Musical Monday: The Fabulous Dorseys (1947)

Posted on June 1, 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:
“The Fabulous Dorseys” –Musical #314

Studio:
United Artists

Director:
Alfred E. Green

Starring:
As themselves: Tommy Dorsey, Jimmy Dorsey
Also starring: Janet Blair, William Lundigan, Sara Allgood, Arthur Shields, Buz Buckley, Bobby Warde
Cameo appearances: Paul Whiteman, Charlie Barnet, Henry Busse, Bob Eberly, Helen O’Connell and Art Tatum.

Plot:
Starting in their youth in 1916, the film is a fictionalized biopic of bandleader brothers Jimmy and Tommy Dorsey who reached the height of their fame in the 1940s. The film depicts the brother’s differences and tumultuous relationship that lead to them splitting into their own separate bands.

Trivia:
-The film is based off of a Saturday Evening Post article called “The Battling Brothers Dorsey.”
-When the film was released in February 1947, their hometown in Pennsylvania designated the week “Dorsey Week.”
-The film failed critically and commercially and the brothers made no profit from the film, according to “Tommy Dorsey: Livin’ in a Great Big Way : a Biography” by Peter J. Levinson.

Tommy Dorsey playing the trombone and Jimmy Dorsey playing the saxophone.

Highlights:
-Seeing the Dorsey brothers on screen together.

Notable Songs:
-Marie
-Tangerine
-Green Eyes performed by Bob Eberly and Helen O’Connell
-The Object of My Affection performed by Janet Blair
-Turquoise performed by Art Tatum

My Review:
This is one of the few biographical films I can think of that actually stars the people who it is about. While this film is mostly fictional, the fact that the film stars its subject matters is very interesting, and it’s notable to see the Dorsey brothers together on film.
Trombone playing Tommy Dorsey and saxophone playing Jimmy Dorsey were two of the top big band leaders of the 1930s and 1940s, though Tommy was probably more famous than his brother. Both brothers were featured as musicians in several films of the 1940s and 1950s, but Tommy popped up more often, particularly in MGM films such as “Ship Ahoy,” “DuBarry was a Lady” and “Thrill of Romance” and the Goldwyn film “A Song is Born” with Danny Kaye.
The film shows the Dorsey brothers growing up in humble upbringings and their father encouraging their musicianship, it seems that much is at least true. The film also shows the two brothers performing together in a band known as “the Dorsey Brothers” but frequently fighting, that much is also true.
The Dorsey brothers were extremely competitive, and though Tommy was more successful, he was jealous of his brother, according to the book “Tommy Dorsey: Livin’ in a Great Big Way : a Biography” by Peter J. Levinson.
The brothers formed their band in 1930 and split in 1935. Before their split, they tried to stay together by one brother directing the band for the first half of the performance and then switching, according to Levinson’s book. The two eventually formed again in 1953 to perform together, but both died only a few years later: Tommy in 1956 at age 51 and Jimmy in 1957 at age 53. Their mother (who is played by Sara Algood in the film), outlived her two musician sons, passing away in 1968 at the age of 93.
As actors, Tommy is much more natural and human on screen while Jimmy Dorsey seems a bit more like a 1930s Warner Brothers character actor.
The film almost concentrates too much on the two brothers fighting, which gets tedious. After the first two or three fights in the film, I think the audience gets the idea that they didn’t get along.
Janet Blair is in the film as a childhood friend who performed as their girl singer in the film and falls in love with a piano player. I’m sure that much is fictional and was added into the film so there was a romance somewhere in the plot line.
While the actual plotline is questionable, this film gives a brief glimpse into the lives of two brothers who had a longstanding feud and also gives you the opportunity to hear excellent music and musical cameos of some of the most popular performers of that time.

Publicity photo of Jimmy Dorsey, Janet Blair and Tommy Dorsey for “The Fabulous Dorseys” (1947).

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Memorial Day Musical Monday: Four Jills In a Jeep (1944)

Posted on May 25, 2015 by Jnpickens

This week’s musical:
“Four Jills and a Jeep” –Musical #514

Studio:
20th Century Fox

Director:
William A. Seiter

Starring:
Carole Landis, Kay Francis, Martha Raye, Mitzi Mayfair, Phil Silvers, John Harvey, Dick Haymes
Themselves: Betty Grable, Alice Faye, Carmen Miranda, George Jessel, Jimmy Dorsey

Plot:
This musical is based on Carole Landis’s book “Four Jills in a Jeep” about her USO tour in the UK and Northern Africa with Martha Raye, Kay Francis and Mitzi Mayfair. The actresses play themselves.

Trivia:
-Dick Haymes first film.
-The character of Ted Warren is based on Capt. Thomas Wallace, who Landis met abroad and was married to from 1943 to 1945.
-The film opens with a “Command Performance” radio program. These were recorded from 1942 through 1949 and were broadcast on the Armed Forces Radio Network (AFRS) with a direct shortwave transmission to the troops overseas. It was not broadcast over domestic U.S. radio stations.
-Betty Grable’s last black and white film.
-Mitzi Mayfair’s last film.

