MGM, 1939
Starring Judy Garland, Ray Bolger, Bert Lahr, and Margaret Hamilton
Directed by Victor Fleming and others
Music by Harold Arlen; Lyrics by E.Y Harburg
And now, we travel over the rainbow to take on one of the most famous films - in any genre - of all time. While not a huge hit when it first came out, it's become a classic in re-releases and on TV. The tale of Dorothy and her companions and their journey to the Emerald City has become a touchstone to families and children of all ages. Let's head to Kansas to see if the movie is truly worthy of that legacy...
The Story: Dorothy Gale (Garland) is not having an easy time in dull Sepia-toned Kansas. Her aunt, uncle, and their farm hands don't listen to her when she tries to explain that the local grouchy old lady Mrs. Gulch (Hamilton) has threatened to take her beloved dog Toto away. To Dorothy's horror, they don't have a choice about letting him go when Gulch shows up with court orders. Toto escapes, and Dorothy runs away to save him. She's found by a traveling fortune teller (Frank Morgan) who encourages her to go home. She gets back just in time to run inside just as the farmhouse is hit by a tornado.
The twister lands her and Toto in the Technicolor land of Oz, where she's greeted by tiny little people called Munchkins. They're celebrating because her house landed on the Witch of the East, who had been persecuting them. Glinda, the pretty Witch of the North (Billie Burke), sends Dorothy along the Yellow Brick Road to ask the Wizard who rules Oz to help her find her way home. Along the way, she meets three familiar friends who join her on her journey, a goofy cowardly lion (Lahr) who wants courage, a wobbly scarecrow who wants brains (Bolger), and a very sentimental tin woodsman (Jack Haley) who wants a heart. They're dogged every step of the way by the nasty Witch of the West (Hamilton again).
The witch captures Dorothy when the Wizard sends them to her domain to get her broomstick. Dorothy doesn't really want to kill anyone, but she doesn't have a choice. She's not happy with what the Wizard turns out to be, either. He does offer her a ride home, but Dorothy misses the trip. It's Glinda who helps her see that she had the way home all along...and that no matter how far over the rainbow we go, home is never far from our hearts.
The Song and Dance: Making this movie was a long and arduous process, but it was absolutely worth it. The Sepia and Technicolor cinematography both glow with an incandescence that makes that rainbow pale. Everyone puts in fine performances; Garland won a special award for best child performer at the Oscars. Hamilton's green-faced witch has frightened generations of children with her fireballs and cackling voice. Bolger, Haley, and especially Lahr are delightful as Dorothy's beloved companions. The movie has one of the most famous scripts in film history, and probably some of the most quoted lines. ("People come and go so quickly here!" "There's no place like home!")
Favorite Number: Thank goodness Harburg insisted they keep "Over the Rainbow!" The executives thought it was too slow, but it really defines the whole movie, well before Dorothy hits Oz. Garland sang it frequently throughout her career, and it's still associated with her to this day. I've always enjoyed the three versions of "If I Only Had...," sung by each of Dorothy's friends when she meets them.
Trivia: There was originally supposed to be another number, "The Jitterbug," which had Dorothy and her friends being attacked by a bug sent by the Witch on the Yellow Brick Road. It was deemed extraneous and was deleted, along with reprises of "Over the Rainbow" and "Ding Dong! The Witch Is Dead." The footage for all three numbers is now lost, but the audio recordings survive and are frequently included as extras on DVDs and CD soundtracks.
What I Don't Like: Unfortunately, deleting the "Ding Dong" and "Rainbow" reprises does mean that there's no musical numbers in the last third of the film. The two songs might have added a little more meat to the second half. Some people today consider the basic message of never leaving home to be a bit on the dated side. And yeah, there are times, especially with the moving trees and the obvious painted backgrounds, where the older effects are pretty obvious.
The Big Finale: Not my all-time favorite musical, but I like it enough to understand why it's so beloved. I probably don't need to recommend this one to anybody. If you haven't seen it yet, do so, especially if you have young children.
Home Media: Goes without saying that this one is pretty easy to find. While it's no longer an annual TV event, it turns up fairly frequently on Turner Classic Movies, and it's available on most formats.
DVD
Blu-Ray
Amazon Prime
Reviews of musical films, from 1930s black and white to widescreen 21st century extravaganzas.
Thursday, November 29, 2018
Tuesday, November 27, 2018
Cult Flops - Willy Wonka and the Chocolate Factory
Paramount/Warner Bros, 1971
Starring Gene Wilder, Jack Albertson, Peter Ostrum, and Julie Dawn Cole
Directed by Mel Stuart
Music and Lyrics by Leslie Bricusse and Anthony Newley
It'll probably be a surprise to many people to find this review under the "Cult Flops" banner. It wasn't a big hit with critics or audiences when it came out, who dismissed it as a bland children's film. It took constant showings on TV and cable and being a hit on video to turn it into one of the most beloved family musicals of all time. Does it deserve its popularity, or should it be sent down the garbage chute? Let's take a trip to Willy Wonka's famous factory to find out...
The Story: Charlie Bucket (Ostrum) is a poor boy who often passes by the massive chocolate factory owned by the mysterious Willy Wonka (Wilder) on his paper route. A tinker (Peter Capell) tells him ominously that "no one ever goes in, and no one ever goes out." His beloved old Grandpa Joe (Albertson) explains that Wonka closed the factory to visitors after spies stole his secrets. No one knows who is making the candy. The mystery creates an absolute riot when it's announced that five people who find a golden ticket in a Wonka bar will have a tour of the factory and win a lifetime supply of chocolate. Four of the tickets go to spoiled, selfish children who care more about the chocolate than the wonders in the factory. Charlie's shocked when he finally finds the fifth.
Not only does the trip turn out to be as wild as the factory's unpredictable owner, but one of Wonka's rivals, Slugworth (Gunter Meisner) goes to the kids with a scheme of his own. Charlie has to resist the temptations of both Slugworth and the factory...and in doing so, learns that the most important thing isn't having a sweet tooth, but a sweet and honest heart.
The Song and Dance: Gene Wilder gave one of his best and most iconic performances as the oddball title character. He's mostly pretty subdued, even when the kids are going down garbage chutes and falling into his chocolate river...at least until he gets angry at Charlie in the finale over his messing around with one of his concoctions in the factory. Albertson is equally good as cantankerous and energetic Grandpa Joe, who is quite thoroughly enjoying his first time out of bed in twenty years. Ostrum and the other children are all excellent as the main five who get involved with all the lunacy in the factory. I always thought Roy Kinnear and Leonard Stone were hilarious as Veruca and Violet's very different businessman fathers, and David Battely has fun with the small role of Charlie's goofy teacher.
Along with the performances and wonderful music, the movie has some of the most intricate sets and cinematography of the early 70's. No wonder everyone is amazed when they enter the Chocolate Room. The details there and in the Inventing Room later, as well as during the infamous "freak out" boat ride, are a delight to behold.
Favorite Number: Wilder's "Pure Imagination," performed in the Chocolate Room as the rest of the tour goers are enjoying the candy, is probably the most famous number from this movie today. (It's so associated with the film and the story, both stage musical versions pretty much had to include it.) The opening number "The Candy Man" had a hit cover by Sammy Davis Jr, who was a big fan of the song. My personal favorite number is "I've Got a Golden Ticket." Albertson and Ostrum are just having so much fun with their rollicking routine for that song, you can't help but sing along.
Trivia: One of the reasons for the film's initial failure was it was originally conceived partially by Quaker Oats to kick off a line of real-life Wonka bars. The candy didn't go over any better than the movie did. Rumor has it they actually melted on shelves. (Nestle would do far better with the Wonka brand over a decade later. It was a Christmas tradition in my family in the 90's and early 2000's to get a Wonka bar in our stockings in the hope of finding the golden ticket. We never found one, but at least the candy was pretty good.)
Road Dahl wrote an early draft of the film, but it was ultimately deemed to be too dark and reworked by others. He eventually disowned the movie, complaining about the additional songs, bumping up Wonka's role, and several of the scenes that hadn't been in the book.
If Violet and Veruca seem to be a bit nasty to each other, even for bratty kids, there was a reason for that. Julie Dawn Cole and Denise Nickerson, who played Violet, had major crushes on Peter Ostrum and spent most of the shoot trying to show off for him.
What I Don't Like: Dahl has a point about some of those additional scenes. The out-of-nowhere ending kind of ruins the interesting mystery they had going with Slugworth. The random scenes of people trying desperately by any means necessary to get those golden tickets are funny, but they also do nothing to advance the plot and are really kind of bizarre. (Especially the soap opera spoof with the woman whose husband was kidnapped and exchanged for Wonka bars.) There's a few sequences from the book that are missing, notably the entire segment about the Indian prince who wanted a chocolate factory.
As nifty as the sets are, some of the effects do show their age nowadays. Violet's face in the factory is really just a blue spotlight, everyone in the Chocolate Room is obviously eating candy out of plastic props, not mushrooms and giant fruit, and the parents are right that the Chocolate River looks more like the dirty water it was than anything edible. Not to mention, some of the kids come off as so likable, it's hard to hate them the way you should when they're finally taken out.
The Big Finale: While I do like the non-musical Tim Burton remake as well, this one still has plenty of it's own charms. Delightful performances (especially from Wilder and Albertson), a great script, amazing sets, and one of Bricusse and Newley's best scores makes this one confection that remains very sweet indeed.
Home Media: Alas, both the 40th and 45th anniversary editions seem to be out of print on DVD and Blu-Ray at press time. Your best bet may be streaming services like Amazon Prime or if you're really into this movie, the Blu-Ray/DVD Collector's Edition combo.
40th Anniversary Blu-Ray/DVD Collector's Edition
Amazon Prime
Starring Gene Wilder, Jack Albertson, Peter Ostrum, and Julie Dawn Cole
Directed by Mel Stuart
Music and Lyrics by Leslie Bricusse and Anthony Newley
It'll probably be a surprise to many people to find this review under the "Cult Flops" banner. It wasn't a big hit with critics or audiences when it came out, who dismissed it as a bland children's film. It took constant showings on TV and cable and being a hit on video to turn it into one of the most beloved family musicals of all time. Does it deserve its popularity, or should it be sent down the garbage chute? Let's take a trip to Willy Wonka's famous factory to find out...
The Story: Charlie Bucket (Ostrum) is a poor boy who often passes by the massive chocolate factory owned by the mysterious Willy Wonka (Wilder) on his paper route. A tinker (Peter Capell) tells him ominously that "no one ever goes in, and no one ever goes out." His beloved old Grandpa Joe (Albertson) explains that Wonka closed the factory to visitors after spies stole his secrets. No one knows who is making the candy. The mystery creates an absolute riot when it's announced that five people who find a golden ticket in a Wonka bar will have a tour of the factory and win a lifetime supply of chocolate. Four of the tickets go to spoiled, selfish children who care more about the chocolate than the wonders in the factory. Charlie's shocked when he finally finds the fifth.
Not only does the trip turn out to be as wild as the factory's unpredictable owner, but one of Wonka's rivals, Slugworth (Gunter Meisner) goes to the kids with a scheme of his own. Charlie has to resist the temptations of both Slugworth and the factory...and in doing so, learns that the most important thing isn't having a sweet tooth, but a sweet and honest heart.
The Song and Dance: Gene Wilder gave one of his best and most iconic performances as the oddball title character. He's mostly pretty subdued, even when the kids are going down garbage chutes and falling into his chocolate river...at least until he gets angry at Charlie in the finale over his messing around with one of his concoctions in the factory. Albertson is equally good as cantankerous and energetic Grandpa Joe, who is quite thoroughly enjoying his first time out of bed in twenty years. Ostrum and the other children are all excellent as the main five who get involved with all the lunacy in the factory. I always thought Roy Kinnear and Leonard Stone were hilarious as Veruca and Violet's very different businessman fathers, and David Battely has fun with the small role of Charlie's goofy teacher.
Along with the performances and wonderful music, the movie has some of the most intricate sets and cinematography of the early 70's. No wonder everyone is amazed when they enter the Chocolate Room. The details there and in the Inventing Room later, as well as during the infamous "freak out" boat ride, are a delight to behold.
Favorite Number: Wilder's "Pure Imagination," performed in the Chocolate Room as the rest of the tour goers are enjoying the candy, is probably the most famous number from this movie today. (It's so associated with the film and the story, both stage musical versions pretty much had to include it.) The opening number "The Candy Man" had a hit cover by Sammy Davis Jr, who was a big fan of the song. My personal favorite number is "I've Got a Golden Ticket." Albertson and Ostrum are just having so much fun with their rollicking routine for that song, you can't help but sing along.
Trivia: One of the reasons for the film's initial failure was it was originally conceived partially by Quaker Oats to kick off a line of real-life Wonka bars. The candy didn't go over any better than the movie did. Rumor has it they actually melted on shelves. (Nestle would do far better with the Wonka brand over a decade later. It was a Christmas tradition in my family in the 90's and early 2000's to get a Wonka bar in our stockings in the hope of finding the golden ticket. We never found one, but at least the candy was pretty good.)
Road Dahl wrote an early draft of the film, but it was ultimately deemed to be too dark and reworked by others. He eventually disowned the movie, complaining about the additional songs, bumping up Wonka's role, and several of the scenes that hadn't been in the book.
If Violet and Veruca seem to be a bit nasty to each other, even for bratty kids, there was a reason for that. Julie Dawn Cole and Denise Nickerson, who played Violet, had major crushes on Peter Ostrum and spent most of the shoot trying to show off for him.
What I Don't Like: Dahl has a point about some of those additional scenes. The out-of-nowhere ending kind of ruins the interesting mystery they had going with Slugworth. The random scenes of people trying desperately by any means necessary to get those golden tickets are funny, but they also do nothing to advance the plot and are really kind of bizarre. (Especially the soap opera spoof with the woman whose husband was kidnapped and exchanged for Wonka bars.) There's a few sequences from the book that are missing, notably the entire segment about the Indian prince who wanted a chocolate factory.
