to Vallee "a figurative shoulder to cry on when his wife's conduct and attitude caused him so much grief...he had to have someone to talk to, and I was that someone." B215

Taylor, Theodore. Jule: The Storv Of Composer Jule Styne. New York: Random House. 1979. pp. 8, 66, 69, 73.

For her Hal Kemp radio show, Faye insisted that Styne, then a vocal coach at 20th Century-Fox, be brought in to arrange and prepare her song numbers for $750 a week. Styne had coached Faye in several musicals, and they were close friends. B216

"Tenth Anniversary Phil Harris Festival Weekend." Linton Daily Citizen (IN), June 2, 1988.

With a painted portrait of Harris and Faye by 77-year old D. Omer "Salty Seamon," a respected Hoosier artist, whose

Bibliography

197

rendition of Harris and Faye will also embellish the placemats at the Shrine's Club Celebrity Dinner that weekend, this supplement provides a representive profile of this celebrated annual Indiana event. Along with the schedule of events lasting three days and nights, there are many articles, most written by Regina Kramer, detailing the many sporting events highlighting the festival, and the names of all the scholarship winners. The scheduled list of entertainers that year included Randy Carmichael (son of Hoagy), Jimmy Dean and Roy Clark. The extensive articles on Faye recount her career in Hollywood and afterwards, along with detailing Harris's decision to move his and her boxes of family correspondence and show business memorabilia to Linton's library in 1979.

B217

Terry, Clifford. "Lots of •Oomph* left in Alice Faye." The Chicago Tribune. September 26, 1984.

"Oomph" (successor to having "It," as in Clara Bow's day, though in a somewhat less blatant way) has to do with Faye coming in as runner up in the late 1930s as the Hollywood actress with the most "Oomph," as determined by a panel that included Busby Berkeley and Eddie Cantor. The actress that "Oomphed" Faye out was Ann Sheridan. Article also states that in 1937 George Gershwin, Cole Porter and Irving Berlin agreed on Faye as the best female song plugger in Hollywood. Her male counterpart was Bing Crosby. Article contains many personal observations from Faye, beginning with her Good News run of several years earlier. Faye recalls in particular that the show's producer Harry Rigby "got scared" during its Los Angeles stint when the production got some bad notices. The show was re-written, Gene Nelson replaced John Payne, and, says Faye, "For no reason they put in llamas, which would spit at you. Nasty things." Up until then Faye had thought the production "a cute show, perfectly darling, but by the time it got to New York it was a mess." Of her lack of film roles in recent years, Faye comments, "Most of the parts offered were tacky. And they didn't pay anything." Most surprising is her downplaying the usual reasons given by herself for leaving 20th Century-Fox in 1945, even praising boss Darryl F. Zanuck. Faye demurs from discussing her opinions of the feminist movement, religion, and politics, saying she's "just a happy lady." Faye though acknowledges her ongoing popularity in England and Scotland ("People over there don't forget y o u " ) . She sums up the longevity of her marriage to Phil Harris with "we've given each other a wide berth." Since Faye is in town on behalf of Pfizer, she also discusses her introduction to the firm, and some general views on keeping fit. Few old memories are dwelled on; when recalling her father's job as a patrolman in a long ago Manhattan, Faye notes that she never sees many policeman in the city streets anymore. "Where are they?" Faye wonders, finally surmising, "Probably taking care of Michael Jackson."

198 B218

Bibliography "They're Killing Dixieland in the States (says Phil Harris)". The Melody Maker (U.K.), June 24, 1950.

Jack Benny, Phil Harris and others perform at the London Palladium; Harris and Faye are pictured reading many congratulatory telegrams. B219

"This Time It's Not Just A Movie Plot." Cue, December 23, 1974.

Faye profile at the time of her Good News Broadway run. B220

Thomas, Tony. The Films Of 20th Century Fox. Secaucus: Citadel Press. 1979.

Along with capsule summaries of Faye's films at Fox, a photo of Faye doing her "Nasty Man" number from GEORGE WHITE'S SCANDALS dominates the title page. B221

Thomson, David. A Biographical Dictionary of Film. New York: William Morrow & Co., Inc., 1976. p. 166.

Brisk summary of Faye's film career as a "friendly, sentimental star of musicals, 1935-1945." B222

Thomas, Kevin. "Pair With a Flair for Enjoying Life." Los Angeles Times, February 15, 1967.

Faye and Harris banter amicably with reporter regarding their differing attitudes about doing television, as they prepare for an appearance on "The Hollywood Palace." Faye admits to considering a tv series if the opportunity came along, though she adds that such a schedule would probably be too confining for her husband, along with "all that waiting" during production. Harris emphatically states his preference for "five or six guest shots a year and that's that." The reporter points out a familiar observation that "Faye is so informal it's hard to keep in mind that you're talking to one of the movies's great stars." B223

Torre, Marie. "Phil Harris Brings Alice Faye to TV." New York Herald Tribune, January 23, 1959.

Faye is gently coerced into making a rare tv appearance, which, along with radio and personal appearances, makes her nervous because a live audience is there to watch. "The audience is what's kept her out of show business all these years. Scares her stiff." comments Harris. B224

"To Talk." The Clarion-Ledger (Jackson, Miss.), December 13, 1953.

Bibliography

199

A staid portrait of Faye & Harris highlight an announcement that the two will talk long distance to anyone making the highest bid at the "Vicksburg Tornado Benefit Show." B225

Tudor, Dean. Popular Music: An Annotated Guide to Recordings. Littleton: Libraries Unlimited, Inc., 1982. p. 508.

Alice Faye in Hollywood, 1934-1937 LP is listed; with the notation that all songs used in Faye's movies during the 1930s were re-recorded for commercial release since there were no soundtrack recordings for disks. B226

"Vallee 1933.

In Accident." New York Times, August 22,

On his way to a performing engagement, Vallee's car skids and crashes during a heavy rainstorm outside of Greenwood, Delaware. Vallee is unhurt, but Faye, also in the car, receives body bruises and a cut over her right eye. B227

Vallee, Rudy. My Time is Your Time. New York: Ivan Oblensky, Inc., 1962. pp. 99, 109-110.

Vallee speaks warmly about her association with Faye, recounting Faye's evolution from her days as a dancer with George White to a featured vocalist with Vallee's Connecticut Yankees. One of Vallee's "favorite memories of Alice" took place during a 1933 vacation in Vallee's birthplace of Island Pond, Vermont; while there, during a dance, Vallee got into an altercation in which Faye vehemently took Vallee's side. According to Vallee, "it required a strong Canadian lumberjack to hold her back ...the more he laughed at her struggles the madder she got." Faye's involvement in Vallee's divorce suit is summed up as "we had nothing to hide, nothing of which to be ashamed." Her willingness to let Vallee authorize the newspapers to open the sealed court divorce papers was a tribute to Faye's "honesty, courage and credit" wr ites Val1ee. B228

. Let the Chips Fall... Harrisburg: Stackpole Books, 1975. pp. 60, 114-117, 125, 245.

