Musical Monday: Shower of Stars presents A Christmas Carol (1954)

Posted on December 14, 2015 by Jnpickens

It’s no secret that the Hollywood Comet loves musicals.
In 2010, I revealed I had seen 400 movie musicals over the course of eight years. Now that number is over 500. To celebrate and share this musical love, here is my weekly feature about musicals.

This week’s musical:
“Shower of Stars” presents “A Christmas Carol” –Musical #537

Fredric March as Ebenezer Scrooge and Christopher Cook as Tiny Tim in a 1954 TV adaptation of “A Christmas Carol”

Studio:
CBS Television Network

Director:
Ralph Levy

Starring:
Fredric March, Basil Rathbone, Bob Sweeney, Christopher Cook, Craig Hill, Queenie Leonard
Themselves as hosts: William Lundigan, Mary Costa

Basil Rathbone as Jacob Marley

Plot:
Set in 1840 London, this is a retelling of Charles Dickens’ novel, “A Christmas Carol.” Miserly Ebenezer Scrooge (March) is warned by the ghost of his friend Marley (Rathbone) that he need to change his ways or he will end up chained to his sins. On Christmas Eve night, Scrooge is visited by ghosts to show him his past, present and future life to convince him to change. Continue reading →

Musical Monday: Devil-May-Care (1929)

Posted on November 30, 2015 by Jnpickens

This week’s musical:
Devil-May-Care (1929) – Musical #536

Studio:
Metro-Goldwyn-Mayer

Director:
Sidney Franklin

Starring:
Ramon Novarro, Dorothy Jordan, Marion Harris, John Miljan, Ann Dvorak (uncredited), John Carroll (uncredited)

Plot:
Set during the Napoleonic era, Armand de Treville (Novarro) is a soldier for Napoleon and is jailed by the king. He is about to be killed by a firing squad and escapes. He hides in the bedroom of beautiful Leonie de Beaufort (Jordan), who immediately decides she hates Armand because she is a royalist. Armand continues to hide out from the royalists at the home of his friend Countess Louise (Harris), where he hides as a servant. Leonie ends up being the cousin of the Countess and she stays with her and resists the advances of Armand.

Trivia:
-Ramon Novarro’s talking debut.
-Labeled the “first dramatic operetta of talking pictures,” according to Beyond Paradise: The Life of Ramon Novarro
By Andre Soares
-Composer Dimitri Tiomkin wrote the ballet music in the musical score.

Notable Songs:
-Charming performed by Ramon Novarro
-March of the Guard performed by a chorus
-If He Cared performed by Dorothy Jordan

Highlights:
-Ramon Novarro singing.
-The brief Technicolor portion featuring the Albertina Rasch Dancers

My review:
I honestly wasn’t expecting much as I went into “Devil-May-Care.” In fact, I didn’t know it was going to be a musical until I saw the title card which detailed it as a “musical romance.” But as I continued watching, this ended up being a pleasant little film.
I think my biggest take away from “Devil-May-Care” was that I had no idea that Ramon Novarro could sing and with such a pleasant voice! “Devil-May-Care” wasn’t only the first time audiences heard Novarro sing, but also was the first time they ever heard him sing, as this was Novarro’s first talking film.
At one time, Novarro was a top draw in the box offices and was known the “New Valentino.” While this film is noteworthy as his first talkie, like many others, Novarro’s star began to slip with the dawn of talking pictures.
“Devil-May-Care” has a pretty slow moving story, but it flowed better with song and plot line than any other early (1929-1930) movie musical I have seen to date.
The movie was met with positive, but unenthusiastic reviews. The Dec. 23, 1929, review by Mordaut Hall called is “pleasant entertainment.”
“Mr. Novarro is not impressive as a Frenchman. He sings agreeably, but not as freely as one might anticipate after the constant references to his operatic career,” Hall wrote.
Hall also humorously wrote about troubles in the projection room during his “Devil-May-Care” experience: “The reproduction is fairly good, but once or twice last night the mechanics got beyond control of the operators in the projection booth.”
The plot line itself is uninspired and a bit slow, and it’s a bit distracting that Novarro is supposed to be French but speaks with a heavy Mexican accent. However, this little musical is notable for allowing fans to first hear the voice Ramon Novarro.