Publicity photo of Mitzi Mayfair, Martha Raye, Carole Landis and Kay Francis

Notable Songs:
-“You’ll Never Know” performed by Alice Faye
-“I, Yi, Yi, Yi, Yi (I Like You Very Much)” performed by Carmen Miranda
-“Crazy Me” performed by Carole Landis

My Review:
The New York Times review said, “It (Four Jills in a Jeep) gives the painful impression of having been tossed together in a couple of hours.” This sadly is true. Carole Landis’s 1943 book “Four Jills in a Jeep,” which the film is based off of, is touching and interesting. The film doesn’t half of the charm that the book does.

Landis, Francis and Raye during their USO tour, which this film was based off of.

The book–written in first person by Landis–follow Landis, Kay Francis, Mitzi Mayfair and Martha Raye on their USO tour in England, Ireland, Scotland and Northern Africa which began in October 1942. Not shown in the film, Raye stayed behind in Africa and continued performing on her own; returning in March 1943.
In the book, Landis describes some of their hardships such as freezing cold accommodations and lacks of amenities that they were used to, which is hardly referenced in the film. (Read more about Raye’s USO efforts in this Comet post).
The book also follows Landis’s romance with Capt. Thomas Wallace. This thrown together film mainly focuses on this romance with “Ted Warren” (Harvey), who is supposed to be Wallace.
This musical film does feel thrown together: it is 80 percent musical performances and 20 percent gags written into a thin plot. There is very little attempt at trying to structure a story line that is followable.
The storyline focuses more on these musical numbers and gives very little screen time to Landis, Francis, Mayfair or Raye.
These four actresses spent time overseas to raise the morale for soldiers, and it doesn’t feel like this film even tries to honor their service. Instead, it makes it look like the trip is a constant manhunt. The scenes in Africa (which is the last 20 minutes of the 90 minute film) is the only part that shows some of their services: the actresses help out as nurses and then give a show after working all day in the hospital.
The disappointing thing about “Four Jills in a Jeep” is that this could have been a really warm film if some time had been spent on it. Maybe some of the Phil Silvers corn could have been cut, the storyline could more closely and truthfully followed the real events of Landis, Francis, Mayfair and Raye.

Left: Carole Landis marrying Capt. Thomas Wallace in 1943.
Right: Landis with actor John Harvey in “Four Jills in a Jeep” who played “Ted Warren,” who was supposed to be Thomas Wallace.

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Col. Maggie Raye: A One Woman USO

Posted on May 24, 2015 by Jnpickens

During world wars and conflicts, celebrity USO shows travel to military bases and overseas to raise morale for the men and women fighting for freedom.

One film star who is the most associated with entertaining troops is Bob Hope, who entertained during World War II, the Korean War and Vietnam. Hope would bring celebrities with him such as Ann-Margret or Connie Stevens to bring the familiarity of home to them in a foreign land.

But there is one star who isn’t mentioned as much for her morale raising service as Hope: Martha Raye.

Nicknamed Colonel Maggie by soldiers, Raye was so revered by veterans that she received special permission to be buried with the U.S. Army Special Forces cemetery on Fort Bragg Army base in North Carolina.

Martha Raye’s headstone at Fort Bragg. I visited Raye’s grave in December. (Comet Over Hollywood/Jessica P)

World War II
Her patriotic endeavors began when she traveled overseas during World War II on Oct. 31, 1942. Raye traveled with actresses Carole Landis, Kay Francis and dancer Mitzi Mayfair to entertain troops in England, Scotland, Northern Ireland and North Africa. The adventures of the four actresses was later written as a book by Carole Landis called “Four Jills in a Jeep” and was made into a musical film by 20th Century Fox.

Raye, known for her large mouth and jazzy songs, was the comic relief of the group. Landis was the sex appeal and Francis brought class and glamour.

While in England, the actresses only had one show canceled. When they arrived at a base, they learned half of the squadron’s bombardiers were lost that day. They ate with the men and helped toast to those who had died, according to “Take It from the Big Mouth: The Life of Martha Raye” by Jean Maddern Pitrone.

Martha Raye performing in Africa in 1943.

While traveling to North Africa in a B-17, two German planes began to attack. After the firing stopped, the actresses learned their tail gunner was killed, according to Pitrone.

When Landis, Francis and Mayfair returned to the states, Raye stayed behind to continue entertaining the troops. She helped carry wounded men, worked with medics, and traveled by jeep to the front lines; performing four shows. Each show was at least an hour and a half long, Pitrone wrote.

Conditions were rugged in Africa: Raye came down with yellow fever and lost 22 pounds, and then was in a trench for three days with 200 soldiers while Germans bombed the area, according to Pitrone.

“It was chummy,” Raye said in a May 15, 1943, United Press newspaper article, “Martha Raye Now a Captain.”

Raye returned home with a rank of honorary captain in March 1943 after four and a half months overseas.

