On the Small Screen: The Paul Lynde Halloween Special (1976)

Posted on October 30, 2016 by Jnpickens

Comet Over Hollywood is spotlighting Halloween episodes of classic television shows.

The Paul Lynde Halloween Special
Air Date: Oct. 29, 1976

In the 1960s and 1970s, TV specials were abundant. It seems that almost every TV star, major musician and their Great Aunt Pearl had their own special. From musical performances like “My Name is Barbra” (1965), a musical special with Barbra Streisand, to “Really Raquel” (1973), where Raquel Welch performed her nightclub show. Telly Savalas even had a 1976 musical specials called “Telly…Who Loves Ya Baby?”

Many of these specials also focused on holidays, and performers such as Perry Como, Bing Crosby, Bob Hope and Andy Williams always had a Christmas special. And thanks to Paul Lynde, Halloween wasn’t forgotten in the mix of Halloween specials.

Airing on ABC on Oct. 29, 1976, “The Paul Lynde Halloween Special” is a ridiculous, campy (but hilarious) special featuring Margaret Hamilton as his maid, Tim Conway, Billie Barty, Betty White, Florence Henderson, Billie Hayes, Roz Kelly, and…performances from the rock band KISS.

It begins with Lynde not sure what holiday it is, celebrating Christmas, Easter and Valentine’s Day, when Margaret Hamilton exasperatedly reminds him that it’s Halloween—a holiday that is close “to the scariest holiday of them all: Election Day.”

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Musical Monday: Can’t Help Singing (1944)

Posted on October 24, 2016 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:
“Can’t Help Singing” (1944)– Musical #137

Studio:
Universal Studios

Director:
Frank Ryan

Starring:
Deanna Durbin, Robert Paige, Akim Tamiroff, David Bruce, Ray Collins, Leonid Kinskey, June Vincent, Thomas Gomez, Clara Blandick, Iron Eyes Cody (uncredited), Edward Earle (uncredited)

Plot:
Caroline (Durbin) is in love with Lt. Latham (Bruce), but her father Senator Frost (Collins) hates the lieutenant. When Senator Frost convinces President Polk (Earle) to send Lt. Latham to California to guard gold shipments, Caroline leaves Washington, DC, and heads west with a wagon train to follow Lt. Latham. She ends up sharing a wagon with Johnny Lawlor (Paige) who distracts her attentions from Lt. Latham.

Awards and Nominations:
-Nominated for an Academy Award for Best Music, Scoring of a Musical Picture (Jerome Kern and Hans J. Salter)
-Nominated for an Academy Award for Best Music, Original Song (Jerome Kern and E.Y. Harburg)

Deanna Durbin in “Can’t Help Singing,” her first and only Technicolor film

Trivia:
-Deanna Durbin’s first and only color film. A Universal Studios publicity brochure said: “For the last eight years, Deanna has been in a black and white shadow on the screen before them. Now she is being brought to them in all the beauty of her natural coloring.”
-20th Century Fox built a fort for the film “Buffalo Bill” (1944) and Universal Studios rented this fort from Fox to use for this film.
-Filmed in Utah, because the mountains in California are brown and Utah’s green mountains photographed better in Technicolor, according to When Hollywood Came to Town: A History of Movie Making in Utah by James D’Arc
-Film based on the story “Girl of the Overland Trail” by Samuel J. and Curtis B. Warshawsky

Highlights:
-Deanna Durbin in color

Deanna Durbin on location in Utah at the Cedar Breaks

Notable Songs:
-“Can’t Help Singing” performed by Deanna Durbin and Robert Paige
-“Any Moment Now” performed by Deanna Durbin
-“Elbow Room” performed by the chorus
-“More and More” performed by Deanna Durbin
-“Californ-i-yay” performed by Deanna Durbin and Robert Paige

My review:
Though Deanna Durbin is known for her operatic singing voice, her films made under contract to Universal put music secondary to the plot. For example, where most of Judy Garland’s films were filled with songs that mixed evenly into the plot, Durbin’s films will primarily be a comedy or drama where she sings two or three songs.

