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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Cult Flops - Bells are Ringing

MGM, 1960

Starring Judy Holliday, Dean Martin, Jean Stapleton, and Fred Clark

Directed by Vincente Minelli 

Music by Jules Styne; Lyrics by Betty Comden and Adolph Green

Arthur Freed and his tight-knit Unit produced many of MGM's famous most famous musical productions, from The Wizard of Oz to Gigi...but by 1960, MGM and musicals in general were in trouble. Between the collapse of the studio system and television increasingly encroaching on older and family audiences, Freed's musicals were no longer the major cash cows they'd been through the mid-50's. Did Bells are Ringing allow the Freed Unit to go out in a blaze of glory, or should we hang up on this bell? Let's begin with a musical commercial for the New York answering service Susanwserphone, and find out...

The Story: Ella Peterson (Holliday) is a switchboard operator at Susanswerphone with a habit of getting involved with her clients, despite her cousin Sue (Stapleton) constantly reminding her she's only supposed to be giving messages. She's especially fond of playwright Jeff Moss (Martin), who just separated from his partner and is now supposed to come up with a play in 24 hours. She speaks to him in a warm, friendly old lady voice he calls "Mom." 

Upset when she can't get through to him with a message telling him to write his play or else, she goes to his apartment to deliver it. He's smitten with her sincerity and honesty, though she nervously calls herself "Melisande Scott." That goes so well, she dresses up to bring messages to two of her other clients, a dentist (Bernie West) who composes songs on his air hose, and a young actor (Frank Gorshin) who needs to give up imitating Marlon Brando punks to get parts. She's not as happy when Jeff invites her to a fancy party where she feels out of place and small and runs out. Not to mention, one of their clients are actually gangsters using their "record" business as a front for illegal horse betting, and they're even less happy when Ella accidentally switches one of their orders.

The Song and Dance: Martin and Holliday make a surprisingly cute couple in this charming and colorful romantic comedy. You'd never guess Holliday was sick during filming, or that this would be her last movie. She's wonderful as sweet, nervous Ella, who is more at home spreading joy among strangers than at a party or bottling up her natural inclination to help. Stapleton and Eddie Foy Jr. have their own fun with the gangster subplot, especially when they're on a date at "The Gypsy" bar and she's reveling in his fancy talk. Gorshin and West are hilarious in their brief roles as Ella's most unique clients, especially Gorshin's attempt at a bad Brando imitation. 

Favorite Number: We open with the title song against a montage of beautiful, glamorous ladies all waiting breathlessly for messages that only Susanswerphone can deliver. Holliday talks about how "It's a Perfect Relationship" between her and Jeff, even though they've never met. Bookie J. Otto Pranz (Foy Jr.) leads a chorus of unlikely gamblers in a subway tunnel extolling how "It's a Simple System." Ella and Jeff sing about how it's "Better Than a Dream" when she's thrilled to have met him and he's thrilled to have found a girl who is sweet, sincere, and able to push him to really work. Jeff sings on Times Square streets to tell all of New York how "I Met a Girl." Fed up with being told not to help and scared to explain everything to Jeff, Ella belts to Sue how "I'm Going Back" in a fare-thee-well finale. 

The big ones here are the standards "Just In Time" and "The Party's Over." The latter is a sweet duet for Ella and Jeff as they dance and clown for tenement audiences before entering the high-society party. After the party goes badly, Ella flees and laments that "The Party's Over."

Trivia: More of the stage score was filmed but cut, including the comedy number for Ella and Inspector Barnes (Dort Clark) "Is It a Crime?" and the rest of "Mu Cha Cha." "Crime" exists and is included on the DVD, along with a new song for Dean Martin that was also filmed but cut, "My Guiding Star." 

Holliday and Stapleton reprise their original roles from the Broadway production. It was a huge hit in 1956, running three years. A 2001 revival with Faith Prince as Ella had backstage problems and got poor reviews, barely lasting two months. It did better in a small-scale London revival in 2010 and in concerts in New York and Chicago. 

What I Don't Like: What's an answering service, many modern viewers may ask? An answering service provided messages for business people or busy families who often didn't have the time to answer every phone call that came through in the mid-20th century. The arrival of affordable answering machines in the 70's and 80's killed them off quickly, well before cell phones came into regular usage. 

Between the story revolving around a type of business that most people nowadays haven't heard of, the silly gangster side plot, and references to Brando method acting and all those celebrities in "Drop That Name' at the party, this musical is incredibly dated. I suspect that's a big part of the reason most subsequent revivals haven't done as well (even reviews for the Encores concert in 2006 complained about it). 

The Big Finale: Charming romantic comedy is worth checking out for fans of Holliday, Martin, or the big Broadway shows of the 50's and 60's. 

Home Media: Easily found in all major formats; DVD and Blu-Ray are currently available from the Warner Archives.

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Cult Flops - Hollywood Party (1934)

MGM, 1934

Starring Jimmy Durante, Jack Pearl, Lupe Valez, and Polly Moran

Music and Lyrics by various

Directed by various

This movie began life as The Hollywood Revue of 1933, the next in a series of revues that began with MGM's first variety show in 1929. It took a lot of wrong turns on the way to the screen, running through a series of screenwriters and directors who tried to make sense of the strange numbers and random bits from some of the best comedians at MGM, not to mention the addition of a Disney short. How does Durante's wild Tinseltown blow-out look today? Let's begin at a theater with the newest film starring jungle hero Schazeran the Conqueror (Durante) and find out...

The Story: Durante's pictures are flopping fast. His manager (Richard Carle) insists he needs to start fighting real lions again, rather than the worn-out stuffed ones he's been using. Durante holds a huge party to draw Jack "Baron Munchausen" Pearl (himself) and his menagerie, including lions. Also at the party are an Oklahoma oil family hoping to break into California society, Liondora (George Givot), Durante's rival, who also seeks to buy Pearl's lions, and Durante's female co-star in the Schazeran movies (Velez), who doesn't appreciate being left off the guest list.

The Animation: Mickey Mouse himself appears in a very cute sequence where he imitates Durante, then plays the piano for him. Mickey's typical of the stretch-and-squash animation in his shorts at the time, but he interacts very well with Durante and even has a few nice gags with a piano. "Hot Chocolate Soldiers" is better, a three-strip Technicolor short about a chocolate soldier army who attacks gingerbread men. It's on a par with the Silly Symphonies Disney made at the time, particularly in details like their uniforms and the candy animals they ride before and after their battle. 

The Song and Dance: This is one heck of a party! The barely-there story is merely a framework to hang some creative numbers and a lot of goofiness from some of the top comedians in Hollywood at the time. Durante revels in his rare leading man status, happily vamping Moran and looking ridiculous in his half-naked Tarzan spoofs and "reincarnation" number. Larry Fine and Curly and Moe Howard, the original Three Stooges, have a short bit with their original leader Ted Healy as autograph hounds and a photographer, and Laurel and Hardy get a very funny gag with Lupe Velez involving a lot of broken eggs.

Favorite Number: We kick off with the racy title song, as scantily clad phone operators announce the party to all of Southern California, and then we see people getting dressed and ready to dance the night away. "Feelin' High" takes us into the actual party, as Shirley Ross, Arthur Jarrett, Harry Barris, and The King's Men drink to their heart's content and the chorus whirls over the dining tables. Liondora's young cohort Ben Benson (Eddie Quillan) and the Clemps' starry-eyed daughter Linda (June Clyde) perform a cute near-touch dance to "I've Had My Moments." Arthur Jarrett performs the title song of "The Hot Choc'late Soldiers" animated short, written by Nacio Herb Brown and Arthur Freed in the cutesy style of "The Wedding of the Painted Doll" from The Broadway Melody. 

