Musical Monday: Stingaree (1934)

Posted on July 28, 2014 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:

“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.

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.

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

The Queen of Technicolor, in person: Maureen O’Hara

Posted on July 22, 2014 by Jnpickens

Irish actress Maureen O’Hara, pictured here in the 1950s.

Hundreds of people stood waiting, excitedly chattering.

A line wrapped up and down an alley at least four times and stretched out to Hollywood Boulevard.

When the doors to El Capitan Theater opened, people walked briskly, some even running, to get a good seat in the theater.

I waited in line for 2 hours and was the twentieth person in line.

The excitement was for a 93-year-old woman.

But not any woman, Irish screen legend Maureen O’Hara.

At this past April’s Turner Classic Movie (TCM) Film Festival in Los Angeles, O’Hara made a special appearance before a screening of “How Green Was My Valley” (1941).

TCM is now honoring the Irish actress as July’s Star of the Month.

Red-headed O’Hara started her film career in 1938, starred in several films directed by John Ford and was John Wayne’s most frequent leading lady.

Her red hair and green eyes dubbed O’Hara with the nickname “Queen of Technicolor.” Her film roles varied from serious dramas, swashbuckling pirate films to westerns.

In “How Green Was My Valley” (1941), the story of a Welsh mining family, O’Hara played Angharad. O’Hara’s character falls in love with the new minister, played by Walter Pidgeon.

Before the screening of O’Hara’s first John Ford film at TCMFF 2014, she was brought out onstage to discuss her life and career.

The line to see Maureen O’Hara outside the El Capitan theater in Los Angeles.

The audience exploded with applause and O’Hara was given a lengthy standing ovation. Several people around me were wiping tears from their eyes.

She modestly motioned from her wheel chair for everyone to sit down.

“I see a tear there,” said TCM primetime host Robert Osborne to O’Hara on stage.

Osborne interviewed O’Hara before the film, but kept it to 10 minutes so he would not tire her out. She was interviewed the next day in the Roosevelt Hotel lobby. The lobby of the historic hotel is transformed into “Club TCM” during the festival.

“Don’t laugh and applaud and think it means nothing,” she told the audience.

Osborne first asked about her relationship with director John Ford.

“I thought I was here to talk about me,” she said with quick wit.

Her mind was sharp and her voice sounded the same, just older. However, it was obvious O’Hara was weak in her old age. The classic actress turns 94 in August.

“I’m still here, I’m at quite an old age now,” O’Hara said. “It’s terrible thing, not to be sure of your age.”

O’Hara discussed God and religion and hoping she was able to live way beyond the years God gave us on Earth.

Maureen O’Hara interviewed by Robert Osborne at the El Capitan during the TCMFF 2014. (Comet Over Hollywood/Jessica P.)

“So many of us (classic actors) have passed and are in heaven, and so many of us are looking towards heaven,” O’Hara said.

She said God is listening all the time and listening to see if he can catch you doing something you aren’t supposed to be doing.

During the interview a woman coughed or sneezed in the crowed and she asked her to stand. The embarrassed woman stood up and O’Hara simply wanted to bless her.

Though O’Hara is elderly, as film fans, we sometimes don’t think about the age of our favorite stars or silver screen heroes. We know them as they are in their films and forget just how old or frail they may be. It was a privilege to see O’Hara and some of the other classic stars in person at TCMFF. But also it was almost a little sad. It’s another reminder that the classic film lover’s reality actually fantasy.

And O’Hara reminded us of this when she told the audience that even though she was an actress, we shouldn’t be fooled into thinking she is magical.

“Don’t be fooled in to thinking I do magical things,” she said.

Though O’Hara says she doesn’t do magical things, the ethereal feeling she gives her fans when she appears on screen is nothing less than enchanted.

Robert Osborne and Maureen O'Hara (Photo courtest of Getty)

Robert Osborne and Maureen O’Hara (Photo courtesy of Getty)

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

Musical Monday: Down Argentine Way (1940)

Posted on July 21, 2014 by Jnpickens

This 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”

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.

