Category Archives: Musical Monday

Review: Meet Me in St. Louis (1959) CBS TV Special

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It’s difficult to improve on perfection.

While this two-hour CBS 1959 TV Special may not be a remake, it pales when compared to the original.

The first “television special of 1959” was an adaptation of  the 1944 film “Meet Me In St. Louis” starring Judy Garland, Mary Astor, Leon Ames, Margaret O’Brien, Marjorie Main, Tom Drake and Lucille Bremer.

(L) Judy Garland and Tom Drake in the 1944 "Meet Me in St. Louis." (R) Jane Powell and Tab Hunter reprising their roles in a 1959 TV Special.

(L) Judy Garland and Tom Drake in the 1944 “Meet Me in St. Louis.” (R) Jane Powell and Tab Hunter reprising their roles in a 1959 TV Special.

Adapted from short stories written by Sally Benson, the story follows the Smith family who lives in St. Louis. The story begins in the Summer of 1903 and is broken into segments: Summer, Fall of 1903 with Halloween, Winter of 1903 with Christmas and Summer again in 1904. The story ends as the family goes to the 1904 World’s Fair in St. Louis.

The lead, Esther, falls in love with the boy next door named John Truitt and the oldest sister Rose is a flirt who likes older men. The younger daughters Tootie and Agnes cause mischief.

The main conflict in the story is when the father announces the family has to move to New York for his job.

In the film, Garland plays Esther and Bremer plays Rose. O’Brien plays Tootie, and Ames and Astor are the parents. Tom Drake plays John Truitt, Marjorie Main is Katie the Maid, and Davenport plays Grandpa.

The 1944 film has a steller cast, but the 1959 cast is equally impressive:

Jane Powell as Esther, Jeanne Crain as Rose, Patty Duke as Tootie, Tab Hunter as John Truitt, Myrna Loy as Mrs. Anna Smith, Walter Pidgeon as Mr. Alanzo Smith, Reta Shaw as Katie the Maid, Ed Wynn as Grandpa and Kelly Brown as Lon Smith.

Many of the scenes and lines are similar to the 1944 film, if not identical, but there are some subtle differences in the film and the TV version:

-In the 1944 version, the brother Lon doesn’t have a great deal of screen time. The TV special version of the “Skip to My Lou” number at Lon’s going away party is much more elaborate. Lon becomes the star of the show. He leaps and jumps over girls. The number almost comes across more like the Barn Raising from “Seven Brides for Seven Brothers” than a carefree, casual dance at a party.

-In the 1959 version, Esther’s whole family ribs her about her crush on John Truitt, and Mom even helps her pick out a hat suitable for “catching a man.” I found this pretty hokey. And who’s Mom would really do that?

-The iconic “Trolley Song” number from the 1944 film is obviously shot while the singers are on the trolley and the trolley is (supposedly) moving. The teenagers are riding the trolley to the swamp to see what progress has been made on what will be the 1904 World’s Fair grounds. In the 1959 version, the singers and dancers aren’t actually on the trolley for the majority of the song. However, I’m sure this had to do with limitations of a television studio. Also in the TV special Esther isn’t as surprised when John Truitt arrives on the trolley, they had a date to go to the swamp together.

Tab Hunter and Jane Powell in the trolley song (yes this is about how the quality is.

Tab Hunter and Jane Powell in the trolley song (yes this is about how the quality is.

-Unlike the 1944 version, we see the characters at the swamp in the television special. It’s fun but not entirely necessary. During their time at the swamp, Hunter sings “Boys and Girls Like You and Me” which was dropped from the 1944 print.

-In the Halloween scene, Tootie said John Truitt “tried to kill her” and Ether goes and hits him (and later apologizes when she learns the truth) to defend her little sister. In the 1959 version, Hunter sings “When Did This Feeling Begin” after this scene- giving John Truitt’s character two songs in the special. Truitt doesn’t sing at all in the film.

-After Esther sings “Have Yourself a Merry Little Christmas,” in the film- Tootie goes berserk and knocks down snowmen in the backyard. On TV, Tootie digs up her “dead” dolls from the backyard.  Mother comes to comfort her rather than Esther.

-The TV Special ends with the family walking off the porch to go to the World’s Fair, rather than them actually going to the fair like in the film. Again, this probably had to do with television limitations.

While I love every actor in the 1959 TV Special something is just severally lacking.

Jane Powell sings "Have Yourself a Merry Little Christmas" to Patty Duke.

Jane Powell sings “Have Yourself a Merry Little Christmas” to Patty Duke.

Jane Powell is one of my favorite actresses of all time, but let’s face it, she just isn’t Judy Garland. Comparing the two is really like trying to compare apples and oranges.

Garland brought a bit more sass and warmth to the role, while Powell could have easily been doing a continuation of her awkward, coming-of-age character in “Two Weeks with Love.”

Powell and Garland have very different singing styles, but they are equally pleasant. Hearing songs like “The Boy Next Door” and “The Trolley Song” sung more operatically is a bit different if you are used to hearing the songs performed the way Garland does.

Myrna Loy is another one of my favorites, but I didn’t care for her as the mother in this special. Maybe it was the script, but she was a bit dreamy and sweet. Mary Astor’s role was more of a strong mother, in my opinion.

Jeanne Crain’s Rose was less snooty than Lucille Bremer. Though it might be unbelievable, Patty Duke’s Tootie was sometimes as annoying or worse than Margaret O’Brien’s. Mainly because Duke would flat out screech, like how “John Truitt tried to kill” her. O’Brien’s specialty was tears rather than screaming.

I think the only casting I flat out disagreed with was Tab Hunter, who was an odd John Truitt to me. However, I don’t have any other suggestions for a “Boy Next Door” type in 1959.