Martha Raye with soldiers in Africa.

“Their only complaint was that they didn’t get enough letters from home. That’s what they want most,” Raye told the newspapers, encouraging families to write, according to the United Press.

Her plan was to travel to the South Pacific, but doctors told her that she needed rest after her bought with yellow fever. Instead, she planned a six week American military base tour, which ended on the second day when she collapsed from fatigue. In 1944, she discovered she was unable to go on any USO tours, because she was pregnant, Pitrone said.

Korea and Vietnam
Raye traveled to Korea in the summer of 1952 to entertain troops, but it only lasted a few weeks due to illness.

Martha Raye in Vietnam in her signature Green Beret and combat boots.

She was most active during Vietnam; traveling overseas eight times from 1965 to 1972 for six month to a year per tour. She was in Vietnam so often that a blind soldier recognized her by her perfume.

“She spent more time in Vietnam than the average soldier. She virtually gave up her career, family and everything,” said Mildred Fortin, quoted in a July 6, 1993, Daily Gazette article, “Area veterans take on mission to honor Martha Raye.” Fortin was a Vietnam veteran and co-founder of Medals for Martha Raye, an organization that wanted Raye to receive the Medal of Freedom, the highest military recognition a civilian can receive.

Raye would go into risky areas for the soldiers, leaving the larger, safe bases and travel into the jungle to perform for as few as 25 soldiers, according to her 1994 obituary. In 1967, she was the first woman in the Green Berets with five qualified jumps, according to an Aug. 1, 1979, article by Vernon Scott.

“She came, regardless of danger,” said retired Master Sgt. Tom Squire in her obituary. “She talked, drank, told jokes, played cards. A lot of times when the regular Army didn’t know what was going on or understand, she would just go.”

In each base, she posted her home address and phone number, encouraging the soldiers to stay in touch. And when she would return home, she sent their letters to their family, called wives, and would tell reporters how the soldiers were discouraged and disillusioned by the lack of support they were receiving from Americans, according to Pitrone’s book.

“I think the way they’re being treated by a minority of idiots back home is just disgraceful,” Raye said in an Aug. 27, 1970, article before she went on her sixth tour. “What I do isn’t for sympathy or pity. It’s just trying to help in a small way. Our servicemen give so much and ask for so little.”

Martha Raye with soldiers in Vietnam.

Along with singing and entertaining, Raye would help as a nurse. Raye told people she was became a registered nurse in 1936 and worked at a hospital while also acting at Paramount. However, it seems she never was a registered nurse but was once a nurses’ aid.

The soldiers thought so highly over her, they once threw her a birthday party. Fortin said Raye was the mother that the boys were missing- sister, girlfriend or nurse.

“We had no idea who would be coming to Ham Long on Christmas morning (1971),” said Army Col. John B. Haseman. “You can imagine our surprise and delight when this wonderful lady, clad in her trademark jungle fatigues and Green Beret jumped out of the helicopter… I will never forget what she did for us, and I know there are thousands of other soldiers who can tell you a similar story.”

During Vietnam, the Army made her an honorary member of the Green Berets’ Special Forces and she was given an honorary rank of Army Lt. Col. The Marines made her a full Colonel. In 1969, she was awarded the Jean Hersholt Humanitarian Award for her work with the military, and in 1993, she was recognized with the Presidential Medal of Freedom.

Even long after World War II or Vietnam, military personnel would check in with Raye. One World War II veteran who was with her in North Africa wrote into Ann Landers in 1991 asking if she was okay after seeing her in a wheelchair on TV.

“I was privileged to be Martha’s Jeep driver during the North African Campaign when she entertained the troops of the 2nd Armored Division,” he wrote. “She tripped while performing and hurt her ankle but refused to get it checked out by a doctor until she put on a show for 20,000 soldiers.”

At her Fort Bragg funeral in October 1994, the Honor Guard from the 7th Special Forces Group Airborne served as pallbearers, the 82nd Airborne Division band performed and 300 soldiers and civilians were there to honor her.

“She was Florence Nightingale and Dear Abby,” said Bob Hope. “And she was the only singer who could be heard over the artillery fire.”

Closer view of Raye’s grave at Fort Bragg (Comet Over Hollywood/Jessica P)

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Musical Monday: My Blue Heaven (1950)

Posted on May 18, 2015 by Jnpickens

This week’s musical:
“My Blue Heaven” –Musical #274

Studio:
20th Century Fox

Director:
Henry Koster

Starring:
Betty Grable, Dan Dailey, David Wayne, Jane Wyatt, Mitzi Gaynor, Una Merkel, Louise Beavers, Elinor Donahue (uncredited)

Plot:
Married radio stars Kitty (Grable) and Jack (Dailey) Moran want to have a baby. After Kitty miscarries, the couple moves to television and tries to adopt a baby.

