Musical Monday: Du Barry Was a Lady (1943)

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:
“Du Barry Was a Lady” (1943)– Musical #173

Studio:
Metro-Goldwyn-Mayer

Director:
Roy Del Ruth

Starring:
Red Skelton, Gene Barry, Lucille Ball, Virginia O’Brien, Rags Ragland, Zero Mostel, Louise Beavers, Donald Meek, Ava Gardner (uncredited), Marilyn Maxwell (uncredited), George Carroll (uncredited),
As Themselves: Tommy Dorsey, Lana Turner, Dick Haymes, Jo Stafford

Plot:
All working at the same club, coat check boy Louis Blore (Skelton) and master of ceremonies Alec Howe (Kelly) are both in love with nightclub performer May Daly (Ball), where she sings a song as Madame DuBarry. May is in love with Alec, but she is holding out to marry a rich man. Louis wins $150,000 in a sweepstakes. Then he drinks a drugged drink and dreams that he’s King Louis XV and Lucille Ball is Madame DuBarry.

Lucille Ball and Red Skelton go back to the 1700s

Trivia:
-Lucille Ball’s first starring role under contract with MGM.
-Ann Sothern was originally set to star in this film, but turned it down because she was pregnant with her daughter, Tisha.
-Zero Mostel’s first film
-Lucille Ball was dubbed by Martha Mears
-Produced by Arthur Freed
-Based on the 1939 Broadway musical starring Bert Lahr, Ethel Merman and Betty Grable. The film used very little of the original Cole Porter score.

Highlights:
-Technicolor
-Virginia O’Brien’s performances
-The “Esquire Girl” number, with all the different costumes
-Lana Turner’s cameo

Notable Songs:
-“DuBarry was a Lady” performed by Lucille Balls, dubbed by Martha Mears
-“Do I Love You” performed by Gene Kelly
-“Salome” performed by Virginia O’Brien
-“I Love an Esquire Girl” performed by Red Skelton and Pied Piper
-“Friendship” performed by Red Skelton, Lucille Ball, Gene Kelly

My review:
“DuBarry Was a Lady” isn’t the best MGM musical around, and a lot of it is nonsense, but it sure is fun.

The film revolves around a nightclub hat check, played by Red Skelton, who is in love with the club’s singer, played by Lucille Ball. Ball’s character portray’s Madame Du Barry in her act (hence the title). Lucille Ball is in love with fellow performer Gene Kelly, but she is unwilling to marry a poor man and end up happy, but broke like her parents. Skelton strikes it rich, but gets accidentally drugged, where he dreams everyone in the club is back in the days of France in the 1700s (include Tommy Dorsey and his band).

The time traveling dream sequence may seem a little random, and it does take you out of the story line, but it’s fairly entertaining.

For some reason, this 1943 Technicolor musical seems to explode color than any other 1940s MGM musical. Maybe it’s because of the costume color selections that were picked. We start with a musical number of chorus girls in Ziegfeld Girl-like blue and purple costumes. Then there is Lucille Ball with her vibrant red hair (a color MGM stylist Sydney Guilaroff called Tango Red). Of course, Red Skelton also has a shock of red hair. And then there’s Virginia O’Brien’s unforgettable chartreuse blouse. Visually, this film is off-the-charts gorgeous!

Virginia O’Brien with this chartreuse blouse

Colorful costumes for the opening number

Lucille Ball with her “Tango Red” hair

Red Skelton is the star of this film and has the most screen time. While Lucille Ball and Gene Kelly may be the reason some folks tune into this one, Kelly is really secondary to Ball and Skelton. Kelly only has one full-on dance number. According to her autobiography “Love, Lucy,” Lucille Ball enjoyed working with Red Skelton. Lana Turner even has a cameo in the film!

Zero Mostel also randomly shows up in this film and does some moderately annoying impressions. For example, he does one of Charles Boyer in “Algiers” (1938) and just repeats “Heddyyyy” about 15 times. And then there is Virginia O’Brien, who sings in her straight-faced singing style, that is somehow so appealing.

“Du Barry was a Lady” has it’s faults and is silly. But I won’t deny that I love it. Hopefully you will too.

