Starring Ethel Merman, Donald O'Connor, Vera-Ellen, and George Saunders
Directed by Walter Lang
Music and Lyrics by Irving Berlin
While you wait for the returns to come in, here's a lively political tale to check out. This is one of only two times Merman got to recreate one of her Broadway roles on film. (The other is the rarely-seen 1936 version of Anything Goes.) Even Hollywood had to admit that no one else could get away with playing Mrs. Sally Adams, a widow who becomes the ambassador for a tiny European principality, with quite the same relish. How does she do alongside smooth Sanders and sweet O'Connor? Let's start in Washington DC, as Sally is being sworn in, and find out...
The Story: Sally's political connections gets her the job as the ambassador to tiny Litchenburg in Europe, even though she's the wealthy daughter of an Oklahoma oil driller who knows nothing about diplomacy. Kenneth Nelson (O'Connor), an out-of-work reporter, convinces her to bring him along as her press attache.
They arrive in Litchenburg to be greeted by the head of the Embassy Pemberton Maxwell (Billy De Wolfe), a fussy fellow who doesn't think much of Sally or her abilities. Prime Minister Sebastian (Steven Garay) and Grand Duke Otto (Ludwig Stossel) are hoping to get a huge loan from the US. They want Otto's niece Princess Maria (Vera-Ellen) to have a large enough dowry to marry Prince Hugo (Helmut Dantine). Foreign Minister Cosmo Constantine (George Saunders) would prefer his country to stay independent and self-sufficient...but the last thing he expected was to fall for Sally. Ken ends up in love with Maria as well, but she's still expected to go through with her political alliance.
The Song and Dance: This one is all about the numbers and a fairly unusual and then-topical story. Indeed, it's inspired by a real Washington hostess, Pearl Mesta, who was the ambassador to Luxembourg in the 1940's. Merman relishes her rare chance to be in the spotlight on film, not only clowning with O'Connor and doing some nice comedy bits with the stuffy ministers, but getting to play romance with smooth Saunders, too. O'Connor and Vera-Ellen are delightful as the younger lovers and DeWolfe has some funny bits as the head of the Embassy who thinks he knows everything about dealing with the locals. The colorful, Oscar-nominated costumes, in Washington and Litchenburg, add a great deal to the European charm-meets-American vivacity feel.
Favorite Number: We open with Merman explaining to the press how she got her new job - by being "The Hostess With the Mostess On the Ball." "It's a Lovely Day Today" is initially a cute duet for Maria and Kenneth when they meet in a department store. They later perform a gorgeous pas de deux to an instrumental version at the ball around a sparkling fountain. The day after the ball, O'Connor wonders why he feels like he does. Merman tells him "You're Just In Love" in what's probably this show's biggest hit. Maria joins the chorus for a colorful peasant dance at the fair to the melody of that most European of instruments, "The Octarina." Frustrated after Maria turns him down at the fair, Kenneth dances drunkenly around a beer garden - and nearly destroys the place - wondering "What Chance Have I With Love?"
Trivia: Call Me Madam debuted on Broadway in 1950, with Russell Nype as Kenneth, Paul Lukas as Cosmo, and Galina Talva as Maria. It was a huge hit that ran almost three years, with Merman playing the whole run. It also did fairly well on the West End for such a red-blooded American show, running a year and a half with Billie Worth as Sally Adams. Interestingly, though it was revived briefly in London in 1983, the only time it's been seen in New York since it's initial run was in two (admittedly well-received) off-Broadway Encores! concerts in 1995 and 2019.
What I Don't Like: Part of the reason it's now rarely seen on major stages is the story hasn't dated that well. Nowadays, I doubt any country in Europe would be asking for a loan - or anything else - from the US, and a lot of those peasant costumes and weird accents could be seen as European stereotypes. And why is Maria and Kenneth's second big duet, "Something to Dance About," set in a dark passage? It's too dreary a setting for the delightfully cheerful choreography.
The Big Finale: Dated story aside, if you love Merman, O'Connor, or Vera-Ellen or are a fan of the big Broadway adaptations of the 50's and 60's, you'll want to look out for this one.
Home Media: Unavailable on video and hard to find for years, it was finally released on DVD in 2004...which, at press time, is still the only way you can see this one.
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