Trivia:
-Film debut of Mitzi Gaynor
-Third of four films of Dan Dailey and Betty Grable. The others were “Mother Wore Tights” (1947), “When My Baby Smiles at Me” (1948) and “Call Me Mister” (1951).
-Montage dancing shots of Dailey and Grable are numbers edited from “Mother Wore Tights” (1947).
-Ranked No. 10 in the top grossing films of 1950.
-Alternative title: “Stork Don’t Bring Babies”

Betty Grable and Dan Dailey in “My Blue Heaven.”

Highlights:
-Dan Dailey’s Enzio Pinza impersonation during the “Friendly Islands” number which is modeled after the “South Pacific.”
-“Don’t Rock the Boat, Dear” number.
-Mitzi Gaynor in her first feature role.

Notable Songs:
-“Don’t Rock the Boat, Dear” performed by Betty Grable and Dan Dailey
-“My Blue Heaven” performed by Betty Grable and Dan Dailey
-“I Love a New York” performed by Betty Grable and Dan Dailey

My Review:
“My Blue Heaven” is a sweet, adorable and emotional little musical.
Two performers learn they won’t be able to have children after having a miscarriage, and try to adopt. However, this is during a time that it was difficult for performers to adopt children, because they seemed unreliable due unconventional work schedules and were more apt to divorce.
While a 1950 New York Times review ripped this to shreds calling it old fashioned, mishmash, I enjoy “My Blue Heaven.”
In the old fashion of her other films, Betty Grable shows off her beautiful legs and sells a song better than anyone else can. However, it also gives both Grable and Dan Dailey the opportunity to give an emotionally charged performance.
Grable shows her elation of pregnancy, and her despair when she loses a baby and as she struggles to adopt a child.
Along with their performances in this film, Grable and Dailey also are an underrated screen team. Starring in four films together, their chemistry is always through the roof.
The topics in this film is also interesting for two reasons:

Mitzi Gaynor in “My Blue Heaven.”

-As shown in other films such as “Close to My Heart” (1951) and “Blossoms in the Dust” (1941), adopting or promoting adoption was taboo during this time, because parents wouldn’t know what sort of background these “foundlings” came from. However, “My Blue Heaven” doesn’t really focus on that aspect.
-The lead characters are television stars at a time that TV was a large threat to films (and still is).
It’s also fun to see Mitzi Gaynor in her first film role playing a not so savory woman.
My Blue Heaven is heartwarming; making me smile at one point and tear up at the next.

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Musical Monday: The Eddie Cantor Story (1953)

Posted on May 11, 2015 by Jnpickens

This week’s musical:
“Eddie Cantor Story” –Musical #513

Studio:
Warner Brothers

Director:
Alfred E. Green

Starring:
Keefe Brasselle, Marilyn Erskine, Aline MacMahon, Richard Monda (as young Eddie), Maria Windsor, William Forrest (as Flo Ziegfeld), Jackie Barnett (as Jimmy Durante), Ann Doran, Will Rogers, Jr. (as his father)

Plot:
Musical biopic of vaudeville star Eddie Cantor, whose career started as a child in 1907 and continued until his wife’s death in 1962. Cantor died in 1964. The film begins with Cantor (Brasselle) being raised by his grandmother (MacMahon) and how he gets into show business and makes good when everyone thought he would end up in jail. Cantor makes it big and ends up in the Ziegfeld Follies. Cantor marries his childhood friend Ida (Erskine) and the two have five daughters, but Ida feels Cantor neglects his family and his health for his career.

Keefe Brasselle as Eddie Cantor and Marilyn Erskine as Ida Cantor in “The Eddie Cantor Story.”

Trivia:
-The real Eddie Cantor dubbed Keefe Brasselle’s singing. Similarly, Al Jolson’s voice dubbed Larry Parks in “The Jolson Story.”
-“The Cantor Story” was made in response to the success of the Warner Brothers film, “The Jolson Story” about vaudeville star Al Jolson. Critics didn’t care for the movie.
-Son of Will Rogers, Will Rogers, Jr., portrayed him during the Ziegfeld Follie scenes.
-Larry Parks was considered for the role of Eddie Cantor.
-Jimmy Durante was originally slated to play himself but had to bow out.

Highlights:
-The film opens with Eddie Cantor and his wife driving up to Warner Brothers to view the movie. The WB logo and credits begin after Eddie Cantor is seated to watch the film. We see Cantor and his wife Ida again at the close of the film.

Notable Songs:
-“If You Knew Susie”
-“Be My Little Baby Bumble Bee”
-“How ‘Ya Gonna Keep ’em Down on the Farm (After They’ve Seen Paree?)”
-“Yes Sir! That’s My Baby”

An example of Brasselle’s Cantor Caricature:

My Review:
If you are looking for an hour and 55 minute caricature impression of Eddie Cantor, “The Eddie Cantor Story” is your movie.

Keefe Brasselle’s performance of the famed vaudeville and Ziegfeld Follies star is one long impression complete with eyes bugged out, clapping as he skips across the stage and goofy faces. He’s working so hard at the impression it looks like he is having a hard time getting his words out.