As nifty as the sets are, some of the effects do show their age nowadays. Violet's face in the factory is really just a blue spotlight, everyone in the Chocolate Room is obviously eating candy out of plastic props, not mushrooms and giant fruit, and the parents are right that the Chocolate River looks more like the dirty water it was than anything edible. Not to mention, some of the kids come off as so likable, it's hard to hate them the way you should when they're finally taken out.
The Big Finale: While I do like the non-musical Tim Burton remake as well, this one still has plenty of it's own charms. Delightful performances (especially from Wilder and Albertson), a great script, amazing sets, and one of Bricusse and Newley's best scores makes this one confection that remains very sweet indeed.
Home Media: Alas, both the 40th and 45th anniversary editions seem to be out of print on DVD and Blu-Ray at press time. Your best bet may be streaming services like Amazon Prime or if you're really into this movie, the Blu-Ray/DVD Collector's Edition combo.
40th Anniversary Blu-Ray/DVD Collector's Edition
Amazon Prime
Saturday, November 24, 2018
Family Fun Saturday - March of the Wooden Soldiers (Babes In Toyland)
Hal Roach/MGM, 1934
Starring Stan Laurel, Oliver Hardy, Charlotte Henry, and Felix Knight
Directed by Gus Meins and Charles Rogers
Music by Victor Herbert; Lyrics by Glenn MacDonough
This is the first Babes In Toyland to reach the big screen, and for many, it's still the definitive movie version. It's one of Stan and Ollie's most popular vehicles, and the fact that it's in the public domain has made it a favorite of independent TV stations and online playlists looking for inexpensive family programming to run for the holidays. Does it still hold up as well as those sturdy toy soldiers, or should it be banished to Bogey Land? Let's return to Toyland to find out...
The Story: A much older Silas Barnaby (Henry Kleinbach) is once again trying to force a lovely nursery rhyme lass to marry him. Here, the object of his affections is pretty Little Bo Peep (Henry). Her sweetheart is Tom Tom, the Piper's Son (Knight), who helps her find her sheep when she's lost them.
Bo Peep's mother, the Old Woman Who Lived In the Shoe (Florence Roberts), owes Barnaby the mortgage on her footwear home. She thinks her renters Stannie Dee (Laurel) and Ollie Dum (Hardy) will bring the money from their jobs working for the Toymaker (William Burress). They're unable to bring much of anything after they're fired when Stan mistakes an order for 600 toy soldiers at 1 foot high for 100 toy soldiers at 6 feet high. The boys try to get the mortgage, but they're caught. Barnaby orders them punished. Bo Peep agrees to marry him to save them, but they manage to trick the crooked old man and get the mortgage anyway.
Barnaby's not finished with his villainy yet. He has one of the Three Little Pigs kidnapped and accuses Tom of the crime. Tom is banished to Bogey Land. Heartbroken, Little Bo Peep goes after him. When Stan and Ollie figures out what's really going on, they too hurry off to find the lovers. But Barnaby has his own plans...and intends to round up the terrifying Bogeymen to help him take over all of Toyland!
The Song and Dance: Laurel and Hardy have some classic material here. I love the sequences with Stan delivering Ollie in a package to Barnaby in order to steal the mortgage, Ollie being dunked, and them leaning over the well going into Bogey Land. There's some cute details here that you don't see in other retellings of this story, including the monkey Mickey Mouse and the funny Cat and the Fiddle who just can't seem to catch him. Santa may not have been able to give those giant toy soldiers to the kids, but they are a pretty cool effect, especially when they're all marching out to attack the Bogeymen.
Kleinbach is a wonderful Barnaby, a crooked and creepy old man who oozes menace. The Bogey Land set, with it's massive cyprus trees and dripping moss, is appropriately creepy and cool. The Bogeymen themselves are genuinely scary, with their furry heads and ape-like faces. I imagine they gave kids in the 30's quite a few nightmares.
Favorite Number: On one hand, we get a few songs here that were downplayed in the 1961 remake. The largest ensemble number is "Never Mind, Bo Peep," bringing almost every resident of Toyland on camera while they look for Bo Peep's perpetually missing sheep. Mother Goose (Virginia Karns) sings "Toyland" in the opening credits as she introduces most of the residents of Toyland, including a snoozing Stan and Ollie. (And while the lyrics aren't heard, we do get the music for "I Can't Do the Sum" as the theme for Laurel and Hardy.)
What I Don't Like: Why don't Laurel and Hardy have a song? They're genuinely good singers and dancers who have done numbers in other films and shorts. I would love to have heard their take on "I Can't Do the Sum."
While the toy soldiers mostly still work and the bogeymen are genuinely frightening, some of the other costumes and effects don't come off as well today. I feel sorry for the poor monkey stuck in the awkward Mickey Mouse costume. The Three Little Pigs' outfits are more scary than they are cute, with their wrinkly faces and long snouts.
Stan Laurel later went on to say that he regretted that they couldn't film the movie in color. I agree. While the original black-and-white release is available, if ever a movie was meant for colorization, it was this one. The color adds a lot of punch to the elaborate costumes and scenery, especially in Toyland.
The Big Finale: Dated costumes and effects aside, this is one of Laurel and Hardy's funniest and most charming vehicles. This one still turns up a lot on TV and online during the Thanksgiving and Christmas holidays; it's great for families with younger kids.
Home Media: My DVD from Legend Films not only includes the full restored movie in black and white and color prints, but comes with a plethora of other vintage public domain holiday shorts of the 30's, 40's, and 50's, including the Max Fleischer Rudolph the Red Nosed Reindeer. From what I can see of the reviews, the Blu-Ray release is apparently even better. For streamers, it's free on Amazon Prime.
DVD
Blu-Ray
Amazon Prime
Starring Stan Laurel, Oliver Hardy, Charlotte Henry, and Felix Knight
Directed by Gus Meins and Charles Rogers
Music by Victor Herbert; Lyrics by Glenn MacDonough
This is the first Babes In Toyland to reach the big screen, and for many, it's still the definitive movie version. It's one of Stan and Ollie's most popular vehicles, and the fact that it's in the public domain has made it a favorite of independent TV stations and online playlists looking for inexpensive family programming to run for the holidays. Does it still hold up as well as those sturdy toy soldiers, or should it be banished to Bogey Land? Let's return to Toyland to find out...
The Story: A much older Silas Barnaby (Henry Kleinbach) is once again trying to force a lovely nursery rhyme lass to marry him. Here, the object of his affections is pretty Little Bo Peep (Henry). Her sweetheart is Tom Tom, the Piper's Son (Knight), who helps her find her sheep when she's lost them.
Bo Peep's mother, the Old Woman Who Lived In the Shoe (Florence Roberts), owes Barnaby the mortgage on her footwear home. She thinks her renters Stannie Dee (Laurel) and Ollie Dum (Hardy) will bring the money from their jobs working for the Toymaker (William Burress). They're unable to bring much of anything after they're fired when Stan mistakes an order for 600 toy soldiers at 1 foot high for 100 toy soldiers at 6 feet high. The boys try to get the mortgage, but they're caught. Barnaby orders them punished. Bo Peep agrees to marry him to save them, but they manage to trick the crooked old man and get the mortgage anyway.
Barnaby's not finished with his villainy yet. He has one of the Three Little Pigs kidnapped and accuses Tom of the crime. Tom is banished to Bogey Land. Heartbroken, Little Bo Peep goes after him. When Stan and Ollie figures out what's really going on, they too hurry off to find the lovers. But Barnaby has his own plans...and intends to round up the terrifying Bogeymen to help him take over all of Toyland!
The Song and Dance: Laurel and Hardy have some classic material here. I love the sequences with Stan delivering Ollie in a package to Barnaby in order to steal the mortgage, Ollie being dunked, and them leaning over the well going into Bogey Land. There's some cute details here that you don't see in other retellings of this story, including the monkey Mickey Mouse and the funny Cat and the Fiddle who just can't seem to catch him. Santa may not have been able to give those giant toy soldiers to the kids, but they are a pretty cool effect, especially when they're all marching out to attack the Bogeymen.
Kleinbach is a wonderful Barnaby, a crooked and creepy old man who oozes menace. The Bogey Land set, with it's massive cyprus trees and dripping moss, is appropriately creepy and cool. The Bogeymen themselves are genuinely scary, with their furry heads and ape-like faces. I imagine they gave kids in the 30's quite a few nightmares.
Favorite Number: On one hand, we get a few songs here that were downplayed in the 1961 remake. The largest ensemble number is "Never Mind, Bo Peep," bringing almost every resident of Toyland on camera while they look for Bo Peep's perpetually missing sheep. Mother Goose (Virginia Karns) sings "Toyland" in the opening credits as she introduces most of the residents of Toyland, including a snoozing Stan and Ollie. (And while the lyrics aren't heard, we do get the music for "I Can't Do the Sum" as the theme for Laurel and Hardy.)
What I Don't Like: Why don't Laurel and Hardy have a song? They're genuinely good singers and dancers who have done numbers in other films and shorts. I would love to have heard their take on "I Can't Do the Sum."
While the toy soldiers mostly still work and the bogeymen are genuinely frightening, some of the other costumes and effects don't come off as well today. I feel sorry for the poor monkey stuck in the awkward Mickey Mouse costume. The Three Little Pigs' outfits are more scary than they are cute, with their wrinkly faces and long snouts.
Stan Laurel later went on to say that he regretted that they couldn't film the movie in color. I agree. While the original black-and-white release is available, if ever a movie was meant for colorization, it was this one. The color adds a lot of punch to the elaborate costumes and scenery, especially in Toyland.
The Big Finale: Dated costumes and effects aside, this is one of Laurel and Hardy's funniest and most charming vehicles. This one still turns up a lot on TV and online during the Thanksgiving and Christmas holidays; it's great for families with younger kids.
Home Media: My DVD from Legend Films not only includes the full restored movie in black and white and color prints, but comes with a plethora of other vintage public domain holiday shorts of the 30's, 40's, and 50's, including the Max Fleischer Rudolph the Red Nosed Reindeer. From what I can see of the reviews, the Blu-Ray release is apparently even better. For streamers, it's free on Amazon Prime.
DVD
Blu-Ray
Amazon Prime
Thursday, November 22, 2018
Happy Thanksgiving! - By the Light of the Silvery Moon
Warner Bros, 1953
Starring Doris Day, Gordon MacRae, Billy Gray, and Leon Ames
Directed by David Butler
Music by various composes
On Moonlight Bay was a huge hit for Warners, enough to warrant one of the very rare musical sequels. The sequel features a sequence set at Thanksgiving, which, along with the same warm and fuzzy feeling it shares from the original film, is reason enough to review it on a holiday known for tradition and nostalgia. Does it deserve a place at your Thanksgiving table, or should it be sent out to be stuffed? Let's return to the Wakefield home, just in time for Armistice Day...
The Story: It's a few days before Thanksgiving, 1918. Bill Sherman (MacRae) is finally home from the war, to the delight of his mechanic girlfriend Marjorie (Day). Marjorie wants to get married right away, but Bill is determined to earn enough money to live before jumping into a wedding. They quarrel over the change, but after Bill gets a job at the bank, agree that it's the smart thing to do.
Meanwhile, Marjorie's little brother Westley (Gray) is having his own growing pains. First, he gets so attached to the Thanksgiving turkey, he steals one from another house rather than let the butcher kill his new favorite pet. Shortly after the turkey incident, he finds a note from his father to an actress and thinks he's having an affair with her. Marjorie is so upset, she won't marry Bill... and Bill thinks Marjorie is the one having an affair with her dull suitor Chester Finley (Russell Arms). Everything finally comes out during a skating party for Mr. and Mrs. Winfield's (Ames and Rosemary DeCamp) anniversary.
The Song and Dance: Westley's wild imagination and some cute numbers provide most of the fun in this one. As someone who is also a big fan of both mysteries and old-time pulp fiction, I got the biggest kick out of the scene where he imagines himself to be a detective who rounds up a whole nest of thieves. DeCamp, Ames, and Mary Wickes as the ever-sarcastic maid Stella have more to do this time around, especially when they all think Mr. Winfield is cheating on his wife in the second half. I also love the opening, with Stella breaking the fourth wall to provide her own commentary on each member of the family.
Favorite Number: Along with Westley's daydreams, my favorite part of this one is the adorable "Ain't We Got Fun" number, with Stella, Marjorie, Bill, and Mr. Winfield having a great time getting the food ready for Thanksgiving dinner. You have to agree with Mr. Winfield when he says that preparing the food is just as much fun as eating the meal! MacRae and Day also get to have fun with "Be My Little Baby Bumble Bee," which Chester starts in an attempt to woo Marjorie...only to have her end up with Bill when he gets in on the song.
What I Don't Like: Despite some twists in the plot, this is more-or-less a rehash of the first movie. Once again, we have Bill opposed to marrying Marjorie, either because of his own ambitions and opinions or a rumor Wesley (inadvertently) started about his father. We have an annoying suitor that Wesley helps get rid of, all leading up to a big party. I can understand Bill wanting to start a nest egg, but pretty much everything else that leads the two of them to their on-again, off-again nuptials is just ridiculous, and it gets annoying after a while. And though Doris Day throws her all into the "King Chanticleer" number in the local show, it's defeated by odd choreography and some really strange costumes. (Though, to be fair, it is supposed to be just a little number in a local show.)
The Big Finale: Same deal here. If you loved the first one, are a fan of Day or MacRae, or enjoy musical nostalgia or coming-of-age stories, this is one Thanksgiving table you'll want to join...whether the turkey is on it, or running around it.
Home Media: The sequel was almost as big of a hit as the original film, and is equally easy to find. Your best bet may be to buy the TCM two-pack that includes both movies.