“Can’t Help Singing” is one of few Durbin films that is strictly a musical with western elements coming secondary. It’s her first and only film in Technicolor, features multiple songs from Durbin, songs from her leading man Robert Paige (this is also rare in a Durbin film. Many of her leading men were non-singers), and songs featuring other characters that help move the plot along. This musical was one of Universal Studios most expensive films.

This is a fun little musical because it does feature a great deal of humor and a pleasant romance between Durbin and Paige. I really enjoyed Robert Paige as a leading man in this film. My only complaint is that he didn’t sing more and that he wasn’t in more prominent films throughout his career.

Akim Tamiroff and Leonid Kinskey are there as a comedic duo, who thankfully aren’t tiresome or annoying.

Durbin’s film career started in 1936 and she left in 1948. As Universal’s top star, it’s a shame that this is her only Technicolor film, but not surprising. Color was still very expensive and not as common during this time. It really is a treat to see Deanna Durbin in color. She looks gorgeous, her costume are lovely and the backdrop of Utah is lush and colorful.

While not my favorite Deanna Durbin film (that’s 1941’s It Started with Eve) “Can’t Help Singing” is a lot of fun. Durbin’s lilting happiness in her songs will make you want to sing as well.

Robert Paige and Deanna Durbin in “Can’t Help Singing”

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West Side Story: The Names Behind the Jets and Sharks

Posted on October 18, 2016 by Jnpickens

When I was 14 in 2002, I watched “West Side Story” for the first time and became obsessed with the movie musical, which premiered 55 years ago in New York City on Oct. 18, 1961. My dad who introduced me to the film later regretted it, because I listened to the soundtrack every night and tried to learn the dances. “West Side Story” is directly responsible for my love of movie musicals which manifested into the weekly Musical Monday.

“West Side Story” is one of those movies where you notice or learn something new with every viewing and every detail and aesthetic was carefully planned. When you’re obsessed with a film, you research the heck out of it to learn all you can. One thing that I have always been interested in is the story behind all the dancers that made up the film.

The Sharks and the Jets

The lead actors of Natalie Wood (as Maria), Richard Beymer (as Tony), Rita Moreno (as Anita), George Chakiris (as Bernardo), and Russ Tamblyn (as Riff) are all stupendous. But many of us already know their stories.

I really wanted to delve into the actors you don’t know as well: the story behind the actor who played Baby John who is now a renowned in the New York City ballet world. Or there’s the Shark who was nominated for an Academy Award for Best Screenplay. You maybe didn’t know it, but you probably watched Consuelo on “Full House.”

This is the story behind the Jets, the Sharks and their girlfriends. They weren’t the ones who picked up the Academy Awards for “West Side Story” and didn’t even have their name on the marquee, but their dancing is what mesmerized the audiences.

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Musical Monday: Irene (1940)

Posted on October 17, 2016 by Jnpickens

This week’s musical:
“Irene” (1940)– Musical #555

Studio:
RKO Radio Pictures

Director:
Herbert Wilcox

Starring:
Anna Neagel, Ray Milland, Roland Young, Marsha Hunt, Alan Marshal, May Robson, Billie Burke, Arthur Treacher, Isabel Jewell, Doris Nolan, Nella Walker, Alexander D’Arcy (uncredited)
Themselves: Martha Tilton, The Dandridge Sisters: Dorothy and Vivian Dandridge

Plot:
Irene O’Dare (Neagel) is an upholster’s assistant. She meets Don Marshall (Milland) while measuring chairs at a wealthy Long Island home. Don anonymously purchased the fashionable women’s clothing store Madame Lucy’s and he is Madame Lucy. He arranges for Irene to become a model there and the two are smitten. Don and Madame Lucy’s manager Mr. Smith (Young) arrange a publicity stunt by sending their well-dressed models to Mrs. Herman Vincent’s (Burke) society party. Irene is assigned to wear the store’s most exclusive dress, ruins it and wears an early 1900s dress of her mother’s instead-causing a wow. She explodes on the society scene and Mrs. Herman Vincent’s son (Marshal) – proposes to her.