Trivia: Among the directors who worked on this movie are Richard Boleslawski, Edmund Goulding, Allan Dwan, Russell Mack, Charles Reisner, Roy Rowland, and Sam Wood. George Stevens directed the Laurel & Hardy scenes. 

Some of the many numbers deleted from the movie still exist, including a spoof of "Shuffle Off to Buffalo" for Jimmy Durante and Polly Moran called "Fly Away to Ioway." Others whose skits and numbers ended up on the cutting room floor included Zazu Pitts, Jackie Cooper, Thelma Todd, Max Baer, and real-life Tarzan Johnny Weissmuller. 

Dwan's complaints that the unfinished film was "a nightmare" inspired the finale, where Durante awakens to see his real wife and concludes the whole thing was a dream.

What I Don't Like: Like many real-life wild parties, this one doesn't make a shred of sense. As much fun as it is to see Mickey Mouse, The Three Stooges, Lupe "Mexican Spitfire" Valez, and Laurel & Hardy in the same movie, they don't really interact with one another, and other than Valez, don't have much to do with what very little plot there is. You can absolutely see the tinkering and many cooks involved. It lurches from number to gag with no form or real reason for existing. That may have worked in 1929, but by the era of the Busby Berkeley Warners extravaganzas, it's silly, annoying, and a bit dated.

The Big Finale: Harmless hour's worth of lunacy if you're a huge fan of Durante or any of the comedians involved. 

Home Media: DVD and streaming, the former from the Warner Archives.

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Ziegfeld Girl

MGM, 1941

Starring Lana Turner, Judy Garland, Hedy Lamarr, and James Stewart

Directed by Robert Z. Leonard

Music and Lyrics by various

MGM wasn't finished making use of the Ziegfeld name and the idea of "Glorifying the American Girl" after the Oscar-winning success of The Great Ziegfeld in 1935. Instead of going the biographical route, they opted to showcase three of their biggest up-and-coming female stars with this tell-all behind-the-scenes melodrama on the lives of three very different showgirls who get that "glorifying" treatment. How does it come off today? Let's begin at the New Amsterdam Theater in New York, where those girls wait to be "glamorized," and find out...

The Story: We follow the lives of three showgirl hopefuls as they're discovered and become famous in the Ziegfeld Follies. Sheila Regan (Turner) is spied by Ziegfeld's right-hand man Noble Sage (Edward Everett Horton) while operating an elevator in Brooklyn. Susan Gallagher (Garland) has been trying to get into the Follies for months, but only makes it in when Sage catches her vaudeville act with her father "Pop" Gallagher (Charles Winninger). Sandra Kolter (Lamarr) takes the job when her violinist husband Franz (Phillip Dorn) is considered to be "too good" for the pit of a Ziegfeld show and they need the money.

All three women attract beaus right away. Susan dates Sheila's brother Jerry (Jackie Cooper), but is worried about her father, especially when he goes on tour without her. Sandra's pursued by lead singer Frank Merton (Tony Martin), but they both have spouses who love them. Sheila rejects her truck driver boyfriend Gil (Stewart) in favor of a wealthy suitor (Ian Hunter). Stung, Gil gives up trucking and becomes a bootlegger. That sends Sheila on a downward spiral of alcoholism and bad decisions that ends in tragedy, even as Susan's star ascends and Sandra realizes whom she really cares about. 

The Song and Dance: Not hard to tell Busby Berkeley choreographed this one. His often flamboyant and outrageous dances take flight, even as the melodramatic plot remains earth-bound. I especially appreciate Sandra's story. It's rare to see a woman choose not to go with the life of glamor in a backstage musical. Sandra had a good head on her shoulders, and Lamarr did very well with her. 

We also get an early taste of the type of melodrama Turner specialized in later in her career towards the end of the film, when Sheila hits the skids. Look for Dan Dailey as a gambler who comes on to Sheila twice, first when she has money, and later after she becomes a drunk, and for Eve Arden as a supremely sarcastic showgirl who likes to show off the jewelry she got from her five husbands. 

Favorite Number:  "You Stepped Out of a Dream" would be the last hit song for Nacio Herb Brown and Arthur Freed before Freed switched to full-time producing, and it's a great way to go. Berkeley gives us a full-on view of what a real Ziegfeld glitter-and-staircase number was reportedly like, with Martin crooning the romantic ballad to a gala of ladies in amazingly creative (and brief) costumes representing stars, clouds, and air. Garland and Winninger give us a glimpse at old-time vaudeville with their corny-but-cute dance and joke routine to "Laugh? I Thought I'd Split My Sides." 

The costumes are even briefer and wilder - literally, given some are trimmed with tropical birds or aquatic life - in Martin's "Caribbean Love Song." Garland joins the chorus for the rollicking tropical tragedy of "Minnie from Trinidad." Not only does this foreshadow Sheila's eventual fate, it's probably the best number in the movie along with "Dream." Berkley really has fun with the camera here, as the dancers rhumba and wiggle in their odd tan makeup. 

Trivia: There was originally one more song for Garland, "We Must Have Music." It was deleted after the film was finished and is mostly now lost. A fragment of it exists in the short A New Romance of Celluloid: We Must Have Music.

If the finale looks familiar, it was recycled from the "Pretty Girl Is Like a Melody" cake-tier number from The Great Ziegfeld, dubbed over with new music. 

What I Don't Like: There's a reason Ziegfeld himself is never seen. The real Florenz Ziegfeld died in 1932. The Ziegfeld Follies were a regular Broadway attraction from 1907 until 1931. They appeared sporadically thereafter through the 1950's, including a 1943 edition. By 1941, women turned to other media, including movies, to be "glorified." Vaudeville was in heavy decline by this point as well, which is likely why Susan mentions her father is stuck in Omaha. 

The biggest problem is the plot. It's mawkish claptrap of the highest caliber, and it goes on for way, way too long. The numbers and the histrionics should have been trimmed way back, especially in the second half. You know darn well where at least Susan and Sheila are going to be by the end of the film, especially after Sheila drops Gil. Sheila's sudden heart problems towards the end and her death nearly fall into camp territory. It doesn't help that Dorn and Stewart are wasted in thankless "love interest" roles. 

(This is also the second big 40's musical this week I'm surprised was filmed in black-and-white. Ziegfeld showgirl parades practically shriek for color.)

The Big Finale: Check this one out for the great numbers alone if you're a fan of any of the stars involved and have time on your hands. 

Home Media: Easily found on DVD and streaming. 

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Babes In Arms

MGM, 1939

Starring Judy Garland, Mickey Rooney, Charles Winninger, and Margaret Hamilton

Directed by Busby Berkeley

Music and Lyrics by various

We jump back a year to the first of the Garland-Rooney "put on a show" films. This one started out as a hit Broadway show in 1937. It proved to be even more popular on the big screen, bigger than Garland's other major film that year, The Wizard of Oz. Does it continue to delight audiences with it's talented teens and their barnyard show today, or should it be sent to the orphanage? Let's begin with the birth of a future trooper and find out...