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

Musical Monday: “Thousands Cheer” (1943)

Posted on July 7, 2014 by Jnpickens

This week’s musical:
“Thousands Cheer” — Musical #188

Studio:
Metro-Goldwyn-Mayer

Director:
George Sidney

Starring:
Kathryn Grayson, Gene Kelly, Mary Astor, John Boles, Ben Blue, Odette Myrtil (uncredited), Henry O’Neill (uncredited), Frances Rafferty (uncredited), Mary Elliot (uncredited)

As themselves: Mickey Rooney, Judy Garland, June Allyson, Gloria DeHaven, Red Skelton, Eleanor Powell, Ann Sothern, Lucille Ball, Virginia O’Brien, Jose Iturbi, Frank Morgan, Lena Horne, Marsha Hunt, Marilyn Maxwell, Donna Reed, Margaret O’Brien, Kay Kyser, Georgia Carroll, Bob Crosby, Cyd Charisse, Sara Haden

Band leaders: Kay Kyser and his band, Bob Crosby and his orchestra.

Plot:
Opera singing Kathryn Jones (Grayson) leaves her mother (Astor) to live on base with her military father (Boles), who is a colonel. Kathryn is also hoping to convince her divorced parents to reconcile. While on base, Kathryn hopes to build morale on the military base before the men are shipped off to fight in World War II. She meets former acrobat Pvt. Eddie Marsh (Kelly), who is not cooperative and isn’t pleased with being in Army. He hopes to transfer to the Army Air Corp, until the two end up falling in love.
The plot is a backdrop to a lavish military show Kathryn helps organize filled with comedic skits and music put on by MGM’s top contract players.

Trivia:

-Eleanor Powell’s first color film. Powell’s contract was not renewed with MGM after this film, according to “A to Z of American Women in the Performing Arts” by Liz Sonnebon.

-Fifth role for Cyd Charisse and it is uncredited. After several small roles, Charisse was signed to MGM in 1946, according to Sonnebon’s book.

-Fourth film role for Gene Kelly.

Gene Kelly and Kathryn Grayson in a publicity photo for “Thousands Cheer”

-First film for concert pianist Jose Iturbi. Iturbi is one of many classically trained musicians that MGM studio head L.B. Mayer signed on to give the studio class.

-Ranks number 29 in MGM’s top grossing musicals. “Thousands Cheer” made $3,500,000 in the box office, according to “The Rough Guide to Film Musicals” by David Parkinson.

Highlights:

-Jose Iturbi. I enjoy seeing him in any film, whether he is acting or playing the piano.

-Gene Kelly tap dancing with the broom.

-Eleanor Powell in Technicolor. She again was filmed in color in her last film “Duchess of Idaho” (1950).

Notable Songs:
-“I Dug a Ditch” sung by Kay Kyser’s Band

-“Daybreak” sung by Kathryn Grayon with Jose Iturbi on the piano

-“Three Letters in the Mail Box” sung by Kathryn Grayson

-“In a Little Spanish Town” sung by June Allyson and Gloria DeHaven

-“Should I” sung by Georgia Carroll with Kay Kyser’s band

-“Honeysuckle Rose” sung by Lena Horne

-“The Joint Is Really Jumpin’ in Carnegie Hall” sung by Judy Garland with Jose Iturbi on the piano

My Review:
As I have mentioned in previous posts, there are several wartime films just like “Thousands Cheer” – a thin plot with a ton of musical performances by big-name stars.

However, “Thousands Cheer” stands out against “Star Spangled Rhythm,” “Thank Your Lucky Stars” or “This is the Army.” Maybe it’s because of the caliber of the MGM stars that makes it more enjoyable. Or maybe it’s the Technicolor.

But truthfully, I think it’s the way the film and the showcase of stars are structured. The first half of the film is a straight musical with a plot sprinkled with songs. The last hour to 45 minutes is roughly seven musical performances and skits designed as a show to entertain troops. The performances are shown as an actual show with Mickey Rooney as the emcee between each performance.

“Thousands Cheer” holds a rare quality against other talent showcasing films-the musical performances don’t grow tiresome. I was entertained the whole time, unlike films such as “This is the Army,” where my finger was itching for the fast-forward button.

Kay Kyser’s singer and wife Georgia Carroll singing “Should I” in “Thousands Cheer”

All of the performances and songs are quality entertainment. Frank Morgan and Red Skelton’s skits are humorous and all of the music is fantastic. The two songs that I think bring down the house are Judy Garland’s “The Joint is Really Jumpin’ in Carnegie Hall” (which should be no surprise) and Kay Kyser’s band with his wife Georgia Carroll as the singer. Carroll’s glowing closeup almost makes the movie for me.