Trivia:
-Based on a Broadway musical that originally premiered in 1919 and was revived in the 1920s and 1970s (which Debbie Reynolds and Jane Powell both starred in).

-A version of the 1926 film “Irene” starring Colleen Moore

Anna Neagle after the black and white film turns to color for a brief segment.

Awards and Nominations
-Anthony Collins was nominated for the Academy Award for Best Music (Scoring). He lost to Alfred Newman for “Tin Pan Alley.”

Highlights:
-Credits featuring puppets of Anna Neagel and Ray Milland
-Changes to color for a scene midway through for a brief segment

Notable Songs:
-“Alice in a Blue Dress” performed multiple times by Anna Neagle, The Dandridge Sisters, Martha Tilton
-“You’ve Got Me Out On a Limb” performed by Anna Neagle
-“Irene”
-“Castle of Dreams”

My review:
While “Irene” is listed as a musical, it’s more of a comedy with a few musical and dance numbers thrown in. Regardless, it’s incredibly delightful.

This is an up-to-date Cinderella story. A wealthy man notices a shop girl and makes her a model glamour girl. The movie is joyful, funny and has beautiful fashion for vintage clothing lovers.

Ray Milland and Anna Neagle in the “Alice Blue Gown.” This portion of the film is in color.

Many of our Musical Monday features are filled with four to even twelve musical numbers. Many non-musical films also feature song, such as a singer in a nightclub, such as Sam in “Casablanca” or Lou Gehrig and his wife dancing to “Always” in “Pride of the Yankees.”

“Irene” sits awkwardly in the middle of these two. While it isn’t a song-extravaganza, it also can’t comfortably be dismissed as not a musical. It features two prominent song and dance numbers, the lead sings, the lead also has her own solo dance number at the end of the film, and some nightclub singers are sprinkled throughout. So that’s why we are qualifying “Irene” as a musical — the original Broadway play was also a musical.

The black and white film even turns to color so Anna Neagle can enter in her “Alice Blue Gown” and the audience can marvel and Anna can sing about it.

“Irene” had me laughing and smiling. If you don’t like musicals but love 1940s comedies, this is a happy medium for you. Too many songs won’t deter you.

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On the Small Screen: The Adventures of Ozzie and Harriet — Halloween Party

Posted on October 12, 2016 by Jnpickens

Throughout the Halloween season, Comet Over Hollywood is spotlighting Halloween episodes of classic television shows.

“The Adventures of Ozzie and Harriet”— “Halloween Party”
Season 1, Episode 5

Air Date: Oct. 31, 1952

Plot:
The show begins with young Ricky dressed in his skeleton Halloween costume. His mother, Harriet Nelson, says it “gives her the willies.”

Ricky Nelson in his skeleton costume.

“My skeleton costume makes me look real thin and people feel sorry for you and give you more cake and ice cream,” Ricky said.

Ricky’s brother David comes home with a box of Halloween goodies and decorations. He’s the class treasurer and just bought everything for a school Halloween party.

During the conversation about Halloween parties, their dad, Ozzie Nelson, comments “Yeh Halloween is a lot of fun for kids” and continues to say that as you get older, you get tired of parties and games aren’t fun. He says, “It’s time to give Halloween back to the kids.”

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Musical Monday: My Sister Eileen (1955)

Posted on October 10, 2016 by Jnpickens

This week’s musical:
My Sister Eileen (1955)– Musical #320

Studio:
Columbia Pictures

Director:
Richard Quine

Starring:
Betty Garrett, Janet Leigh, Jack Lemmon, Bob Fosse, Kurt Kasznar, Dick York, Tommy Rall, Kathryn Grant (uncredited), Lucy Marlow

Plot:
Sisters Ruth (Garrett) and Eileen Sherwood (Leigh) move from Ohio to New York City. Ruth wants to become a journalist and Eileen hopes to break into Broadway. They have a hard time finding jobs and making ends meet while living in a shoddy Greenwich Village apartment right above Subway construction. Ruth also spends much of her time feeling sorry for herself since she isn’t as beautiful as her little sister Eileen, who is swarmed by men.