Information regarding Faye is a virtual reprint from the earlier Vallee book, although the circumstances of the Vermont incident differs. In this version, Faye had to be withheld outdoors from entering a restaurant where Vallee was in a scrap over someone. "Alice was as fiercely loyal as a mother rhinoceros at bay with brood" writes the flattered Vallee.

200 B229

Bibliography "Vallee Back From Coast, Protests Wife's Attitude." New York World-Telegram, January 18, 1934.

Alice Faye, described here as "the blues singer with the Vallee troupe," is charged by Vallee's wife, Fay Webb, as having, with Vallee, "conducted themselves improperly during 1932 and 1933 at 12 different places, from Asbury Park to Tampa and Atlanta." Vallee laments, "the whole thing's a stick-up." B230

"Vallee Rehearsals Change." Tel egram, June 7, 1934.

New York World-

Vallee's radio rehearsals mentions Faye as being "usually present, and her abundant and astonishingly blond hair adds still another touch of the vaudeville theater." Accompanying photo shows Faye and her blond hair. B231

"Varieties." New York Times, March

11, 1933.

A stage show, Varieties, opens for a week at the New York Paramount. It features Rudy Vallee, Alice Faye, Grace Hayes, and Lenore Ulric, among others. This "novel entertainment" simulates a radio broadcast, and though "the show lacked action...a large audience was appreciative." B232

Vinson, James, Ed. The International Directory of Films and Filmmakers, Volume III: Actors and Actresses. Chicago: St. James Press, 1986. pp. 321-322.

In an entry written by Greg Faller, Faller analyzes Faye's appeal as an "idealized patriarchal fantasy of femininity." Her screen characters are interpreted as basically passive, with "her performance positioning" during her song numbers reinforcing Faye's screen personality as one who is "gentle and easily controlled." Faye is quoted as comparing many of her roles to "a painted doll-like dummy." B233 Entire B234

Vlasek, K. "Alice Faye/Filmography." Film Musical Quarterly, Winter, 1971. issue devoted to Alice Faye. Warren, Doug. Betty Grable: The Reluctant Movie Queen. New York: St. Martin's Press, 1974. pp. 55, 88, 119, 211.

Faye's friendship with Grable is favorably noted, even though Grable once called Faye "cow eyes." Without malice, though. Grable and Faye shared a unique bond at the studio, impervious to the emphemeral, competitive nature of stardom.

Bibliography B235

Watters. Jim. pp. 28-29.

201

"On Stage." People. April 15, 1974,

Faye talks of her return to the stage in Good News, saying it was she who wanted John Payne, her former Fox co-star of several musicals, as her leading man once again. B236

"Wedding Day." New York Post. September 20, 1941.

Faye is married to bandleader Phil Harris. Article says the couple previously married in Mexico several months earlier, but they decided on another ceremony since "Mexican marriages have been declared invalid in California." B237

Westmore, Frank. Westmores of Hollywood. New York: J.B. Lippencott, 1976. p. 138.

As part of the Hollywood Canteen during World War II, the reknowned Westmore brothers demonstrated various make-ups on volunteers. They also showed "seven basic face concepts," each one exemplified by a particular star. Alice Faye was identified as #5, the "triangle face," a face with a narrow forehead, and a wide jaw and chin line. B238

"Why Alice Faye Almost Missed Stardom." Screen Book, October, 1937.

B239

Wiley, Mason. Inside Oscar. New York: Ballantine Books, 1986. p. 607.

For the 1981 Academy Awards presentation, Faye is scheduled to sing three bars from her signature song "You'll Never Know," as part of a tribute to composer Harry Warren. At rehearsal Faye is dismayed to learn that what she thought would be a solo singing appearance would actually be augmented by two other performers who had no historical connection with the song. After a conference with her husband, she walked out. B240

Williams, Carol Traynor. The Dream Beside Me: The Movies and the Children of the 1940s. London: Associated University Press, 1980. pp. 15-16, 45.

In this examination of "the romantic myths and ideals" of the 1940s, the screen image of Alice Faye is seen as a comforting goal for young female audiences. Author Williams cites the 1974 film ALICE DOESN'T LIVE HERE ANYMORE as epitomizing this, where the central character, portrayed by Ellen Burstyn, is disappointed by a life falling short of such cinematic sentiments; Faye's voice is heard on the soundtrack too, singing "You'll Never Know," from HELLO, FRISCO, HELLO (1943).

202

Bibliography

B241

Wilson, E. "Projections." Si Tver Screen, July,

1937

B242

Wilson, E. "Righting Wrong Screen, August, 1939.

B243

Woll, Allen L. The Hollywood Musical Goes To War. Chicago: Nelson-Hall, 1983. p. 108.

Impressions." Si 1ver

In 1941, Alice Faye, along with Hollywood stars Ann Sheridan and Wallace Beery, are scheduled to travel as "goodwill ambassadors" through South American countries, on behalf of the Office of Inter-American Affairs, a government program intended for propaganda purposes. However, Faye's visit is cancelled after Douglas Fairbanks, Jr., comes back from a similiar tour, where he "unwittingly offended everyone." B244

Yglesias, Linda. "Step Into Shape With Alice Faye." New York Daily News, June 28, 1987.

Photos of Alice Faye show her on a mat demonstrating stretching exercises for senior citizens to try on their own. Faye appears very fit.

Appendix I: Chronology 1915

Born Alice Jeane Leppert on May 5, in New York City.

1929

Joins Chester Hale Dance Company as chorus girl. Leaves school. Later tours with other regional dance companies.

1931

Chorus girl in George White's Scandals of 1931, later upgraded to singer due to Rudy Vallee's influence.

1932

Begins touring with Rudy Vallee as featured singer. Radio debut on Vallee's The Fleishmann Hour.

1933

Suffers injuries in car crash. Makes commercial recording debut.

1934

Movie debut in GEORGE WHITE'S SCANDALS. Followed by NOW I'LL TELL, SHE LEARNED ABOUT SAILORS and 365 NIGHTS IN HOLLYWOOD.

1935

EVERY NIGHT AT EIGHT, GEORGE WHITE'S 1935 SCANDALS, MUSIC IS MAGIC, KING OF BURLESQUE. Father dies at age 49. Faye legally changes her name.

1936

POOR LITTLE RICH GIRL, STOWAWAY and SING, BABY, SING.