Ramon Novarro and Dorothy Jordan

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Musical Monday: Dames (1934)

Posted on November 23, 2015 by Jnpickens

This week’s musical:
Dames (1934) – Musical #225

Studio:
Warner Brothers

Director:
Ray Enright, Busby Berkeley

Starring:
Ruby Keeler, Joan Blondell, Dick Powell, Hugh Herbert, Zasu Pitts, Guy Kibbee

Plot:
Eccentric cousin Ezra Ounce (Herbert) decides to divide up his fortune of $10 million before he dies. Part of this will go to his cousin Mathilda and her husband. However, Ezra hates actors and their daughter is looking at going into show business.

Trivia:
-Ruby Keeler and Dick Powell’s fourth film together.
-Ruby Keeler’s last film with Busby Berkely.

Notable Songs:
-Dames performed by Dick Powell
-I Only Have Eyes for You performed by Dick Powell and Ruby Keeler
-Try to See It My Way performed by Dick Powell
-The Girl at the Ironing Board performed by Joan Blondell

Ruby Keeler dancing in “Dames.”

Publicity photo of Dick Powell and several “Dames.”

Highlights:
-The elaborate “Only Have Eyes for You” number that features several large shots and blown up pictures of Ruby Keeler. The best part is when Keeler rises up from below the stage through a trap door, that happens to be in the pupil of her eye.

Joan Blondell causing trouble for Guy Kibbee in “Dames.”

My review:
While “42nd Street” and “Footlight Parade” are my top two favorite Busby Berkeley directed films starring Ruby Keeler and Dick Powell (one of seven), “Dames” comes in at a close third.
Like the other two, “Dames” has it all: An excellent cast, breathtaking Berkeley directed musical numbers, toe tapping songs, humor and it’s very pre-code. In fact, I find “Dames” to be pretty hilarious.
An great example of humor and pre-code in “Dames” is when Guy Kibbee finds Joan Blondell stowing away in his bed on a train. Blondell isn’t wearing pajamas and Kibbee is fearful of a scandal that would make him lose the millions of dollars his very moral cousin has agreed to leave him. When Kibbee orders her to leave, she says “Why? I don’t snore.”
More humor comes when cousins Ruby Keeler and Dick Powell are in love, but we learn Powell is Keeler’s 13th cousin.
The film’s plot mainly revolves around Cousin Ezra’s (Herbert) moral code and hating theater people. This is why Ezra has disowned his relative Jimmy (Powell), because he is in the theater and trying to put on a show. As long as his family members Horace (Kibbee), Mathilda (Pitts) and Barbara (Keeler), don’t interact with Jimmy, they will get $6 million. However, Barbara is in love with Jimmy and also plans to audition to for his show.
Further complications arise when Mabel (Blondell) plans to blackmail Horace for money, know he would lose the $6 million if Ezra knew of their run in on the train.
Joan Blondell is wonderful in this film, as she is with everything else. We learn in these musicals that she really lacks the pipes to carry a tune, but her character and humor make up for it.
The “Only Have Eyes for You” number is really outstanding. it’s really a solid 5 minute homage to Ruby Keeler, complete with people dancing with large cut outs of her face and her face becoming the dance floor.
As far as Busby Berkeley, pre-code musicals go, “Dames” is the tops. Add it to your list of “must sees.”

Some Busby Berkeley shots:

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Musical Monday: Blues in the Night (1941)

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This week’s musical:
“Blues in the Night” (1941)– Musical #191

Studio:
Warner Brothers

Director:
Anatole Litvak

Starring:
Priscilla Lane, Jack Carson, Richard Whorf, Lloyd Nolan, Elia Kazan, Billy Halop, Betty Field, Wallace Ford, Joyce Compton, Howard Da Silva, Faith Domergue (uncredited), Faye Emerson (uncredited), William Hopper (uncredited)

Plot:
Jigger (Whorf), Leo (Carson), Peppi (Halop), Nickie (Kazan), and Pete (Whitney) have formed a jazz band and want to take it on the road. With Leo’s wife, “Character” (Lane) as the lead singer, the group rides the rails and hitchhikes to each gig. Character and Leo’s marriage is unstable, as he gambles a great deal, and she’s afraid to tell him when she gets pregnant,because she knows he doesn’t want to be tied down. The group runs into escaped convict Del Davis (Nolan) who steals their money and then offers them a job at a New Jersey road house since they didn’t turn him over to the police. The road house is a dump but they eventually build it into a swinging establishment. Even with more steady work, their problems haven’t ended. Kay Grant (Field) first has her sites set on Leo and then turns to Whorf, causing him to eventually have a nervous breakdown.