The Story: Mickey Moran (Rooney) is literally born into show business. He dances with his parents in their vaudeville act, at least until the arrival of talking pictures, radio, and the Great Depression brings an end to variety shows. Many aging vaudevillians moved their families to a small town in Long Island, New York after their careers ended, including Joe Moran (Winninger). He encourages the other former vaudevillians in the town to go on tour and prove they're still relevant, before their homes and children are taken away.

Meanwhile, his son is equally determined to show that their children can be every bit the performers their parents are. After their parents claim they'll just be "baggage" on the road, he encourages his sister Molly (Betty Jaynes), his best friend Patsy Barton (Garland), and the local kids to help him put on a show in a barn. Patsy's upset when Mickey initially gives former child star "Baby" Rosalie Essex (Preissler) her role, to the point where she leaves...and there's the lady from the work houses (Hamilton) complaining that the kids should be going to school and studying for a trade, not show business.

The Song and Dance: Berkeley's first movie at MGM shows a lot of creativity, especially in dealing with the kids. There's a lot of energy from everyone, especially the ever-moving Rooney. What I really like is, unlike with Strike Up the Band, there's real stakes here. It's not just winning a contest or helping a friend. The kids are trying to keep their families together by doing what they love during the worst economic downturn anyone ever knew. It makes the melodrama later on a bit easier to take than it is in Strike Up the Band. 

Favorite Number: Judy Garland and Mickey Rooney really get things moving with their lively version of "Good Morning," sung on the piano before an interested song publisher. Betty Jaymes and Douglas McPhail are supposed to be singing a romantic "Where or When" on a moonlit boat ride, but Rooney doesn't think they're putting enough heart into it. He points to Garland to show them how to really pour passion into a song. Speaking of passion, she gets the hit ballad "I Cried for You" on the bus after arguing with Rooney over Rosalie taking her place in the show. The movie ends with a huge patriotic extravaganza, "God's Country," and Rooney and Garland parodying the popular conception of Franklin and Eleanor Roosevelt at the time, "My Day."

Trivia: The "My Day" Roosevelt spoof was cut after Franklin D. Roosevelt died in 1945. It was thought lost until the 1990's, when it was discovered on 16 millimeter film and restored. "God's Country" was originally introduced in a stage show called Hooray for What! MGM bought it, but never filmed it. 

This was Garland and Rooney's second film together after the drama Thoroughbreds Don't Cry. 

The original show debuted on Broadway in 1937 and did well for the time, running a little over 9 months, with music by Richard Rodgers and Lorenz Hart and choreography by George Balanchine. It was heavily re-written and sanitized in 1959; though the original does turn up from time to time, the 1959 version is the one usually seen in revival and performed by community theaters.

What I Don't Like: Too bad they couldn't have kept more of the original plot or songs. Garland and Rooney proved they were perfectly capable of handling gems like "I Wish I Were In Love Again" and "Johnny One Note" in the later Rodgers and Hart biography Words and Music. "The Lady Is a Tramp" can be heard in the background when Rooney's trying to woo Preissler, but it's not performed on-screen. There's also the big minstrel show number, with Rooney, Garland, and all of the kids in blackface and bad southern accents. It was nostalgia for an earlier era of entertainment then; nowadays, many modern audience members will likely be offended well before rain brings the number to a premature end. 

The Big Finale: This one isn't bad, but I think the Garland-Rooney movies got better as they went along. There's enough good numbers here for this to get a recommend, particularly for fans of the two young stars. 

Home Media: All of the Garland-Rooney musicals are easily found on DVD and streaming, the former from the Warner Archives. 

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Amazon Prime

Strike Up the Band

MGM, 1940

Starring Mickey Rooney, Judy Garland, June Preissler, and William Tracy

Directed by Busby Berkeley

Music and Lyrics by various

This week, we return to the US to join Mickey and Judy in two of their "barnyard musicals" of the late 30's and early 40's. Truth be told, most of them didn't take place in a barn. "Teen musicals" probably would have been a more appropriate description. Judy and Mickey always played a couple of talented kids who put on a show for some worthy cause - in this case, helping a friend and playing with Paul Whiteman - and find love with each other in the process. How does this version look nowadays? Let's head to Riverwood High School, just as the orchestra is in rehearsal, and find out...

The Story: Jimmy Connors (Rooney) is tired of playing the usual classical music for the school orchestra. He wants to put his drumming talents to use as the head of his own "modern dance" (i.e swing) outfit. His gal friend Mary Holden (Garland) supports his ambition, and so does the school principal after they agree to show off their talents at a school dance. The dance is a success, but Jimmy's already off and running again. Now he wants to take the band to Chicago for a big school orchestra contest put on by Paul Whiteman (himself). The principal (Francis Pierlot) can't afford to send them all, so the kids put on a spoof melodrama at the Elks Club to earn their way to Chicago.

The show goes over well, but Willie (Larry Nunn), a friend of Jimmy's who has a crush on Mary, is hurt when he's jerked around on the wire apparatus. He desperately needs an operation on his arm. Now, Jimmy has to decide whether to help a friend, or use the money from the show and a loan by a local bank officer to attend the contest.

The Song and Dance: Garland and Rooney are the thing here, and they're a ball of energy as the drumming prodigy who refuses to let anything come between him and stardom and the smart girl who just wishes he'd put the sticks down and look at her. June Preissler isn't bad as the cute blonde who distracts Jimmy about mid-way through, and she can do some of the most amazing acrobatic bends I've ever seen (in a long gown, no less). Busby Berkeley's hand can be seen all over the place, from the fruit orchestra to the huge "Do the La Conga" number at the dance. 

Favorite Number: "Our Love Affair" starts off as a typical romantic ballad for Rooney and Garland, but ends in fairly bizarre territory. Rooney pulls fruit from a bowl to represent his imagined orchestra, and it becomes fruit playing instruments in a nifty stop-motion segment. "Do the La Conga" is the big dance number. Rooney, Garland, and the other teens really get into it, swinging and kicking at each other with abandon. The entire "Nell of New Rochelle" melodrama spoof, from the kids singing "The Gay Nineties" to Garland's "Heaven Will Protect the Working Girl" to Preissler tumbling through "Ta-Ra-Boom-De-Ay" is a hilarious delight. The big finale, a montage of the title song, "La Conga," and "Love Affair," gets into patriotic turf as it begins with the orchestras playing the title number and ends with Garland and Rooney's faces superimposed against an American flag. 

What I Don't Like: The movie is as melodramatic as the blood-and-thunder adventures the kids make fun of at times. The entire subplot with the kid needing the operation and Rooney's sacrifice can seem awfully corny nowadays. That big patriotic finale comes out of nowhere and, while stirring for audiences who were seeing more of World War II in the news, is just a little bit too much nowadays. 

The Big Finale: The imaginative numbers alone makes this a lot of fun for fans of the young stars, Berkeley, or the MGM musicals of the 40's and 50s. 

Home Media: Easily available in all formats. The DVD and Blu-Ray are from the Warner Archives.

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Broadway Melody of 1938

MGM, 1937
Starring Eleanor Powell, Robert Taylor, George Murphy, and Buddy Ebsen
Directed by Roy Del Ruth
Music by Nacio Herb Brown and others; Lyrics by Arthur Freed and others

Within a year of the release of Broadway Melody of 1936, Eleanor Powell became MGM's biggest dancing star. She first went into the similar Born to Dance and operetta-backstage hybrid Rosalie, then rejoined Ebsen and Taylor for the third entry in the series. Newcomers George Murphy and Judy Garland and beloved singer Sophie Tucker were added to the cast, and Binnie Barnes was borrowed from Universal. How does this odd hybrid of horse race comedy and backstage tale look today? This time, we begin on the street, as former vaudevillians Sonny Ledford (Murphy) and Peter Trot (Ebsen) take a job working for a rich horse-rearing couple that just happens to have bankrolled a Broadway show...