This film is still early in Gene Kelly’s film career- this was his fourth film- but you can already see his star potential in his performance and the few dance numbers he was given. Kelly and Grayson also have good chemistry, and apparently, MGM agreed, pairing them two years later in “Anchors Aweigh” (1945).

If you enjoy star spangled World War II films made for morale boosting and bursting with songs, this is for you.

Fun promotional pamphlet of caricatures of the “Thousands Cheer” songs.

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

Musical Monday: Look for the Silver Lining (1949)

Posted on June 30, 2014 by Jnpickens

This week’s musical:
“Look for the Silver Lining” — Musical #133

Studio:
Warner Brothers

Director:
David Butler

Starring:
June Haver, Gordon MacRae, Ray Bolger, Charles Ruggles, Rosemary DeCamp, Lee Wilde, Lyn Wilde, S.Z. Sakall, Will Rogers Jr. (uncredited), Dick Simmons

Plot:
Biographical film of musical star Marilyn Miller, played by June Haver. The film follows Miller’s rise to fame as a singer and dancer, starting with her family vaudeville act until she is the top star on Broadway. The film begins when Miller joins her family’s act, “The Five Columbians,” with her mother, father and two sisters. Miller meets famous vaudeville dancer Jack Donahue (Bolger) who helps her break into show business and is responsible for her first show on Broadway. During her big break, Haver meets actor Frank Carter (MacRae) and the two eventually marry.

Trivia:

The real Marilyn Miller in 1929

-Marilyn Miller, played by Haver, was a famous Broadway musical star in the 1910s and 1920s. She was in a handful of Hollywood films, but she was more successful on the stage. The real Frank Carter, played by MacRae, married Miller in 1919 and he died in 1920 in a car accident, like the film says. Miller then married actress Mary Pickford’s brother, Jack Pickford, in 1922 and they divorced in 1927. She then married dancer Chester Lee O’Brien in 1934 until her death in 1936. Miller died from complications of a nasal surgery at the age of 37.

-In 1942, Louella Parsons announced Joan Leslie was playing the role of Marilyn Miller. Parsons hinted Rita Hayworth and Ann Miller may have been in the running for the film, according to a July 27, 1942 column in the St. Petersburg Times. Apparently plans for this film fell through or were delayed, because in 1947, Louella Parsons then announced June Haver would play the role of Miller in a St. Petersburg Times column. This time, Parsons says Vera-Ellen was “heartbroken” she didn’t receive the role of Miller, because she was a “leading candidate.”

-Last film of Lee Wilde. Her twin sister Lyn continued acting in films until 1953.

-Gordon MacRae’s second film.

-Will Roger Jr. plays his father Will Rogers.

Notable Songs:

-“Look for the Silver Lining” sung by June Haver

-“Who?” sung by Ray Bolger

-“Time on My Hands” sung by Gordon MacRae

My Review:
Visually “Look for the Silver Lining” is fun and colorful, but the actual plot is rather bland.

For a biographical film, you learn very little about Marilyn Miller other than the fact that she existed, was a very famous performer and one of her husbands died. However, I guess real life is a bit too long to stuff into an hour and 41 minute film.

Like most biographical films made during this time, the details are fairly sanitized. Only one out of three of Miller’s real husbands are discussed in the film- which is Frank Carter, the vaudeville actor who died in the car accident. At the end of the film, Miller’s character marries a character named Henry Doran, played by Dick Simmons. I’m not sure if this is supposed to be Jack Pickford, who was Miller’s next husband, or maybe a combination of her last two husbands: Pickford and Chester Lee O’Brien.

In real life, Miller also was an alcoholic and had issues with sinus infections. She died of complications after surgery that was dealing with her sinus problems.

In the film, it was implied that Miller’s health was declining but it was vague. She pirouettes as she practices for a show, then grabs her head in pain. She tells her friend Jack Donahue that her doctor says she has to “stop eating lobster, champagne, staying out late and dancing.”

Gordon MacRae as Frank Carter and June Haver as Marilyn Miller in “Look for the Silver Lining”

Though Miller died in 1936, the film ends with her dancing in a colorful music number and singing the title song “Look for the Silver Lining.” But this ending is fairly typical for a musical biographical film where the lead’s life my end rather tragically. These brightly colored musicals don’t want to end on a low note, killing off the main star.