1937

WAKE UP AND LIVE, ON THE AVENUE, YOU CAN'T HAVE EVERYTHING, YOU'RE A SWEETHEART; regular appearances on Hal Kemp's radio program; marries Tony Martin.

1938

SALLY, IRENE AND MARY, IN OLD CHICAGO, ALEXANDER'S RAGTIME BAND.

1939

TAIL SPIN, ROSE OF WASHINGTON SQUARE, BARRICADE.

1940

IN OLD NEW YORK, LILLIAN RUSSELL, TIN PAN ALLEY; divorces Tony Martin.

204

Appendix I

1941

THAT NIGHT IN RIO, THE GREAT AMERICAN BROADCAST, WEEKEND IN HAVANA; marries Phil Harris.

1942

Daughter Alice born.

1943

HELLO, FRISCO, HELLO, THE GANG'S ALL HERE.

1944

Daughter Phyllis born; FOUR JILLS IN A JEEP.

1945

FALLEN ANGEL; Faye walks out of 20th Century-Fox.

1948

Phil Harris-Alice Faye radio show begins six year run.

1957

Television debut on "This Is Your Life (Phil Harris)."

1959

Mother dies, age 73.

1962

STATE FAIR, followed by several years of TV appearances, usually with Phil Harris.

1972

First book on Faye, The Alice Faye Book, by Frankl W. Moshier, (later The Alice Faye Movie Book) is published.

1973

Begins two year involvement with Good News stage revival.

1974

Good News opens on Broadway for 51 performances.

1975

Summer tour of Good News.

1976

Cameo in WON TON TON, THE DOG WHO SAVED HOLLYWOOD.

1978

Cameo in MAGIC OF LASSIE; featured role in the unreleased EVERY GIRL SHOULD HAVE ONE.

1979

Donates memorabilia to Linton, Indiana.

1984

Joins Pfizer Pharmaceutical as "Good Health Ambassador;" several television appearances in England, a frequent showcase for her during the 1980s.

1986

WE STILL ARE!, Pfizer promotional film.

1990 publication of Grpwing older, staying young.

Appendix II: Awards GENERAL

AWARDS:

American National 1953, 1954.

Red Cross Certificate Of Honor

Dallas County United Fund Award

1962.

Variety Boy's Club of Galveston, Texas Liberty Magazine Award Outstanding Service USO

April

1951,

1966.

20, 1971.

October

25, 1974.

Artistry in Cinema Award, presented at the Bijou National Film Society's Movie Expo, Los Angeles, May 29, 1977. Better World Award - presented to Alice Faye and Phil Harris by the National Ladies Auxiliary of the Veterans of Foreign Wars, March 24, 1979. Certificate - presented by Indiana Governor Robert B. Orr, honoring Phil Harris and Alice Faye as "Sagamores of the Wabash," the highest honor an Indiana governor can bestow on an individual, a valued tradition among Hoosiers. June 3, 1984. Certificate presented by Indiana Governor Robert B. Orr, making Alice Faye an honorary Hoosier, April 25, 1988. Doctorate of Performing Arts, presented by Vincennes University (Indiana) President Dr. Phillip M. Summers, June 3, 1989.

SELECTED PFIZER-RELATED AWARDS: Florida Chapter of the Arthritis Foundation - honorary

206

Appendix I I

plaque for Faye's dedication and support of "Up, Up, and Away With Arthritis" campaign, 1986. Key to the city, Homewood, Alabama Key to the city, Brazil, Indiana

November 14, 1986. May 29, 1987.

Proclamation of Public Service Contributions to "The Cause of Health Education," Sun City, FA, 1988. Proclamation, "Alice Faye Day," San Antonio, TX, June 8, 1987. Atlantic City Plaque, featuring a piece of the boardwalk, commemorating Faye's visit there on May 13, 1988. Certificate, New Jersey General Assembly - a resolution that "honors and commends Alice Faye for her outstanding personal and professional achievements," 1988. Certificate, Michigan Legislature, Senate Concurrent Resolution No. 71 (the House of Representatives concurred) honoring Alice Faye on her visit to Lansing in her new role as "Ambassador for Good Health to Older Americans," March 7, 1989.

Appendix III: Song Sheets MAJOR SONG SHEET SELLERS: Fi lm

Song

EVERY NIGHT AT EIGHT (1935)

"I Feel A Song Comin' On

KING OF BURLESQUE (1935)

"I'm Shooting High"

POOR LITTLE RICH GIRL (1936) "When I'm With You" "But Definitely" SING, BABY, SING (1936)

"You Turned the Tables On Me" "Sing, Baby, Sing"

STOWAWAY

"Good Night My Love"

(1936)

ON THE AVENUE (1937)

"This Year's Kisses" "Slumming On Park Avenue" "I've Got My Love To Keep Me Warm"

WAKE UP AND LIVE (1937)

"Wake Up and Live" "Never In A Million Years" "There's A Lull In My Life'

YOU CAN'T HAVE EVERYTHING (1937)

'You Can't Have Everything'

YOU'RE A SWEETHEART (1937)

"You're A Sweetheart"

208

Appendix I I I

SALLY, IRENE AND MARY (1938) "Got My Mind On Music" ALEXANDER'S RAGTIME BAND (1938)

"Now It Can Be Told" "Alexander's Ragtime Band" "Al1 Alone" "Remember"

ROSE OF WASHINGTON SQUARE (1939)

"I Never Knew Heaven Could Speak" "Rose Of Washington Square"

LILLIAN RUSSELL (1940)

"Blue Lovebird"

TIN PAN ALLEY (1940)

"You Say The Sweetest Things" "America, I Love You"

WEEKEND IN HAVANA (1941)

"Tropical Magic"

HELLO, FRISCO, HELLO (1943)

"You'll Never Know"*

THE GANG'S ALL HERE (1943)

"No Love, No Nothin'" "A Journey To A Star"

* over 1,000,000 copies sold

RARE SONG SHEETS: Film

Song

NOW I'LL TELL (1934)

"Fool in' With The Other Woman's Man"

SHE LEARNED ABOUT SAILORS (1934)

"Here's the Key to My Heart"

365 NIGHTS IN HOLLYWOOD (1934)

"Yes To You" "My Future Star"

MUSIC IS MAGIC (1935)

"Music Is Magic" "La Locumba" "Honey Chile"

Appendix

I I I

TAIL SPIN

(1939)

In And Out the Window" - cut from film "Are You In The Mood For Mischief?"

BARRICADE

(1939)

"There'll

"Go

LITTLE OLD NEW YORK

LILLIAN RUSSELL

TIN PAN ALLEY WEEKEND

209

(1940)

(1940)

(1940)

IN HAVANA

(1941)

"Who

Be Other Nights"

Is the Beau of the Belle Of New York?"