The one actor I loved the most in the TV role was Walter Pidgeon. He has a fatherly warmth but is also a good curmudgeon.

With top-notch actors in the roles, I’m not sure what fell flat for me with the TV special. It wasn’t bad or terrible, just different.

The 1944 film is charming, colorful, nostalgic and poignant. It makes you laugh, sigh, cry and you don’t want the film to end. I wasn’t sad when the 1959 special ended. I was maybe even slightly relieved. The story was again reused in 1966 non-musical television pilot starring Shelley Fabares as Esther, Celeste Holm as Mrs. Anna Smith and Morgan Brittany as Agnes.

While I wouldn’t call the CBS “Meet Me in St. Louis” a remake, it didn’t improve upon what was already in place. With a new cast, adding extra songs and originally deleted scenes, you just can’t improve on perfection.

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Musical Monday: “Rock Rock Rock!” (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 over 500. To celebrate and share this musical love, here is my weekly feature about musicals.


rock rock rockThis week’s musical:
“Rock Rock Rock!” –Musical #384

Studio:
Vanguard Productions

Director:
Will Price

Starring:
Tuesday Weld, Fran Manfred, Teddy Randazzo, Jaqueline Kerr, Ivy Shulman, David Winters
Themselves: Alan Freed and his Rock n’ Roll Band, the Moonglows, Chuck Berry, the Flaningos, Jimmy Cavallo and His House Rockers, Johnny Burnette Trio, LaVern Baker, Cirino and the Bowties, Frankie Lymon and the Teenagers,

Plot:
Dori (Weld) is in love with Tommy (Randazzo) and is worried new girl Gloria (Kerr) will try to steal her boyfriend. When she learns Gloria is wearing a blue (Tommy’s favorite color) strapless evening gown, Dori wants one too, but her dad won’t buy her one. Dori has to earn the money and decides to start a bank and make loans to her classmates to earn the money- which works about as well as you can image.
Sprinkled around the thin plot are 21 performances by early, popular rock n’ roll singers and groups.

Trivia:
-Connie Francis dubbed Tuesday Weld and even gets billing in the credits at the beginning with her picture.
-Actress Tuesday Weld’s first film, who was 13 when this was made.
-Actress Valerie Harper has an uncredited role as a girl at the prom.

Notable Songs:
-“Tra la la” by LaVern Baker
-“You Can’t Catch Me” by Chuck Berry
-“Lonesome Train” by The Johnny Burnette Trio
-“I Just Want to Rock” by Ivy Shulman and the Bowties (notable because she’s 7 years old and I thought it was dreadful)

My Review:
If you are looking for a movie with excellent acting and a strong plot, “Rock Rock Rock!” isn’t for you.
But if love mid-1950s music and early rock n’ roll, you will enjoy “Rock Rock Rock!”
The film wasn’t so much about the plot but showcasing big name performers of the day. This wasn’t a rarity either. Around this time, similar films included “Rock Around the Clock” (1956), “Shake, Rattle and Rock” (1956) or “Don’t Knock Rock” (1956). Later, this could be compared to Elvis, Beatles or Herman’s Hermits films. Those films usually had more of a plot but were made to capitalize off the popularity of the performers and their music.
I think the most interesting thing to me about this movie is Connie Francis dubbing Tuesday Weld. Dubbing was a common practice in movie musicals since the dawn of time. If an actress couldn’t sing (Rita Hayworth, Virginia Mayo, Cyd Charisse, Vera-Ellen, Lucille Ball, etc.) someone else would do the singing and the actress generally would get the credit.
What’s interesting about “Rock Rock Rock!” is the film lets us know in the credits that Connie Francis is doing Tuesday Weld’s singing. I’m sure it was to capitalize off of Francis’s popularity but Francis’s singing voice doesn’t blend well with Weld’s appearance. The dubbed performances are awkward and mildly painful.
Also, as a huge “West Side Story” (1961) fan, a big highlight for me was David Winters in a bit role- who played Arab in “West Side Story” and later choreographed films.
Though most of the songs are enjoyable, the worst was “I Just Want to Rock” by Ivy Shulman who is maybe 6 or 7 years old and singing about how she wants to rock. I’m sure it was supposed to be adorable, I just found it it annoying.
My favorite of all the performances was LaVern Baker.
Though I personally did not enjoy the movie and thought some of the acting was pretty bad (it was Weld’s first film and she was only 13, so I’m refraining from being harsh), “Rock Rock Rock!” is an interesting little time capsule into music history.

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Musical Monday: “Cabin in the Sky” (1943)

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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 over 500. To celebrate and share this musical love, here is my weekly feature about musicals.


cabin-in-the-sky-movie-poster-1943-1020197555This week’s musical:
“Cabin in the Sky” –Musical #379

Studio:
Metro-Goldwyn-Mayer

Director:
Vincent Minnelli, uncredited Busby Berkley

Starring:
Lena Horne, Ethel Waters, Eddie “Rocherster” Anderson, Louis Armstrong, Rex Ingram, Kenneth Green, Butterfly McQueen, Ruby Dandridge, Duke Ellington, Mantan Moreland, Willie Best, John Williams Sublett, Juanita Moore (uncredited)

Plot:
In a “Faust”-like plot, Little Joe Jackson (Anderson) is a compulsive gambler and his wife Petunia (Waters) is trying to get him to repent his sins at church.
Little Joe is shot over his gambling debt. He dies and the Devil comes to take him but an angel from heaven steps in to give him six months to live and straighten his life out.
While Little Joe is on the right path, the Devil’s workers are doing everything they can to bring him back to a life of sin.