Trivia:
-Harold Arlen (music) and Johnny Mercer (lyrics) were nominated for an Academy Award for Best Music, Best Original Song, “Blues in the Night”
-Faith Domergue first role in a film as an uncredited jitterbug dancer.
-Richard Whorf’s role of Jigger was offered to both James Cagney and John Garfield, according to Anatole Litvak: The Life and Films
By Michelangelo Capua
-The original title of the film was first “Hot Nocturne” and then “New Orleans Blues,” according to Anatole Litvak: The Life and Films
By Michelangelo Capua

Notable Songs:
-Blues in the Night performed several times throughout the film
-Hang on to Your Lids, Kids performed by Priscilla Lane
-Says Who? Says You, Says I
-This Time the Dream’s on Me performed by Priscilla Lane

Hightlights:
-Blues in the Night performed in the jail
-The crazy montage of when Richard Whorf has a break down

My review:

Betty Field in “Blues in the Night”

While categorized as a musical, “Blue in the Night” is an interesting blend of crime, noir and music. This isn’t your typical upbeat musical and Priscilla Lane isn’t plucky and carefree.
The film depicts the struggles of an up and coming jazz band and the dynamics of an unstable marriage. Priscilla Lane and Jack Carson are married in the film, but it’s clear that while he married her, he really doesn’t want to be tied down and is constantly gambling and carousing. When Priscilla Lane’s character gets pregnant, she is afraid to tell her husband because it would ruin his care free lifestlye and she fears he would leave her.
The movie has crime and gangster film elements as well when the band gets involved with Lloyd Nolan, a gangster who is hiding out, and his ex-moll, played by Betty Field who has her eyes on most of the men in the band.
Added bonus is that you get to hear Johnny Mercer’s “Blues in the Night” a few times throughout the film.
If you’re looking for a rollicking musical, “Blues in the Night” isn’t really for you.
But if you are looking for a characteristic brooding Warner Brothers film, this could be for you.

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Musical Monday: The Cool Ones (1967)

Posted on November 9, 2015 by Jnpickens

This week’s musical:
“The Cool Ones” (1967)– Musical #531

Studio:
Paramount Pictures

Director:
Gene Nelson

Starring:
Roddy McDowall, Debbie Watson, Phil Harris, Gil Peterson, Richard Harris, Nita Talbot, Glen Campbell, Teri Garr (uncredited)
Themselves: Mrs. Miller, The Bantams, The Leaves, T.J. and The Fourmations, The Forté Four

Plot:
Hallie Rogers (Watson), who dances as a go-go dancer on a variety show, will stop at nothing to become a pop star. During one show, she starts wildly dancing and grabs the microphone from the singer–who happens to be Glen Campbell–and starts singing. Hallie obviously gets fired, but learns that the wild dance she did on stage is now all the rage called “The Trantrum.” Hallie teams up with faded pop singer Cliff Donner (Peterson) to create a boy/girl performing duo. Eccentric millionaire music promoter Tony Krum (McDowall) works to make the two famous as a romantic, singing couple. The only problem is Cliff really is in love with Hallie but she is too focused on her fame to give it up for love.

Trivia:
-Former Warner Brothers actor and dancer Gene Nelson directed this film.
-Roddy McDowall’s character is apparently based on record producer Phil Spector.
-Singer Mrs. Miller’s only film appearance.
-Choreographed by Toni Basil.

Roddy McDowall in “The Cool Ones”

Notable Songs:
-It’s Magic performed by Mrs. Miller
-Have a Tantrum performed by Gil Peterson and Debbie Watson
-The Cool Ones performed by Gil Peterson and Debbie Watson
-Where Did I Go Wrong performed by Roddy McDowall

My review:
New York Times film critic Bosley Crowther wrote “I venture to guess this will disgust even the kids” in his May 11, 1967, review of “The Cool Ones.”