DVD
DVD - TCM 2-Pack: On Moonlight Bay/By the Light of the Silvery Moon
Amazon Prime
And I hope all of my US readers had a wonderful Thanksgiving with their own families!
Starring Doris Day, Gordon MacRae, Billy Gray, and Leon Ames
Directed by David Butler
Music by various composes
On Moonlight Bay was a huge hit for Warners, enough to warrant one of the very rare musical sequels. The sequel features a sequence set at Thanksgiving, which, along with the same warm and fuzzy feeling it shares from the original film, is reason enough to review it on a holiday known for tradition and nostalgia. Does it deserve a place at your Thanksgiving table, or should it be sent out to be stuffed? Let's return to the Wakefield home, just in time for Armistice Day...
The Story: It's a few days before Thanksgiving, 1918. Bill Sherman (MacRae) is finally home from the war, to the delight of his mechanic girlfriend Marjorie (Day). Marjorie wants to get married right away, but Bill is determined to earn enough money to live before jumping into a wedding. They quarrel over the change, but after Bill gets a job at the bank, agree that it's the smart thing to do.
Meanwhile, Marjorie's little brother Westley (Gray) is having his own growing pains. First, he gets so attached to the Thanksgiving turkey, he steals one from another house rather than let the butcher kill his new favorite pet. Shortly after the turkey incident, he finds a note from his father to an actress and thinks he's having an affair with her. Marjorie is so upset, she won't marry Bill... and Bill thinks Marjorie is the one having an affair with her dull suitor Chester Finley (Russell Arms). Everything finally comes out during a skating party for Mr. and Mrs. Winfield's (Ames and Rosemary DeCamp) anniversary.
The Song and Dance: Westley's wild imagination and some cute numbers provide most of the fun in this one. As someone who is also a big fan of both mysteries and old-time pulp fiction, I got the biggest kick out of the scene where he imagines himself to be a detective who rounds up a whole nest of thieves. DeCamp, Ames, and Mary Wickes as the ever-sarcastic maid Stella have more to do this time around, especially when they all think Mr. Winfield is cheating on his wife in the second half. I also love the opening, with Stella breaking the fourth wall to provide her own commentary on each member of the family.
Favorite Number: Along with Westley's daydreams, my favorite part of this one is the adorable "Ain't We Got Fun" number, with Stella, Marjorie, Bill, and Mr. Winfield having a great time getting the food ready for Thanksgiving dinner. You have to agree with Mr. Winfield when he says that preparing the food is just as much fun as eating the meal! MacRae and Day also get to have fun with "Be My Little Baby Bumble Bee," which Chester starts in an attempt to woo Marjorie...only to have her end up with Bill when he gets in on the song.
What I Don't Like: Despite some twists in the plot, this is more-or-less a rehash of the first movie. Once again, we have Bill opposed to marrying Marjorie, either because of his own ambitions and opinions or a rumor Wesley (inadvertently) started about his father. We have an annoying suitor that Wesley helps get rid of, all leading up to a big party. I can understand Bill wanting to start a nest egg, but pretty much everything else that leads the two of them to their on-again, off-again nuptials is just ridiculous, and it gets annoying after a while. And though Doris Day throws her all into the "King Chanticleer" number in the local show, it's defeated by odd choreography and some really strange costumes. (Though, to be fair, it is supposed to be just a little number in a local show.)
The Big Finale: Same deal here. If you loved the first one, are a fan of Day or MacRae, or enjoy musical nostalgia or coming-of-age stories, this is one Thanksgiving table you'll want to join...whether the turkey is on it, or running around it.
Home Media: The sequel was almost as big of a hit as the original film, and is equally easy to find. Your best bet may be to buy the TCM two-pack that includes both movies.
DVD
DVD - TCM 2-Pack: On Moonlight Bay/By the Light of the Silvery Moon
Amazon Prime
And I hope all of my US readers had a wonderful Thanksgiving with their own families!
Tuesday, November 20, 2018
On Moonlight Bay
Warner Bros, 1951
Starring Doris Day, Gordon MacRae, Billy Gray, and Leon Ames
Directed by Roy Del Ruth
Music and Lyrics by various composers
This is the second of three nostalgic musicals Day made during the period where she was America's girl-next-door and the biggest musical star at Warner Bros. It's loosely based after the Penrod novels by Booth Tarkington, which was a series of stories about a mischievous little boy in the early 20th century. While the movie does focus mostly on the romantic exploits of his sister, the boy does have his own important plots. Does this excursion into times past float along like the lyrics in the title song, or should it be sent out the door with a slingshot? Let's head to a small Indiana town in 1916 and find out...
The Story: The Winfield family has just moved across town to a far larger home in an upwardly-mobile neighborhood. Mr Winfield (Ames) is the only one who thinks it's a good idea. His son Wesley (Gray) misses his friends, and his tomboy daughter Marjorie (Day) would rather be playing baseball than courting some dull young man. That changes when she meets handsome college boy William Sherman (MacRae) after almost shooting him when she was trying to keep Westley from playing with a gun. They go on a date and fall in love, but William has a lot of high-minded ideas about capitalism and the role of money and marriage in society. Marjorie claims that she agrees with them, but her banker father isn't as thrilled. He'd rather see Marjorie married to the steady but bland Hubert (Jack Smith). He's even less happy when Bill joins the army to head for France.
Eleven-year-old Westley has his own problems, most of them stemming from his attempts to avoid schoolwork and his wild imagination. He accidentally brings a love note from Marjorie to Bill to school for a class assignment; his attempts to get back at her and send Hubert packing make his sister happy instead of angry. He gets between Marjorie and Bill when the lie he tells his teacher (Ellen Corby) about his father being a drinker gets back to Bill, and he thinks Marjorie's father has hurt her. Wesley is ultimately the one who finally changes his father's mind about his sister and her beau when he uses a slingshot that used to belong to his father...and reminds Mr. Wakefield that he was a boy once, too.
The Song and Dance: Gray's antics and Day's feisty personality really give this one a lift. Marjorie may give up baseball for romance, but she's going to have it her way, no matter what her father says. Wesley's daydreaming is mostly what causes the problems, especially during one sequence in school where he imagines he's flying that reminds me a lot of A Christmas Story. Leon Ames and Rosemary DeCamp as his wife are fine as the Winfield parents; Mary Wickes is hilarious as the sarcastic maid Stella, whom everyone keeps running into when her hands are full.
Favorite Number: Day and MacRae have a charming version of "Cuddle Up a Little Closer" early in the film that's disrupted by Wesley's attempts to sing along. Day's tearful "Till We Meet Again" and "Tell Me" after she and Bill have been separated the first time and "Christmas Story" after the incident with Wesley and the lie about his father are her best solo numbers.
What I Don't Like: Wesley is seriously lucky he never got more than a scolding for any of the trouble he caused, including spreading a rather nasty rumor about his father and stealing his sister's letter. Mr. Winfield was a bit of a jerk throughout much of the movie; not only would some people today probably agree with Bill's views on marriage, but I suspect many fathers in the 21st century would be proud to have a soldier for a son. And yeah, a lot of this isn't anything you haven't seen before in dozens of coming-of-age stories going as far back as the Winfields' time.
The Big Finale: Charming and cute if you like the cast, Day, or nostalgic tales of growing up in the 20th century. This ended up being a huge hit for Warners, enough to warrant a sequel in 1953.
Home Media: As one of Day's most popular films, this is easily found online, both on streaming and on DVD.
DVD
TCM: On Moonlight Bay/By the Light of the Silvery Moon
Amazon Prime
Starring Doris Day, Gordon MacRae, Billy Gray, and Leon Ames
Directed by Roy Del Ruth
Music and Lyrics by various composers
This is the second of three nostalgic musicals Day made during the period where she was America's girl-next-door and the biggest musical star at Warner Bros. It's loosely based after the Penrod novels by Booth Tarkington, which was a series of stories about a mischievous little boy in the early 20th century. While the movie does focus mostly on the romantic exploits of his sister, the boy does have his own important plots. Does this excursion into times past float along like the lyrics in the title song, or should it be sent out the door with a slingshot? Let's head to a small Indiana town in 1916 and find out...
The Story: The Winfield family has just moved across town to a far larger home in an upwardly-mobile neighborhood. Mr Winfield (Ames) is the only one who thinks it's a good idea. His son Wesley (Gray) misses his friends, and his tomboy daughter Marjorie (Day) would rather be playing baseball than courting some dull young man. That changes when she meets handsome college boy William Sherman (MacRae) after almost shooting him when she was trying to keep Westley from playing with a gun. They go on a date and fall in love, but William has a lot of high-minded ideas about capitalism and the role of money and marriage in society. Marjorie claims that she agrees with them, but her banker father isn't as thrilled. He'd rather see Marjorie married to the steady but bland Hubert (Jack Smith). He's even less happy when Bill joins the army to head for France.
Eleven-year-old Westley has his own problems, most of them stemming from his attempts to avoid schoolwork and his wild imagination. He accidentally brings a love note from Marjorie to Bill to school for a class assignment; his attempts to get back at her and send Hubert packing make his sister happy instead of angry. He gets between Marjorie and Bill when the lie he tells his teacher (Ellen Corby) about his father being a drinker gets back to Bill, and he thinks Marjorie's father has hurt her. Wesley is ultimately the one who finally changes his father's mind about his sister and her beau when he uses a slingshot that used to belong to his father...and reminds Mr. Wakefield that he was a boy once, too.
The Song and Dance: Gray's antics and Day's feisty personality really give this one a lift. Marjorie may give up baseball for romance, but she's going to have it her way, no matter what her father says. Wesley's daydreaming is mostly what causes the problems, especially during one sequence in school where he imagines he's flying that reminds me a lot of A Christmas Story. Leon Ames and Rosemary DeCamp as his wife are fine as the Winfield parents; Mary Wickes is hilarious as the sarcastic maid Stella, whom everyone keeps running into when her hands are full.
Favorite Number: Day and MacRae have a charming version of "Cuddle Up a Little Closer" early in the film that's disrupted by Wesley's attempts to sing along. Day's tearful "Till We Meet Again" and "Tell Me" after she and Bill have been separated the first time and "Christmas Story" after the incident with Wesley and the lie about his father are her best solo numbers.
What I Don't Like: Wesley is seriously lucky he never got more than a scolding for any of the trouble he caused, including spreading a rather nasty rumor about his father and stealing his sister's letter. Mr. Winfield was a bit of a jerk throughout much of the movie; not only would some people today probably agree with Bill's views on marriage, but I suspect many fathers in the 21st century would be proud to have a soldier for a son. And yeah, a lot of this isn't anything you haven't seen before in dozens of coming-of-age stories going as far back as the Winfields' time.
The Big Finale: Charming and cute if you like the cast, Day, or nostalgic tales of growing up in the 20th century. This ended up being a huge hit for Warners, enough to warrant a sequel in 1953.
Home Media: As one of Day's most popular films, this is easily found online, both on streaming and on DVD.
DVD
TCM: On Moonlight Bay/By the Light of the Silvery Moon
Amazon Prime
Saturday, November 17, 2018
Animation Celebration Double Feature - Pocahontas & Pocahontas II: Journey to the New World
On this Saturday before Thanksgiving in the US, we're doing another Disney animated classic from the 90's and it's direct-to-video sequel. These are a bit more controversial, with their themes of racial and environmental insensitivity, colonialism, and duty weighed against personal freedom. Not to mention, like Anastasia, they take a rather inaccurate and romanticized view of historical facts and figures. Why don't we take a ride around the river bend to see whether they're worthy of being presented at court, or if they should be knocked overboard?
Pocahontas
Disney, 1995
Voices of Irene Bedard, Mel Gibson, Christian Bale, and Russell Means
Directed by Mike Gabriel and Eric Goldberg
Music by Alan Menken; Lyrics by Steven Schwartz
The Story: Pocahontas (Bedard) is the strong-willed daughter of Chief Powhatan (Means), of the Powahatan tribe in what we now know as Virginia. The Chief wants her to marry his bravest warrior Kocoum (James Apaumut Fall), but she sees him as much too serious. She visits the wise tree spirit Grandmother Willow (Linda Hunt) to discuss a dream about a spinning arrow. It's Grandmother who warns her of an approaching ship filled with strangers. These rough and ready sailors are lead by greedy Governor Radcliffe (David Ogden Stiers), who is desperate to find gold, and John Smith (Gibson), who just wants adventure. Ever-curious Pocahontas follows Smith, and after she explains her culture to him, they find themselves falling for each other.
Meanwhile, two of Radcliffe's men have attacked Powhatan warriors, leading to both Radcliffe and Powahatan to forbid either group from speaking to one another. As they learn more about each other's worlds, the Powahatan princess and the explorer realize how much they have in common. Pocahontas' friend Nakoma (Michelle St. John) sees her with Smith and, worried, tells Kocoum. Smith's young sailor friend Thomas (Bale) kills the warrior before he can harm Smith. Now both sides are ready for war, unless these star-crossed lovers can show that there's a better way
The Animation: This is some of Disney's most fluid and vibrant work of the 90's. The use of color here is truly outstanding, especially during the sequences with Grandmother Willow and the "Color of the Wind" number. The character animation is also quite fluid and as graceful as that wind that dances around Pocahontas throughout the film. The rainbow of colors in the forest and corn fields make for a stark and startling contrast to the darker colors of the sailors and Radcliffe's extravagant jewel tones.
The Song and Dance: I can see what Disney was trying to do here. This is a genuine epic, and almost as dark at times as The Hunchback of Notre Dame. At the very least, they didn't go for the intrusive comedy relief that marred that film. Pocahontas' animal friends Meeko the hungry raccoon and Flit the Hummingbird and Radcliffe's pampered pooch Percy are normal, silent animals, who not only fit in a tad better than the gargoyles did in Hunchback, but have some bearing on the plot.
Along with the music, the best thing about this movie is the title character. Pocahontas remains one of Disney's strongest princesses to date. She's determined, independent, bold, and quick-thinking. Nothing stops her from following her heart, including two groups threatening war. Several later adventurous Disney lasses owe a great deal to her, including Moana, Mulan, and Merida.