Trivia:
-One of six all black films made by a major Hollywood studio between 1929 and 1954, according to “Beyond Racial Stereotypes: Subversive Subtexts in Cabin in the Sky” by Kate Marie Weber.
Those films include “Hallelujah” (1929) by MGM, “Hearts in Dixie” (1929) by 20th Century Fox, “Green Pastures” (1936) by Warner Brothers, “Stormy Weather” (1943) by 20th Century Fox and “Carmen Jones” (1954) by 20th Century Fox.
-Vincent Minnelli’s first credited, solo directing experience. Minnelli also helped with “Panama Hattie” (1942), but is uncredited.
-A song performed by Lena Horne called “Ain’t It the Truth” was cut from the film. She was taking a bubble bath during the song and it was considered too sexy and immoral for a black woman to sing in a bath tub, Lena Horne said in an interview.

Lena Horne singing "Ain't It the Truth" in the scene that was cut from "Cabin in the Sky."

Lena Horne singing “Ain’t It the Truth” in the scene that was cut from “Cabin in the Sky.”

-The tornado in the tornado scene was footage recycled from “The Wizard of Oz” (1939).
-The story premiered on Broadway in 1940 with the same title starring Ethel Waters as Petunia Jackson, Dooley Wilson as “Little Joe” Jackson, Katherine Dunham as Georgia Brown, Rex Ingram as Lucifer Junior, and Todd Duncan as The Lord’s General.
Ingram and Waters are the only actors who reprised their role on screen.
-Nominated for an Academy Award for Best Original Song for “Happiness is a Thing Called Joe” written by Harold Arlen and E.Y. Hamburg.

Lucifer, Jr. sends Georgia Brown to tempt Little Joe. The General tells Joe to stay strong.

Lucifer, Jr. sends Georgia Brown to tempt Little Joe. The General tells Joe to stay strong.

Highlights:
-Louis Armstrong, though it is a very small role.
-Eddie Rochester Anderson’s dancing during “Cabin in the Sky”

Notable Songs:
-“Taking a Chance on Love” performed by Ethel Waters and Eddie Rochester Anderson
-Happiness is a Thing Called Joe” performed by Ethel Waters
-“Life is Full of Consequences” performed by Eddie Rochester Anderson and Lena Horne
-“Shine” performed by John Williams Sublett

My Review:
“Cabin in the Sky” is an interesting film, maybe even unusual, for 1943.
As mentioned above, it is one of seven films made during a 30 year span produced by one of Hollywood’s major studios with an all African-American cast.
This film came as a response when the African-American community demanded better treatment in films. The federal government was involved in the drive for all black casting, according to The Films of Vincente Minnelli by James Naremore.
President Roosevelt’s administration advocated black actors in major film roles in Hollywood. This apparently was connected to the New Deal, hoping the roles would create more jobs for minorities in the film industry, according to Beyond Racial Stereotypes: Subversive Subtexts in “Cabin in the Sky” by Kate Marie Weber.
The NAACP also met with Hollywood executives, demanding better roles for black performers.
The result was “Cabin in the Sky” and “Stormy Weather.”

Petunia prays for Little Joe after he is shot over his gambling debts.

Petunia prays for Little Joe after he is shot over his gambling debts.

Though the musical was made in the Arthur Freed Unit-known for lavish and high quality films- it was the lowest budgeted musical he produced. Freed however fought for more funding for “Cabin in the Sky” but did not receive it, according to Weber.
Though the film was meant to better black roles in Hollywood, it did not eliminate racial stereotypes that were seen in many films made during this time.
Some characters were presented as naive, lazy and didn’t want to work, church goers, and lovers of jazz music. This also apparently disappointed director Vincent Minnelli in his first directorial effort.
Minnelli handpicked the cast and worked to make the film visually pleasing.
The film opened to positive reviews from the New York Times, though some Southern states unsurprisingly refused to show the movie.
While there are obvious racial stereotypes, “Cabin in the Sky” does showcase the talents of actor who generally were playing maids, sidekicks or specialty singers in films.
Eddie “Rocherster” Anderson shows off his acting chops as the lead performer. He carries the whole film well and is also hilarious. Rex Ingram, as Lucifer Jr., and Kenneth Spencer, as God’s General, also do great jobs.
Lena Horne, as Georgia Brown, and Ethel Waters fill the film with several wonderful songs. However, I do wish Horne had more screen time.
Another disappointment was how little Louis Armstrong was in the film. He was maybe on screen for 10 minutes. That was a real disappointment.
All of that being said, I really enjoyed “Cabin in the Sky.” Anderson and the Devil’s disciples are hilarious, the songs are great and I was entertained throughout.
Most classic films do have stereotypical elements. But rather than ignore them, I think it’s important to learn from it and keep in mind that these movies were made during a very different time. Pop culture and films are just another way to learn about our history- even the unpleasant parts.

Ethel Waters, Duke Ellington and director Vincent Minnelli on the set of "Cabin in the Sky" (1943). Source: A Certain Cinema

Ethel Waters, Duke Ellington and director Vincent Minnelli on the set of “Cabin in the Sky” (1943).
Source: A Certain Cinema

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Back to School Musical Monday: She’s Working Her Way Through College (1952)

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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 over 500. To celebrate and share this musical love, here is my weekly feature about musicals.