Crowther most likely hit the nail on the head. “The Cool Ones” has earned a place on my list of the worst movies that I have ever seen. But then at the same time, it’s so bad you can’t look away and have to watch the whole movie.

The stupidity of this movie isn’t necessarily the story line or even the cast. For me, it’s the leading lady: Debbie Watson. Her lines and songs are all shouted and she’s simply annoying. “The Cool Ones” isn’t her first offense either. Ms. Watson was equally as bad in her role as Tammy in the last of the “Tammy” film series, “Tammy and the Millionaire” (1967).

Debbie Watson and Gil Peterson in “The Cool Ones”

Watson is so overly dramatic that I can’t even be sympathetic with her character, who is the main focus of the film. For example, when she first asks Cliff if he will team up with her, he says “I’ll think about it,” and she flips her lid and pushes him in the pool.

Roddy McDowall’s character is probably the high spot of the film as the over-the-top, kooky record producer. Though McDowall doesn’t appear until halfway through the film. We even get to hear McDowall sing a bit. It’s also fun to see Phil Harris–husband of actress Alice Faye and frequent Disney character voice–though his character isn’t the most friendly.
You also get to see singer Mrs. Miller in her only film appearance.

It’s almost a shame that this teen, rock-n-roll comedy is so terrible. It’s very colorful and very late-1960s. I didn’t go to this thinking it would be “West Side Story” but at least it would be on the same level of fun as an Elvis movie.

Perhaps “The Cool Ones” wouldn’t have been as painful if there has been a different lead actress. Maybe a Shelley Fabares or Nancy Sinatra would have been better.
Regardless, there is nothing “cool” about “The Cool Ones.”

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Musical Monday: Small Town Girl (1953)

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This week’s musical:
“Small Town Girl” (1953)– Musical #76

Studio:
Metro-Goldwyn-Mayer

Director:
László Kardos

Starring:
Jane Powell, Farley Granger, Ann Miller, Fay Wray, Billie Burke, S.Z. Sakall, Bobby Van, Robert Keith, Robert Hyatt, Chill Wills (uncredited)
Themselves: Nat King Cole

Plot:
Judge Kimbell (Keith) throws big city hotshot Rick Livingston (Granger) in jail for going 80 miles per mile in a small town with his Broadway girlfriend Lisa Bellmount (Miller). The judge’s daughter Cindy (Powell) ends up falling for Rick.

Trivia:
-Nicholas Brodszky and Leo Robin were nominated for an Academy Award for Best Music, Original Song for the song “My Flaming Heart.”
-Dances choreographed by Busby Berkeley.
-Ann Miller’s “I’ve Gotta Heart That Beat” performance has 86 instruments up through the floor and the musicians are hidden beneath the floor, according to The Rough Guide to Film Musicals by David Parkinson
-Musical director is André Previn.
-Costumes by Helen Rose.

Highlights:
-Nat King Cole’s appearance and performance
-Ann Miller’s “I’ve Gotta Hear that Beat” number
-Bobby Van’s exhausting 3-minute jump through town.

Notable Songs:
–I’ve Gotta Hear That Beat performed by Ann Miller tap dancing and hands coming out of the floor playing drums and holding saxophones, clarinets and violins.
–My Flaming Heart performed by Nat King Cole

My review:
“Small Town Girl” is a fun, colorful musical with an outstanding cast. However, of Jane Powell’s MGM films, this is not her best. The storyline isn’t a bad one and it has some cute, humorous moments, but I prefer other Powell films such as “Luxury Liner” and “Holiday in Mexico.”

Farley Granger plays the arrogant, rich playboy well but is a poor romantic match for Powell.

While Jane Powell is known for her beautiful, operatic voice, she doesn’t have many notable songs or musical numbers. The real stand out musical numbers come from the supporting cast of Ann Miller, Bobby Van and an appearance from singer Nat King Cole as himself.

Ann Miller’s Busby Berkeley choreographed “Gotta Hear That Beat that Beat” is a visually amazing piece. The number is complete with Miller’s high-speed tap dancing feet and instruments being played by bodiless hands.

