Musicals On TV - The Song Spinner

Distribution La Fete, 1995

Starring Patti LuPone, John Neville, Meredith Henderson, and David Hemblen

Directed by Randy Bradshaw

Music by Lawrence Shragge; Lyrics by Warren Pash

This isn't really a musical, but its leading lady is a major Broadway star, and it does discuss the importance of music and sound in our lives. This one comes from the Great White North and was filmed at the Fortress of Louisberg on Cape Breton Island in Nova Scotia, giving it the look of an especially rugged old story. How does the fable about a young girl who rescues a witch whose "song spinner" is capable of bringing noise and music to her village look now? Let's begin on the bay outside of Shandrillan with the arrival of the mysterious witch Zantalalia (LuPone) by boat and find out...

The Story: Aurora (Henderson) lives with her parents and her curious little brother Tibo (Matthew Leringy) in Shandrillan. Her father is the local priest, and her mother is a faithful follower of the strict rules that don't allow for sound or music. All words must be spoken in a hushed whisper, and anyone making even the smallest sound can be arrested by fearsome Captain Nizzle (Hemblen) and sent to the The Quiet House, the local prison. 

Aurora has a gift her parents try to hide - she hears music in her head. This allows her to befriend Zantalalia, who gifts her with a "song spinner" that once belonged to her Grandfather Jessup (Ross Campbell). It's capable of making far more widespread music than any musician. Captain Nizzle wants to get rid of it before it interferes with a ceremony that could make the sun rise, but Zantalalia insists that the only way the sun will come up is with music. Nizzle arrests her and those who help her, but Aurora and Tibo have an unexpected ally in King Frilo the Magnificent (Neville) and his court. 

The Song and Dance: I love unique fairy tales, and this is one of the better ones. Henderson does quite well for her first time out as the little girl who wonders why she hears music in her head when no one else does. LuPone does very well as the older gypsy whose very presence makes nasty Captain Nizzle nervous. The gorgeous winter scenery on Cape Breton Island goes a long way to making the dark fable come alive.

Favorite Number: Zantalila and Aurora dance a bit to a number on the "Song Spinner" mid-way through, and we see at least two flashbacks of Zantalilia in her heyday with her band, playing for dancers at a party. The major number is the finale, "Return the Sun," as first Aurora, then Zantalilia lead the citizens in song to bring back the sun and drown out Nizzle's obnoxious protests.

Trivia: Originally debuted in the US on Showtime as a Christmas Eve special in 1996. 

What I Don't Like: I'm very surprised, especially given the music theme, that this isn't more of a flat-out musical. They could have literally snuck in a quiet song or two, something soft for the parents or for Aurora, or even another number for Zantalalia. The relatively cheap production shows in the odd art direction - the "song spinner" is really not much more than a record player. Neville doesn't have much to do until the end, either. 

The Big Finale: Fans of LuPone and families looking for a unique fantasy tale for music lovers will want to seek this one out.

Home Media: Only on streaming in the US. Crackle and Flex are at least free with commercials. 

Crackle 

Flex

Miss Sadie Thompson

Columbia Pictures, 1953

Starring Rita Hayworth, Jose Ferrer, Aldo Ray, and Russell Collins

Directed by Curtis Bernhardt

Music by Ned Washington and Lester Lee; Lyrics by Allan Roberts

After 1948, Hayworth was off the screen for three years. Her divorce from Orson Welles and marriage to - and subsequent divorce from - Prince Aly Khan made headlines around the world, but it also attracted a lot of negative publicity. Her two movies after returning to Columbia, Affair In Trinidad and Salome, were huge hits. 

Striking while the iron was hot, Columbia rushed her into this reworking of the 1921 short story and play Rain. Gloria Swanson played prostitute Sadie Thompson a 1928 silent version, while Joan Crawford took the role in its sound adaptation Rain. It was even remade as an all-black "race" movie in 1946, Dirty Gertie from Harlem USA. How does the first version in color, widescreen, and at one point, 3D look nowadays? Let's begin with the title character (Hayworth) on the way to American Samoa after World War II and find out...

The Story: Sadie's on her way to Apia, but she's stranded in Pago Pago when the ship is quarantined. The Marines in the area, especially crude but kind Sergeant Phil O'Hara (Ray), think she's gorgeous. She comes complete with a sexy wardrobe and a loud record player that offends missionary Alfred Davidson (Ferrer) and his wife (Peggy Converse), who are staying at the same hotel as her. 

Davidson knows about her sinful past in Hawaii and is determined to steer her away from an un-heavenly life. Sadie's just as determined to push back at first. As he wears her down, she wonders if she'd be better off giving in. He thinks he has her beaten, but then one night, he really listens to the natives playing their drums. That sets off his own repressed desires...including the desire for Sadie. 

The Song and Dance: Whoa. Rain is still not the first story you'd think of for musical treatment, and this is fairly dark for 1953. Hayworth puts in one of her best-ever performances as the good-time girl who just wants to enjoy herself and get the heck out of town. Ferrer's repressed missionary who makes it his personal mission to save Sadie from herself nearly matches her decadent energy. The color cinematography is radiant weather in sunny Pago Pago or the constantly pouring rain.

Favorite Number: We open with "The Marine Song," as the military boys sing about their lives on Pago Pago. Sadie tells the part-native children of hotel owner Joe Horn (Harry Bellaver) to "Hear No Evil, See No Evil, Speak No Evil" in a cheerful song after she's settled in there. "The Heat's On" is her wild number with the Marines during their big bash, as she dances with every man in the place, then shakes and shimmies like she's on fire. "Blue Pacific Blues" is a languid ballad she performs later at the party, when they've calmed down a little and she's feeling more introspective. The native performance that drives Davidson to reveal his lust is brief but fairly interesting, with scantily dressed beauties shaking their hips wildly.

Trivia: This wasn't the first attempt to turn Rain into a musical. A Broadway stage show with June Havoc as Sadie debuted in 1944. It did even less well, barely lasting a month and a half. 

Was shot in 3D, but it was a flop in that version, so it was released "flat" with no effects. 

What I Don't Like: As dark as the film is, the earlier film versions went even darker. They didn't just hint that Davidson sexually assaulted Sadie; they insinuated it as much as possible. Davidson was also more obviously a priest, instead of just a missionary. I suspect they didn't want to get on any church's bad side. The Production Code was still in full effect at the time as well, and it banned religious leaders being seen as anything but saintly. Despite the Oscar nomination for "Blue Pacific Blues," the songs are neither numerous, nor very good. And given Hayworth was mainly known as a dancer at this point, I'm surprised she didn't have more than one dance number. 

The Big Finale: Interesting mainly if you're a fan of darker musicals or the stars in question. Other adults would be better off seeing the original non-musical films. 

Home Media: Very easy to find on disc and streaming. The limited edition Blu-Ray in 3D is in print, but is rare and extremely expensive when it does appear. The solo DVD is from Columbia's made-to-order Sony Choice Collection. 

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DVD - Musicals 20 Movie Collection

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Amazon Prime

Down to Earth (1947)

Columbia Pictures, 1947

Starring Rita Hayworth, Larry Parks, James Gleason, and Roland Culver

Directed by Alexander Hall

Music by Doris Fischer; Lyrics by Allan Roberts

This week, we move from 20th Century Fox to Columbia for two of Rita Hayworth's lesser-known vehicles. Fantasy was all the rage in the 40s as people looked to escape from World War II and the escalating Cold War tensions after it ended. One of the first of these fantasies was the comedy Here Comes Mr. Jordan, about a prize fighter who is sent back to Earth in another body by the angel of the title. 