This week’s musical:
“She’s Working Her Way Through College” –Musical #395

college

Studio:
Warner Brothers Studios

Director:
H. Bruce Humberstone

Starring:
Virginia Mayo, Ronald Reagan, Gene Nelson, Phyllis Thaxter, Don DeFore, Patrice Wymore, Roland Winters, Phyllis Kirk (uncredited), Julie Newmar (uncredited)

Plot:
Burlesque star Angela Gardner (Mayo), who has a stage name of Hot Garters Gertie, saved up her money from working on the stage to get a college education. She was inspired to further her education by her high school teacher John Palmer (Reagan).
On her last night at the burlesque, Angela runs into John, who is now a college professor at Midwest. She decides to further her education at his college, as long as he keeps her secret that she was a dancer on the stage.

virginiamayo14Trivia:
-Remake of the 1942 Warner Brothers film “The Male Animal” starring Henry Fonda, Olivia De Havilland, Joan Leslie and Jack Carson.
-Don DeFore stars in both the original “The Male Animal” and the remake.
-Virginia Mayo was dubbed by Bonnie Lou Williams.
-Though the two films have no plot connection, She’s Back on Broadway is supposedly a sequel to “She’s Working Her Way Through College” (1952). The only connection is the Mayo and Nelson re-teaming. Comet reviewed “She’s Back on Broadway” in November.
-I think this film is somehow supposed to be connected to “She’s Back on Broadway”
-Gene Nelson is dubbed by Hal Derwin in the “That’s The Stuff That Dreams Are Made Of” number, but he does his own singing in all the other numbers.

Highlights:
-Gene Nelson’s mix of dancing and athletics in the “Am I In Love” number in the gym.

Notable Songs:
-“We’re Working Our Way Through College” sung by Chorus, Virginia Mayo-dubbed by Bonnie Lou Williams and Gene Nelson
-“Plenty of Money and You” sung by (dubbed) Virginia Mayo
-“I’ll Be Loving You” sung by (dubbed) Virginia Mayo and Gene Nelson

Ronald Reagan and Phyllis Thaxter play husband and wife in "She's Working Her Way Through College."

Ronald Reagan and Phyllis Thaxter play husband and wife in “She’s Working Her Way Through College.”

My Review:
Both the play and 1942 film “The Male Animal” were comedies mixed with the issue of free speech.
In the original film, Henry Fonda plays an college English professor whose job is on the line when he wants to read Bartolomeo Vanzetti’s sentencing statement as an example of free speech.
But this musical remake is a white washed version of that story.
Rather than an English professor, Reagan plays a theater professor, and the controversy here is that he wants to put on a musical rather than a Shakespeare play.
While writing and playing the lead in the college musical, Virginia Mayo is trying to keep it a secret that she was once a burlesque queen.
When this secret is let out by jealous Patrice Wymore (why does she always play mean dames?), Reagan’s job is on the line because a burlesque star is starring in his play. It’s Reagan’s job to deliver the news that she is going to be expelled (for dancing on the stage?), which he refuses.
The real issue is that the dean offered Mayo a fur coat after a burlesque performance and she refused him, so now he’s seeking revenge.
But all of the drama and conflict doesn’t happen until the last 20 minutes of the film.
The rest of the hour and forty-five minute film is Gene Nelson trying to romance Virginia Mayo, Don DeFore romancing Reagan’s wife Phyllis Thaxter, Patrice Wymore being jealous and Mayo performing songs from the upcoming play.
The songs that sprinkle throughout the film include lyrics such as: “She’s working her way through college, to get a lot of knowledge, that she’ll probably never ever use again.”
The movie unsurprisingly pales in comparison to the original film. But the worst part is that it’s rather boring.

Cast photo of Ronald Reagan, Virginia Mayo, Don DeFore, Phyllis Thaxter, Gene Nelson, Patrice Wymore

Cast photo of Ronald Reagan, Virginia Mayo, Don DeFore, Phyllis Thaxter, Gene Nelson, Patrice Wymore

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Back to School Musical Monday: “Old Man Rhythm” (1935)

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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 over 500. To celebrate and share this musical love, here is my weekly feature about musicals.


Old Man posterThis week’s musical:
“Old Man Rhythm” –Musical #267

Studio:
RKO Radio Pictures

Director:
Edward Ludwig

Starring:
Charles “Buddy” Rogers, George Barbier, Barbara Kent, Grace Bradley, Betty Grable, Eric Blore, Erik Rhodes, John Arledge, Johnny Mercer, Donald Meek, Evelyn Poe, Joy Hodges, Lucille Ball (uncredited), Douglas Fowley (uncredited)

Plot:
John Roberts, Sr. (Barbier) hears his son John Roberts, Jr. (Rogers) is doing poorly at college. His grades dropped when he started dating Marion (Bradley), rather than Edith (Kent), who John’s father prefers.
To help get John’s grades back on track and together with Edith, John, Sr. enrolls at the college as a freshman.
But while studying at school, wealthy Roberts’s company begins to suffer.

Trivia:
-Johnny Mercer acts in this film and wrote the lyrics to all of the songs.

Highlights:
-Betty Grable tap dancing in toe shoes after the “Comes a Revolution” number.

Notable Songs:
-“Boys Will Be Boys” sung by Betty Grable, Evelyn Poe, Joy Hodges
-“Comes a Revolution, Baby” sung by Johnny Mercer and Evelyn Poe
-“There’s Nothing Like a College Education” sung by the whole cast

Charles Buddy Rogers, Barbara Kent and George Barbier.

Charles Buddy Rogers, Barbara Kent and George Barbier.

My Review:
“Old Man Rhythm” is an entertaining B-musicals with some actors who later became big names in Hollywood.
It’s hard to resist an old Hollywood collegiate film that makes you wish- Why wasn’t college really like this? The students ride on a train to school together, the dorm rooms like like a 4-star hotels and there is a weenie roast every night.
Of course all the while, the co-eds are singing songs that have lyrics like, “There’s nothing like a college education to teach you how to fall in love.”
This movie is also fun because you can spots stars who later became big names in Hollywood. Betty Grable is one, who has a couple of songs and close-ups in the film. Songwriter Johnny Mercer is also in the film, and not only does he sing, he wrote all of the songs in the film.
There is also an uncredited Lucille Ball as a student.
I would also say that the father, George Barbier, steals the show here-even though the film ends with him goofily beating on timpani drums-alluding that he is “Old Man Rhythm.”
I am also always happy to see actor John Arledge in most films.
This is a cute little film that could help occupy a dull afternoon.