If nothing else, I give Disney credit for trying something entirely different. The movie is unique in its depiction of early American history. I don't know of many other musicals that have tackled the Native American experience and how it was impacted by the arrival of Europeans in the US. Not to mention, there aren't too many musicals out there with an unhappy or bittersweet ending, either.
Favorite Number: For all the film's problems, it does have a genuinely good score. I love Pocahontas' "I want" song "Just Around the River Bend," which flows and ebbs like the body of water in the title. "Mine, Mine, Mine" and the brutal "Savages" are the best of the chorus numbers. "Colors of the Wind" won an Oscar, likely for the gorgeously animated sequence where Pocahontas introduces John Smith to the wonders of the New World.
What I Don't Like: Let's discuss those historical inaccuracies, starting with the real Pocahontas was a child when she met John Smith and saved him from death. Neither she nor Smith were said to be the most gorgeous or pleasant people in existence, either. Executives at Disney, including Jeffery Katzenberg, wanted to go the Beauty and the Beast route and place emphasis on the romance, hence Pocahontas being aged-up into an older teen. Radcliffe was a captain with royal connections, but he's played more as a combination of several real-life sea captains (one of whom did genuinely dislike Smith).
My bigger problem with Radcliffe is he's a really dull villain. All he cares about is gold, gold, and more gold. Stiers does give him a certain gravity, but he mostly comes off as an annoying and pompous windbag. Most of the other characters barely register. I would have loved to have seen more of Thomas, Nakoma, and even Grandmother Willow. The animals' antics are cute and work better with the plot than the chattier sidekicks in some other Disney movies, but they still can come off as too goofy at times.
The Big Finale: I first saw this movie when it debuted on TV as part of The Wonderful World of Disney in the late 90's. It was the only Disney movie from that decade that I didn't like then. The historical fudging was annoying, the characters were boring, and only the music redeemed anything.
Having seen it again for the first time in over 20 years, I can say that I enjoyed it a little bit more this time around (especially its heroine), but it's still not one of my favorites. This might be interesting for older kids and young teens...but do talk with them beforehand to explain the historical fudging.
Home Media: The solo DVD is out of print, but it's on Amazon Prime. My recommendation would be to grab it in the recent release with its sequel Journey to the New World, which we'll get into shortly.
DVD
Amazon Prime
Pocahontas/Pocahontas II 2-Pack Blu-Ray
Pocahontas II: Journey to the New World
Disney, 1998
Voices of Irene Bedard, Billy Zane, Donal Gibson, and Jean Stapleton
Directed by Tom Ellery and Bradley Raymond
Music Larry Grossman; Lyrics by Marty Panzer
The Story: Pocahontas (Bedard) is grieving for John Smith (Gibson), who was announced dead in England, when a ship arrives from London with diplomat John Rolfe (Zane). He's supposed to bring the Chief to meet King James (Jim Cummings), a personal friend of Governor Radcliffe (David Ogden Stiers). Radcliffe lied to the King about what happened in the New World and ordered Smith arrested. Rolfe is hoping that bringing the Chief to England will allow for peaceful negotiations. Powhatan won't leave his tribe, so Pocahontas and her bodyguard Ulti (Brad Garrett) go in his place.
She's delighted by the sights, sounds, and smells of the Old World at first, at least until the King insists on her coming to the Hunt Ball to prove she can be "civilized." John and his sight-challenged maid Mrs. Jenkins (Stapleton) try to teach her the ways of the royal court. It all goes well, until Radcliffe orders a bear-baiting hunt. Pocahontas can't stand such animal cruelty and angrily protests.
She and Ulti are locked up in the Tower of London, but are rescued by Rolfe and, to their surprise, Smith. Turns out Radcliffe set up the entire incident in order to send an armada to destroy the tribes and get his hands on the non-existent "gold." Smith wants her to run, but she can't let her people down. She finally confronts the king...and proves to him who the real savage is.
The Animation: While it's just as colorful as the previous film, it's otherwise a comedown. The designs and the backgrounds aren't nearly as fluid or as interesting, although some of the sequences that show a bustling London have some decent character animation. Otherwise, it's pretty obvious this was done by a studio that mostly specialized in TV productions.
The Song and Dance: The first half sneaks into "retread" territory, as we pretty much have the same set-up as last time, with Pocahontas meeting and starting a forbidden romance with a good-looking but otherwise bland white guy. It's the second half where things get interesting. Her fish-out-of-water story is actually kind of fun, especially in London and during the ball. In some ways, I enjoyed it more than the first film, with it's commentary on animal rights and just how "savage" supposedly civilized people can be.
At least they tried to be slightly more historically accurate this time. The older Pocahontas did go to London as a diplomat for her people, was received by King James at court, and ultimately married a man named John Rolfe.
Favorite Number: Alas, the music is only slightly more memorable than the score for Little Mermaid II. The chorus number "What a Day In London" as Pocahontas explores the bustling streets, is the best of a boring lot. Her solo "Where Do I Go From Here?" is supposed to be "Just Around the River Bend," but lacks the emotional core and flowing melody.
What I Didn't Like: They couldn't have found a better villain? Radcliffe isn't any less annoying this time around. He's such a contemptible idiot, one wonders why King James even listens to him. The King doesn't come off much better. He's mostly an easily manipulated clod. Zane's character is a boring generic "Disney prince," and the running gag with Mrs. Jenkins and her bad eyesight gets ridiculous after a while. I'm not sure why they even had Meeko, Percy, and Flit accompany Pocahontas, other than to fill the cute animal quotient.
The Big Finale: This one was actually a rather pleasant surprise. While not great, it is one of the better made-for-home-media sequels and is certainly an improvement on Little Mermaid II. Once again, if you have older kids and young teens who love American history or the first film, they may want to give this one a try.
Home Media: This one has only seen a solo DVD release as part of the old Golden Collection, but it's since been re-released as part of a 2-pack with Pocahontas (see above), and it's available for streaming.
DVD
Amazon Prime
Pocahontas
Disney, 1995
Voices of Irene Bedard, Mel Gibson, Christian Bale, and Russell Means
Directed by Mike Gabriel and Eric Goldberg
Music by Alan Menken; Lyrics by Steven Schwartz
The Story: Pocahontas (Bedard) is the strong-willed daughter of Chief Powhatan (Means), of the Powahatan tribe in what we now know as Virginia. The Chief wants her to marry his bravest warrior Kocoum (James Apaumut Fall), but she sees him as much too serious. She visits the wise tree spirit Grandmother Willow (Linda Hunt) to discuss a dream about a spinning arrow. It's Grandmother who warns her of an approaching ship filled with strangers. These rough and ready sailors are lead by greedy Governor Radcliffe (David Ogden Stiers), who is desperate to find gold, and John Smith (Gibson), who just wants adventure. Ever-curious Pocahontas follows Smith, and after she explains her culture to him, they find themselves falling for each other.
Meanwhile, two of Radcliffe's men have attacked Powhatan warriors, leading to both Radcliffe and Powahatan to forbid either group from speaking to one another. As they learn more about each other's worlds, the Powahatan princess and the explorer realize how much they have in common. Pocahontas' friend Nakoma (Michelle St. John) sees her with Smith and, worried, tells Kocoum. Smith's young sailor friend Thomas (Bale) kills the warrior before he can harm Smith. Now both sides are ready for war, unless these star-crossed lovers can show that there's a better way
The Animation: This is some of Disney's most fluid and vibrant work of the 90's. The use of color here is truly outstanding, especially during the sequences with Grandmother Willow and the "Color of the Wind" number. The character animation is also quite fluid and as graceful as that wind that dances around Pocahontas throughout the film. The rainbow of colors in the forest and corn fields make for a stark and startling contrast to the darker colors of the sailors and Radcliffe's extravagant jewel tones.
The Song and Dance: I can see what Disney was trying to do here. This is a genuine epic, and almost as dark at times as The Hunchback of Notre Dame. At the very least, they didn't go for the intrusive comedy relief that marred that film. Pocahontas' animal friends Meeko the hungry raccoon and Flit the Hummingbird and Radcliffe's pampered pooch Percy are normal, silent animals, who not only fit in a tad better than the gargoyles did in Hunchback, but have some bearing on the plot.
Along with the music, the best thing about this movie is the title character. Pocahontas remains one of Disney's strongest princesses to date. She's determined, independent, bold, and quick-thinking. Nothing stops her from following her heart, including two groups threatening war. Several later adventurous Disney lasses owe a great deal to her, including Moana, Mulan, and Merida.
If nothing else, I give Disney credit for trying something entirely different. The movie is unique in its depiction of early American history. I don't know of many other musicals that have tackled the Native American experience and how it was impacted by the arrival of Europeans in the US. Not to mention, there aren't too many musicals out there with an unhappy or bittersweet ending, either.
Favorite Number: For all the film's problems, it does have a genuinely good score. I love Pocahontas' "I want" song "Just Around the River Bend," which flows and ebbs like the body of water in the title. "Mine, Mine, Mine" and the brutal "Savages" are the best of the chorus numbers. "Colors of the Wind" won an Oscar, likely for the gorgeously animated sequence where Pocahontas introduces John Smith to the wonders of the New World.
What I Don't Like: Let's discuss those historical inaccuracies, starting with the real Pocahontas was a child when she met John Smith and saved him from death. Neither she nor Smith were said to be the most gorgeous or pleasant people in existence, either. Executives at Disney, including Jeffery Katzenberg, wanted to go the Beauty and the Beast route and place emphasis on the romance, hence Pocahontas being aged-up into an older teen. Radcliffe was a captain with royal connections, but he's played more as a combination of several real-life sea captains (one of whom did genuinely dislike Smith).
My bigger problem with Radcliffe is he's a really dull villain. All he cares about is gold, gold, and more gold. Stiers does give him a certain gravity, but he mostly comes off as an annoying and pompous windbag. Most of the other characters barely register. I would have loved to have seen more of Thomas, Nakoma, and even Grandmother Willow. The animals' antics are cute and work better with the plot than the chattier sidekicks in some other Disney movies, but they still can come off as too goofy at times.
The Big Finale: I first saw this movie when it debuted on TV as part of The Wonderful World of Disney in the late 90's. It was the only Disney movie from that decade that I didn't like then. The historical fudging was annoying, the characters were boring, and only the music redeemed anything.
Having seen it again for the first time in over 20 years, I can say that I enjoyed it a little bit more this time around (especially its heroine), but it's still not one of my favorites. This might be interesting for older kids and young teens...but do talk with them beforehand to explain the historical fudging.
Home Media: The solo DVD is out of print, but it's on Amazon Prime. My recommendation would be to grab it in the recent release with its sequel Journey to the New World, which we'll get into shortly.
DVD
Amazon Prime
Pocahontas/Pocahontas II 2-Pack Blu-Ray
Pocahontas II: Journey to the New World
Disney, 1998
Voices of Irene Bedard, Billy Zane, Donal Gibson, and Jean Stapleton
Directed by Tom Ellery and Bradley Raymond
Music Larry Grossman; Lyrics by Marty Panzer
The Story: Pocahontas (Bedard) is grieving for John Smith (Gibson), who was announced dead in England, when a ship arrives from London with diplomat John Rolfe (Zane). He's supposed to bring the Chief to meet King James (Jim Cummings), a personal friend of Governor Radcliffe (David Ogden Stiers). Radcliffe lied to the King about what happened in the New World and ordered Smith arrested. Rolfe is hoping that bringing the Chief to England will allow for peaceful negotiations. Powhatan won't leave his tribe, so Pocahontas and her bodyguard Ulti (Brad Garrett) go in his place.
She's delighted by the sights, sounds, and smells of the Old World at first, at least until the King insists on her coming to the Hunt Ball to prove she can be "civilized." John and his sight-challenged maid Mrs. Jenkins (Stapleton) try to teach her the ways of the royal court. It all goes well, until Radcliffe orders a bear-baiting hunt. Pocahontas can't stand such animal cruelty and angrily protests.
She and Ulti are locked up in the Tower of London, but are rescued by Rolfe and, to their surprise, Smith. Turns out Radcliffe set up the entire incident in order to send an armada to destroy the tribes and get his hands on the non-existent "gold." Smith wants her to run, but she can't let her people down. She finally confronts the king...and proves to him who the real savage is.
The Animation: While it's just as colorful as the previous film, it's otherwise a comedown. The designs and the backgrounds aren't nearly as fluid or as interesting, although some of the sequences that show a bustling London have some decent character animation. Otherwise, it's pretty obvious this was done by a studio that mostly specialized in TV productions.
The Song and Dance: The first half sneaks into "retread" territory, as we pretty much have the same set-up as last time, with Pocahontas meeting and starting a forbidden romance with a good-looking but otherwise bland white guy. It's the second half where things get interesting. Her fish-out-of-water story is actually kind of fun, especially in London and during the ball. In some ways, I enjoyed it more than the first film, with it's commentary on animal rights and just how "savage" supposedly civilized people can be.
At least they tried to be slightly more historically accurate this time. The older Pocahontas did go to London as a diplomat for her people, was received by King James at court, and ultimately married a man named John Rolfe.
Favorite Number: Alas, the music is only slightly more memorable than the score for Little Mermaid II. The chorus number "What a Day In London" as Pocahontas explores the bustling streets, is the best of a boring lot. Her solo "Where Do I Go From Here?" is supposed to be "Just Around the River Bend," but lacks the emotional core and flowing melody.
What I Didn't Like: They couldn't have found a better villain? Radcliffe isn't any less annoying this time around. He's such a contemptible idiot, one wonders why King James even listens to him. The King doesn't come off much better. He's mostly an easily manipulated clod. Zane's character is a boring generic "Disney prince," and the running gag with Mrs. Jenkins and her bad eyesight gets ridiculous after a while. I'm not sure why they even had Meeko, Percy, and Flit accompany Pocahontas, other than to fill the cute animal quotient.