Our Musical Mondays have featured many, many musical biopics and several of them I have panned. But when this started film I thought it had potential. I love Aline MacMahon in 1930s films and it was good to see her again as young Cantor’s grandmother.

The real Ida and Eddie Cantor in the 1930s.

The film only got truly annoying to me when Cantor grew up. We first see Brasselle when he is lowering a towel after washing off his black-face make-up. And there was our first glimpse of our caricature, complete with lips practically puckered and eyes bulging.

“It’s like watching Darren York (or Dick Sergeant), trying to play Eddie Cantor,” Mom said, who was watching the movie with me. “I keep waiting for Samantha to come out and tell him to cut it out.”

At the very end of the film, the audience has a treat of seeing the real Eddie and Ida Cantor. Cantor says, “I never looked better in my life.” He has an incredulous look and the comment could be read as sarcastic; it is almost like a private joke between the real Eddie Cantor and the audience.
“He not only is talented but kind,” said the 1953 New York Times review about this remark.

It was like one big impression act, however, as we see Jackie Barnett playing Jimmie Durante with a big fake nose and his best gravely speaking voice. Will Rogers, Jr. portrayed his daddy but fine. After all, he had played his father in a film before.

Another complaint that the New York Times review, George Burns and Eddie Cantor all had is how much it white-washed his colorful life.
“Although it has been filmed in the pleasing hues of Technicolor and is weighted with the songs and shows he helped make famous, “The Eddie Cantor Story” is slightly less than a colorful illustration of the reasons for its hero’s greatness,” said the New York Times.

Eddie Cantor in the 1930s.

Eddie Cantor said, “If that was my life, I didn’t live.” In George Burns’ autobiography “All My Best Friends,” said Warner Brothers created a miracle by making Cantor’s life appear boring.

In all honesty, the best acting in the film was by Aline MacMahon, bringing an extra something special to the role.

My biggest complaint about this film was it’s lead. Brasselle’s constant mimicking grated on my nerves. But who else would play him? Ray Bolger who played him in “The Great Ziegfeld”? Maybe Eddie Cantor himself? Larry Parks was originally slated for the role, but I’m not sure that would have been very good, but potentially less annoying.

While the script made Cantor’s life appear rather bland, I do believe this film would have been much more enjoyable with a different Eddie Cantor in the lead.

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Mother’s Day with Comet’s Mama

Posted on May 10, 2015 by Jnpickens

Comet Over Hollywood is working to bring back our video feature. Our first video back from our lengthy hiatus is in celebration of Mother’s Day.

As I have written many, many times before, my parents have been influential in my classic film love. In this video, my mother speaks to her love of classic films and how she passed that love to her children:

Mother’s Day from the Comet Archives:
-2013: Without Mom, I’d Never See Any Classic Films
-2014: Just Like Mom

Happy Mother’s Day!

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From Citizen Kane to Paul Masson: Orson Welles the constant perfectionist

Posted on May 6, 2015 by Jnpickens

Orson Welles in 1938 on CBS radio

Orson Welles was a media renaissance man.

As an actor, director, writer and producer, he experimented with several entertainment art forms. His work such as making the United States believe they were under alien attack to making a critical film about one of the most powerful men in America made Welles a controversial figure.

From acting on the radio, stage and films which included Citizen Kane, Touch of Evil, The Third Man and The Lady from Shanghai, Welles gained the reputation for being eccentric and difficult to work with.

In order to continue funding his projects, Welles had to take on lower brow jobs, including the Paul Masson wine commercials he is famously and humorously known for.

While there are hilarious anecdotes and outtakes came from these commercials, it’s not surprising that someone so immersed in all forms of arts and entertainment would be argumentative about comparing cheap wine to the text of “Gone with the Wind.”

Because he was involved in so many high level productions,he had a high standard of other media, down to the script for Paul Masson wine commercials and the text for a frozen peas advertisement.

Welles wasn’t cynical about doing the advertisements; he was reworking the text as he did with advertisements in the 1930s to help improve it, according to “What Ever Happened to Orson Welles?” by Joseph McBride.

In the 1930s and 1940s, Welles promoted Pan American Airlines and Lady Esther cosmetics on the radio.

Welles in a printed Paul Masson advertisement.

Starting in 1978, Welles was hired as the Paul Masson spokesman. Masson later dropped him from the ads. “My Lunches with Orson” by Peter Biskind’s sites the reason for Welles telling a talk show host that he lost weight because he cut out snacks and wine.

“I’ve worked for advertising agencies all my life,” Welles is quoted in Biskind’s book. “In the old days in radio, you worked for them, because they were the boss, not the network. And I have never seen more seedier, about-to-be-fired sad sacks than were responsible for those Paul Masson ads. The agency hated me, because I kept trying to improve the copy.”

Paul Masson’s slogan at the time was “Paul Masson, we sell no wine before its time.” Each add compared the wine to a higher art form that also took several years to create, such as a Beethoven symphony.

In one such instance, a commercial was comparing Masson to a Stradivarius violin, which took three years to carve.

