MGM Movie Club 36-02-11 xxx Johnny Green

Summary

Podcast Summary: MGM Movie Club 36-02-11 xxx Johnny Green

Podcast Information:

• Title: Harold's Old Time Radio
• Host/Author: Harold's Old Time Radio
• Episode: MGM Movie Club 36-02-11 xxx Johnny Green
• Release Date: February 17, 2025

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Introduction

In the February 17, 2025 episode of Harold's Old Time Radio, titled "MGM Movie Club 36-02-11 xxx Johnny Green", host Frank Hernandez welcomes listeners to another engaging session of the MGM Radio Movie Club. This episode transports listeners back to the Golden Age of Radio, offering a nostalgic glimpse into Hollywood's bustling scene before the advent of television.

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Opening Remarks and Hollywood News

Frank Hernandez opens the episode by introducing the MGM Radio Movie Club, highlighting its status as the oldest club of its kind on the air. He sets the stage for an evening filled with Hollywood updates and exclusive interviews.

Brady Harris' Hollywood Roundup

Brady Harris takes the helm shortly after, delivering a comprehensive update on the latest happenings in Hollywood, London, and New York. His segment covers a range of topics, including personal updates from celebrities, upcoming film productions, and recent social events.

• Celebrity Updates:

  • Lila Himes and Phil Berg: Brady shares that the couple is contemplating significant decisions, hinting at potential changes in their personal lives. (02:14)
  • Mary Carlisle's Birthday: Celebrated her 21st birthday in London, receiving congratulations from Jim Blakely in Hollywood, leading to reflections on financial responsibilities. (02:30)
  • Douglas Fairbanks Jr.: Accompanied by his father, Douglas Sr. is urging him to join a production in China, while Douglas Jr. plans to start his own project, Knights of the Round Table, in London. (03:15)

• Upcoming Productions and Events:

  • Houses of Morgan Event: Featuring Walder Wolf King and Walder O'Keegan as guests of honor, anticipating the arrival of Freddie Bartholomew and other stars at prestigious New York hotels. (04:10)
  • Colette d'Harville: Dean Taylor's French doll undergoes screen tests across various countries, considering a Technicolor project in Ethiopia. (05:00)
  • Lily Poon's Performances: Scheduled to sing with the Monte Carlo Opera Company before joining RKO studios for further screen work. (05:50)
  • Gary Cooper's Visit: Despite immense fanfare at Grand Central, Gary Cooper's stay is brief due to an upcoming holiday in Bermuda, with hopes that Robert Young might extend his visit. (06:20)

• Film Critique: "Rhodes":
  Brady offers a critical perspective on the Gaumont British production Rhodes, which premiered in New York. He contrasts his emotional response to the book by Walter Houston with the less impactful screen adaptation, citing pacing and episodic storytelling as potential shortcomings. He praises Oscar Hamaker's performance as Paul Kruger and commends British production values. (05:30)

• Invitation to Guests:
  Brady announces the evening's guests, Johnny Green and Jack Whiting, expressing his admiration and excitement for their participation. (06:00)

Notable Quote:
Brady reflects on his relationship with Hollywood stars, saying, “Working in Hollywood is like a golf game. It all depends on your approach. For some people, all those glamorous stars might prove distracting, but for me, they were inspirations.” (12:37)

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Musical Interlude

Frank Hernandez transitions the program to a musical segment, presenting Frank Hernandez himself as the movie club serenader. Accompanied by Con Maffe on the organ, Frank performs a rendition of "Eeny Meenie Miny Moe," delighting listeners with classic tunes that evoke the era's charm. (06:32 - 08:33)

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Interview with Johnny Green and Jack Whiting

The highlight of the episode features an engaging interview with the esteemed composer Johnny Green and Broadway star Jack Whiting. The conversation delves into their careers, personal anecdotes, and experiences in the entertainment industry.