It made sense at the time to do a follow-up with Columbia's biggest star. Hayworth was known as "The Love Goddess" to her many fans, who made her the number one star and top pin-up girl in the world. How does this movie manage to cross angelic Jordan and her unearthly charms with a decidedly less heavenly story of a muse who takes over a Broadway show? Let's begin with that show, Swinging the Muses, in rehearsal and find out...

The Story: Muse of Dance Terpsichore (Hayworth) is appalled at the show, which depicts her and her sisters as man-hungry bimbos fighting over two pilots who crashed on Mount Parnassus. She begs Mr. Jordan (Culver) to take her down to New York and let her deal with the play's director and writer, Danny Miller (Parks). Jordan agrees to send her down with his assistant Messenger 7013 (Edward Everett Horton) to keep an eye on her. 

In New York, Terpsichore goes under the name Kitty Pendleton. She lands the part, then convinces former boxing agent Max Corkle (Gleason) to represent her. Danny falls hard for her charms, and she does manage to convince him to change the play from a low-down farce to a high-brow ballet. That doesn't go over well with audiences. Not only is the cast furious, but it turns out Danny convinced gangsters to finance his show, and they'll kill him if it's not a success. Now Terpsichore has to give up her high-handed reputation in order to save the man she loves and prove that the Muses are neither bimbos, nor forces to be reckoned with.

The Song and Dance: This one is all about Hayworth and the gorgeous production. The Technicolor is absolutely stunning, showing off fiery Hayworth with her rich scarlet lips and ginger hair to best advantage. She's backed by the stunning sets and glorious jewel-toned costumes, especially for the show itself. Horton and Gleason come off the best of the supporting cast as the dithering assistant angel who wishes this muse would inspire less trouble and the agent who gets mixed up in the insanity. 

There's also the mild turn into film noir territory the film takes mid-way through when Kitty realizes just what Danny's really gotten himself into. It's surprisingly dramatic for the light film that came before it and is handled relatively well. In fact, I give them credit for going with a very original twist on the backstage story, even if it is a sequel. 

Favorite Number: We open with "Kiss of the Muses," as those heavenly ladies in vibrant purple with the strange bulbous headgear singing of how desperate they are to land a man, any man. "The Can't Convince Me (You're Not a Dream)" Danny croons to Kitty in the prop department after he's been smitten with her. "This Can't Be Legal" is the bizarre dance number with the on-stage Terpsichore deciding to keep both of her mortal pilot suitors. The big ballad "Let's Stay Young Forever" is heard several times, notably by Kitty at rehearsal. Kitty also gets a big instrumental dance routine with the chorus at the rehearsal that's so spirited, it convinces Danny to make her Terpsichore on the spot. 

The major numbers here are a study in contrasts between the two styles of dance routines in musicals of the 40's and 50's. "The Greek Ballet" is airy, arty posturing showing Terpsichore's idea of what really happens on Mount Parnassus. It may put the audience in the film to sleep, but the dancing is well-choreographed and the costumes are gorgeous. "People Have More Fun Than Anyone" is the show's big finale. The muses literally let their hair down as they join their now-deployed suitors in a make-believe Grammercy Park, riding down slides and tossing fall leaves everywhere. 

Trivia: Horton and Gleason reprise their roles from Here Comes Mr. Jordan. Culver replaces Claude Rains as Jordan.

What I Don't Like: I appreciate the originality...but this is ultimately even stranger than the movie it later inspired, Xanadu. It also shares some of the same problems as that film, starting with a leading man who is totally at sea and can neither sing, nor dance - Parks was dubbed by Hal Derwin. Hayworth is dubbed by Anita Ellis, leading to a rare situation where both leads in a musical are dubbed. The songs are dull, and in the case of the ballet and "This Can't Be Legal," truly bizarre. 

The movie makes even less sense than Xanadu. Terpsichore comes off as a bit of a witch until Jordan gets through to her that Danny won't live long if she doesn't go with what he wanted. Speaking of, as intriguing as the gangster plot in the second half is, it comes out of left field and seems to be there only to give Terpsichore a real reason for staying besides romance. Platt was an excellent dancer who could have been given a lot more to do than just pointing out to his best friend that changing the show because a lady said so wasn't in his best interest. 

The Big Finale: Mainly recommended for huge fans of Hayworth, the Technicolor fantasies of the 40's and 50's, or those who want to try something a little different in their splashy 40's musicals. 

Home Media: The solo DVD is in print, but pricey. You're better off streaming this one or picking it up as part of the Mill Creek 20 Musicals collection.

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Musicals On TV - Tangled: Before Ever After

Disney, 2017

Voices of Mandy Moore, Zachary Levi, Eden Espinosa, and Clancy Brown

Directed by Tom Caulifield and Stephan Sandoval

Music by Alan Menken; Lyrics by Glenn Slater

Tangled did well enough for a sequel short revolving around Eugene and Rapunzel's wedding, Tangled Ever After, to run in front of a re-release of Beauty and the Beast in 2012. That was so popular, Disney started looking into longer sequels...but for once, they had more ambitious plans. Tangled: Before Ever After would lead into a whole series on The Disney Channel featuring the adventures of the princess with the magical golden hair. How well does this introduce the series? Let's begin as Rapunzel (Moore) and her sweetheart Eugene "Flynn Rider" Fitzherbert (Levi) gallop across the country in search of adventure and find out...

The Story: Rapunzel would love to continue exploring, but as her lady-in-waiting Cassandra (Espinosa) reminds her, she has many duties to perform. Her father King Frederic (Brown) is so nervous about losing her, he won't let her go anywhere on her own or without a platoon of guards, especially before she's to be crowned Princess of Corona. Eugene tries to propose to her at the dinner the night before the coronation, but Rapunzel doesn't think she's ready and turns him down. 

Cassandra realizes how much stress Rapunzel is under and lets her sneak out for one last ride before she becomes Princess. They go over the wall around the kingdom to the place where her father found the magic flower that healed her mother. That area is now surrounded by strange, sharp rocks...rocks that have a strange reaction to Rapunzel and the magic still within her. Meanwhile, there's someone out there who doesn't want the coronation to continue and wants revenge on Rapunzel in the worst way...

The Animation: The CGI from the film and short have been replaced by a 2-D Flash style that's much simpler, but maybe even a bit more elegant. The characters move pretty well, even Rapunzel's hair. The brilliant jewel tones of the film are here replaced by soft pastels for Rapunzel's princess life in town and deeper tones when she's riding out in Corona.

The Song and Dance: Short and sweet, but quite charming, rather like its heroine. Cassandra's the most interesting addition here. She's clearly resentful of the attention paid to Rapunzel (something that would carry over to the TV show), but she's also loyal, highly intelligent, and can more than hold her own in a fight. While Eugene's role is downplayed somewhat, he still has some very funny moments, especially when he's trying to rehearse his proposal to Rapunzel. The movie even retains his adorably cocky narration. King Frederic and Rapunzel's mother Arianna at the very least are more fleshed-out here than they are in the movie. 

Favorite Number: The first number after Rapunzel and Eugene return to the castle is "Life After Ever After." Eugene may be delighted to live in the lap of luxury, but Rapunzel is tired of not being able to go anywhere alone and all the responsibilities she's not used to. "Wind In My Hair" is heard twice, in the opening when Rapunzel's racing Eugene through the countryside, and later when she and Cassandra escape the palace and revel in their newfound freedom.

