In an intimate but swank looking room, Harry Warren plays the piano and sings a bit with his rather thin voice. Most of the time, he's joined by singers like Gladys Britten, The Leaders (a male quartet) and Margie Hines. Hines is easy to pick out because she was one of several women who provided the voice for Betty Boop. She also was one of three women who voiced Olive Oyl in the Fleischer Brothers' "Popeye" cartoons. She sings pretty much like Betty Boop (poor lady). The dance team of Marguerite and Le Roy also dance about the piano. In addition, several vignettes are featured, such as Warren's famous tunes "42nd Street". While I might not consider Warren the greatest composer...nor would many others (such as Irving Berlin), his tunes are very nicely presented in this short. And, he certainly was VERY prolific--with over 1700 entries on IMDb!!! Enjoyable.

This short was shown on Turner Classic Film Network at 7:40 P.M. today, and I watched it. It is not so unusual from other shorts from other studios. MASTER OF MELODY was a short from Paramount in 1930 starring Richard Rodgers and Lorenz Hart. But Harry Warren is intriguing. He is now recognized as the equal (as a master song writer) to Herbert, Jerome Kern, Rodgers and Hart (and Hammerstein), Gershwin, Berlin, Porter, Youmans, Weill, Styne, Bernstein, Sondheim, Lerner and Loewe , and a handful of others. Was he America's foremost composer? Not really - Gershwin had made a mark in serious music that Warren never did. In fact, Gershwin, Ives, Coplan, Hanson, and a few other composers of serious music have better claim to the title "America's Foremost Composer.Still it is a nice little film, with Warren playing his popular films (from the Warner Brothers musicals - like WOULD YOU LIKE TO TAKE A WALK or I FOUND A MILLION DOLLAR BABY (IN A FIVE AND TEN CENT STORE). Frequently new words are added to make the song fit the party atmosphere of the film (Warren is seated at a piano playing for his guests). The film ends with part of the FORTY SECOND STREET finale as a coming attraction. It was a good film short, and a glimpse of things to come in the next big film musical hit.

This was one of the weapons in WB's promotional arsenal for their big budget production of "Forty Second Street." Harry Warren was undoubtedly ONE of America's foremost composers--- demonstrated by the fact that many of the 75+ year old songs in his catalog are still known (and used in modern soundtracks) today. That said, I have to grumble when this implies he reigned supreme over the likes of Irving Berlin, George Gershwin or even Cole Porter in 1933--- Warner's puffery to be sure. This Vitaphone 'Pepper pot' short (weren't these shot in NYC?) is essentially Harry at the piano playing a menage of his well known songs, culminating with a short cut to the finale of Lloyd Bacon's 42nd Street. Somewhere in that shot are Ginger Rogers, Toby Wing and Una Merkel tapping away like mad. Interesting curio!

Although he isn't as well remembered as contemporaries Irving Berlin or Cole Porter, songwriter Harry Warren has many great standards to his credit: "Shuffle Off to Buffalo," "Jeepers Creepers," "We're in the Money," "I Only Have Eyes for You," and numerous others. Fans of Busby Berkeley's musicals made for Warner Brothers in the '30s will certainly remember Warren's songs, and so will baby boomers who grew up watching the Warner Studio's Looney Tunes and Merrie Melodies, for it was those cartoons that really kept the songs alive and passed them along to the next generation and beyond.This little musical short presents Harry Warren himself, a rather modest-looking gentleman in a tux seated at a piano in a swanky Art Deco apartment, surrounded by elegantly dressed folk sipping cocktails. When someone praises Harry and calls for a speech, he demurs bashfully and insists [with genuine, non-actorly awkwardness] that he's no good at making speeches, and proceeds to play his songs instead. And that's what we're here for: one great song after another, a couple of which have been given comic, altered lyrics for the occasion, usually harping on how much money Harry has made from his hits (which suggests a touch of envy and anxiety in the depths of the Depression). A couple of numbers are performed by Margie Hines, a Betty Boop sound-alike who later supplied the voice for Olive Oyl when Mae Questel was otherwise engaged.These Vitaphone shorts provided exposure for studio contract artists and performers, and also gave the technicians extra work and a chance to experiment: during the rendition of "Shadow Waltz" there's artsy lighting with silhouettes and such. This film is a pleasant little treat for fans of '30s musicals, but it's also an interesting example of the way the studios promoted their wares at the time, for the short ends with an excerpt from their current big release, 42ND STREET, which of course featured several of Warren's best known songs. In a sense this short film (intriguingly identified as a "Vitaphone Pepper Pot" in the closing credits) served as a trailer for the main event.