The Big Finale: This one was actually a rather pleasant surprise. While not great, it is one of the better made-for-home-media sequels and is certainly an improvement on Little Mermaid II. Once again, if you have older kids and young teens who love American history or the first film, they may want to give this one a try.
Home Media: This one has only seen a solo DVD release as part of the old Golden Collection, but it's since been re-released as part of a 2-pack with Pocahontas (see above), and it's available for streaming.
DVD
Amazon Prime
Thursday, November 15, 2018
Babes In Toyland
Disney, 1961
Starring Annette Funicello, Tommy Sands, Ray Bolger, and Ed Wynn
Directed by Jack Donahue
Music by Victor Herbert and George Bruns; Lyrics by Mel Levin
Here's another children-oriented musical fantasy from 1961. This time, we get an adaptation of the popular Broadway operetta from the early 20th century. It's probably composer Victor Herbert's most famous show today, spinning off the holiday standard "Toyland" and the instrumental favorite "March of the Toy Soldiers." Let's head to Toyland for a wedding...and to see if the old tale still holds up today...
The Story: Mother Goose (Mary McCarty) and her sarcastic talking goose Sylvester introduce us to the world of Mother Goose Land. We're just in time to see some of the most famous nursery rhyme characters celebrating the engagement of Mary Quite Contrary (Funicello) and Tom the Piper's Son (Sands). One resident is less-than-thrilled with the announcement. Barnaby (Bolger) is a nasty old man who is determined to have Mary for himself. He hires the mercenaries Gonzorgo (Henry Calvin) and Rodrigo (Gene Sheldon) to kidnap Tom and steal Mary's sheep, leaving her defenseless and without income. Gonzorgo and Rodrigo make the mistake of selling Tom to the gypsies. When they show up in Mother Goose Land, Tom comes with them.
Meanwhile, Mary's siblings, including Little Bo Peep (Ann Jillian), have gone looking for the sheep in The Forest of No Return. A concerned Mary and Tom go after them. They all end up in Toyland, where the Toymaker (Wynn) and his nerdy assistant Grumio (Tommy Kirk) are trying to meet the Christmas deadline. After one of Grumio's inventions blows up and destroys their inventory, Tom, Mary, and the kids volunteer to help them make more. But Barnaby and his goons aren't far behind...and Grumio has another new invention that's going to make it a lot easier for them to capture Mary and take over Toyland!
The Song and Dance: This is another one where the colorful and adorable sets and costumes and the supporting cast really shine. McCarty's wonderfully sarcastic Mother Goose and the very funny Sylvester liven up the first half and really make you wish they were in more of the movie. Bolger's having a ball as the old fashioned cape-and-mustache villain. Calvin and Sheldon's innocent tomfoolery fits in better here than the Three Stooges' slapstick did in Snow White, and Wynn's hilarious as the absent-minded and eccentric Toymaker.
Favorite Number: Bolger has a great solo on "Castle In Spain," dancing with spouting water as Barnaby tries to convince Marry to become his wife. "The Forest of No Return," despite the obvious puppet trees, is still appropriately spooky today. Tommy Sands does surprisingly well with his solo on "Floretta" in drag. I've always liked the creative stop-motion work on the toys in "March of the Toy Soldiers" (the details on all those old-fashioned playthings are awesome) and the nifty multiple-Mary effects on "I Can't Do the Sum." Bolger's joined by Calvin and Sheldon for the very funny "And We Won't Be Happy 'Til We Get It," the manifesto of every fantasy villain.
What I Don't Like: Once again, the lovers here are as stiff as boards (though at least Sands and Funicello are both decent singers who don't need the dubbing). Most of the songs were re-written; the most famous, "Toyland," is reduced to a throw-away for the kids as they enter the Toymaker's Factory. Tom and Mary's second duet "Just a Toy" can come off as more creepy than romantic to some folks nowadays, with it's slightly sexist description of woman-as-doll. (I've wanted the doll Mary's working on in that scene for years, though.)
The Big Finale: This is my favorite version of this show, over even the Laurel & Hardy March of the Toy Soldiers from the 1930's. (Which I'll cover eventually on this blog as well.) A great choice for families during the holidays.
Home Media: Easily available in most formats; the Blu-Ray is in widescreen.
DVD
Blu-Ray
Amazon Prime
Starring Annette Funicello, Tommy Sands, Ray Bolger, and Ed Wynn
Directed by Jack Donahue
Music by Victor Herbert and George Bruns; Lyrics by Mel Levin
Here's another children-oriented musical fantasy from 1961. This time, we get an adaptation of the popular Broadway operetta from the early 20th century. It's probably composer Victor Herbert's most famous show today, spinning off the holiday standard "Toyland" and the instrumental favorite "March of the Toy Soldiers." Let's head to Toyland for a wedding...and to see if the old tale still holds up today...
The Story: Mother Goose (Mary McCarty) and her sarcastic talking goose Sylvester introduce us to the world of Mother Goose Land. We're just in time to see some of the most famous nursery rhyme characters celebrating the engagement of Mary Quite Contrary (Funicello) and Tom the Piper's Son (Sands). One resident is less-than-thrilled with the announcement. Barnaby (Bolger) is a nasty old man who is determined to have Mary for himself. He hires the mercenaries Gonzorgo (Henry Calvin) and Rodrigo (Gene Sheldon) to kidnap Tom and steal Mary's sheep, leaving her defenseless and without income. Gonzorgo and Rodrigo make the mistake of selling Tom to the gypsies. When they show up in Mother Goose Land, Tom comes with them.
Meanwhile, Mary's siblings, including Little Bo Peep (Ann Jillian), have gone looking for the sheep in The Forest of No Return. A concerned Mary and Tom go after them. They all end up in Toyland, where the Toymaker (Wynn) and his nerdy assistant Grumio (Tommy Kirk) are trying to meet the Christmas deadline. After one of Grumio's inventions blows up and destroys their inventory, Tom, Mary, and the kids volunteer to help them make more. But Barnaby and his goons aren't far behind...and Grumio has another new invention that's going to make it a lot easier for them to capture Mary and take over Toyland!
The Song and Dance: This is another one where the colorful and adorable sets and costumes and the supporting cast really shine. McCarty's wonderfully sarcastic Mother Goose and the very funny Sylvester liven up the first half and really make you wish they were in more of the movie. Bolger's having a ball as the old fashioned cape-and-mustache villain. Calvin and Sheldon's innocent tomfoolery fits in better here than the Three Stooges' slapstick did in Snow White, and Wynn's hilarious as the absent-minded and eccentric Toymaker.
Favorite Number: Bolger has a great solo on "Castle In Spain," dancing with spouting water as Barnaby tries to convince Marry to become his wife. "The Forest of No Return," despite the obvious puppet trees, is still appropriately spooky today. Tommy Sands does surprisingly well with his solo on "Floretta" in drag. I've always liked the creative stop-motion work on the toys in "March of the Toy Soldiers" (the details on all those old-fashioned playthings are awesome) and the nifty multiple-Mary effects on "I Can't Do the Sum." Bolger's joined by Calvin and Sheldon for the very funny "And We Won't Be Happy 'Til We Get It," the manifesto of every fantasy villain.
What I Don't Like: Once again, the lovers here are as stiff as boards (though at least Sands and Funicello are both decent singers who don't need the dubbing). Most of the songs were re-written; the most famous, "Toyland," is reduced to a throw-away for the kids as they enter the Toymaker's Factory. Tom and Mary's second duet "Just a Toy" can come off as more creepy than romantic to some folks nowadays, with it's slightly sexist description of woman-as-doll. (I've wanted the doll Mary's working on in that scene for years, though.)
The Big Finale: This is my favorite version of this show, over even the Laurel & Hardy March of the Toy Soldiers from the 1930's. (Which I'll cover eventually on this blog as well.) A great choice for families during the holidays.
Home Media: Easily available in most formats; the Blu-Ray is in widescreen.
DVD
Blu-Ray
Amazon Prime
Tuesday, November 13, 2018
Cult Flops - Snow White and the Three Stooges
20th Century Fox, 1961
Starring Carol Heiss, The Three Stooges (Moe Howard, Larry Fine, and Joe DeRita), Edson Stroll, and Patricia Medina
Directed by Walter Lang
Music and Lyrics by Harry Harris and Earl K. Brent
The Three Stooges and musical fairy tales. Those are not words you expect to see together in the same sentence. The famous knockabout comedians did make one musical fantasy after their careers saw a resurgence in the early 60's. Originally intended as a showcase for Olympic gold medal-winning figure skater Carol Heiss, it was inflated into a huge extravaganza, with elaborate sets and costumes and big skating numbers for Heiss and the chorus. How do the Stooges fit into a wintry adaptation of the famous Brother's Grimm story? Let's take a horse-drawn gypsy cart to the Kingdom of Fortunia and find out...
The Story: A king and queen give birth to a child who is white as snow and red as blood, whom they name Snow White. The queen passes away, and the king weds another woman who is beautiful but cold as ice. The new queen (Medina) is vain and selfish, and she's jealous of her stepdaughter's own loveliness and popularity with the people. After the king dies, she locks Snow White (Heiss) away in a tower before sending her out into the woods with her huntsman (Michael David). He's supposed to kill her, but she's so sweet and pretty, he releases her instead.
Meanwhile, the Three Stooges are minstrels and con-men who are house-sitting for the Seven Dwarfs with their adopted son Quatro (Stroll). They come upon Snow White sleeping in the house and are all immediately taken by her beauty and kindness. Quatro falls hard for her, but fears they'll never be together, as she is a princess and he is a mere commoner. As it turns out, Quatro isn't what he seems. Snow White's original intended Prince Charming was kidnapped as a child and is also missing. The Queen will stop at nothing to make sure these two lovers and their comedian friends never end up on the throne...even becoming a hag and giving Snow White that poisoned apple...
The Song and Dance: The Stooges have some good routines here, especially while selling a phony cure-all tonic in a flashback sequence and during their brief tenures as chefs after they sneak into the castle. This is a rare chance to hear Mel Blanc in live-action as the voice of Quinto, Quatro's cheeky ventriloquist dummy. Medina and Guy Rolfe as her henchman Count Olga are wonderful villians, perfectly playing their roles to the absolute menacing hilt. The widescreen cinematography nicely shows off the elaborate Technicolor fairy-tale costumes and sets, including two ice ballets for Heiss.
Favorite Number: Heiss' ice ballets are a real treat, especially for skating fans. We get one in the opening with her and the chorus, "Once In a Million Years," and a darker dream ballet towards the end of the film when a grieving Snow White believes that Quatro has been killed. Blanc's little ditty for Quinto, "I'm In Love," is also cute.
What I Don't Like: Heiss and Stroll are stiff as boards as the fairy tale lovers, and were dubbed to boot. While it's nice to see the Stooges, there isn't nearly enough of them to justify their placement in the title of the film, and they're a bit subdued for them when they do appear. The Stooges' brand of knockabout comedy clashes badly with the romantic fantasy, and works even less well with the genuinely frightening villains. Considering that Heiss' ice-skating is the reason this movie exists, I'm surprised there's only two ice ballet numbers. I guess the writer's couldn't justify Snow White constantly skating.
The Big Finale: Intended as a children's attraction for the summer of 1961, it couldn't get enough families or Stooge fans into theaters and wound up as a fair-sized flop. Most major Stooge fans really hate this one, and the Stooges themselves weren't big fans.
I'm going to disagree with both. While it has its flaws, I mostly find this to be charming and fun, with some great ice-skating routines, two enjoyably hammy villains, and some of the better later-day Stooge routines. If you have princess-crazy little girls, are a figure-skating fan, or are a fan of the Stooges who is willing to try something a little different with the guys, this is worth checking out.
Home Media: This is another one with a cult following that makes it easily available on DVD and Amazon Prime. The DVD features a restored print with glorious color and the widescreen version on a flip-disc.
DVD
Amazon Prime
Starring Carol Heiss, The Three Stooges (Moe Howard, Larry Fine, and Joe DeRita), Edson Stroll, and Patricia Medina
Directed by Walter Lang
Music and Lyrics by Harry Harris and Earl K. Brent
The Three Stooges and musical fairy tales. Those are not words you expect to see together in the same sentence. The famous knockabout comedians did make one musical fantasy after their careers saw a resurgence in the early 60's. Originally intended as a showcase for Olympic gold medal-winning figure skater Carol Heiss, it was inflated into a huge extravaganza, with elaborate sets and costumes and big skating numbers for Heiss and the chorus. How do the Stooges fit into a wintry adaptation of the famous Brother's Grimm story? Let's take a horse-drawn gypsy cart to the Kingdom of Fortunia and find out...
The Story: A king and queen give birth to a child who is white as snow and red as blood, whom they name Snow White. The queen passes away, and the king weds another woman who is beautiful but cold as ice. The new queen (Medina) is vain and selfish, and she's jealous of her stepdaughter's own loveliness and popularity with the people. After the king dies, she locks Snow White (Heiss) away in a tower before sending her out into the woods with her huntsman (Michael David). He's supposed to kill her, but she's so sweet and pretty, he releases her instead.
Meanwhile, the Three Stooges are minstrels and con-men who are house-sitting for the Seven Dwarfs with their adopted son Quatro (Stroll). They come upon Snow White sleeping in the house and are all immediately taken by her beauty and kindness. Quatro falls hard for her, but fears they'll never be together, as she is a princess and he is a mere commoner. As it turns out, Quatro isn't what he seems. Snow White's original intended Prince Charming was kidnapped as a child and is also missing. The Queen will stop at nothing to make sure these two lovers and their comedian friends never end up on the throne...even becoming a hag and giving Snow White that poisoned apple...