The Story: Peter and Sonny are hired by wealthy Herman J. Whipple (Raymond Walburn) and his spoiled former showgirl wife Caroline (Binnie Barnes) to take care of their race horses. Horse trainer Sally Lee (Powell) is especially interested in one horse, Stargazer, that her family used to own. She sneaks onto a train to be with him and make her way to New York, which is how she meets Sonny and Peter. She's upset when she finds out that Caroline intends to get rid of Stargazer after he injures himself in a race and ends up buying him at auction, despite the high cost.

Meanwhile, she also meets talent agent and producer Steve Raleigh (Taylor) while on the train. He's smitten by her and insists on putting her in his new show, despite the Whipples insisting on known talent. Steve puts up the money for Sally to buy Stargazer but gives it to Sonny to hand to her, claiming he doesn't want her to think it's charity. Sally ultimately leaves the show to focus on Stargazer and prevent friction between the Whipples and Steve. Now all they have to do is let Stargazer win a race...but it'll take some help from the residents of their boarding house, especially the opera-singing son (Charles Igor Gorin) of a Greek shopkeeper (Billy Gilbert), to make Stargazer a winner.

The Song and Dance: Well, they get points for originality. I know of maybe one or two other musicals that cross race track antics and backstage hustle. Garland steals the film with her big "Dear Mr. Gable" and "Everybody Sing" routines. Murphy and Ebsen are also charming, and Murphy partners Powell quite well. Tucker handles her short, sentimental role with relish, and Barnes makes a slightly more interesting spoiled rich woman than June Knight did in '36.

Favorite Number: Murphy, Powell, and Ebsen "Follow In My Footsteps" together as they get to know one another on the train to New York. The big spectacular finale is "Your Broadway and My Broadway." It starts with Sophie Tucker describing the changes in the Broadway theater over the years and ends with Ebsen dancing with Garland and Powell first dancing with the guys, then with the chorus, incorporating several hits from other MGM movies on the way.

Despite her limited screen time, Garland gets the movie's two best numbers. She performs "Everybody Sing" to show off what she can do in Raleigh's office and is so bubbly and energetic, everyone else in the office gets into it. "Dear Mr. Gable" is a Roger Edens re-write of the standard "You Made Me Love You" as Garland sings a letter she's writing to then-major MGM hunk Clark Gable. The song itself still sounds like something a typical 15-year-old girl would write if she e-mailed or contacted her favorite idol, and Garland is natural and adorable performing it.

Trivia: Edens originally wrote "Dear Mr. Gable" for Garland to sing at Gable's birthday party. Producer Louis B. Mayer loved it so much, he had it rushed into Broadway Melody.

What I Don't Like: The movie may have boosted Garland's career, but she doesn't have much to do beyond her two big songs and the finale. "Dear Mr. Gable" has nothing whatsoever to do with the rest of the movie, and it's pretty obvious it was dropped in just to give Garland her big opportunity. The plot may be original, but it's also even more ridiculous than the last movie. In fact, it feels like we have two different films here, A Day at the Races without the Marx Brothers and a Warners-esque backstage story with kids and grandmothers.

Not to mention, other than the re-written "Dear Mr. Gable (You Made Me Love You)," Brown and Freed's score isn't nearly as memorable as their music for the first two films - the big "Your Broadway" finale is especially dull despite its flash.

The Big Finale: Only necessary for major fans of Garland or 30's musicals; cute time-waster on TCM for anyone else.

Home Media: Same deal as Broadway Melody of 1936. It's on DVD from the Warner Archives and can be found for streaming on Amazon Prime.

DVD
Amazon Prime

Broadway Melody of 1936

MGM, 1935
Starring Eleanor Powell, Jack Benny, Robert Taylor, and Una Merkel
Directed by Roy Del Ruth
Music by Nacio Herb Brown; Lyrics by Arthur Freed

When musicals made a comeback in Hollywood during the mid-30's, the studios also revived their earliest hits in series of semi-revues. We're already seen two entries in this trend, Gold Diggers of 1933 from Warners and The Big Broadcast of 1938 from Paramount. How does MGM's second entry in this series fare? Let's head to New York, where gossip columnist Bert Keeler (Benny), "The Eyes and Ears of Broadway," is breathlessly describing another "blessed event," and find out...

The Story: Bert's boss (Paul Harvey) wants him to drop all the baby news and start picking up really juicy scoops. He and his assistant Snoop Blue (Sid Silvers) run into one when they overhear wealthy widow Lillian Brett (June Knight) and stage producer Bob Gordon (Taylor) talking about her financing his next musical. Keeler latches onto this tidbit and splashes it all over his column, to Gordon's disgust.

Meanwhile, Irene Foster, who had been Bob's girlfriend in high school, has come to New York hoping he'll give her a chance in his latest show. He first doesn't recognize her, then turns her down to protect her from the big city. She and Bob's secretary Kitty (Merkel) finally take advantage of the fictional French actress Keeler created in his column to turn Irene into a haughty French beauty and get her on the stage. It works, to the frustration of Lillian, who had hoped to star. Keeler, however, has just gotten news from France that changes everything. Now he has to figure out how to reveal his deception without doing further damage to anyone's reputation, including his.

The Song and Dance: MGM was known as "the Tiffany studio," where every movie came out with a glamorous, gem-like sheen. They threw everything they had into this one, and from the glittering costumes and sets to the frothy script that finds room for a man who specializes in snoring. Powell shines in her first major role; check out her incredible high kicks in "Sing Before Breakfast." Nice score, too, probably Brown and Freed's best together.

Favorite Number: Taylor and Knight duet on "I Got a Feelin' You're Foolin'" in the nightclub, which somehow leads into a massive chorus number that includes Knight dancing with Nick Long Jr. and lots of extras showing off fluffy gowns. "Sing Before Breakfast" is a showcase for Powell and Buddy Ebsen and his sister Wilma as they meet Powell and explain why they're dancing on the roof.  "You are My Lucky Star" is heard several times, notably as a dream ballet for Powell when she imagines what it'll like to dance in a Broadway show. The charming "On a Sunday Afternoon" is one of two two good songs from the show itself, performed by the Ebsens and the chorus in early 20th century dress. "Broadway Rhythm," the big finale, starts off with Frances Langford, but eventually includes one last duet from Knight and Long and the Ebsens and Powell kicking and leaping with chorus boys in tuxedoes.

Trivia: This was Powell's first leading role and Buddy Ebsen's first film.

It was nominated for Best Picture in 1936.

What I Don't Like: This is cute, but...Best Picture material, it is not. The nomination likely came on the strength of those big numbers. The story is pedestrian and silly, Taylor is clearly bored, and Benny is miscast as a Walter Winchell-type gossip hound. Knight's a great dancer, but she was normally a stage star and was stiff in front of the cameras.

The Big Finale: Mainly worth checking out for the numbers if you love Powell or the splashier shows of the 1930's.

Home Media: Currently avalible on DVD via the Warner Archives; Amazon Prime has it for streaming.