"Ma Blushin' Rosie" "Come Down Ma Evenin' Star" "The Sheik Of Araby" "Romance and

Rhumba"

Appendix IV: Product Endorsements Faye endorsed many commercial products in print and on radio. Her image was also sold on such items as ice cream lids, cigarette cards, weight cards, postcards and in a 1940 paper doll book. 1930s Flowers by Wire Transcontinental Western Air Munsinger Hostess Pajamas Woodbury Cold Cream DeSoto (automobile) Max Factor, Hollywood Norge Refrigerators Admiration Hosiery Lux Washing Soap Dictograph Radio Hudnut Cosmetics Lane Cedar Chests Wiltshire Rawhide Luggage Florists Telegraph Delivery Associ at ion Lampel Knitting Mills 1940s Jergen's Lotion Royal Crown Soda Lux Toilet Soap Fitch's Shampoo Whittaker Cameras Olympic Radios 1881 Rogers Silverware Royal Gelatins & Puddings

1950s Rexal1 Drug S&W Fruit Juices Scotch Tapes Lucky Strike Betty Crocker 1980s Pfizer Pharmaceutical

Appendix V: Archival Sources Phil Harris-Alice Faye Collection Margaret Cooper Public Library First and Vincennes Street Linton, Indiana 47441 Regina Kramer, Curator Dedicated on May 5, 1979 (Alice Faye's birthday), this collection is administered by the Phil Harris Scholarship Fund. It is not part of the library, and tours are conducted by volunteers. The collection evolved when Harris, originally a Linton native, suggested donating his and Faye's memorabilia during a "Weekend with Phil" celebration, which has since become an annual event called "The Phil Harris Scholarship Festival." Harris and Faye have visited Linton frequently, subsequently sending more materials; previously they gave a benefit show in Hawaii to raise $1,000 to ship the or i g i na1 deli very of memorabilia. Aside from material relating to Harris, Faye's own career related material includes at least two movie scripts (FALLEN ANGEL and HELLO, FRISCO, HELLO), photographs, awards, scrapbooks, correspondence, plus recordings and transcripts from the Harris-Faye radio program. Billy Rose Theatre Collection The New York Public Library Lincoln Center 11 Amsterdam Ave New York, NY 10023 Extensive newspaper clipping files on Alice Faye beginning in 1934, along with numerous photo files

212

Appendix V

cross indexed with Rudy Vallee, Phil Harris and Jack Benny. Unfortunately, several excellent clippings are undated (though obviously from the 1930s), and/or have no visible newspaper source. Good News programs also available. Related Faye newspaper clippings in the Rudy Vallee file, and newspaper reviews catalogued by film title. Available on microfilm are pressbooks issued by 20th Century-Fox for each of Faye's features through 1941. The Museum of Modern Art Pinewood International Film Study Center and Film Stills Archive 112 W. 53 St New York, NY Clipping file on Faye and excellent photo selection.

General Index The following entries are indexed as follows: page numbers refer to the Biography; coded enumerations refer to these chapters: "F" for Filmography; "D" for Discography; "BD" for Broadcasting; "S" for Stage; "B" for Bibliography.

After Dark. B126 ALEXANDER'S RAGTIME BAND F18, BD26, B133, B143 Alexander's Ragtime Band (LP), D1, D2 ALICE DOESN'T LIVE HERE ANYMORE, F42 Alice Faye and the Songs of Harry Warren (LP), D3 Alice Faye's Greatest Hits (LP), D4 Alice Faye in Hollywood (LP), D5 Alice Faye Movie Book, The, B137 Alice Faye On the Air Vol. 1 (LP), D6 Alice Faye On the Air Vol. 2 (LP), D7 Alice Faye: Outtakes and Alternates Vol. 1 ( L P ) , D8 Alice Faye: Outtakes and Alternates Vol. 2 ( L P ) , D9 Alice Faye Reel (tape) D94 Ameche, Don, F14, F17, F18, F21, F24, F26, B184, B200 American Classic Screen, B106 America's Health. B128 American Premium Record Guide, B52 Andrews, Dana, F32 An Evening With Phil Harris (LP), D10

An

Irving Ber1 in Tribute ( L P ) , D11 Ann-Margret, F33 BARRICADE, F22 Baxter, Warner, F8 Benny, Jack, 18, BD31, BD34, B29 Ber1 in, Irving, 8, 10, F12, F18, D1, D43, BD75 Berkeley, Busby, F30 Bernie, Ben, F13, BD15 Betty Grable: Reluctant Movie Queen. B234 Bi1lboard, 18 Biographical Dictionary Of Film. The. B221 Bolger, Ray, B159 Boone, Pat, F33 Boston Globe. F24, B41 Brazilian Bombshell, B70 Brooklyn Daily Eagle, F7, F9, F10, F15 F18, F29, F30 Brice, Fanny, F20, B59 B61 Cagney, James, BD5, B17, B36 Cantor, Eddie, BD16, BD17, B217 Chicago American. B48 Chicago Tribune, B217 Choice Cuts (LP), D12 CINEMA CIRCUS (short), F37

214

General Index

Classic Movie Musicals of Harry Revel/Thirties Musicals of Harry Revel (LP), D14 Classic Movie Musicals of Richard Whiting (LP), D15 Collector's Guide to the American Musical Theatre, B100 College of One, B75 Complete Entertainment Discography, The, B188 Courier, The (AZ), B123 Crosby, Bing, D36, BD56 Cue, B219 Cut! Outtakes From Hollywood's Greatest Musicals Vol. 1 (LP), D16 Cut! Outtakes From Hollywood's Outtakes, Vol. 3 (LP), D17 Daily Enterprise (CA), B77 Daily Express (U.K.), B49 Dallas Morning Times, F26, F27 Davis, Joan, F16 "The Dean Martin Show," BD54, BD59, BD60, B62 Democrat Herald (OR), B15 Dream Beside Me. The B240 Dunn, James, F5 Durante, Jimmy, F1, F16 Echos Of A Century (LP), D18 Edwards, Cliff, F1, F5, F37 Ewell, Tom, F33 EVERY GIRL SHOULD HAVE ONE, F36 EVERY NIGHT AT EIGHT, F6 Every Night At Eight (LP), D19 Fairbanks (Jr.), Douglas, B243 "Falcon's Crest," BI13 FALLEN ANGEL, F32 Falling In Love Again (CD), D90