Trivia: Later re-runs of this hour special were shown in two parts. 

What I Don't Like: This really isn't much of a musical...or much of a movie. It was made to be an introduction to the TV series. It works as that, but if you haven't seen either Tangled or the later series, you may be a little bit confused.

The Big Finale: Fun for fans of the Tangled film or the TV show Rapunzel's Tangled Adventure. 

Home Media: Easy to find on DVD and on Disney Plus, the latter with a subscription (as is the later TV series). 

DVD

Disney Plus

Greenwich Village (1944)

20th Century Fox, 1944

Starring Vivian Blaine, Don Ameche, Carmen Miranda, and William Bendix

Directed by Walter Lang

Music and Lyrics by various

After our vacation down in Argentina, how about a trip to downtown New York in the Roaring 20's? Miranda was at her height of popularity around this time as well as Roosevelt's Good Neighbor Policy resulted in an explosion of Latin American culture and themes in American films of the late 30's and 40's. Greenwich Village was still considered to be the spot in New York for artists even in the 40's, but in the 20's, it was a real melting pot. a place where Art rubbed against Commerce, and starving artists could be discovered by the great stage impresarios and publishers. 

It was also about the time composers like George Gershwin started taking popular music more seriously and wrote classical pieces with the zip and pizzazz of jazz. How does the arrival of hopeful composer Kenneth Harvey (Ameche) and his attempt to get his music noticed look now? Let's start with Kenneth stepping off the bus at the heart of Greenwich Village in 1922 and find out...

The Story: Kenneth steps right into a speakeasy owned by tough guy Danny O'Mara (Bendix). He wants to put on a major revue to rival Ziegfeld downtown starring his girlfriend Bonnie Watson (Blaine). His other headlining performer is "Princess" Querida O'Toole (Miranda), who does a fortune teller act between shows. She thinks Kenneth is rich after he flashes money around, but it turns out that's all the money he has on him. Danny doesn't like Bonnie's interest in Kenneth, but he still convinces Danny to write music for their show.

Kenneth is excited when violinist Hofer (Felix Bressart) claims the great producer Kavosky (Emil Rameau) wants to hear his music. Hofer, however, isn't as well-known in the classical music business as he claims, and Danny still wants to use Kenneth's music in the revue, whether he likes it or not. Kenneth now thinks everyone in New York is out to exploit him and his music, and ending up in jail with bootleg liquor doesn't help matters. Bonnie, Querida, and his friends in Greenwich Village, however, won't let him or his music go so easily.

The Song and Dance: Miranda and Ameche dominate this look at how popular music began to be taken more seriously in the 20's, with Bendix getting in as the jealous but well-meaning Danny. Ameche has one of his better musical performances as the hopeful composer, while Miranda is a riot as the South American lady with an eye for men with big wads of cash. There's also lovable con-man Bressart and B.S Pully as Danny's none-too-bright bouncer. The sets and costumes burst in utterly stunning Technicolor, some of the best from this decade. Everything pops, whether it's the get-ups in the costume ball mid-way through or Miranda's flowing jewel-toned tropical confections.

Favorite Number: We kick off with the most unique rendition of "I'm Just Wild About Harry" on film as Miranda gives it her signature touch, backed by a pirate combo on part of a ship. Blaine and Ameche go "Swinging Down the Lane" in a charming duet, which is cut off by the arrival of Danny and a massive party. Ameche, Bendix, Pully, and Bressart form their own brief but adorable barbershop quartet for "When You Wore a Tulip and I Wore a Big Red Rose." Dancers Sally and Tony DeMarco join the chorus outside of their deli as they declare to all of Greenwich Village that "This Is My Lucky Day." The entire cast gets in on "It's All for Art's Sake" that they're involved in debauchery during that colorful costume ball. 

Miranda's "I Like to Be Loved By You" is actually a leftover that was cut from Springtime In the Rockies, and it does seem a little spliced-in. The actual 20's ballad "Whispering" is performed at least three times by Blaine, including in Danny's apartment in the beginning and near the end at the revue. Black group The Four Step Brothers give the middle of the movie a lift with their awesome jazzy rendition of "It Goes Down to Your Toes." The movie ends with Miranda claiming "Give Me a Band and a Bandanna" as she rhumbas her way through segments from other songs. The DeMarcos turn up again with their lively number to "June Night." 

What I Don't Like: First of all, while the costumes are gorgeous, they're not historically accurate. Nor is the music, even the songs that really were written during the 20's like "Whispering." It looks and sounds like 1944 for the entire film. Danny won't even allow the constantly-mentioned bootleg whiskey in his place. The flimsy plot can even come off as a bit mean-spirited when Hofer takes Kenneth for a ride and Danny allows it; even Bonnie calls Danny on it. Speaking of, this was not Blaine's first film, but she never did develop the down-to-Earth flare that Grable and Faye did and comes off at best as good-natured and at worst as bland. 

The Big Finale: Lighthearted fun for fans of Miranda, Ameche, or the 20th Century Fox Technicolor extravaganzas of the 1940's. 

Home Media: DVD only as part of the Marquis Musicals series and The Carmen Miranda Collection. 

DVD

DVD - The Carmen Miranda Collection

Down Argentine Way

20th Century Fox, 1941

Starring Don Ameche, Betty Grable, Charlotte Greenwood, and Leonard Kinskey

Directed by Irving Cummings

Music and Lyrics by various

We switch from MGM to 20th Century Fox for two tales of summer adventures in other places and times. This was a big film for them in many respects. It was Carmen Miranda's first American film and the one that made Betty Grable a star after over a decade of appearing in chorus lines and tiny roles. It's also one of the movies that set the tone for Fox musicals for the rest of the decade. Either they were nostalgic romps in another time, or modern visits to some exotic location. 

This is a prime example of the latter. How does the story of an Argentinian horse breeder who falls for the lady who wants to buy his horse look now? Let's begin on the docks in Argentina, as Ricardo Quintana (Ameche) loads his father Don Diego's (Henry Stephenson) prize horses to be sold in New York on the ship, and find out...

The Story: Don Diego won't sell horses to Binnie Crawford (Greenwood) because her brother Willis once cheated him. Ricardo takes the horses to New York, where he meets the charming Glenda Crawford (Grable). He falls hard for her and even takes her out to dinner...until he learns she's Binnie's niece and wants to buy his horse. He sells the horse to her best friend Helen (Kay Aldridge) instead. 

Frustrated over his behavior, Binnie and Glenda follow him down to Argentina. Binnie tries again to buy a horse, only to be sent away by Don Diego. Ricardo tells his father Glenda's name is Cunningham. She suggests they race his prize horse Furioso after they discover his trainer Casiano (J. Carrol Naish) has been racing him on his own. Don Diego doesn't like it, especially when the horse runs off the field and he learns who Glenda really is. Ricardo, Casiano, and Glenda finally enter Furioso in a big local race to show Don Diego once and for all that at least two members of the Crawford family won't go back on their word.

The Song and Dance: Stunning Technicolor and nifty numbers liven up this tropical treat. This is the first of two times Grable appeared with Ameche (the other being Moon Over Miami). They have just as much chemistry here, especially in the first half, when Ricardo is falling for her, then trying to avoid her due to his father's wishes. Greenwood is as much fun as ever as Glenda's down-to-Earth aunt who won't let a little thing like angry fathers stop her from getting the horses she wants. Look for Carmen Miranda (in her first movie) and the Nicholas Brothers in fabulous specialty numbers. 