A second impressive, though exhausting, number is Bobby Van jumping through his small town. While this is quite a feat, it also makes my knees hurt just watching him bound down the street, shaking hands and jumping across hedges.

Also, while Van’s jumping is interesting, his character is fairly annoying.

For Nat King Cole fans, you also have the opportunity to see the velvet voice singer during a nightclub scene, which is a real treat.

The film has a terrific supporting cast with Robert Keith and Fay Wray as Powell’s parents, Billie Burke as Farley Granger’s mother, and S.Z. “Cuddles” Sakall as Van’s father. You also get the comical Chill Wills as the jailer.

Once big stars of the 1930s Burke and Wray seem wasted in this film as they both have less than 10 or 15 minutes of screen time.

For me, Robert Keith and Cuddles Sakall provided the most comedic entertainment and were honestly my favorite part of this film.

While I enjoy “Small Town Girl,” but I wouldn’t suggest it as a “must see,” unless you are a huge fan of any of the stars in this movie.

Publicity photo of Farley Granger, Jane Powell and Bobby Van for “Small Town Girl.”

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Halloweek Musical Monday: Bedknobs and Broomsticks (1971)

Posted on October 26, 2015 by Jnpickens

This week’s musical:
“Bedknobs And Broomsticks” (1971)– Musical #534

Studio:
Walt Disney Studios

Director:
Robert Stevenson

Starring:
Angela Lansbury, David Tomlinson, Roddy McDowall, Sam Jaffe, John Ericson, Reginald Owen,Cindy O’Callaghan, Roy Snart, Ian Weighill

Plot:
Set in England in during World War II in 1940, Miss Price (Lansbury) is learning how to become a witch when she has to take in three children who were sent to the country and away from the bombing in London. Because of the war, the Witch’s College-run by Emelius Brown (Tomlinson) closes so Miss Price and the children travel on a flying bed to London to learn a spell that will help England in the world.

Trivia:
-“Bedknobs and Broomsticks” was an attempt to recapture the popularity and success of “Mary Poppins” (1964), according to The World of Musicals: An Encyclopedia of Stage, Screen, and Song, and Song by Mark A. Robinson
-Julie Andrews was originally asked to play the lead. Andrews turned down the road but then reconsidered, but the role was already offered to Lansbury, according to Julie Andrews: An Intimate Biography by Richard Stirling. According to the American Film Institute, Andrews later had second thoughts about turning down the film, since Disney helped her get her start with “Mary Poppins.”
-Lynn Redgrave, Judy Carne and Leslie Caron were also offered the lead role in the film, according to the American Film Institute.
-Based on the novels “The Magic Bed-Knob or How to Become a Witch in 10 Easy Lessons” and “Bed-Knob and Broomstick” by Mary Norton.
-Debut for child actors Cindy O’Callaghan, Roy Snart and Ian Weighill.
-Songwriting brothers Richard and Robert Sherman wrote the songs for the film. The Sherman brothers said in an interview that the song “The Beautiful Briny” was originally written for “Mary Poppins ” (1964) but wasn’t used.
-Walt Disney bought the film rights to the first Mary Norton story in 1945, according to the American Film Institute.
-Alan Maley, Eustace Lycett and Danny Lee won an Academy Award for Best Effects, Special Visual Effects
-The film was also nominated for an Academy Award for Best Art Direction-Set Decoration, Best Costume Design, Best Music, Original Song, “The Age of Not Believing,” Best Music, Scoring Adaptation and Original Song Score
-Angela Lansbury was nominated for a Golden Globe for Best Motion Picture Actress for a Musical/Comedy

David Tomlinson referees a cartoon soccer game.

Notable Songs:
-“Portobello Road” performed by an ensemble
-“The Age of Not Believing” performed by Angela Lansbury
-“The Beautiful Briny” performed by Angela Lansbury and David Tomlinson

My review:
“Bedknobs and Broomsticks” starts out with great potential.

An excellent cast with Angela Lansbury, David Tomlinson, Roddy McDowall, Sam Jaffe and Reginald Owen. A seemingly adorable premise of child World War II refugees paired with an unlikely host who dislikes children and happens to be an apprentice witch.

But after the first 20 minutes, the movie starts to go downhill.