DVD
Amazon Prime

Cult Flops - The Pirate

MGM, 1948
Starring Judy Garland, Gene Kelly, Walter Sleazak, and Gladys Cooper
Directed by Vincent Minnelli
Music and Lyrics by Cole Porter

This may be one of, if not the most unusual MGM musical of their Golden Era, and is one of the rare ones to not be a hit on release. Arthur Freed was experimenting with darker stories and fantasy - witness another MGM failure from the late 40's, Yolanda and the Thief. Audiences weren't quite ready for the tale of an actor who passes himself off as a pirate and the woman who falls for him at the time. How does it look now? Let's head to a small town in the Caribbean, where Manuela (Garland) gives us a quick overview of the history of the notorious Maccoco, and find out..

The Story: Manuela is the daughter of an impoverished noble family. Her Aunt Inez (Cooper) has arranged for a marriage between her and the town's mayor, Don Pedro (Sleazak). Don Pedro is respectable and steady, but he's also dull and older than Manuela, with no interest in traveling. To satisfy her desire for adventure and travel, Manuela convinces her aunt to take her to the port town of St. Sebastian so she can see the blue waters for herself. While admiring the view from the cliffs, she encounters Serafin (Kelly), the head of a traveling troupe of actors. He's crazy about her from the start, but she's annoyed with his advances and runs off. That night, she hears their show and wanders out to see it. He hypnotizes her, expecting her to say she's in love with him...but she admits in a wild musical number that she's in love with Mack the Black, aka Maccoco, a notorious pirate.

Serafin and his players turn up on Manuela's wedding day, hoping to convince her to join their troupe. An angry Don Pedro orders him away, but he stays, claiming he's Mack the Black. Manuela now eagerly goes with him to save the village...until she learns what he's really up to, and who the real Mack the Black is.

The Song and Dance: I'm a big fan of swashbucklers and goofy farce, so this one is right up my alley. Garland and Kelly have a great time with the farce and death-defying musical numbers. Kelly gets some of his best dances here, including the incredible "Be a Clown" with the Nicholas Brothers. The colorful costumes and sets beautifully reflects the Caribbean of the 1840's, with the elaborate hats and lacy Spanish gowns and ruffled coats and jackets.

Favorite Number: Though there's not a number until almost 20 minutes into the film, it's one of Kelly's two great solo routines, the flirtatious "Nina" with the women in the town market. Garland tears into "Mack the Black" under hypnosis, wowing the crowds and the troupe with her ferocious performance. Kelly's "Pirate Ballet" is a riot of color, smoke, and men leaping onto rigging, showing off Kelly's athletic choreography and Minnelli's wonderful use of color.

The two big numbers here are versions of "Be a Clown." Kelly joins the Nicholas Brothers for an athletic tumbling routine that literally saves their lives at the hangman's noose. Garland and Kelly finish off the movie with their own, equally fun duet version dressed as clowns and singing and dancing with gusto.

Trivia: This is an adaptation of a non-musical 1942 play called The Pirate that featured Alfred Lunt and Lynn Fontanne on Broadway.

"Mack the Black" originally opened the movie, and Garland and Kelly sang a number called "Voodoo" at the troupe's performance. MGM executives, especially studio head Louis B. Mayer, thought the number too overtly sexual, cut it, and put "Mack the Black" in its place. Alas, no footage of the number survives.

What I Don't Like: Apparently, critics understood what Minnelli was up to at the time, but audiences were baffled by the combination of action, music, artifice, and goofy slapstick. Some modern audiences who aren't into farce or the occasionally over-the-top acting may find it a little too much and too weird as well.

The Big Finale: Great numbers and an unusual story makes this a must-see if you're a fan of Kelly, Garland, pirate tales, or the Technicolor MGM musicals of the 1940's and 50's.

Home Media: Despite it's "love it or hate it" reputation, it's easily found on DVD and streaming

DVD
Amazon Prime

For Me and My Gal

MGM, 1942
Starring Judy Garland, Gene Kelly, George Murphy, and Ben Blue
Directed by Busby Berkeley
Music and Lyrics by various

After making a splash on Broadway in Pal Joey, MGM signed Gene Kelly as their latest dancing star. Judy Garland was more than happy to encourage Arthur Freed to take a chance on him. It would become the first of three times the two starred together. How does this tribute to vaudeville, the variety showcase of the early 20th century, look now? Let's head to a small-town train station where several actors are about to disembark and find out...

The Story: Harry Palmer (Kelly) is an ambitious hoofer in 1917 who desperately wants to make the big-time. He hooks up with talented singer and dancer Jo Hayden (Garland), despite her already being part of girls-and-singer act with Jimmy Metcalf (Murphy). She breaks with Metcalf when she realizes how much chemistry they have and how well they dance together. Despite their talent and dedication, the act doesn't seem to make it very far. At one point, Harry even gets an offer from a beautiful French singer (Martha Eggerth) and Jimmy asks Jo to come back, but they both decide to stick it out when they realize they're in love with each other.

Jo tells Harry she'll marry him after they get a booking at the top theater in vaudeville, the Palace in New York. They do finally make the Palace, just as the US enters World War I. Harry is drafted, but he wants so badly to play the Palace and get Jo to that wedding, he breaks his hand in his trunk. He couldn't have picked a worse time to do it. Jo's beloved brother Danny (Richard Quine) died in battle, and now she thinks he's a coward. Harry enlists in the ambulance corps to prove to one and all that he can be courageous about something besides dancing.

The Song and Dance: I can fully understand why Garland wanted Kelly for the role. Their chemistry was off the charts from the get-go. Kelly may be abrasive and egotistical, but he's also a charmer who realizes right away how well he and Jo fit together. The two of them really elevate the nostalgic melodrama. I also like the sets, costumes, and authentic-looking routines that really take you back to the vaudeville of baggy-pants clowns and beautiful singers that the opening paragraphs mention.

Favorite Number: The movie's at it's best when it showcases Garland and Kelly's dancing talents. Their version of the title song is a delight, graceful and energetic. "Ballin' the Jack" later gets as sexy as an MGM musical was allowed to at this time, with their swaying hips and briefer costumes. "When You Wore a Tulip and I Wore a Red Rose" is a brief satire of early 20th century courtship that's too adorable for words. The closest thing to a big number is the opening "Oh You Beautiful Doll" routine, with Garland posing as a life-sized doll who badly wants Murphy to buy her. In other hands, it would probably be a little creepy, but Garland's intense charm makes it seem almost oddly sweet.

Trivia: This was Garland's first adult role.

There really was a Harry Palmer who had a double act with a Jo Hayden in early 20th century vaudeville. He did, indeed, break his hand to stay out of World War I, play the Palace, and marry her, and she dropped him briefly after a friend died in the war. He did serve with distinction in the ambulance corps, and they were married after he came back. Jo's friend was separated into her brother and Jimmy Metcalf.

Evidently, the film's ending was reshot after test audiences found Kelly to be too unsympathetic and thought Jo should end up with Jimmy Metcalf. Murphy was originally supposed to play Harry Palmer before MGM bought Kelly's contract from David O. Selznick. Busby Berkeley didn't want him, but Garland liked him and asked for him.

What I Don't Like: This is mostly Garland and Kelly's show. Anyone else barely registers, including Murphy and Keenan Wynn as a theatrical agent. It's also not for anyone expecting the kaleidoscopic routines associated with Berkeley. The numbers are subdued for him with no playing with the camera. I'm also a bit surprised this is in black and white. The vaudeville era practically screams for Technicolor.

The Big Finale: The numbers alone make this a must-see if you're a fan of Garland, Kelly, Berkeley's later career, or the MGM musicals of the 1940's and 50's.