“Come on gentleman,” Welles is quoted in “Orson Welles: A Biography,” by Barbara Learning. “You have a nice, pleasant cheap little wine here. You haven’t got the presumption to compare it to a Stradivarius violin.”

In a famous incident, Welles was hired by Findus Frozen Food in 1970 and was recording a voiceover for a frozen peas ad. During the recording, Welles argued about the text, lost his temper and finally walked out (Read the transcript below). However, though Welles sounds like a prima dona in the session, the technicians said he was very kind to them during the recording, according to “VO: Tales and Techniques of a Voice Over Actor” by Harlan Hogan.

Welles didn’t just try to change the text, but he also sent instructions on how he would like to be photographed. He arrived for a Masson commercial shoot with his makeup already applied on his own.

He also sent instructions to the cameramen: he liked the brooding look he had when the camera was positioned slightly above his eyes so he had to look up a bit at it, and he liked the hard light three-quarters on the left side, according to Learning’s book.

While this sounds like star behavior, his requests aren’t surprising since he is familiar with filming and lighting. However, the camera men would have Welles’ requests set up for when he arrived. Once he was satisfied, the director would quietly change it to how he wanted it, according to Learning’s book.

Through the years, these advertisements have made Welles the butt of jokes and were the lighter, more humorous side of his career. As the constant professional and perfectionist, Welles viewed the piddly commercials the same as he would one of his own films: he wanted it to be well made. Welles didn’t want to appear out of character with the persona that he had crafted since the 1930s.

Transcript of the frozen peas ads (Source: VO by Harlan Hogan):

Orson Welles: “We know a remote farm in Lincolnshire, where Mrs. Buckley lives. Every July, peas grow there.” Do you really mean that?

Director 1: Uh, yes, so in other words, I—I—I’d start half a second later.

Welles: Don’t you think you really want to say “July” over the snow? Isn’t that the fun of it?

D 1: It’s—if—if you can (laughs) if you can make it almost when that shot disappears, it’ll make more—

Welles: I think it’s so nice that—that you see a snow-covered field and say “every July peas grow there”. “We know a remote farm in Lincolnshire, where Mrs. Buckley lives. Every July, peas grow there.” We aren’t even in the fields, you see? (pause) We’re talking about them growing and she’s picked them. (clears throat) What?

D 1: …in July.

Welles: I don’t understand you, then. When must—what must be over for “July”?

D 1: Uh, when we get out of that snowy field—

Welles: Well, I was out! We were onto a can of peas, a big dish of peas when I said “in July”.

D 1: Oh, I’m sorry, Orson.

Welles: Yes, always. I’m always—past that!

D 1: You are?

Welles: Yes! Wh—that’s about where I say “in July”.

Director 2: Can you emphasize a bit “in”? “In July.”

Welles: Why? That doesn’t make any sense. Sorry. There’s no known way of saying an English sentence in which you begin a sentence with “in” and emphasize it. Get me a jury and show me how you can say “in July” and I’ll go down on you. That’s just idiotic, if you’ll forgive me by saying so.

D 2: (indistinct chatter)

Welles: That’s just stupid. “In July”? I’d love to know how you emphasize “in” in “in July”. Impossible! Meaningless!

D 1: I think all they were thinking about was that they didn’t want to—

Welles: He isn’t thinking.

D 1: Orson, can we just do one last time—

Welles: Yeah.

D 1: …and it was my fault. I should—I said “in July”. If you could leave “every July”—

Welles: You didn’t say it. He said it.

D 1: …I said “every July”.

Welles: Your friend. “Every July”?

D 1: …so after this shot…

Welles: No, you don’t really mean “every July”?

D 1: …it is, but it’s…

Welles: But that’s—that’s bad copy. It’s in July. Of course it’s every July! There’s too much directing around here.

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Musical Monday: Meet Me in Las Vegas (1956)

Posted on May 4, 2015 by Jnpickens

This week’s musical:
“Meet Me In Las Vegas” – Musical #151

Studio:
Metro-Goldwyn-Mayer

Director:
Roy Rowland

Starring:
Dan Dailey, Cyd Charisse, Agnes Moorehead, Paul Henreid, Lili Darvus, Jim Backus, George Chakiris, Betty Lynn, Sammy Davis Jr. (voice only), Robert Fuller (uncredited)
As themselves: Lena Horne, Frankie Laine, Pier Angeli, Vic Damone, Debbie Reynolds, Peter Lorre, Tony Martin, Dewey Martin, The Four Aces, Steve Forrest, Jeff Richards, Frank Sinatra, Elaine Stewart, Jerry Colonna

Plot:
Ballet dancer Maria Corvier (Charisse) is performing at the Sands Hotel in Las Vegas. Gambling rancher Chuck Rodwell (Dailey) makes his yearly visit to Las Vegas and is notorious for poor luck with gambling. Chuck finds that he has consitent luck winning big every time he holds Maria’s hand.