When the Witch’s College closes down due to the war, Lansbury and the three children search out the school’s professor, played by David Tomlinson, to learn the last spell to help England during the war.

This hunt for the last spell takes the cast into an exhausting 20 or 30 minute bit in cartoon land, playing soccer with lions and dancing with fish.

I was relatively interested in the film until they hopped into cartoon land. The mix of live action and cartoon was an innovative feature at the time, was popular with film critics and won an Academy Award. However, once the film goes into the cartoon portion, it seems to lose direction, not make much sense and drags everything to a halt.

Along with the overly long cartoon portion of the film, half the cast in this film is wasted. I was excited to see Roddy McDowall, Reginald Owen and Sam Jaffe in the credits, but collectively, they are only in the two hour film for 10 minutes.

While this movie was trying to recapture the magic of “Mary Poppins,” it simply falls flat. The children lack the charm of the kids in “Mary Poppins” and the songs aren’t as catchy, though they are also written by the wonderful Sherman brothers.

One notable feature is the dance number for “Portobello Road.” It’s lengthy but impressive. The only irksome feature is that the female hair and costumes are not accurate for war era England.

Angela Lansbury does end up being able to hold off Nazis, ready to attack the small English village, in a rather…creative way that is also a little creepy.

Overall, while the film has a lovely cast and starts off having a cute storyline, it really is overly long and could do without the cartoons. This is a good example as how Disney films were declining in quality after Walt Disney’s death.

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Musical Monday: The Glass Slipper (1955)

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This week’s musical:
“The Glass Slipper” (1955)– Musical #90

Studio:
Metro-Goldwyn-Mayer

Director:
Charles Walters

Starring:
Leslie Caron, Michael Wilding, Keenan Wynn, Elsa Lanchester, Estelle Winwood, Amanda Blake, Lurene Tuttle, Lisa Daniels, Barry Jones
Narrator: Walter Pidgeon

Plot:
Adaptation of the story of Cinderella. Ella (Caron), nicknamed Cinderella for her filthy appearance, is lonely and rebellious. She is the servant to her stepmother (Lanchester) and two stepsisters (Blake, Daniels), who are in a tizzy over the return of Prince Charles (Wilding) and are preparing for his ball. While sitting by her favorite secret spot by the river, Ella meets dizzy Mrs. Toquet, who everyone says is crazy. Ella also meets the prince by the river but doesn’t know he’s royalty. Mrs. Toquet helps Ella get ready for the ball without magic but through creative means.

Trivia:
-Choreography by Roland Petit.
-According to TCM host Robert Osborne, Michael Wilding was cast to keep his wife-MGM contract player Elizabeth Taylor-happy because Michael kept complaining that he wasn’t being given any roles.
-Leslie Caron wrote in her memoir “Thank Heaven,” Michael Wilding was so unhappy in his role as the prince that he begged Caron to throw a tantrum and say that she wanted a new co-star. She didn’t feel like she could make such demands. However, Caron said she and Wilding got along and she was always in awe of Elizabeth Taylor’s beauty, who was married to Wilding at the time.
-Michael Wilding was dubbed by Gilbert Russell.
-Dancers Tommy Rall, Jacques d’Amboise and James Mitchell were considered for the role of Prince Charming.

Leslie Caron and Michael Wilding in “The Glass Slipper”

Leslie Caron and Lurene Tuttle in “The Glass Slipper”

Highlights:
-Walter Pidgeon as the narrator
-Ballet numbers performed by Leslie Caron

Notable Songs:
This film was more about ballet numbers rather than songs.

My review:
“The Glass Slipper” is a glittering, charming and enchanting take on the classic story of Cinderella.
Set against a colorful, storybook land, the film has a remarkable supporting cast that includes Keenan Wynn, Elsa Lanchester and Amanda Blake.

“The Glass Slipper” isn’t your typical song and dance musical. There is only one song that is performed by a dubbed Michael Wilding, but the other numbers are beautiful ballet numbers daydreamed by Cinderella. There are three major ballet numbers in the film, exhibiting Caron’s lovely talent. I enjoyed watching her precise and perfect ballet steps, because I love dance and dancing. However, I can see how this could be dull for someone that isn’t interested in ballet.