For example: “The Helen Morgan Story” (1957) about Helen Morgan (starring Ann Blyth) who died in 1941, ends with a banquet held in honor of the recovering alcoholic singer.

“The Incendiary Blonde” (1945) starring Betty Hutton as Texas Guinan, who died in 1933, ends with Hutton slowly walking out of a hospital, worried about her lover.

The stand out stars in this film for me are Ray Bolger and Gordon MacRae. June Haver’s dancing was lovely, but she wasn’t that memorable. I will say that this is one film where the leading lady actually looks fairly similar to the woman she is playing. But I was legitimately sad when MacRae’s character was killed off. I wanted to see more of him and hear more of his singing. Charles Ruggles was fun comic relief and Rosemary DeCamp is always the perfect mother.

I’m not trying to be harsh with “Look for the Silver Lining,” but there are other fabricated musical biographies that are more entertaining than this one. See: Yankee Doodle Dandy, Annie Get Your Gun, Love Me or Leave Me or Hans Christian Anderson.

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

Musical Monday: “Follow the Boys” (1963)

Posted on June 23, 2014 by Jnpickens

This week’s musical:
“Follow The Boys” –Musical #303

Studio:
Metro-Goldwyn-Mayer

Director:
Richard Thorpe

Starring:
Connie Francis, Paula Prentiss, Dany Robin, Janis Paige, Russ Tamblyn, Richard Long, Roger Perry, Ron Randell

Plot:
-Four women- Bonnie (Francis), Toni (Prentiss), Michele (Robin) and Liz (Paige)- travel to the Rivera to meet their Navy boyfriends and husbands when they go on shore leave.
-Bonnie came from North Dakota to surprise her husband, who thinks she is still at home.
-Wealthy Toni comes to see her playboy fiance Lt. Peter Langley. But Michele is also there to see Peter as a bill collector.
-Liz is tired of being a “seagull”-Naval wives that follow their husbands to each port- and wants her Lt. Commander husband to settle down.
As the girls are waiting at a French port, they learn the ship is landing in Italy instead. The four women team up to travel to meet the men.

Trivia:
-Connie Francis’s second film after “Where The Boys Are.” The film is supposed to be an unofficial sequel, according to “Hollywood Surf and Beach Movies: The First Wave, 1959-1969” by Thomas Lisanti
-Filming locations include: Cannes, France; Nice, France; Santa Margherita Ligure, Genoa, Liguria, Italy
-Filmed in Panavision and Metrocolor

Russ Tamblyn and Paula Prentiss, Richard Long, and Dany Robin, Roger Perry and Connie Francis, Ron Randell and Janis Paige

Highlights:
-The French Rivera and Italy in gorgeous, vibrant color.

Notable Songs:
-“Italian Lullaby” sung by Connie Francis
-“Follow the Boys” sung by Connie Francis
-“Intrigue” sung Connie Francis

My Review:
Though this is categorized as a musical, it’s more a romantic comedy where Connie Francis sings at the drop of the hat: Connie picks up a baby and sings a lullaby, Connie goes to an Italian party and is asked to sing, Connie turns on the radio and sings.
This is pretty common in frothy 1950s and 1960s films. Young singing stars such as Frankie Avalon, James Darren or Connie Francis are cast in films and have a four or five songs to spotlight their singing talents.
In many of her films, Francis has man trouble. In “Where the Boys Are,” she has trouble nabbing a guy. This time in “Follow the Boys,” she is married but he can’t get leave to see her.
I love seeing Janis Paige, Paula Prentiss and Russ Tamblyn in pretty much every film, and the scenery in the film is beautiful.
However, even with a star-studded cast, “Follow the Boys” is really merely okay.
The plot is tedious and I don’t care for the French actress Dany Robin.