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Musical Monday: “The Time, the Place and the Girl” (1946)

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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 over 500. To celebrate and share this musical love, here is my weekly feature about musicals.


This week’s musical:
“The Time, The Place, The Girl” – Musical #490

picture

Studio:
Warner Brothers

Director:
David Butler

Starring:
Dennis Morgan, Martha Vickers, Jack Carson, Janis Paige, S.Z. “Cuddles” Sakall, Alan Hale, Donald Woods, Florence Bates, Angela Greene
Themselves: Carmen Cavallaro, dancer brothers Frank and Harry Condos

Plot:
Steven Ross (Morgan) and Jeff Howard (Carson) are trying to open a night club in New York.
However, problems arise when they realize their club is next door to classical conductor Ladislaus Cassel (Sakall) and his opera singing granddaughter Vicki (Vickers). Vicki’s stuffy manager Martin Drew (Woods) works to shut the club down with the help of Vicki’s equally proper grandmother (Bates), under the premise that the noise would bother the home’s high-brow performers.
Tired of being controlled by Martin-who also sets her bedtime and won’t let her go out, Vicki slips away form home and meets Ross and Howard. Becoming friends with them, she helps to keep their club open and finds a backer for their show.

Dennis Morgan shows S.Z. Sakall and Martha Vickers how to play swing on the flute.

Dennis Morgan shows S.Z. Sakall and Martha Vickers how to play swing on the flute.

Trivia:
-Martha Vickers was dubbed by Sally Sweetland.
-Nominated for Best Music, Original Score for the song “A Gal in Calico” written by Arthur Schwartz and Leo Robin.

Awards/Nominations:
-Nominated for an Academy Award for Best Music, Original Song for “A Gal in Calico” by Arthur Schwartz and Leo Robin

Highlights:
-Girls dressed as cows in the “A Gal in Calico” number. I just thought it was amusing. 
-Pianist Carmen Cavallaro appearing in the film. 

Notable Songs:
-“A Gal in Calico” sung by Jack Carson and Dennis Morgan
-“Through a Thousand Nights” sung by Dennis Morgan and performed by Carmen Cavallero
-“A Rainy Night in Rio” performed by Jack Carson, Dennis Morgan, Janis Paige, Martha Vickers (Sally Sweetland)
-“Oh, But I Do” sung by Dennis Morgan

My Review:
There is nothing remarkable about “The Time, The Place and the Girl,” but it’s fun.
I think the most notable thing about the film are it’s two leading men: Dennis Morgan and Jack Carson. The two actors starred in several films together. These days, I think they are often overlooked as a comedic duo.
Their film appearances together include: Wings for the Eagle (1942), The Hard Way (1943), Thank Your Lucky Stars (1943), Shine on Harvest Moon (1944), Hollywood Canteen (1944), Two Guys from Milwaukee (1946), One More Tomorrow (1946),Always Together (1947), Two Guys from Texas (1948) and It’s a Great Feeling (1949)
It’s also fun to see Janis Paige as a young Warner starlet. I feel that in the 1940s, she took over the goofy sexpot roles that Jane Wyman previously played for Warner Brothers.
S.Z. Sakall is always funny and adorable with his accent and mispronunciations (this time he calls Philadelphia “PhillyDilly”), and Florence Bates is good in nearly every film she plays.
Maybe what was slightly lacking for me was the leading lady. Martha Vickers was certainly lovely to look at, but not overly memorable for me. It seemed like she was stepping in to a Joan-Leslie-Like role but didn’t have the sweetness and shine that Leslie had.
One low point is when Jack Carson sings in black face. The theatrical makeup is always off-putting and (obviously) dated but not a stranger to any pre-1960 musical.
Overall, the film is colorful and has some great music. Maybe it would have raised in the ranks slightly for me if there was another leading lady.

Jack Carson, Janis Paige, Martha Vickers and Dennis Morgan during the "Rainy Night in Rio" number.

Jack Carson, Janis Paige, Martha Vickers and Dennis Morgan during the “Rainy Night in Rio” number.

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Musical Monday: “Jupiter’s Darling” (1955)

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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 over 500. To celebrate and share this musical love, here is my weekly feature about musicals.


Jupiters-darling-1955This week’s musical:
“Jupiter’s Darling” – Musical #110

Studio:
Metro-Goldwyn-Mayer

Director:
George Sidney

Starring:
Esther Williams, Howard Keel, Marge Champion, Gower Champion, George Sanders, William Demarest, Richard Haydn, Norma Varden

Plot:
A fabricated tale based on a historical event set in 216 B.C. when Hannibal (Keel) marched on Rome. Amytis (Williams) is the fiance to Roman dictator Fabius (Sanders). Curious and spirited Amytis hears Hannibal is attractive and wants to check out him, his troops and elephants that are stationed outside Rome. Amytis and her slave girl, Meta (Champion), are captured and brought to Hannibal. Amytis charms Hannibal, purposefully delaying he and his troops from attacking Rome.