I also appreciate a slightly stronger story than usual for Grable's films. There's something genuinely at stake with the horse racing, and it gives a lift to the top-heavy second half.

Favorite Number: An unseen Carmen Miranda starts off with "South American Way" over the credits and a montage of the sights and sounds of Buenos Aires. "Down Argentine Way" is performed at least three times. Grable does it as a solo at the nightclub in New York before Ricardo realizes who Glenda is. Grable's own tap solo is followed by the Nicholas Brothers, who bring down the house with their death-defying, light-as-air leaps and splits. They turn up again for another showcase of their amazing style in traditional Argentinian costume in the finale, joined by Miranda and singer Bando de Lua. 

The film's real highlight is Miranda's three big numbers at a nightclub in Argentina. "Bambu Bambu" and "Mama Yo Quero" show off her exotic rhumba rhythms and remain associated with her to this day. Tito (Leonard Kinskey), Binnie's over-eager tour guide and suitor for Glenda, gets his own solo on the ballad "Nenita." Ameche and Grable have the romantic duet "Two Hearts Meet" at the Argentina nightclub and in the finale. 

Trivia: Carmen Miranda's first film. Her numbers were filmed in New York and edited in later, since she was still appearing in the Broadway show The Streets of Paris at the time. 

Alice Faye was originally supposed to star in this, but declined due to exhaustion. 

What I Don't Like: There's a reason this was banned in Argentina. For all the colorful costumes and supposed "folk" dancing, the movie is awash in Hispanic and South American stereotypes. Naish in particular may offend a few folks nowadays. While the plot is a little bit more interesting than most of her movies, it's still pretty thin. The second half is almost a retread of Day at the Races with Naish and Kinskey replacing the Marx Brothers. 

The Big Finale: Highly recommended for fans of Grable, Miranda, Ameche, or 20th Century Fox's tropical Technicolor extravaganzas of the 1940's. 

Home Media: The DVD is currently expensive. You might be better off streaming this one or looking for the Marquee Musicals set used. 

DVD

Amazon Prime

Musicals On TV - Return to Oz (1964)

Videocraft (Rankin-Bass)/NBC, 1964

Voices of Susan Conway, Larry D. Mann, Alfie Scopp, and Carl Banis

Directed by F.R Crawley, Thomas Glynn, and Larry Roemer

Music and Lyrics by Gene Forrell, Edward Thomas, and James Pollack

This started life as the second Videocraft TV show and the first in traditional animation, Tales of the Wizard of Oz. The series only ran for four months in 1961, but reruns proved to be strong enough for Videocraft to make a follow-up their first hour-long special. How does it look nowadays? Let's start with a little paper airplane as it soars through Kansas to a certainly little girl and find out...

The Story: That paper airplane delivers a message from Socrates the Scarecrow (Scopp) to Dorothy (Conway) inviting her back to Oz. She finds her silver slippers and is whisked away in another twister, this time while sitting in an apple tree. Glinda the Good Witch (Peggy Loder) explains to Dorothy that the letter was written by a revived Witch of the West (Mann) and all isn't as she claimed. She destroyed the Tin Man (Mann)'s heart, the Scarecrow's brains, and the Lion's (Banis) courage. The Wizard (Banas) once again sends them off to defeat the Witch and get their hearts' desires back...but he's not what he seems, either. The Witch has to get those silver shoes, or she'll lose her powers all together!

The Animation: If this doesn't look much like any other Rankin-Bass special, it was actually done by F.R Crawley's own studio and merely released by Videocraft. Very sketchy and limited, as per the animation on TV at the time. The backgrounds are often two colors and simple shapes; the characters move a bit stiffly. They do have some funny expressions on occasion, especially the Wizard and Witch. The odd teardrop-shaped Munchkins look more like the "Mr. and Mrs." characters from the little books that teach manners than the Munchkins in the books or any other adaptation. 

The Song and Dance: In a way, this one is more important for the history than for the content. This is the first hour-long show made by Rankin-Bass, who would specialize in them from the mid-60's through the early 80's. At the least, it does have some interesting touches. Dorothy wears the silver slippers from the books (the ruby ones may be trademarked), and there's the occasional unique character or design like the flying alligators. We also get to see at least one sequence from the book that didn't make it into the 1939 movie, when the scarecrow has them remove his hay to hide from an enemy. And I have to admit, I like how Dorothy's friends are insinuated to have really earned what they wanted, instead of being given the objects representing them as in the film and book. 

Favorite Number: The special opens and closes with Dorothy claiming how "I Wanna Go Back" to Oz, and then home to Kansas. "In the Wonderful Oz" is performed by a chorus over the beginning and end credits as they describe all the delights we're about to see. Dorothy sings about how the little people are "Munchkins, Naturally" when she arrives. The Tin Man laments how "I'm Heartless" when Dorothy runs across him. The Scarecrow tumbles and falls as he complains that "You Can't Build a Brain." They make fun of "Dandy the Lion" when he's obviously cowardly again. 

The Wizard and Witch claim that "I am Better Than You" after she's captured him. When the Scarecrow claims no one has magic anymore, Dorothy counters with the ballad "Wonderful Magical Ways" that there's magic everywhere. 

What I Don't Like: Can we say "rehash?" This is basically just a repeat of the original book with aspects of the 1939 film mashed in for good measure and the Witch outright attacking the Wizard. Apparently, the TV show this is based on had more unique stories. I have no idea why the Scarecrow and Tin Man are so nasty to the lion. In the book, they tease him about his cowardice on occasion, but here, they're downright mean. Dorothy does call them on it, but there's really no reason for it. It's also insinuated that the Wizard has real magic here, instead of being just a huckster. The animation is stiff and limited, the songs dull and unmemorable. (Bass would write better music himself for later specials with Rankin and Murray Laws.)

The Big Finale: This makes Filmation's 1972 attempt at an Oz sequel, Journey Back to Oz, look like a masterpiece by comparison. Only recommended for the most ardent Oz and Rankin-Bass fans. 

Home Media: DVD is in print, but fairly expensive. You might be better streaming this one. 

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Silk Stockings

MGM, 1957

Starring Fred Astaire, Cyd Charisse, Janis Paige, and Peter Lorre

Directed by Rouben Mamoulien

Music and Lyrics by Cole Porter

This one has a lot in common with The Band Wagon, starting with the Broadway pedigree.  We also have Cyd Charisse as the chilly avatar of the world of high morals as opposed to Astaire's "common" ones and a comedienne better known for her stage work as the second lead. Unlike Band Wagon, however, this is a fairly faithful transfer of the stage show, which had only been on Broadway two years before.

This is a different story in other ways, too. Silk Stockings is based on the 1939 film Ninotchka, about a devoted Russian operative sent to Paris to retrieve three rogue Russians who falls for a Western man..and western Capitalism. How does this story work 20 years later during the Cold War, when relations between Russia and the US were very different? Let's begin in Paris with a concert by Russian pianist Peter Illyich Boroff (Wim Sonneveld) and find out...

The Story: Movie producer and performer Steve Canfield (Astaire) wants Boroff to write the music for his next movie. Swimming star Peggy Dayton (Paige) is looking to get out of the water and into something darker and more dramatic, and he thinks his compositions would be perfect. Russian officials send Comrades Brankov (Lorre), Bibinkski (Jules Munshin), and Ivanov (Joseph Buloff) to retrieve him. Steve is easily able to ply them with wine, women, and song. They not only let Boroff stay, they end up staying on as well. 