Faye, Alice (Leppert, Alice Jeane), career (show business), as chorus girl, 2, B22 as singer with Rudy Vallee, 2, 4-5, B12, B177, B196, B214, B226, B227, B228, B230, B231 as film star, 5, 7-16, B40, B43, B61, B68, B115, B130 as recording artist, B66, B91 as radio star, B1, B38, B120, B175 as stage star, B31, B95, B104, B179 change of name, B5 childhood, 1-2, B17, B94, B124, B217 children (Alice, Phyllis), BD55, B19, B47, B96, B97, B204 marriage to Phil Harris, 11, 12, 13, B20, B37, B74, B83, B85, B88, B124, B155, B182, B236 marriage to, and divorce from, Tony Martin, 8, 9, 10, 11, B16, B75 Pfizer Pharmaceutical career, 22, 24, F38, BD83, B6 B7, B11, B33, B60, B64, B93, B128, B171, B207, B244 retirement from screen, 16, 18-19, B15, B158, B183, B217 return to screen, 19, B13, B14, B212 travels to England, B49, B151, B152, B153, B154 Faye, Charles (brother), 1, 4, B124, B125 Faye, William/Bill (brother), 1, 4, B90, B124 Film Costume: An Annotated Bibliography, B174 Films of 20th Century Fox, B220

General Index Film Musical Quarterly, B188 Fitch Bandwagon Show, B156, B163 Fitzgerald, F. Scott, B75, B129 Fleishmann Hour, D95, B129 FOUR JILLS IN A JEEP, F31 Four Jills In A Jeep (LP), D20 Fox Girls, The, B157 FRED ASTAIRE SALUTES THE FOX MUSICALS, F41 From Scarface To Scarlett. B53 Qalveston Daily News (TX), B78 GANG'S ALL HERE, THE F30 Gang's All Here, The (LP), D21 GEORGE WHITE'S SCANDAL, F1 George White's Scandals (Stage), B22 GEORGE WHITE'S 1935 SCANDALS, F5 Getting Older, Staying Young, B64 Girls of the Thirties (LP), D22 Golden Goodies from the Silver Screen (LP), D23 Golden Moments of the Silver Screen (LP), D24 Golden Years, The. B93 Goldstone, Nat, B124 Gone Hoi 1vwood. B68 Good News (Stage), BD63, S2, B26, B69, B94, B104, B107, B156, B235 Good News (LP), D25 Gotta Sing, Gotta Dance, B110 Grable, Betty, F25, F31, B118, B161, B234 GREAT AMERICAN BROADCAST, THE, F27, B131, B132, B165

215

Hale, Chester, 2 Hal Kemp and Alice Faye (LP), D26 Harris, Phil, 11-12, 16, 17, 18, 19, B37, B44, B45, B55, B74, B78, B83, B85, B122, B124, B149, B159, B162, B163, B164, B166, B193, B194, B216, B224, B236 Havoc, June, F29 Hello, Dolly (Stage), 19 HELLO, FRISCO, HELLO, F29, B107, B121, Hello, Fr i sco, Hello (LP), D27 Herald-Telephone (IN), B109 Here Come the Girls (LP), D28 History of Movie Musicals, B23 Hobbies. B55 HOLLYWOOD CAVALCADE, F21 Hollywood Costume Design. B40 Hollywood Musical Goes to War. The. B243 Hollywood's Hollywood, B28 Hollywood Is On the Air (LP), D29 Hollywood Musical, The, (Mordden), B134 Hollywood Musical, The (Hirschorn), B92 Hollywood On Record: The Film Stars' Discography, B170 Hollywood On the Air Presents "The Feminine Touch" (LP), D30 "The Hollywood Palace," B3, BD53, BD56 Ho11ywood Rev i s ited. B76 Hollywood Story (LP), D31 Hollywood Studios. The. B135 Hollywood Studio Magazine. B34, B65, B105, B107, B108, B151, B152, B153, B154

216

General

Index

Hollywood Years of Harry Warren (LP), D32 Holmes, Helene (Helene Smith), B2, B102 Hooray for Hollywood (CD), D91 Hovick, Louis (Gypsy Rose Lee), F14

Illustrated History of the Cinema. B118 I'm Ready for My Close-Up (CD), D92 Indianaoolis Star. B116, B117, B119 In A Glamorous Fashion. B115 IN OLD CHICAGO, F17 International Directory of Films and Filmmakers:

Vol. III: Actors and

Life. B96 LILLIAN RUSSELL, F24 Li 11ian Russel1 (LP), D35 Lillian Russell (Radio), BD27

Linton Paily Citizen ( I N ) , B6, B7, B11, B84, B101, B113, B126 LITTLE OLD NEW YORK, F23 Live with Bing Crosby (LP), D36 London Times. F1, F3, F14, F33 Look. B1 "Looks Familiar (U. K. t v ) , " BD69 Los Angeles Evening and Herald Express. B37 Los Angeles Herald-

Examiner, B19, B46, B57 Los Angeles Times, F2, B12, B20, B31, B98, B211, B222

Actresses. B232 "Irving Berlin's America," BD75

"Love Boat," B119 Lux Radio Theatre, BD26, BD27, BD28, BD32

Jolson, Al, F20, D47, BD5, BD7, B72 Jolson: The Legend Comes To Life. B72 Jule: The Story of Composer Jule Stvne r B215

MacMurray, Fred, F23 MAGIC OF LASSIE, THE, F35 Magic of Lassie, The, (LP), D37 Magical Songs of Irving Berlin (LP), D38 Makin' Whoopee (CD), D93 Martin, Mary, BD65, BD67 Martin, Tony, 10-11, B16, B125

Keeler, Ruby, Ruby, B160 Kelly, Patsy, F6, D19 Kemp, Hal, D26, B38, B81 KING OF BURLESQUE, F8 "Kraft Musical Hall," BD61 Ladies of Burlesque (LP), D33 Langford, Frances, F6, D19 Legendary Ladies of Stage, Screen and Radio, Vol. 2 (LP), D34 Leppert, Charles (father), 1, 2, 4, 7, B50, B124 Leppert, Alice (mother), 1, 2, 4, B83, B139, B140 Let the Chios Fal1.... B228

Melody Lingers On, The, B91

Merman, Ethel, F17, D1, BD84, B127 Miami Herald, B45 Miranda, Carmen, F26, F28, F30, F31, B70 Miss Alice Faye Sings the Rare Ones (LP), D39 Modern Movies. B133 Modern Picture. B39, B131 Modern Screen. B99, B121, B132 More Hits From Your Hit Parade, Vol. 7 (LP), D40