Brady Harris and Johnny Green's Banter

Brady and Johnny engage in a lively discussion, sharing humorous stories and insights from their time in Hollywood. Brady recounts encounters with legendary figures such as Ethel Merman, Joan Blondell, and Ginger Rogers, illustrating the camaraderie and challenges within the industry. (09:18 - 12:50)

• Anecdotes:

  • Ethel Merman: Brady reminisces about accompanying Ethel at the piano during her early performances, highlighting her rise to fame. (09:45)
  • Joan Blondell Reunion: A nostalgic recount of a personal meeting with Joan Blondell after two years apart, showcasing the tight-knit nature of Hollywood friendships. (10:24)
  • Ginger Rogers: Brady humorously criticizes the song title "I've Got It, But It Don't Do Me No Good," attributing it to Ginger Rogers' musical style. (10:38)

• Work with Fred Astaire:
  Brady shares his experience collaborating with Fred Astaire on the phonograph recordings of Top Hat, emphasizing Astaire's passion for music and their creative synergy. (11:47)

Notable Quote:
Brady humorously laments, “If I didn't wander into the stables one night and heard my partner telling the other horses that he'd been entertained in Claudette Colbert's living room.” (11:02)

Jack Whiting's Hollywood Adventures

Jack Whiting discusses his recent stint in London, contrasting the relaxed broadcasting style there with the meticulous scheduling typical in New York. He shares stories about fan interactions and the challenges of adapting performances for different audiences.

• London vs. New York Broadcasting:
  Jack highlights the more leisurely approach in London, where running overtime on broadcasts is acceptable, unlike the stringent timing in New York. (19:06)

• Fan Engagement:
  He describes the dedicated fanbase in London, known as the Gallery First Nighters, whose approval is crucial for a play's success. (19:58)

• Upcoming Projects:
  Jack reveals his plans to return to New York for rehearsals on March 11 and to participate in a film at Warner Studios in Teddington, expressing a desire to continue his Broadway career post his London engagements. (20:24)

Notable Quote:
Jack humorously responds to Brady's remark about selling Jell-O, “They wouldn't let me take that,” referring to his refusal to bring his piano to events. (13:57)

Musical Performances by Guests

The episode features live performances from Jack Whiting, who sings his hit "Joan of Arkansas," and an accompanying performance by Brady, adding a vibrant musical dimension to the interview segment. The songs evoke the spirit of classic Broadway and Hollywood musicals, enhancing the nostalgic atmosphere of the program. (22:34 - 27:59)

Notable Lyrics Excerpt:
“Down in the country where oats are sown
Lived a farmer's daughter by the name of Joan.
Shy as a bunny and as funny but a honey...” (22:34)

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Conclusion

As the episode draws to a close, Brady Harris and Jack Whiting exchange goodbyes with heartfelt sentiments, promising to return for future sessions. Frank Hernandez wraps up the meeting, reinforcing the community spirit of the MGM Radio Movie Club and leaving listeners eagerly anticipating the next episode. (27:56 - 28:45)

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Notable Quotes and Highlights:

• Brady Harris on Hollywood Inspiration:
  “Working in Hollywood is like a golf game. It all depends on your approach.” (12:37)

• Jack Whiting on Broadcasting Styles:
  “Technically they're exactly the same, of course, but their method of broadcasting is entirely different.” (19:06)

• Humorous Exchange on Singing Restrictions:
  Brady Harris: “Isn't that a fine kettle of fish when a composer can't play his own tunes?” (17:57)
  Johnny Green: “Many thanks.” (18:12)

• Jack Whiting on Fan Reception:
  “If they hadn't liked me and anything goes, I could never have stayed in London.” (19:58)

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Conclusion

This episode of Harold's Old Time Radio masterfully blends Hollywood news, personal interviews, and musical performances, encapsulating the essence of the Golden Age of Radio. Listeners are treated to behind-the-scenes stories and the camaraderie of industry insiders, making it a must-listen for enthusiasts of classic radio and vintage Hollywood glamour.

Transcript

[Ryan]

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[Brady Harris]

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[George N.]

Get together and think.

[Frank Hernandez]

Good evening everyone and welcome to the weekly meeting of the oldest club of its kind on the air today, the MGM Radio Movie Club. The meeting is called to order and I give you your director, George N. Thank you, thank you, thank you and good evening, members and friends. I don't have to tell you what a pleasure it is to be with you all again and conduct on your behalf another session of the MGM Radio Mobile. And first on the list of the minutes which are filled with everything guaranteed to make you feel happy that you're a member, is the latest news of Hollywood. The latest happenings in the loves and lives of your screen favorites sold by that well known motion picture columnist and commentator, the personal friend of all the stars, Brady Harris. So, are you ready? Ready then. Night camera.

[Brady Harris]

Action.