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

Musical Monday: The Fleet’s In (1942)

Posted on June 16, 2014 by Jnpickens

This week’s musical:
“The Fleet’s In” –Musical #488

Studio:
Paramount Pictures

Director:
Victor Schertzinger

Starring:
Dorothy Lamour, William Holden, Eddie Bracken, Betty Hutton, Leif Erickson, Betty Jane Rhodes, Jimmy Dorsey (as himself)

Plot:
Sailor Casey Kirby (Holden) is dubbed a playboy when there is a picture of him in the newspaper kissing movie star Diana Golden (Rhodes). As his buddies build him up as a “sea wolf,” they bet Casey can’t woo ice queen nightclub performer “The Countess” (Lamour), who is well-known for turning down sailors. However, Casey isn’t aware that sailors are betting money him kissing the Countess in public. During all of this, the Countess’s roommate Bessie Dale (Hutton) is after Casey’s friend Barney (Bracken).

Trivia:
–Betty Hutton‘s first feature film. Hutton came straight from Broadway, where she was in the play “Panama Hattie” with Ethel Merman.
-Music written by Johnny Mercer.
-Jimmy Dorsey and his Orchestra perform in the film. Dorsey is the brother of other big band leader, Tommy Dorsey. Jimmy played the saxophone and Tommy played the trombone.
-Hutton and Lamour became long time friends while making this movie, Hutton wrote in her autobiography, “Backstage, You Can Have.” ”
“I will always love her for the friendship she immediately showed to me in those early days,” she wrote.

Bessie (Hutton) holds back the Countess (Lamour) when she finds out there is a bet if Casey (Holden) kisses her. Barney (Bracken) hides.

Notable Songs:
-“Tangerine” performed by Jimmy Dorsey’s band and sung by Bob Eblery and Helen O’Connell
-“When You Hear the Time Signal” sung by Dorothy Lamour
-“If You Build a Better Mousetrap” sung by Betty Hutton, performed by Jimmy Dorsey’s band
-“Not Mine” sung by Betty Hutton and Dorothy Lamour
-“I Remember You” sung by Dorothy Lamour
-“Arthur Murray Taught Me To Dancing a Hurry” sung by Betty Grable

Highlights:
-Jimmy Dorsey’s band using telephones as part of their song for “When You Hear the Time Signal”
-Betty Hutton singing and quickly dancing several dances during the song “Arthur Murray Taught Me To Dancing in a Hurray.” Lyrics are as follow with video below:

“Turkey trot
Or gavotte?
Don’t know which,
Don’t know what.
Jitterbug?
Bunny hug?
Long as you
Cut a rug!
Walk the dog,
Do the frog,
Lindy hop
Till you drop!
Ball the jack
Back to back,
Cheek to cheek
Till you’re weak.”

My Review:
This is an enormously enjoyable and funny movie.
The plot is very thin and is mainly padded with excellent music by Johnny Mercer, but it’s a wonderful piece of World War II-era escapism.
Dorothy Lamour is gorgeous and funny in her role as “The Countess.”
William Holden is still early in his career. He does well in the comedy, but you can tell he has more potential- which he proved later in his career.
For me, the real treat is Betty Hutton. I know I may be a minority in this. I have found several folks in the film community who find her exasperating or irritating. But I LOVE her energy- displayed perfectly in the “Arthur Murray” number.
There is also another funny lady in this film, who I wasn’t familiar with until I saw this film, named Cass Daley. Her singing has a similar sound to Hutton’s and she mainly makes jokes off her physical appearance. What I found interesting is that Cass Elliot of the Mama’s and the Papa’s apparently named herself for Daley.
With an entertaining cast and catchy 1940s tunes, this is a must see.

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

What Fathered Comet’s interest?

Posted on June 15, 2014 by Jnpickens

If it wasn’t for either of my parents, I wouldn’t like classic films today.

As I have said on Comet numerous times, my parents rolled out films such as “Yankee Doodle Dandy” or “Seven Brides for Seven Brothers” when my sisters and I were toddlers.

It was my dad who later introduced me to “West Side Story (1961) when I was 14, because he noticed my growing interest in musicals. Dad might have later regretted showing me the film when a full blown obsession followed our viewing of the modernized musical version of “Romeo and Juliet.”

This classic film encouragement is partially because they grew up with a love for the classics themselves.

For Father’s Day, I decided to do a brief Question and Answer session with Dad, Bill Pickens, about classic films.

Me: Who are your favorite actors and actresses?

Katharine Hepburn and Humphrey Bogart in “African Queen” (1951)

Dad: My favorite actors are Jimmy Stewart and Gregory Peck. I enjoy their movies and they seemed like they were down to Earth, good people. I also like Humphrey Bogart, because some of my favorite films are “African Queen,” “Casablanca” and “We’re No Angels.”