Trivia:
-Musical remake of the 1942 comedy “My Sister Eileen” starring Rosalind Russell and Janet Blair

-In 1953, a musical adaptation of the 1940s story called “Wonderful Town” premiered on Broadway. The music was written Leonard Bernstein with lyrics by Adolph Green and Betty Comden. Columbia felt the film rights to this version were too expensive so the story was rewritten for the screen and featured music by Jule Styne and Leo Robin. “All of them had a team of lawyers looking over their shoulders. Everything had to be cleared and approved legally,” Janet Leigh wrote in her autobiography “There Really Was a Hollywood.”

-Judy Holliday was originally cast as Ruth, but Betty Garrett ended up with the role.

-The script was written by Blake Edwards and Richard Quine, who also directed the film.

-Aldo Ray turned own the role of the muscular neighbor Ted, which went to Dick York.

-“My Sister Eileen” was Janet Leigh’s first project under contract with Columbia.

Notable Songs:
None memorable enough to note

My review:
If it wasn’t for my Musical Monday feature, I would not have ever watched “My Sister Eileen” (1955) a second time.

As far as musical remakes of dramas and comedies go, this one is pretty bad. Based on a novel, the original “My Sister Eileen” premiered in 1942 starring Rosalind Russell as Ruth and Janet Blair as Eileen. It’s hilarious and charming.

In both stories, Eileen is gorgeous and Ruth doesn’t have a chance finding a man with her beautiful sister around. However, in the 1955 version, the plot focuses mostly on romance and both sisters finding romance. Unlike the 1942 version, the 1950s version casts just enough men for both leading ladies.

In the 1942 version, while Ruth would like romance, she is more concerned with her writing career and looking out for her little sister. Steve Daly of “Entertainment Weekly” noted some “1950s backlash” against feminists in the 1955 version in comparison to the 1942 version.

This movie was screened at the 2016 Turner Classic Movies Film Festival with Jack Lemmon’s son, Chris, helping present it. Of all films, I was surprised this one was selected to showcase Jack Lemmon’s career because it’s well…a lemon. Lemmon is also hardly in the movie. In an hour and 48 minutes, I would estimate he’s maybe in 20 minutes of the film.

Janet Leigh is a capable singer and dancer. According to Janet Leigh’s autobiography, choreographer Bob Fosse was pleased with her dancing skills. Dancers Tommy Rall and Bob Fosse perform some impressive dance numbers but they can’t save the film. You also get to hear Dick York and Jack Lemmon sing. In my opinion, there aren’t any memorable songs and while the cast is relatively stellar, I enjoy the cast from the 1942 version more.

If producers had been willing to pay for “Wonderful Town,” I’m curious if the film would have been better. It’s hard to go wrong with a score by Leonard Bernstein (West Side Story) and lyrics by Betty Comden and Adolph Green (Singing in the Rain). Maybe with a Bernstein/Comden/Green score, some of the songs would have been memorable. The story was also rearranged, and I’m curious how it’s different.

Maybe I would think this was a better movie if I hadn’t already watched the original. I want to like it. It’s colorful and has a good cast, but I find it irritating. Maybe you will enjoy it better.

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Musical Monday: Live a Little, Love a Little (1968)

Posted on October 3, 2016 by Jnpickens

This week’s musical:
Live a Little, Love a Little (1968) – Musical #548

Studio:
Metro-Goldwyn-Mayer

Director:
Norman Taurog

Starring:
Elvis Presley, Michele Carey, Dick Sargent, Rudy Vallee, Don Porter, Sterling Holloway, Celeste Yarnall, Marcia Mae Jones (uncredited), Ann Doran (uncredited)

Plot:
Greg Nolan (Presley) is a photographer who loses his job, apartment and freedom to do what he pleases when he meets Bernice (Carey). To pay for a new apartment that Bernice finds him, Greg works two photographer jobs at the same time while trying to his bosses (Vallee, Porter) from finding out.