[Johnny Green]

Thank you, George and hello everybody in raising the curtain tonight to give you the latest news of the London, Hollywood and New York front. I hear that Lila Himes and her Asian husband Phil Berg are thinking things over. When Mary Carlisle celebrated her 21st birthday in London last week, Jim Blakely phoned his congratulations from Hollywood. They spoke for about an hour and now Jim is wondering how long you'll have to work to pay off the bills. Douglas Fairbanks Jr. Accompanied by his father, will plane in from the coast on Monday. Doug Sr. Is still trying to persuade Doug Jr. To sail to China with him to play the lead in his production of Mrs. Marco Polo. But young Doug is due back in London next month to start his own production of Knights of the Round Table. It will be a case of Walter Walter everywhere at the House of Morgan Monday night on account of Walder Wolf King and Walder O'Keegan will be La Morgan's guest of honor. If the blessed event anticipated by Hannah and Jack Dempsey in June isn't a boy, his parents are going to be that disappointed at arrivals of the week Freddie Bartholomew and his Aunt Sissy at the Warwick, Genevieve Tobin at the St. Regis, Ann Pennington at the Algonquin, the Sam Goldwyns and the Clarence Browns at the Waldorf. And Frank Lawton was joined his wife. Evening lay at the gossip. Colette d'Harville. Dean Taylor's French doll is being screen tested by every film company. Colette has already made a Spanish picture in Hollywood, a French picture in Spain and an English picture in France. Now she's wondering if she ought to go to Ethiopia to make it one in Technicolor. Although Finnie Barnes denies a rift in her marriage to Sam Joseph, that isn't preventing her from dancing cheek to cheek with Don Alvarado. Lily Poon sails on the Count of Savoya next Saturday to sing five performances with the Monte Carlo Opera Company. She returns the middle of April to resume her broadcast here before reporting at the RKO studios this summer for further screen work. That tremendous crowd beating the 20th century at Grand Central tomorrow morning will be on hand to mob Gary Cooper. Unfortunately for you and me, Gary's visit here will be a brief one. He leaves again Wednesday for a two month holiday in Bermuda. He'll be accompanied by Mrs. Cooper. But cheer up, girls. Robert Young is due back from London on the Aquitania and perhaps he can be persuaded to linger a while. You see how excited I get when I talk about Robert Young after watching Fred Astaire and Ginger Rogers in their new picture now jamming the Music hall, it seems to me a far more appropriate title would be Follow the Feet. And by the way, keep your eye on Harriet Hilliard who makes a film debut on this one. She doesn't have to sing Get Thee Behind Me, Satan, to be tempted from a brilliant screen future. And now for my recommended preview of the week. Tonight it is the Gaumont British production Rhodes, which has its New York premiere at the Roxy next Friday. Last summer in London, when Walter Houston told me the dramatic tale of this empire builder who had so much to do and so little time, he died, you know, at the age of 49, it sounded like a powerful story ideally suited to screen transcription. After seeing it this week, I still think it has power in moments of great emotional drama. But where I wept actual tears when Walter Houston outlined it for me over a lunch table, the screen version left me unmoved. Perhaps it's because the tempo was too slow or the various incidents depicting Rhodes struggle to realize his dream of a united South Africa are too episodic. And yet, O Handicapped is suits by Walter he rolled. And Oscar Hamaker, who plays the part of his enemy, Paul Kruger. This German actor is a brilliant artist. A combination of Charles Lawton and Amy Gomont. British is to be congratulated for Hadus of contrast. And now for the big screen of the evening. Tonight I have two celebrated personalities as my guests of honor. Two people whose talent I admire and whose friendship I value so much. Johnny Green and Jack Whiting. A little later in the program, I'll be back to introduce them to you. Until then, on with the show. George.

[Frank Hernandez]

Thank you, Wedding. And now for Frank Hernandez, the movie club serenader, who tonight is presented in company with Con Maffe. At the console of the organ, in answer to the majority of requests, Frank sings. Eenie meenie miny moe.

[George N.]