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Musical Monday: Give a Girl a Break (1953)

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:
Give a Girl a Break (1953)– Musical #189

Studio:
Metro-Goldwyn-Mayer

Director:
Stanley Donen

Starring:
Marge Champion, Gower Champion, Debbie Reynolds, Dolly Sharp, Bob Fosse, Kurt Kasznar, Richard Anderson, Lurene Tuttle, Donna Martel, William Ching, George Chakiris (uncredited)

Plot:
When the star of a Broadway show walks out after a tiff with the show’s choreographer Ted Sturgis (Champinon), the show publicizes that they are looking for a newcomer to “give a girl a break.” Three girls with varying talents: professional Broadway dancer Madelyn Corlane (Champion), sophisticated ballet dancer Joanna Moss (Sharp), and young, inexperienced tap dancer Suzie Doolittle (Reynolds).

Trivia:
-Musical numbers staged by Gower Champion and Stanley Donen, though Bob Fosse coregraphed his own dances.
-Gower and Marge Champion dancing together
-Gower Champion was dubbed by Bill Lee

Highlights:
-“Give a Girl a Break” montage of various women wanting to audition
-“The Balloon Dance” performed by

Notable Songs:

-“Give a Girl A Break” performed by Marge Champion, Dolly Sharp and Debbie Reynolds
-“Applause, Applause” performed by Gower Champion and Debbie Reynolds
-“In Our United States” performed by Bob Fosse and Debbie Reynolds
-“It Happens Every Time” performed by Marge Champion and Gower Champion

My review:
“Give a Girl a Break” isn’t a film often discussed today. It’s colorful and fun, has great dancing, but I think that’s largely forgotten when it comes to MGM’s catalog of 1950s Technicolor musicals.

Why is that? It’s directed by Stanley Donen, co-stars Debbie Reynolds (post-Singin’ in the Rain), has costumes by Helen Rose and dances choreographed by Bob Fosse and Gower Champion.

Dancer Gower and Marge Champion

It’s probably because the film stars (then) husband and wife dancers, Marge Champion and Gower Champion as it’s leads. While Fosse and Reynolds are in the cast, they are very much secondary characters.

But don’t get me wrong, I love the Champions. I think they are likable on screen and are some of the best dancers to grace the silver screen. But for some reason they never caught on with fans. MGM signed the married dancers in 1951 for the film “Show Boat” with the hopes of making them the next Fred Astaire and Ginger Rogers. They only made three films with MGM and left the studio in 1955. “Give a Girl a Break” did poorly in the box office and lost MGM $1 million. After they left in 1955, they appeared on other TV shows but no more film roles to the significance that they had at MGM.

While they may not have been well liked by audiences, the Champions are some of my favorite dancers. In fact, I think Gower Champion is a better dancer and choreographer than Bob Fosse. There, I said it. I’m glad I got that off my chest.

There is even a dance that Champion and Fosse do together and I think Gower out dances him in the “Nothing is Impossible” number. Though I’ll admit that Bob Fosse’s “Balloon Dance” is of fun. I just don’t know why Gower is largely forgotten while Fosse is revered. Maybe it’s because Gower saw several flops in the 1970s while Fosse flourished with shows like Chicago and Pippin (which I star relevant today, I know). Or maybe people are enamored with the fact that Gwen Vernon and Fosse were married.

Anyways, I digress. I just would like to hear about Gower Champion occasionally, when great choreographers are discussed.

Bob Fosse, Gower Champion and Kurt Kasznar in “Give a Girl a Break”

One thing I like about this film is that it focuses on three women trying to get a role and we get to learn each girl’s story. That type of plot is more intriguing to me because, while Marge Champion is the most featured of the three, the “leading lady” is less defined. For me, it’s hard to decide which girl I would want to cheer for to be picked for the Broadway show, because each one has her traits that are interesting and could work.

Marge Champion, Dolly Sharp and Debbie Reynolds in “Give a Girl a Break.”

If you love colorful musicals, give this one a whirl. You may have never heard of it, but I think you will want to.