Home Media: The solo DVD is out of print, but it can be found on streaming and bundled with three other Garland movies in the Silver Screen Icons set.

DVD - Silver Screen Icons: Judy Garland
Amazon Prime

The Harvey Girls

MGM, 1946
Starring Judy Garland, Angela Landsbury, John Hodiak, and Marjorie Main
Directed by George Sidney
Music by Harry Warren; Lyrics by Johnny Mercer

Hoping to come up with the film equivalent of the stage hit Oklahoma!, producer Arthur Freed refashioned this robust western as a vehicle for then-major star Garland. Does the tale of waitresses who tame a small southwestern town serve the goods today, or should it be sent packing on that famous train? Let's start on the train as the titular Harvey House waitresses are on their way to town and find out...

The Story: Susan Bradley (Garland) thinks she's coming to Sand Rock, Arizona to marry the man of her dreams. Turns out the fellow is actually a grizzled old cowboy (Chill Willis) who no more wants to marry her than she wants to marry him. They break things off amiably before Susan learned that the gentleman who owns the local saloon, Ned Trent (Hodiak), wrote the letters for the cowpoke as a joke. Susan tells him off, then join the Harvey Girls, the clean-cut waitresses at the Harvey House. The Harvey House competes with the saloon for the customers coming off the train. Ned's business partner Judge Sam Purvis (Preston Foster) will do anything to scare the girls off, including shooting bullets in their windows and planting rattlesnakes in their room. Ned,  however, is falling for Susan, to the frustration of his girl Em (Landsbury), and is starting to wonder if civilization isn't such a bad thing after all.

The Song and Dance: What I like about this one is it's one of the very few female-centric westerns, musical or otherwise. The guys may own the buildings, but it's the ladies who are the leads and whom the story really revolves around. Garland definitely earns her top billing as the strong-willed young woman who will not be bullied by anybody. She's especially funny when she goes to retrieve steaks from the saloon that were stolen by two local mugs and during a huge all-out girl fight after Em catches Susan trying to bring dancer Deborah (Cyd Charisse) back to the Harvey House. Main and Willis have some fun moments as the tough cook at the Harvey House and the good-natured cowpoke.

Favorite Number: The big one here is the epic ensemble routine "On the Atcheson, Topeka, and the Santa Fe." This giant number has Garland, Ray Bolger, and almost everyone in the cast explaining who they are and dancing with the backdrop of the steaming train. It's so catchy and fun, it won the Oscar for best song in 1946.

Other nice songs here include "Oh You Kid," a routine for Em and the dance hall girls at the saloon, "It's a Great, Big World" as Susan and her two new friends Deborah and Alma (Virginia O'Brian) sing about what brought them to the west and what they want from their new jobs. Alma also gets a nice solo after she ends up helping horse-shy blacksmith Chris Maule (Ray Bolger) with his work, the comic "Wild Wild West." The Harvey Girls join the local men for the waltzing "Swing Your Partner" before they finally shoo out the bad girl saloon dancers.

Trivia: Harvey House was, indeed, the first restaurant chain, created by Fred Harvey in the 1840's as a better option for train diners. Harvey Houses continued as a family owned operation until 1968, when they were bought out by a Hawaiian real estate company. They were known for their excellent food, elegant dining rooms, and their beautiful and clean-cut waitresses, known as "Harvey Girls."

This was originally intended to be a drama with Lana Turner, but Freed heard about it and thought it would make a wonderful western musical. Ann Sheridan was originally given Landsbury's role, but dropped out due to personal problems.

Two songs - "My Intuition," a duet for Garland and Hodiak, and another chorus routine at the Harvey Girls' party "March of the Doagies," were filmed but cut before release. Both exist; "March of the Doagies" was used in That's Entertainment III. Another Garland number, "Hayride," was recorded but not filmed.

What I Don't Like: Hodiak is supposed to be the handsome bad man, but he's even more bland opposite the dynamic Garland than "boy next door" Tom Drake in Meet Me In St. Louis. The two have no chemistry whatsoever; Deborah's romance with the pianist at the saloon (Kenny Baker) is more believable. Landsbury is no naughty saloon chanteuse, either (and was dubbed to boot). Other than two solos dance numbers and his bit in "Wild Wild West," Bolger is barely in the film.

The Big Finale: While not the enduring masterpiece that Oklahoma! is, this is still a fun romp for fans of Garland, Landsbury, or the big MGM musicals of the 40's and 50's.

Home Media: Currently available on DVD from the Warner Archives, at least one Garland collection, and on several streaming companies.

DVD
DVD - Silver Screen Icons: Judy Garland
Amazon Prime

Ziegfeld Follies (1946)

MGM, 1946
Starring Fred Astaire, Judy Garland, Fannie Brice, and Red Skelton, among others
Directed by Charles Walters, Vincent Minnelli, Roy Del Ruth, and George Sidney, among others
Music and Lyrics by various

After revues fell out of favor in 1930, no studio would attempt a musical film without a narrative - even the thinnest excuse for one. At least, not until the mid-40's. Producer Arthur Freed wanted to return to the days of the ongoing Ziegfeld Follies revues and create his own, with prime MGM talent. How well did he pull it off? Let's head up above with the now late impresario Florenz Ziegfeld (William Powell) himself as he recalls his beloved shows and find out...

The Story: This is a revue, so there really isn't one. Ziegfeld, looking down from the heavens, remembers his beloved Broadway shows of the early 20th century and wonders what they would loo like in the (then) present, with a galaxy of MGM stars.

The Song and Dance: And while song and dance are the operative words here, some of the comedy routines aren't bad, either. The solo skits come off best, with Keenan Wynn doing exasperated wonderfully well dealing with obtuse operators in "Number Please" and Red Skelton hilarious as the TV pitchman getting increasingly drunk on his own product in "When Television Comes." Fannie Brice, the only actor who actually appeared in the original Ziegfeld Follies, romps through "A Sweepstakes Ticket" with nervous Hume Cronyn and a suspicious William Frawley.

Favorite Number: Things kick off in lavish style with "Here's to the Beautiful Girls," as Fred Astaire salutes Lucile Ball and other lovelies in pink feathers and cat suits...which Virginia O'Brian immediately spoofs, claiming she wants to "Bring On the Wonderful Men." Judy Garland spoofs drama divas of the time like MGM actress Greer Garson in the very funny "The Great Lady Gives an Interview," as she twitters around adoring newspaper reporters. Lena Horne may have protested the dark tropical nightclub setting of "Love," but her burning hot performance still comes across as the sexiest moment in the film.

The movie may be best-known for three major dance numbers, all featuring Fred Astaire. "This Heart of Mine" is the glamorous mini-tale of a thief who falls for a heiress (Lucille Bremer) at a ball. The color is exquisite, the costumes are gorgeous, and the song (which became a standard) is the best in the film. "Limehouse Blues" is another Vincent Minnelli-directed segment. The more tragic tale of a Chinese man who loves a prostitute in London's Chinatown turns into a colorful abstract Asian fantasy ballet.

For my money, the number for the records is "The Babbitt and the Bromide," a Gershwin song originally from the Broadway show Funny Face. The only time good friends Fred Astaire and Gene Kelly danced together during their heyday is a charming competition as two men trade small talk while showing off their very different dancing styles.

Trivia: The movie began filming in 1944 and ran into problems galore. The original cut was almost three hours! Many, many numbers were dropped, some of which still exist as audio cuts. When the roadshow engagements in 1945 didn't work out, numbers were dropped and rearranged, forcing its wide release to 1946.