Trivia:
-Director Norman Taurog retired after this film
-Based on the book Kiss My Firm But Pliant Lips by Dan Greenburg, published in 1965
-Shot on location in Hollywood and around Los Angeles

Highlights:
-Elvis talking to a Great Dane during a dream sequence. But the Great Dane is actually a man dressed like a Great Dane.

.Gif courtesy of Giphy.com

The dog even dances in the next number

Notable Songs:
-“A Little Less Conversation” performed by Elvis Presley
-“Edge of Reality” performed by Elvis Presley (during a dream sequence in a suit made to look like pajamas)
-“Almost in Love” performed by Elvis Presley

My review:
I watched this movie in June and I’m just now writing about it. I think I have been so stunned by how bad it was I had to recover for a few months.

And before anyone starts with saying “Well of course and Elvis movie is bad,” all of his other films (Girl Happy, GI Blues, Blue Hawaii, It Happened at the World’s Fair) look like gold in comparison to this one. It’s true: most of Elvis Presley movies have as much substance as a bunch of fluffy, sweet cotton candy.

Bernice (Carey) won’t leave Greg (Presley) alone. Also pictured, Celeste Yarnall.

But “Live a Little, Love a Little” is different. Maybe it’s because it came in 1968, just a year before movies like “Easy Rider” were released. Films were changing and it’s obvious that “Live a Little” was trying to follow that lead. It’s shot like a weird, late-1960s movie with innovative camera work, a plot that doesn’t make much sense (or have a storyline), and a storyline that hops around. It also features crazy, unconventional male/female relationships and a woman out to get men and whatever she wants.

This isn’t your conventional Elvis Presley love story. He doesn’t even want the girl! The movie starts with him minding his own business when Michele Carey’s character virtually throws herself at him and then forces him to stay at her house. After sleeping there for three days, he leaves to head back to his own apartment to find it leased to a new family-thanks to his new looney girlfriend (a term I use loosely). The girl tells Elvis her name is Bernice but she goes by about two as well (Susie, Betty and Alice). Elvis then loses his job after randomly because of Bernice’s shenanigans and starts working as a photographer for two companies simultaneously.

Throughout the whole movie Elvis is trying to get rid of Bernice and then ends up with her at the end. It’s unreal. I think I only stuck with this movie because I was paralyzed by how bad it was.

In all, the movie was also more mature than other Presley films referencing drug use, adult language and sexual encounters. That wasn’t what made me dislike the movie, though it was different. While Elvis was the rebel of the 1950s, he was slipping in the new world of the late-1960s. It appears that he’s trying to keep up in this film but isn’t comfortable doing so.

There are only two notable features of this swirling mess of a film:
1. Elvis introduces the song “A Little Less Conversation”
2. A weird dream sequence with Elvis talking to a man dressed like a Great Dane. It’s only notable because it’s so weird.

This film was also directed by Hollywood veteran Norman Taurog, who started in Hollywood in 1920 and directed films like “Boys Town” and “Presenting Lily Mars.” He also was famously Jackie Cooper’s uncle who made him cry on set for films. Taurog retired after this movie and I can’t help but wonder if it was related to the film just being plain bad.

If you are a die-hard Elvis Presley fan, don’t let me review deter you. Just be prepared to not see the regular Elvis you are used to seeing in his other race car driving, beach frolicking, girl loving films.

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Musical Monday: Broadway Thru a Keyhole (1933)

Posted on September 26, 2016 by Jnpickens

This week’s musical:
Broadway Thru a Keyhole (1933) – Musical #554

Studio:
20th Century Pictures

Director:
Lowell Sherman

Starring:
Constance Cummings, Paul Kelly, Russ Columbo, Blossom Seeley, Texas Guinan, Gregory Ratoff, Hobart Cavanaugh, Helen Jerome Eddy, Lucille Ball (uncredited), Charles Lane (uncredited), Ann Sheridan (uncredited), Esther Muir (uncredited), Dennis O’Keefe (uncredited), Walter Winchell (uncredited voice)
Themselves: Eddie Foy Jr., Frances Williams, Dewey Barto and George Mann comedy team

Plot:
A childhood friend of gangster Frank Rocci (Kelly) asks if he can help her sister Joan Whalen (Cummings) get a job. Frank does and when he meets Joan after years apart, he is smitten with Joan and puts the pressure on club owner Max Mefoofski (Ratoff) to make Joan the star of the club’s show. The only problem is that Joan falls in love with bandleader Clark Brian (Columbo).