The Song and Dance: The Stooges have some good routines here, especially while selling a phony cure-all tonic in a flashback sequence and during their brief tenures as chefs after they sneak into the castle. This is a rare chance to hear Mel Blanc in live-action as the voice of Quinto, Quatro's cheeky ventriloquist dummy. Medina and Guy Rolfe as her henchman Count Olga are wonderful villians, perfectly playing their roles to the absolute menacing hilt. The widescreen cinematography nicely shows off the elaborate Technicolor fairy-tale costumes and sets, including two ice ballets for Heiss.
Favorite Number: Heiss' ice ballets are a real treat, especially for skating fans. We get one in the opening with her and the chorus, "Once In a Million Years," and a darker dream ballet towards the end of the film when a grieving Snow White believes that Quatro has been killed. Blanc's little ditty for Quinto, "I'm In Love," is also cute.
What I Don't Like: Heiss and Stroll are stiff as boards as the fairy tale lovers, and were dubbed to boot. While it's nice to see the Stooges, there isn't nearly enough of them to justify their placement in the title of the film, and they're a bit subdued for them when they do appear. The Stooges' brand of knockabout comedy clashes badly with the romantic fantasy, and works even less well with the genuinely frightening villains. Considering that Heiss' ice-skating is the reason this movie exists, I'm surprised there's only two ice ballet numbers. I guess the writer's couldn't justify Snow White constantly skating.
The Big Finale: Intended as a children's attraction for the summer of 1961, it couldn't get enough families or Stooge fans into theaters and wound up as a fair-sized flop. Most major Stooge fans really hate this one, and the Stooges themselves weren't big fans.
I'm going to disagree with both. While it has its flaws, I mostly find this to be charming and fun, with some great ice-skating routines, two enjoyably hammy villains, and some of the better later-day Stooge routines. If you have princess-crazy little girls, are a figure-skating fan, or are a fan of the Stooges who is willing to try something a little different with the guys, this is worth checking out.
Home Media: This is another one with a cult following that makes it easily available on DVD and Amazon Prime. The DVD features a restored print with glorious color and the widescreen version on a flip-disc.
DVD
Amazon Prime
Saturday, November 10, 2018
Saluting Our Troops - Anchors Aweigh
MGM, 1945
Starring Gene Kelly, Frank Sinatra, Kathryn Grayson, and Dean Stockwell
Directed by George Sidney
Music by Jules Styne; Lyrics by Sammy Cahn
In honor of Veterans Day, we're going to be covering one of MGM's biggest musicals of the 1940's. This tale of two Navy officers on leave who help a struggling singer was wildly popular during the waning days of World War II, and even won an Oscar for best musical score. Nowadays, it's probably best-known for Kelly's dance routine with Jerry the Mouse. Let's head to Hollywood to see if the movie still holds up, or if Jerry isn't the only one who should be worrying...
The Story: Naval officers Joe Brady (Kelly) and Clarence Doolittle (Sinatra) are given shore leave in Los Angeles for four days after Joe rescues Clarence when he falls overboard. No sooner do they get on dry land than they encounter little Donald (Stockwell) at a police station. He's run away to try to join the Navy. They take him home to get that idea out of his head and meet his aunt, the lovely Susan (Grayson). Susan is movie extra, but what she really wants to do is sing with classical pianist Jose Iturbi (himself). Joe, seeing how badly Clarence is smitten with her, lies and tells her that his buddy is friends with Iturbi. The duo spend most of the next few days trying to sneak past a persistent cop (Rags Ragland) to see Iturbi at the MGM lot and secure an audition for Susan. Trouble is, not only has Clarence fallen for a waitress from Brooklyn he met on Olvera Street (Pamela Britton), but now Joe's beginning to have feelings for Susan too.
The Song and Dance: Kelly and Sinatra do have a lot of fun together; they have more chemistry than each other than with Britton or Grayson. We get some invaluable glimpses of the real MGM studios in the mid-40's, including members of the actual MGM Studio Orchestra playing "The Donkey Serenade" with Iturbi. Stockwell has some amusing bits early-on when the guys catch him and they're trying to get him to go back home.
Favorite Number: By far the most famous routine from this movie is "The Worry Song," the one that has Kelly dancing with a cartoon Jerry the Mouse in a fantasy castle. The effects with the two hoofing together still look impressive to this day. Kelly gets another well-choreographed fantasy dance routine towards the end of the movie, as he uses his swashbuckling prowess to imagine himself as a dashing lover and Grayson as his beautiful senorita. Sinatra has two really lovely ballads, "What Makes the Sunset" and "I Fall In Love Too Easily." He and Kelly get a hilarious duet right at the beginning, "We Hate to Leave," as they describe Kelly's legendary prowess with the opposite sex.
Trivia: This movie was nominated for five Academy Awards; as mentioned, it won for Musical Score. It was also nominated for Best Actor for Kelly, Best Picture, Best Song ("I Fall In Love Too Easily"), and it's color cinematography.
Sinatra and Kelly would re-team in two more MGM musicals in 1949, Take Me Out to the Ball Game and On the Town.
What I Don't Like: I have no idea why this got all those Oscar nods. The story is overlong piffle. Grayson is stiff as Aunt Susan (and Joe is right that she really should be paying more attention to her nephew than to going out to the opera). As much fun as Kelly's Spanish fantasy ballet and "The Worry Song" are, they're basically padding and add nothing to the story. Sinatra's only slightly better here than in The Kissing Bandit; Kelly isn't doing anything he doesn't usually do. I can understand getting nominated for the score and "Fall In Love Too Easily," but almost everything besides the music and dancing is as generic as you can get for the 40's.
The Big Finale: Like DuBarry Was a Lady, this one was made for it's time and place and just hasn't dated well. Recommended only if you're a really big fan of Sinatra, Kelly, or the MGM musicals of the 40's and 50's. Everyone else can look up the musical numbers on YouTube or in the That's Entertainment films.
Home Media: Another one that's pretty easy to find on DVD; it's also one of the few classic MGM musicals on Blu-Ray and Amazon Prime.
DVD
Blu-Ray
Amazon Prime
Starring Gene Kelly, Frank Sinatra, Kathryn Grayson, and Dean Stockwell
Directed by George Sidney
Music by Jules Styne; Lyrics by Sammy Cahn
In honor of Veterans Day, we're going to be covering one of MGM's biggest musicals of the 1940's. This tale of two Navy officers on leave who help a struggling singer was wildly popular during the waning days of World War II, and even won an Oscar for best musical score. Nowadays, it's probably best-known for Kelly's dance routine with Jerry the Mouse. Let's head to Hollywood to see if the movie still holds up, or if Jerry isn't the only one who should be worrying...
The Story: Naval officers Joe Brady (Kelly) and Clarence Doolittle (Sinatra) are given shore leave in Los Angeles for four days after Joe rescues Clarence when he falls overboard. No sooner do they get on dry land than they encounter little Donald (Stockwell) at a police station. He's run away to try to join the Navy. They take him home to get that idea out of his head and meet his aunt, the lovely Susan (Grayson). Susan is movie extra, but what she really wants to do is sing with classical pianist Jose Iturbi (himself). Joe, seeing how badly Clarence is smitten with her, lies and tells her that his buddy is friends with Iturbi. The duo spend most of the next few days trying to sneak past a persistent cop (Rags Ragland) to see Iturbi at the MGM lot and secure an audition for Susan. Trouble is, not only has Clarence fallen for a waitress from Brooklyn he met on Olvera Street (Pamela Britton), but now Joe's beginning to have feelings for Susan too.
The Song and Dance: Kelly and Sinatra do have a lot of fun together; they have more chemistry than each other than with Britton or Grayson. We get some invaluable glimpses of the real MGM studios in the mid-40's, including members of the actual MGM Studio Orchestra playing "The Donkey Serenade" with Iturbi. Stockwell has some amusing bits early-on when the guys catch him and they're trying to get him to go back home.
Favorite Number: By far the most famous routine from this movie is "The Worry Song," the one that has Kelly dancing with a cartoon Jerry the Mouse in a fantasy castle. The effects with the two hoofing together still look impressive to this day. Kelly gets another well-choreographed fantasy dance routine towards the end of the movie, as he uses his swashbuckling prowess to imagine himself as a dashing lover and Grayson as his beautiful senorita. Sinatra has two really lovely ballads, "What Makes the Sunset" and "I Fall In Love Too Easily." He and Kelly get a hilarious duet right at the beginning, "We Hate to Leave," as they describe Kelly's legendary prowess with the opposite sex.
Trivia: This movie was nominated for five Academy Awards; as mentioned, it won for Musical Score. It was also nominated for Best Actor for Kelly, Best Picture, Best Song ("I Fall In Love Too Easily"), and it's color cinematography.
Sinatra and Kelly would re-team in two more MGM musicals in 1949, Take Me Out to the Ball Game and On the Town.
What I Don't Like: I have no idea why this got all those Oscar nods. The story is overlong piffle. Grayson is stiff as Aunt Susan (and Joe is right that she really should be paying more attention to her nephew than to going out to the opera). As much fun as Kelly's Spanish fantasy ballet and "The Worry Song" are, they're basically padding and add nothing to the story. Sinatra's only slightly better here than in The Kissing Bandit; Kelly isn't doing anything he doesn't usually do. I can understand getting nominated for the score and "Fall In Love Too Easily," but almost everything besides the music and dancing is as generic as you can get for the 40's.
The Big Finale: Like DuBarry Was a Lady, this one was made for it's time and place and just hasn't dated well. Recommended only if you're a really big fan of Sinatra, Kelly, or the MGM musicals of the 40's and 50's. Everyone else can look up the musical numbers on YouTube or in the That's Entertainment films.
Home Media: Another one that's pretty easy to find on DVD; it's also one of the few classic MGM musicals on Blu-Ray and Amazon Prime.
DVD
Blu-Ray
Amazon Prime
Thursday, November 8, 2018
Rose Marie
MGM, 1936
Starring Jeanette MacDonald, Nelson Eddy, George Regas, and James Stewart
Directed by W.S Van Dyke
Music by Rudolf Frimil; Lyrics by Herbert Stothart
From 1935 to 1942, movie singer and comedienne Jeanette MacDonald and concert singer Nelson Eddy starred in eight operettas for MGM that ran the gamut from melodrama to romantic comedy to western. This was their second movie together, and the one they're probably most associated with today. An operetta is basically a musical with opera-inflected numbers that are more challenging and opera-like, but with lighter stories and more dialogue. That's certainly true of this story of a Canadian Mountie who searches for an escaped convict, but ends up falling in love with his sister. Let's head north to Montreal to find out if this adventure-melodrama is worthy of that "Indian Love Call"...
The Story: Opera diva Marie Del Fleur (MacDonald) drops all her appointments after half-breed native Boniface (Regas) comes to her and tells her that her beloved brother Jack (Stewart), a criminal who has escaped prison, has killed a Mountie and is currently in a cabin in the Canadian wilderness. Marie follows Boniface to a small outpost in northern Canada. There, he steals her money and abandons her, forcing her to look for work. She's too high-toned to earn money as a singer in a low-down bar, but she does attract the attention of Sergeant Bruce (Eddy), the Mountie in charge of finding her brother. Desperate to find Jack (and ignore her growing attraction to Bruce), she lies about not knowing Boniface and goes off with the native when she finds him again. Bruce is hot on her trail, hoping that she'll lead him to his man...but he finds that his duty conflicts with his heart when he realizes how much they've fallen in love.
The Song and Dance: This is MacDonald and Eddy's show all the way. We do get a little bit of a very young James Stewart as Jack, an even younger David Niven as Marie's fiancee Teddy, and Reginald Owen as her flustered manager Myerson, but it's mainly about the stars. There's some nice black-and-white cinematography too, both during the opera sequences and in sun-dappled outside shots.
Favorite Number: "Indian Love Call" is by far the most famous song from this film, and it lives up to its notoriety. The lyrics may be melodramatic and a bit dated, but the music is lush, and MacDonald and Eddy perform it beautifully. The "Rose Marie" canoe sequence is too funny; the reprise when Bruce is attempting to sing under Marie's window may be even better. There's a nice sequence early-on when Marie is entertaining the Premier of Quebec with "Pardon Me, Madame," and everyone gets so into it, the entire hotel and everyone strolling outside ends up singing along. The only chorus number outside of the opera is the amazing (if stereotypical) "Totem Tom Tom" routine at the Native festival.
Trivia: This is the second of three movie versions of the hit 1924 Broadway operetta. A silent film from 1928 starring Joan Crawford that's now lost and a 1954 spectacular with Howard Keel apparently stuck closer to the original show.
While that is the real outdoors Marie and Bruce travel through, they're not in Canada. The movie was actually filmed at Lake Tahoe, between California and Nevada.
MacDonald and Eddy would go on to make eight films together at MGM in the 30's and early 40's, six of them after this one.
What I Don't Like: I do wish Marie had been a little more sensible than to run off with a menacing man she didn't know...and she certainly should have kept her cash with her at all times, no matter how worried she was about her brother.
Neither MacDonald nor Eddy were up to the heavier dramatics later in the film. Stewart's miscast as the runaway criminal, and he still does better than they do. MacDonald is more at home with her comic bits, especially while stranded at the outpost or dealing with Bruce's teasing in the backwoods. Eddy likewise is stiff with everything but some of the lighter moments and his musical numbers.
Frankly, the story is a load of melodrama that collapses completely in a ridiculous and anti-climatic ending. This is another one where I wish they'd kept the original plot with the backwoods girl in love with a trapper who is wrongly pursued by Mounties and more of the original music. Once again, everything but songs for the leads and a chorus routine was deleted. I suspect Marie was an opera singer only because MacDonald badly wanted to sing real opera (and because she was too old at that point to play a backwoods tomboy).
The Big Finale: I know a lot of people consider this to be one of their best films, but "Indian Love Call" aside, the story is too dull to be a favorite of mine. Fans of theirs will definitely want it; casual viewers may be better off starting with Naughty Marietta or Maytime before coming here.