My favorite actresses are Maureen O’Hara (Dad has always had the hots for Maureen) and Katharine Hepburn.

Me: What are your favorite movies?

Dad: Lawrence of Arabia, The King and I, Twelve O’Clock High, Lion in Winter, The Longest Day, The King and I.

Me: What kind of movies would you go to see as a kid? (Dad was born in 1955, for some reference)

Dad: My older sister Katie and I went to see movies every Saturday afternoon, because we lived on a military base and it was only 25 cents. We would see everything that came out from Disney movies to westerns.

I remember one time, some GI was trying to get fresh with Katie and I kicked him in the leg. I was her bodyguard at the movies. I don’t remember what movie it was but we lived in Ft. Lewis in Washington.

Me: Why do you like older movies?

Dad: They are classy and have interesting story lines. The movies didn’t have to have all the action, like you do today, to tell a good story.

Me: What is the worst movie I have had you watch?

Dad: I can’t think of any really bad ones. “The Blob” was pretty bad though, because it was so campy.

The fearsome monster in “The Blob” (1958)

My Dad has been the only man in a family of all girls for the past 35 years. From putting together Barbie houses, helping us with math homework, nailing taps on the bottoms of dancing shoes or fixing our cars, Dad has been supportive and a good sport.

Probably two of the worst movies we all suffered through were the Doris Day films “Jumbo” and “The Ballad of Josie.” The only film Dad couldn’t take was “Calamity Jane.” He didn’t even make it through the eight minute intro song, “Deadwood Stage.”

“Calamity Jane isn’t a bad movie,” he said. “It’s just not my style.”

He’s been supportive of my film interest and, though he said he couldn’t think of any bad movies, has sat through some terrible ones, all for “the cause” of my movie love.

Happy Father’s Day, to my Dad who supports my interest and who I have even help expand on his.

Dad in a selfie with his three daughters. Comet is back left.

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

Musical Monday: Grounds for Marriage (1951)

Posted on June 9, 2014 by Jnpickens

This week’s musical:
“Grounds for Marriage” –Musical #371

Studio:
Metro-Goldwyn-Mayer

Director:
Robert Z. Leonard

Starring:
Van Johnson, Kathryn Grayson, Paula Raymond, Barry Sullivan, Reginald Anderson, Lewis Stone, Richard Anderson, Theresa Harris

Plot:
When Ina Massine (Grayson) returns to New York from Europe, she tries to win back her husband Lincoln “Linc” Bartlett (Johnson) after being divorced for three years. Linc is now engaged to Agnes Young (Raymond). On the day of her New York stage comeback singing “La Boheme,” Ina has a sore throat and then suddenly looses her voice. Doctors determine that the loss of voice is psychological from the shock of Linc’s engagement. Linc then tries to throw Ina into a new romance and appoints his brother Chris (Sullivan) to do the task.

Trivia:
-The movie originally was supposed to star Robert Walker and June Allyson. After Allyson was no longer in the film, it was going to star Walker and Kathryn Grayson, according to a Hedda Hopper brief from July 28, 1949. Van Johnson replaced Walker.
-“That’s the only picture I really loved making,” Grayson said in a Jan. 7, 1951 interview with Hedda Hopper. “I’ve been in films since 1940, but I’ll confess that I have never been particularly interested in a film career until recently.”
-During the “Carmen” dream sequence, Van Johnson is dubbed by Gilbert Russell for the character Don Jose and Stephen Kemalyan for the character Escamillo.

Van Johnson and Kathryn Grayson dressed for the “Carmen” dream sequence in “Grounds for Marriage.”

Notable Songs:
– “Carmen” performed by Kathryn Grayson and Van Johnson
-“La Boheme” performed by Kathryn Grayson
– “Tiger Rag” played by the Firehouse Five Plus Two

Highlights:
-Van Johnson playing the bird sound in the doctor’s symphony
-The “Carmen” dream sequence, which acts out the film’s predicament. Johnson is hilariously dubbed in an operatic voice. Johnson said in a Feb. 13, 1951 article in the Times Daily that he had never seen the opera.
-Van Johnson gives a speech on the common cold to the women’s club and says it’s mainly psychological or due to stress. Air is blowing on the back of Johnson’s neck and by the end of the speech, he has developed a bad cold.