The big "There's Beauty Everywhere" finale was originally supposed to feature tenor James Melton singing the song, with Cyd Charisse and Fred Astaire dancing in a "bubble ballet." The bubble machine went haywire and broke down. The gas was so bad, it made at least one cameraman faint, and the bubbles got so bad, the fire brigade had to be called in to switch the machine off. Melton was eventually replaced by Kathryn Grayson, and the ballet segment was cut down to a few glimpses of Cyd Charisse and the chorus flitting around in the bubbles.

The only other time Fred Astaire and Gene Kelly danced together was in the documentary That's Entertainment II in 1976.

The movie cost so much with all the retakes and lavish sets and costumes, it did well in '46 and still just barely made back its money.

What I Don't Like: This is a mixed bag, especially in the comedy skits. Victor Moore and Edward Arnold's "Pay the Two Dollars" is more annoying than funny, with Moore's constant whining. "Beauty Everywhere," for all the trouble they had filming it, is a little too overdone for a simple and romantic song, and probably not the best note to end on. The comedy skits are also pretty simple, more like filmed mini-plays and come off as a bit static. The white people playing Asians in "Limehouse Blues" and a few stereotypes can take many folks out of the intended dramatic atmosphere.

And obviously, if you're actually expecting a story along with your musical numbers, this isn't the place for you. It's far better than most of the ricky-ticky early talkie revues, but it's still a revue.

The Big Finale: If you're a huge fan of the MGM musicals of the 1940's and 50's, this is worth seeing for the cast and dance numbers alone.

Home Media: The DVD was just re-released on the Warner Archives last year, and it's available on several streaming companies.

DVD
Amazon Prime

The Hollywood Revue of 1929

MGM, 1929
Starring Jack Benny, Joan Crawford, Marie Dressler, Cliff Edwards, and more
Directed by Charles Reisner and Christy Cabanne (uncredited)
Music by Arthur Freed and others; Lyrics by Nacio Herb Brown and others

We're jumping way, way back in Hollywood history for this one. After the coming of sound made musical films possible, almost every studio in town made at least one revue showcasing their most popular stars and grandest sets and costumes. MGM was no exception, and they top-loaded their Oscar-nominated variety show with everyone from up-and-coming Crawford to comedian Jack Benny to Laurel & Hardy. How does this early variety program look today? Let's head to the theater, where the show is about to begin, and find out...

The Story: There isn't one. Jack Benny introduces a series of skits, songs, and dances featuring some of the most popular stars at MGM in 1929...when said stars aren't slapping him, throwing cakes in his direction, or eating the buttons off his tuxedo.

The Song and Dance: When they say "the following galaxy of stars" in the opening credits, they're not kidding. If you love the movies of the early talkie era, you'll probably see someone you recognize. Some non-musical numbers have their own fun. Laurel and Hardy have a really cute magic act that begins with broken eggs and ends with Hardy falling into a cake. Norma Shearer and a relaxed-looking John Gilbert (just before his career tragically spiraled downwards) do a hilariously overwrought Romeo & Juliet...and then an even more ridiculous version in "modern" 20's argot, as per director Lionel Barrymore's instructions.

Favorite Number: Some of the songs here are pretty adorable, too. June Purcell and the chorus have fun with "Low Down Rhythm" early on, including another routine by the ballet-tap dancer from The Broadway Melody. Some early special effects are used on the opening chorus routine and Bessie Love's goofy acrobatic act, "I Never Knew I Could Do a Thing Like That," allowing her to emerge from Jack Benny's pocket. Marie Dressler proves why she became one of MGM's top stars in the early 30's in the hilarious royalty satire "I'm the Queen." Dressler and Love join Dressler's long-time sparring partner Polly Moran for some wild musical slapstick in enormous bloomers and hairbows, including Moran doing a terrific Al Jolson impression.

The movie is best-known today for introducing "Singin' In the Rain" to general audiences. The number is worthy of the song, with Cliff "Ukelele Ike" Edwards performing it as the chorus splashes in real rain, with the Brox Sisters jumping in later with their own pleasant harmony. It's the best number in the film, and too cute for words. The finale at Noah's Ark, with all the stars singing in raincoats (except a confused Buster Keaton, who looks like he's just wondering where the rain went), is a great way to end the show.

Trivia: While most of the film (including its color sequences) is intact, two brief bits are missing. Current prints no longer have a recitation from the showgirls in the sign in the opening credits and the appearance of Nils Asther, who helped Benny introduce the "Singin' In the Rain" finale.

Laurel and Hardy and Marion Davies shot their numbers in the wee hours of the morning (which explains their performances, especially Davies), due to them working on other projects at the time.

Cliff Edwards later became better-known as the original voice of Jiminy Cricket in Disney's Pinocchio.

Among the women who slap Jack Benny are Gwen Lee and later Warner Bros and Scarface actress Ann Dworak.

What I Don't Like: Like The Broadway Melody, this is extremely a movie of its time. Most of the performers are barely remembered to anyone but aficionados of the early talkie era nowadays. The color is scratchy, the cinematography is a matter of filming whomever happens to be standing there, and the choreography is stilted at best and clumsy at worst.

The spoof horror chorus routine "Lon Chaney's Gonna Get 'Cha If You Don't Watch Out" is cute if you know about Chaney's reputation in the genre at the time...but you probably won't get it if you don't know the era. Davies is stiff and rather desperate in her "Tommy Atkins on Parade" military dance routine. Almost every chorus number, including the military parade after "Tommy Atkins," goes on for way, way too long. Most of the songs besides "Singin' In the Rain" are dull or silly, including the often-repeated and rather bad "Your Mother and Mine." A routine with an adiago troupe comes off as strange rather than dramatic. And what was with all the women slapping Jack Benny?

The Big Finale: Cute if you love the early talkie era; not necessary for anyone else.

Home Media: Currently only available via the Warner Archives.

DVD

Cult Flops - Yolanda and the Thief

MGM, 1945
Starring Fred Astaire, Lucile Bremer, Frank Morgan, and Mildred Natwick
Directed by Vincent Minnelli
Music by Harry Warren; Lyrics by Arthur Freed

This was a major pet project of producer Arthur Freed, who was grooming Lucile Bremer to be MGM's next dancing star. It seemed to have everything going for it - an excellent cast that included Fred Astaire as Bremer's partner, memorable dances, a gorgeous production, and Vincent Minnelli's assured direction. Audiences and critics at the time didn't know what to make of it, and it wound up one of Freed's bigger flops. What happened? Let's take a train ride to the fictional Latin American country of Patria and find out...

The Story: Yolanda Aquitania (Bremer) is now the richest young woman in Patria, having just inherited her parents' oil business. Yolanda is a naive beauty who was raised in a convent and has no idea of how to handle such matters. Her prayers for guidance are overheard by a con man and thief named Johnny Riggs (Astaire). Hoping to get at her millions, he pretends to be her guardian angel. She allows him into her house, introducing him to her aunt (Natwick) and taking him into her confidence. He's happy to get her money for him and his partner Victor Budlow Trout (Morgan)...until he realizes he's fallen for her. Meanwhile, Yolanda is wondering why she has some very earthly feelings for this heavenly creature, and a gentleman named Mr. Candle (Leon Ames) seems to be hanging around, offering guidance of his own.