Trivia:
-Remake of “The Private Life of Helen of Troy” (1927) which starred Maria Corda, Lewis Stone, Ricardo Cortez and Alice White.
-Esther William’s singing was dubbed by Jo Ann Greer.
-In the film, Esther Williams’ character rides a horse that dives off of a cliff into water. Esther Williams wrote in her autobiography, “Million Dollar Mermaid” that director George Sidney wanted her to do the stunt but she refused. Stunt man Al Lewin performed the stunt and broke his back in the process.
-Esther Williams’ last film made under contract at Metro-Goldwyn-Mayer.
-The pool Williams swims in was modeled after William Randolph Hearst’s pool at his estate, San Simeon, according to Esther Williams’ autobiography.
-The “underwater statues” in the “I Have a Dream” underwater sequence were secured to the bottom of the pool wearing cleats, according to Williams’ autobiography.
-Williams broke her left eardrum, which had been broken five times before in films, while swimming in the 25 feet deep pool for the “I Have a Dream” sequence, according to her autobiography.
-The Hayes of Office, which dictated the moral censorship production codes, was uncertain about the scantily clad “marble statues” during the “I Have a Dream” sequence, Williams wrote.
-The movie opened to a disappointing box office. Williams wrote this was “not surprising.”
-Howard Keel said he felt this was the best film he and Williams made together and Hannibal was his best performance, he wrote in his autobiography “Only Make Believe.”
-In one scene, Keel and Williams walk in with a leopard. The director suggested Keel pick up the leopard and the animal bit his shoulder. Thankfully he was wearing leather armor, according to Keel’s autobiography.

Esther Williams swimming with a "marble statue" in the 'I Have a Dream" sequence.

Esther Williams swimming with a “marble statue” in the ‘I Have a Dream” sequence.

Highlights:
-The underwater, swimming “I Have a Dream” dream sequence with men painted like white marble statues. Notable mainly because it’s a bit odd, but it is staged pretty nicely too since it is all underwater. This includes swimming small children dressed as cherubs who shoot arrows.
-Husband and wife dancers Marge and Gower Champion to the song “If This Be Slavery.” The actual song is silly but this is the one dance in the movie that really show cases their talent. The dance with “The Life Of An Elephant” is a bit distracted by the actual elephants (though the babies are really cute).

Notable Songs:
-“Don’t Let This Night Get Away” sung by Howard Keel
-“I Have a Dream” sung by Esther Williams, dubbed by Jo Ann Greer

My Review:
Esther Williams is one of my favorite stars, but “Jupiter’s Darling” is just no good. And Williams knew it too, according to her autobiography.
“Jupiter’s Darling” is not just a turning point in Esther Williams’ career but also the movie musical at MGM.
This musical marks the end of Esther Williams’ MGM career. At one point, she was MGM’s top star. After 12 years at MGM, it’s sad that her career at the studio that made her famous was a bit of a dud.
To put it into context, gossip columns around this time were writing “The Mermaid on the Lot has been beached,” according to Williams’ autobiography.
She was originally supposed to star the musical “Athena,” but was replaced by Jane Powell (but if you ask me-that wouldn’t have been any better of a last MGM film than this one).
Led by studio head Dore Schary, MGM was suffering and many of it’s major stars were leaving. Greer Garson, Clark Gable and Van Johnson were already “jumping ship.”
At the same time “Jupiter’s Darling” was released, Lana Turner also suffered from bad reviews for her film “The Prodigal.” Trade papers were both saying Williams and Turner were losing their fan base.
After this film, Williams was offered the lead in “The Opposite Sex,” the remake of “The Women” (1939). Williams wrote in her autobiography she thought it was ridiculous to remake the classic and refused. Williams realized Schary was probably purposefully giving her terrible scripts and that this was the end of her career, so she left and broke her contract.
It had been over 10 years since I last saw this movie and in my mind it was the worst movie.
After revisiting it- while “Jupiter’s Darling” isn’t the worst film ever made- it’s simply not very good.
In the 1950s and 1960s, several ancient history films were being made such as “The Robe,” “Ben-Hur” or “Spartacus.” “Jupiter’s Darling” fits into that fad but it just doesn’t work. Probably because it is so historically inaccurate.
The songs are ridiculous such as “Never Trust a Woman” which has lyrics about decapitating or “Hannibal” which is simply “Hannibal, oh Hannibal we’re fighting men of Hanniabl.”
I will admit that the color is beautiful and Williams’ looks gorgeous in the Roman costumes. However, set dressing and costumes can not save this film.
It’s a shame that Esther Williams glittering career had to end with such a dud. If you have never seen an Esther Williams film, don’t start with this one.

Esther Williams and Howard Keel in "Jupiter's Darling"

Esther Williams and Howard Keel in “Jupiter’s Darling”

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Musical Monday: The Daughter of Rosie O’Grady (1950)

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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 over 500. To celebrate and share this musical love, here is my weekly feature about musicals.


The_Daughter_of_Rosie_O'Grady_FilmPosterThis week’s musical:
“The Daughter of Rosie O’Grady” – Musical #387

Studio:
Warner Brothers

Director:
David Butler

Starring:
June Haver, Gordon MacRae, S.Z Sakall, Gene Nelson, Debbie Reynolds, Marcia Mae Jones, Jane Darwell, James Barton, Sean McClory, Virginia Lee

Plot:
Set right at the end of the Spanish-American War in 1898, overly protective father Dennis O’Grady (Barton) doesn’t want his three daughters (Haver, Reynolds, Jones) to be in show business. The vaudeville lifestyle is what caused his wife, Rosie O’Grady, to pass away. He also is wary of his daughters dating, though one is secretly married.
But Patricia (Haver)-the daughter of Rosie O’Grady- disobeys and walks through the theater district and meets Tony Pastor (Gordon). Tony takes a fancy to Patricia, and she starts a career in vaudeville and a romance with Tony.

Trivia:
-Debbie Reynold’s first speaking film. Previously she was in “June Bride” (1948) but did not have any lines.
-Gordon MacRae’s character plays Tony Pastor, who in real life was vaudeville performer and he owned a theater. He was known as the “Father of Vaudeville.” Though MacRae’s character shares a name with Pastor, there doesn’t seem to be any other similarity.