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Musical Monday: I Dood It (1943)

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:
I Dood It” (1943)– Musical #176

Studio:
Metro-Goldwyn-Mayer

Director:
Vincente Minnelli

Starring:
Eleanor Powell, Red Skelton, Richard Ainley, Patricia Dane, Sam Levene, Thurston Hall, Butterfly McQueen, John Hodiak, Joe Yule (uncredited)
Themselve: Jimmy Dorsey, Tommy Dorsey, Lena Horne, Hazel Scott, Helen O’Connell, Bob Eberly

Plot:
Pants presser Joseph Renolds (Skelton) is in love with Broadway star Constance Shaw (Powell) and attends every performance of her show. To get back at her cheating leading man, Constance married Joseph, thinking he’s rich. When she finds out Joseph just works at a laundry, she leaves him. In a subplot, actor in the Broadway show Roy Hartwood (Hodiak) is a Nazi spy who plans to blow up a warehouse next to the theater.

Trivia:
-Edited dance numbers from Born to Dance (1936) and Honolulu (1939)
-Eleanor Powell was knocked unconscious during the lasso number
-Loose remake of Buster Keaton’s Spite Marriage (1929)
-Eleanor Powell’s last star-billing film. Her last under contract with MGM film was Thousands Cheer (1945) where she was a specialty performance.

Highlights:
-Eleanor Powell tap dancing with lassos. She then jump ropes around a line of ropes
-Cameo by Tommy Dorsey watching his brother Jimmy Dorsey
-Hazel Smith’s performance

Notable Songs:
-“Star Eyes” performed by Bob Eberly and Helen O’Connell
-“So Long Sarah Jane” performed by Bob Eberly
-“Jericho” performed by Hazel Scott and Lena Horne
-“Taking a Chance on Love” performed by Hazel Scott on the piano

My review:
Throughout the mid-1930s to the early 1940s, Eleanor Powell cemented herself as one of Metro-Goldwyn-Mayer’s top female tap dancers. But she doesn’t really get to exhibit it in “I Dood It” (1943).

“I Dood It” is seemingly a one man show starring Red Skelton with other characters occasionally popping in. He’s a pants presser with big dreams of living large and courting a famous Broadway star, played by Powell. His gags are funny, particularly a scene where he fills in for an actor in Powell’s Broadway show — love struck Skelton saw the show 63 times and could literally recite the lines backwards.

As a fan of Eleanor Powell, this film is a little disappointing. The character written for Powell isn’t terribly likable and you feel bad for Red Skelton as she uses him. As far as Powell’s dancing goes, she does one impressive western themed dance early in the film where she tap dances in lassos and jump ropes across girls swinging the lassos. But that’s where any “new” Powell dances ends. In one scene, Skelton doses off and dreams of Eleanor Powell dancing, but his dream takes us back to a tap dancing hula number from the 1939 film “Honolulu.” And again, at the end of the film when all problems are resolved, the grand finale is more MGM archived footage: Powell dancing in the grand finale of the 1936 film “Born to Dance.”

Eleanor Powell and Red Skelton in “I Dood It”

This is irksome to me. I’m not sure if MGM did this because of Eleanor Powell’s injury during the lasso dance, or if they decided they didn’t want to put more money into this film and reused old dances. While audiences in 1943 weren’t able to rewatch films like we are now, it’s still insulting to assume that these audiences wouldn’t remember that they had already seen these dances before. And that audiences wouldn’t notice that Eleanor Powell looked a little different in 1943 then she did in 1936 or 1939. Rather than dancing much, Powell is more Skelton’s “foil” for his jokes.

It’s also telling that this was Eleanor Powell’s last top billing film. After “I Dood It,” she had a small performance role in “Thousands Cheer” and then a cameo in “Duchess of Idaho.” Also in 1943, she married actor Glenn Ford and left films. It’s disappointing that Powell’s career fizzled with reused dance footage, and this magnificent dancer wasn’t able to end with a bang.