Meeny miny mo gets trouble by the toe if it hollers let it go, let it fly away Any meaning money More like stayin high and low give it everywhere you go any time of day Big bend, rings, valley, ding, white munch wings even Mr. Crosby bings it Eeny, meeny miny mo Catch trouble by the door if it hollers let it go, let it fly away Eeny meeny money Catch trouble by the door if it hollers let it go, let it fly away Eeny meeny miny mo it's saying high and low Hear it everywhere you go any time of day Big band ring the even Mr. Crosby bings it ain't a meanie miny mo catch a trouble by the toe if it hollers let it go, let it fly away.

[Frank Hernandez]

The MGM Radio Movie Club now has the pleasure to present the guests of the evening, who, as usual, will be induced by Rady Harris. Will you be honors, please, Rady?

[Johnny Green]

I'm laughing already.

[Brady Harris]

I can see it. Several days after I had arrived in Hollywood, I ran into a famous director whom I used to know at the Paramount studios on Long Island. He greeted me cordially and asked me what I was doing these days. With a deadpan, I answered, I'm selling Jell O. Now he looked at me sympathetically and said, gee, that's a shame. And a guy with your talent, well.

[Johnny Green]

That'S what happens when you're on the country's number one radio program. But no fooling, Johnny. How did you like your first visit to Hollywood?

[Brady Harris]

It was grand, Rady. You see, although it was my first visit, it really was just like old home week for me. Because everybody I had ever worked with or known in New York seemed to be out there for Instance, at the United Artist Studio, Ethel Merman was being featured with Eddie Kanter in Strike Me Pink. It wasn't so very many years ago that I accompanied Ethel at the piano in her first appearance at the Casino in the park here in New York and at her record breaking engagement at the Palace. When to play the palace was the goal of every vaudevillian. At Warner Brothers, I staged a reunion with Joan Blondell. It was the first time I had seen her since we played a personal appearance together in Minneapolis over two years ago. But at rko, I got the biggest kick out of seeing a young star who has been one of my very closest friends ever since I played for her. When she made her first screen test at the Paramount studio, it was for a picture called Young man of Manhattan. And she sang a song entitled I've Got it, but it don't do me no Good. Well, let me tell you, the fellow who titled that number certainly was no prophet because that little girl happened to be Ginger Rogers.

[Johnny Green]

Now we're getting somewhere. Tell me more, Johnny. Much more.

[Brady Harris]

Oh, mais oui avec plaisir, mademoiselle.

[Johnny Green]

Johnny. I never would have believed this.

[Brady Harris]

I see. Well, that French is, lest you don't know, the Claudette Colbert influence. She's been my favorite French pastry ever since my fingers doubled for hers at the piano in the musical sequence in Smiling Lieutenant, when Claudette was supposed to teach Miriam Hopkins how to win Maurice Chevalier by jazzing it up with lingerie.

[Johnny Green]

Did you see Claudette's lovely new home in Holmby Hill?

[Brady Harris]

Did I see it. And by the way, there's a funny story attached to that.

[Johnny Green]

Another one?

[Brady Harris]

Oh, yeah, I got a million of them. You know, when the foundation was just being built, I used to go horseback riding every morning through a path leading right past her new house. And since the framework wasn't up yet, me and my wonder horse would sort of stroll through the living room and dog gone. If I didn't wander into the stables one night and heard my partner telling the other horses that he'd been entertained in Claudette Colbert's living room.

[Johnny Green]

Well, I bet all the other mares wish they had his horse then.

[Brady Harris]

Already after that crack, if I had a cold, I'd ride right back to Hollywood on it.

[Johnny Green]

But not until I finish this interview. I hear that along with your radio work and making Paramount shorts, you also made the phonograph recordings of the score of Follow the Fleet.

[Brady Harris]

Yes, I did. Ready? And it was a tough job. We worked from 8 in the morning to 8 the same night. But no one seemed to mind, least of all Fred Astaire. Now, there's one of the grandest guys I've ever worked with, as I discovered when we worked together a few months ago doing the recordings of Top Hat. You know, Fred is crazy about music. And he was so tickled when Irving Berlin wrote a tune for him to sing and follow the fleet called I'd Rather Lead a Band. You know, I think he really would rather lead a band. We made a big business deal. Fred gave me a tap or two and I gave him some new chords. I think he had the better of it, though, because he knew how to play the piano before we started. And I was. Well, you know, I was just the ballroom wallflower.

[Johnny Green]

Oh, you can't make me believe that, Johnny. Not with all those glamorous Hollywood stars around you. By the way, it must have been pretty hard working in Hollywood with all of them to distract you.