My Review:
This is not your usual Kathryn Grayson musical, chock full with operatic performances in Technicolor. In fact, Grayson probably has four or five numbers because most of the movie she can’t speak or sing due to loss of voice.
Van Johnson, as always, is also a lot of fun; excelling in comedic moments and is likable (but I’m biased because he was my first film love).
I always love to see Paula Raymond in films, and I hated that she didn’t have more screen time in “Grounds for Marriage.” (Spoiler) I also would have almost preferred for Raymond to end up with Van Johnson.
It certainly isn’t the best film Grayson or Johnson made, but it is a fun and cute movie. Some of the gags can be tiring, but “Grounds for Marriage” is a nice piece of escapism.

Kathryn Grayson, Van Johnson, Paula Raymond and Barry Sullivan in a publicity photo for “Grounds for Marriage.”

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

The Longest Day: Actors who fought in D-Day

Posted on June 6, 2014 by Jnpickens

On June 6, 1944, Allied forces stormed Omaha Beach in the Normandy Invasion, known as D-Day.

A few of those soldiers were established actors or later pursued a career in Hollywood. Here are a few of those men that served in D-Day:

Lt Col David Niven, Royal Marine Commando, Normandy 1944

David Niven: The British actor was a Lt. Colonel of the British Commandos. He also worked in the intelligence branch and was later assigned to the U.S. First Infantry.
Niven was one of the first officers to land at Normandy. He later was one of 25 British soldiers to be awarded the U.S. Legion of Merit Medal, according to a 1983 book by Don McCombs and Fred Worth.

Richard Todd during World War II

Richard Todd: Capt. Todd was one of the first British officers to land on D-Day. Todd was part of the British airborne invasion, that took place June 5 through June 7. During Operation Overlord, Todd’s battalion were the reinforcements parachuted in after the gliders landed and captured Pegasus Bridge to prevent German forces crossing the bridge and attacking.
Todd’s battalion was led by Major John Howard, who Todd played in “The Longest Day”(1962). The beret that Todd wears in the film is the one he wore on D-Day. Producer of THE LONGEST DAY, Darryl F. Zanuck, wanted Todd to appear in the film since he actually took part in the D-Day invasion, further adding realism to the documentary-like film.

Robert Montgomery in his Naval uniform during World War II.

Robert Montgomery: American actor Montgomery enlisted in World War II before the United States entered the war.
Montgomery became a PT boat Lt. Commander and was part of the D-Day invasion on board the destroyer, USS Barton (DD-722).
After serving five years of active duty, Montgomery was awarded a Bronze Star, the Good Conduct Medal, the American Defense Service Ribbon, the European Theater Ribbon with two Battle Stars, one Overseas Service Bar, and promoted to the rank of Lt. Commander. (1904-1981)

Actor Charles Durning during World War II. He served in the United States Army.

Charles Durning: American actor Durning served in the United States Army. He was in one of the first waves to land on Omaha Beach during the D-Day invasion. Durning was the only soldier in his company to survive, according to KPBS broadcasting.
Durning was wounded nine days after the landing and earned a Purple Heart. Durning was also awarded the Silver Star.

Actor James Doohan was shot several times during the Normandy Invasion.

James Doohan: Canadian actor Doohan served in the Canadian Army. Doohan was in the Juno Beach invasion on D-Day. During the invasion, Doohan was shot in the leg, chest and lost his right middle finger.

Writer’s note: This post was edited in June 2023 to remove Alec Guinness, as it was noted this was not accurate. In addition, there are several actors who are mentioned as being there during D-Day, but this is also inaccurate. For example, Henry Fonda is mentioned in several articles. While Fonda appeared in the film D-Day film, THE LONGEST DAY and also served during World War II, he did not take part in the Allied Invasion. In June 1944, Fonda was on the USS Curtiss, which was at the Kwajalein Atoll in the Pacific. Art Linkletter also was not at D-Day.

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

Love what you read? Share it:

Love what you read? Share it:

Love what you read? Share it:

Love what you read? Share it:

Love what you read? Share it:

Love what you read? Share it:

Love what you read? Share it:

Love what you read? Share it:

Love what you read? Share it:

Love what you read? Share it: