Coney Island

20th Century Fox, 1943
Starring Betty Grable, George Montgomery, Caesar Romero, and Phil Silvers
Directed by Walter Lang
Music by Ralph Rainger and others; Lyrics by Leo Robin and others

Betty Grable was the biggest star in the US during the war years...and movies like this one were a big part of the reason why. A nostalgic romance set during the turn of the 20th century in romantic Coney Island was just what war-weary audiences wanted during those difficult times. How does this movie look nowadays, during another round of difficult times? Let's head to the famous island of amusement in New York as Eddie Johnson (Montgomery) is making his way to a certain saloon and find out...

The Story: Eddie arrives at the low-down night spot on the boardwalk owned by his old buddy Joe Rocco (Romero) and eternally drunk Irishman Finnegan (Charles Winninger). Eddie has lots of ideas, but Joe says no. Another friend, Frankie (Silvers), is game, so they set up shop with beautiful "harem" girls across the boardwalk. Eddie also has his eyes on Kate (Grable), Rocco's loud, brash girlfriend. After Rocco's boys destroy Eddie's faux-Arabian venture, Eddie bribes his way into a share of the club when he claims Joe accidentally killed Finnegan in a brawl. He wants to turn the saloon into the premiere nightspot on the Bowery and make Kate into an elegant star. She resists at first, until she starts to fall for him.

The shows are a hit, and Kate becomes a star...at least until Finnegan returns from Atlantic City alive and intact. William Hammerstein (Matt Briggs), a major Broadway producer, comes to see Kate perform. Hoping to use her for his own nightspot, Eddie takes her out on the boardwalk and admits he's in love. They end up getting a marriage license, until she finds out he took out the money for his new club and intends for Kate to star. She does go to Hammerstein and becomes a major star, but can't forget Eddie...

The Song and Dance: The surprise here is the gritty feel, especially in the first half. There's a couple of brawls, two grifters trying to out-con each other, and the entire blackmailing plot with Finnegan. It's a little tougher and rowdier than most Grable vehicles, and it's fairly refreshing. Grable herself, loud and brash, is also refreshing. Winninger has a great time with the drunk cliches as the Irish saloon owner who enjoys whiskey and life, in that order. Turn of the century New York, from the bustling boardwalk to glamorous Broadway, is beautifully recreated in glowing Technicolor that amply shows off the smoky saloon and Grable's golden legs.

I also appreciate that everyone stays friends in the end, including Joe and Eddie. The two literally laugh the whole thing off in the last ten minutes or so. It's rare enough for modern movies to not have an obvious villain, let alone a musical from 1943.

Favorite Number: "Cuddle Up a Little Closer" is Grable's big solo as Montgomery literally has to handcuff her to keep her from dancing and belting what's really a slow ballad, pairing down her dress and her singing style. Silvers gets "Get the Money" at the saloon. "Winter, Winter" is a new Currier and Ives skating-themed number at the saloon that segways into the genuine vintage "Pretty Baby." Grable reveals how ladylike she's become in the simple black-dress-and-male-singers "Take It From There." The big number in the finale is "There's Danger In the Dance," showing off everything from graceful southern belle waltzes to early 20th century ragtime.

What I Don't Like: If I were Kate, I would have dropped those jerks ages ago. All they do is use her, Finnegan, Frankie, and each other. When they're not using her, they're fairly bland, and neither are singers or take much part in the musical side of things. The first half, when they're still at Coney Island, is far more interesting than the more typical second half after Kate becomes a star and the romantic problems come to the fore. Also, it has to be admitted that the store doesn't make much use of its setting. It could probably have been set at any turn of the century city and been fine. The 1950 remake Wabash Avenue is set in Chicago.

Also, the easily offended will want to beware of "Lulu from Louisville," with Grable in dark makeup and the chorus in blackface. There's blackface in the southern segment of the "Danger In the Dance" finale routine as well.

The Big Finale: Highly recommended if you love Grable or the fluffy, romantic musicals of the 1940's.

Home Media: Alas, the made-to-order 20th Century Fox Cinema Archives DVD is currently out of print. Check used venues and online.

DVD