Leslie Caron’s version of “Ella,” or Cinderella, is different than the sweet, sad character we are used to from the Rogers and Hammerstein musicals or the 1950 Walt Disney cartoon. Caron’s Ella is a bit of a tomboy and exhibits her loneliness and sadness through rebellion, talking back and scoffing at anyone who is rude to her.

Her fairy godmother is different from the traditional godmother who makes the evening happen with a magic wand. Played by Lurene Tuttle, rather than using magic, she steals…or borrows. She gathers the gown and glass slippers which she will return and makes a bargain with a driver of a carriage who has to take Cinderella home by 12 a.m. because his group is heading home at 1 a.m.

As for Ella’s stepfamily, rather than being evil, they are just lazy social climbers. Elsa Lanchester in her role as the evil stepmother is particularly hilarious.

But the person that makes the whole movie and that steals the show isn’t even shown on screen! I LOVE Walter Pidgeon as the narrator. He has the perfect delivery and warm tone to tell a fairy tale, but he is also hilarious! I laughed out loud many times at his dialogue.

The only downside of the film is Michael Wilding as the prince. He’s not bad but I feel sorry for him because he looks so uncomfortable. He’s in two of the dance numbers, and it’s obvious the choreographer worked to add Wilding into the dances without really doing anything. For example, Wilding stirs a pot in one number or stands while Caron dances around him. He looks so uncomfortable. Had a dancer such as James Mitchell or Tommy Rall been cast, it would have been appropriate, but studio politics cast Wilding instead. Acting wise, Wilding is fine.

“The Glass Slipper” is a lovely, magical film. When I originally saw this movie more than 10 years ago, I wasn’t enthralled. I’m glad I visited it again, because it found me enchanted.

Leslie Caron as Cinderella arriving at the ball in “The Glass Slipper.”

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Musical Monday: Rock Around the Clock (1956)

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It’s no secret that the Hollywood Comet loves musicals.
In 2010, I revealed I had seen 400 movie musicals over the course of eight years. Now that number is more than 500. To celebrate and share this musical love, here is my weekly feature about musicals.

This week’s musical:
“Rock Around the Clock” (1956) – Musical #528

Studio:
Columbia Pictures

Director:
Fred F. Sears

Starring:
Johnny Johnston, Alix Talton, Lisa Gaye, John Archer, Henry Slate, Robert Banas (uncredited)
Themselves: Bill Haley and the Comets, The Platters, Ernie Freeman Combo, Tony Martinez and His Band, Alan Freed

Plot:
Fictional film about how rock and roll music is discovered. Band manager Steve Hollis (Johnston) observes how a band with a new sound draws teenage dancers when they felt dance bands were dead. The band the kids are dancing to is Bill Haley and the Comets and Hollis sets out to promote them. However, booking manager Corinne Talbot (Talton), who was jilted by Steve, is set to have the band fail.

Trivia:
-This is considered the first major rock and roll musical.
-Queen Elizabeth II requested a print of this film to learn more about rock n’ roll after the movie was released. While on vacation in Scotland at Balmoral Castle,she asked for it to be flown in for a special showing. The film was banned in some British cities before Queen Elizabeth saw it, according to a Sept. 22, 1956, Louella Parson’s article by Louella Parsons. Bill Haley later performed for Queen Elizabeth in 1979.
-The New York Times wrote there were teenage riots when the film was released. In Great Britain and America, teens danced in the aisles, clapped to the music, tore up the seats and shouted they wanted “We want Bill,” according to the book Cliff: An Intimate Portrait of a Living Legend by Stafford Hildred, Tim Ewbank. In Oslo, Norway there were teen riots outside the theater and in Belgium, Germany, teens through tomatoes and eggs at the police station, according to Rebels and Chicks: A History of the Hollywood Teen Movie by Stephen Tropiano
-Haley starred in a sequel to this film called “Don’t Knock Rock” the same year.

Johnny Johnston, Alan Freed and Lisa Gaye in “Rock Around the Clock”

Notable Songs:
-Rock Around the Clock performed by Bill Haley and the Comets
-Razzle Dazzle performed by Bill Haley and the Comets
-The Great Pretender performed by The Platters
-Only You performed by The Platters
-See You Later, Alligator performed by Bill Haley and the Comets

My review:
If you are a fan of 1950s rock and roll or music history, “Rock Around the Clock” should be added to your must-see list.