[Brady Harris]

Well, Rady, working in Hollywood is like a golf game. It all depends on your approach. For some people, all those glamorous stars might prove distracting, but for me, they were inspirations.

[Johnny Green]

Oh, so you're going into your accents again?

[Brady Harris]

Well, you can blame that on Jack Benny. You know, I went out to catch California musician and I came back a dialectician. But speaking of Jack, he's really tops off the stage as well as on. In fact, one of the nicest things that happened to me in Hollywood was the surprise birthday party that Jack and his wife, Mary Livingston gave me. I honestly believed him when he called me to hurry over to his house for a conference. I think I had on a pair of overalls, but I rushed over immediately. I should have caught on when I saw the congestion of automobiles in front of his house. But I thought it was just some of Jack and Mary's fans pardon me, waiting outside for autographs. So I walked in and about a hundred people greeted me with Happy birthday to you. Was my face green? Ouch. And now, Rady, you have a delightful guest of honor to interview, Mr. Jack Whiting. So I think I'd better run along. Good night, folks.

[Johnny Green]

Wait a minute, Johnny. Haven't you forgotten something?

[Brady Harris]

No, I've got my hat and coat and gloves. I didn't forget anything.

[Johnny Green]

What about that?

[Brady Harris]

The piano? Oh, Rady, you're kidding. They wouldn't let me take that.

[Jack Whiting]

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[Johnny Green]

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[Brady Harris]

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[Johnny Green]

Oh, you're not supposed to take it, Johnny. All you have to do is to sit down, think of some of your own tunes and play John, it sa.

[Tommy]

Tommy.

[Johnny Green]

But you forgot two of my other favorites. Body and Soul and I Cover the Waterfront.

[Brady Harris]

Well, no, Rady, I. I didn't forget them. But you see, they're restricted. I'm not allowed to play them. Isn't that a fine kettle of fish when a composer can't play his own tunes?

[Johnny Green]

Well, I. I certainly appreciate your playing your tunes that aren't restricted. Many thanks.

[Brady Harris]

You're welcome.

[Johnny Green]

And now hold everything because here comes the jack of hearts who is the cream in your coffee. And such Broadway hits as the Ramblers. Hold everything. America's sweetheart, Take a chance and calling all stars. For the past 10 months he has been in London where he scored such an individual hit in the English production of Anything Goes that they've named the union after him. You know, Union Jazz tonight. I'm not going to introduce him as a swell singer and daddy you all know, but is one of the nicest friends it is my privilege to have. It's a great thrill to have him back in New York and on this program tonight. And now Jack, the microphone is yours. And remember, anything goes.

[Jack]

Oh, thanks, Rady. It's a great thrill to be back seeing you and all my other old friends. Including this American Mike.

[Johnny Green]

It's the London Wireless. I didn't spend last summer in London for nothing. Very different.

[Jack]

Oh, no. Technically they're exactly the same, of course, but their method of broadcasting is entirely different. For instance, just before I left we either a special program of Anything Goes. Now in New York, if such a big broadcast were to take place, there would have been hours of rehearsals with the principals and bands and the timing would have to be to the second. But in London, well, they took Everything in a much more leisurely and relaxed fashion. The night we broadcast, everyone but me arrived at the studio a half an hour before the program. I, of course, was there an hour before. And no one, no one seemed to worry when we ran a few minutes overtime.

[Johnny Green]

Well, that means they may be more relaxed about their radio programs, but they're equally as energetic as any of us Americans when it comes to fan worship. I saw the gallery girls waiting for you at the stage door night after night.

[Jack]

Oh, they are loyal, aunt, aren't they? Did you know that there's a group of them called the Gallery first nighters who sit in the gallery every first night and pass judgment with applause or booze. And it is their verdict that often determines the success or failure of a play. The president of the club told me that if they hadn't liked me and anything goes, I could never have stayed in London.

[Johnny Green]

And now they won't let you leave. Except for this limited holiday. When do you go back, Jack?

[Jack]

On March 11, in time to start rehearsals for the new Drury Lane show. And to appear for Irving Asher in a picture at the Warner Studios in Teddington.

[Johnny Green]

I hope this doesn't mean that you've deserted us for good, does he?

[Jack]

No, not unless you desert me first. No, Rady. Just as soon as the Drury Lane show finishes its run, I hope to be dancing back to another musical on Broadway.