Motion Picture, B71 Motion Picture Herald, B145

General Movie Classic. B141 Movie!and, B142 Movie Life, B143 Movie Lover's Guide To Hoilywood, The, B18 Movie Mirror, B144, B147 Movie Star: A Look at the Women Who Made Hoi 1vwood. B136 Movie Stars Parade, B148 Murphy, George, F15 MUSIC IS MAGIC, F7 Music Maestro Please (LP), D41 Music, Music, Music (LP), D42 MYRA BRECKINRIDGE, F40 My Time Is Your Time. B227 Newark Sunday News. The. B24 Newsday (NY), B3, B156 News Tribune ( N J ) , B60 Newsweek. B184 New York American, F9, B50 New York Daily Mirror. F3, F8, F12, F14, F17, F19, F20, F21, F30, B59, B66, B102, B187 New York Daily News (New York Sunday N e w s ) . F15, F24, F28, F31, S2, B17, B42, B124, B178, B179, B180, B205, B213, B244 New York Herald Tribune, F4, F6, B2, B63, B95, B223 New York Journal-American. F16, F22, F26, F27, B130, B183, F27 New York Morning Telegraph, F25, F29, B14, B155, B211 New York Post. F3, F12, F13, F16, F17, F18, F21, S2, B16, B38, B83, B94, B95, B146, B150, B204, B206, B236 New York Sun, F1, F7, F18, F22, B214 New York Times, S1, B8, B9, B10, B22, B26, B69, B140, B226, B231 New York World-Telegram,

Index

217

F5, F14, F16, F19, B13 B51, B54, B61, B67, B139, B229, B230 "Night of A 100 Stars," BD66 NOW I'LL TELL, F2 Nurnberg Post (Germany), B29 Oakie, Jack, F8, F25, F27, F29, BD9, BD11, BD14, BD18, B65 ON THE AVENUE, F12 On the Avenue ( L P ) , D43 "Over Easy," BD65, BD67 Palm Spring Life, B44 Parr, Jack, BD52 Payne, John, F25, F27, F28, F29, BD63, S2, B45, B69 People. B235 People Are Crazy Here, B181 People Wi11 Talk, B111 "Perry Como Show, The," BD50 Pfizer Pharmaceutical, F38, BD83 Philadelphia Public Ledger, F27, F28 Phil Harris-Alice Faye Show (Radio), B1, B45, B56, B74, B85, B120, B149, B163, B182 Phil Harris-Alice Faye Show (LP), D44, D45 Phil Harris-Alice Faye Show (tape), D96, D97, D98, D99, D100 Photoplay, B165, B166 B167, B202 Pictorial History Of Radio, B196 Picturegoer, B169 Pin Up: The Tragedy Of Betty Grable, B161 POOR LITTLE RICH GIRL, F9, B99 Popcorn Venus. B186 Popular Music: An Annotated Guide To Recordings, B225 Popular Song. B177 Pour Vous. B172

218

General Index

Powell, Dick, F12 Powel1, Jane, B94 Power, Tyrone, F17, F18, F20, BD84, B80 PM, F28 Price Guide To Autographs, The. B189 Puttin' On the Ritz (LP), D46 Radio and Television Mirror, B182 Radio Life, B74, Radio Stars and Television. B85, Radio-Vision, B163 Raft, George, F6 "The Red Skelton Show," BD49, BD51 Reynolds, Debbie, B94 Richmond News Leader (VA), B43 Ritz Brothers, The, F10, F12, F14, Roberti, Lyda, F5 Romantic Comedy, B87 Romantic Movie Stories. B185 Romero, Cesar, F27, F28 ROSE OF WASHINGTON SQUARE, F20 Rose Of Washington Square (LP), D47 "Royalty Variety Performance," BD74 "The Roy Rogers-Dale Evans Show," BD48 SALLY, IRENE AND MARY, F16 Sally Irene, and Mary (LP), D48 Salute to the Hollywood Canteen, (LP), D49 San Francisco Chronicle, B112, Screen Book, B32, B238 Screen Greats, B35 Screen land, B190 Screen International, B191 Screen Romances, B192 Secret Life Of Tyrone Power. The. B21

SHE LEARNED ABOUT SAILORS, F3 Sheridan, Ann, B217, B243 Shirley Temple: American Princess, B58 Show Music On Record: From the 1890s to the 1980s, B176 Sideshow, B27 Si 1ver Screen, B82, B200, B201, B241, B242 Silver Screen Star Series: Alice Faye (LP), D50 SING, BABY, SING, F10 Sing, Baby, Sing (LP), D51 Singing Sweethearts of the 1930s (tape), D101 "61st Academy Awards," BD81 Song Hits, B208 St. Louis Dispatch, F24 Stanyan News, B73 Star Myths: Show Business Biographies On Film, B129 Starstruck!: The Wonderful World Of Movie Memorabi1ia, B89 STATE FAIR, F33, B14, B212 State Fair (LP), D52 Stewart, James, F35 Story Of Cinema. The, B199 STOWAWAY, F11 Styne, Jules, B215 Sunday Star (D.C.), B120 TAIL SPIN, F19 TAKE IT OR LEAVE IT, F39 Temple, Shirley, F2, F9, F11, B 30, B58 Terre Haute Star (IN), B122 THAT NIGHT IN RIO, F28 That Night In Rio (LP), D60 Thev Had Faces Then. B210 Thirties Girls On the Air, The, D54 Thirties Movie Musicals of Harry Revel (LP), D14 "This Is Your Life," BD46, BD72 Those Bombastic Blonde Bombshells (LP), D56 Those Glorious. Glamourous Years. B25

General Those Wond erful Girls of Stage, Screen, and Radio (LP) , D56 Those Wond erful Guys and Gals of Stage, Screen, and Rad io (LP), D57 "The Timex Hour," BD47 TIN PAN AL LEY, F25 Tin Pan Al ley (LP), D58 365 NIGHTS IN HOLLYWOOD, F4 Today's Ci nema, F6 "The Tony Awards (1974)" BD63 Tune In Yesterday, B56 Two Of Us. The. B125 Tyrone Power: The Last Idol. B80 Unforgettable Hollywood. B47 Vallee, Rudy, 2, 4-5, F1, D62, D63, D93, BD1, S1, B12, B226, B227, B228, B229, B230, B231 Varieties (Stage), B231 Variety, F2, F5, F11, F12, F13, F19, F23, F31, F34, F35, F173, B175 WAKE UP AND LIVE, F13 Wake Up and Live (LP), D59 Wassau Merri11 Herald (WI), B207 Webb, Fay, B63, B227, B229 WEEKEND IN HAVANA, F28 Weekend in Havana (LP), D60 Weekend Desert Post (CA), B160 WE STILL ARE!, F38 Westmores of Hollywood. The, B237 Whalen, Michael, F9, F10 Whatever Happened To... (10th Series), B114 White, George, 4, 5, F1, F5, S1 Who Played Who In the Movies, B168 Wilshire Advertiser (CA), B162 Wogan (U.K. tv), BD76 Women's Wear Daily, S2 WON TON TON, THE DOG WHO SAVED HOLLYWOOD, F34

Index

219

YOU CAN'T HAVE EVERYTHING, F14 You Can't Have Everything (LP), D61 Young, Loretta, B11 YOU'RE A SWEETHEART, F15 Zanuck, Darryl, 15, B4, B217

ADDENDUM:

Classic Movie Musicals of Jimmy McHugh (LP), D13

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Song Index The following entries are indexed as follows: page numbers refer to the Biography; coded enumerations refer to these chapters: "F" for Filmography; "D" for Discography; "BD" for Broadcasting; "S" for Stage; "B" for Bibliography.