The plot is fairly thin but ties in well with the musical performances. It’s also relevant for that time. While rock and roll seems pretty common place now, there was some push back and it was seen as rebellion from teens to adults. The riots and banning of this film when it was released exhibits this idea.

The plot looks at how mainstream band managers and booking managers were reluctant to take a chance on such a radical departure from the dance bands of the 1940s and early 1950s, which were dying out in popularity by this time.

Though qualified as a b-film, “Rock Around the Clock” is also important as film’s first rock and roll musical and was notable enough for Queen Elizabeth to screen the movie to learn what rock and roll is all about.

The lead actors in this film-Johnny Johston, Alix Talton and Lisa Gaye-aren’t anything to write home about but are adequate enough to carry the plot.

But the real stars of the film are the musical performers: Bill Haley and the Comets, The Platters and the Bellhops.

The only musical performances I was not keen on was Tony Martinez and His Band. After listening to Xavier Cugat for years, Tony Martinez sounded like noise.

“Rock Around the Clock” has great music and terrific jive dance numbers; a must see for music lovers.

Bill Haley and his Comets in the film “Rock Around the Clock” (1956)

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Musical Monday: Ten Thousand Bedrooms (1957)

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This week’s musical:
Ten Thousand Bedrooms (1957) – Musical #520

Studio:
Metro-Goldwyn-Mayer

Director:
Richard Thorpe

Starring:
Dean Martin, Anna Maria Alberghetti, Paul Heinreid, Walter Slezak, Eva Bartok, Dewey Martin, Jules Munshin, Dean Jones

Plot:
Wealthy American Ray Hunter (Martin) owns a successful chain of hotels all over the world. The latest hotel he buys is in Rome where Nina Martelli (Alberghetti) works as a stenographer. Nina the youngest with three older sisters, the oldest-Maria (Bartok) who also is smitten with Ray. When Ray proposes to Nina, her father (Slezak) says there’s no way the youngest can get married be before her older sisters get married first. Ray gets to work on finding husbands for the other girls.

Trivia:
-Filmed on location in Rome, Italy
-The first film made after Dean Martin and Jerry Lewis’s partnership started to dissolve.

Notable Songs:
-Only Trust Your Heart performed by Dean Martin and Anna Marie Alberghetti

My review:
“Ten Thousand Bedrooms” is a cute, colorful musical with a great array of stars.
However, it didn’t fair too well in the box offices, resulting in a $1,196,000 for MGM. This was also a disappointment for Dean Martin. This was his first film after his split with Jerry Lewis. While Lewis’s career continued to with hit after hit, Martin wasn’t having as much luck.

Martin’s songs in the film were all fairly forgettable and seemed “safe” for a singer of his caliber. The worst of his songs is called “Money is a Problem,” a duet with Jules Munshin.

The most disappointing part of “Ten Thousand Bedrooms” for me is that we only here Anna Maria Alberghetti sing one song, and it’s only a few lines of the song.

Alberghetti has a beautiful operatic voice and which is completely wasted by not being utilized in the film.

The added bonus of this film is Paul Henreid. His part is small, but Henreid adds something special to all of his films.

The only other downside is that the film is a tad long at two full hours for as fluffy of a plotline.

For a colorful bit of cute escapism, check out “Ten Thousand Bedrooms,” just don’t expect any show stopping songs from either of the leads.

All of the brides in “Ten Thousand Bedrooms”

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Home for classic movie lovers

Category Archives: Musical Monday

Musical Monday: Shower of Stars presents A Christmas Carol (1954)

Musical Monday: Devil-May-Care (1929)

Musical Monday: Dames (1934)

Musical Monday: Blues in the Night (1941)

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Musical Monday: The Cool Ones (1967)

Musical Monday: Small Town Girl (1953)

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Halloweek Musical Monday: Bedknobs and Broomsticks (1971)

Musical Monday: The Glass Slipper (1955)

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Musical Monday: Rock Around the Clock (1956)

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Musical Monday: Ten Thousand Bedrooms (1957)

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