Since Eleanor Powell didn’t sing and Red Skelton’s voice isn’t strong, the musical numbers rely heavily on Jimmy Dorsey’s big band music and a musical interlude by pianist/singer Hazel Scott and singer Lena Horne. This is a really great number, but also sort of is random and thrown in taking you out of the plot. I almost think this was thrown in because the writers or producers weren’t sure what else to do.

Despite the disappointing dance numbers and some of my criticisms, “I Dood It” is an entertaining film and I do enjoy it. I like Red Skelton, and you also get to see John Hodiak in his third film. I’m just disappointed as a fan of tap dancing and Eleanor Powell.

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Musical Monday: New Moon (1940)

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:
New Moon” (1940)– Musical #374

Poster - New Moon (1940)_02

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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Musical Monday: Holiday in Mexico (1946)

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.

holiday4This week’s musical:
Holiday In Mexico” (1946)– Musical #119

Studio:
Metro-Goldwyn-Mayer

Director:
George Sidney

Starring:
Jane Powell, Walter Pidgeon, Roddy McDowall, Ilona Massey, Hugo Haas, William ‘Bill’ Phillips, Helene Stanley, Linda Christian (uncredited), Grady Sutton (uncredited)
As themselves: Jose Iturbi, Xavier Cugat, Amparo Iturbi, Jose Iturbi’s grandchildren: Tonia Hero and Teresa Hero

Plot:
Christine (Powell) lives in Mexico with her father Jeffrey Evans (Pidgeon), who is the United States Ambassador to Mexico. Jeffrey is a single parent to Christine, who dotes on her father and tries to be the lady of the house and manage her father’s affairs. She is constantly quarreling with her boyfriend Stanley (McDowall), who is the son of the English ambassador. When Jeffrey meets an old flame, singer Toni Karpathy (Massey), Christine feels replaced. To console herself, she decides that she’s in love with piano player Jose Iturbi (who plays himself).

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Musical Monday- Academy Award Winner: Seven Brides and Seven Brothers (1954)

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.

seven-brides-for-seven-brothersThis week’s musical:
“Seven Brides for Seven Brothers” (1954)– Musical #4

Studio:
Metro-Goldwyn-Mayer

Director:
Stanley Donen

Starring:
Jane Powell, Howard Keel, Russ Tamblyn, Jeff Richards, Tommy Rall, Julie Newmar, Ruta Lee, Ian Wolfe, Marc Platt, Matt Mattox, Jacques d’Amboise, Nancy Kilgas, Betty Carr, Virginia Gibson, Norma Doggett

Plot:
Set in 1850 in the backwoods of Oregon, Adam Pontipee (Keel) heads to the city looking for a wife. He finds Milly (Powell), who agrees to marry him. Little does Milly know that Adam is one of seven brothers and she is more of a glorified housekeeper than a wife. She tries to refine the brothers-encouraging bathing and teaching them how to read and dance. They are all eager to find wives of their own and decide to use the story of Romans kidnapping the Sabine women as an example.

Adam (Keel) and his new bride Milly (Powell) who has no idea what she's in for.

Adam (Keel) and his new bride Milly (Powell) who has no idea what she’s in for.

Milly (Powell) inspects the hands of the usually dirty Pontipee brothers before heading to a barn raising social

Milly (Powell) inspects the hands of the usually dirty Pontipee brothers before heading to a barn raising social

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Musical Monday: Duchess of Idaho (1950)

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:
Duchess of Idaho–Musical #24

poster

Studio:
Metro-Goldwyn-Mayer

Director:
Robert Z. Leonard

Starring:
Esther Williams, Van Johnson, Paula Raymond, John Lund, Connie Haines, Amanda Blake, Clinton Sundberg, Mel Torme, Bobby Troup (uncredited), Mae Clarke (uncredited)
Themselves: Lena Horne, Eleanor Parker, Red Skelton

Plot:
Secretary Ellen Hallit (Raymond) is in love with her boss Doug Morrison (Lund), who constantly has Ellen pretend to be his fiance to get him out tight spots with women. In an attempt to play matchmaker, Ellen’s roommate and best friend Christine (Williams) travels to Sun Valley, Idaho, where Doug is also vacationing. Christine’s plan is to get Doug to fall in love with her, so he will call on Ellen to help him out. However, things get more complicated when Christine meets and falls for bandleader Dick Layne (Johnson).