Paul Kelly and Constance Cummings in “Broadway Thru a Keyhole”

Trivia:
-Written by famed columnist Walter Winchell. The story was said to be similar to a love-triangle between dancer Ruby Keeler, her husband singer Al Jolson and New York Gangster, Johnny “Irish” Costello. Winchell denied that the story was based on the three individuals, according to Unsung Hollywood Musicals of the Golden Era: 50 Overlooked Films and Their Stars, 1929-1939 by Edwin M. Bradley.

Highlights:
-The movie begins with a hand taking a key out of the door and the camera zooms in to look through a keyhole. Following this are sights and sounds of Broadway.
-Texas Guinan’s character in the film

Notable Songs:
-“Doin’ the Uptown Lowdown” performed by Frances Williams
-“When You Were a Girl on a Scooter and I the Boy on the Bike” performed by Constance Cummings and Eddie Foy, Jr.
-“You Are My Past, Present and Future” performed by Russ Columbo
-“I Love You Pizzicato” performed by Russ Columbo and Constance Cummings

My review:
“Broadway Thru a Keyhole” was a wonderful romp. It has a great comedic supporting cast, biting Pre-Code jokes and is a fun plot all over.

The plot is nothing out of the ordinary: gangster helps young girl succeed in her career, falls in love with her, she falls in love with someone else, and the gangster doesn’t want to let her go. But though this isn’t an unusual plot line, this one little film is special because it is more joke than crime.

Maybe it’s a little different because it was written by gossip columnist Walter Winchell. There are some wonderful pre-code lines such as: “I knew a hypochondriac once and was he GOOD.”

Texas Guinan in “Broadway Thru a Keyhole.”

But even better than the pre-code jokes is famed speakeasy owner and performer Texas Guinan’s role in the film. Her character is similar to her real-life character and it’s a treat to see her on the screen. Sadly, Guinan died four days after this film premiered.

The musical has fairly catchy songs. Leading lady Constance Cummings isn’t a stellar singer. However, I’m not sure if this is on purpose. I was curious if Cummings was cast to show that often young women were on looks and their boyfriend’s power rather than on their talent. Or I could be thinking too much into it and Cummings was cast to use this as a vehicle. Russ Columbo brings the singing talent in his smooth, crooner tone — though he isn’t a great actor. Knowing Columbo is dead a year after this film, however, makes his performance a little sad to watch.

Many of the numbers have a Busby Berkeley feel to them, though he wasn’t involved in the film. For example, one number has girls singing faces in musical notes and there are several over-head dancing shots.

“Broadway Through a Keyhole” is a musical you don’t often hear about, but if you love pre-code and 1930s musicals, be sure to add this film to your list.

Constance Cummings and Russ Columbo in “Broadway Thru a Keyhole.”

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Musical Monday: Reveille with Beverly (1943)

Posted on September 19, 2016 by Jnpickens

This week’s musical:
Reveille With Beverly (1943)– Musical #323

Studio:
Columbia

Director:
Charles Barton

Starring:
Ann Miller, William Wright, Dick Purcell, Andrew Tombes, Franklin Pangborn, Adele Mara, Douglas Leavitt, Barbara Brown, Larry Parks, Doodles Weaver (uncredited), Irene Ryan (uncredited), Lee and Lynn Wilde
As themselves:

Bob Crosby and his orchestra
Freddie Slack and his orchestra with Ella Mae Morse
Duke Ellington
Count Bassie
Frank Sinatra
Mills Brothers
The Radio Rogues

Plot:
A switchboard operator, Beverly Ross (Miller), at the local radio station KFEL has dreams of having her own jive radio show. She eventually gets her own time slot and features all of the top jive music. While on the radio, Beverly catches ear (and eye) of soldier Barry Lang (Wright), who is wealthy and switches places with his chauffeur buddy Andy Adams (Purcell) to see if he can win Beverly without his millions.

