Worth 1,000 Words: WILLIAM DEMAREST & ‘THE JOLSON STORY’
By Steve Crum
STEVE MARTIN (WILLIAM DEMAREST) toasts Cantor (Ludwig Donath) and Mrs. Yoelson (Tamara Shayne) at their anniversary party in this scene from THE JOLSON STORY (1946). Raising their glasses are, from left, Tom Baron (Bill Goodwin), Julie Benson aka Mrs. Al Jolson (Evelyn Keyes), and, to Demarest’s left, Al Jolson aka Asa Yoelson (Larry Parks). Moments later, Jolson would sing The Anniversary Song, specifically written for The Jolson Story. This original Columbia Pictures still is particularly revered by yours truly since it is signed by Demarest. [from Steve Crum’s showbiz memorabilia collection]
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WILLIAM DEMAREST (Feb. 27, 1892-Dec. 28, 1983) was Oscar nominated as Best Supporting Actor for his Steve Martin portrayal in The Jolson Story, an important film among his 140+ movie roles beginning in 1926. Early scenes in The Jolson Story hearken back to Demarest’s pre-movie, vaudeville and Broadway days. He even gets to play a cello, which was part of his original act. It is ironic that one of Demarest’s early films, The Jazz Singer, starred Al Jolson. Nearly 20 years later, he played Jolson’s manager in The Jolson Story and its sequel, Jolson Sings Again (1949).
Demarest is also associated with his fine work in 10 Preston Sturges films (The Miracle of Morgan’s Creek and Hail the Conquering Hero among them), and his most popular role as Uncle Charley in TV’s My Three Sons, 1965-72. The gruff and lovable actor is also memorable in a couple of my favorite movies, Along Came Jones and It’s a Mad, Mad, Mad, Mad World.
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GENE AUTRY, the cowboy trail begins
MOTION TOWARD
Liquid highway winds blue
Through Mojave sand.
Red mountains inch closer,
Digging a horizontal pattern on land
Of memories.
Thinking I will stand
To meet the mountains.
~By Steve Crum
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Crooning to actress EVALYN KNAPP, GENE AUTRY strums his guitar amidst the cacti, rocks, sagebrush, mountains, and moody sky. This original Mascot Studio production still is from 1934’s IN OLD SANTA FE, which starred KEN MAYNARD. Even Maynard’s horse TARZAN received top billing over Autry. In fact, Autry is unbilled in the credits, portraying an unnamed singer. SMILEY BURNETTE, who would soon become Autry’s sidekick, is also uncredited as an accordionist-singer. The following year, after smoothy stealing In Old Santa Fe from star Maynard, Gene Autry would replace him in the surrealistic western serial, The Phantom Empire. Ninety-three Autry cowboy movies would follow. [from Steve Crum’s showbiz memorabilia collection]
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Worth 1,000 Words: HOPPY & MATT DILLON, the long riders
By Steve Crum
AN ICONIC PHOTO if ever there was one, two legendary–and fictional–cowboy heroes meet. While Dennis Weaver’s Chester character from Gunsmoke observes, MARSHAL MATT DILLON (JAMES ARNESS), left, greets man in black HOPALONG CASSIDY (WILLIAM BOYD) on the set of Gunsmoke, circa 1956. [from Steve Crum’s showbiz memorabilia collection]
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Both Matt and Hoppy hold Guinness Book records for their repeated portrayals of one character. WILLIAM BOYD [June 5, 1899-Sept. 12, 1972] played Hopalong Cassidy in 66 feature films, not including his Hopalong Cassidy television series. JAMES ARNESS, born May 26, 1923, played Marshal Dillon a staggering 640 times over the 20 year Gunsmoke run, including five made-for-TV Gunsmoke movies after the series ended. That constitutes gallons of saddle soap.
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A tribute to Hoppy, William Boyd: http://www.youtube.com/watch?v=Gf2eT1NXkWE
Worth 1,000 Words: Happy Birthday, AL JOLSON!
By Steve Crum
Today, May 26, marks the 124th Birthday celebration of “The World’s Greatest Entertainer,” AL JOLSON [May 26, 1886-Oct. 23, 1950]. Accounts vary as to Jolie’s actual birth date, including year and day, but today is generally considered his birthday. Born Asa Yoelson or Asa Yoel in Seredzius, Lithuania, Jolson’s star power elevated him through show business in vaudeville, minstrel shows, Broadway shows, radio programs, recordings, and motion pictures for half a century.
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This rarely seen portrait of Al Jolson reading a script, and obviously enjoying it, is an original Warner Bros. Studio Keybook Photo, dated 1934, the year Jolie starred in WONDER BAR. It is likely this publicity photo was made to publicize the Vitaphone movie. [from Steve Crum’s showbiz memorabilia collection]
Would YOU like to read about ‘QUEEN for a DAY’?!