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Musical Monday: Meet Me in Las Vegas (1956)

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:
“Meet Me In Las Vegas” – Musical #151

UP_MEET_ME_IN_LAS_VEGAS_MOV

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).

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

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

Musical Mondays: “Thrill of a Romance” (1945)

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.

thrill posterThis week’s musical:
Thrill of a Romance” (1945)- Musical #502*

Studio:
Metro-Goldwyn-Mayer

Director:
Richard Thorpe

Starring: 
Esther Williams, Van Johnson, Frances Gifford, Henry Travers, Spring Byington, Lauritz Melchior, Tommy Dorsey and his band

Plot:
Pretty swimming teacher Cynthia Glenn (Williams) is swept off her feet by wealthy Robert Delbar (Carelton Young) who charms her in a whirlwind romance. After a short time, Cynthia and Robert are married and head to a resort for their honeymoon.
However, after only being married a few hours, Robert abandons his new bride for a business deal, leaving her alone on her honeymoon. As she mopes about being left alone, World War II hero, Major Thomas Milvaine (Johnson) sweeps in to cheer her up.
All of this happens on a glittering backdrop of Technicolor outdoor scenery, swimming sequences and musical performances from big band leader Tommy Dorsey and opera singer Lauritz Melchior.

Trivia:

Van Johnson and Esther Williams. This is my favorite outfit Esther wears in the film.

Van Johnson and Esther Williams. This is my favorite outfit Esther wears in the film.

-“Thrill of a Romance” is the first of four full-length films Esther Williams and Van Johnson made together. But this wasn’t their first film together. Williams has a brief part in “A Guy Named Joe” (1943) with Johnson. Their other films include “Easy to Wed,” “Duchess of Idaho” and “Easy to Love.”
-A young girl plays the piano and sings and is supposed to be Tommy Dorsey’s daughter in the film.  The girl isn’t Dorsey’s daughter and is actress Helene Stanley playing Susan Dorsey in the film. However, he did have a daughter named Susie in real life.

Notable songs:
-Tommy Dorsey plays one of his famous songs, “Song of India.” Aside from that song, it’s always fun to hear big band music in films, especially since that would have been the “pop standard” of that time period.
-Famous Danish opera singer Lauritz Melchior performs several songs in the film. This is notable since he was influential as an opera singer.

Highlights:
-Young Jerry Scott hiding on the terrace singing “Please Don’t Say No, Say Maybe.”
-Van Johnson lip syncing (though he can sing in real life) as Lauritz Melchior sings “Please Don’t Say No, Say Maybe.”
-Esther Williams swimming with Van Johnson

Esther and Frances Gifford.

Esther and Frances Gifford.

My review:
Not only is “Thrill of a Romance” my favorite Esther Williams film, but it is a perfect example of a mid-1940s MGM musical.
It’s not the type of musical where people break into song because they are so full of emotion they can’t speak. It is more a romantic story with a backdrop of musical performances.

Esther and Van dancing to  Tommy D

Esther and Van dancing to Tommy D

The film has a beautiful set, gorgeous costumes, catchy songs and vibrant, young actors.
MGM films always have that something extra special, and while there are a lot of special things about this movie-Esther Williams and swimming sequences stand out.
Louis B. Mayer liked to add class and culture to his films. While some musicals would have contemporary musicians featured, such as Tommy Dorsey in this one, he also featured classical performers in his films. This could vary from pianist Jose Iturbi or opera singer Lauritz Melchior, in the case of this film.
Though this movie may be dismissed as sugar coated, I always find it thoroughly enjoyable.
It will make you want to visit the resort they are staying at–and you will want Williams’s wardrobe. I don’t believe she wears more beautiful clothing in any of her other films.
It’s one of those films that if you are down, it will immediately lift your spirits.

*Though I saw this musical over eight years ago, I discovered I had never put it down on my musical list. Egads!

You can find my Esther Williams tribute here. Williams passed away at the age of 91 on June 6, 2013.

Check back next week for Musical Monday.

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