The O'Grady daughters: June Haver, Marcia Mae Jones, Debbie Reynolds

The O’Grady daughters: June Haver, Marcia Mae Jones, Debbie Reynolds

Highlights:
-Gene Nelson dancing. Nelson is one of the most underrated tap dancers of the Golden Era.
-Christmas is included in the movie. Christmas scenes always make me happy.
-Debbie Reynolds first time speaking on screen.

 

 

 

Notable Songs:
-“My Own True Love and I” sung by June Haver and James Barton
-“Winter” sung by June Haver
-“Daughter of Rosie O’Grady” sung by Gordon MacRae

june haverMy Review:
“Daughter of Rosie O’Grady” is visually beautiful in Technicolor and chock full of Warner contract players.
However, it does not seem to be in any way connected with the 1943 20th Century Fox film “Sweet Rosie O’Grady” starring Betty Grable. No, it doesn’t appear that June Haver is supposed to be Grable’s daughter.
While the film is pleasant, something falls short.
I think it’s possibly because I feel like some of the talents are wasted.
Gene Nelson, who plays dancer Doug Martin in the film, is probably one of the most underrated dancers of the Golden Era. But that superlative isn’t obvious in this movie.
He has one solo dance and a few partner dances with Miss Haver, and while his footwork is fancy, it wasn’t enough to show off his true talent.
Golden voiced Gordon MacRae also doesn’t sing enough songs in this film.
When June Haver started in Hollywood, she was dubbed the “Pocket Betty Grable” and pitted as a rival to the star with the Million Dollar Legs. But when I see Haver in films, something is lacking that is in every Grable film for me.
She is pleasant, pretty, dances well and I like her well enough, but I can’t put my finger on what is missing.
I think the most notable thing about this film is 18-year-old Debbie Reynolds in her first speaking film role. She already had the energy and wit she was later known for.
I also love seeing former child actress Marcia Mae Jones as a lovely adult. You may know her as the snobby rich girl in “The Little Princess” (1939) who Shirley Temple dumps ashes on.
Actor James Barton was also a former vaudeville star. At the end he performs a comedic ice skating routine-but not wearing skates. One has to wonder if that was an old routine from his days on stage.
“Daughter of Rosie O’Grady” is pleasant. I wouldn’t say avoid it, but I also wouldn’t say to go out of your way to watch it.

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Musical Monday: Stingaree (1934)

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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 over 500. To celebrate and share this musical love, here is my weekly feature about musicals.

StingareeThis week’s musical:

“Stingaree” –Musical #489

Studio:

RKO Radio Pictures

Director:

William A. Wellman

Starring:

Irene Dunne, Richard Dix, Mary Boland, Conway Tearle, Andy Devine, Henry Stephenson, Una O’Connor, Reginald Owen

Plot:

Set in Australia in 1874, housemaid Hilda (Dunne) dreams of having a singing career. The mistress of of the household Mrs. Clarkson (Boland) also fancies herself as a singer, though she is terrible. Composer Sir Julian Kent (Tearle) is coming from England to Australia and Hilda wants to perform for him. Mrs. Clarkson also thinks singing for Sir Julian will be her break into opera. Outlaw Stingaree (Dix) also comes into town at the same time as Sir Julian and poses as Julian. After meeting and falling for Hilda, Stingaree is determined to help her become an opera star.

Trivia:

-Turner Classic Movies premiered this film on their channel for the first time in 2007. “Stingaree” was part of a “Lost and Found” preservation series of RKO films produced by Marion C. Cooper. Other films in the series included with other films such as “Rafter Romance” (1933), “Double Harness” (1933), “One Man’s Journey” (1933), “A Man to Remember” (1938) and “Living on Love” (1937). In 1946, Cooper obtained ownership of the films and were shown on a limited re-release in 1955 and 1956 in New York City, according to Turner Classic Movies.

-RKO original considered Jeanette MacDonald in the film, on loan out from MGM.

-Based on a 1905 novel by Ernest William Hornug.

-For the opera scenes, the standing set from Lon Chaney’s “Phantom of the Opera” (1925) was used.

stingaree2

Notable Songs:
-“I Wish I Were a Fisherman” sung by Mary Boland (because it’s hilariously bad)

-“Once Your Mine” sung by Irene Dunne

-“Tonight is Mine” sung by Irene Dunne

Highlights:
Today’s highlights include a few scenes I enjoyed-

*Mary Boland is singing at a party and Stingaree enters with a gun to hold up the party and allow Irene Dunne to sing.

Sir Julian: My good man, being shot right now would be a favor.
Mary Boland: I will not sing for outlaws!
Richard Dix: Compassion for the outlaw!

*Mary Boland:…Why, the very foundation of empire is woman’s virginity.
Sir Julian: Chastity, madame, chastity. No empire would get very far with virginity.

 

My Review

I first saw “Stingaree” back in 2007 when TCM aired it along with the other Marion C. Cooper films. For whatever reason, I didn’t write it down as a musical in my musical list- which explains why this is my 488 musical.

When I revisited this film recently, I realized that it was categorized as a musical-and while it was not a flashy musical in the style of “Broadway Melody of 1936”-the film is much like “San Francisco” (1936). The bulk of the film is the romantic, melodramatic story sprinkled with quality operatic numbers.

The story of “Stingaree” may be far-fetched, but I love this movie and think it’s a lot of fun. I guess you could say Stingaree the outlaw is like Robin Hood of Australia. Rather than stealing from the rich to give to the poor, he steals the rich people’s maid to make her an operatic star. It also has a few hilarious lines in it (see: Highlights).