[Johnny Green]

Jack, here's a question that's puzzled me for a long time. Why didn't you do any dancing and.

[Jack]

Anything go well, Frank, the lady. It had me puzzled too. But Mr. Cochran explained that he wanted the show in London to be exactly the same as it was played in New York. And as Bill Gaxton, who played the part here, didn't dance, he didn't think I should either. Well, Mr. Cochran said he would do his best to find a spot for me. And one day during the in the throes of rehearsal, he said, jack, at last I found a place for you to dance. Well, naturally, I was terribly elated at that and eagerly asked where? Well, his reply was at my mammoth charity benefit. Was my face red? I mean, green.

[Brady Harris]

I say, did. Did someone mention my name?

[Johnny Green]

Hello again, Johnny. You know Jack Whiting, don't you?

[Brady Harris]

Of course. Certainly. Frightfully jolly having you back again, old Sal.

[Jack]

Oh, thanks, Johnny. It's nice seeing you again too. Tell me, what are you doing these days?

[Brady Harris]

It's terribly nice of you to be so interested, old Sol. I. I'm selling jello.

[Jack]

Oh, Johnny, I'm sorry to hear that. In a fella with your talent, the guy.

[Brady Harris]

I say, Jack, I hear you are simply ripping over there. You know, quite the rage and all that sort of thing. But tell me, how long have you been away? You haven't the trace of a monocle in your throat.

[Jack]

I've only been gone about 10 months, Johnny. I just got back two weeks ago, as a matter of fact. By the way, when were you last over there?

[Brady Harris]

Oh, I spent a weekend there two years ago.

[Johnny Green]

Pardon? Az moi, je vous, dear Countess.

[Jack]

Hey, what is this, a League of Nations?

[Johnny Green]

No, I just thought I'd get an accent in somewhere. Anyway, this is my cue to ask Jack one last question.

[Brady Harris]

Oh, bless you, my sweet. The wireless is yours.

[Johnny Green]

Jack, as a very special favor, would you favor us with a song?

[Jack]

Now, Rady, when you ask a favor, anything goes. As a gesture to Johnny Green, I'd like to sing his newest hit, introduced in the film Professional Soldier. It's called Joan of Arkansas.

[Tommy]

Down in the country where oats are sown Lived a farmer's daughter by the name of Joan. Shy as a bunny and as funny but a honey when caress. She's not a Crawford and yet she's known Only thing in common is the name of Joan. She's just a silly daffodilly pilly billy from the West Jos? An ordinary gal to her PA and ma yet she knocks you flat when you see her in an old straw hat. Oh, Joan of Arkansas when she's swinging down the lane after half past four. Even Lazybone gets a working done to meet Ms. Y. She's a local sensation, no one knows why. Just a country relation simple and shy in her gingham creation. Winking her eye to the farmer in the bell she's well. Oh, John of Arkansas. Like a diamond in the rough she's without applause, groaning Arkansas. Just a little bit of seed and a little bit of hay and a little bit of hey, hey too. She's a local sensation, no one knows why. Just a country relation simple and shy in her gingham creation. Winking her eye to the farmer in the dell she's well or do Joan of Arkansas Like a diamond in the rough she's without a flaw grown in Arkansas. Just a little bit of seed and a little bit of hay and a little bit of hey, hey too.

[Johnny Green]

Thank you, Jack. And now, how about one of Johnny's.

[Jack]

Old head out of nowhere? Johnny.

[Brady Harris]

Jack, the honor is all mine.

[Tommy]

You came to me from out of nowhere. You took my heart and found it free. Wonderful dreams, wonderful schemes from nowhere Made every hour sweet as a flower to me if you should go back to your nowhere Leaving me with a memory I'll always wait for your return out of nowhere Hoping you'll bring your love.

[Johnny Green]

To.

[Tommy]

If you should go back to your nowhere Leaving me with a memory I'll always wait for your return out of Hoping you bring your love to.

[Johnny Green]

Me thank you, Jack. Thank you, Johnny. And now until next Friday night at the same time. This is Rady Harris, Jack Whiting and Johnny Green saying good night.

[Tommy]

Good night.

[Johnny Green]

Good night.

[Frank Hernandez]

This is the weekly meeting of the MGM Radio Movie Club, WHN, New York.

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