Home Media: As with all the MacDonald-Eddy movies, this one is currently only available via the Warner Archives DVD-on-demand service. (At the very least, while those movies can be pricey, the DVDs are a lot cheaper than they used to be when the Archives first debuted.)
DVD
Starring Jeanette MacDonald, Nelson Eddy, George Regas, and James Stewart
Directed by W.S Van Dyke
Music by Rudolf Frimil; Lyrics by Herbert Stothart
From 1935 to 1942, movie singer and comedienne Jeanette MacDonald and concert singer Nelson Eddy starred in eight operettas for MGM that ran the gamut from melodrama to romantic comedy to western. This was their second movie together, and the one they're probably most associated with today. An operetta is basically a musical with opera-inflected numbers that are more challenging and opera-like, but with lighter stories and more dialogue. That's certainly true of this story of a Canadian Mountie who searches for an escaped convict, but ends up falling in love with his sister. Let's head north to Montreal to find out if this adventure-melodrama is worthy of that "Indian Love Call"...
The Story: Opera diva Marie Del Fleur (MacDonald) drops all her appointments after half-breed native Boniface (Regas) comes to her and tells her that her beloved brother Jack (Stewart), a criminal who has escaped prison, has killed a Mountie and is currently in a cabin in the Canadian wilderness. Marie follows Boniface to a small outpost in northern Canada. There, he steals her money and abandons her, forcing her to look for work. She's too high-toned to earn money as a singer in a low-down bar, but she does attract the attention of Sergeant Bruce (Eddy), the Mountie in charge of finding her brother. Desperate to find Jack (and ignore her growing attraction to Bruce), she lies about not knowing Boniface and goes off with the native when she finds him again. Bruce is hot on her trail, hoping that she'll lead him to his man...but he finds that his duty conflicts with his heart when he realizes how much they've fallen in love.
The Song and Dance: This is MacDonald and Eddy's show all the way. We do get a little bit of a very young James Stewart as Jack, an even younger David Niven as Marie's fiancee Teddy, and Reginald Owen as her flustered manager Myerson, but it's mainly about the stars. There's some nice black-and-white cinematography too, both during the opera sequences and in sun-dappled outside shots.
Favorite Number: "Indian Love Call" is by far the most famous song from this film, and it lives up to its notoriety. The lyrics may be melodramatic and a bit dated, but the music is lush, and MacDonald and Eddy perform it beautifully. The "Rose Marie" canoe sequence is too funny; the reprise when Bruce is attempting to sing under Marie's window may be even better. There's a nice sequence early-on when Marie is entertaining the Premier of Quebec with "Pardon Me, Madame," and everyone gets so into it, the entire hotel and everyone strolling outside ends up singing along. The only chorus number outside of the opera is the amazing (if stereotypical) "Totem Tom Tom" routine at the Native festival.
Trivia: This is the second of three movie versions of the hit 1924 Broadway operetta. A silent film from 1928 starring Joan Crawford that's now lost and a 1954 spectacular with Howard Keel apparently stuck closer to the original show.
While that is the real outdoors Marie and Bruce travel through, they're not in Canada. The movie was actually filmed at Lake Tahoe, between California and Nevada.
MacDonald and Eddy would go on to make eight films together at MGM in the 30's and early 40's, six of them after this one.
What I Don't Like: I do wish Marie had been a little more sensible than to run off with a menacing man she didn't know...and she certainly should have kept her cash with her at all times, no matter how worried she was about her brother.
Neither MacDonald nor Eddy were up to the heavier dramatics later in the film. Stewart's miscast as the runaway criminal, and he still does better than they do. MacDonald is more at home with her comic bits, especially while stranded at the outpost or dealing with Bruce's teasing in the backwoods. Eddy likewise is stiff with everything but some of the lighter moments and his musical numbers.
Frankly, the story is a load of melodrama that collapses completely in a ridiculous and anti-climatic ending. This is another one where I wish they'd kept the original plot with the backwoods girl in love with a trapper who is wrongly pursued by Mounties and more of the original music. Once again, everything but songs for the leads and a chorus routine was deleted. I suspect Marie was an opera singer only because MacDonald badly wanted to sing real opera (and because she was too old at that point to play a backwoods tomboy).
The Big Finale: I know a lot of people consider this to be one of their best films, but "Indian Love Call" aside, the story is too dull to be a favorite of mine. Fans of theirs will definitely want it; casual viewers may be better off starting with Naughty Marietta or Maytime before coming here.
Home Media: As with all the MacDonald-Eddy movies, this one is currently only available via the Warner Archives DVD-on-demand service. (At the very least, while those movies can be pricey, the DVDs are a lot cheaper than they used to be when the Archives first debuted.)
DVD
Tuesday, November 6, 2018
Election Day Special - The One and Only, Genuine, Original Family Band
Disney, 1968
Starring Leslie Ann Warren, Buddy Ebsen, Walter Brennan, and John Davidson
Directed by Michael O'Herlihy
Music and Lyrics by Richard and Robert Sherman
While you wait for the election results to come in, here's an unusual politics-themed musical from Disney to tide you over. Seeing the popularity of big musicals in the 1960's, Walt made four during the decade. We already saw one, Summer Magic, back in September. Family Band had more of an uphill climb to begin with. It's development began just as Walt passed away, and by the time it came out, musicals were beginning to fall out of favor with moviegoers. Let's head to Nebraska to see if this tale of a family getting involved in the infamous contested election of 1888 is worthy of our vote...
The Story: The Bowery family are farmers who double as a brass band in the Midwest in 1888. Grandpa (Brennan), a devoted Democrat, is delighted when they win a trip to the Democratic Convention to nominate Grover Cleveland. Oldest daughter Alice (Warren) is more interested in Joe Carver, the good-looking newspaper publisher (Davidson) she's been exchanging letters with. Joe persuades the family to give up their trip in favor of moving to the Republican-dominated Dakota Territory.
Feisty Grandpa's opinions and his insistence on keeping Dakota one state doesn't go over well with the other citizens of the town. They would prefer to vote for Benjamin Harrison, who would split the territory in two and send four Republican senators to Congress. When Grandpa takes over for Alice for a day in school and teaches the kids about his opinions, the entire town winds up being up in arms. Calvin (Buddy Ebsen), the head of the family, sends Grandpa away until he apologizes. Alice splits with Joe over his feelings on Grandpa and the Democrats as well.
There's surprises galore on the night of the election, which doesn't go as anyone expects. When a riot starts during the town's Election Day party, it's the Family Band who reminds the townspeople that there's a time to fight, and a time to join together, no matter which side of the political divide you're on.
The Song and Dance: Brennan's the stand-out here as the strong-willed old man who is determined to make his opinions be heard and show others that they can have a voice, too. I also like a blustery Wally Cox as the head of the school board and the Republican party in town and Buddy Ebsen and Janet Blair as the Bower parents. The cinematography, especially during the dance numbers and when they're traveling to the Dakota Territory, is also quite lovely.
Favorite Number: There's three really fun chorus dance routines here, the Family Band's "Ten Feet Off the Ground" and "Let's Put It Over With Grover" in the beginning and "West O' the Wide Missouri" performed by the townspeople at the Election Day party near the end. The high spirits in "Ten Feet," coupled with this being the movie's best song, makes it a highlight. Goldie Hawn (in her first film) has a nice dance-off with Warren in "Missouri." Warren and Davidson get one of the Sherman Brothers' rare love songs about mid-way through the movie, the charming "'Bout Time."
Trivia: According to Wikipedia, this was supposed to have been at least a half-hour longer. Two solos for Calvin and Katie, "Westerin'" and "I Couldn't Have Dreamed It Better," were cut for the film's run at Radio City Music Hall. The footage seems to have since been lost, although sheet music does exist.
What I Don't Like: A contested election is a pretty strange subject for a musical, and the music does get lost amid the political wrangling at times, especially during the middle part with Grandpa and the school. Not to mention, you might not get a lot of what's going on if you don't know anything about American history, especially the history of the West and the push to the western states. Despite this being about the family, the other kids besides Alice barely register. Davidson is a bit on the dull side as the supposedly strong-minded newspaper man (although his "Dakota" is appropriately stirring).
The Big Finale: This charming musical has some great numbers and decent performances that (almost) make up for the thin and occasionally dull plot. Look it up if you need something fun and unusual for your own family band to watch on Election Day.
Home Media: The solo DVD for this one that I own is out of print, but can be found for fairly cheap. (And alas, unlike Summer Magic, it's in fullscreen.) You may be better off picking it up as part of a four-movie "Classics" set that also includes the fantasies The Gnome Mobile and Darby O'Gill and the Little People and the previous Warren-Davidson musical The Happiest Millionaire.
DVD
Disney 4-Movie Collection: Classics DVD
Starring Leslie Ann Warren, Buddy Ebsen, Walter Brennan, and John Davidson
Directed by Michael O'Herlihy
Music and Lyrics by Richard and Robert Sherman
While you wait for the election results to come in, here's an unusual politics-themed musical from Disney to tide you over. Seeing the popularity of big musicals in the 1960's, Walt made four during the decade. We already saw one, Summer Magic, back in September. Family Band had more of an uphill climb to begin with. It's development began just as Walt passed away, and by the time it came out, musicals were beginning to fall out of favor with moviegoers. Let's head to Nebraska to see if this tale of a family getting involved in the infamous contested election of 1888 is worthy of our vote...
The Story: The Bowery family are farmers who double as a brass band in the Midwest in 1888. Grandpa (Brennan), a devoted Democrat, is delighted when they win a trip to the Democratic Convention to nominate Grover Cleveland. Oldest daughter Alice (Warren) is more interested in Joe Carver, the good-looking newspaper publisher (Davidson) she's been exchanging letters with. Joe persuades the family to give up their trip in favor of moving to the Republican-dominated Dakota Territory.
Feisty Grandpa's opinions and his insistence on keeping Dakota one state doesn't go over well with the other citizens of the town. They would prefer to vote for Benjamin Harrison, who would split the territory in two and send four Republican senators to Congress. When Grandpa takes over for Alice for a day in school and teaches the kids about his opinions, the entire town winds up being up in arms. Calvin (Buddy Ebsen), the head of the family, sends Grandpa away until he apologizes. Alice splits with Joe over his feelings on Grandpa and the Democrats as well.
There's surprises galore on the night of the election, which doesn't go as anyone expects. When a riot starts during the town's Election Day party, it's the Family Band who reminds the townspeople that there's a time to fight, and a time to join together, no matter which side of the political divide you're on.
The Song and Dance: Brennan's the stand-out here as the strong-willed old man who is determined to make his opinions be heard and show others that they can have a voice, too. I also like a blustery Wally Cox as the head of the school board and the Republican party in town and Buddy Ebsen and Janet Blair as the Bower parents. The cinematography, especially during the dance numbers and when they're traveling to the Dakota Territory, is also quite lovely.
Favorite Number: There's three really fun chorus dance routines here, the Family Band's "Ten Feet Off the Ground" and "Let's Put It Over With Grover" in the beginning and "West O' the Wide Missouri" performed by the townspeople at the Election Day party near the end. The high spirits in "Ten Feet," coupled with this being the movie's best song, makes it a highlight. Goldie Hawn (in her first film) has a nice dance-off with Warren in "Missouri." Warren and Davidson get one of the Sherman Brothers' rare love songs about mid-way through the movie, the charming "'Bout Time."
Trivia: According to Wikipedia, this was supposed to have been at least a half-hour longer. Two solos for Calvin and Katie, "Westerin'" and "I Couldn't Have Dreamed It Better," were cut for the film's run at Radio City Music Hall. The footage seems to have since been lost, although sheet music does exist.
What I Don't Like: A contested election is a pretty strange subject for a musical, and the music does get lost amid the political wrangling at times, especially during the middle part with Grandpa and the school. Not to mention, you might not get a lot of what's going on if you don't know anything about American history, especially the history of the West and the push to the western states. Despite this being about the family, the other kids besides Alice barely register. Davidson is a bit on the dull side as the supposedly strong-minded newspaper man (although his "Dakota" is appropriately stirring).
The Big Finale: This charming musical has some great numbers and decent performances that (almost) make up for the thin and occasionally dull plot. Look it up if you need something fun and unusual for your own family band to watch on Election Day.
Home Media: The solo DVD for this one that I own is out of print, but can be found for fairly cheap. (And alas, unlike Summer Magic, it's in fullscreen.) You may be better off picking it up as part of a four-movie "Classics" set that also includes the fantasies The Gnome Mobile and Darby O'Gill and the Little People and the previous Warren-Davidson musical The Happiest Millionaire.
DVD
Disney 4-Movie Collection: Classics DVD
Saturday, November 3, 2018
Family Fun Saturday - Once Upon a Mattress
Disney, 2005
Starring Tracy Ullman, Carol Burnett, Zooey Deschanel, and Denis O'Hare
Directed by Kathleen Marshall
Music by Mary Rogers; Lyrics by Marshall Barer
From 1997 to 2005, ABC revived The Wonderful World of Disney anthology series. While it mainly showed miniseries and theatrical films, original TV musicals also popped up from time to time. This is the last of five musicals filmed just for the series, and the third adaptation of this show (all featuring Burnett) to turn up on television. Is this comic version of The Princess and the Pea worth swimming the moat for, or should it be cursed into silence? Let's go to the castle and find out...
The Story: Queen Aggrivain (Burnett) has created a rule that no one in the kingdom may marry until her son Dauntless the Drab (O'Hare) does. The problem is, Aggrivain has no desire to share her kingdom with anyone, let alone her son's bride. In an attempt to keep him under her thumb, she devises a series of impossible tests for every princess who tries to court him. None have been able to pass, and everyone is in despair. Sir Harry (Matthew Morrison) and Lady Larkin (Deschanel) are especially frustrated. It seems they had an...indiscretion...and Lady Larkin now has a little one on the way.