Irene Dunne is mostly known today for her comedic roles, but she had a beautiful singing voice in a few musicals during the 1930s. Though I love MacDonald, I’m happy Dunne was the star of this film. She brought the sweetness that was needed to Hilda. This was her second teaming with Richard Dix after “Cimarron” (1931). Frankly, Dix drove me crazy in “Cimarron,” but he’s charming and very appealing as Stingaree.

Mary Boland plays her usual character as the fretting, dizzy and selfish woman. Her terrible opera singing is pretty hilarious. And as always, Henry Stephenson makes you want to give him a hug.

I would honestly put “Stingaree” on your ‘must see’ list. For folks who don’t like musicals, the songs are not overwhelming. It’s a fun romp that is forgotten and under-appreciated.

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Musical Monday: Down Argentine Way (1940)

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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 over 500. To celebrate and share this musical love, here is my weekly feature about musicals.

Poster - Down Argentine Way_01This week’s musical:
“Down Argentine Way” — Musical #273

Studio:
20th Century Fox

Director:
Irving Cummings

Starring:
Betty Grable, Don Ameche, Charlotte Greenwood, J. Carroll Naish, Carmen Miranda (as herself), Henry Stephenson, Leonid Kinskey, Fayard and Harold Nicholas (as themselves)

Plot:
Ricardo Quintana (Ameche) travels from his home in Argentina to New York to sell his prized race horse. His father (Stephenson) tells him not to sell his horse to any relative of Binnie Crawford (Greenwood), who’s brother cheated him and the two have been in a feud ever since. In New York, Ricardo meets Glenda Crawford (Grable) and falls for her. She also wants to buy his horse, unaware of the feud. When he learns who she is, he takes back his agreement to let her buy the horse. Glenda angrily follows Ricardo to Argentina.

Trivia:
-Remake of the 1938 film, “Kentucky” starring Loretta Young, Richard Greene and Walter Brennan. “Kentucky” is set in the American south and also deals with horse racing. Young and Greene’s families are feuding, because of an incident that occurred during the Civil War.

-Originally supposed to star Alice Faye, who had to drop out. Caesar Romero was supposed to play Leonid Kinskey’s role. The film ended up being a break through film for Betty Grable, who had been in films since the early 1930s, according to Hollywood Musicals Year by Year.

-First screen appearance of Carmen Miranda. Her scenes were shot in New York at the Movetone studio in Manhattan and edited into the Hollywood film, so her only film appearances are two songs and no dialogue with the characters. Miranda was performing on Broadway in “The Streets of Paris.” She made an impression on audiences and was signed to 20th Century Fox, according to Memo from Darryl F. Zannuck.

-Film gossip columnist Louella Parsons compared Don Ameche to Rudolph Valentino in this movie. She said he “has a good singing voice, but he has never been the least exciting until this movie,” she said in a Oct. 6, 1940, column.

-Don Ameche’s role was originally offered to Desi Arnaz, according to Life on the Hyphen: The Cuban-American Way by Gustavo Pérez Firmat

-Director Irving Cummings originally wanted to cut the Nicholas Brother’s three minute tap dance scene, according to Brotherhood in Rythm: The Jazz Tap Dancing of the Nicholas Brothers by Constance Valis Hill.

Highlights:
-The Nicholas Brother’s tap dance performance.

-Carmen Miranda’s first screen appearance.

Notable Songs:
-“Down Argentine Way” sung by Betty Grable
-“Two Dreams Met” sung by Betty Grable and Don Ameche
-“Mamãe Yo Quero” sung by Carmen Miranda
-“South American Way” sung by Carmen Miranda

Betty Grable and Don Ameche in "Down Argentine Way"

Betty Grable and Don Ameche in “Down Argentine Way”

My Review:
“Down Argentine Way” may be looked upon as another colorful, fluffy Technicolor musical. But it’s an important step in two of the star’s careers and in Hollywood’s involvement with American foreign relations.
Catapulting star careers
Betty Grable, known for her “Million Dollar Legs,” started in films in bit roles in 1929. From 1929 through the late 1930s, she appeared as chorus girls-even in Fred Astaire/Ginger Rogers films. “Down Argentine Way” was her first major Technicolor film, showcasing her beauty and musical talents. After this film, she became one of 20th Century Fox’s top stars.
Carmen Miranda arrived in New York via Brazil in May 1939 and started in Broadway in June 1939. “Down Argentine Way” was released in October 1940, only a little over a year from the time she arrived in the United States. Her brief appearance in the film, launched an American career, primarily from 1940 to 1945, and dubbing her the Brazilian Bombshell.
Foreign policy
Now it’s time for a brief history lesson thanks to my South American History and Policy class at Winthrop University. (I even semi led a Carmen Miranda discussion in the class):
During the President F. D. Roosevelt administration in 1933, FDR said (in a nutshell) that he wanted to be a good neighbor to other nations. The Secretary of State said no country had the right to intervene in internal or external affairs of another country. The United States had troops in South America in the late 1800s and early 1900s. Due to the Good Neighbor Policy, the United States withdrew Marines who were occupying Haiti and Nicaragua.
To promote these neighborly relations, the United States worked to promote Latin America in culture. You can see the cultural impacts in films like “Down Argentine Way,” “That Night in Rio” or “Week-End in Havana.” Fashion was affected with espadrille shoes, fiesta blouses and peasant blouses. Music had a South American influence with bandleaders such as Xavier Cugat.
What does this have to do with movies? “Down Argentine Way” was one of the first Hollywood films that promoted the Good Neighbor Policy- showcasing the beautiful countries (via soundstage) and how wonderful and romantic the culture is.
“Down Argentine Way” isn’t the best film of Betty Grable, Carmen Miranda or Don Ameche. But it’s fun and beautifully colorful. The story is simple but it is important in the careers of a few Hollywood favorites.

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