Jack Bailey is flanked by his TV hostesses as he regally sits on the throne occupied by hundreds of needy women through “Queen for a Day’s” long run.
By Steve Crum
On Sept. 24, 1959, JACK BAILEY got the on-the-air signal and yelled to the camera, “Would YOU like to queen for a day?!” My aunt and grandmother both responded “YES!” in unison with hundreds more ladies in the audience at the Moulin Rouge in Hollywood as NBC-TV’s QUEEN FOR A DAY, “the Cinderella Show,” kicked off another daily foray into enthusiastic fun, extravagant prizes, and heart breaking stories of tragedy and despair.
By the time my Aunt Ada (Holley), Grandma (Jo) Axtell, and Grandpa (Hugh) Axtell, had been seated at the then famous Moulin Rouge theatre-restaurant located on Sunset Blvd. near Vine Street, Queen for a Day had been broadcast for nearly 15 years. Beginning on radio in 1945, the show had yet another five years airtime following my relatives’ incursion. In its initial run on both radio and TV, Queen for a Day mopped up gallons of tears and delivered refrigerators by the ton. The half hour show was so popular and financially successful, the network increased the running time to 45 minutes, just to jam in more commercials at the then astronomical price of $4,000 per minute.
The show’s format was simple. Each woman in the audience filled out a card, describing why she should be chosen as a contestant. The more emotional and needy the reason, the better. “My son needs an iron lung and my husband I can’t afford to pay for one,” said one woman. Another might write, “My husband has been out of work for a year, and is disabled. We need a new stove to help feed our 12 children.” The four best–or really, worst–stories were chosen by the 
Queen staff, and these four women were the day’s contestants. This was the ultimate sympathy show, a daily dose of pathos and pride swallowing. By the way, this was a woman’s show with only women as participants, not counting emcee Jack Bailey or the smattering of men sitting in the audience.
Queen staff, and these four women were the day’s contestants. This was the ultimate sympathy show, a daily dose of pathos and pride swallowing. By the way, this was a woman’s show with only women as participants, not counting emcee Jack Bailey or the smattering of men sitting in the audience.The four women were each given about five minutes to tell their stories, guided by Bailey’s pseudo-sympathetic questions. Toward the end of the show, it was time to vote on which lady should be crowned queen. And crowned she was. Bailey held his hand over each lady’s head, as the studio audience applauded. An “applause meter” would appear in the corner of the screen, registering 1-10 on the audio scale. The one with the highest applause rating won. Bailey would then shout, “Number….TWO!” (Or One, Three or Four.)
Outfitted in a sable-trimmed, red velvet robe and jeweled crown, the “Queen” would parade around the stage as Pomp and Circumstance (the old graduation march) blasted. She would then be led to her velvet covered throne, and accept a dozen long-stemmed roses, moistened by her dripping tear ducts. She was then told of what the show was providing to fulfill her wish, like a new iron lung. (This iron lung thing is one I particularly remember seeing.) In addition, she received a king’s…uh, queen’s ransom in gifts, including a mink coat, a vacation trip, frozen food, appliances, etc. While all this occurred, the camera avoided showing the three contestants who lost, as they were escorted off stage.Jack Bailey, in his best carnival pitchman voice, ended each show thusly: “This is Jack Bailey, wishing we could make EVERY woman a queen, for every single day!” This is not meant to put Jack Bailey down. He was perfect for the show, and probably meant what he said.
By 1964, when the show ended, perhaps the country had changed enough to move on and away from exploited poor souls in what was really the earliest reality-based show ever broadcast. It was the time of Civil Rights and Vietnam. One critic labels Queen for a Day as “tasteless and demeaning.” Another calls it “one of the most ghastly shows ever produced.” Sounds like the Jerry Springer Show of its time. Unlike the Springer vulgarity, however, Queen for a Day did maintain propriety and decorum amidst its human indignation.
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An addendum: Both Grandma Axtell and Aunt Ada WERE picked from the audience to come up on stage for final contestant consideration. Unfortunately, their wishes did not stack up against another contestant’s need for a hearing aid, or that lady whose electricity had been shut off for the past month. My aunt and grandmother did not make the final cut. Aunt Ada’s Cinderella wish was to have a mother-in-law bed. Grandma just wanted her own pool table so she could finally learn Minnesota Fats’ game. Neither request would have spiked the applause meter. Pictured above is the back side of Aunt Ada’s ticket to the show. Jack Bailey’s “word” regarding one’s wishes is particularly choice. Where is the rule prohibiting the use of an onion to evoke tears? [from Steve Crum’s showbiz memorabilia collection]——————–
Try not to sob while watching this unusual Queen for a Day clip that opens like The Jackie Gleason Show: http://www.youtube.com/watch?v=ggV8Uwhnmq8