Enter Nina "Ninotchka" Yoscheka (Charisse), the most devoted operative in Russia. She's not nearly as impressed by Paris and its decadent ways at first. Steve finally manages to charm her, and even gets her into an evening gown. She and the men are less thrilled when they realize Peggy, despite what she claims, has no desire to do a musical drama. After she turns Boroff's music into showtunes, they return to Russia. Steve realizes how crazy he is about Nina, but he can't get into Russia. It'll take a little conniving from their three Russian friends to bring these two lovers from very different cultures and political ideologies together. 

The Song and Dance: This one is all about Astaire, Charisse, and the dancing. Charisse does better than you might think as the frigid comrade who thaws out in the City of Lights, and Astaire is delightfully charming alongside her. Munshin, Buloff, and especially Lorre steal the show as the three bumbling commissars who are easily swayed by the enchantments of Paris. The story that compares the decadence of Paris to rigid Russia is also fairly interesting, and those satin and silk gowns that finally win Nina over are gorgeous. 

Favorite Number: Our first proper number opens with the Russian commissars deciding that it's "Too Bad We Can't Go Back to Moscow." Or it would be, if they didn't enjoy dancing and drinking with the ladies so much. Steve tries to explain to Nina at her hotel room that "Paris Loves Lovers," but Nina only loves the working man. Janice and Steve claim to the press that the modern movie must have widescreen and "Stereophonic Sound" to really make a splash. 

The big one here is Porter's last great ballad, "All of You." Here, the sinuous, sensual ballad becomes a duet for Astaire and Charisse as they swirl around her room and we finally start to see cracks in her armor. Nina disagrees. "It's a Chemical Reaction, That's All" she claims. Janice thinks all a girl needs for love is a little "Satin and Silk." Nina wonders if she's right as she dresses for the evening in Charisse's big solo. She rejoins Astaire for their second, more lively duet at the movie studio, "Fated to Be Mated." 

"Josephine" is the jazzy number for the ill-fated musical War & Peace that turns the story of Napoleon's wife into a chorus routine. The Russians long for "Siberia," but when they get there, Boroff shows off his new composition, "The Red Blues." Charisse joins the chorus for a joyful mix of Russian and western dance styles. Porter wrote "The Ritz Roll and Rock," a spoof of the then-new rock scene, for Astaire as his big solo. He joins a group of hoity-toity society types in his usual tux and top hat in a salute to that bright, jangly new sound.

Trivia: Silk Stockings ran through a heavily troubled tryout period that saw the book totally re-written and many songs discarded. Don Ameche and German actress Hildegarde Kneff played Steve and Nina on Broadway. It was a hit, running for almost two years, but has seldom been seen since then outside of the occasional concert.

This is the last musical Cole Porter wrote for the stage, and the second-to-last for film. 

What I Don't Like: Let's discuss that story. It just hasn't dated well, which is probably the reason this is seldom revived. Russia's changed a lot since 1957, and so has its relationship with France and the US. Other than the standard "All of You," the score isn't Porter's best, either. I do wish they hadn't dropped the other show's other hit song, the gorgeous "As On Through the Seasons We Sail." All the re-writing mainly shows in Paige's character. She claims to the press early-on that she wants to get out of swimming musicals...and then she wants to turn the War & Peace musical into a comedy? And Peggy vanishes completely once they return to Russia. Neither she nor the film are mentioned again. 

The Big Finale: Recommended mainly for fans of Porter, the two leads, or the splashy MGM musicals of the 1940's and 50's. 

Home Media: Easily found in all formats. Discs are available via the Warner Archives. 

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Amazon Prime

The Band Wagon

MGM, 1953

Starring Fred Astaire, Cyd Charisse, Nanette Fabray, and Oscar Levant

Directed by Vincent Minnelli

Music by Howard Dietz; Lyrics by Arthur Schwartz

By 1953, the MGM musical was at its zenith. It was one of the most popular entertainments in the entire world, with its biggest films often the top hits of their year. This one, however, had a lot of trouble on the road to filming. Fred Astaire's wife was dying, and he had to focus on this and losing her. Nanette Fabray and Oscar Levant didn't get along. Writers Betty Comden and Adolph Green had to figure out how to turn the original 1931 revue, with unrelated songs and skits, into a full story. How well did they do, with everything else going on? Let's begin with the auction of a famous top hat and cane belonging to former movie star Tony Hunter (Astaire) and find out...

The Story: Tony's friends Lily (Fabray) and Lester (Levant) Martin have written a stage musical that he hopes will be his big comeback. However, they've also convinced Jeffery Cordova (Jack Buchanon) to direct. Cordova is a theatrical wonderkind who has directed three plays on Broadway at once and is currently starring in a fourth. None of those plays were musicals, however, and Tony has his doubts about using him when Cordova insists he wants to change the Martins' fluffy detective story into a pretentious musical version of Faust. He even convinces ballerina Gabrielle "Gaby" Geraud (Charisse) and her choreographer boyfriend Paul Byrd (James Mitchell) to create the dances.

Everything goes badly at first. Gaby and Tony are from different eras and styles of dance and don't get along. Lester is tired of Lily going on about how great Cordova, too, and they end up bickering. Cordova is not only hard to please, but is overfond of huge productions with sets too large for the stage and special effects that hide the dancers. Tony finally quits in frustration. Gaby follows him, finally admitting she thinks he's the better dancer. Dancing together makes them realize they have more in common than they previously believed. Now they just have to convince Cordova that he's barking up the wrong cardboard tree and bring the rest of the show together, too.

The Song and Dance: I've loved this movie since I saw it on TCM in college. It's one of my favorite movies of any genre. Along with Three Little Words, it's probably Fred Astaire's best performance at MGM; it's also Vincent Minnelli's second-best work on a musical after Meet Me In St. Louis. Minnelli manages some wonderful touches, especially the montage that depicts how badly the first version of the show went over by just showing still images of crashes. Even Cyd Charisse does well as Gaby, who gradually comes to enjoy the "lower" form of entertainment as much as she does ballet, Buchanon is appropriately oily as the overconfident director who learns that musicals are harder to pull off than they look, and pianist Levant and Broadway star Fabray are hilarious as the married writers who end up quarreling over how much Cordova took over their original idea.

Favorite Number: The movie begins with a brief "By Myself" as Hunter strolls down New York, looking for his friends. "Shine On Your Shoes" has him dancing around an arcade that used to be a theater lobby, joined by real-life dancing shoe shine man Leroy Daniels. Cordova sings "That's Entertainment," the only new song written for the film, to convince Tony that "there's no difference between Shakespeare's immortal words and Bill Robinson's immortal feet." Watching the two of them and the Martins clown around and hoof it together, you almost believe him. 

Two big chorus numbers that are barely seen in the film, "Something to Remember You By" and "You and the Night and the Music," represent the show during its original rehearsal period. "Music" in particular is drowned out by Cordova's huge special effects. This leads to the film's most famous number, "Dancing In the Dark." Gaby and Tony escape to Central Park, where their dance together is more lyrical and moving than any special effect...and proof positive that high and low art can work together. We get a more comic version of this as Tony, Gaby, and Lily clown around with the German-themed "I Love Louisa" at the chorus members' after-party.

Charisse almost literally glows in her gorgeous yellow gown, singing about that "New Sun In the Sky." Fabray leads a group of hayseed chorus kids on a lively "Louisiana Hayride." Buchanon and Astaire define elegance in their top hat-and-cane duo, "I Guess I'll Have to Change My Plan." Despite the number being almost a literal pain to make, Astaire, Fabray, and Buchanon are morbidly hilarious as "Triplets" with dancing knees who wish the others would go away. "The Girl Hunt Ballet" ends the film, with real-life detective novel lover Astaire as the gun shoe who pursues two different versions of Charisse, an ethereal blonde beauty and a low-down, dark-haired vamp in glittering scarlet.

