You are about to be entertained by some of the biggest names in show business.
For the next hour and thirty minutes, this program will present in person such bright stars as...
The Arnold.
Charles Boyle.
Joe Bushkin.
Mindy Carson.
Imogene Coker.
Jimmy Duranee.
Lipson Webb.
Meredith Wilson.
And my name darling is a little bankhead.
The National Broadcasting Company presents...
The Big Show.
The Big Show.
Ninety minutes with the most hidden leading personalities in the entertainment world.
Brought to you this Sunday and every Sunday at the same time as the Sunday feature of NBC's All-Star Festival.
And here is your hostess, the glamorous, unpredictable, Tallulah Bankhead.
Well darling, this has been a most hectic week.
I've been engaged to do a series of lectures all over the country and I've only just returned from my first engagement at Southern Methodist University, deep in the heart of Texas.
Oh and what a reception I received from those friendly, enthusiastic audiences down there, deep in the heart of Texas.
Oh they're wonderful people. They're almost like us up here in the United States.
And I'm so looking forward to going back very soon way down there, deep in the heart of Texas.
What's going on back there? Oh so if you'll pardon me darling, I'd like to say a friendly hello to all the friends I made down there, deep in the heart of Texas.
Yankee musicians, well so much for small talk. And on with the big show.
And a very special and dear friend makes his appearance here today, Clifton Webb, whom I've known for a long, long time.
About 67 years. What is that? I told them about six or seven years. Yankee writers.
Incredible. The great Kalula reduced to radio. Clifton Webb.
Darling, I received your frantic cable in London and I took the first plane back.
How was the trip Clifton? Swift. I had breakfast in London, lost it over Newfoundland.
And arrived in New York that night. And I got your cry for help. I thought you were broke. I thought you were ill. I thought you were dying.
These I wouldn't mind. But Kalula banked it on radio. What would Sara Baerner say? Eleanor of Doos.
I don't see that old crowd anymore darling. I'm in radio. This is my new medium.
And couldn't your new medium put you in touch with that old crowd?
Clifton, this is a new crowd. They're big names in radio. Haven't you ever heard of Fibber McGee and Molly?
Fibber, McGee and Molly. And you put yourself in the same class as those three?
No Clifton. Fibber McGee and Molly are only two.
Two indeed. You're forgetting Toulouse, I wrote the song, Just Molly and Me and Baby Makes Three. The baby's name was Fibber.
Well obviously darling, you don't know very much about radio. You should become more familiar with it.
I already have a contempt for it, which familiarity usually breeds.
Well how can you talk about radio that way Clifton? Do you realize that every Sunday I can reach 20 million people?
How fortunate for you it's not the reverse.
Thomas Choutelou, had I known that you were having to descend to this, I would never have invented radio.
You invented radio?
Don't play the startle fawn dear. Surely you've heard of the network web on radio stations?
Mr. Fibber dear, you're beginning to take your movie role seriously.
Oh and how is your old crowd in the movies, Abbot and Costello, and Sabu the Elephant Boy,
Francis the Mule, and Betty What's Her Name?
Hutton. Surely Choutelou you're not mentioning motion pictures and the same breath with radio.
Don't talk to me about radio. I've seen those popcorn classics since you were up here.
Clifton really a babysitter. And that other picture cheaper by the dozen, you a father of 12 children.
No darling, 12 children.
I find myself suddenly bored. I think I'll go to my club.
Obviously the stock club.
Obviously darling, no coward is not writing your material these days.
And I think if you're starring in those smart, sophisticated comedies Noel wrote for you.
Oh dear Noel, did you see him in London darling?
Yes, I telephoned him there this afternoon. He asked about you.
Oh Noel, did you tell him I was on this radio program?
I wouldn't dare. I told him you were on relief. He'll be happier that way.
Oh happy, happy Noel. I just mentioned his name the other night during one of my lectures.
Oh I didn't tell you darling, I'm lecturing now you know, all over the country.
And what patent medicine are you selling?
Clifton, how dare you. Doesn't it get cold this time of year on the back of those wagons?
Darling, I'm lecturing on the theatre. In fact, I've just returned from a triumphant engagement way down there, deep in the heart of Hessia.
That's a great arrangement. Is this the clack that you travel with?
Look here you baby burping bull.
Oh now that's more like it. This is the Toulouse I've known and loved for so many years.
But tell me, why have you sunk to this? What does it get you?
Money.
But why Toulouse? How much money can you keep?
How much have you got left after the government takes out the taxes?
That sack of yours can't even spell.
Well then, can't those performing steals of yours do anything but beat their fins? Come here Mary, darling.
Yes, Miss Bankhead.
Darling, haven't you the music prepared for this program?
Oh sure, we were going to play you Go to My Head.
Oh good darling. Oh Mary, this is Mr. Kitten Webb.
Oh gee, how do you do Mr. Webb? I'm a big fan of yours.
Why, I used to see all your pictures back in Mason City, Iowa.
That's my hometown, you know. But I don't suppose you ever heard of Mason City, Iowa?
Mason City, Iowa. Population 27,080.
It's the county seat of Cerro Gordo County, situated 100 miles from Des Moines,
and the mayor is a Mr. H.E. Bruce whose term expires in April 1951, and I should be there to help re-elect him.
Well gee, that sounds like an exciting town the way you tell it, Mr. Webb.
Who is this oaf?
Now, please, Meridith is one of the most accomplished musicians. He is not an oaf.
He seems only half fair.
Well, half an oaf is better than none.
Ladies and gentlemen, Meridith Wilson, his big show orchestra and chorus,
in one of Meridith's famous chiffon arrangements, the thrilling You Go to My Head.
["You Go to My Head"]
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.