According to the Moonlight, F5, D5, D7, D46, D68 Adored One, F24, D35, BD27 After the Ball, F24, D35, D39 A Journey to a Star, F30, D21 Alexander's Ragtime Band, F18 D1, D4, D8, BD3, BD4, BD26, BD41, BD43, BD47, BD50, BD59 A Little Bird Told Me, BD4 All Alone, D1, D18 Almost Like Being In Love, BD3 America, I Love You, F25, D50, D58 And So Goodnight, BD3 Apri1 Showers, BD3 Are You In The Mood For Mischief?, F19, D8, D50 A Rose Is Not A Rose, F35, D37 Baby, It's Cold Outside, D37, D42, BD4 Band Played On, The, F24, D35, D39 Bedelia, F29, D27 Be Goody Good Good To Me, BD4 Best Things In Life Are Free, The, D25, BD3, S2 Blue Lovebird, F24, D35, D50, B49 Blue Skies, F18, D1, BD3, BD26, BD59 Boa Noite, F26, D3, D60 Brighten the Corner Where You Live, D35 Brooklyn Love Song, The, BD3 But Definitely, F9

By the Light of the Si 1 very Moon, F29, D27, D39, BD59, BD60 Bye Bye Baby, BD4 Carry Me Back to 01' Virginny, F17, D8 Chica Chica Boom Chic, D9, D60 Clancy Lowered the Boom, BD4, BD42 Come Down Ma Evenin' Star, F24, D35, BD27 Coming Thro' the Rye, D35 Danger, Love At Work, F14, D61 Darktown Strutter's Ball, D39, BD60 Dearie, D42, BD4 Dickie Bird Song, BD3 Didja Ever, BD4 Dinah, D6 Don't Fence Me In, BD61 Down Among the Sheltering Palms, BD4 Down Yonder, BD4 Egg and I, The, BD3 Everybody Step, BD3 Everybody's Doin' It, F18, D1 Everybody's Laughing, BD21 , Every Night At Eight, F6, BD3

222

Song Index

Fool in' with the Other Woman's Man, F2, F7, D50 From This Moment On, BD4 Gather Lip Rouge While You May, D6, D95 Gentleman Is A Dope, The, BD3 Get Out And Get Under, F25, D9 Getting to Know You, BD4 Give My Regards to Broadway, D39, D60 Glocca Mora, BD3 Glow Worm, BD4 Go In And Out the Window, F19 Good News, D25, S2 Goodnight, My Love, F11, D80, BD50 Got My Mind On Music, F16, D8, D48 Great American Broadcast, The, F27 Grizzly Bear, The, F29, D27, D50 Half Moon On the Hudson, F16, D8, D48 Happy As the Day is Long, D6 Happy TraiIs, BD61 Has Anyone Here Seen Kelly?, F29, D27, BD56 Hats Off He Ain't Got Rhythm, F12, D43 Hello Dolly, D39, BD53, BD54, BD57, BD68 Hello, Frisco, Hello, F29, D27, D50 Here's the Key to My Heart, F3, D5, D15, D65 Hi Lili, Hi Lo, BD4 Honey Chile, F7 Honeymoon Express, BD4 Honeymoon Hotel, D7, D63 Honeysuckle Rose, BD4 Hooray for Love, BD3 How'm I Doin'?, D7 Hunkadola, The, F5, D70

I Believe, BD3 I Could Use A Dream, F16,

D8, D48

I f I Could Be With You,

BD50

I f I Were A Bel 1, BD4 i Don't Care, D39, BD60 I Don't Care If the Sun

Don't Shine, BD4

I Feel A Song Coming On,

D19, D50, D74

I f This Isn't Love, BD3,

BD4

I Gotta Have You, F29 I Know That You Know,

BD3 '11 Close My Eyes, BD3 '11 Get By, BD3 '11 Never Let You Cry, F17 I '11 See You In My Dreams, F21, D9, D17 I '11 Shuffle Off To Buffalo, D6 I Love To Ride the Horses, F8, D50, D77 I 'm Always Chasing Rainbows, F20, D9 I 'm Afraid to Dream, F20 I 'm In Love With A Wonderful Guy, BD4 I 'm Just WiId About Harry, F20, D9, D42, D47, BD68 I 'm Shooting High, F8, D5, D78 I 'm Sorry Dear, F20, D47 I *m Sorry I Made You Cry, F20, D9 I May Be Wrong, BD3 I Never Knew Heaven Could Speak, F20, D9, D47 I n Old Chicago, F17, D50, BD3 I n the Cool, Cool, Cool of the Evening, BD4 I Saw Mommy Kissing Santa Claus, BD4 I Take To You, BD3 I t's A Lovely Day, BD4 It's All In A Lifetime, F27, D9 I t's A Most Unusual Day, BD4 It's An Old Southern Custom, F5 It's DeLovely, BD4 It's Swel1 Of You, F13. I I I

Song Index D5, D85 I t's the Little Things in Texas, F33, D52, BD50 I 've Got A Crush On You, BD3 I 've Got A Feeling I'm Falling, BD3 I 've Got My Fingers Crossed, F8, D76 I 've Got My Love To Keep Me Warm, F12, D5, D38, D39, D42, D43, D83, BD4, BD50, BD53, BD59 I 've Got Shoes, You Got Shoesies, F5, D71 I 've Got the World On a String, D6, BD4 I 've Taken A Fancy To You, F17, D8 I Want to Be Bad, D25, S2 I Was Born Too Late, F5, D72 Johnny Get Your Girl, BD4 Just One of Those Things, BD3 K-K-K-Katy, F25, D58, BD56 Keep In the Middle of the Road, BD4 Keep It Gay, BD4 La Locumba, F7 Last Rose of Summer, The, F24, D9 Lavender Blues, BD4 Let's Take An Old Fashioned Walk, D42, BD4 Letter, The, D89, BD4 Life Is Just A Bowl of Cherries, D25, BD4, S2 Long Ago Last Night, F27 Look at Me, BD4 Love Is Smiling at Me, F7 Love Somebody, BD4 Love Will Tel 1, F10, D51 Mamma's On the Warpath, BD4 Mame, D39, BD54, B123 Man With the Lollipop Song, The, F28, D9, D60 Mimi. D7 Minuet in Jazz, F16 Music is Magic, F7, D50