Trivia:
-Composers George Stoll and Johnny Green were Nominated for an Academy Award for Best Music, Scoring of a Musical Picture.
-Filmed in Las Vegas.

Highlights:
-Cameos by Lena Horne, Frankie Laine, Pier Angeli, Vic Damone, Debbie Reynolds, Peter Lorre, Tony Martin, Dewey Martin, Steve Forrest, Jeff Richards, Frank Sinatra, Elaine Stewart, Jerry Colonna
-The “Frankie and Johnny” dance number narrated by Sammy Davis, Jr.
-Dan Dailey dancing and singing with Mitsuko

Notable Songs:
-“Frankie and Johnny” sung by Sammy Davis Jr.
-“The Girl with the Yaller Shoes” sung by Dan Dailey
-“If You Can Dream” sung by Lena Horne
-“My Lucky Charm” sung by Dan Dailey and Mitsuko Sawamura; also performed by Jerry Colonna

My Review:
“Meet Me in Las Vegas” has a simple and nonsensical plot: holding the hand brings good luck while gambling.
But while the plot is silly and simple, this is a charming musical, and the cast has a lot to do with that.
Cyd Charisse is stunning with beautiful clothes and impressive dances, as always, and Dan Dailey always feels like an old friend in his films.
As an added bonus you get 13 cameos from other MGM players throughout the film from Charisse’s husband Tony Martin to actress Debbie Reynolds.
While the songs aren’t terribly memorable, the dancing is outstanding. Charisse has the opportunity to exhibit both her classical ballet style with Tchaikovsky’s Sleeping Beauty Ballet and her modern dance with the “Frankie and Johnny” number.
This brightly colored Technicolor musical is one that keeps me smiling throughout.

Cyd Charisse and Dan Dailey in “Meet Me in Las Vegas” (1956).

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Musical Monday: For Me and My Gal (1942)

Posted on April 27, 2015 by Jnpickens

This week’s musical:
“For Me and My Gal” –Musical #10

Studio:
Metro-Goldwyn-Mayer

Director:
Busby Berkeley

Starring:
Judy Garland, Gene Kelly, George Murphy, Ben Blue, Richard Quine, Mártha Eggerth, Keenan Wynn (uncredited)

Plot:
Set in 1916 right before the United States entered World War I, the film follows vaudeville team Jo Hayden (Garland) and Jimmy Metcalf (Murphy). While traveling, Jo and Jimmy meet self-centered Harry Palmer (Kelly), who is looking for any way to reach the top. Jo falls for Harry and leaves Jimmy to start an act with Harry. Right before Jo and Harry are going to hit the big time, Harry is drafted into World War I. Harry takes extreme measures to stay out of the military and risks his relationship with Jo at the same time.

Judy Garland and George Murphy in the “Oh, You Beautiful Doll” number in “For Me and My Gal.”

Trivia:
-Gene Kelly’s first film.
-The first time Judy Garland’s name was listed above the title, according to Judy: A Legendary Film Career by John Fricke
-“For Me and My Gal” is loosely based on Kelly’s character, the vaudeville performer Harry Palmer, who did become form a team and become engaged to performer Jo Hayden.
-The title was originally “The Big Time” and then “Applause” with hopes a title song would be written by Arthur Freed, according to DVD commentary by Judy Garland historian John Fricke.
-The script was written with Judy Garland in mind and George Murphy originally was going to have Gene Kelly’s role. When Murphy lost the role, he said it was one of the greatest disappointments of his life, according to Fricke.
-Eleanor Powell and Dan Dailey were originally slated in the cast. There were going to be two female roles (a dancer and a singer), but it was combined into Judy’s role, according to Fricke.

Notable Songs:
-“For Me and My Gal” performed by Judy Garland and Gene Kelly
-“Oh, You Beautiful Doll” performed by George Murphy
-“After You’re Gone” performed by Judy Garland
-“Ballin’ the Jack” performed by Judy Garland and Gene Kelly

My Review:
“For Me and My Gal” is a fun film with a plot that revolves around the art form of vaudeville, which was popular in nostalgia movie musicals in the 1930s and 1940s. The introduction to the film says it is “fondly dedicated” to the vaudeville performers who traveled from town to town and lived out of trunks.

Set in 1916, this musical was released in October 1942, right after the United States entered World War II. Production planning started for this film in 1940.

“For Me and My Gal” has catchy songs, great costuming and a compelling story line. But for me, the film is more interesting for two major reasons: This is the first truly adult role for Judy Garland.

Audiences were able to see Garland as a sophisticated young woman with an adult romantic lead and complex dance numbers. She wasn’t playing second fiddle to Rooney’s antics, which sometimes happened in her previous films, and her singing and dancing talents are further showcased.

Gene Kelly, Judy Garland and George Murphy in a publicity still for “For Me and My Gal.”

Before this film, Garland was primarily in child or teenager roles. Garland’s role in “Little Nelly Kelly” before “For Me and My Gal” also gave her the opportunity to play an adult role. However, it was a dual role- she was an adult who marries George Murphy and then Murphy’s child. It wasn’t quite the same as the woman she plays in “For Me and My Gal,” and part of the film kept her a child.