What he finds is Princess Winifred of the Swamplands (Ullman). Call her "Fred." She's brash, noisy, and could probably wrestle an alligator if she felt like it. She was so desperate to find the castle, she swam the moat to get there. Dauntless adores her the moment he sees her, to his mother's horror. The Queen devises a test involving 20 mattresses and a tiny pea to see if she's a true princess. The rest of the kingdom, however, just wants to love the way they choose and go about foiling the queen and bringing both sets of lovers together.
The Song and Dance: Ullman makes a great Winifred; she's having a blast as the definitely not "Shy" princess who proves that you don't have to be dainty to be royalty or worthy of a prince. Tom Smothers is a lot of fun as King Sextimas, who was cursed to be silent until "the mouse devours the hawk." He has a few great scenes of pantomime, especially his "Man to Man Talk" with O'Hare. Burnett brings the house down with her hilarious Queen Aggrivain, especially when she's plotting during the second half. I also like the side plot with Larkin and Harry; it gives this show a slightly risque edge that most fairy-tale adaptations of this type lack.
Favorite Number: Ullman's best moment is "Happily Ever After," where she vents her frustration that she doesn't have help from magical characters like most fairy tale princesses. Her introductory number with the chorus, "Shy," and the dance number "The Spanish Panic" are also a riot. The aforementioned "Man to Man Talk" is also funny. The Queen has a great moment towards the end with "Quiet."
Trivia: As I mentioned, this is the third go-around for this musical on television. Carol Burnett starred as Winifred in the two previous broadcasts in 1964 and 1972, as well as in the original Broadway cast in 1959.
What I Don't Like: I kind of wish more songs from the original Broadway show had made it in, including the cute-but-expendable "Very Soft Shoes." Also, while their side plot is interesting, Deschanal and especially Morrison are a tad on the stiff side as the ingenues with an unusual problem for a fairy tale musical.
The Big Finale: If you love Burnett, Ullman, or fairy tale spoofs, this is absolutely worth looking around for.
Home Media: While I believe the DVD is out of print, it's neither expensive nor that hard to find, and it's on Amazon Prime.
DVD
Amazon Prime
Starring Tracy Ullman, Carol Burnett, Zooey Deschanel, and Denis O'Hare
Directed by Kathleen Marshall
Music by Mary Rogers; Lyrics by Marshall Barer
From 1997 to 2005, ABC revived The Wonderful World of Disney anthology series. While it mainly showed miniseries and theatrical films, original TV musicals also popped up from time to time. This is the last of five musicals filmed just for the series, and the third adaptation of this show (all featuring Burnett) to turn up on television. Is this comic version of The Princess and the Pea worth swimming the moat for, or should it be cursed into silence? Let's go to the castle and find out...
The Story: Queen Aggrivain (Burnett) has created a rule that no one in the kingdom may marry until her son Dauntless the Drab (O'Hare) does. The problem is, Aggrivain has no desire to share her kingdom with anyone, let alone her son's bride. In an attempt to keep him under her thumb, she devises a series of impossible tests for every princess who tries to court him. None have been able to pass, and everyone is in despair. Sir Harry (Matthew Morrison) and Lady Larkin (Deschanel) are especially frustrated. It seems they had an...indiscretion...and Lady Larkin now has a little one on the way.
What he finds is Princess Winifred of the Swamplands (Ullman). Call her "Fred." She's brash, noisy, and could probably wrestle an alligator if she felt like it. She was so desperate to find the castle, she swam the moat to get there. Dauntless adores her the moment he sees her, to his mother's horror. The Queen devises a test involving 20 mattresses and a tiny pea to see if she's a true princess. The rest of the kingdom, however, just wants to love the way they choose and go about foiling the queen and bringing both sets of lovers together.
The Song and Dance: Ullman makes a great Winifred; she's having a blast as the definitely not "Shy" princess who proves that you don't have to be dainty to be royalty or worthy of a prince. Tom Smothers is a lot of fun as King Sextimas, who was cursed to be silent until "the mouse devours the hawk." He has a few great scenes of pantomime, especially his "Man to Man Talk" with O'Hare. Burnett brings the house down with her hilarious Queen Aggrivain, especially when she's plotting during the second half. I also like the side plot with Larkin and Harry; it gives this show a slightly risque edge that most fairy-tale adaptations of this type lack.
Favorite Number: Ullman's best moment is "Happily Ever After," where she vents her frustration that she doesn't have help from magical characters like most fairy tale princesses. Her introductory number with the chorus, "Shy," and the dance number "The Spanish Panic" are also a riot. The aforementioned "Man to Man Talk" is also funny. The Queen has a great moment towards the end with "Quiet."
Trivia: As I mentioned, this is the third go-around for this musical on television. Carol Burnett starred as Winifred in the two previous broadcasts in 1964 and 1972, as well as in the original Broadway cast in 1959.
What I Don't Like: I kind of wish more songs from the original Broadway show had made it in, including the cute-but-expendable "Very Soft Shoes." Also, while their side plot is interesting, Deschanal and especially Morrison are a tad on the stiff side as the ingenues with an unusual problem for a fairy tale musical.
The Big Finale: If you love Burnett, Ullman, or fairy tale spoofs, this is absolutely worth looking around for.
Home Media: While I believe the DVD is out of print, it's neither expensive nor that hard to find, and it's on Amazon Prime.
DVD
Amazon Prime
Thursday, November 1, 2018
DuBarry Was a Lady
MGM, 1943
Starring Red Skelton, Lucile Ball, Gene Kelly, and Zero Mostel
Directed by Roy Del Ruth
Music and Lyrics by Cole Porter, Roger Edens, and others
In addition to being a huge fan of musicals, I also love swashbucklers. Stories of ladies, gentlemen, duels, rebellions, Zorros and Robin Hoods have fascinated me since childhood. There aren't many musical swashbucklers, and most fall under the "operetta" category. This Wizard of Oz-like tale of a hat check boy in a nightclub who learns a lesson about love after a strange dream is a truly unique blending of comedy, costume adventure, and big-band music. Does this unusual fantasy earn its jewels, or should it be strung up by the peasants? Let's jitterbug over to a nightclub in New York to find out...
The Story: May Daly (Ball) is a performer in a popular Manhattan nightclub during World War II. Every man in the place has a crush on her, including Louie the hat check boy (Skelton) and dancer and emcee Alex (Kelly). Comedienne and cigarette girl Ginny (Virginia O'Brian) wishes Louie would pay more attention to her and less to chasing May. May truly loves Alex, but she's convinced herself that she has to marry for money and is pursing the millionaire Willie (Douglass Dumbrille). Louie wins big money in the Irish Sweepstakes and uses part of the payout to convince May to marry him.
Noticing that Alex is still after May, Louie's buddy Charlie (Rags Ragland) gives him a drugged drink...but Louie ends up drinking it instead. He dreams that he's King Louis XV of France, May is the king's mistress DuBarry, Alex is the leader of the peasant rebellion The Black Arrow, Ginny is DuBarry's lady-in-waiting, Willie is the scheming Duc de Rigor, and Charlie is the King's son the Dauphan (even Louie questions that one). After being chased by de Rigor and peasants alike for his spending on DuBarry, Louie finally learns that money truly can't buy love or happiness...and that he needs to let May be with the may she really loves, no matter how much money he has.
The Song and Dance: What I like about this one is the unique premise. The compare and contrast between the typical 40's nightclub in the first half and the comic swashbuckler in the second half is really fun. I actually wish they'd done more with this idea. Skelton's having a ball as the normal guy who wins a fortune and hopes it'll impress a pretty lady...then does the same when he suddenly becomes a king. I also enjoy O'Brian as hopeful Ginny and some brief bits by a young Zero Mostel as a fortune teller at the club who is Alex's friend and the Black Arrow's second-in-command in the swashbuckler.
Favorite Number: None of the elaborate numbers in the night club in the first half or Tommy Dorsey's big-band gigs come close to the finale, "Friendship." Not only is this one of only four songs retained from the original Broadway show, but it suits Skelton, Ball, and O'Brian perfectly. The three of them and Kelly are having more fun clowning around in that number than they are during the entire rest of the movie. (According to Wikipedia, it's also the only song where Ball sang with her own voice - her other numbers were dubbed.) Indeed, the other number I like is the comic duet "Madame, I Love Your Crepe Suzettes" when King Louis is chasing DuBarry in the second half.
Trivia: This is an adaptation of a hit 1939 Broadway show that originally starred Bert Lahr as Louie and Ethel Merman as May. Some of the songs from the show that didn't make it into the movie can be heard in underscoring, including "But In the Morning, No!" and "Well, Did You Evah?"
What I Don't Like: This is about as 40's of a musical as you can get. Tommy Dorsey and His Orchestra are around mainly to boost the film's star power; their numbers are nice if you like big band music, but add nothing to the film. Most of the numbers in the club in the first half don't, either, including the chorus number revolving around Esquire pin-ups. There's a lot of jokes and references to the early World War II years that you may not get or understand if you don't know anything about the era. Kelly and Ball are underused; both are more at home during the more comic and action-packed swashbuckling segment than with the romantic scenes at the club.
I honestly wish we'd seen less of the club and more of the swashbuckler, including more musical numbers in the second half. The swashbuckler had the more interesting story and most of the more memorable gags. Wish they'd retained more of the original songs with their lyrics, too. Some of the Roger Edens/Burton Lane replacements are mediocre at best.
The Big Finale: Mainly for fans of the cast or 40's musicals. The interesting premise doesn't make up for the lackluster and dated first half and some of the dull songs.
Home Media: Not on Blu-Ray at press time, but the solo DVD release can be found for super-cheap, and it's a part of at least two Lucile Ball collections.
DVD
Lucille Ball Film Collection DVD Box Set
Starring Red Skelton, Lucile Ball, Gene Kelly, and Zero Mostel
Directed by Roy Del Ruth
Music and Lyrics by Cole Porter, Roger Edens, and others
In addition to being a huge fan of musicals, I also love swashbucklers. Stories of ladies, gentlemen, duels, rebellions, Zorros and Robin Hoods have fascinated me since childhood. There aren't many musical swashbucklers, and most fall under the "operetta" category. This Wizard of Oz-like tale of a hat check boy in a nightclub who learns a lesson about love after a strange dream is a truly unique blending of comedy, costume adventure, and big-band music. Does this unusual fantasy earn its jewels, or should it be strung up by the peasants? Let's jitterbug over to a nightclub in New York to find out...
The Story: May Daly (Ball) is a performer in a popular Manhattan nightclub during World War II. Every man in the place has a crush on her, including Louie the hat check boy (Skelton) and dancer and emcee Alex (Kelly). Comedienne and cigarette girl Ginny (Virginia O'Brian) wishes Louie would pay more attention to her and less to chasing May. May truly loves Alex, but she's convinced herself that she has to marry for money and is pursing the millionaire Willie (Douglass Dumbrille). Louie wins big money in the Irish Sweepstakes and uses part of the payout to convince May to marry him.
Noticing that Alex is still after May, Louie's buddy Charlie (Rags Ragland) gives him a drugged drink...but Louie ends up drinking it instead. He dreams that he's King Louis XV of France, May is the king's mistress DuBarry, Alex is the leader of the peasant rebellion The Black Arrow, Ginny is DuBarry's lady-in-waiting, Willie is the scheming Duc de Rigor, and Charlie is the King's son the Dauphan (even Louie questions that one). After being chased by de Rigor and peasants alike for his spending on DuBarry, Louie finally learns that money truly can't buy love or happiness...and that he needs to let May be with the may she really loves, no matter how much money he has.
The Song and Dance: What I like about this one is the unique premise. The compare and contrast between the typical 40's nightclub in the first half and the comic swashbuckler in the second half is really fun. I actually wish they'd done more with this idea. Skelton's having a ball as the normal guy who wins a fortune and hopes it'll impress a pretty lady...then does the same when he suddenly becomes a king. I also enjoy O'Brian as hopeful Ginny and some brief bits by a young Zero Mostel as a fortune teller at the club who is Alex's friend and the Black Arrow's second-in-command in the swashbuckler.
Favorite Number: None of the elaborate numbers in the night club in the first half or Tommy Dorsey's big-band gigs come close to the finale, "Friendship." Not only is this one of only four songs retained from the original Broadway show, but it suits Skelton, Ball, and O'Brian perfectly. The three of them and Kelly are having more fun clowning around in that number than they are during the entire rest of the movie. (According to Wikipedia, it's also the only song where Ball sang with her own voice - her other numbers were dubbed.) Indeed, the other number I like is the comic duet "Madame, I Love Your Crepe Suzettes" when King Louis is chasing DuBarry in the second half.
Trivia: This is an adaptation of a hit 1939 Broadway show that originally starred Bert Lahr as Louie and Ethel Merman as May. Some of the songs from the show that didn't make it into the movie can be heard in underscoring, including "But In the Morning, No!" and "Well, Did You Evah?"
What I Don't Like: This is about as 40's of a musical as you can get. Tommy Dorsey and His Orchestra are around mainly to boost the film's star power; their numbers are nice if you like big band music, but add nothing to the film. Most of the numbers in the club in the first half don't, either, including the chorus number revolving around Esquire pin-ups. There's a lot of jokes and references to the early World War II years that you may not get or understand if you don't know anything about the era. Kelly and Ball are underused; both are more at home during the more comic and action-packed swashbuckling segment than with the romantic scenes at the club.
I honestly wish we'd seen less of the club and more of the swashbuckler, including more musical numbers in the second half. The swashbuckler had the more interesting story and most of the more memorable gags. Wish they'd retained more of the original songs with their lyrics, too. Some of the Roger Edens/Burton Lane replacements are mediocre at best.
The Big Finale: Mainly for fans of the cast or 40's musicals. The interesting premise doesn't make up for the lackluster and dated first half and some of the dull songs.
Home Media: Not on Blu-Ray at press time, but the solo DVD release can be found for super-cheap, and it's a part of at least two Lucile Ball collections.
DVD
Lucille Ball Film Collection DVD Box Set
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