The Grand Ole' Winnie Lightner Belts Out This Hot Number Take It On The Chinin The Now Lost Film Hold

The grand ole' Winnie Lightner belts out this hot number Take It on the Chin in the now lost film Hold Everything (1930) It was also in color... too bad.

"Moonlit Waters" from 1927.

I'll never let you get away from me dear,

Oh no,

I'll keep you close by my side.

I'll never try to get away from you dear,

Oh no,

I'll manage to go,

whenever you go.

Chorus:

If somebody should steal you away,

I'll find you wherever you are,

If you're gone for a year or a day,

I'll find you wherever you are.

I'll go over each highway,

No place will be to part,

And you'll help me find my way,

'Cause You'll be my guiding star.

It won't matter where you chance to stray,

I'll find you wherever you are.

Poster art: Batiste Madalena edition (via)

Up until the 1950s, many movie theaters rejected the mass-produced, lithographed film posters designed and distributed by Hollywood studios in favor of original, hand-painted posters created by local artists. 

During the 1920s, Batiste Madalena was the resident artist at the Eastman Theatre in Rochester, NY., where he designed and hand-painted about eight original posters per week. Madalena, who is considered the greatest poster painter of the period, was given full artistic control, with the only directive from his boss being that the posters had to be clearly visible to passengers on passing trolley cars.

More examples of Madalena’s work here. 

Intro 1:

She calls it It,

Just simply It.

That is the word,

They're using now.

For that improper fraction

Of vague attraction,

That gets the action somehow.

You've either got,

Or you have not.

That certain thing,

That makes 'em cling.

So if the boys don't seem to fall for you,

There's just no hope at all for you.

Give up and quit,

You'll never hit,

If you do not got it.

Intro 2:

Now that's it,

So that's it.

That wasn't took,

From any book.

See how her eyes got bolder,

And look at that shoulder,

I've got a shoulder,

Yes.

You've got two lips,

But look at those,

Look at those eyes,

Look at that nose.

Her personality just oozes out,

But what of me?

Your fuze is out,

Give up and quit,

You'll never hit,

I wish that I got it.

Chorus 1:

There was a time,

When sex seemed something quite complex.

Mister Freud then employed,

Words we never had heard of.

He kept us on a string,

We kept on wondering.

But the seed of sin,

Now at last has been,

Found by Elinor Glyn.

In one word she defines,

That indefinable thing.

Chorus 2:

Joan has a magic lure,

Jane has a way demure.

Lou can pet,

You and get,

Anything that she asks for.

Fay rolls a wicked eye,

Kay heaves a nifty sigh.

Mable shows her knee,

That the reason,

The birds eye Mable you see,

Why do you look at them,

and pay no attention to me?

This footage is said to be from the 1929 screen test that earned Maurice Chevalier a Hollywood contract. Although ‘Innocents of Paris’, the film it eventually appeared in, is not often seen today, the song ‘Louise’ became one of Chevalier’s signature tunes, and is still a popular jazz standard to this day.