The Song and Dance: This may be the most unusual musical Fred Astaire ever did, even more than Finian's Rainbow. He's quite believable as a slinky con artist and gentleman thief (as he would be in the TV show It Takes a Thief over 20 years later), full of charm and airy enough that you can understand why Yolanda falls for his ruse. Natwick and Morgan are also good as Yolanda's strong-willed aunt and Astaire's dithery partner. Ames gets a rare non-fatherly role as the real guardian who has every intention of making sure everything works out all right in the end.

The movie is worth seeing for the production design alone. This is one of MGM's most gorgeous Technicolor movies of the 40's and 50's. The eye-catching design and lush tropical backgrounds pop off the screen, thanks to Vincent Minnelli's assured direction. Even when the fantasy comes off as too pretentious or arty, there's at least always something to look at onscreen.

Favorite Number: Two big dance routines are among Astaire's best duets with someone other than Ginger Rogers. The elaborate dream ballet has Astaire fleeing an airy, gauze-covered Bremer, who insists on marriage when he's not sure he's ready. "Coffee Time" is a jazzy, fun duet with Bremer in a yellow and white dress that nearly explodes against a wavy black and white dance floor, with the chorus in brilliant primary colors swirling around them. "Yolanda" is a lovely ballad for Astaire when he's convincing her that he's an angel, played on a (dubbed) harp and capped by a nice solo.

What I Don't Like: I agree with Astaire that the movie's trying too hard to be psychological and arty. It mostly comes off as pretentious. The fantasy element feels forced and awkward. Bremer is stiff and too old for her role as a former convent girl when she's not dancing.

The Big Finale: Worth seeing for the stunning costumes, sets, and color and delightful dances alone. If you love ballet on film or are a fan of Astaire, Minnelli, or the Technicolor MGM musicals of the 1940's and 50's, you'll want to float in on a cloud and check this one out.

Home Media: Currently only on DVD via the Warner Archives.

DVD

A Salute to Stanley Donen - Singin' In the Rain

MGM, 1952
Starring Gene Kelly, Debbie Reynolds, Donald O'Connor, and Jean Hagen
Directed by Stanley Donen and Gene Kelly
Music by Nacio Herb Brown; Lyrics by Arthur Freed

Director and choreographer Stanley Donen, who passed away on February 21st, made some of the most beloved musical movies of all time. This week, we're going to look at two of them. Although it wasn't a huge hit when it came out, Singin' In the Rain is now generally considered to be the greatest original movie musical of all time. Does the story of the changes wrought in Hollywood by the coming of sound - and how the cast and staff of one fictional studio is effected by it - live up to that lofty hype? Let's head to the Chinese Theater in Hollywood for the premiere of Monumental Pictures' latest blockbuster and find out...

The Story: Don Lockwood (Kelly) and Lina Lamont (Hagen) are Monumental's biggest stars. Their every move is followed by legions of adoring fans, who lap up their romantic swashbucklers. Turns out that their romance - and much of Don's life story - is as fictional as their movies. Don's a former vaudevillian and stuntman who loathes his shrill and obnoxious leading lady, but tolerates the publicity for the sake of their careers. Avoiding the fans, he leaps into the car of actress Kathy Seldon (Reynolds), who first screams at him, then calls him out on silent film pantomime not being "real" acting. He then runs into Kathy at the after-premiere party, where she's a chorus girl. Fed up with his teasing, she tries hitting him with a cake, but gets Lina, then runs off.

A few weeks later, Don and Lina are just starting to film their next big costume adventure when studio head R.F Simpson (Millard Mitchell) shuts them down briefly to turn the production into a sound film. Meanwhile, Don and his musician friend Cosmo Brown (O'Connor) find Kathy working on the lot. Don confesses his love to Kathy, and she admits that she wasn't quite truthful about not having heard of him before.

Their romance progresses far better than the film does. The production of the new movie is filled with nothing but headaches with the new, capricious sound equipment and the fact that Lina's Brooklyn accent and shallow manner is all wrong for her role. The movie's preview is a disaster, until Cosmo comes up with the idea of turning it into a musical and using Kathy to dub Lina. Everyone is happy with this...except Lina, who has no desire to share stardom or Don with anybody.

The Song and Dance: "What a glorious feeling," indeed! This is a delightful ride, with a hilarious script, gorgeous costumes, and some of the funniest performances of any movie musical. Hagen and O'Connor get top honors as the ditzy dame whose attempt to prolong her fifteen minutes of fame brings about her downfall and Don's deadpan best buddy. Reynolds does quite well for this being one of her earliest roles; I especially love her calling Don on his hammy acting in his movies when he ends up in her car. Kelly has a lot of fun, both parodying his own swashbuckling image and matching O'Connor's quips.

As someone who has been studying 20th century history for most of her life, my favorite non-musical scenes (along with Don and Kathy in the car) are the filming of the ill-fated original version of The Dueling Cavalier and the botched premiere afterwards. With many people who had actually worked on early talkies still on the lot in the 1950's, screenwriters Betty Comden and Adolph Green had no shortage of real-life inspiration. Some of what happens to Lina, Don, and the crew in those scenes - including the places where the microphone ends up - actually occurred on the sets of early sound movies.

Favorite Number: Given how famous the musical numbers in this movie are, it would be easy to say "all of them!" Special kudos to O'Connor and Kelly's "Fit as a Fiddle," where they somehow manage an energetic vaudeville routine while playing violins (those audiences had no taste) and to O'Connor, Kelly, and Reynolds' "Good Morning." Poor Reynolds worked so hard to keep up with that number - she was gymnast, not a dancer - her feet eventually bled. Other favorites include O'Connor and Kelly's other big duet "Moses Supposes," O'Connor's wild salute to slapstick "Make 'Em Laugh," and, of course, Kelly's famous romp in the rain to the title song, one of the happiest scenes in musical history.

Trivia: Reynolds isn't the only one who had trouble keeping up with the fast-paced numbers. O'Connor's "Make 'Em Laugh" was so physically exhausting for him, he ended up in the hospital for several days. Kelly danced the title number while he was sick with a very bad cold, making his joy and high spirits during that sequence all the more remarkable.

The only songs in the movie that weren't written by Brown and Freed were "Make 'Em Laugh," "Moses Supposes," and "Fit as a Fiddle." Comden and Green wrote "Laugh," which closely resembles Cole Porter's "Be a Clown." (Reportedly, Porter didn't mind, but Irving Berlin did complain to music director Roger Edens, who basically told him to stuff it.) Edens wrote the music for "Moses Supposes," Comden and Green the lyrics. Freed did write the lyrics for "Fiddle," but Al Hoffman and Al Goodheart wrote the music.

Just to make things even more confusing, Jean Hagen actually used her own voice to dub some of Debbie Reynolds' performance of Lina's lines ("Would You?" was dubbed as well).

What I Don't Like: While "The Broadway Melody Ballet" has amazing dancing by Cyd Charisse and Kelly, it does seem slightly shoe-horned in to give Kelly another ballet after the success of the one at the end of American In Paris. The costumes are actually quite historically accurate (both for the 17th century and the 1920's), but the makeup and hair, on men and women, are pure 1950's and can take one out of the time period slightly.

The Big Finale: For once, the critics are 100 percent right. This is a delightful look at one of the most chaotic periods in Hollywood history; the script and the musical numbers alone are worth checking out.

Home Media: Quite easily found in most formats, including several streaming companies. If you can dig it up, look for the original 2-disc Special Edition DVD that I have. The second disc includes performances of the songs from the movies they came from, some of them fairly rare.

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DVD - 5 Film Collection: Musicals
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