Andrew Tombes and Ann Miller in “Revellie with Beverly”

Trivia:
-The film is based off the radio show Reveille with Beverly which was hosted by Jean Ruth Hay. Jean Hay served as technical adviser to the film and narrates the trailer for the film.

Highlights:
-All of the musical performances

Notable Songs:
-“Cow Cow Boogie” performed by Ella Mae Morse
-“Big Noise from Winnetka” performed by Bob Crosby and his Bobcat Orchestra, singers Lyn and Lee Wilde
-“Take the A Train” performed by Duke Ellington, sung by Betty Roche
-“One O’Clock Jump” performed by Count Bassie
-“Night and Day” performed by Frank Sintra

My review:
“Reveille with Beverly” is one of those guilty pleasure musicals. It has very little plot but for fans of 1940s big band and jive, it’s a dream.

“Reveille with Beverly” is based on a real radio show called “Reveille with Beverly” which was DJed be a young lady named Jean Ruth Hay. The Los Angeles radio show was on the air from 1941 to 1944 for soldiers fighting in World War II. They could hear it on ships, fighting or in the air.

Advertisement for Jean Ruth Hay’s radio show.

The idea of the radio show came when soldiers Jean knew said they hated starting their day with the blast of a bugle. Hay also said that government officials would sometimes provide a script to read which included names of songs that didn’t exist. These scripts turned out to be code for the French Underground. Hay even married bandleader Freddie Slack, who is featured in this film.

The real show is merely a premise for the plot and all else is fictional. The movie has multiple laugh-out-loud funny scenes, particularly with Franklin Pangborn who is furious that Beverly’s show is in his time slot. While there is a bit of a plot, the majority of the film are musical performances of 1943 hits. When Beverly’s record starts spinning, we’re transported to a video of Bob Crosby and his band or Duke Ellington performing “Take the A Train” on a train.

All the songs had me dancing in my seat. I saw this movie for the first time in 2009 and it introduced me to Ella Mae Morse, who I wasn’t familiar with prior. Now she is one of my favorites.

Admittedly, there may be some who don’t enjoy this style of movie. If you aren’t interested in a string of jive musical numbers, you should probably stay away.

This isn’t your usual Ann Miller film, who was still early in her career. Ann only tap dances once and it’s a patriotic number at the end of the film.

Just writing this review makes me want to watch “Reveille with Beverly” again. It’s a brief hour and 18 minutes that will leave you dancing and humming by the end.

Ann Miller in her tap dancing finale.

If anyone knows where to listen to some of Jean Ruth Hay’s original broadcasts, leave me a message! I would love to hear them.

Check out the Comet Over Hollywood Facebook page, follow on Twitter at @HollywoodComet or e-mail at cometoverhollywood@gmail.com

Musical Monday: New Moon (1940)

Posted on September 12, 2016 by Jnpickens

This week’s musical:
“New Moon” (1940)– Musical #374

Studio:
Metro-Goldwyn-Mayer

Director:
Robert Z. Leonard, W.S. Van Dyke (uncredited)

Starring:
Jeanette MacDonald, Nelson Eddy, Mary Boland, George Zucco, Dick Purcell, Grant Mithcell, Joe Yule, Nat Pendleton (uncredited), Buster Keaton (scenes deleted)

Plot:
Marianne de Beaumanoir (MacDonald) is heading from France to New Orleans. On the same boat as a prisoner is nobleman Duc de Villiers (Eddy), using the name of Charles Henri. Marianne meets him on board, believing that he’s the ship’s captain. He is sold as a servant in New Orleans and becomes the servant of Marianne, and she is angry that he lied to her. Little to their knowledge, Charles’ enemies are sailing to New Orleans from France.

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