The second notable fact about this film is that it’s Gene Kelly’s first film role. Fresh from Broadway playing “Pal Joey,” studio heads were uncertain how Kelly would photograph, but Garland fought for him to be in the film.

A fact new to me is that “For Me and My Gal” is loosely based on Kelly’s character, the vaudeville performer Harry Palmer, who did become form a team and become engaged to performer Jo Hayden. The film closely follows Palmer and Hayden’s relationship with some changes. In real life, Hayden had a friend named Danny Metcalf who was killed in action. In the film, Danny Metcalf was split into two people- Jo’s brother Danny who is killed and her friend Jimmy Metcalf, played by George Murphy. Hayden and Palmer married in 1919 and Palmer died in 1962.

“For Me and My Gal” is an entertaining MGM musical that allows you to watch two Garland grow and Kelly start an impressive career. My only complaint is there isn’t enough George Murphy. Otherwise, it’s a ton of fun.

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Musical Monday: Navy Blues (1941)

Posted on April 20, 2015 by Jnpickens

This week’s musical:
“Navy Blues –Musical #512

Studio:
Warner Brothers

Director:
Lloyd Bacon

Starring:
Ann Sheridan, Martha Raye, Jack Oakie, Jack Haley, Herbert Anderson, Jack Carson, Jackie Gleason, John Ridgley, Georgia Carroll (uncredited), Leslie Brooks (uncredited), William Hopper (uncredited), Gig Young (uncredited)

Plot:
Cake and Powerhouse (Oakie, Haley) are two Navy seamen on leave in Hawaii and are trying to borrow money to pay their way for fun. They meet prize gunner Homer Matthews (Anderson), who is being transferred to their ship. Their meeting with Matthews sparks an idea to earn more money. They want to enter Homer into the gunner competition to win the trophy for their trip and start taking bets on his abilities with the rest of their shipmates. The only problem is Homer will only be on their ship for a few days before he is discharged from the Navy, leaving before the gunnery competition. Cake and Powerhouse now work to keep Homer from leaving the Navy, but Homer is eager to return to his pig farm in Iowa. They enlist the help of night club performers Marge (Sheridan) and Lilibelle (Martha.)

Jack Haley, Herb Anderson and Jack Oakie in “Navy Blues.”

Trivia:
-The first musical comedy to come from Warner Brothers in four years, according to a January 1941 column by Louella Parsons.
-Eddie Albert was orignally slated for the film, according to the January 1941 Parsons article.
-Intro: “Honolulu where Aloha means goodbye and Shore Leave means trouble.”
-Jackie Gleason’s film debut.

Highlights:
-Georgia Carroll performing as a chorus girl
-Ann Sheridan singing
-Herbert Anderson calling pigs

Notable Songs:
-“Navy Blues” performed by Ann Sheridan and Martha Raye
-“In Waikiki” performed by Ann Sheridan and chorus
-“You’re a Natural”performed by Herb Anderson and Ann Sheridan

Martha Raye and Ann Sheridan at the beginning of “Navy Blues.” Unfortunately, neither has enough screen time for my liking.

My Review:
The New York Times review, published on Sept. 21, 1941, hit the nail on the head in their review saying, “Oakie and Haley working harder for laughs than a bum vaudeville team in Omaha” and that the script is full of corn.
When I watched this movie looking for an Ann Sheridan vehicle. Sheridan was in a few musicals and I love to hear her deep singing voice. However, if you are looking for a film with a lot of Ann time, don’t look to “Navy Blues.”
The film opens with Sheridan singing “Navy Blues,” looking beautiful in an adorable sailor style costume…but the film goes downhill from there.
The film is centered around the crazy, frantic antics of Jack Haley and Jack Oakie as they do con their friends and will do anything to earn a buck. Our leading ladies Ann Sheridan and Martha Raye have very little screen time in this hour and 48 minute movie.
The antics revolve around getting Herb Anderson’s character to stay in the Navy. One of the biggest highlights of this film for me was seeing Anderson (or Dennis the Menace’s dad, as my family frequently calls him) in a larger role. Before his TV dad fame, Anderson was a film character actor. His character actor roles were usually smaller than other character actors such as James Gleason or William Frawley.
We even have the opportunity to hear Anderson sing. He’s just always someone I enjoy seeing on screen. His demeanor and turtle-like look makes me smile.

Ann Sheridan and Herb Anderson in “Navy Blues.”

It was also a great surprise to see lovely Georgia Carroll appear in this film, singing as one of the Navy Blues Sextette Members. Carroll was the singer for band leader Kay Kyser’s band and the two later married. I believe I even shouted “That’s Georgia Carroll!” when she appeared on screen.
“Navy Blues” isn’t the worst musical I have ever seen, it’s simply that Oakie and Haley’s corn got tiresome when all I wanted was to see more Ann Sheridan.

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