Trivia: The original Broadway Band Wagon revue opened in 1931, with Astaire, his sister Adele, Frank Morgan, and Helen Broderick. It ran almost a year, not bad for the height of the Depression. "New Sun In the Sky," "Dancing In the Dark," and "I Love Louisa" came from this version. This would be the last time Fred and Adele appeared together. Adele retired to get married shortly after the show's run. 

A stage adaptation of the film debuted as Dancing In the Dark in San Diego in 2008. It reverted to The Band Wagon when it played New York City Center as an Encores! special event. 

Cordova was inspired by Broadway director and actor Jose Ferrer, who in the early 50's produced four shows on Broadway and was considering a fifth. The Martins are based on unmarried songwriting team Comden and Green. Fred Astaire really did almost retire for a while in the mid-40's. 

Look for a redheaded Julie Newmayr as one of the models seen during the fashion salon segment of "The Girl Hunt Ballet." 

The number "Two Faced Woman" with Charisse and the chorus was cut from the film. The recording would be used in the Joan Crawford movie Torch Song; part of the number would turn up in That's Entertainment III. 

What I Don't Like: Even for a light-hearted backstage comedy, there's a lot of plot contrivances and unexplained stuff going on. The most obvious is how Cordova got into Tony's hotel room without anyone noticing after the "I Love Louisa" number. (Well, he was Mephistopheles...) There's also all the fact that, of all those great numbers at the end, only "The Girl Hunt Ballet" sounds like it could have been created for the description of the show that Lily and Lester give Jeffery and Tony in the beginning. The others look like they could have come from the original Band Wagon revue. 

The Big Finale: This is one of my favorite movies of all time, period. If you're a fan of Astaire, Charisse, dance on film, or the big splashy MGM musicals of the 40's and 50's, they don't come any bigger, splashier, or more fun than this. Check out this with Singin' In the Rain as a double-feature if you want to know what the MGM musical is all about. 

Home Media: My two-disc DVD set that I've had since it came out is in print but now a bit expensive. You may be better off looking for this on the one-disc Blu-Ray or streaming.

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Animation Celebration Saturday - Tangled

Disney, 2010

Voices of Mandy Moore, Zachary Levi, Donna Murphy, and Brad Garrett

Directed by Nathan Greno and Byron Howard

Music by Alan Menken; Lyrics by Glenn Slater

The idea of Disney doing the Grimm's fairy tale Rapunzel apparently went back to 2001, but then-CEO Michael Eisner wanted it to be computer-animated. The original idea was to have two normal kids end up playing the roles of Rapunzel and her prince, but this was dropped around  in favor of something somewhat closer to the original fairy tale. It went over well enough in 2010, but how does it look now, after other fairy tale stories from Disney and elsewhere have come and gone? Let's begin with thief Flynn Rider (Levi) narrating the story of how he died...and how a king and queen lost their child and her magical hair to a vain witch...and find out...

The Story: Rapunzel (Moore) has never known any home but the tower she was reared in. Her adoptive mother Gothel (Murphy) has convinced her that the world is a terrible place filled with people who will only want her long, golden, magical hair that can glow and heal. She finally gets her chance to see the outside world when she catches Flynn hiding the tiara that belongs to the lost princess in her tower. If Flynn wants the tiara back, he has to take her to see the floating lights that appear every year on her birthday. 

He agrees to it in order to get the tiara back...but as they travel through the countryside and into town, they gradually fall in love. Gothel is determined to get her ticket to immortality back and follows her, claiming Flynn isn't loyal. Rapunzel and Flynn have to dodge Gothel and Flynn's former partners before they learn that some dreams are worth sacrificing for, especially when they're dreamed for the ones you care about.

The Animation: Part of the reason this took almost 10 years to debut was Disney couldn't decide how they wanted it. The directors wanted it to be two-dimensional, and the executives wanted computer animation. They finally decided on computer animated, but with a glowing, painterly look like in the work of romantic European artists. They certainly did that. The artwork here is still very good, glowing with jewel tones and the brilliant shine of Rapunzel's flowing tresses. The characters have faces that are just as expressive and detailed as 2-D - check out the wild and weird thugs at the Snuggly Duckling, for instance, or Flynn's perpetual deadpan smirks. 

The Song and Dance: Along with the animation and music, the major selling points are the wonderful performances. Moore badly wanted to play a Disney princess since childhood, and she's adorable as the eager, hopeful teen who dreams of seeing the lights and learning more about the outside world. Levi is hilariously snarky as the thief who claims he only wants riches, but may have more dreams in mind than chasing money.  Jeffery Tambour and Brad Garrett are among the seemingly frightening thugs at the Snuggly Duckling who turn out to be far less scary than they appear at first. 

And there's Mother Gothel, one of Disney's nastier female villains. She's not as over-the-top as some other Disney bad people, but that makes her even more effective. She's the ultimate abusive parent, manipulating Rapunzel back into her tower by claiming the world outside is selfish and evil...when the only really evil character around is her and her overriding vanity. 

Favorite Number: Our first proper number is "When Will My Life Begin?" as we see Rapunzel go about her daily chores. She tries to fill her day with activities, but the truth is, she's bored and longs for adventure. Gothel's "Mother Knows Best" sounds like concern, but her only real concern is keeping her teen daughter from running off with the golden hair that's her ticket to immortality. Its reprise is even more manipulative as she claims Flynn only cares about the tiara. Rapunzel sings to the thugs at the Snuggly Duckling how "I've Got a Dream." They're so charmed by her, they tell her about their secret wishes, and even manage to get Flynn to reveal his. 

"I See the Light" is the big ballad as Rapunzel admits how happy she is to see the lights...but even more, how even happier to be with Flynn alone on the lake as they admit their feelings for one another. The movie ends on an upbeat note with the bright but unmemorable pop song "Something I Want" sung over the credits by Grace Potter.

Trivia: While it was only a mild hit critically, it went over far better with audiences. It was the third highest grossing animated movie of 2010 (behind Shrek Forever After and Toy Story 3), and was even more popular on home media. It was that success that led to the short Tangled Ever After in 2012, the TV movie Tangled: Before Ever After in 2017, and the TV show Tangled: The Series (later Rapunzel's Tangled Adventures) a year after that. 

What I Don't Like: I really wish this was more of a musical. I suspect Disney may have been wary of out-and-out musicals after The Princess and the Frog didn't perform to their expectations at the box office. There's only four full numbers and an instrumental dance routine in town, plus the pop song "Something I Want" over the end credits. Of the songs, only the Oscar-nominated "I See the Light" is really up to the standards of Menken's earlier work. 

And no, this doesn't have anything in common with the original fairy tale, other than a girl with long hair who was kidnapped in infancy by a witch and locked in a tower. In the original story, Rapunzel was the daughter of a peasant who stole the witch's greens for his pregnant wife. The witch was so offended, she took their child. The guy who rescued her was a prince; the witch blinded him for invading the tower after she knocked him in the windows. In some versions, Rapunzel even has his children after being abandoned in the desert, which really wasn't going to fly in a Disney movie.

The Big Finale: Adorable characters and gorgeous animation makes this one of Disney's better animated films of the last decade or so. Check it out with your favorite little princess or thief.

