Starring Deanna Durbin, Dick Haymes, Vincent Price, and Albert Sharpe
Directed by William A. Seiter
Music by Sigmund Romberg; Lyrics by Dorothy Fields
We move onto our All-American Weekdays leading up to the 4th of July with tales from American history, on movies and TV. This week, we go to the movies with this adaptation of a Broadway hit. Up In Central Park debuted on Broadway in 1945 and would be the last hit Romberg had in his lifetime. The romantic operetta about a young reporter fighting against Tammany Hall corruption in 1870's was part of a series of musicals depicting American history at a time when Americans still needed to be reminding of what they were fighting for overseas. Does this tale of love in New York amid corruption still resonate today, or should it be left on the presses? Let's begin with a political rally in New York for mayoral candidate Abraham Oakley (Hobart Canavaugh) and find out...
The Story: Political boss William Tweed (Price) runs Tammany Hall with an iron fist in the Big Apple, pushing Oakley into the spotlight and stamping out anyone who challenges him. His only real opposition is The New York Times, especially opportunistic young reporter John Matthews (Haymes), who is determined to bring down the curtain on his corrupt reign. Into the center of this merry-go-round comes Irishman Timothy Moore (Sharpe) and his daughter Rosie (Durbin), just off the boat. Moore is immediately taken in by Tweed's man Rogan (Tom Powers) to vote 23 times for the Tammany Ticket. He's rewarded with money and a new job as Central Park Superintendent to quiet Rosie after she overhears Tweed's plan to embezzle money from the park.
Matthews finds out from Moore that Tweed is using some Central Park Zoo animals for food. This does highlight Tweed and make people think twice about voting, but it also costs Moore his job. Rosie is furious and tells Boss Tweed so. He's so smitten with her, he re-hires her father and offers to make her an opera star. John also loves Rosie, but she's so in love with Tweed, she refuses to hear anything against him. Once Moore learns to read, he realizes just how bad Tweed is and joins Matthews in tricking the Mayor and exposing Tweed's criminal empire for good.
The Song and Dance: This isn't much of a musical, but it is a pretty interesting take on corruption circa 1870's New York City. It's the support cast and sumptuous production that shines here. Oily Price is a marvelous Tweed, radiating enough slimy charm that you understand what Rosie sees in him, even as her father and Matthews uncover his devious doings, and Sharpe is a charmingly befuddled and determined new citizen. The stunning costumes, with sweeping spangled gowns with elegant flowered and veiled hats for the ladies and tight, ruffled suits for the men, and detailed sets depicting Central Park and down-and-dirty political backrooms, are historically accurate and beautifully done.
The Numbers: We open with the big chorus number at the political rally, "Oh Say Can You See (What I Say)" as the members of Tammany Hall celebrate their candidate. It's heard again from Rosie, her father, and their fellow immigrants on the boat to New York. Rosie and John ride a "Carousel In the Park" as he sees her for the first time, in an elegant gown riding that Central Park merry-go-round. "The Currier and Ives Ballet" shows "skaters" in fur-trimmed gowns watzing on Rosie's stereopticon slide from Tweed. John passes himself as a waiter as he sings about what it's like "When She Walks In the Room." Durbin's big opera solo late in the film is "Pace, pace, mio dio."
What I Don't Like: For one thing, a lot of songs from the original show were dropped, including the lovely ballad "Close as the Pages In a Book" that might have suited Durbin very well. For another, Durbin and especially Haymes are overshadowed by the supporting cast. Durbin didn't enjoy making this and seems to be phoning in her performance. Haymes was never the best actor; a historical drama is way over his head. Frankly, the gorgeous Currier and Ives Ballet (another holdover from the show) is more interesting than most of the movie. And given the costumes and sets, I'm surprised this wasn't filmed in color. It would have brought a lot of the overheated melodrama.
The Big Finale: Mainly for fans of Durbin or nostalgic 40's musicals.
Home Media: DVD only via the Universal Vault.
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