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Bing Crosby

Bing Crosby (Harry Lillis Crosby) (1905-77), b, Taeoma, Washington Crosby excelled in that area where film meets advertising. He was the proof that unexceptional, lazy pleasantry was more desirable than prickly, difficult originality. All of Crosby’s assertions that he was plain-looking, sang casually, and acted hopefully only demonstrated his unerring nearness to American hearts. No one could argue that his contribution to cinema has been significant. Still, he has a good case as the most popular American to appear in movies. He was tfie most successful entertainer of the 1930s; he made movies as Elvis did thirty years later. His singing had all the charming naturalness that every amateur crooner believed lay within his grasp. He moved smoothly from college glee singer to the lead in light musicals to an vmstuffy young priest and on to the relaxed veteran status. He existed, pipe in mouth, straw hat perched on his ears, beneath which the widow’s peak toupee stood as firm as the faces on Mount Iliishniore. It would be unjust to call him dull. More accurate to say that for forty years he skirted risk. His ease is that of the soft option. It is barely noticeable that he is interested in nothing, for interest dies away on his soft voice and drowsy smile. He went from college to sing with Paul Whiteman and, after a series ol shorts for Mack Sennett, he appeared with the band in King <)/ Jazz (30, John Anderson), After Reaching for the Moon (31, Edmund Gould-ing) and a successful radio show, he was contracted by Paramount and began a long series of musicals: The Big Broadcast (32, Franlt Turtle); Too Much Harmony (33, Edward Sutherland); Going Hollywood (33, Raoul Walsh);