Home Media: Easily found in all formats. Disney Plus currently has it, Tangled Forever After, Tangled: Before Ever After, and Rapunzel's Tangled Adventures with a subscription. 

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Delicious (1931)

Fox Film Corporation, 1931

Starring Janet Gaynor, Charles Farrell, Raul Roulien, and Virginia Cherrill

Directed by David Butler

Music by George Gerswhin; Lyrics by Ira Gershwin

Sunny Side Up was such a smash, Fox immediately put Gaynor and Farrell into more of the same. High Society Blues was also a hit, enough that despite musicals going out of style later that year, Fox had the  confidence for a third go-around. This time, they recruited no less than George and Ira Gershwin to write the songs and some background scoring for this romance about an immigrant coming to America and the polo player she falls for. How well does this story look now, with immigration once again in the news? Let's begin on the ship, as we witness people from many countries performing songs in their native language while the wealthier first-class passengers watch them, and find out...

The Story: Heather Gordon (Gaynor) is a Scottish lass who first encounters Larry Beaumont (Farrell) when she and Russian immigrant Sascha (Roulien) borrow his piano so Sascha can compose a song for her. Larry's instantly smitten and offers to help her, which doesn't amuse his frigid fiancee Diana Van Bergh (Cherrill) one bit. Meanwhile, Sascha's sister Olga (Manya Roberti) is being courted by Larry's Swedish valet Chris Jansen (El Brendel). 

Heather's horrified when it turns out the uncle she was supposed to live with can't afford to take her in and she'll be sent back to Scotland. She flees Detective O'Flynn (Laurence O'Sullivan) and hides in the stable that houses Larry's horse. It's taken to Larry's mansion, where Chris offers to watch over her. She runs into Larry there and takes off yet again, this time ending up back with Sascha and his family at their cafe. They let her into their act, which works until O'Flynn turns up looking for her. Larry's been  hurt, and she wants to see him, but the jealous Diana initially bars entry. She thinks she has nowhere to turn, but once Chris gets Larry moving, he finally realizes who really cares about him.

The Song and Dance: Some of the "song and dance" here are among the most memorable and creative of the early talkie era. Gaynor struggles to maintain her Scottish accent, but she's otherwise just as adorable here playing a winsome lass who will do anything to stay in America. Roulien is warm and likable as the gifted composer with a crush on Heather, and Roberti has some very funny quips when the girls are on the boat together. Director David Butler once again puts in some of his best work, notably in the big "Melting Pot" and "New York Rhapsody" sequences, with their elaborate effects and effective montages. 

Favorite Number: The movie opens with that series of traditional songs performed by the various ethnic groups on the ship, ending with Roberti's spirited "Oche Chornye." Roulien finally gets the title song on that piano, inspired by how Heather pronounces "Delicious" in her Scottish brogue. Gaynor sings to the camera about her dream lover again, this time hoping that "Somebody From Somewhere" will take her in. "Katinkshcka" is the number at the Russian cafe. Roberti and Mischa Auer want approval from their "dolly" Gaynor, who comes complete with exaggerated Russian costume and big circles on her cheeks. Brendel's "Blah Blah Blah" after Sascha and Heather announce their engagement is a dearly silly spoof of sappy lyrics in love songs.

The big ones here are two extended set pieces, both featuring Gaynor. Heather dreams of her entrance into America, "The Melting Pot." Reporters announce her arrival, the Mayor gives her the key to the city, Uncle Sams swirl around her, and even Mr. Ellis (of Island fame) greet her. "New York Rhapsody," later renamed "Second Rhapsody" in the concert halls, is heard in the finale when Heather flees into the city. This time, she's greeted by a nightmarish medley of images, as men accost her and the shadowy night threatens to swallow her tiny frame. The symphonic music finally reaches its crescendo as, believing she has no other choice, she turns herself in to the police.

What I Don't Like: I'm actually a bit grateful they didn't make Farrell sing this time, but he's otherwise even less interesting. Chemistry or no chemistry, there's really no reason for Larry and Heather to end up together, other than the two were one of Hollywood's most popular acting duos at the time. Frankly, Sascha was a far nicer guy who treated Heather well and was obviously a talented composer to boot. For all of Butler's innovative set pieces, there's just as many arid long shots of people standing around talking. While the Gershwins never wrote a bad score, the music here isn't their absolute best (although "Second Rhapsody" would later get some play in concert halls). 

The Big Finale: Mainly for fans of the Gershwins' music or the stars in question. Everyone else will be fine looking up the amazing "Second Rhapsody" number separately.

Home Media: Only on YouTube, in a copy that, for some reason, substitutes weird upbeat instrumental music for "Second Rhapsody." The number can be found elsewhere with restored instrumentation. 

YouTube

Second Rhapsody Sequence

Happy 4th of July! - Sunny Side Up (1929)

Fox Film Corporation, 1929

Starring Janet Gaynor, Charles Farrell, Marjorie White, and Frank Richardson

Directed by David Butler

Music and Lyrics by B.G DeSylva, Lew Brown, and Ray Henderson

Happy 4th, everyone! Let's jump back to Independence Day in New York 94 years ago, where tenements held massive block parties with dancing, music, recitations, and food from many countries, and the wealthy gathered in Long Island estates for for elaborate soirees with cocktails and elegant garden shows. This is a historic film in many respects. It was one of the first truly original film musicals that wasn't based on a  previous stage show or a backstager that stuffed the songs between the story. 

DeSylva, Brown, and Henderson worked on the songs and the book, assuring that the Cinderella story of a New York shop girl who falls for a playboy was unusually well-integrated for the time. How does it look now? Let's join the camera in roaming across the Manhattan tenement where Molly Carr (Gaynor) and her best friend Bea Nichols (White) live and find out...

The Story: Molly's latest crush is Jack Cromwell (Farrell), the handsome son of a wealthy Long Island family. She's been ogling his picture in the society pages, but the last thing she expects is for him to turn up in her apartment on the 4th of July. Jack got drunk at his parents' party when his fiancee Jane Worth (Sharon Lynn) preferred flirting to setting the wedding date, crashed his car, and stumbled into Molly's apartment.

He's so enchanted by her performance at the block party and her kindness to him afterwards, he encourages her, Bea, Bea's boyfriend Eddie (Richardson), and Eric Swenson (El Brendel), the owner of the grocery store on the bottom floor of their building, to come out to his Long Island mansion and perform at the big charity show his mother (Mary Forbes) is putting on. Jack dresses Molly in fine clothes and tells his mother she's a society lady and the others are her servants. He's hoping to make Jane jealous, but the last thing he expects is to fall for her. His ruse works too well when an angry Jane passes it around that Molly is a kept woman. Molly runs back to Manhattan, but Jack isn't going to let her go so easily...

The Song and Dance: If your only exposure to the early sound era is backstage fluff like The Broadway Melody or Al Jolson's soppy melodramas, have I got a treat for you. This utterly adorable romantic comedy remains delightful today, thanks to its two leads, a decent supporting cast, and how well the charming songs bolster the plot. Gaynor may sound like the Disney Snow White and sing like she's on helium, but she's utterly convincing as the naive shop girl who finds herself courted by a millionaire. White and Richardson have a terrific time as the supportive best pals, and even Brendel's Swedish hayseed gags are more tolerable than usual. 

They're backed by a terrific production, especially for the early sound era. David Butler would make a career out of directing sweet fluff like this for everyone from Bob Hope to Doris Day. His unique opening depicts the residents of Molly's tenement and how they celebrate the 4th of July, roaming from room to room, giving us snippets of their daily lives. The cinematography is gorgeous for the early sound era and even includes some relatively complex outdoor shooting. 