223

Music, Music, Music, D42 My Fine Feathered Friend, F15, D50 My Funny Valentine, D39, BD61 My Future Star, F4, D66 My Man, F20, D47, D50 My Oh My, D6 My One and Only Highland Fling, D42, BD4 Nasty Man, F1, D5, D7, D64 Never In A Mill ion Years, F13, D5, D50, BD69 Never Say No, F33, D4 Night and Day, BD17 Nobody's Chasing Me, BD4 No Love, No Nothin', F30, D3, D21, D4, D49, BD68, BD69 No Two People, BD4 Now It Can Be Told, F18, D1, D7, D50, BD26 Oh, But I Do, BD3 Oh, I Didn't Know (You'd Get That Way), F5, D7, D50, D69 Old Man Harlem, D6 Old Master Painter, BD4 Ole Buttermilk Sky, B84 On A Picnic We Wi11 Go, BD60 Once In Awhile, D26 One Never Knows, Does One?, F11 On Moonlight Bay, F25, D58 On the Avenue, F12 On the Steps of Grant's Tomb, F12 Oooh I'm Thinking, D6 Oops, BD4 Please Pardon Us, We're In Love, F14, D61 Polka Dot Polka, The, F30, D21 Poppa Won't You Dance With Me, BD3

224

Song Index

Ragtime Cowboy Joe, F29, D27, D39, BD61 Rain, D42, BD4 Remember, D1, BD26 Rhode Island Is Famous For You, BD4 Richochet Romance, BD4 Romance and Rhumba, F28, D9, D60 Rose of Washington Square, F20, D39, BD50, BD52, BD53, BD58, BD59, BD68, BD60 Rosie, You Are My Posie/Ma Blushin' Rosie, F24, BD4, BD59, BD60 Santa Claus is Coming to Town, BD3, BD4 Scat Song, The, D6 Scraping the Toast, F15 Shame On You, D62 Shanghai, BD4 Shanny 0' Shea, BD3 Sheik of Araby, F25, D59 Side by Side, BD4 Sing, Baby, Sing, F10, D39, D51, BD59 Sittin' Up Waitin' for You, D7, D95 Skip to My Lou, BD4 Slowly, F32 Slow Poke, BD4 Slumming On Park Avenue, F12, D39, D43, D82, BD54 So Help Me, D7, BD23 So It's Love, F15 Sooner or Later, BD3 Speaking Confidentially, F6, D5, D19, D73 Spreading Rhythm Around, F8, D13, D79 Stanley Steamer, The, BD3 Stay with the Happy People, D42, BD4 Sweet Cider Time, F29, D27 'swonderful, BD3, BD4 Take It Easy, F6, D19 That International Rag, F18, D50

That's What A Rainy Day Is For, BD4 That's What I Like About the South, BD3 Then You've Never Been Blue, D19, D75 There I Go, BD28 There'11 Be Other Nights, F20, D19 D50 There's A Lul1 In My Life, D5, D26, D87 There's Yes Yes in Your Eyes, BD4 They All Laughed, BD3, BD4 They Met In Rio, D60 They Say Falling in Love is Wonderful, BD3 Think Twice, F16, D8, D16 This Can't Be Love, BD4 This is Always, BD3 This is Where I Came In, F16, D8, D48, D50 This Year's Kisses, F12, D23, D24, D27, D43, D81, BD54 Thumbelina, BD4 To Each His Own, BD3 Together, D25, S2 Tropical Magic, F28, D9, D60, BD31 Two Sleepy People, B84 Undecided, BD4 Vamp, The, F20 Voulez-Vous, BD4 Wake Up and Live, F13, D5, D28, D34, D56, D57, D59, D88 Walking My Baby Back Home, BD4 We're A Couple of Swells, BD54 We're So Thankful for What We Got, BD61 What Does It Take, BD4

Song Index What Good Is A Gal, BD4 What'11 I Do?, BD26 When I *m With You, F9, D50 When the Midnight Choo Choo Leaves for Alabam', F18, D1 BD54 Where You Are, F27, D9, D32 Who Cares, BD4 Who is the Beau of the Belle of New York?, F23 Who Ki1 led Maggie?, F15 Whose Big Baby Are You?, F8, D4, D33, D50 Who Stole the Jam?, F16, D8, D26, D48 Why Do They Always Pick On Me, F29, D27, D50, BD43 Wilhelmina, D42, BD4 Yes You You You

to You, F4, D5, D67 Are My Sunshine, BD61 Belong To Me, F5 Can't Have Everything, F14, D4, D19, D22, D26 D55, D61, BD50, BD54, BD69 You Can't Play My Ukelele, D6 You Discover You're In New York, F30, D21 You Gotta Eat Your Spinach, Baby, F9, D50 You'll Never Know, F29, F31 D3, D4, D10, D20, D27, D49, BD3, BD4, BD33, BD42, BD50, BD52, BD59, BD60, BD68, BD69, BD74 You Make Me Feel So Young, BD50 Young and Healthy, D6 Young at Heart, BD4 You're An Old Smoothie, D6 You're A Sweetheart, F15 D4, D26, BD50, BD59, BD69 You're Getting to Be A Habit With Me, D6 You're Gonna Lose Your Gal, D7 You're Just In Love, BD4

225

You're the Cream in My Coffee, D25, BD4, BD63, S2 You're the Top, BD3 You Say the Sweetest Things, Baby, F25, D50, D58, BD68 You Told A Lie, D42, BD4 You Turned the Tables On Me, F10, D4, D51, BD3, BD50, BD54 You've Got Everything, D6 You Was, BD4 You Were Meant for Me, D42, BD3, BD4 You, You, You, BD4 Zippity Doo Dah, BD3, BD4

ADDENDUM: Buttons and Bows, BD4 Exactly Like You, BD3 Happy Happy Dream Bed, D102 Mi 1itary Man, F9

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About the Author BARRY RIVADUE is a graduate of C.W. Post College of Long Island University, having also attended the School of Visual Arts in New York City. He is a cartoonist, writer, and video editor, along with being a longtime researcher and collector of Hollywood musicals.

Recent Titles in Bio-Bibliographies in the Performing Arts Milos Forman: A Bio-Bibliography Thomas J. Slater Kate Smith: A Bio-Bibliography Michael R. Pitts Patty Duke: A Bio-Bibliography Stephen L. Eberly Carole Lombard: A Bio-Bibliography Robert D. Matzen Eva Le Gallienne: A Bio-Bibliography Robert A. Schanke Julie Andrews: A Bio-Bibliography Les Spindle Richard Widmark: A Bio-Bibliography Kim Holston Ann Sothern: A Bio-Bibliography Margie Schultz