Favorite Number: Molly sings the sweetly simple ballad "I'm a Dreamer, Aren't We All?" three times. The first and last time, she's at home, dreaming of Jack. The second performance is at the charity show, behind a curtain of spouting water, after she thinks she's lost him. This one is much slower and a lot more heartfelt. By contrast, Jane's big song is the jaunty "You'll Find the Time and I'll Find the Place" at the Long Island mansion, her admittance that she's willing to go along with whatever guy comes along. Bea and Frank twit each other in the goofy vaudeville dance routine "You've Got Me Pickin' Pedals off of Daisies" as they literally pick flower crowns. Molly leads the crowd at the block party into a big sing-along for title number

The charity show begins with the totally outrageous "Turn on the Heat." Lynn and the chorus girls begin in furs and igloos...but as the song continues and their wriggling grows wilder, palm trees sprout, the ladies shed their furs, and even the set burns up in the frenzy! It's campy, insane fun of the type Busby Berkeley would perfect in the 30's and early 40's. Gaynor and Farrell appear in the other big number, the hit "If I Had a Talking Picture of You." The song is cheerful and bouncy, but their childish voices don't do it justice, and they sound more like five-year-olds than adults courting each other. This isn't helped when actual kids toddle on dressed exactly like them and sing along. Farrell reprises this more effectively in the finale, when Molly sees him singing it and realizes the true depth of his feelings for her. 

Trivia: This was one of the biggest hits of 1929 and inspired other studios to make their own non-backstage original musicals. 

"Turn On the Heat" was originally filmed in Multicolor, but current prints are only in black and white.

Janet Gaynor and Charles Farrell starred together in three previous silent melodramas, Seventh Heaven, Street Angel, and Lucky Star. This would be their first sound film. 

Look for a young Jackie Cooper as the little boy who tries to recite "The Village Smithy" during the block party while squirming to get to the bathroom. 

What I Don't Like: First of all, Farrell doesn't work out quite as well as his co-star. They do have obvious chemistry (and were actually dating at the time), but his nasal voice and flat delivery belie his role as Long Island's most eligible Prince Charming, and his singing is worse than hers. Second, there are times when the early talkie stiffness does turn up, mostly in sequences when people are standing and talking, Also, keep in mind that this is a pre-Code movie. Some relatively racy moments include a sequence with a feminist giving birth control pamphlets to a mother surrounded by children and mild swearing. 

The Big Finale: One of the best movies of its era, this is a sweetheart of a romantic comedy that deserves a place at your 4th of July get-together.

Home Media: At press time, this rarity can only be found on YouTube.

YouTube

Animation Celebration Saturday - Uncle Sam Magoo

NBC, 1970

Voices of Jim Backus, Lennie Weinrib, Bob Holt, and Patti Gilbert

Directed by Abe Levitow

Music and Lyrics by various

This would be the second and last Magoo TV special after the wildly popular Mr. Magoo's Christmas Carol. In many ways, it's a lot more ambitious than Christmas Carol, with Magoo playing Uncle Sam and inspiring figures from more than 200 years of American history. It may also be a continuation of the prime-time animated show The Famous Adventures of Mr. Magoo, which had Magoo playing literary and historical characters. How well does everyone's favorite nearsighted old codger do as one of the most beloved American icons? Let's begin with his arrival in Hollywood, bumping into everything in sight and complaining about the state of the country, and find out...

The Story: Magoo (Backus) is supposed to be appearing in a movie, but he's devastated when it turns out he's in an Uncle Sam costume. He was hoping to be a debonair man about town. The spirit of Uncle Sam (Weinrib) insists he has a far more important job to do. Magoo accidentally knocks himself out...and finds himself traveling through various times and places in American history, from the discovery of the US to the real untamed Wild West. He finishes out explaining the importance of these events to the President as we hear from great statespeople and speakers...finally making Magoo understand how history helped shape the country as we know it, too.

The Animation: While Magoo and and most of the historical characters are done in the simple, slanted UPA style, the colors are bolder and brighter than usual, as per the subject matter. UPA eschews the slanted look in the elaborate medleys from various American wars set to stunning artwork. Some of the more dramatic characters, like George Washington and Kit Carson, are also done a little less cartoony than the rest of the special.

The Song and Dance: Stirring and impressive, this look at American history has surprisingly dark edges. The sequences depicting the Civil War and the Wild West in particular don't stint on the uglier sides of those time periods, showing the West in all its violent, land-destroying reality. The choral arrangements are appropriately stirring and beautiful, bringing many old American hymns and songs to life. Backus appropriately is a little more subdued as Uncle Sam after doing his usual myopic gags in the opening. 

Favorite Number: We open with Magoo claiming "They'll Love Me In Hollywood." They might like him a bit more if he was less likely to run over side walks and making a mess of a star trying to get his hand print in cement. He sings "Yankee Doodle Boy" on the moon in an attempt to show how good he'll be as Uncle Sam. Magoo gets two sailor shanties as Viking Leaf Erikson sings "Sailing, Sailing" and Christopher Columbus and his men and John Smith and his crew perform "Blow the Man Down" as they (accidentally) discover the US. The Pilgrims perform a lovely traditional blessing over their first Thanksgiving. We get an instrumental "Yankee Doodle" and "But for You, My Sally Ann" to lead us into the American Revolution.

Magoo encourages Francis Scott Key to write "The Star Spangled Banner" during The War of 1812. An abandoned little girl sings "Red River Valley" right before the slaughter at the Alamo. That "storm" takes us straight into an old black spiritual "Hold Down." The Civil War juxtaposes "Columbia, Gem of the Ocean" with "Wish I Was In Dixie," set to real artwork of the time depicting actual Civil War battles...and "Columbia" eventually drowning out "Dixie." "She Wore a Yellow Ribbon" briefly represents the Spanish-American War of 1898, while World War I and II are represented by "When Johnny Comes Marching Home." "Home On the Range" shows how the American West went from a dusty, beautiful land "where the buffalo roam" to a world of violent cowboys, ruined nature, and natives run off their land. 

The only other original song is Magoo reciting the many, many "Inventions" created in the US during and after the Industrial Revolution. This goes straight into an instrumental fiddle square dance for settlers. "I've Been Working on the Railroad" shows the coming of the train to the West and its joining at Promitory Point. Giant lumberjack Paul Bunyan sings a gorgeous "Shenandoah" to make his ox Babe cry and let his logs float downriver. Mark Twain directs Magoo down the "Old Mississippi" as he sees two little boys on a raft who inspire his two most famous characters. The miners who flood California in 1849 lament the loss of "Darlin' Clementine." We end with images of "America the Beautiful" under children reciting the Pledge of Allegiance.

What I Don't Like: The stereotypes here are both subverted and played straight. The indigenous people are played for comedy, especially in the opening discovery sequences, played for drama in the West, and played as "savages" who try (and fail) to attack Magoo. The Chinese workers, however, are pure comic stereotypes and may offend a few people nowadays. There's very few women. We see Betsy Ross, Priscilla Mullins, and hear Eleanor Roosevelt during the montage of famous quotes in the finale. There's also quite a bit of insinuated violence, not only in the war sequences, but out west as well.

The Big Finale: Stirring introduction to American history for elementary school age kids and their families is a pleasant patriotic surprise that should be far better-known.

Home Media: DVD only from Sony Wonder. 

DVD